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Plautus, the liberty he takes as to place the blunders and absurdities of others,
and time, 439.

169., a pleasant passion, 169, 170.,
Play, is a chain of connected facts, each considered with respect to dignity and
scene making a link, 431.

meanness, 175. lis external expres-
Play of words, 189, &c. 245, &c., gone sions or signs disagreeable, 210.
into disrepute, 190. Comparisons Primary, and secondary qualities of
that risolve into a play of words, matter, 107. Primary and secondary
343, &c.

relations, 165, note.
Pleasant emotions and passions, 59, Principle of order, 22., of morality,

&c. Social passions more pleasant 28. Å0. 168, &c., of self-preservation,
than the selfish, 176. Pleasant pain 47., of selfishness, 97., of benevo-
explained, 69.

lence, ib., &c., of punishment, 100.
Pleasure, pleasures of seeing and hear 169. Principle that makes us fond of

ing distinguished from those of the esteem, 100. 118., of curiosity: 131.
other senses, 11, &c., pleasure of or 139., of habit, 200, 201. Principle that
der, 22, &c., of connection, 22. Plea makes us wish cthers to be of our
sures of taste, touch, and smell, not opinion, 468, 469. Principle de-
termed emotions or passions, 26. fined, 483., sometimes so enlivened as
Pleasure of a reverie, 53. 156. Plea to become an emotion, 40. See Pro-
sures refined and gross, 62. Pleasure pensity.
of a train of perceptions in certain Principles of the fine arts, 14.
circumstances, 155, &c. Corporeal Proceleusmaticus, 324.
pleasure low, and sometimes mean, Prodigies, find ready credit with the
174. Pleasures of the eye and ear

vulgar, 88.
never low or mean, ib. Pleasures of Prologue, of the ancient tragedy, 433.
the understanding are high in point of Pronoun, defined, 274.
dignity, 175. Custom augments mo- Pronunciation, rules for it, 283, &c.,
derate pleasures, but diminishes those 287., distinguished from singing, 287.
that are intense, 201. Some pleasures Singing and pronouncing compared,

felt internally, some externally, 481. 288.
Post, the chief talent of a poet who Propensity, sometimes so enlivened as
deals in the pathetic, 205.

to become an emotion, 40. 65., op-
Poetical flights, in what state of mind posed to affection, 67. Opinion and
they are most relished, 335.

belief influenced by it, 88. Propen-
Poetry, grandeur of manner in poetry, sity to justify our passions and ac-

119, &c. How far variety is proper, tions, 83. Propensity to punish guilt
159. Objects that strike terror have a and reward virtue, 100, &c. Pro-
fine effect in it, 410. Objects of hor pensity to carry along the good or bad
ror ought to be banished from it, 411. properties of one subject to another,
Poetry has power over all the human 42. 95. 103. 247. 275. 283. 295. 309.
affections, 412. The most successful 366. 380. Propensity to complete

in describing objects of sight, 486. every work that is begun, and to carry
Polite behaviour, 62.

things to perfection, 146. 461. Pro-
Polygon, regular its beauty, 106.

pensity to communicate to others every
Polysyllables, how far agreeable to the thing that affects us, 235. Propensity

ear, 253., seldom have place in the to place together things mutually con-
construction of English verse, 299. nected, 283. Propensity defined, 183.
311.

Sce Principle.
Pompey, of Corneille censured, 225. Properties, transferred from one subject
231, 232

to another, 42. 95 103. 247. 275. 283.
Poor, habit puts them on a level with 295. 309. 366. 380.
the rich, 201, 202.

Property, the affectiup man bears to his
Pope, excels in the variety of his melo property, 43. A secondary relation,

dy, 307., censured, 338. 344. 400. 166, note.
His style compared with that of Prophecy, those who believe in prophe-
Swift, 104.

cies wish the accomplishment, 101.
Posture, constrained posture disagree- Propriety, ch. x., a secondary relation
able to the spectator, 95.

165., note., distinguished frem con-
Power of abstraction, 485, 486., its gruity, 166., distinguished from pro-
387.

portion, 170. Propriety in buildings,
Prepositions explained, 270.

457. 458.
Pride, how generated, 64., why it is Proportion, contributes to grandeur,

perpetual, 66. incites us to ridicule 111., distinguished from propriety.

use,

170. As to quantity coincides with gratification, 99. Punishment pro
congruity, w, examined as applied vided by nature for injustice, 172,
10 architecture, 454. Proportion de is not mean, 175.
fined, 482.

Repartee, 192.
Prose, distinguished from verse, 289, &c. Repetitions, 406.
Prospect, an unbounded prospect dis- Representation, its perfection lies in

ayreeable, 146., note. By what means hiding itself and producing an in-
a prospect may be improved, 446.

pression of reality, 435.
Provoked Husband, censured, 426. Repulsive, object, 97. Repulsive pas-
Pun, defined, 191.

sions, 97. 213.
Punishment, in the place where the Resemblance, and dissimilitude, ch. viji.

crime was committed, 148. Punish Resemblance in a series of objects,
ment of impropriety, 169, &c.

252. The members of a sentence sig.
Public games, of the Greeks, 129. nifying a resemblance betwixt objecs
Phyrrluichus, 323.

ought to resemble each other, 261, &c.

Resemblance betwixt sound and sig-
Qualities, primary and secondary, 107. nification, 282–284. No resemblance

A quality cannot be conceived inde betwixt objects of different senses,
pendent of the subject to which it be 283. Resembling causes may pro-
longs, 269. Different qualities per duce effects that have no resemblance,
ceived by different senses, 474, 475. and causes that have no resemblance
Communicated to related objects. may produce resembling effects, ib.,
See Propensity.

&c. The faintest resemblance be-
Quantity, with respect to melody, 291. twixt sound and signification gives

Quantity with respect to English the greatest pleasure, 284, &c. Re-

verse, 298. False quantity, 299. semblance carried too far in some
Quintilian, censured, 362.

gardens, 445, note.
Quintus Curtius, censured, 222. Resentment, explained, 48, &c. Dis.

agreeable in excess, 61. Extended
Racine, criticised, 240. Censured, 243. against relations of the offender, 85.
Rape of the Lock, characterized, 179. Its gratification, 99. When immo-
Its verse admirable, 292.

derate is silent, 236.
Reading, chief talent of a fine reader, Rest, neither agreeable nor disagreeable,

205. Plaintive passions require a 127., explained, 243.
slow pronunciation, 219, note. Rules Revenge, animates but doth not elevate
for reading, 286, &c., compared with the mind, 118. Has no dignity in it,
singing, 287.

175. When immoderate is sileni,
Reality, of external objects, 51.

236., improper, but not mean, 174.
Reason, reasons to justify a favourite Reverie, cause of the pleasure we have

opinion are always at hand, and in it, 53. 156.
much relished, 83.

Rhyme, for what subjects it is proper,
Recitative, 290.

3.22, &c. Melody of rhyme, 322.
Refined pleasure, 61.

Rhythmus, defined, 290.
Regularity, not so essential in great ob- Rich and poor put upon a level by ha-

jects as in small, 111., not in a small bit, 201, 202.
work so much as in one that is ex- Riches, love of, corrupts the taste, 472.
tensive, ib. How far to be studied in Riddle, 447.
architecture, 412. 445. 454. How far Ridicule, a gross pleasure, 62. Is losing
to be studied in a garden, 443, 444. ground in England, ib. Emotion or
Regular line defined, 481. Regular ridicule, 138. Not concordant with
figure defined, 481. Regularity pro grandeur, 150. Ridicule, 169, ch.
per and figurative, 482.

xii. Whether it be a test of truth,
Relations, 19. Have an influence in 183.

generating emotions and passions, 42. Ridiculous, distinguished from risible,
&c. Are the foundation of congruity 138.
and propriety, 165. Primary and Right and wrong as to actions, 28.
secondary relations, ib. note. In what Risible objects, ch. vii. Risible distin-
manner are relations expressed in guished from ridiculous, 138.
words, 266, &c. The effect that even Room, its form, 453.
the slighter relations have on the Rubens, censured, 376.
mind, 449.

Ruin, ought not to be seen from a flower-
Kelative beauty, 103. 449.

parterre, 444. In what form it ought
Remorse, anguish of remorse, 95., its to be, 448.

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Sallust, censured for want of connec sions, 221. Sentiments of strong pas
tion, 24.

sions are hid or dissembled, 222. Ser
Sapphic verse, has a very agreeable timents above the tone of the passion,
modulation, 290.

223., below the tone of the passion,
Savage, knows little of social affec 225. Sentiinents too gay for a seri-
tion, 62.

ous passion, ib., too artificial for a
Scorn, 169. 179.

serious passion, ib., fanciful or finicai,
Sculpture, imitates nature, 247. What 226., discordant with character, 227.,

emotions can be raised by it, 442. misplaced, 229. Immoral sentiments
Secchia Rapita, characterized, 179. expressed without disguise, 230—233.,
Secondary qualities of matter, 107, &c. unnatural, 233. Sentiments both in
Secondary relations, 165, note.

dramatic and epic con.positions ought
Seeing, in seeing we feel no impression, to be subservient to the action, 420.

476. Objects of sight are all of them Sentiment defined, 480.
complex, 479.

Sentimental music, 74, note
Self-deceit, 83. 230.

Series, from small to great agreeable,
Selfish, passions, 32, 33. Are pleasant, 114. Ascending series, ib. Descenda

61. Less refined and less pleasant ing series, ib. The effect of a num-
than the social, 62. The pain of self ber of objects placed in an increasing
ish passions more severe than of so or decreasing series, 252.
cial passions, ib. Inferior in dignity Serpentine river, its beauty, 128. 450.
tc the social, 176. A selfish emotion Sertorius, of Corneille censured, 220.
arising from a social principle, 32. A Shaft of a column, 462.
selfish motive arising from a social Shakspeare, his sentiments just repre-
principle, 32., note.

sentations of nature, 218., is superior
Selfishness, promoted by luxury, 471., to all other writers in delineating pas-
and also by love of riches, 472.

sions and sentiments, 239, 240., ex-
Self-love, its prevalence accounted for, cels in the knowledge of human na-

34. In excess disagreeable, 60. Not ture, 240, note., deals little in inver-

inconsistent with benevolence, 97. sion, 317., excels in drawing charac-
Semipause, in an hexameter line, 294. ters, 397., his style in what respect

What semipauses are found in an excelient, 404., his dialogue finely
English heroic line, 309.

conducted, 427., deals not in barren
Sensation, defined, 475., described, 479.

scenes, 431.
Sense, of order, 23, &c., contributes to Shame, arising from affection or aver-

generate emotions, 43, nole., and pas sion, 65., is not mean, 175.
sion 3, 45. Sense of right and wrong, Sight, influenced by passion, 93. 146.
28. 'The veracity of our senses, 51. Similar emotions, 68., their effects when
477, note. Sense of congruity or pro coexistent, 69. 457.
priety, 165., of the dignity of human Similar passions, 68, &c. Effects of co-
nature, 173. 469. Sense of ridicule, existent similar passions, 71.
179. Sense by which we discover a Simple perception, 480.
passion from its external signs, 211. Simplicity, taste for simplicity has pro-
Sense of a common nature in every duced many Utopian systems of hu-
species of beings, 60. 467. Sense, in man nature, 27. Beauty of simpli-
ternal and external, 474. In touch city, 104., abandoned in the fine arts,
ing, tasting, and smelling, we feel the 107., a great beauty in tragedy, 425.,
impression at the organ of sense, not ought to be the governing taste in gar-
in seeing and hearing, 476.

dening and architecture, 443.
Senses, whether active or passive, 488. Singing, distinguished from pronoun-
Sentence, it detracts from neatness to cing or reading, 287. Singing and

vary the scene in the same sentence, pronouncing compared, 288.
263. A sentence so arranged as to Situation, different situations suited to
express the sense clearly, seems al different buildings, 458.
ways more musical than where the Sky, the relish of it lost by familiarity,
sense is left in any degree doubtful,
273.

Smelling, in smelling we feel an impres-
Sentiment, elevated, low, 115. Senti. sion upon the organ of sense, 11. 476.

mentz, ch. xvi., ought to be suited Smoke, ihe pleasure of ascending smoke
to the passion, 216. Sentiments ex accounted for, 128.
pressing swelling of passion, 219., Social passions, 32., more refined and
expressing the different stages of pas more pleasant than the selfish, 62.
sion, 220. dictated by coexistent pas The pain of social passions more mild

64.

per, ib.

than of selfish passions, ib. Social | Substratum, defined, 475.

passions are of greater dignity, 176. Succession, of perceptions and ideas,
Society, advantages of, 101.

19. 152, &c. In a quick succession of
Soliloquy, has a foundation in nature, the most beautiful objects we are
242. Soliloquies, 241, &c.

scarce sensible of any emotion, 53.
Sophocles, generally correct in the dra- Succession of syllables in a word,
matic rules, 438.

249., of objects, 252.
Sounds, power of sounds to raise emo- Superlatives, inferior writers deal ir su-

tions, 35, 36., concordant, 68., dis- perlatives, 367.
cordant, ib., disagreeable sounds, 74., Surprise, the essence of wit, 21. 185.
fit for accompanying certain passions, Instantaneous, 64, 65. 186., decays
74, 75. Sounds produce emotions suddenly, 65. 186., pleasant or painful
that resemble them, 94., articulate how according to circumstances, 133, &c.
far agreeable to the ear, 248–250. A Surprise the cause of contrast, 114.,
smooth sound soothes the mind, and a has an influence upon our opinions,
rough sound animates, 251. A con- and even upon our eye-sight, 147.
tinued sound tends to lay us asleep, an Surprise a silent passion, 236. studi-
interrupted sound rouses and ani- ed in Chinese gardens, 451.
mates, 265.

Suspense, an uneasy state, 90.
Space, natural computation of space, Sweet distress, explained, 68.

92, &c. Space explained, 485, 486. Swift, his language always suited to
Species, defined, 485.

his subject, 403., has a peculiar energy
Specific habit, defined, 198.

of style. 401., compared with Pope, ib.
Speech, power of speech to raise emo- Syllable, 218, &c. Syllables considered
tions, whence derived, 53. 56.

as coniposing words, 249. Syllables
Spondee, 293, 294. 323.

long and short, 250. 292. Many syl-
Square, its beauty, 106. 160.

lables in English are arbitrary, 298.
Stairs, their proportion, 453.

Sympathy, sympathetic emotion of vir-
Standard of iasie, ch. xxv. Standard tue, 40, &c. The pain of sympathy
of morals, 468–471.

is voluntary, 62. It improves the teni-
Star, in gardening, 445.
Statue, the reason why a statue is not Sympathy, 98., attractive, 93. 212., ne-

coloured, 149. The limbs of a statue ver low nor mean, 174., the cement
ought to be contrasted, 159.

An

of society, 212.
equestrian statue is placed in a centre Synthetic, and analytic methods of rea-
of streets, that it may be seen from soning compared, 22.
many places at once, 405. Statues
for adorning a building, where to be Tacitus, excels in drawing characters,
placed, 459, 460. Statue of an animal 397., his style comprehensive, 407.
pouring out water, 418., of a water- Tasso, censured, 422. 424.
god pouring water out of his urn, Taste, in tasting we feel an impression
465. ' Statues of animals employed upon the organ of sense, 11. 476.
as supports condemned, ib. Naked Taste in the fine arts though natural
statues condemned, 457, note.

requires culture, 13. 472, note. Taste
Steeple, ought to be pyramidal, 159. in the fine arts compared with the
Strada, censured, 392.

moral sense, 13., its advantages, 14,
Style, natural and inverted, 270, &c. 15. Delicacy of taste, 61. 472., a low

The beauties of a natural style, 281., taste, 115. Taste in some measure
of an inverted style, ib. Concise influenced by reflection, 462, note.
style a great ornament, 406.

The foundation of a right and wrong
Subject, may be conceived independent in taste, 466. Taste in the fine arts

of any particular quality, 269. Sub- as well as in morals corrupted by ro-
ject with respect to its qualities, 474. luptuousness, 471., corrupted by love
486. Subject defined, 488.

of riches, 472. Taste never naturally
Sublimity, ch. iv. Sublime in poetry, bad or wrong, 473. Aberrations from

115. General terms ought to be avoid- a true taste in the fine arts, 476.
ed where sublimity is intended, 122. Tautology, a blemish in writing, 407.
Sublimity may be employed indirectly Telemachus, an epic poem, 414, note.
10 sink the mind, 124. False sub- Censured, 425, note.
lime, 125.

Temples, of ancient and modern virtue
Submission, natural foundation of sub. in ihe gardens of Stow, 464.
mission to government, 100, &c.

Terence, censu red, 242. 439.
Substante, defined, 475.

Terror, arises sometimes to its utmos

height instantaneously, 61, &c., a si-! - Ese ET 2 HATS
lent passion, 236. Objects that strike en ama mgom 21:T
terror have a fine effect in poetry and WIE 1ST É I
painting, 410. The terror raised by
tragedy explained, 418.

CELL Beyond
Theorem, general theorems agreeable. U ute 6** 2.

107.
Time, past time expressed as present. TeiT

55, &c. Natural computation of unde,
89, &c. Time explained, 455.
Titus Livius. See Livy.
Tone, of mind, 475.
Touch, in touching we feel an impos

sion upon the organ of sense, 11. 1.6 TCIT mre
Trachiniens, of Sophocles censurec. 13 VE 15 A
'Tragedy, the deepest tragedies are se 2 irra

most crowded, 213, note. The gre 1
English tragedies censura 217. Vom BIT_
French tragedy censured, 219, ste.
232. The Greek tragedy 2000-12.
nied with musical notes to aso
the pronunciation, 2-9. 1:39
ch. xxii., in what respect it ca
from an epic poem, 111, &c. drs
guished into pathetic and 2.65
its good effects, 416., Clar
the epic as to the si sos sa ise
cach, 416, 417., bow far i sit ve
row from history, 419. Ties-
viding it into acis. 4314
plot in it, 4:35., adris DC 1 31 22-
tion or supernatural eter: - I
origin, 43-3. Aneer 72
tinued represenisca AL
ruption, 433.

modern drama. 434.
Tragi-comedy, 4:36.
Trees, the best manza o page

415, 416.
Triangle, equilateral, its bezit **
Tibrachys, 3:23.
I'rochæus, 323.
fropes, ch. xx.
Ugliness, proper and 6-2 -- 4
Unbounded prospec cisága *

note.
Uniformity of the operdices se 21

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