Dialogue, dialogue-writing requires tinguished from passions, 27. Emotion
great genius, 204, &c. In dialogue every generated by relations, 38, &c. Emotions
expression ought to be suited to the cha-expanded upon related objects, 39, &c.
racter of the speaker, 381. Dialogue
makes a deeper impression than nar-
ration, 390. Qualified for expressing
sentiments, 391. Rules for it, 402, &c.
Dignity and grace, chap. xi. Digni-
ty of human nature, 442.
Diiambus, 308.
Diphthongs, 235.
Disagreeable emotions and passions,
Ditrochæus, 308.
Door, its proportion, 425.
Double action in an epic poem, 404.
Double Dealer of Congreve censur-
ed, 218, 405.
Double plot in a dramatic composi-
tion, 400.
Drama, ancient and modern compar-
ed, 407.
Dramatic poetry, chap. xxii.
Drapery ought to hang loose, 88.
Dress, rules about dress, 156, 416.
Dryden censured, 356. 402. 405.
Duties, moral duties distinguished
into those which respect ourselves, and
those which respect others, 159. Foun-
dation of duties that respect ourselves,
ib. of those that respect others, ib. Du-
ty of acting up to the dignity of our na-
ture, 162, 163.
Dwelling house, its external form,
427. Internal form, 426. 431.
EDUCATION promoted by the fine arts,
12. 425. Means to promote in young
persons a habit of virtue, 38.
Effects, resembling effects may be
produced by causes that have no re-
semblance, 267. Effect defined, 460.
Efficient cause of less importance
than the final cause, 164.
Electra of Sophocles censured, 191.
Elevation, 102, &c. Real and figu-
rative intimately connected, 106. Fi.
gurative elevation distinguished from
figurative grandeur, 317, 318.
Emotion, what feelings are termed
emotions, 24. Emotions defined, 25.
And their causes assigned, 25, 26. Dis
259. 267.278.293.331.332,360. Emotions
distinguished into primary and seconda-
ry, 40. Raised by fiction, 47, &c. Raised
by painting, 51. Emotions divided into
pleasant and painful, agreeable and dis-
agreeable, 55, &c. 453. The interrupt-
ed existence of emotions, 59, &c. Their
growth and decay, 60. Their identity,
ib. Coexistent emotions, 63, &c. Emo-
tions similar and dissimilar, 64. Com-
plex emotions, ib. 65. Effects of similar
coexistent emotions, 64, 430. Effects of
dissimilar coexistent emotions, 66. 417.
Influence of emotions upon our percep
tions, opinions, and belief, 76, &c. 86,
87. 134, 135. 329, 341. 343. 346, &c.
Emotions resemble their causes, S7, &c.
Emotions of grandeur, 101, &c. of sub-
limity, 102. A low emotion, 106. Emo-
tion of laughter, chap.vii. of ridicule, 129.
Emotions when contrasted should not be
too slow nor too quick in their succes-
sion, 139. Emotions raised by the fine
arts ought to be constrasted in succes-
sion, ib. Emotions of congruity, 156. of
propriety, ib. Emotions produced by
human actions, 161, Ranked according
to their dignity, 163. External signs of
emotions, chap. xv. Attractive and re-
pulsive emotions, 198. What emotions
do best in succession, what in conjunc
tion, 417. What emotions are raised by
the productions of manufactures, 425,
Man is passive with regard to his
emotions, 448. We are conscious of
emotions, as in the heart, ib.
Envy defined, 28. How generated, 61.
Why it is perpetual, 62. It magnifies
every bad quality in its object, 77.
Epic poem, no improbable fact ought
to be admitted, 54. Machinery in it has
a bad effect, 54. It doth not always re-
ject ludicrous images, 141. Its com-
mencement ought to be modest and sim-
ple, 369. In what respect it differs from
a tragedy, 389. Distinguished into pa-
thetic and moral, 390. Its good effects,
391. Compared with tragedy as to the
subjects proper for each, ib. How far it
may borrow from history, 394. Rule for Of ideal presence, 58, &c. Of the power
dividing it into parts, 395.
Epic poetry, chap. xxii.
Epicurus censured, 450, note.
Episode in an historical poem, 399.
Requisites, ibid.
Epistles dedicatory censured, 154, note.
Epithets redundant, 384.
Epitritus, 309.
Essay on Man criticised, 307.
Esteem, 'ove of, 93. 110.
Esther of Racine censured, 218. 220.
Eunuch of Terence censured, 229.
Euripides censured, 228. 412.
Evergreens cut in the shape of ani-
mals, 420.
Effect of experience with respect to
taste in the fine arts, 445, note.
Expression, elevated, low, 107. Ex-
pression that has no distinct meaning,
232. Members of a sentence expressing
a resemblance betwixt two objects ought
to resemble each other, 246, &c. Force
of expression by suspending the thought
to the close, 263.
External objects, their reality, 48.
External senses distinguished into two
kinds, 9. External sense, 447.
External signs of emotions and passions,
chap. xv. External signs of passion, what
emotions they raise in a spectator, 55, &c.
Eyesight influenced by passion, 86.
134, 135.
FACE, though uniformity prevail in the
human face, yet every face is distin-
guishable from another, 153.
Faculty by which we know passion
from its external signs, 198.
Fairy Queen criticised, 354.
False quantity painful to the ear, 283.
Fame, love of, 93.
Familiarity, its effect, 60. 122. 360. It
wears off by absence, 126.
Fashion, its influence accounted for,
39. Fashion is in a continual flux, 100.
Fear explained, 44, &c. Rises often
to its utmost pitch in an instant, 61.
Fear arising from affection or aversion,
ib. Fear is infectious, 83.
Feeling, its different significations, 448.
Fiction, emotions raised by fiction,
47, &c.
Figure, beauty of, 97. Definition of a
regular figure, 454.
Figures, some passions favourable to
figurative expression, 223. 319.
Figures, chap. xx. Figure of speech,
335. 350. 359, &c. Figures were of old
much strained, 310, 353.
Final cause defined, 164. Final cause
of our sense of order and connexion, 23.
Of the sympathetic emotion of virtue, 37,
38. Of the instinctive passion of fear, 45.
Of the instinctive passion of anger, 47.
that fiction has over the mind, 54. Of
emotions and passions, 89, &c. Of the
communication of passion to related ob-
jects, 93. Of regularity, uniformity, order,
and simplicity, 98. Of proportion, ib. Of
beauty, 100. Why certain objects are
neither pleasant nor painful, 105, 106.
118. Of the pleasure we have in motion
and force, 121. Of curiosity, 122. Of
wonder, 127. Of surprise, ib. Of the
principle that prompts us to perfect every
work, 137. Of the pleasure or pain that
results from the different circumstances
of a train of perceptions, 147, &c. Of
congruity and propriety, 159, &c. Of
dignity and meanness, 164, &c. Of habit,
188, &c. Of the external signs of passion
and emotion, 195. 199, &c. Why arti-
culate sounds singly agreeable are always
agreeable in conjunction, 235. Of the
pleasure we have in language, 386. Of
our relish for various proportions in quan-
tity, 428. Why delicacy of taste is with
held from the bulk of mankind, 440. Of
our conviction of a common standard in
every species of beings, 441. Of uni-
formity of taste in the fine arts, 442, 443.
Why the sense of a right and a wrong in
the fine arts is less clear than the sense
of a right and a wrong in actions, 444.
Final cause of greater importance than
the efficient cause, 164.
Fine arts defined, 11. 15. A subject
of reasoning, 12. Education promoted
by the fine arts, 13. 425. The fine arts a
great support to morality, 12, &c. 424.
438, &c. Their emotions ought to be
contrasted in succession, 139. Uniformity
and variety in the fine arts, 148. Consi-
dered with respect to dignity, 163. How
far they may be regulated by custom, 189.
None of them are imitative but painting
and sculpture, 233. Aberrations from a
true taste in these arts, 443. Who quali-
fied to be judges in the fine arts, 445.
Fluid, motion of fluids, 119.
Foot, the effect that syllables collected
into feet have upon the ear, 249. Musi-
cal feet defined, 276, note.
A list of
verse-feet, 308.
Force produces a feeling that resem-
bles it, 87. Force, chap. v. Moving
force, 120. Force gives a pleasure dif-
fering from that of motion, ib. It con-
tributes to grandeur, ib.
Foreign, preference given to foreign
curiosities, 126.
Fountains, in what form they ought to
be, 199.
French dramatic writers criticised,
206, note 218. 414.
French verse requires rhyme, 306.
French language more lively to the ear
than the English, 295, note. In French
words the last syllable generally long and
accented, ib.
Friendship considered with respect to
dignity and meanness, 163.
GALLERY, why it appears longer than
it is in reality, 419. Is not an agreeable
figure of a room, 430.
Games, public games of the Greeks, 120.
Gardening, a fine garden gives a lustre
to the owner, 40, note. Grandeur of man-
ner in gardening, 113. Its emotions ought
to be contrasted in succession, 139. A
small garden should be confined to a sin-
gle expression, 140. 415. A garden near
a great city should have an air of soli.
tude, 140. A garden in a wild country
should be gay and splendid, ib. Garden-
ing, chap. xxiv. What emotions can be
raised by it, 415. Its emotions compared
with those of architecture, 416. Simpli-
city ought to be the governing taste, ib.
Wherein the unity of a garden consists,
418. How far should regularity be stu-
died in it, ib. Resemblance carried too
far in it, ib. note. Grandeur in gardening,
ib. Every unnatural object ought to be
rejected, 420. Distant and faint imita
tions displease, ib. Winter-garden, 422,
423. The effect of giving play to the
imagination, 424. Gardening inspires
benevolence, 425. And contributes to
rectitude of manners, 438.
General idea, there cannot be such a
thing, 451, note.
General terms should be avoided in
compositions for amusement, 113. 381.
General theorems, why agreeable, 99.
Generic habit defined, 185.
Generosity, why of greater dignity
than justice, 162.
Gestures that accompany the different
passions, 193-195.
Gierusalemme Liberata censured, 397.
Globe, a beautiful figure, 150.
Good-nature, why of less dignity than
courage or generosity, 162.
Gothic tower, its beauty, 426. Gothic
form of buildings, 431.
Government, natural foundation of
submission to government, 93.
Grace, chap. xi. Grace of motion,
121. Grace analyzed, 165, &c.
Grandeur and sublimity, chap. iv. Dis-
tinguished from beauty, 103. Grandeur
demands not strict regularity, ib. Regula-
rity, order, and proportion, contribute to
grandeur, ib. Real and figurative grandeur
intimately connected, 108. Grandeur of
manner, 111. Grandeur may be employ-
ed indirectly to humble the mind, 114.
Suits ill with wit and ridicule, 140. Fixes
the attention, 142. Figurative grandeur
distinguished from figurative elevation,
318. Grandeur in Gardening, 418. Ir-
regularity and disproportion increase in
appearance the size of a building, 432.
Gratification of passion, 29. 33. 74. 79.
329, &c. 341. 343. Obstacles to gratifi-
cation inflame a passion, 62.
Gratitude considered with respect to
its gratification, 62. Exerted upon the
children of the benefactor, 77. Punish-
ment of ingratitude, 160. Gratitude con-
sidered with respect to dignity and mean-
ness, 163.
Greek words finely composed of long
and short syllables, 304.
Grief magnifies its cause, 78. Occa-
sions a false reckoning of time, 85. Is
infectious, 88. When immoderate is si-
lent, 222.
Group, natural objects readily form
themselves into groups, 150.
Guido censured, 357.
HABIT, chap. xiv. Prevails in old age,
142. Habit of application to business,
144. 146. 148. Converts pain into plea-
sure, 148. Distinguished from custom,
181. Puts the rich and poor upon a
level, 189.
Harmony or concord in objects of
sight, 64, 65. Harmony distinguished
from melody, 274, note.
Hatred, how produced, 61. Signifies
more commonly affection than passion,
ib. Its endurance, 63.
Hearing, in hearing we feel no im-
pression, 449.
Henriade censured. 373. 397. 399.
Hexameter, Virgil's hexameters ex-
tremely melodious, those of Horace sel-
dom so, 274. And the reason why they
are not, 281. Structure of an hexameter
line, 276. Rules for its structure, 277,
278. Musical pauses in an hexameter
line, 276, note. Wherein its melody
consists, 281.
Hippolytus of Euripides censured,
219. 412.
History, why the history of heroes and
conquerors is singularly agreeable, 37.
109. By what means does history raise
our passions, 51. It rejects poetical
images, 370, 371.
History painting. See Painting.
Homer defective in order and con-
nexion, 21. His language finely suited
to his subject, 380. His repetitions de-
fended, 383. His poems in a great mea-
sure dramatic, 390. Censured, 398.
Hope, 61.
Horace defective in connexion, 21.
His hexameters not melodious, 274.
Their defects pointed out, 281.
Horror, objects of horror should be ba-
nished from poetry and painting, 387.
House, a fine house gives lustre to the
owner, 40, note.
Human nature a complicated machine,
Humanity the finest temper of mind,58.
Humour defined, 168. Humour in
writing distinguished from humour in
character, ib.
Hyperbole, 116, 343.
Hyppobachius, 308.
Innate idea, there cannot be such a
thing, 451, note.
Instinct, we act sometimes by instinct,
29. 45, &c.
Instrument, the means or instrument
conceived to be the agent, 346.
Intellectual pleasure, 10.
Internal sense, 447.
Intrinsic beauty, 96.
Intuitive conviction of the variety of
our senses, 48. Of the dignity of human
nature, 162. 442. Of a common nature
or standard in every species of beings,
IAMBIC verse, its modulation faint, 274. 440. Of this standard being invariable,
Iambus, 308.
Jane Shore censured, 209. 215.
Idea not so easily remembered as a
perception is, 84, 85. Succession of ideas,
141. Pleasure and pain of ideas in a
train, 145, &c. Idea of memory defined,
449. Cannot be innate, 451, note. There
are no general ideas, ib. Idea of an ob-
ject of sight more distinct than of any
other object, 452. Ideas distinguished
into three kinds, 453. Ideas of imagina-
tion not so pleasant as ideas of memory,
455.
Ideal presence, 49, &c.
theatrical representation, 51.
painting, ib.
Ideal system, 450, note.
Identity of a passion or of an emotion,
Imitation, we naturally imitate virtuous
actions, 88. Not those that are vicious,
89. Inarticulate sounds imitated in
words, 266. None of the fine arts imi-
tate nature except painting and sculpture,
233. The agreeableness of imitation
overbalances the disagreeableness of the
subject, 386. Distant and faint imita-
tions displease, 420.
Impression made on the organ of sense,
9. 449. Successive impressions, 238, 239.
Impropriety in action raises contempt,
128. Its punishment, 158.
Impulse, a strong impulse succeeding
a weak makes a double impression; a
weak impulse succeeding a strong makes
scarce any impression, 238.
Infinite series becomes disagreeable
when prolonged, 137, note.
441. And of its being perfect or right,
ib. Intuitive conviction that the external
signs of passion are natural, and also that
they are the same in all men, 198, 199.
Intuitive knowledge of external ob-
jects, 48.
Inversion and inverted style described,
252, &c. Inversion gives force and live-
liness to the expression by suspending the
thought till the close, 261. Inversion how
regulated, 265, 266. Beauties of inver-
sion, 265, 266. Inversion favourable to
pauses, 289. Full scope for it in blank
verse, 301.
Involuntary signs of passion, 193—
Joy, its cause, 34, 35. Infectious, 88.
Considered with respect to dignity and
meanness, 163.
Iphigenia of Racine censured, 190.
Iphigenia in Tauris censured, 228. 412,
Italian tongue too smooth, 237, note.
Italian words finely diversified by long
and short syllables, 236, note.
Judgment and memory in perfection
seldom united, 19. Judgment seldom
united with wit, ib.
Julius Cæsar of Shakspeare censured,
220, 221.
Justice of less dignity than generosity
or courage, 162.
KENT, his skill in gardening, 417.
Key-note, 271.275.
Kitchen-garden, 414.
Knowledge, intuitive knowledge of ex-
ternal objects, 48. Its pleasures never
decay, 188.
LABYRINTH in a garden, 420.
Landscape, why so agreeable, 65. 153.
More agreeable when comprehended un-
der one view, 419. A landscape in paint-
ing ought to be confined to a single ex-
pression, 140. Contrast ought to prevail
in it, 149.
Language, power of language to raise
emotions, whence derived, 50, 51. Lan-
guage of passion, chap. xvii. Ought to be
suited to the sentiments, 202, 223, 224,
225. Broken and interrupted, 223. Of
impetuous passion, 224. Of languid pas-
sion, ib. Of calm emotions, ib. Of tur-
bulent passions, ib. Examples of lan-
guage elevated above the tone of the sen-
timent, 230. Of language too artificial,
or too figurative, ib. too light or airy,
231. Language how far imitative, 233.
Its beauty with respect to signification.
233, 234. 233, &c. Its beauty with re-
spect to sounds, 234, &c. It ought to
correspond to the subject, 241.377. Its
structure explained, 250, &c. Beauty
of language from a resemblance betwixt
sound and signification, 233. 266, &c.
The character of a language depends on
the character of the nation whose lan-
guage it is, 295, note. The force of lan-
guage consists in raising complete images,
53. Its power of producing pleasant
emotions, 386. Without language man
would scarcely be a rational being, 460.
Latin tongue finely diversified with
long and short syllables, 303.
L'Avare of Moliere censured, 220.
Laughter, 128.
Laugh of derision or scorn, 158.
Law defined, 160.
Laws of human nature necessary suc-
cession of perceptions, 17.141. We never
act but through the impulse of desire, 28.
89. An object loses its relish by fami-
liarity, 60. Passions sudden in their
growth are equally sudden in their decay,
62. 184. Every passion ceases upon ob-
taining its ultimate end, 63. An agree-
able cause produceth always a pleasant
emotion, and a disagreeable cause
painful emotion, 89.
Laws of motion agreeable, 99.
monly affection than passion, 61. Love
inflamed by the caprices of a mistress, 62.
Its endurance, ib. To a lover absence
appears long, 82. Love assumes the
qualities of its object, 88. When exces
sive becomes selfish, 101. Considered
with respect to dignity and meanness,163.
Seldom constant when founded on ex-
quisite beauty, 187. Il represented in
French plays, 218. When immoderate is
silent, 223.
Love for Love censured, 405.
Lowness is neither pleasant nor pain-
ful, 105.
Lucan too minute in his descriptions,
113. censured, 390.
Ludicrous, 128. May be introduced
into an epic poem, 141.
Lutrin censured for incongruity, 155,
characterized, 167.
Luxury corrupts our taste, 444.
MACHINERY ought to be excluded from
an epic poem, 54. 396. Does well in a
burlesque poem, 54.
Malice how generated, 61. Why it is
perpetual, 62.
Man a benevolent as well as a selfish
being, 90. Fitted for society, 93. Con-
formity of the nature of man to his exter
nal circumstances, 105. 119. 121. 152.
200. Man intended to be more active
than contemplative, 164. The different
branches of his internal constitution fine-
ly suited to each other, 429. 443.
Manners gross and refined, 58. The
bad tendency of rough and blunt man-
ners, 200, note. Modern manners make
a poor figure in an epic poem, 394.
Manufactures, the effect of their pro
ductions with respect to morality, 254,
Marvellous in epic poetry, 398.
Means, the means or instrument con-
Les Freres Ennemies of Racine cen- ceived to be the agent, 346, &c.
sured, 212, note.
Measure, natural measure of time, 82,
Of space, 85, &c.
Lewis XIV. of France censured, 154. &c.
note.
Lex talionis, upon what principle
founded, 138.
Line, definition of a regular line, 454.
Littleness is neither pleasant nor pain-
ful, 105. Is connected with respect and
humility, 193, note.
Locke censured, 450, note.
Logic, cause of its obscurity and intri-
cacy, 199.
Logic improper in this climate, 427.
Love to children accounted for, 40.
The love a man bears to his country ex-
plained, 42. Love produced by pity, 43.
Love gradual, 60. It signides more com-
Meaux (Bishop of) censured, 139.
Medea of Euripides censured, 412.
Melody or modulation defined, 274.
Distinguished from harmony, ib. note.
In English heroic verse are four different
sorts of melody, 284. 295. Melody of
blank verse superior to that of rhyme,
and even to that of hexameter, 301.
Members of a period have a fine ef-
fect placed in an increasing series, 238,
Memory and judgment in perfection
seldom united, 19. Memory and wit
often united, ib. Greater with respect
to perceptions than ideas, 84. Memory,
449.
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