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Fame) love of i. 142. pleasure we have in moFashion) its influence ac

tion and force i. 190. counted for i. 48. Fashion of curiosity. i. 199. of is in a continual flux i. wonder i. 200.- of sur153.

prise i. 201. of the prinFear) explained i. 57. &c. ciple that prompts us to

rises often to its utmost perfectevery worki. 219. pitch in an instant i. 88.

of the pleasure or pain is infections i.

32.

that results from the dife Feeling) its different figni ferent circumstances of a fications ii. 370.

train of perceptions i. Fiction) emotions raised by: 237. &c. of congruity fi&tion i. 62. &.c.

and propriety i. 258. &C.. Figure) beauty of i. 148. of dignity and meanness

Definition of a regular i.. 267. & c..habit i. 3.11. figure ii. 376.

&c. of the external signs Figures) fome passions fa of passion and emotion i.. vourable to figurative ex

324: 330. &c. why ar.. pression ii. 374. Figures riculate sounds singly ach. 20. ii. 174. Figure greeable are always a-of speech ii. 185. 213. greeable in conjunction

ii. 7. of the pleasure.we: Final cause of our sense of

have in language ii. 271.. order and connection i. of our relish for various. 25. of the sympathetic proportions in quantity emotion of virtue i. 45. ii. 344, of our conviction. of the instinctive passion of a common standard of fear i. 57. 58. of the in every species of beings instinctive passion of an ii. 361. of uniformity: ger i. 62. of ideal pre of taste in the fine arts. fence i. 73. of the power ii. 361. 362. why the that fiction has on the sense of a right and a mind i.

75.
of emotions

wrong

in the fine arts.is: and passions i. 133. &c. less clear and authorita.. of regularity, uniformity, tive than the sense of, a order, and fimplicity i. right and a wrong in ac: 149. 150. of proportion

tions ii. 364.. 1.

149 of beauty i. 156.. Fine arts) defined i. 4. So why certain objects are

10. a subject of reasonneither pleasant nor paina ing i. 5. Their emotions. fud i. 162. 185 of the ought to be contrasted.in

succcflion

227. &c.

fucceffion i. 223. con-

fion i. 225. A garder
fidered with respect to near a great city ought to
dignity i. 266. How far have an air of solitude i.
they may be regulated 225.

A garden in a
by Custom i. 313. None wild country ought to be
of them
are imitative

gay and splendid i. 225
but painting and sculp Gardening ch. 24. ii.
ture ii. 1. Aberrations

321. What emotions
from a true taste in these can be raised by it in:
arts ii. 367
ii. 367. Who

323. Its emotions com-
are qnalified to be judges pared with those of ar-

in the fine arts ii. 366. chitecture ii. 322. Sim-
Fluid) motion of fluids i. plicity ought to be the
186.

governing taste ii. 325.-
Foot) a list of verse feet ii. Wherein the unity of a
138.

garden consilts ii. 327
Force) produces a feeling How far ought regulari-

that resembles it i. 131. ty to be studied in it ij.
Force i. 185. & c. Mov 328. Resemblance car-
ing force i. 186. The ried too far in it ii. 328.
pleasure of force differs

Note. Grandeur in gar-
from that of motion i. dening ii. 328: Every
187. It contributes to unnatural object ought to
grandeur i. 188.

be rejected ii. 329. Dif-
Foreign) preference given tant and faint imitations
to foreign cnriofities i.

displease ii. 330. The
197

effect of giving play to
Fountains) in what form the imagination ii. 336.

they ought to be ii. 333. Gardening inspires bene-
Friendship) considered with volenee ii. 337. and con-

refpect to dignity and tributes to rectitude of
meanness i. 266.

manners ii. 354.
Games) public games of General idea) there cannot

the Greeks i. 188. be such a thing ii. 373..
Gardening) grandeur of Note,

manner in gardening i. General terms) ought to
175. Its emotions ought be avoided in composi-
to be contrasted in fuc tions for amusement ii.
ceffion i. 224.

A small 265.
garden ought to be con- General theorems) why
fined to a fingle expref they are agreeable i. 192.

Generic

1.

ii. 297

Generic habit) defined i. Gratitude) exerted upon
305.

the children of the bene..
Generosity) why of greater factor i. 112.

Punith-
dignity than justicei. 265. ment of ingratitude i.
Genus) 'defined ii. 383. 262. Gratitude confi.
Gestures) that accompany dered with respect to dig-

the different passions i. nity and meanness
319 320. 322.

266.
Gierusalleme liberata) cen. Grief) magnifies its cause
fured ii. 292. 295.

i. 114. occasions a false
Good nature) why of less reckoning of time i. 127.

dignity than courage or is infectious i. 132. when ?
generosity i. 264.

immoderate is filent i..
Gothic tower) its beauty ii.

371.
339.

Grois pleasure i. 82.
Government) natural foun-Guido) cenfured ii. 223.

dation of submission to Habit) ch. 14. i. 296. dif..

government i. 141. tinguished from custom
Grandeur) demands not

ftrict regularity i. 153. Harmony) or concord in
178. Grandeur and objects of fight i. 93.
fublimity Ch. 4. i. 157. Distinguished from me.
Real and figurative gran-

lody ii. 77: Note.
deur intimately connect- Hatred) signifies more com.
ed i. 167. Grandeur of monly affection than pas-
manner i. 172. Gran-

fion i. 87
deur may be employed Hearing) in hearing we feel
indirectly to humble the

no impression ii. 371.
· mind. i. 179. Suits ill Henriade) censured ii. 252,
with wit and ridicule i,

288. 292. 296.
225. Figurative gran- Hexameter) Virgils hexa-
deur distinguished from

meters extremely melo-
figurativ elevation ii.152. dious ; those of Horace

not always so ii. 77:
gardening ii. 328. Re Structure of an hexame.
gularity and proportion ter line ï. 81. Rules for
hide the grandeur of a its structure ii. 83. Mu--
building ii. 350.

fical pauses in an hexa-
Gratification) of paffion i. meter line ii. 84.. Where-
35. 36. 39.-40. 110. &C.

in its melody confifts ii.
122. 213. 214.

ii.
203 91.

Hippolytus)

153, 154. Grandeur in

318.

ii. 373:

Hippolytus) of Euripides 227. Idea of memory
censure i. 367. ii. 317. defined ij. 372. cannot

be innate ii. 372. Note.
History) histories of con No general ideas ii. 373.
querors and heroes fingu-

Note. Idea of an object
larly agreeable. Why? of light more distinct
i. 43. 170. By what

than of any other object
means does history raise

Ideas diftin-
our passions i. 69. 70. It guished into three kinds
rejects poetical images ii. ii. 375. Idea of imagi-
247.

nation not so pleafant as
Homer) defective in order an idea of memory ii.

and connection i. 21. 379.
His language finely fuit- Ideal presence i. 65. &c.
ed to his subject ii. 262. Identity) of paffions and
His repetitions defended emotions i. 84.
ii. 268. His poems in Jet d'eau i. 187. ii. 330..
a great measure drama-

331.
tic ii. 279. censured ii. Jingle of words i. 388
294.

Íliad criticised ii. 304.
Horace) defective in con. Imagination) not always at

nection i. 21. His hexa rest even in deep i. 201.
meters not always melo-

Effect in gardening of
dious ii. 77. Their de giving play to it. ii. 336.

fects pointed out i. 91. Its power of fabricating
Horror) objects of horror

images ii. 374.
ought to be banished Imitation) we naturally imi-
from poetry and paint tate virtuous actions i.
ing ii. 274.

132. not those that are
Humour) defined i. 272. vicious i. 133. None of

Humour in writing dis the fine arts imitate na-
tinguished from humour

ture except painting and
in character i. 272.

sculpture ii. 3. The a.
Hyperbole ii. 197.

greeablenefs of imitation
Hyppobacchius ii. 139. over balances the difa-
lambic verse) its modula greeableness of the sub-
tion faint ii. 77.

ject ii. 271. Diftant and
Iambus ii. 138.

faint imitations displease
Jane Shore) censured i.
348.

Impression) made on the
Idea succession of ideas i.

organ of sense ii. 371.

Impropriety

ii. 330.

Its

ina

ü. 10.

Impropriety) in action raises thought till the close mi
contempt i. 203 .

57.

Inversion how re-
punishment i. 256. gulated ii. 61. 62. Beau-
Impulse) a strong impulse ties of inversion ii. 61.

succeeding a weak, makes 62. Full scope for it in
a double impression : a blank verse ii. 125. 126.
weak impulse fucceeding lonicus ii. 139.
a strong, makes scarce Joy) its caule i. 39.

any impression ii. 13. fectionsi. 132. considera
Infinite feries) becomes ed with respect to digni-

disagreeable when pro ty and meannessi. 266.

longed i. 218. Note. Iphigenia) of Racine cea-
Innate idea) there cannot

füred i.

3152
be such a thing ii. 372. Iphigenia in Tauris) cena
Note.

sured ii. 337. 318. 319.
Instrument) the means or Trony) defined i. 276.

instrument conceived to Italian tongue) too smooth
be the agent ii. 203. &c.

Note.
Intellectual pleasure i. 1. 2. Judgement) and memory
Internal sense ii. 368. in pefection, feldom u-
Intrinsic beauty i. 146.

nited i. 17. Judgement
Intuitive conviction) of the seldom united with witi.
veracity of our senses i.

17.
63. of the dignity of Julius Cæsar) of Shakes
human nature i. 263. ii. pear censured i. 369
361. of a common na- Jultice) of less dignity than
ture or standard in every generosity or courage i.
species of beings ii. 357. 265.
and of the perfection of Kent) his skill in gardening
that standard ii. 358. also
that it is invariable ii. Key-note ii. 71. 79.
358. Intuitive convic- Kitchen-garden ii. 334.
tion that the external Labyrinth) in a garden ii..
figns of paslion are natu 331.
ral, and the fame in all Landscape) why it is so-a-
men i. 328.

greeable i. 93. The
Inversion) an inverted style pleasures it gives explain-

described ii. 36. &c. In ed i. 178. A landscape
version) gives force and in painting ought to be
liveliness to the expres. confined to a single ex:
Gon by fufpending the pression i. 225;

Language)

ii. 327

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