&c. anfwer fimilar purposes. This is the first and most common fort of abstraction; and it is of the most extenfive ufe, by enabling us to comprehend in our reafoning whole kinds and forts, inftead of individuals without end. The next fort of abftract, ideas and terms comprehends a number of individual objects confidered as connected by fome occafional relation. A great number of perfons collected together in one place, without any other relation but merely that of contiguity, are denominated a crowd in forming this term, we abstract from fex, from age, from condition, from drefs, &c. A number of perfons connected by being fubjected to the fame laws and to the fame government, are termed a nation; and a number of men fubjected to the fame military command, are termed an army. A third fort of abstraction is, where a single which be common to many property or part, individuals, is felected to be the fubject of our contemplation; for example, whiteness, heat, beauty, length, roundnefs, head, arm. may 42. Abstract terms are a happy invention: it is by their means chiefly, that the particulars which we make the fubject of our reasoning, are brought into close union, and separated from all others however naturally connected. Without the aid of fuch terms, the mind could never be kept steady to its proper fubje&t, but would perpetually be in hazard of affuming foreign circumstances or neglecting what are effential. In a word, a general term denotes in a curt manner certain objects occafionally combined. We can, without the aid of language, compare real objects by intuition, when these objects are prefent; and, when abfent, we can compare them by means of the ideas we have of them but when we advance farther, and attempt to make inferences, and draw conclufions, we always employ abftract terms, even in thinking. It woul would be as difficult to reafon without them, as to perform operations in algebra without figns: for there is fcarce any reasoning without fome degree of abstraction; and we cannot abstract to purpose without making use of general terms. Hence it follows, that without language man would scarce be a rational being. 43. The fame thing, in different refpects, has different names. With refpect to certain qualities, it is termed a fubftance; with refpect to other qualities, a body; and with respect to qualities of all forts, a fubject: it is termed a paffive fubject with refpect to an action exerted upon it; an object with refpect to a percipient; a cause with refpect to the effect it produces; and an effect with refpe&t to its cause. [The volumes are denoted by numeral letters, the pages by figures.] A Bftract idea) defined ii. 385. Abstract ideas of different kinds ii. 386. Abstraction) power of ii. 384. Its ufe ii. 384.385. Abftract terms) ought to be avoided in poetry i. 175. 176. ii. 265.Cannot be compared but by being perfonified ii. 143. Perfonified ii. 186. Defined ii. 385. The use of abftract terms ii. 386. Accent) defined ii. 79. The mufical accents that are neceffary in an hexameter line ii. 88, 89. A low word must not be accented ii. 106. Rules for accenting English heroic verse ii. 112. How far affected by the pause ii. 116. &c. Accent and pause have a mutual influence ii. 119. Action) what feelings are raised by human actions i. We are 29. 30. 165. impelled to action by defire i. 33. Some actions are ultimate, fome are means leading to an end i. 34. Actions great and elevated, low and grovelingi. 165. Emotions occafioned by propriety of action i. 255. Occafioned by impropriety of action i. 255. Human actions produce a great variety of emotions i. 263. Human actions confidered with refpect to dignity and meanness i. 267. We are conscious of internal action as in the head ii. 369. Internal action may exift without our being conscious of it ii. 369. Actor) bombaft action i. 184. An actor ought to feel the paffion he reprefents i. 339: Admiration) defined i. 191. Affectation) defined i. 254. Affection) to children accounted for i. 49, To blood-relations accounted for i. 50. To property accounted for i. 50. Affection to children endures longer than any other affection i. 90. O. pinion and belief influenced by affection i. 120. Affection defined i. 300. ii. 380. Agamemnon) of Seneca cenfured i. 364. Agreeable emotions and paffions i. 76. &c. Afceftes) of Euripides cenfured ii. 317. 319. Alexandre Alexandre of Racine) cenfured i 354 355. Allegory ii. 209. &c. More difficult in painting than in poetry ii. 222. In an hiftorical poem ii. 295. All for Love) of Dryden cenfured i. 371. Ambiguity) occafioned by a wrong arrangement ii. 40% Amynta) of Taffo cenfured i. 348. Amor patrie) accounted for i. $3. Amphibrachys ii. 139. Amphimacer ii. 139. Analytic) and fynthetic methods of reafoning compared i. 19. Anapæftus ii. 139. Anger) explained i. 57. &c., Sometimes exerted against the innocent i. 115. And even against things. inanimate i. 115. Not infectious i. 133. Has no dignity in it i. 266. Animals) diftributed by nature into claffes ii. 357. Antibacchius-ii. 139. . Anticlimax ii. 70. Antifpaftus ii. 140. Antithefis i. 291. ii. 19. Verbal antithefis ii. 23. Apoftrophe ii. 196. &c. Appearance) in poetry, things ought to be def cribed as they appear, not as they are in reality ii. 248. Appetite) defined i. 35. Appetites of hunger, thirit, animal love, arise without an object i. 44Appetite for fame or efteem i. 142. Architecture ch. 24. ii. 322. Grandeur of manner in architecture i. 175. The fituation of a great houfe ought to be lofty i. 251. A play-ho fe or a muficroom fufceptible of much ornament i. 252. What emotions can be raised by architecture ii. 323. Its emotions compared with those of gardening ii. 323. Every building ought to have an expterfion fuited to its deftination ii. 324. 347. Simplicity ought to be the governing tafte ii. 325. Regularity ought to be ftudied ii. 325. External form of dwellinghoufes ii. 339. Divisions within ii. 339. 349. A palace ought to be regular, but in a small house convenience ought chiefly to be ftudied ii. 340. The form of a dwellinghoufe ought to be fuited to the climate ii. 34. Propriety ought to be ftudied in architecture ii. 347. Governed by principles which produce oppofite effects ii. 350: Different Q3 Different ornaments em ployed by it ii. 350. Allegorical or emblematic ornaments ii. 352. Architecture inspires a taste for neatness and regularity i. 354. Architrave ii. 351. Ariofto) cenfured ii. 304. Ariftaus) the episode of Ariftaus in the Georgics cenfured ii. 137. Army) defined ii. 386. Arrangement) the best arrangement of words is to place them as much as poffible in an increasing feries ii. 13. Articulate founds) how far agreeable to the ear ii. 6. Artificial mount ii. 332. Afcent) pleafant, but def cent not painfuli. 163. Athalie) of Racine cenfured i. 364. Attention) defined ii. 383. Impreffion which objects make depends on the degree of attention ii. 381. Attention not always voluntary ii. 382. Attractive emotions i. 327. Attractive object i. 135. Attributes) transferred from one fubject to another ii. 205. &t. Avarice) defined i. 31. Avenue) to a house ii. 332. Averfion) defined i. 301. 305. Bafe) of a column ii. 352. Baffo-relievo ii. 352. Batrachomuomachia) fured i. 271. cen Beauty ch. 3. i. 144. Intrinfic and relative i. 146. Beauty of fimplicity i. 147. of figure i. 148. of the circle i. 150. of the fquare i. 150. of a regular polgyon i. 150. of a parallelogram i. 150. of an equilateral triangle i. 151. beauty whether a primary or fecondary quality of objects i. 155. Diftinguished from congruity i. 252. Great beauty feldom produces a conftant lover i. 309. Beauty proper and figurative ii. 376. Belief) fortified by a lively narrative or a good hiftorical painting i. 73. influenced by paffion i. 118. ii. 175. 198. influenced by propensity i. 120. influenced by affection i. 120. Benevolence) joins with felf-love to make us happy i. 136. infpired by gardening ii. 337. Blank verfe ii. 93. 124. its aptitude for inverfion ii, |