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Principles of the fine arts i. 14.
Pracieuxuaticus ii. 143.
Prodigies) fud ready credit with the yulgar i. 133.
Prologue of the ancient tragedy i.324
Pronoun) defined i. 52.
Pronunciation) rules for it ii. 68.175, &c. distinguished from fing-

ing it. 76. Singing and pronouncing compared ji. 77.
Propensity) sometimes su enlivered as to become an emotion i. 57.

97. opposed to affection i. 102. Opinion and belief influenced by
it. i. 133, 134. Propensity to justify our passions and actions i.
125 Propenfity to punih guilt and reward virtueri.251, &c.
Propenlity to carry along the good or bad properties of one two-

iece to another i. 59. 143. 159. ij. 4. 50. 54. 69. 89, 115, 116.
213. 238. Propenlity to complete every work that is begun, and
to carry things

to perfection i. 234. ii. 374. Propensity to com-
manicate to others every thing that affects us i. 390. Propensity
* to place together things mutually connected ii. 50. Propensity

defnedal. 408, 400. See Principle!
Properties transferred from one subject to another i. 59. 143. 159.

11. 4, 50959.6. 8. 115, 116. 213. 238.
Property) the affection man bears to his property'i. 63. A Yecond-

ary rclation i. 267. note.
Prophecy) those who believe in prophecies wish the accomplifliment,'
wi, rto.
Propriety).chi 10.a fecondary relation i. 267. note. distinguislied
s from congruity i. 2686dininruished from proportion i. 275,-

Propriety in burkings ii. 366, 367.
Proportior) contributes to grandeur i., 171. diftinguished from
• Propriety 1.275. As to guantity coincides with

côngruity i.
275. examined as applied to architecture ii. 361. Proportion de-

fined ii. 106.
Profe) distinguished from verfe ii. 79, &c.
Propea), an unbounded profpect difagreeable i. 234. note. By

What means a profpect may be improved ii. 346,347.
Provoked Huband) cenfured ii. 313.
Pun) delined i. 3.3.
Puniliment), in the place where the crime was committed i. 237.

Punifhment of impropriety i. 273; c. 277.
Public games). of the Greeks i. 204.
Phyithichius ii. 142...,
Qualities) primary and secondary i, 166. A quality cannot be con

ceived independent of the fubje&t to which it belongs ii. 41. Dif,
terent qualities perceived by different fenfes it. 394, 395. Com-
amunicated to related objeéts. See Propenlity:
Quantity with respect to melody ii. 84. Quantity with respect to
Erglish verfe is. 96. Falle quantity ii.

98.
Quintilian) censired r. 206, 207,
Quindis Curtius) eenfired i. 366.
Raineritadi. 397. Cenfured 1: 407.'

pe of the Lock) caracterised i. 292. Its verse admirable ii. 84
Reading miei talent ob a fide reader i. 338. Plaiutive paflions re-

uyire á flow protuuciation 1. 362. note. Rules for reading ii,

25, 96compared wit linging ii. 77.78.
Réeuty of external obirats i. 75.
Krafön) realous to justify a favourite opinion are always at hand,

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Recitative ii81.
Retined pleasure i. 93.
Regularity) not to ellential in great objects as in finall

' i. 172. not
in a small work so much as in one tliat is extensive i. -I72. How
far to be studied in architectureii. 342, 357. 360. How far be
studied in a garden ii. 344. Regular lige detined i1. 405. Regu-

lar figure defined ii.406. Regularity.proper and figurative it. 406.
Relations i. 25. Have an influence in generating emotions and para
lions i. 59, &c. Are the foundation of congruity and propriety
i. 265. Primary and secondary relations i: 267, note. In what
manner are relations expresied in words it. 36;

(c. The effe&t
that even the flighter relations have on the inind ii. 351.
Relative beauty i. 159. ii. 351,
Remorse) anguish of remorse i, 146. its gratification'i, 152. is not

mean i. 283.
Repartee i. 315.
Repetitions.i. 282.
Reprefentation its perfection lies in hiding itself and producing an

imprellion of reality ii. 329 330 *
Repulsive) object i. 149: Repultive pallions ia 345
Resemblance) and ditlunilitade, ch, 8. Refemblance in a series of

objects ii. 12. The members of a sentence fignifying a relem-
blance betwixt objects ought to resemble each other ii. 27, &c,-
Refemilance betwixt found and signification ii. 67. 69.58. No
resemblance betwixt objects of diferent 'fenses in. 09. Refem-
bling causes may produce effects that have no reseniblance, and
causes that have no resemblance may produce resenibling effects
ii. 69, &c. The fainteft resemblance betwixt found and fignifi-
cation gives the greatest pleasure ii. 74, &c, Reremblance car-
ried too

far in fome gardens ii. 344. note,
Resentmeii) explained i. 71. &c Disagreeable in excess i. 92.

Extended against relations of the offender i. 129. Its gratifican

tion i. 157. When in moderate is silent i: 391.
Reft) neither agreeable nor disgreeable i. 201. explained ii. 402.
Revenge) but dorh , tot the mind i. 134. Has no

i.
Reverie) cause of the pleasure we have in it i. 79. 251.
Rhyme) for what subjects it is proper il, 137, &c. Melody of rhyme

ii. 136.
Rythmus) defined ii. 79.
Rich and poor put upon a level by habit i, 331.
Riches) love of, corrupts the taste ii. 391.
Riddle ii, 348.
Ridicule) a gross pleasure i. 94. Is loting ground in England i. 95.

Enotion of ridicule i. 220. Not concordant with grandeur i.

241. Ridicule i, 242, ch. 12. Whether it be a test of truth i, 299.
Ridiculous) distinguished from risible i. 220.
Right and wrong as to a&tions i. 39.
Risible objects, ch. 7. Rilible distinguished from ridiculous i. 220.
Room) its form ii. 358.
Rubeus) censured ii. 232.
Ruin ought not to be seen from a flower-parterre ii. 343. In what

form it ought to be ii. 350.
Sailust) censured for want of connection i. 33.
Sapphic verse) lias å very agreeable inoclulation ij. 81.
Sarage) knows little of social affection i. 3,
Scorn i. 273. 290.

it ii. 389.

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Sculpture) imitates nature ii. 3. What emotions can be raised by
Secchia rapita) characterised 1. 291.
Secondary qualities of matter i. 166, 167. Secondary relations 1.
$267. note.
Seeing) in Veeing we feel no impression ii. 397. Objects of fight are

all of them complex ii. 399.
Self-deceit i. 125.382. i.
Selfish pallions i. 46, 47. Are pleasant i. 92. Less refined and less

pleasant than the social i. 94. The pain of Selfish paflions more
levere than of social paflions 1. 94. Inferior in dignity to the focial
1. 285. A selfish

emotion arifing from a social principle i. 46. A
felfish motive arising from a social principle i. 46.
Selfishnefs) promoted by luxury ü. 391. and also by love of riches
Self-love, its presalence accounted for i. 48. In excess disagreeable

1.92, Not inconfiftent with benevolence i. 149.
Semipause) in an hexameter liné ii. 88. What semipauses are found

in un En lish heroic line ii. 101.
Sentation) detinedai 396. described ii. 401...
Sene) of order i. 29,&c.contributes to generate emotions i, 62, note,
and parlions i. 66. Sease of right and wrong i. 39, The veracity
of our fonses i. 75. it. 399., note. Sense of congruity or propriety.
i. 266. of the dignity of human nature i. 280. ii. 387. Sense of
ridicole si. 299. Senfe by winch we discover á pallion from its ex.
ternal fignis 1. 348. Seule of a common nature in every species of
beinys i.999 1. 383. Sense, juternal and external ii. 334. In
touching, fasting
and smelling,

we feel the impresion at the organ
of sense, not in seeing and hearing 1.9. ii. 397.
Senses jiwhether active or pallive ii. 415.
Sentence) it detradts from neatnets towary the scene in the same

fentence il 31. A fentence fo arranged as to express the sense clear-
ly, seems always more mutical than where the sense is left in any

degree doubtful il. 50.
Sentiment) elevated, low i. 179. Sentiments, ch. 16. ought to be

Liited to the paifion i. 356. Sentiments : expreiling the swelling
of passion i. 364. exprelling the different stages of pallion i 365.
dictated by coesistent passions' i. 366, Sentinents of Itrong pas.
fions are hid or diffembled i. 369. Sentiments above the tone of
the paition i. 371. below the one of the paffion" i. 372. Senti-
ments too gay for a serious paflion i. 373. too artificial for a se-
rious passion i. 374. fanciful or finical i. 376. discordant with
character i. 378. imisplaced i. 380. Immoral sentiments expreff-
ed without disguise ie 381. unnatural i. 385. Sentiments both in
dramatic and epic compofitious ought to be subfervient to the ac

tion ii. 303. Sentiment defined ii. 409.7
Sentimental niufic i 113. note.
Series) from finall to great agreeable i. 177. Ascending series i, 177

Descending series i. 177. The effect of a number of objects placed

in an increasing or decreasing terie ii. 12.
Serpentine river) its beauty i. 202. ii. 353.
Sertorius) of Corneille censured i. 364.
Shaft) of a column ii. 374.
Shakespear) bis sentiments just representations of nature i. 361. is

fuperior to all other writers in delineating pallions and sentiments
i: 395. excels in the knowledge of human nature i. 396. 1.0te.
deals little in inversion ii. 130. excels

drawing characters ii.

ji. 397:

266. his style in what respect excellent ii. 278. his dialogue finely

conducted ii. 401. deals not in barren scenes ii. 315. Shame) arising from affection or aversion i. 99. is not mean i. 283. Sight) influenced by paflion i. 142, 230, &c. Similar emotions i. . 104. their ette ts when coexistent i. 106. ii. 365. Similar pallions i. 116., E:fects of coexistent fimilar pailions i. 117. Simple perception ii. 401. Simplicity) talte for fimplicity has produced many Utopian systems

of human nature i. 37. Beauty of fimplicity i. 161. abandoned , 'in the fine arts i. 160. a great beauty in tragedy ii. 313. ought

to be the governing taste in gardening and architecture ii. 341. Singing) distinguished from pronouncing or reading ii. 76. Singing

and pronouncing compared ii. 77. Situation) different situations suited to different buildings ii. 367. Sky) the relish of it loft by familiarity i. 94. Smelling) in imelling we feel an impreliwn upon the organ of lense Smoke) the pleasure of ascending smoke accounted for i. 31, 203, Social paffions i. 46. more refined and more plealant than the senih

i. 93. The pain of focial parlions more mild than of feltiin paflions

i. 94. Social paflions are of greater dignity i: 285. Society) advantages of i. 154. 156. Soliloquy) has a foundation in nature i. 340. Soliloquies i. 399, &c, Sophocles, generally corre't in the dramatic rules ii. 334. , Sounds) power of sounds to raise emotions i. 50. concordant i. 103.

discordant i: 103. disagreeable sounds i. 112. fit for accompanying certain pallions i. 113. Sounds produce emotions that resemble thein" i. 144. articulate" how far agreeable to the ear ii. 7. A {mooth found foothes the mind, and a rough fouad animates ii., 10. A continued found tends to lay us alleep, an interrupted Sound rouses and animates-ii. 33. Space) natural compūtation of 1pace i, 141, &c. Space explained Species) defined fi. 411. Specific habit) defined i. 324. Speech) power of speech to raise emotions, wlience derived i. 79.84. Spondee) ii. 85, &c. 142. Square) its beauty i. 163. 258. Stairs their proportion 11.358. Standard of taste, ch. 27. Standard of morals ii. 385. 388,389, 390. Star) in gardering ii. 345 Statue) the reaion why a statue is not coloured i. 239. The limbs

of a statue ought to be contrasted i. 256. An equestrian ftatue is placed in a centre of streets that it may be seen from many places

at once ii. 279. Statues for adorning a building where to be placed ii. 370. Statue of an animal pouring out water ii. 347.

of a water god pouring water out of his urn ii. 379. Statues of animals employed as supports condemned li. 379. Naked ftatues

condemned ii. 366. note. Steeple) ought to be pyramidal i. 257, Ştrada) censured ii, 258. Style) natural and inverted ii. 40, &c. The beauties of a natural.

style ii. 67. of an inverted ityle ii. 67. Concile 1łyle a great or

nament ii. 282. Subject may be conceived insiependent of any particular quality ii.

40, 41. Subject with respect to its qualities ii. 395. 414. Subject defined ii. 416,

ji. 413.,

Sublimity) ch. 4. Sublime in poetry i, 179. General terms ougit
to be avoided where sublimity is intended i. 19:0 Sublimity may
be employed indirectly to link the mind i. 193. Falle sublime

195, 1970
Suum. fion natural foundation of fubmillion to government 1.154,&c.
Subitance) detined ii. 395.-
Subitratuin) defined ii. 395.
Suc.estion) öt perceptions and ideas i. 25, &c. 243, &c. In a quick

succession of the inolt beautiful objects, we are scarce fenfible of
any emotion i. 82, Succeilion of syllables in a word ii. 8. of ob 1

jects ii. 12.
Superlatives) inferior writers deal in superlatives ii. 275.
$urprise) the elencerof wit i. 28. 301. Initantaneous i. 117. 119.260.

decays iuddenly i. 97, 208. pleafant or paintul aqcording to cir.
cumstances i. 299, &c. Surprise the caule of contrait i. 230. has all
influence upon our opinions, and even upon our eye-light 1. 239.

Surprise a silent pallion i. 391. Studied in Chinese gardens ii. 364.
Suspense) an uneasy itate i. 137.
Svreet distress) explained i. 195.
Swift) his language always suited to his subject ii, 275. has a pecu,

liar energy of style ii. 277. compared with Pope ii. 278.
Syllable ii. 7. Syllables conlidered as composing words ii. 8. Sylla-

bles long and short ii. 8,84. Many fyllables in English are arbitra-
*ry ii. Đố.
Sympathiy) sympathetic emotion of virtue i. 55, &c." The pain of

fyinpathy is voluntary, i. 94. It iinproves the temper i. 94.
Syınpathy i. 150. attractive i. 150. 352. never low nor mean i. 282.

the cement of society i. 351.
Synthetic) and analytic methods of reasoning compared i. 30.
Tacitus) exceļs in drawing characters ii. 266. his style comprehen,"

,
five ii. 282.
Taflo) centured 1.306. 310.
Taste) in tasting we feel an impression upon tire organ of sense i.

ii. 396. Talle in the fine arts though natural requires culture i.,
14. ii. 392. note. Taste in the fine arts compared with the mor-
al fenre i. 14. its advantages i. 17, sc. Delicacy of taste i.93. a
low taste i. 179. Tafte in fome measure infuenced by reflection
ij. 374. note. The foundation of a right and wrong in talte ii.
385. Tafte in the fiue arts as well as in morals corrupted by vo-
luptuousiness ii. 391, corrupted by love of riches ii. 391. Taite
never naturally bad or wrong ii. 393. Aberrations from a true

taste in the fine arts il. 389.
Tautology).a blinilli in writing ii. 983.;
Telemachus) an epic poeni ii. £99. note. Cenfured ii. 311. note..
Temples of ancient and modern virtue in the gardens of Stow i.

373.
Terence) censured i, 401, &c. ii. 334, 3350
Terror) arifes fometimes to its utmott height instantaneously i. 97,
&c. a fleit pa lioni 3 r. Objects that itrike terror have a fine
ered in poetry and painting ii. 286. The terror raised by trag-

edy explained ii. 297.
Theoreni) general theorems agreeable i. 165.
Time) past time expresied as present i. 83, &c. Natural compų:

tati of time i. 184, &c. Time explained ii. 413.
Titus Livius. See Livy.
Tone) of mind ih 396.

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