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}26. Its melody ii. 127. Choriambus ii. 140. Edc.
Chorus) an essential part Body) defined ii. 387.
of the Græcian tragedy Boileau) cenfured ii. 298. ii. 308. Bombaft i. 181. Bombast Church) what ought to be in action i. 184.
its form and situation ii. Burlesk) machinery does 347:
well in a Burlesk poem Cicero) censured ii. 60, i. 75. Burlesk distin
73. guished into two kinds i. Cid) of Corneille censured
270. Cadence ij. 72. 80.
Cinna) of Corneille cenCapital) of a column ii.
sured i. 254. 345. 365. 352,
Circle) its beauty i. 150. Careless Husband) its dou-Circumstances) in a period, ble plot well contrived how they ought to be ar
ranged ii. 51. &c. Cascade i. 187.
Class) all living creatures Cause) resembling causes distributed into classes ii. may produce effects that
357. have no resemblance : Climax) in fenfe i. 167, and causes that have no ii. 56. in found ii. 14. resemblance may pro-Coephores) of Eschylus duce resembling effects ii.
censured i. 316. 65. &c. Cause defined Coexistent) emotions and
passions i. go. &C. Chance) the mind revolts Colonnade) where proper against misfortunes that
ii. 348. happen by chance ii. 286. Colour) a secondary qualiCharacter) to draw a cha ty i. 155
racter is the master-piece Columns) every column of description ii. 254
ought to have a base i: Characteristics) of Shaftes 131. The base ought bury criticised i. 252.
to be square i. 131. CoNote.
lumns admit different Children) love to them ac proportions ii. 344. What counted for i. 49.
emotions they raise ii. Chinese gardens ii. 334.
348. Column more beauWonder and surprise ftu tiful than a pilaster ii. died in them ii. 336.
351. Its form ii. 352. Q4
Choreus ii. 1.39;
Comedy) double plot in a Connection) necessary in comedy ii. 298.
all compofitions i. 21. Commencement) the com- Conquest of Granada) of
mencement of a work Dryden censured i. 370.
ought to be modest and Consonants ii. 6. C simple ii. 247:
Constancy) great beauty ommon nature) in every the cause generally of inspecies of animalsii. 357. conftancy i. 309. We have a conviction Construction) of language that this common nature explained ii. 33. is perfect or right ii. 358. Contempt) raised by imAlso that it is invariable proper action i. 203.
Contrast i. 205. &c. Its Common sense ii. 359. 367. effect in gardeningii. 335. Comparison i. 206. &c. Conviction) intuitive. Ch. 19. ii.
Intuitive conviction. parisons that refolve into Copulative) to drop the
a play of words ii. 167. copulatives enlivens the Complex emotion i. 90. 92.
expression ii. 31. Etc. Complex perception ii. 373. Coriolanus) of Shakespear Complexion) white suits
cenfured i. 369. with a pale complexion, Corneille) censuredi. 342.. black with a dark com 379. plexion, and scarlet with Corporeal pleasure is t. 2a one that is over-Aushed low and sometimes mean
i. 265. Conception) defined ii.370. Couplet ii.. 92. Concord) or harmony in Courage) of greater dignity
objects of light i. 93. than justice. Why? i. Concordant sounds) defin 265.
Creticus ii. 139. Congreve) censured ii. 301. Criminal) the hour of exeCongruity and propriety, cution seems to him to
ch. la. i. 248. Con approach with a swift gruity distinguished from pace i. 122. beauty i. 251. distin- Criticism) its advantages i. guished from propriety 5. 6. 7. 8. its terms not i. 252. Congruity coin accurately defined.i. 330. cides with proportion Crowd) defined ii. 386. with respect to quantity Curiosity i. 19!: 206. &c
Custom and babit, ch. 14.
ed i. 90..
1. z96. Custom diftin 11. I. 262. Dignity of guished from habit i.
human nature ii. 361.
Diiambus ii. 139. 297: Dactyle ii. 81. 139. Disagreeable emotions and Declensions) explained ij. pallions i. 76. &c. 35.
Discordant sounds) defined Delicacy) of tafte i. 85. i. 91. Derision i. 257
Dispondeus ii. 139. Descent) not painful i. 163. Disposition) defined ii. 379.' Description) it animates a Diffimilar emotions i. 91.
description to represent Their effects when cothings past as present i.
existent i. 95. ii. 326. 71. The rules which
347 ought to govern it ii. 246. Dilimilar paflions) their &C. A lively description
effects i. 102. is agreeable, though the Disfocial passionsi. 37. Dir. subject described be dis
social pafions all painfal agreeable ii. 271. 272. i. 79. and also disagreeDescription cannot reach able i. 80. any object but those of Ditrochæus ii. 139. sight ii. 34.
Door) its proportion ii. 338. Descriptive personification Double action) in an epic ij. 181.
poem ii. 304. Descriptive tragedy i. 340. Double-dealer) of Con-' Desire) defined i. 33. It greve censured i. 365. impels us to action i. 33.
ii. 309. 34. It determines the will Double plot) in a dramatic i. 133. Desire in a crimi
composition ii. 297. nal of felf-punishment i. Drama) antientand modern 139.
Desire tends the drama compared ii. 314. most to happiness when Dramatic poetry ii. 277.&c.
moderate i. 157 Drapery ought to hang loose Dialogue) dialogue-writing
requires great genius i. Dress) rules about dress i. 338. 339. In dialogue
253. ii. 325. every expression ought Dryden) censured ï. 222.' to be suited to the charac 300. 305. ter of the speaker ii, Duties) moral duties of 263. Rules for its com two kinds, respecting position ii. 300.
ourselves and respecting Dignity and meanness, ch. others i. 259. Founda
fured i. 317.
tion of duties that ref Emotions similar and pect ourselves i. 259. Of dissimilar i.
Comthose that respect others
plex emotion i. 92. 93.
Effects of similar emoEffects) resembling effects tions when co-exiftent i.
may be produced by 93. ii. 346. Effects of causes that have no re diffimilar emotions when semblance ii. 65. & C. co-existenti. 93. ii. 303.
Effect defined ii. 387. 346. Emotions resemble Electra) of Sophocles cen. their causes i. 130. &c.
Emotion of grandeur i. Elevation i. 158. &c. real 158. &c. of sublimity i.
and figurative intimately 160. A low emotion i. connected i. 166. Fi.
165.Emotion of laughter gurative elevation diftin. i. 201. of ridicule i. 203. guished from figurative Emotions when contrast.
grandeur ii. 152. 153. ed ought not to be too Emotion) no pleasure of Dow or too quick in their
external senfe except of succession i. 223. Emoseeing and hearing is tions raised by the fine termed an emotion or pal arts ought to be contrastfron i. 2;.
Emotions ed in succession i. 123defined i. 27. 28. and Emotion of congruity i. their causes assigned i. 28. 254. of propriety i. 254.
c. Emotion diftin Emotions produced by guished from passion i. human actions i. 263. 31. &c. Emotions ge Emotions ranked accord. nerated by relations i. ing to their dignityi. 265. 31. &c. Primary, fe External figns of emocondary i. 49. Raised
tions ch. 15. i. 317. by fiction i. 62. &c. Di Attractive and repulsive vision of emotions into emotions.i. 327. Emopleasant and painful, a tion and passions expandgreeable and disagreeable ed upon related objects i. 176.&c. ii. 375. The 41. &c. ii. 50. &c. 64. interrupted existence of
86. 112. ii. 178. &C. emotions i. 83. &c. 228. 229. Gratification Their growth and decay of emotions i. 110. G C. i. 83. &C. Their iden
122. 214. ii. 203. What tity i. 84. Co-existent cmotions do beft in sucemotions i. . 90. &c. cellion, what in conjunc
parts ii. 288.
tión i. 326. Man is Rule for dividing it into passive with regard to his emotions ii. 369. We Epic poetry ch. 277. are conscious of emo- Episode) in an historical tions as in the heart ii. poem ii. 296. 369.
Epistles dedicatorý) censurEmphasis) must not be put ed i. 250. Note.
upon a low word ii. 106. Epithets) redundantii. 270. Eneid) its unity of action Epitritus ii. 140.
Elteem) love of i. 142. English plays) generally ir 171. regular ii. 320.
Ether) of Racine cenfured English tongue) too rough i. 364. 368.
ii. 11. It is peculiarly Evergreens) cut in the qualified for personifica shape of animals ii. 330. tion ji. 180. Note.
Expression) elevated, low Envy) defined i. 33. It i. 164. 165. Expression magnifies every badquali
that has no diftinct meanty in its object i. 113. ing ii. 232. Two memEpic poem) no improbable bers of a sentence which factought to be admitted express a resemblance in it i. 74. Machinery beiwixttwoobjectsought: in it has a bad effect i. to have a resemblance : 75. It doth not always to each other ii. 24. &c. reject ludicrous images External senses) diftini: 226. We pardon many
guished into two kinds i. faults in it which are in
External fenfe ii, tolerable in a sonnet or
368. epigram i. 178. Its External signs) of emotions : commencement ought to and passions ch. 15. i. be modest and simple ii. 317. External ligas of: 247. In what respect it passion, what emotions differs from a tragedy ii. they raise in a fpectator 277. Distinguished into i. 326. & C. pathetic and moral ii. Faculty): by which 'we: 279. Its good effects ii. know passion from its 280. Compared with
external signsi. 329. tragedy as to the subjects Fairy Queen) criticised ii. proper for each ii. 281.
217. How far it may borrow False quantity) painful to from history ii. 287. the ear ii.