Part 18

41. Abstract ideas, may, I think, be distinguished into three different kinds, all equally subservient to the reasoning faculty. Individuals appear to have no end; and did we not possess the faculty of distributing them into classes, the mind would be lost in an endless variety, and no progress be made in knowledge. It is by the faculty of abstraction that we distribute beings into _genera_ and _species_: finding a number of individuals connected by certain qualities common to all, we give a name to these individuals considered as thus connected; which name, by gathering them together into one class, serves in a curt manner to express the whole of these individuals as distinct from others. Thus the word _animal_ serves to denote every being which hath self-motion; and the words _man_, _horse_, _lion_, &_c._ answer similar purposes. This is the first and most common sort of abstraction; and it is of the most extensive use, by enabling us to comprehend in our reasoning whole kinds and sorts, instead of individuals without end. The next sort of abstract ideas and terms comprehends a number of individual objects considered as connected by some occasional relation. A great number of persons collected together in one place, without any other relation but merely that of contiguity, are denominated _a crowd_: in forming this term, we abstract from sex, from age, from condition, from dress, &_c._ A number of persons connected by being subjected to the same laws and to the same government, are termed _a nation_; and a number of men subjected to the same military command, are termed _an army_. A third sort of abstraction is, where a single property or part, which may be common to many individuals, is selected to be the subject of our contemplation; for example, whiteness, heat, beauty, length, roundness, head, arm.

42. Abstract terms are a happy invention: it is by their means chiefly, that the particulars which we 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 would perpetually be in hazard of assuming foreign circumstances or neglecting what are essential. In a word, a general term denotes in a curt manner certain objects occasionally combined. We can, without the aid of language, compare real objects by intuition, when these objects are present; and, when absent, we can compare them by means of the ideas we have of them: 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 abstract to purpose without making use of general terms. Hence it follows, that without language man would scarce be a rational being.

43. 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.

INDEX.

[The volumes are denoted by numeral letters, the pages by figures.]

Abstract idea) defined iii. 402. Abstract ideas of different kinds iii. 403.

Abstraction) power of iii. 401. Its use iii. 402. 403.

Abstract terms) ought to be avoided in poetry i. 294. iii. 198. Cannot be compared but by being personified iii. 6. Personified iii. 65. Defined iii. 402. The use of abstract terms iii. 405.

Accent) defined ii. 361. The musical accents that are necessary in an hexameter line ii. 376. A low word must not be accented ii. 405. Rules for accenting English heroic verse ii. 415. How far affected by the pause ii. 422. &_c._ Accent and pause have a mutual influence ii. 428.

Action) what feelings are raised by human actions i. 48. 49. 276. We are impelled to action by desire i. 55. Some actions are ultimate, some are means leading to an end i. 57. Actions great and elevated, low and groveling i. 276. Emotions occasioned by propriety of action ii. 13. Occasioned by impropriety of action ii. 14. Human actions produce a great variety of emotions ii. 28. Human actions considered with respect to dignity and meanness ii. 35. We are conscious of internal action as in the head iii. 377. Internal action may exist without our being conscious of it iii. 377.

Actor) bombast action i. 308. An actor ought to feel the passion he represents ii. 153.

Admiration) defined i. 320.

Affectation) defined ii. 11.

Affection) to children accounted for i. 82. To blood-relations accounted for i. 83. To property accounted for i. 84. Affection to children endures longer than any other affection i. 150. Opinion and belief influenced by affection i. 199. Affection defined ii. 87. iii. 394.

Agamemnon) of Seneca censured ii. 193.

Agreeable emotions and passions i. 127. &_c._

Alcestes) of Euripides censured iii. 286. 289.

Alexandre of Racine) censured ii. 177.

Allegory iii. 108. &_c._ More difficult in painting than in poetry iii. 129. In an historical poem iii. 248.

All for Love) of Dryden censured ii. 202.

Ambiguity) occasioned by a wrong arrangement ii. 297.

Amynta) of Tasso censured ii. 167.

_Amor patriæ_) accounted for i. 88.

Amphibrachys ii. 460.

Amphimacer ii. 460.

Analytic) and synthetic methods of reasoning compared i. 31.

Anapæstus ii. 460.

Anger) explained i. 95. &_c._ Sometimes exerted against the innocent i. 191. And even against things inanimate i. 191. Not infectious i. 221. Has no dignity in it ii. 33.

Animals) distributed by nature into classes iii. 356.

Antibacchius ii. 460.

Anticlimax ii. 345.

Antispastus ii. 461.

Antithesis ii. 73. 262. Verbal antithesis ii. 268.

Apostrophe iii. 87. &_c._

Appearance) in poetry, things ought to be described as they appear, not as they are in reality iii. 172.

Appetite) defined i. 59. Appetites of hunger, thirst, animal love, arise without an object i. 73. Appetite for fame or esteem i. 237.

Architecture ch. 24. iii. 294. Grandeur of manner in architecture i. 294. The situation of a great house ought to be lofty ii. 7. A playhouse or a music-room susceptible of much ornament ii. 9. What emotions can be raised by architecture iii. 297. Its emotions compared with those of gardening iii. 297. Every building ought to have an expression suited to its destination iii. 298. 338. Simplicity ought to be the governing taste iii. 300. Regularity ought to be studied iii. 301. External form of dwelling-houses iii. 324. Divisions within iii. 324. 340. A palace ought to be regular, but in a small house convenience ought chiefly to be studied iii. 326. The form of a dwelling-house ought to be suited to the climate iii. 327. Propriety ought to be studied in architecture iii. 338. Governed by principles which produce opposite effects iii. 342. Different ornaments employed by it iii. 342. Allegorical or emblematic ornaments iii. 347. Architecture inspires a taste for neatness and regularity iii. 350.

Architrave iii. 344.

Ariosto) censured iii. 264.

Aristæus) the episode of Aristæus in the Georgics censured ii. 457.

Army) defined iii. 405.

Arrangement) the best arrangement of words is to place them as much as possible in an increasing series ii. 251.

Articulate sounds) how far agreeable to the ear ii. 240.

Artificial mount iii. 313.

Ascent) pleasant, but descent not painful i. 273.

Athalie) of Racine censured ii. 193.

Attention) defined iii. 396. Impression which objects make depends on the degree of attention iii. 396. Attention not always voluntary iii. 398.

Attractive emotions ii. 133.

Attractive object i. 226.

Attributes) transferred from one subject: to another iii. 100. &_c._

Avarice) defined i. 52.

Avenue) to a house iii. 312.

Aversion) defined ii. 87. iii. 395.

Bacchius ii. 460.

Barren scene) defined iii. 266.

Base) of a column iii. 346.

Basso-relievo iii. 347.

Batrachomuomachia) censured ii. 42.

Beauty, ch. 3. i. 241. Intrinsic and relative i. 244. Beauty of simplicity i. 247. of figure i. 248. of the circle i. 251. of the square i. 251. of a regular polygon i. 252. of a parallelogram i. 252. of an equilateral triangle i. 253. Beauty, whether a primary or secondary quality of objects i. 260. Distinguished from congruity ii. 8. Great beauty seldom produces a constant lover ii. 101. Beauty proper and figurative iii. 388.

Belief) fortified by a lively narrative or a good historical painting i. 122. influenced by passion i. 196. iii. 55. 89 influenced by propensity i. 199. influenced by affection i. 199.

Benevolence) joins with self-love to make us happy i. 228. inspired by gardening iii. 320.

Blank verse ii. 381. 435. Its aptitude for inversion ii. 438. Its melody ii. 439. &_c._

Body) defined iii. 406.

Boileau) censured iii. 242.

Bombast i. 303. Bombast in action i. 308.

Burlesk) machinery does well in a burlesk poem i. 125. Burlesk distinguished into two kinds ii. 41.

Cadence ii. 348. 362.

Capital) of a column iii. 346.

Careless Husband) its double plot well contrived iii. 253.

Cascade i. 314.

Cause) resembling causes may produce effects that have no resemblance: and causes that have no resemblance may produce resembling effects ii. 337. &_c._ Cause defined iii. 406.

Chance) the mind revolts against misfortunes that happen by chance iii. 232.

Character) to draw a character is the master-piece of description iii. 182.

Characteristics) of Shaftesbury criticised ii. 10. Note.

Children) love to them accounted for i. 82.

Chinese gardens iii. 316. Wonder and surprise studied in them iii. 319.

Choreus ii. 459.

Choriambus ii. 461.

Chorus) an essential part of the Grecian tragedy iii. 270.

Church) what ought to be its form and situation iii. 338.

Cicero) censured ii. 329. 350.

Cid) of Corneille censured ii. 166. 198.

Cinna) of Corneille censured ii. 11. 161. 194.

Circle) its beauty i. 251.

Circumstances) in a period, how they ought to be arranged ii. 314. &_c._

Class) all living creatures distributed into classes iii. 356.

Climax) in sense i. 281. ii. 322. in sound ii. 252.

Coephores) of Eschylus censured ii. 114.

Coexistent) emotions and passions i. 151. &_c._

Colonnade) where proper iii. 327.

Colour) a secondary quality i. 259.

Columns) every column ought to have a base i. 218. The base ought to be square i. 218. 219. Columns admit different proportions iii. 332. What emotions they raise iii. 339. Column more beautiful than a pilaster iii. 344. Its form iii. 346.

Comedy) double plot in a comedy iii. 253.

Commencement) the commencement of a work ought to be modest and simple iii. 171.

Common nature) in every species of animals iii, 356. We have a conviction that this common nature is perfect or right iii. 357. Also that it is invariable iii. 357.

Common sense iii. 359. 373.

Comparison i. 346. &_c._ Ch. 19. iii. 3. Comparisons that resolve into a play of words iii. 42.

Complex emotion i. 152. 154. 155.

Complex perception iii. 383.

Complexion) white suits with a pale complexion, black with a dark complexion, and scarlet with one that is over-flushed i. 369.

Conception) defined iii. 379.

Concord) or harmony in objects of sight i. 156.

Concordant sounds) defined i. 151.

Congreve) censured iii. 258.

Congruity and propriety, ch. 10. ii. 3. Congruity distinguished from beauty ii. 8. distinguished from propriety ii. 8. Congruity coincides with proportion with respect to quantity ii. 19.

Connection) necessary in all compositions i. 34.

Conquest of Granada) of Dryden censured ii. 201.

Consonants ii. 239.

Constancy) great beauty the cause generally of inconstancy ii. 101.

Construction) of language explained ii. 285.

Contempt) raised by improper action i. 340.

Contrast i. 345. &_c._ Its effect in gardening iii. 317.

Conviction) intuitive. _See_ Intuitive conviction.

Copulative) to drop the copulatives enlivens the expression ii. 281. &_c._

Coriolanus) of Shakespear censured ii. 200.

Corneille) censured ii. 159. 216.

Corporeal pleasure i. 1. 2. low and sometimes mean ii. 32.

Couplet ii. 381.

Courage) of greater dignity than justice. Why? ii. 31.

Creticus ii. 460.

Criminal) the hour of execution seems to him to approach with a swift pace i. 202.

Criticism) its advantages i. 8. 9. 10. 11. 12. 13. its terms not accurately defined ii. 139.

Crowd) defined iii. 404.

Curiosity i. 320. 345. &_c._

Custom and habit, ch. 14. ii. 81. Custom distinguished from habit ii. 82.

Dactyle ii. 364. &_c._ 460.

Declensions) explained ii. 288. 289.

Delicacy) of taste i. 136.

Derision ii. 16.

Descent) not painful i. 273.

Description) it animates a description to represent things past as present i. 118. The rules which ought to govern it iii. 169. &_c._ A lively description is agreeable, though the subject described be disagreeable iii. 208. Description cannot reach any object but those of sight iii. 385.

Descriptive personification iii. 64.

Descriptive tragedy ii. 155.

Desire) defined i. 55. It impels us to action i. 55. It determines the will i. 222. Desire in a criminal of self-punishment i. 232. Desire tends the most to happiness when moderate i. 263.

Dialogue) dialogue-writing requires great genius ii. 151. 152. 153. In dialogue every expression ought to be suited to the character of the speaker iii. 196. Rules for its composition iii. 256.

Dignity and meanness, ch. 11. ii. 27. Dignity of human nature iii. 361.

Diianibus ii. 461.

Disagreeable emotions and passions i. 127. &_c._

Discordant sounds) defined i. 152.

Dispondeus ii. 461.

Disposition) defined iii. 394.

Dissimilar emotions i. 153. Their effects when co-existent i. 159. iii. 303. 337.

Dissimilar passions) their effects i. 171.

Dissocial passions i. 62. Dissocial passions all painful i. 131. and also disagreeable i. 134.

Ditrochæus ii. 461.

Door) its proportion iii. 322.

Double action) in an epic poem iii. 264.

Double-dealer) of Congreve censured ii. 193. iii. 266.

Double plot) in a dramatic composition iii. 251.

Drama) ancient and modern drama compared iii. 280.

Dramatic poetry iii. 218. &_c._

Drapery ought to hang loose i. 219.

Dress) rules about dress ii. 10. iii. 300.

Dryden) censured iii. 128. 257. 267.

Duties) moral duties of two kinds, respecting ourselves and respecting others ii. 20. Foundation of duties that respect ourselves ii. 21. Of those that respect others ii. 21.

Effects) resembling effects may be produced by causes that have no resemblance ii. 337. &_c._ Effect defined iii. 406.

Electra) of Sophocles censured ii. 115.

Elevation i. 264. &_c._ real and figurative intimately connected i. 279. Figurative elevation distinguished from figurative grandeur iii. 21. 22.

Emotion) no pleasure of external sense except of seeing and hearing is termed an _emotion_ or _passion_ i. 42. Emotions defined i. 46. 47. and their causes assigned i. 47. &_c._ Emotion distinguished from passion i. 52. &_c._ Emotions generated by relations i. 76. &_c._ Primary, secondary i. 81. Raised by fiction i. 104. &_c._ Division of emotions into pleasant and painful, agreeable and disagreeable i. 127. &_c._ iii. 387. The interrupted existence of emotions i. 139. &_c._ Their growth and decay i. 139. &_c._ Their identity i. 141. Co-existent emotions i. 151. &_c._ Emotions similar and dissimilar i. 153. Complex emotion i. 154. 155. Effects of similar emotions when co-existent i. 155. iii. 336. Effects of dissimilar emotions when co-existent i. 159. iii. 303. 337. Emotions resemble their causes i. 217. &_c._ Emotion of grandeur i. 266. &_c._ of sublimity i. 269. A low emotion i. 276. Emotion of laughter i. 337. of ridicule i. 341. Emotions when contrasted ought not to be too slow or too quick in their succession i. 373. Emotions raised by the fine arts ought to be contrasted in succession i. 374. Emotion of congruity ii. 12. of propriety ii. 12. Emotions produced by human actions ii. 28. Emotions ranked according to their dignity ii. 32. External signs of emotions ch. 15. ii. 116. Attractive and repulsive emotions ii. 133. Emotion and passions expanded upon related objects i. 76. &_c._ ii. 312. &_c._ 336. 372. 415. 416. iii. 60. &_c._ 139. 140. Gratification of emotions i. 183. &_c._ 203. 358. iii. 98. What emotions do best in succession, what in conjunction iii. 302. Man is passive with regard to his emotions iii. 377. We are conscious of emotions as in the heart iii. 377.

Emphasis) must not be put upon a low word ii. 405.

Eneid) its unity of action iii. 263.

English plays) generally irregular iii. 292.

English tongue) too rough ii. 247. It is peculiarly qualified for personification iii. 63. Note.

Envy) defined i. 55. It magnifies every bad quality in its object i. 187.

Epic poem) no improbable fact ought to be admitted in it i. 124. Machinery in it has a bad effect i. 125. It doth not always reject ludicrous images i. 378. We pardon many faults in it which are intolerable in a sonnet or epigram i. 299. Its commencement ought to be modest and simple iii. 171. In what respect it differs from a tragedy iii. 218. Distinguished into pathetic and moral iii. 221. Its good effects iii. 223. Compared with tragedy as to the subjects proper for each iii. 225. How far it may borrow from history iii. 234. Rule for dividing it into parts iii. 236.

Epic poetry ch. 22. iii. 218.

Episode) in an historical poem iii. 250.

Epistles dedicatory) censured ii. 6. Note.

Epithets) redundant iii. 206.

Epitritus ii. 462.

Esteem) love of i. 237. 286.

Esther) of Racine censured ii. 193. 198.

Evergreens) cut in the shape of animals iii. 309.

Expression) elevated, low i. 276. Expression that has no distinct meaning ii. 232. Two members of a sentence which express a resemblance betwixt two objects ought to have a resemblance to each other ii. 270. &_c._

External senses) distinguished into two kinds i. I. External sense iii. 375.

External signs) of emotions and passions ch. 15. ii. 116. External signs of passion, what emotions they raise in a spectator ii. 131. &_c._

Faculty) by which we know passion from its external signs ii. 136.

Fairy Queen) criticised iii. 120.

False quantity) painful to the ear ii. 386.

Fame) love of i. 237.

Fashion) its influence accounted for i. 80. Fashion is in a continual flux i. 256.

Fear) explained i. 95. &_c._ rises often to its utmost pitch in an instant i. 148. is infectious i. 221.

Feeling) its different significations iii. 379.

Fiction) emotions raised by fiction i. 104. &_c._

Figure) beauty of i. 248. Definition of a regular figure iii. 389.

Figures) some passions favourable to figurative expression ii. 208. Figures ch. 20. iii. 53. Figure of speech iii. 70. 113. 136. &_c._

Final cause) of our sense of order and connection i. 41. of the sympathetic emotion of virtue i. 74. of the instinctive passion of fear i. 96. 97. of the instinctive passion of anger i. 103. of ideal presence i. 121. of the power that fiction has on the mind i. 126. of emotions and passions i. 222. &_c._ of regularity, uniformity, order, and simplicity i. 249. 251. of proportion i. 250. of beauty i. 262. why certain objects are neither pleasant nor painful i. 272. 309. of the pleasure we have in motion and force i. 318. of curiosity i. 320. of wonder i. 335. of surprise i. 336. of the principle that prompts us to perfect every work i. 366. of the pleasure or pain that results from the different circumstances of a train of perceptions i. 397. &_c._ of congruity and propriety ii. 18. &_c._ of dignity and meanness ii. 35. &_c._ of habit ii. 106. &_c._ of the external signs of passion and emotion ii. 127. 137. &_c._ why articulate sounds singly agreeable are always agreeable in conjunction ii. 241. of the pleasure we have in language iii. 208. of our relish for various proportions in quantity iii. 333. of our conviction of a common standard in every species of beings iii. 362. of uniformity of taste in the fine arts iii. 363. 364. why the sense of a right and a wrong in the fine arts is less clear and authoritative than the sense of a right and a wrong in actions iii. 368.

Fine arts) defined i. 6. 7. 16. a subject of reasoning i. 8. Their emotions ought to be contrasted in succession i. 374. considered with respect to dignity ii. 34. How far they may be regulated by custom ii. 108. None of them are imitative but painting and sculpture ii. 234. Aberrations from a true taste in these arts iii. 366. Who are qualified to be judges in the fine arts iii. 371.

Fluid) motion of fluids i. 311.

Foot) a list of verse feet ii. 459.

Force) produces a feeling that resembles it i. 218. Force i. 309. &_c._ Moving force i. 312. The pleasure of force differs from that of motion i. 313. It contributes to grandeur i. 315.

Foreign) preference given to foreign curiosities i. 331.

Fountains) in what form they ought to be iii. 313.

Friendship) considered with respect to dignity and meanness ii. 33.

Games) public games of the Greeks i. 314.

Gardening) grandeur of manner in gardening i. 294. Its emotions ought to be contrasted in succession i. 375. A small garden ought to be confined to a single expression i. 376. A garden near a great city ought to have an air of solitude i. 376. A garden in a wild country ought to be gay and splendid i. 377. Gardening ch. 24. iii. 294. What emotions can be raised by it iii. 296. Its emotions compared with those of architecture iii. 297. Simplicity ought to be the governing taste iii. 300. Wherein the unity of a garden consists iii. 304. How far ought regularity to be studied in it iii. 305. Resemblance carried too far in it iii. 305. Note. Grandeur in gardening iii. 306. Every unnatural object ought to be rejected iii. 308. Distant and faint imitations displease iii. 309. The effect of giving play to the imagination iii. 318. Gardening inspires benevolence iii. 320. and contributes to rectitude of manners iii. 350.

General idea) there cannot be such a thing iii. 383. Note.

General terms) ought to be avoided in compositions for amusement iii. 198.

General theorems) why they are agreeable i. 255.

Generic habit) defined ii. 95.

Generosity) why of greater dignity than justice ii. 31.

Genus) defined iii. 399.

Gestures) that accompany the different passions ii. 120. 121. 125.

_Gierusalleme liberata_) censured iii. 242. 249.

Good nature) why of less dignity than courage or generosity ii. 31.

Gothic tower) its beauty iii. 324.

Government) natural foundation of submission to government i. 236.

Grandeur) demands not strict regularity i. 257. 298. Grandeur and sublimity Ch. 4. i. 264. Real and figurative grandeur intimately connected i. 279. Grandeur of manner i. 288. Grandeur may be employed indirectly to humble the mind i. 300. Suits ill with wit and ridicule i. 377. Figurative grandeur distinguished from figurative elevation iii. 21. 22. Grandeur in gardening iii. 306. Regularity and proportion hide the grandeur of a building iii. 342.

Gratification) of passion i. 58. 59. 65. 66. 183. _&c._ 203. 358. iii. 98.