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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
212. 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. 18.
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, 11.,
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.
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, 2b.
Speech, power of speech to raise emo- Syllable, 248, &c. Syllables considered
tions, whence derived, 53. 56.
as composing 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 taste, 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, 448., 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, nole.
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 tiue 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.
to sink the mind, 124. False sub Censured, 425, note.
height instantaneously, 61, &c., a si -time ought to be strictly observed in
lent passion, 236. Objects that strike each act of a modern play, 434, &c.
terror have a fine effect in poetry and Wherein the unity of a garden con-
painting, 410. The terror raised by sists, 444.
tragedy explained, 418.
Unumquodque eodem modo dissolvitur
Theorem, general theorems agreeable, quo colligatum est, 147.
Time, past time expressed as present, Vanity, a disagreeable passion, 61., al-
55, &c. Natural computation of time, ways appears mean, 175.
89, &c. Time explained, 485. Variety, distinguished from novelty, 134.
Titus Livius. See Livy.
Variety, ch. ix. Variety in pictures,
Tone, of mind, 475.
159., conspicuous in the works of na-
Touch, in touching we feel an impres ture, 163., in gardening, 450.
sion upon the organ of sense, 11. 476. Veracity of our senses, 51.
Trachiniens, of Sophocles censured,438. Verb, active and passive, 266, 267.
'Tragedy, the deepest tragedies are the Verbal antithesis, defined, 190, 259.
most crowded, 213, nole. The later Versailles, gardens of, 447.
English tragedies' censured, 217. Verse, distinguished from prose, 289
French tragedy censured, 219, note., Sapphic verse extremely melodious,
232. The Greek tragedy accompa 290. Iambic less so, ib. Structure of
nied with musical notes to ascertain an hexameter line, 292, &c. Struc-
the pronunciation, 289. Tragedy, ture of English heroic verse, 298,
ch. xxii., in what respect it differs note., 308. &c. 318. English mono-
from an epic poem, 414, &c., distin syllables a;bitrary as to quantity, 298.
guished into pathetic and moral, 415., English heroic lines distinguished into
its good effects, 416., compared with four sorts, 300. 311., they have a due
the epic as to the subjects proper for mixture of uniformity and variety,
cach, 416, 417., how far it may bor 315. English rhyme compared with
row from history, 419., rule for di blank verse, 316. Rules for compo-
viding it into acts, 420, 421., double sing each, 316, &c. Latin hexameter
plot in it, 425., admits not violent ac compared with English rhyme, 318.,
iion or supernatural events, 426., ils compared with
blank verse, ib.
origin, 432. Ancient tragedy a con French heroic verse compared with
tinued representation without inter hexameter and rhyme, ib. The En-
ruption, 433. Constitution of the glish language incapable of the melo-
modern drama, 434.
dy of hexameter verse, 319. For
what subject is rhyme proper, 3:20,
Trees, the best manner of placing them, &c. Melody of rhyme, ib. Rhyme
necessary to French verse, 322. Me.
Triangle, equilateral, its beauty, 106. lody of verse is so enchanting as to
draw a veil over gross imperfections,
3:23. Verses composed in the shape
fropes, ch. xx.
of an axe or an egg, 447.
Violent action, ought to be excluded
Ugliness, proper and figurative, 482. from the stage, 426.
Unbounded prospect disagreeable, 146, Virgil, censured for want of connection,
21., his verse extremely melodious,
Uniformity of the operations of nature, 296., his versification criticised, 308.,
161, &c. Uniformity apt to disgust censured, 3:23. 399. 402. 408. 411,
hy excess, 106. Uniformity and va 412. 423.
riety, ch. ix., conspicuous in the Virgil trarestie, characterised, 179.
works of nature, 163. The melody Virtue, the pleasures of virtue never de-
of the verse ought to be uniform
where the things described are uni- Vision, the largest and smallest angle of
form, 308. Uniformity defined, 481. vision, 92. 93.
Unity, the three unities, ch. xxiii., of Voltaire, censured, 395. 419. 422. 424.
actions, 430, &c. Unity of action in Voluntary signs of passion, 205, 206.
a picture, 431., of time and of place, Voluptuousness tends to vitiate our
4:32, &c. Unities of time and of place
taste, 471, 472.
not required in an epic poem, ib. Vowels, 218, 219.
Strictly observed in the Greek tra-
gedy, ib. Unity of place in the an. Walk, in a garden, whether it ought
eient drama, ib' Unities of place and to be straight or waving, 448. Artj.
ficial walk elevated above the plain,
Wall, that is not perpendicular occa-
sions an uneasy feeling, 94.
Waterfall, 94. 129.
Water-god, statue of, pouring out wa-
Way of the world, censured, 431., the
unities of place and time strictly ob-
served in 440.
Will, how far our train of perceptions
can be regulated by it, 20. 154—156.,
determined by desire, 96.
Windows, their proportion, 452., double
Winter garden, 449.
Wish, distinguished from desire, 30.
Wit, defined, 21. 183., seldom united
with judgment, 21., but generally
with memory, ib., not concordant with
grandeur, 150. Wit, ch. xii. Wit
in sounds, 192. Wit in architecture,
Wonder, instantaneous, 64 , decays sud-
Wonders and prodigies
find ready credit with the vulgar, 88.
Wonder defined, 131., studied in Chi-
nese gardens, 451.
Wcrds, rules for coining words, 33,
note. Play of words, 189. 245, &r..
Jingle of words, 246. Words consi.
dered with respect to their sound, 250.
Words of different languages com-
parcd, 250, &c. What are iheir best
arrangement in a period, 252. A con-
junction or disjunction in the men-
bers of the thought ought to be imi-
tated in the expression, 259, 261, &c.
Words expressing things connected
ought to be placed as near together us
possible, 273, &c. In u hat part of a
sentence doth a word make the great-
est figure, 277. Words acquire a
beauty from their meaning, 262. 380.
Some words make an impression re-
sembling that of their meaning, 232.
The words ought to accord with the
sentiment, 215. 237, 238. 247. 283.
403. A word is often redoubled to
add force to the expression, 238. 405.
Writing, a subject intended for amuse-
ment may be highly ornamented, 167.
A grand subject appears best in a
plain dress, ib.
Youth, requires more variety of amuso-
meni than old age, 152.