44. Abstract terms are a happy invention: it is by their means chiefly, that the particulars which make the subject of our reasoning, are brought into close union, and separated from all others however naturally connected. Without the aid of such terms, the mind could never be kept steady to its proper subject, but be perpetually in hazard of assuming foreign circumstances, or neglecting what are essential. We can without the aid of language, compare real objects by intuition, when these objects are present; and when absent, we can compare them in idea. But when we advance farther, and attempt to make inferences and draw conclusions, we always employ abstract terms, even in thinking it would be as difficult to reason without them, as to perform operations in algebra without signs; for there is scarce any reasoning without some degree of abstraction, and we cannot easily abstract without using abstract terms. Hence it follows, that without language man would scarce be a rational being. 45. The same thing, in different respects, has different names. With respect to certain qualities, it is termed a substance; with respect to other qualities, a body; and with respect to qualities of all sorts, a subject. It is termed a passive subject with respect to an action exerted upon it: an object with respect to a percipient: a cause with respect to the effect it produces and an effect with respect to its cause. THE END INDEX. The volumes are denoted by numeral letters, the pages by ABSTRACTION, power of, ii. 394. Its use, ii. 394. Abstract terms, ought to be avoided in poetry, i. 203. ii. 258. Cannot be Accents, defined, ii. 78. The musical accents that are necessary in an hex. Action and reaction betwixt a passion and its object, i. 111. Actor, bombast actor, i. 209. The chief talents of an actor, i. 349. An ac- Eneid. See Virgil- Affectation, i. 280. Affection to children accounted for, i. 72. To blood relations, i. 72. Affec- Agamemnon, of Seneca censured, i. 391. Agreeable emotions and passions, i. 98, &c. Things neither agreeable nor Alcestes, of Euripides censured, i. 409. ii. 312. Alexandre, of Racine censured, i. 381. Alexandrine line, ii. 89. Allegory, defined, ii. 202. More difficult in painting than in poetry, ii. 213 All for love, of Dryden censured, i. 397. Alto Relievo, ii. 349. Ambiguity, occasioned by a wrong choice of words, ii. 17. Occasioned by a wrong arrangement, ii. 41. Amynta, of Tasso censured, i. 375. Amor patria, accounted for, i. 75. Analytic, and synthetic methods of reasoning compared, i. 35. Anger, explained, i. 79, &c. Frequently comes to its height instantaneous- Angle, largest and smallest angle of vision, i. 153. Animals, distributed by nature into classes, ii. 363. Anticlimax, ii. 69. Antispastus, ii. 133. Antithesis, ii. 24. Verbal antithesis, i. 317. ii. 24. Apostrophe, ii. 187, &c. Appearance, things ought to be described in poetry, as they appear, not as Appetite, defined, i. 51. Appetites of hunger, thirst, animal love, arise with. Apprehension, dulness and quickness of apprehension, to what causes Architecture, ch. XXIV. Grandeur of manner in architecture, i. 198. The Ariosto, censured, i. 267. ii. 300. Aristaus, the episode of Aristaus in the Georgics censured, ii. 131. Army defined, ii. 396. Arrangement, the best arrangement of words is to place them if possible in Articulate sounds, how far agreeable, ii. 7—10. Arts. See Fine Arts. Ascent, pleasant, but descent not painful, i. 189. Athalie, of Racine censured, i. 391. Attention, defined, ii. 390 Impression made by objects depends on the Attractive passions, i. 356. Attractive objects, i. 160. Attractive signs of passion, i. 356. Attributes, transferred by a figure of speech from one subject to an- other, ii. 196, &c. Avarice, defined, i. 48. Avenue, to a house, ii. 329. Aversion, defined, i. 110. 329. ii. 390. Bacchius, ii. 132. Bajazet, of Racine censured, í. 406. Barren scene, defined, ii. 300. Basso-relievo, ii. 349. Batrachomuomachia, censured, i. 301. Beauty, ch. III. Intrinsic and relative, i. 171. ii. 329. Beauty of simplicity, Behaviour, gross and refined, i. 105. Belief, of the reality of external objects, i. 85. Enforced by a lively narra- Benevolence operates in conjunction with self-love to make us happy, i. Berkeley, censured, ii. 380. note. Blank verse, ii. 88, 118. Its aptitude for inversion, ii. 120. Its melody, ii. Body, defined, ii. 375. Boileau, censured, ii. 186, 284. Bombast, i. 207. Bombast in action, i. 209. Bossu, censured, ii. 303. note. Burlesque, machinery does well in a burlesque poem, i. 97. Burlesque dis- tinguished into two kinds, i. 300. Business, men of middle age best qualified for it, i. 254. Cadence, ii. 71, 78. Capital, of a column, ii. 353. Careless Husband, its double plot well contrived, ii. 292. Cause, resembling causes may produce effects that have no resemblance; Chance, the mind revolts against misfortunes that happen by chance, ii. 279. Children, love to them accounted for, i. 72. A child can discover a passion Chinese gardens, ii. 332. Wonder and surprise studied in them, ii. 333. Choria mbus, ii, 133. Chorus, and essential part of the Grecian tragedy, ii, 303. Church, what ought to be its form and situation, ii, 345. Cicero censured, ii, 60, 72, 74. Cid, of Corneille censured, i. 374, 395. Cinna, of Corneille censured, i, 280, 372, 392. Circle, its beauty, i, 174. Circumstances, in a period, where they should be placed, ii, 46, 51. |