Imágenes de páginas

mory, 482.

Greek words, finely composed of long | Hyperbole, 1:24. 361, &c.
and short syllables, 319.

Hippobachius, 324.
Grief, magnifies its cause, 85. Occa-

sions a false reckoning of time, 92. lambic verse, its modulation faint, 20.
Is intectious, 95. When immoderate Tambus, 3:23.
is silent, 236.

Jane Shore, censured, 222. 228.
Gross pleasure, 62.

Idea. not so easily remembered as a per-
Group, natural objects readily form ception is, 91, 92. 152. Succession of
themselves into groups, 100.

ideas, 152.

Pleasure and pain of
Guirlo, censured, 376.

ideas in a train, 155, 156. Idea of

memory defined, 476. Cannot be in-
Habit, ch. xiv. Prevails in old age, nate, 478, note. There are no general

152. Llabit of application to busi ideas, ib., note. Idea of an object of
ness, 155, 156, 157. Converts pain sight more distinct than of any other
into pleasure, 158. Distinguished object, 479. Ideas distinguished into
from custom, 193. Puts the rich and three kinds, 480. Ideas of imagina-
poor upon a level, 201, 202.

tion not so pleasant as ideas of me
Harmony, or concord in ohjects of

sight, iis, 69. Harmony distinguish- Ideal presence, 52, &c., raised by thea-
ed from meloly, 290, noto.

trical representation, 51., raised by
Hatred, how produced, 65. Signifies painting, ib.

more commonly affection than pas- Ideal system, 477, note.
sion, ib. Its endurance, 67.

Identity of a passion or of an emotion,
flearing, in hearing we feel no impres 61.
sion, 476.

Jet d'eau, 129. 417, 448.
Henriade, censured. 395. 422. 424. Jingle of words, 316. 320.
Hexameter, Virgil's hexameter's ex- Iliad, criticised, 430.

tremely melodious, those of Horace Images the life of poetry and rhetorie,
seldom so, 290. And the reason why 53. 122.
they are not, 292. Structure of an Imagination, the great instrument of re-
hexameter line, 294. Rules for its creation, 137. To give play to it has
structure, 294, 297. Musical pauses a good effect in gardening, 451. Its
in an hexameter line, 293, note, 296. power in fabricating imagrs, 480.48!

Wherein its melody consists, 297. Agreeableness of ideas of imagina-
Hiatus, defined, 250.

tion, 482.
Hippolytus, of Euripides censured, 229. Imitation, we naturally imi ate virtu-

ous actions, 95. Noi thos: that are
History, why the history of heroes and vicious, ib. Inarticulate sounds ini.

conquerors is singularly agreeable, tated in words, 282. None of the fine
40. 117. By what means does his arts imitate nature except painting
tory raise our passions, 54. It rejects and sculpture, 247. The agreeable
poetical images, 392.

ness of imitation overbalances the dis-
History-painting. See Painting. agreeableness of the subject, 409).
Homer, defective in order and connec Distant and faint imitations d splease,

tion, 23. His language finely suited 447.
to his subject, 402. His repetitions Impression, made on the organ of sense,
defended, 406. His poems in a great 11. 476. Successive impressie is, 232.
measure dramatic, 415. Censured, Impropriety in action raises co.ltempi,

138. Its punishment, 169.
Hope, 65.

Impulse, a strong impulse succeeding a
Horace, defective in connection, 24. weak, makes a double impression: a

His hexameters not melodious, 290. weak impulse succeeding a strong,
Their defects pointed out, 297.

makes scarce any impression, $52.
Horror, objects of horror should be ba- Infinite series, becomes disagreeable

nished from poetry and painting, 411. when prolonged, 146, nole.
House, a fine house gives lustre to the Innate idea, there cannot be such a
owner, 43, note.

thing, 478, note.
Human nature, a complicated machine, Instinct, we act sometimes by instinch,

31. 47, &c.
Humanity, the finest temper of mind, 62. Instrument, the means or instrument
Humor, defined, 180. Humor in wri conceived to be the agent, 365.

ling distinguished from humor in cha- Intellectual pleasure, 12.
racter, ib.

Internal sense, 475.

jects, 51.

Intrinsic beauty, 103.

the tone of the sertiment, 243. Of
Intuitive conviction, of the veracity of language too artificial or too figurn-

our senses, 51., of the dignity of hu tive, 244., too light or airy, 245. Lan.
man nature, 174. 469., of a common guage how far imitative, 247. lis
nature or standard in every species of beauty with respect to signification,
beings, 467., of this standard being in 248. 254, &c. Its beauty with respect
variable, 468., and of its being perfect to sounds, 248, &c. It ought to cor-
or right, ib. Intuitive conviction that respond to the subject, 257. 400. Its
the external signs of passion are na structure explained, 266, &c. Beauty
tural, and also that they are the same of language from a resemblance bé-
in all men, 211, 212.

twixt sound and signification, 266.
Intuitive knowledge of external ob 248, &c.

The character of a lan-

guage depends on the character of the
Inversion, and inverted style described, nation whose language it is, 311, note.

268, &c. Inversion gives force and The force of language consists in
liveliness to the expression by sus raising complete images, 57. 403. Its
pending the thought till the close, 277. power of producing pleasant emo.
Inversion how regulated, 281. Beau tions, 408. * Without language man
ties of inversion, ib. Inversion fa would scarce be a rational being, 487.
vourable to pauses, 306. Full scope Latin tongue, finely diversified with
for it in blank verse, 317.

long and short syllables, 319.
Involuntary signs, of passion, 205—208. L'Avare, of Molicre censured, 233.
Ionicus, 324.

Laughter, 137.
Joy, its cause, 37, 38. Infectious, 95. Laugh, of derision or scorn, 138. 169.

Considered with respect to dignity Law, defined, 171.
and meanness, 175.

Laws of human nature, necessary suc-
Iphigenia of Rucine, censured, 203. cession of perceptions, 20. 152. We
Iphigenia in Tauris, censured, 242. 438. never act but through the impulse of
Irony, defined, 182.

desire, 30. 96. An object loses its
Italian tongue, too smooth, 251, note. relish by familiarity, 64. Passions

Italian words finely diversified by long sudden in their growth are equally
and short syllables, 250, note.

sudden in their decay, 66. 196. Every
Judgment, and memory in perfection, passion ceases upon obtaining its ul-

seldom united, 21. Judgment seldom timate end, 66. “An agreeable cause
united with wit, ib.

produceth always a pleasant emotion,
Julius Cæsar, of Shakspeare censured, and a disagreeable cause a painful
233, 231.

emotion, 96.
Justice, of less dignity than generosity Laws of motion, agreeable, 107.
or courage, 174.

Les Freres ennemies of Racine, cen-

sured, 225.
Kent, his skill in gardening, 444. Lewis XIV. of France, censured, 165,
Key-note, 287. 292.

Kitchen-garden, 441.

Lex talionis, upon what principle found.
Knowledge, intuitive knowledge of ex-

ed, 148.
ternal objects, 51. Its pleasures never Line, definition of a regular line, 481.
decay, 200.

Littleness, is neither pleasant nor pain.

ful, 113. Lo connected with respect
Labyrinth, in a garden, 447.

and humility, 206, note.
Landscape, why so agreeable, 69. 164. Livy, censured, 256.

More agreeable when comprehended Locke, censured, 477, 478, note.
under one view, 446. A landscape in Logic, cause of its obscurity and intri-
painting ought to be confined to a sin-
gle expression, 150. Contrast ought Legio, improper in this climate, 454.
to prevail in it, 159.

Love, to children accounted for, 43.
Language, power of language to raise The love a man bears to his country
emotions, whence derived, 53, 54. explained, 45.

Love produced by
Language of passion, chap. xvii. pily, 46. Love gradual, 64. It sig-
Ought to be suited to the sentiments, nifies more commonly affection than
216. 236—238., broken and interrupt passion, 65. Love inflamed by the
ed, 236., of impetuous passion, 238., caprices of a mistress, 66. Its endu-
of languid passion, ib., of calm emo rance, 67. To a lover absence ap-
tions, ib., of turbulent passions, ib.

pears lor

89. Love assumes the
Exomples of language elevated above qualities of its object, 95., when cx-

cacy, 211.

try, 91.

cessive becomes selfish, 108., consi- tions of nations we find metaphors
dered with respect to dignity and much strained, 372.
meanness, 174., seldom constant when Metre, 298.
founded on exquisite beauty, 199., ill Mile, the computed miles are longer ir
represented in French plays, 232., a barren than in a populous coun-

when immoderate is silent, 236.
Love for Love, censured, 431.

Milton, his style much inverted, 317.
Lowness, is neither pleasant nor pain- The defect of his versification is the
ful, 113.

want of coincidence betwixt the
Lucan, too minute in his descriptions, pauses of the sense and sound, 319.
21., censured, 415

The beauty of Milton's comparisons,
Ludicrous, 137., may be introduced into 328, &c.
an epic poem, 151.

Moderation in our desires contributes
Lutrin, censured for incongruity, 166., the most to happiness, 108.
characterised, 179.

Modern manners, make a poor figure in
Luxury, corrupts our taste, 471, 472. an epic poem, 419.

Modification, defined, 484.
Machinery, ought to be excluded from Modulation, defined, 289.

an epic poem, 57. 421., does well in a Molossus, 323.
burlesque poem, 57.

Monosyllables, English, arbitrary as to
Malice, how generated, 64. Why it is quantity, 298.
perpetual, 66.

Moral duties. See Duties.
Man, a benevolent as well as a selfish Morality, a right and a wrong taste in

heing, 97, 98., fitted for society, 100. morals, 468. Aberrations from its
Conformity of the nature of man to true standard, 471.
his external circumstances, 113. 127. Moral sense, 28. Our passions as well
130. 103. 208. Man intended to be as actions are governed by it, 60.
more active than contemplative, 175. Moral tragedy, 415.
The different branches of his internal Motion, requires the constant exertion of
constitution finely suited to each other, an operating cause, 63., productive of
455. 470.

feelings that resemble it, 94 lis laws
Manners, gross and refined, 62. The agreeable, 127. Motion and force,
bad tendency of rough and blunt man-

What motions are the most
ners, 212, note.

Modern manners agreeable, 128, &c. Regular motion,
make a poor figure in an epic poem, 128. Accelerated motion, ib. Up-

ward motion, ib. Undulating, mo-
Manufactures, the effect of their produc-

tion, ib.

Motion of fluids, ib. A
tions with respect to morality, 451, body moved neither agreeable nor dis-

agreeable, ib. The pleasure of mo-
Marvellous, in epic poetry, 423,

tion differs from that of force, 1999.
Means, the means or instrument con- Grace of motion, 130. Motions of
ceived to be the agent, 365, &c.

the human body, ib. Motion explain-
Measure, natural measure of time, 89,

ed, 479.
&c., of space, 92, &c.

Motive, defined, 32. A selfish motive
Meaux, Bishop of, censured, 149. arising from a social principle, 32,
Medea, of Euripides censured, 438.

Melody or modulation defined, 290., dis- Movement, applied figuratively to me-
tinguished from harmony, ib., note.

lody, 284.
In English heroic verse are four dif- Mount, artificial, 448.
ferent sorts of melody, 300.311. Me- Mourning Bride, censured, 226.233.213.
lody of blank verse superior to that of 435. 439.
rhyme, and even to thai of hexameter, Music, emotions raised by instrumental

music have not an object, 39. Music
Members of a period have a fine effect disposes the heart to various passions,

placed in an increasing series, 252. 437., refined pleasures of music, 35
Memory, and judgment in perfection Vocal distinguished from instrumen-

seldom united, 21. Memory and wil tal, 74, 75. What subjects proper for
ofien united, ib., greater with respect vocal music, 75, &c. Sentimental
10 perceptions than ideas, 91. Me- music, 74, note. Sounds fit to accom-
mory, 476–478.
Merry Wives of Windsor, its double.

pany disagreeable passions cannot be

musical, ib. note, What variety pro-
plot well contrived, 426.
Metaphor, 368, &c. In early composi-

per, 157. Music bel wixt the acis of a
play, the advantages that may be

ch. v.

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drawn from it, 437. It refines our 278, &c. Order in stating facts,
nature, 35.

Musical instruments, their different ef- Organ of sense, 11, 12.
fects upon the mind, 118.

Organic pleasure, 12, &c.
Musical measure, defined, 290.

Orlando Furioso, censured, 430.

Ornament, ought to be suited to the sub-
Narracion, it animates a narrative to re ject, 166, 167. Redundant ornaments

present things past as present, 55. ought to be avoided, 391. Ornaments
Narration and description, ch. xxi. distinguished into what are merely
It animarcs a narrative to make it such, and what have relation to use,
dramatic, 404, 405. 415, 416.

403. Allegorical or emblematic orr.a-
Nation defined, 187.

ments, 407.
Note, a high note and a low note in Ossian, excels in drawing characters,
music, 115.

Noun, 266.

Othello, censured, 411.
Novelty soon degenerates into familiari- Ovid, censured, 160.

ty, 66. Novelly and the unexpected
appearance of oojects, ch. vi. No- Pæon, 324.
veliy a pleasant 'emotion, 132, &c., Pain, cessation of pain extremely plea-
distinguished from variety, 134., its sant, 38. Pain, voluntary and invo-
different degrees, ib., &c., fixes the luntary, 62. Different effects of pain
attention, 153.

upon the temper, ib. Social pain less
Number, defined, 455., explained, 479. severe than selfish, ib. Pain of a train
Numerus, defined, 290.

of perceptions in certain circum-

stances, 155. Pain lessens by cus-
Object, of a passion denned, 31., distin tom, 201. 467. Pain of want, 201.

guished into general ana particular, ib. Painful, emotions and passions, 5A, &c.
An agreeable object produces a plea- Painting, power of painting to move
sant emotion, and a disagreeable ob our passions, 54. Its power to en-
ject a painful emotion, 59. Attractive gage our belief, 57. What degree of
object, 97. Repulsive object, ib. Ob variety is requisite, 159. A picture
jects of sight the most complex, 103. ought to be so simple as to be seen at
Objects that are neither agreeable nor one view, ib. In grotesque painting
disagreeable, 113–127. Natural ob. the figures ought to be small, in histo-
jects readily form themselves into rical painting as great as the life, 116.
groups, 160. An object terminating Grandeur of manner in painting, 122.
an opening in a wood, appears doubly A landscape admits not variety of ex-
distant, 446. Object defined, 474. pression, 159. Painting is an imita-
Objects of external sense in what tion of nature, 247. In history-paint-
place perceived, 474, 475. Objects ing, the principal figure ought to be in
of internal sense, 475. All objects of the best light, 405. A good picture
sight are complex, 479. 485. Objects agreeable, though the subject be dis-
simple and complex, 485.

agreeable, 409. Objects that strike
Obstacles, to gratification inflame a pas terror have a fine etfect in painting,

410. Objects of horror ought not to
(od Bachelor, censured, 431.

be represented, 411. Unity of action
(opera, censured, 167.

in a picture, 435. What emotions can
Opinion, influeneed by passion, 87.361., be raised by painting, 442.

influenced by propensity, 88., influ- Panic, cause of it, 95.
cuced affection, ib. Why differing Paradise Lost, thé richness of its melo
fom me in opinion is disagreeable, dy, 317., censured, 420.
769. Opinion defined, 483.

Parallelogram, its beauty, 106.
O ntion, of Cicero pro Archia poeta Parody, defined, 182. 219, note.
u.nsured, 280.

Particles, 305., not capable of an ac-
Orchard, 449.

cent, 309.
Ordei, 21. 105. 442. Pleasure we have Passion, no pleasure of external sense

in order, 22, &c., necessary in all denominated a passion, except of see-
compositions, 23. Sense of order has ing and hearing, 26. ` Passion distin-
an influence upon our passions, 45. guished from emotion, 29, &c. Ob-
Order and proportion contribute to jects of passion, 31, 32. Passions,
grandeur, 111. When a list of many distinguished into instinctive and de-
particulars is brought into a period, liberative, 32. 47, 48, &c., what are
in vihat order s! ould they be placed, I selfish, what social, 32., what disso

sion, 65.


cial, 33. Passion communicated to pauses ought to coincide with those in
related objects, 42, &c., 275. 283. 295. ihe sense, 296, &c. What musical
309. 349. 300. Generated by a com pauses are essential in English heroic
plex object, 45. A passion paves the verse, 300. Rules concerning them,
way to others of a similar tone, 46, 300_302. Pause that includes a

A passion paves the way to couplet, 307. Pause and accent hare
others in the same tone, ib. Passion a mutual influence, 312, 313.
raised by painting, 54. Passions Pedestal, ought to be sparingly orna-
considered as pleasant or painful, mented, 460).
agreeable or disagreeable, 58, &c. Perceptions, more easily remembered
Our passions governed by the moral than ideas, 91, 92. 152. Succession
sense, 60. Social passions more plea of perceptions, 19. 152. Unconnect.
sant and less painful than the selfish, ed perceptions find not easy admit-
62. Passions are infectious, 60. 95., tance to the mind, 153. 156. Pleasure
are refined or gross, 61. Their inter: and pain of perceptions in a train,
rupled existence, 63, &c. Their 155, &c. Perception defined, 475.,
growth and decay, 61, &c. The described, 486. Original and second-
identity of a passion, 64. The bulk ary, 476, 477, &c. Simple and com-
of our passions are the affections of plex, 476.
love or hatred inflamed into a passion, Period, has a fine effect when its mem-
65. Passions have a tendency to ex bers proceed in the form of an in-
cess, ib. Passions swell by opposi creasing series, 252. In the periods of
tion, 65, 66. A passion sudden in a discourse variety ought to be studied,
growth is sudden in decay, 64. A 253. Different thoughts ought not to
passion founded on an original pro be crowded into one period, 260. The
pensity endures for life, 65., founded scene ought not to be changed in a
on affection or aversion is subject to period, 263. A period so arranged as
decay, 66. A passion ceases upon io express the sense clearly, seems
attaining its ultimate end, 66, 67. more musical than where the sense is
Coexistent passions, 67, &c. Pas left doubtful, 273. In what part ot
sions similar and dissimilar, 68, &c. the period doth a word make the
Fluctuation of passion, 68. 220, &c. greatest figure, 277. A period ought
2.22. lis influence upon our percep to be closed with that word which
tions, opinions and belief, 87, &c., makes the greatest figure, 278. When
147. 348. 359. 361-363, &c. Pas there is occasion to mention many
sions attractive and repulsive, 97.213. particulars, in what order ought they
Prone to their gratification, 98. Pas to be placed, 278, &c. A short period
sions ranked according to their dig is lively and familiar, a long period
nity, 174, 175. Social passions of grave and solemn, 279. A discourse
greater dignity than selfish, 176. Ex ought not 10 commence with a long
ternal signs of passions, chap. xv. period, 280.
Our passions should be governed by Personification, 347, &c. Passionate
reason, 223. Language of passion, and descriptive, 353, &c.
chap. xvii. A passion when immo- Perspicuity, a capital requisite in wri-
derate is silent, 236. Language of ting, 255. Perspicuity in arrange
passion broken and interrupted, ib.

ment, 270.
What passions admit of figurative Phantasm, 478, note.
expression, 237. 335. 336. Language Pharsalia, censured, 415.
proper for impetuous passion, 237., Phedra, of Racine censured, 203. 240.
for melancholy, 238., for calm emo- Picture. See Painting.
tions, ib., for turbulent passion, ib. Pilaster, less beautiful than a column,
In certain passions the mind is prone 462.
to bestow sensibility upon things in- Pindar, defective in order and connec-
animate, 348. 354. 357. With regard tion, 23.
to passion man is passive, 475. We Pity, defined, 30., apt to produce love,
are conscious of passions as in the 47., always painful, yet always agree-
heart, ib.

able, 60., resembles its cause, 95.
Passionate, personification, 353, &c. What are the proper objects for
Passive subject, defined, 488.

raising pity, 417, &c.
Pathetic tragedy, 415.

Place, explained, 486.
Pause, pauses necessary for three differ- Plain, a large plain a beautiful object,

ent purposes, 291. Musical pauses
in an hexameter line, 294. Musical Planetary system, its beauty, 128. 130


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