Fame) love of i. 142. Fashion) its influence accounted for i. 48. Fashion is in a continual flux i.

153. Fear) explained i. 57. &c.

rifes often to its utmost pitch in an inftant i. 88. is infections i. 132. Feeling) its different fignifications ii. 370. Fiction) emotions raised by fiction i. 62. &.c. Figure) beauty of i. 148. Definition of a regular figure ii. 376. Figures) fome paffions favourable to figurative expreffion ii. 374. Figures ch. 20. ii. 174. Figure of fpeech ii.. 185, 21.3. 227. &c. Final caufe) of our fenfe of order and connection i. 25. of the fympathetic emotion of virtue i. 45. of the inftinctive paffion of fear i. 57. 58. of the inftinctive paffion of anger i. 62. of ideal prefence i. of the power 73. that fiction has on the mind i. 75. of emotions and paffions i. 133. &c. of regularity, uniformity, order, and fimplicity i. 149. 1.50. of proportion 1. 149. of beauty i. 156. why certain objects are neither pleasant nor painful i. 162. 185. of the

pleasure we have in motion and force i. 190. of curiofity i. 199. of wonder i. 200.. of furprife i. 201. of the principle that prompts us to perfectevery work i. 219 of the pleasure or pain that results from the different circumstances of a train of perceptions i.. 237. e. of congruity and propriety i. 258. &.. of dignity and meanness. i.. 267. &c. habit i. 311. U. of the external figns of paffion and emotion i.. 324. 330. &c.. why articulate founds fingly agreeable are always a-greeable in conjunction ii. 7. of the pleafure we have in language ii. 271.. of our relish for various. proportions in quantity ii. 344. of our conviction of a common ftandard in every fpecies of beings ii. 361. of uniformity of tafte in the fine arts ii. 361. 362. why the fenfe of a right and a wrong in the fine arts.is: lefs clear and authorita-. tive than the fenfe of a right and a wrong in actions ii. 364.. Fine arts) defined i. 4. 5. 10. a fubject of reafoning i. 5. Their emotions ought to be contrafted.in fucceffion

fucceffion i. 223. con-
fidered with respect to
dignity i. 266. How far
they may be regulated
by custom i. 313. None
Custom
of them are imitative
but painting and sculp-
ture ii. 1. Aberrations
from a true taste in these
arts ii. 367.
are qnalified to be judges
in the fine arts ii. 366.
Fluid) motion of fluids i.
186.

Who

Foot) a lift of verse feet iî.
138.
Force) produces a feeling
that refembles it i. 131.
Force i. 185. &c. Mov-
ing force i. 186. The
pleasure of force differs
from that of motion i
187. It contributes to
grandeur i. 188.
Foreign) preference given
to foreign cnriofities i
197.
Fountains) in what form

they ought to be ii. 333-
Friendship) confidered with
refpect to dignity and
meanness i. 266.
Games) public games of
the Greeks i. 188.
Gardening) grandeur of
manner in gardening i.
175. Its emotions ought
to be contrafted in fuc-
ceffion i. 224. A fmall
garden ought to be con-
fined to a fingle expref-

fion i. 225.

A garden

near a great city ought to
have an air of folitude i.
225. A garden in a
wild country ought to be
gay
and fplendid i. 225.
Gardening ch. 24. ii.
321. What emotions
can be raised by it i
323. Its emotions com-
pared with those of ar-
chitecture ii. 322. Sim-
plicity ought to be the
governing tafte ii. 325.
Wherein the unity of a
garden confifts ii. 327.
How far ought regulari-
ty to be ftudied in it ii.
328. Refemblance car-
ried too far in it ii. 328.
Note. Grandeur in gar-
dening i 328: Every
unnatural object ought to
be rejected ii. 329. Dif
tant and faint imitations
displease ii. 330. The
effect of giving play to
the imagination ii. 336.
Gardening infpires bene-
volenee ii. 337. and con-
tributes to rectitude of
manners ii. 354-
General idea) there cannot
be fuch a thing ii. 373-
Note.
General terms) ought to
be avoided in compofi-
tions for amusement ii.
265.
General theorems) why
they are agreeable i. 152.
Generic

305.
Generafity) why of greater
dignity than jufticei. 265.
Genus) defined ii. 383.
Gestures) that accompany
the different paffions i.
319 320. 322.
Gierufalleme liberata) cen.
fured ii. 292. 295.
Good nature) why of lefs
dignity than courage or
generofity i. 264.
Gothic tower) its beauty ii.
339.
Government) natural foun-
dation of fubmiffion to
government i. 141.
Grandeur) demands not
ftrict regularity i. 153.
178. Grandeur and
fublimity Ch. 4. i. 157.
Real and figurative gran-
deur intimately connect-
red i. 167. Grandeur of
manner i. 172. Gran-
deur may be employed
indirectly to humble the
mind i. 179. Suits ill
with wit and ridicule i.
225. Figurative gran-
deur diftinguifhed from
figurativ elevation ii. 152.
153.154. Grandeur in
gardening ii. 328. Re-
gularity and proportion
hide the grandeur of a
building ii. 350. ungh
Gratification) of paffion i.
35. 36. 39. 40. 110. &c.
122. 213. 214. ii. 203.

Grief) magnifies its cause
i. 114. occafions a false
reckoning of time i. 127.
is infectious i. 1 132. when
immoderate is filent i..
371.

Grofs pleasure i. 82.
Guido) cenfured ii. 223.
Habit) ch. 14. i. 296. dif-
tinguished from custom
ii. 297.
Harmony) or concord in
objects of fight i. 93.
Diftinguished from me--
lody ii. 77. Note.
Hatred) fignifies more com-
monly affection than paf-
fion i. 87.
Hearing) in hearing we feel
no impreffion ii. 371.
Henriade) cenfured ii. 252.
288. 292. 296.
Hexameter) Virgils hexa-
meters extremely melo-
dious; thofe of Horace
not always fo ii. 77.
o Structure of an hexame-
ter line ii. 81. Rules for
its ftru&ture ii. 83. Mu--
fical paufes in an hexa--
meter line ii. 84. Where-
in its melody confifts ii.
91.

Hippolytus)

Hippolytus) of Euripides
cenfure i. 367. ii. 317.
318.
History) hiftories of con-
querors and heroes fingu-
larly agreeable. Why?
i. 43. 170. By what
means does history raise
our paffions i. 69. 70. It
rejects poetical images ii.

247.
Homer) defective in order
and connection i. 21.
His language finely fuit-
ed to his fubject ii. 262.
His repetitions defended
ii. 268. His poems in
a great measure drama-
tic ii. 279. cenfured ii.
294.
Horace) defective in con-

nection i. 21. His hexa-
meters not always melo-
dious ii. 77. Their de-
fects pointed out i. 91.
Horror) objects of horror
ought to be banished
from poetry and paint-
ing ii. 274.
Humour) defined i. 272.
Humour in writing dif-
tinguished from humour
in character i. 272.
Hyperbole ii. 197.
Hyppobacchius ii. 139.
lambic verfe) its modula-
tion faint ii. 77.
Iambus ii. 138.
Jane Shore) cenfured i..
348.

Idea fucceffion of ideas i.

227. Idea of memory
defined ii. 372. cannot
be innate ii. 372. Note.
No general ideas ii. 373.
Note. Idea of an object
of fight more diftinct
than of any other object
ii. 373.
Ideas diftin-
guished into three kinds
ii. 375. Idea of imagi-
nation not fo pleafant as
an idea of memory ii.
379.

11.

Ideal prefence i. 65. &c.
Identity) of paffions and
emotions i. 84.
Jet d'eau i. 187. ii. 330..
331.
Jingle of words i. 388
Iliad) criticised ii. 304.
Imagination) not always at
reft even in fleep i. 201.
Effect in gardening of
giving play to it. ii. 336.
Its power of fabricating
images ii. 374.
Imitation) we naturally imi-

tate virtuous actions i
132. not those that are
vicious i. 133. None of
the fine arts imitate na-
ture except painting and
fculpture ii. 3. The a-
greeablenefs of imitation.
overbalances the difa-
greeableness of the fub-
ject ii 271. Diftant and
faint imitations displease
ii. 330.
Impreffion) made on the
organ of fenfe ii. 371.
Impropriety

Its

Impropriety) in action raises
contempt i. 203.
punishment i. 256.
Impulfe) a strong impulfe
fucceeding a weak,makes
a double impreffion a
weak impulfe fucceeding
a ftrong, makes fcarce
any impreffion ii. 13.
Infinite feries) becomes
difagreeable when pro-
longed i. 218. Note.
Innate idea) there cannot
be fuch a thing ii. 372.
Note.
Inftrument) the means or
inftrument conceived to
be the agent ii. 203. &c.
Intellectual pleafure 1. 1. 2.
Internal fenfe ii. 368.
Intrinfic beauty i. 146.
Intuitive conviction) of the
veracity of our fenfes i.
63. of the dignity of
human nature i. 263. ii.
361. of a common na-
ture or ftandard in every
fpecies of beings ii. 357.
and of the perfection of
that standard ii. 358. alfo
that it is invariable ii.
358. Intuitive convic-
tion that the external
figns of paflion are natu-
ral, and the fame in all
men i. 328.
Inverfion) an inverted style
defcribed ii. 36. &c. In-
verfion) gives force and
liveliness to the expref-
fon by fufpending the

thought till the clofe
57. Inverfion how re-
gulated ii. 61. 62. Beau-
ties of inverfion ii. 64.
62. Full fcope for it in
blank verfe ii. 125. 126.
Ionicus ii. 139.
Joy) its caute i. 39. in-
fectionsi. 132. confider-
ed with respect to digni-
ty and meanness i. 266.
Iphigenia) of Racine cen-
fured i. 315.
Iphigenia in Tauris) cen-
fured ii. 317. 318. 319.
Irony) defined i. 276.
Italian tongue) too fmooth
ii. 10. Note.
Judgement) and memory
in pefection, feldom u-
nited i. 17. Judgement
feldom united with witi.
17.

Julius Cæfar) of Shakef-

pear cenfured i. 369.
Juftice) of less dignity than
generofity or courage
i.
265.
Kent) his skill in gardening:
ii. 327.
Key-note ii. 71. 79.
Kitchen-garden ii. 334.
Labyrinth) in a garden ii..
331.

Landscape) why it is fo a-
greeable i 93-
The
pleafures it givesexplain-
ed i. 178. A landscape
in painting ought to be
confined to a fingle ex-
preffion i. 225.

Language)