Greek words, finely composed of long | Hyperbole, 124, 361, &c. and short syllables, 319. Hippobachius, 324. Grief, magnifies its cause, 85. Occa- sions a false reckoning of time, 92. Is infectious, 95. When immoderate is silent, 236. Gross pleasure, 62.
Group, natural objects readily form themselves into groups, 160. Guido, censured, 376.
Habit, ch. xiv. Prevails in old age, 152. Habit of application to busi- ness, 155, 156, 157. Converts pain into pleasure, 158. Distinguished from custom, 193. Puts the rich and poor upon a level, 201, 202. Harmony, or concord in objects of sight, 68, 69. Harmony distinguish- ed from melody, 290, note. Hatred, how produced, 65. Signifies more commonly affection than pas- sion, ib. Its endurance, 67. Hearing, in hearing we feel no impres- sion, 476.
Henriade, censured, 395. 422. 424. Hexameter, Virgil's hexameter's ex- tremely melodious, those of Horace seldom so, 290. And the reason why they are not, 292. Structure of an hexameter line, 294. Rules for its structure, 294. 297. Musical pauses in an hexameter line, 293, note, 296. Wherein its melody consists, 297. Hiatus, defined, 250.
Hippolytus, of Euripides censured, 229. 438.
History, why the history of heroes and conquerors is singularly agreeable, 40. 117. By what means does his- tory raise our passions, 54. It rejects poetical images, 392.
History-painting. See Painting. Homer, defective in order and connec- tion, 23. His language finely suited to his subject, 402. His repetitions defended, 406. His poems in a great measure dramatic, 415. Censured,
Iambic verse, its modulation faint, 290. Iambus, 323.
Jane Shore, censured, 222. 228. Idea, not so easily remembered as a per- ception is, 91, 92. 152. Succession of ideas, 152. Pleasure and pain of ideas in a train, 155, 156. Idea of memory defined, 476. Cannot be in- nate, 478, note. There are no general ideas, ib., note. Idea of an object of sight more distinct than of any other object, 479. Ideas distinguished into three kinds, 480. Ideas of imagina- tion not so pleasant as ideas of me- mory, 482.
Ideal presence, 52, &c., raised by thea- trical representation, 54., raised by painting, ib.
Ideal system, 477, note.
Identity of a passion or of an emotion, 64.
Jet d'eau, 129. 447, 448. Jingle of words, 316. 320. Iliad, criticised, 430.
Images the life of poetry and rhetoric, 53. 122.
Imagination, the great instrument of re- creation, 137. To give play to it has a good effect in gardening, 451. Its power in fabricating images, 480.48) Agreeableness of ideas of imagina- tion, 482.
Imitation, we naturally imi ate virtu- ous actions, 95. Not thos: that are vicious, ib. Inarticulate sounds imi- tated in words, 282. None of the fine arts imitate nature except painting and sculpture, 247. The agreeable- ness of imitation overbalances the dis- agreeableness of the subject, 409. Distant and faint imitations d splease, 447.
Impression, made on the organ of sense, 11.476. Successive impressic as, 252. Impropriety in action raises contempt, 138. Its punishment, 169. Impulse, a strong impulse succeeding a weak, makes a double impression: a weak impulse succeeding a strong, makes scarce any impression, £52. Infinite series, becomes disagreeable when prolonged, 146, note. Innate idea, there cannot be such a thing, 478, note.
Instinct, we act sometimes by instinct, 31. 47, &c.
Instrument, the means or instrument conceived to be the agent, 365. Intellectual pleasure, 12. Internal sense, 475.
Intrinsic beauty, 103. Intuitive conviction, of the veracity of our senses, 51., of the dignity of hu- man nature, 174. 469., of a common nature or standard in every species of beings, 467., of this standard being in- variable, 468., and of its being perfect or right, ib. Intuitive conviction that the external signs of passion are na- tural, and also that they are the same in all men, 211, 212. Intuitive knowledge of external ob- jects, 51.
Inversion, and inverted style described,
268, &c. Inversion gives force and liveliness to the expression by sus- pending the thought till the close, 277. Inversion how regulated, 281. Beau- ties of inversion, ib. Inversion fa- vourable to pauses, 306. Full scope for it in blank verse, 317. Involuntary signs, of passion, 205-208. Ionicus, 324.
Joy, its cause, 37, 38. Infectious, 95. Considered with respect to dignity and meanness, 175.
Iphigenia of Racine, censured, 203. Iphigenia in Tauris, censured, 242. 438. Irony, defined, 182.
Italian tongue, too smooth, 251, note. Italian words finely diversified by long and 'short syllables, 250, note. Judgment, and memory in perfection, seldom united, 21. Judgment seldom united with wit, ib.
Julius Cæsar, of Shakspeare censured, 233, 234.
Justice, of less dignity than generosity or courage, 174.
Kent, his skill in gardening, 444. Key-note, 287. 292. Kitchen-garden, 441.
Knowledge, intuitive knowledge of ex- ternal objects, 51. Its pleasures never decay, 200.
Labyrinth, in a garden, 447. Landscape, why so agreeable, 69. 164. More agreeable when comprehended under one view, 446. A landscape in painting ought to be confined to a sin- gle expression, 150. Contrast ought| to prevail in it, 159.
Language, power of language to raise emotions, whence derived, 53, 54. Language of passion, chap. xvii. Ought to be suited to the sentiments, 216. 236-238., broken and interrupt- ed, 236., of impetuous passion, 238., of languid passion, ib, of calm emo- tions, ib., of turbulent passions, ib. Examples of language elevated above
the tone of the sertiment, 243. Of language too artificial or too figura- tive, 244., too light or airy, 245. Lan- guage how far imitative, 247. Its beauty with respect to signification, 248. 254, &c. Its beauty with respect to sounds, 248, &c. It ought to cor- respond to the subject, 257. 400. Its structure explained, 266, &c. Beauty of language from a resemblance be- twixt sound and signification, 266. 248, &c. The character of a lan- guage depends on the character of the nation whose language it is, 311, note. The force of language consists in raising complete images, 57. 409. Its power of producing pleasant emo-
tions, 408. Without language man
would scarce be a rational being, 487. Latin tongue, finely diversified with long and short syllables, 319. L'Avare, of Moliere censured, 233. Laughter, 137.
Laugh, of derision or scorn, 138. 169. Law, defined, 171.
Laws of human nature, necessary suc- cession of perceptions, 20. 152. We never act but through the impulse of desire, 30. 96. An object loses its relish by familiarity, 64. Passions sudden in their growth are equally sudden in their decay, 66. 196. Every passion ceases upon obtaining its ul- timate end, 66. An agreeable cause produceth always a pleasant emotion, and a disagreeable cause a painful emotion, 96.
Laws of motion, agreeable, 107. Les Freres ennemies of Racine, cen- sured, 225.
Lewis XIV. of France, censured, 165,
Lex talionis, upon what principle found. ed, 148.
Line, definition of a regular line, 481. Littleness, is neither pleasant nor pain.
ful, 113. Ls connected with respect and humility, 206, note. Livy, censured, 256.
Locke, censured, 477, 478, note. Logic, cause of its obscurity and intri- cacy, 211.
Logio, improper in this climate, 454. Love, to children accounted for, 43.
The love a man bears to his country explained, 45. Love produced by pity, 46. Love gradual, 64. It sig- nifies more commonly affection than passion, 65. Love inflamed by the caprices of a mistress, 66. Its endu- rance, 67. To a lover absence ap- pears long, 89. Love assumes the qualities of its object, 95., when ex-
cessive becomes selfish, 108., consi- dered with respect to dignity and meanness, 174., seldom constant when founded on exquisite beauty, 199., ill represented in French plays, 232., when immoderate is silent, 236. Love for Love, censured, 431. Lowness, is neither pleasant nor pain- ful, 113.
Lucan, too minute in his descriptions, 21., censured, 415 Ludicrous, 137., may be introduced into an epic poem, 151.
Lutrin, censured for incongruity, 166., characterised, 179. Luxury, corrupts our taste, 471, 472.
Machinery, ought to be excluded from an epic poem, 57. 421., does well in a burlesque poem, 57. Malice, how generated, 64. Why it is perpetual, 66.
Man, a benevolent as well as a selfish being, 97, 98., fitted for society, 100. Conformity of the nature of man to his external circumstances, 113. 127. 130. 163. 208. Man intended to be more active than contemplative, 175. The different branches of his internal constitution finely suited to each other, 455. 470.
Manners, gross and refined, 62. The bad tendency of rough and blunt man- ners, 212, note. Modern manners make a poor figure in an epic poem,
419. Manufactures, the effect of their produc- tions with respect to morality, 451, nole.
Marvellous, in epic poetry, 423. Means, the means or instrument con- ceived to be the agent, 365, &c. Measure, natural measure of time, 89, &c., of space, 92, &c. Meaux, Bishop of, censured, 149. Medea, of Euripides censured, 438. Melody or modulation defined, 290., dis- tinguished from harmony, ib., note. In English heroic verse are four dif- ferent sorts of melody, 300. 311. Me- lody of blank verse superior to that of rhyme, and even to that of hexameter, 317.
Members of a period have a fine effect
placed in an increasing series, 252. Memory, and judgment in perfection seldom united, 21. Memory and wit often united, ib., greater with respect to perceptions than ideas, 91. Me- mory, 476-478.
Merry Wives of Windsor, its double
plot well contrived, 426. Metaphor, 368, &c. In early composi-
Mile; the computed miles are longer in a barren than in a populous coun- try, 91.
Milton, his style much inverted, 317. The defect of his versification is the want of coincidence betwixt the pauses of the sense and sound, 319. The beauty of Milton's comparisons, 328, &c.
Moderation in our desires contributes the most to happiness, 108. Modern manners, make a poor figure in an epic poem, 419. Modification, defined, 484. Modulation, defined, 289. Molossus, 323.
Monosyllables, English, arbitrary as to quantity, 298.
Moral duties. See Duties. Morality, a right and a wrong taste in morals, 468. Aberrations from its
true standard, 471. Moral sense, 28. Our passions as well as actions are governed by it, 60. Moral tragedy, 415.
Motion, requires the constant exertion of an operating cause, 63., productive of feelings that resemble it, 94 Its laws agreeable, 127. Motion and force, ch. v. What motions are the most agreeable, 128, &c. Regular motion, 128. Accelerated motion, ib. ward motion, ib. Undulating mo- tion, ib. Motion of fluids, ib. A body moved neither agreeable nor dis- agreeable, ib. The pleasure of mo- tion differs from that of force, 129. Grace of motion, 130. Motions of the human body, ib. Motion explain- ed, 479.
Motive, defined, 32. A selfish motive arising from a social principle, 32,
Movement, applied figuratively to me- lody, 284.
Mount, artificial, 448.
Mourning Bride, censured, 226. 233. 243. 435. 439. Music, emotions raised by instrumental music have not an object, 39. Music disposes the heart to various passions, 437., refined pleasures of music, 35 Vocal distinguished from instrumen- tal, 74, 75. What subjects proper for vocal music, 75, &c. Sentimental music, 74, note. Sounds fit to accom- pany disagreeable passions cannot bə musical, ib. note. What variety pro- per, 157. Music betwixt the acts of a play, the advantages that may bə
drawn from it, 437. It refines our nature, 35. Musical instruments, their different ef- Organ of sense, 11, 12. rects upon the mind, 118. Musical measure, defined, 290.
Narration, it animates a narrative to re- present things past as present, 55. Narration and description, ch. xxi. It animates a narrative to make it dramatic, 404, 405. 415, 416. Nation defined, 187.
Organic pleasure, 12, &c. Orlando Furioso, censured, 430. Ornament, ought to be suited to the sub- ject, 166, 167. Redundant ornaments ought to be avoided, 391. Ornaments distinguished into what are merely such, and what have relation to use, 403. Allegorical or emblematic orr.a- ments, 407.
Note, a high note and a low note in Ossian, excels in drawing characters, music, 115.
Novelty soon degenerates into familiari- ty, 66. Novelty and the unexpected appearance of objects, ch. vi. No- velty a pleasant emotion, 132, &c., distinguished from variety, 134., its different degrees, ib., &c., fixes the attention, 153.
Number, defined, 455., explained, 479. Numerus, defined, 290.
Object, of a passion derned, 31., distin- guished into general ana particular, ib. An agreeable object produces a plea- sant emotion, and a disagreeable ob- ject a painful emotion, 59. Attractive object, 97. Repulsive object, ib. Ob- jects of sight the most complex, 103. Objects that are neither agreeable nor disagreeable, 113-127. Natural ob- jects readily form themselves into groups, 160. An object terminating an opening in a wood, appears doubly distant, 446. Object defined, 474. Objects of external sense in what place perceived, 474, 475. Objects of internal sense, 475. All objects of sight are complex, 479. 485. Objects simple and complex, 485. Obstacles, to gratification inflame a pas- sion, 65.
(id Bachelor, censured, 431. Opera, censured, 167.
Opinion, influenced by passion, 87. 361., nfluenced by propensity, 88., influ- enced by affection, ib. Why differing from me in opinion is disagreeable, 469. Opinion defined, 483. Oration, of Cicero pro Archia poeta unsured, 280. Orchard, 449.
Order, 21. 105. 442. Pleasure we have in order, 22, &c., necessary in all compositions, 23. Sense of order has an influence upon our passions, 45. Order and proportion contribute to grandeur, 111. When a list of many particulars is brought into a period, in what order sould they be placed, |
398. Othello, censured, 411. Ovid, censured, 160.
Pain, cessation of pain extremely flea- sant, 38. Pain, voluntary and invo- luntary, 62. Different effects of pain upon the temper, ib. Social pain less severe than selfish, ib. Pain of a train of perceptions in certain circum- stances, 155. Pain lessens by cus- tom, 201. 467. Pain of want, 201. Painful, emotions and passions, 58, &c. Painting, power of painting to move our passions, 54. Its power to en- gage our belief, 57. What degree of variety is requisite, 159. A picture ought to be so simple as to be seen at one view, ib. In grotesque painting the figures ought to be small, in histo rical painting as great as the life, 116. Grandeur of manner in painting, 122. A landscape admits not variety of ex- pression, 159. Painting is an imita- tion of nature, 247. In history-paint- ing, the principal figure ought to be in the best light, 405. A good picture agreeable, though the subject be dis- agreeable, 409. Objects that strike terror have a fine effect in painting, 410. Objects of horror ought not to be represented, 411. Unity of action in a picture, 435. What emotions can be raised by painting, 442. Panic, cause of it, 95. Paradise Lost, the richness of its melo- dy, 317., censured, 420. Parallelogram, its beauty, 106. Parody, defined, 182. 219, note. Particles, 305., not capable of an ac- cent, 309.
Passion, no pleasure of external sense denominated a passion, except of see- ing and hearing, 26. Passion d'stin- guished from emotion, 29, &c. Ob- jects of passion, 31, 32. Passions, distinguished into instinctive and de- liberative, 32. 47, 48, &c., what are selfish, what social, 32., what disso-
cial, 33. Passion communicated to related objects, 42, &c., 275. 283. 295. 309. 349.380. Generated by a com- plex object, 45. A passion paves the way to others of a similar tone, 46, 47. A passion paves the way to others in the same tone, ib. Passion raised by painting, 54. Passions considered as pleasant or painful, agreeable or disagreeable, 58, &c. Our passions governed by the moral sense, 60. Social passions more plea- sant and less painful than the selfish, 62. Passions are infectious, 60. 95., are refined or gross, 61. Their inter- rupted existence, 63, &c. Their growth and decay, 64, &c. The identity of a passion, 64. The bulk of our passions are the affections of love or hatred inflamed into a passion, 65.
Passions have a tendency to ex- cess, ib. Passions swell by opposi- tion, 65, 66. A passion sudden in growth is sudden in decay, 64. A passion founded on an original pro- pensity endures for life, 65., founded on affection or aversion is subject to decay, 66. A passion ceases upon attaining its ultimate end, 66, 67. Coexistent passions, 67, &c. Pas- sions similar and dissimilar, 68, &c. Fluctuation of passion, 68. 220, &c. 222. Its influence upon our percep- tions, opinions and belief, 87, &c., 147. 348. 359. 361-363, &c. Pas- sions attractive and repulsive, 97. 213. Prone to their gratification, 98. Pas- sions ranked according to their dig- nity, 174, 175. Social passions_of greater dignity than selfish, 176. Ex- ternal signs of passions, chap. xv. Our passions should be governed by reason, 223. Language of passion, chap. xvii. A passion when immo- derate is silent, 236. Language of passion broken and interrupted, ib. What passions admit of figurative expression, 237. 335. 336. Language proper for impetuous passion, 237., for melancholy, 238., for calm emo- tions, ib., for turbulent passion, ib. In certain passions the mind is prone to bestow sensibility upon things in- animate, 348. 354. 357. With regard to passion man is passive, 475. We are conscious of passions as in the heart, ib.
Passionate, personification, 353, &c. Passive subject, defined, 488. Pathetic tragedy, 415.
Pause, pauses necessary for three differ- ent purposes, 291. Musical pauses in an hexameter line, 294. Musical
pauses ought to coincide with those in the sense, 296, &c. What musical pauses are essential in English heroic verse, 300. Rules concerning them, 300-302. Pause that includes a couplet, 307. Pause and accent have a mutual influence, 312, 313. Pedestal, ought to be sparingly orna- mented, 460.
Perceptions, more easily remembered than ideas, 91, 92. 152. Succession of perceptions, 19. 152. Unconnect- ed perceptions find not easy admit- tance to the mind, 153. 156. Pleasure and pain of perceptions in a train, 155, &c. Perception defined, 475., described, 486. Original and second- ary, 476, 477, &c. Simple and com- plex, 476.
Period, has a fine effect when its mem- bers proceed in the form of an in- creasing series, 252. In the periods of a discourse variety ought to be studied, 253. Different thoughts ought not to be crowded into one period, 260. The scene ought not to be changed in a period, 263. A period so arranged as to express the sense clearly, seems more musical than where the sense is left doubtful, 273. In what part of the period doth a word make the greatest figure, 277. A period ought to be closed with that word which makes the greatest figure, 278. When there is occasion to mention many particulars, in what order ought they to be placed, 278, &c. A short period is lively and familiar, a long period grave and solemn, 279. A discourse ought not to commence with a long period, 280.
Personification, 347, &c. and descriptive, 353, &c. Perspicuity, a capital requisite in wri- ting, 255. Perspicuity in arrange ment, 270. Phantasm, 478, note. Pharsalia, censured, 415. Phedra, of Racine censured, 203. 240. Picture. See Painting. Pilaster, less beautiful than a column,
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