Part 19

Gratitude) exerted upon the children of the benefactor i. 187. Punishment of ingratitude ii. 25. Gratitude considered with respect to dignity and meanness ii. 33.

Grief) magnifies its cause i. 190. occasions a false reckoning of time i. 211. is infectious i. 220. when immoderate is silent ii. 204.

Gross pleasure i. 137.

Guido) censured iii. 131.

Habit) ch. 14. ii. 81. distinguished from custom ii. 82.

Harmony) or concord in objects of sight i. 156. Distinguished from melody ii. 358. Note.

Hatred) signifies more commonly affection than passion i. 146.

Hearing) in hearing we feel no impression iii. 380.

Henriade) censured iii. 178. 236. 243. 249.

Hexameter) Virgils hexameters extremely melodious; those of Horace not always so ii. 357. Structure of an hexameter line ii. 364. Rules for its structure ii. 367. Musical pauses in an hexameter line ii. 368. Wherein its melody consists ii. 380.

Hippolytus) of Euripides censured ii. 197. iii. 286. 288.

History) histories of conquerors and heroes singularly agreeable. Why? i. 72. 285. By what means does history raise our passions i. 115. 118. It rejects poetical images iii. 170.

Homer) defective in order and connection i. 35. His language finely suited to his subject iii. 194. His repetitions defended iii. 204. His poems in a great measure dramatic iii. 220. censured iii. 246.

Horace) defective in connection i. 35. His hexameters not always melodious ii. 358. Their defects pointed out ii. 380.

Horror) objects of horror ought to be banished from poetry and painting iii. 213.

Humour) defined ii. 44. Humour in writing distinguished from humour in character ii. 44.

Hyperbole iii. 89.

Hyppobacchius ii. 460.

Iambic verse) its modulation faint ii. 358.

Iambus ii. 459.

Jane Shore) censured ii. 168.

Idea) succession of ideas i. 381. Idea of memory defined iii. 382. cannot be innate iii. 382. Note. No general ideas iii. 383. Note. Idea of an object of sight more distinct than of any other object iii. 384. Ideas distinguished into three kinds iii. 386. Idea of imagination not so pleasant as an idea of memory iii. 393.

Ideal presence i. 107. &_c._

Identity) of passions and emotions i. 141.

_Jet d’eau_ i. 313. 314. iii. 308. 310.

Jingle of words ii. 231.

Iliad) criticised iii. 263.

Imagination) not always at rest even in sleep i. 337. Effect in gardening of giving play to it iii. 318. Its power of fabricating images iii. 385.

Imitation) we naturally imitate virtuous actions i. 220. not those that are vicious i. 221. None of the fine arts imitate nature except painting and sculpture ii. 234. The agreeableness of imitation overbalances the disagreeableness of the subject iii. 208. Distant and faint imitations displease iii. 309.

Impression) made on the organ of sense iii. 380.

Impropriety) in action raises contempt i. 340. Its punishment ii. 15.

Impulse) a strong impulse succeeding a weak, makes a double impression: a weak impulse succeeding a strong, makes scarce any impression ii. 251.

Infinite series) becomes disagreeable when prolonged i. 365. Note.

Innate idea) there cannot be such a thing iii. 382. Note.

Instrument) the means or instrument conceived to be the agent iii. 98. &_c._

Intellectual pleasure i. 2, 3.

Internal sense iii. 375.

Intrinsic beauty i. 244.

Intuitive conviction) of the veracity of our senses i. 105. of the dignity of human nature ii. 29. iii. 361. of a common nature or standard in every species of beings iii. 356. and of the perfection of that standard iii. 357. also that it is invariable iii. 357. Intuitive conviction that the external signs of passion are natural, and the same in all men ii. 135.

Inversion) an inverted style described ii. 290. &_c._ Inversion gives force and liveliness to the expression by suspending the thought till the close ii. 324. Inversion how regulated ii. 330. 331. 332. Beauties of inversion ii. 331. 332. Full scope for it in blank verse ii. 438.

Ionicus ii. 461.

Joy) its cause i. 65. infectious i. 220. considered with respect to dignity and meanness ii. 33.

Iphigenia) of Racine censured ii. 112.

Iphigenia in Tauris) censured iii. 287. 288. 289.

Irony) defined ii. 50.

Italian tongue) too smooth ii. 246. Note.

Judgement) and memory in perfection, seldom united i. 28. Judgement seldom united with wit i. 28.

Julius Cæsar) of Shakespear censured ii. 200.

Justice) of less dignity than generosity or courage ii. 31.

Kent) his skill in gardening iii. 303.

Key-note ii. 348. 361.

Kitchen-garden iii. 315.

Labyrinth) in a garden iii. 310.

Landscape) why it is so agreeable i. 156. The pleasure it gives explained i. 298. A landscape in painting ought to be confined to a single expression i. 376.

Language) power of language to raise emotions, whence derived i. 112. 121. Language of passion ch. 17. ii. 204. broken and interrupted ii. 206. of impetuous passion ii. 210. of languid passion ii. 210. of calm emotions ii. 211. of turbulent passion ii. 211. Language elevated above the tone of the sentiment ii. 224. too artificial or too figurative ii. 225. too light or airy ii. 227. Language how far imitative of nature ii. 234. its beauty with respect to signification ii. 235. 254. &c. its beauty with respect to sound ii. 238. it ought to correspond to the subject ii. 258. its structure explained ii. 285. Beauty of language from a resemblance betwixt sound and signification ii. 333 &_c._ The force of language proceeds from raising complete images iii. 174. its power of producing pleasant emotions iii. 208. Without language man would scarce be a rational being iii. 406.

_L’avare_) of Moliere censured ii 198.

Laughter i. 338.

Laugh of derision or scorn ii. 16.

Law) defined ii. 22.

Laws of human nature) necessary succession of perceptions i. 21. 380. We never act but through the impulse of desire i. 55. 222. An object loses its relish by familiarity i. 144. Passions sudden in their growth are equally sudden in their decay i. 148. ii. 91. Every passion ceases upon attaining its ultimate end i. 148.

Laws of motion) agreeable i. 255.

_Les Freres ennemies_) of Racine censured ii. 177.

_Lex talionis_) upon what principle founded i. 370.

Line) definition of a regular line iii. 389.

Littleness) is neither pleasant nor painful i. 272.

Logic) cause of its obscurity and intricacy ii. 138.

_Logio_) improper in this climate iii. 327.

Love) to children accounted for i. 82. The love a man bears to his country explained i. 88. Love produced by pity i. 93. It signifies more commonly affection than passion i. 146. To a lover absence appears long i. 202. Love assumes the qualities of its object i. 219. considered with respect to dignity and meanness ii. 33. seldom constant when founded on exquisite beauty ii. 101. ill represented in French plays ii. 194. when immoderate is silent ii. 205.

Love for love) censured iii. 266.

Lowness) is neither pleasant nor painful i. 272.

Lucan) too minute in his descriptions i. 292. censured iii. 220.

Ludicrous i. 338. may be introduced into an epic poem i. 378.

Lutrin) censured for incongruity ii. 9. characterized ii. 41.

Luxury) corrupts our taste iii. 370.

Machinery) ought to be excluded from an epic poem i. 125. iii. 239. does well in a burlesk poem i. 125.

Man) fitted for society i. 237. Conformity of the nature of man to his external circumstances i. 310. ii. 143. The different branches of his internal constitution finely suited to each other iii. 332. 364.

Manners) gross and refined i. 1, 8. The bad tendency of rough and blunt manners ii. 141. Note.

Marvellous) in epic poetry iii. 246.

Meanness ii. 27. &_c._

Means) the means or instrument conceived to be the agent iii. 98. &_c._

Measure) natural measure of time i. 200. &_c._ of space, i. 211 &_c._

Medea) of Euripides censured iii. 287.

Melody) or modulation defined ii. 355. distinguished from harmony ii. 358. Note.

Members of a period) have a fine effect placed in an increasing series ii. 252.

Memory) and judgement in perfection seldom united i. 28. Memory and wit often united i. 28. Memory iii. 381.

Merry wives of Windsor) its double plot well contrived iii. 253.

Metaphor iii. 108. &_c._

Metre ii. 381.

Mile) the computed miles are longer in a barren than in a populous country i. 209.

Milton) his style much inverted ii. 439. The defect of his verification is the want of coincidence betwixt the pauses of the sense and the sound ii. 445. the beauty of Milton’s comparisons iii. 16.

Moderation) in our desires contributes the most to happiness i. 263.

Modern manners) make a poor figure in an epic poem iii. 235.

Modification) defined iii. 399.

Modulation) defined ii. 355.

Molossus ii. 459.

Monosyllables) English, arbitrary as to quantity ii. 383.

Moral duties) _See_ Duties.

Morality) its foundation iii. 358. Aberrations from its true standard iii. 366.

Moral tragedy iii. 221.

Motion) productive of feelings that resemble it i. 217. Its laws agreeable i. 255. Motion and force, ch. 5. i. 309. &_c._ What motions are the most agreeable i. 310. Regular motion i. 311. accelerated motion i. 311. upward motion i. 311. undulating motion i. 311. Motion of fluids i. 311. A body moved neither agreeable nor disagreeable i. 312. The pleasure of motion differs from that of force i. 313. Grace of motion i. 317. Motions of the human body i. 317.

Motive) defined i. 58. 59.

Mount) artificial iii. 313.

Mourning Bride) censured ii. 180. 197. iii. 279. 292.

Music) vocal distinguished from instrumental i. 166. What subjects proper for vocal music i. 166. &_c._ Music betwixt the acts of a play, the advantages that may be drawn from it iii. 283. Though it cannot raise a passion, it disposes the heart to various passions iii. 284.

Musical instruments) their different effects upon the mind i. 283.

Musical measure) defined ii. 355.

Narration) it animates a narrative to represent things past as present i. 118. Narration and description, ch. 21. iii. 169. It animates a narrative, to make it dramatic iii. 197. 220.

Nation) defined iii. 404.

Note, a high note and a low note in music i. 278.

Novelty and the unexpected appearance of objects, ch. 6. i. 319. Novelty a pleasant emotion i. 322. &_c._ distinguished from variety i. 329. its different degrees i. 329. &_c._

Number) defined iii. 331.

_Numerus_) defined ii. 355.

Object) of a passion defined i. 56. An agreeable object produceth a pleasant emotion, and a disagreeable object a painful emotion i. 223. attractive object i. 226. repulsive object i. 226. Objects of sight the most complex i. 243. Objects that are neither pleasant nor painful i. 272. 309. 312. Objects of external sense in what place they are perceived iii. 370. Objects of internal sense iii. 377. All objects of sight are complex iii. 400. Objects simple and complex iii. 401. Object defined iii. 406.

Old Bachelor) censured iii. 266.

Opera) censured ii. 9.

Opinion) influenced by passion i. 183. &_c._ iii. 55. influenced by propensity i. 99. influenced by affection i. 199. why differing from me in opinion is disagreeable iii. 359. Opinion defined iii. 396.

Oration) _pro Archia poeta_ censured ii. 329.

Orchard iii. 315.

Order) i. 28. &_c._ iii. 392. pleasure we have in order i. 32. necessary in all compositions i. 34. Sense of order has an influence upon our passions i. 81. 89. when a list of many particulars is brought into a period, in what order should they be placed? ii. 321. Order in stating facts iii. 264.

Organ of sense i. 1.

Organic pleasure i. 1. 2. 3. 4.

Orlando Furioso) censured iii. 264.

Ornament) redundant ornaments ought to be avoided iii. 168. Ornaments in architecture iii. 342. Allegorical or emblematic ornaments iii. 347.

Othello) censured iii. 215.

Pæon ii. 461.

Pain) cessation of pain extremely pleasant i. 68. Pain lessens by custom ii. 102. iii. 355. Some pains felt internally some externally iii. 387.

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

Painting) in grotesque painting the figures ought to be small, in historical painting as great as the life i. 279. Grandeur of manner in painting i. 293. Painting is an imitation of nature ii. 234. In history painting the principal figure ought to be in the best light iii. 201. A good picture agreeable, though the subject be disagreeable iii. 208. Objects that strike terror have a fine effect in painting iii. 211. Objects of horror ought not to be represented iii. 213. What emotions can be raised by painting iii. 296.

Panic i. 221.

Parallelogram) its beauty i. 252.

Parody) defined ii. 52. 160. Note.

Particles ii. 404. not capable of an accent ii. 405. 416.

Passion) no pleasure of external sense denominated a passion except of seeing and hearing i. 42. Passion distinguished from emotion i. 52. 53. 54. Passions distinguished into instinctive and deliberative i. 58. 95. &_c._ What are selfish, what social i. 59. What dissocial i. 62. Passion founded on relations i. 76. &_c._ A passion paves the way to others in the same tone i. 92. Passions considered as pleasant or painful, agreeable or disagreeable i. 127. &_c._ as refined or gross i. 137. Their interrupted existence i. 139. &_c._ Their growth and decay i. 139. &_c._ The identity of a passion i. 141. The bulk of our passions are the affections of love or hatred inflamed into a passion i. 146. Passions swell by opposition i. 146. A passion sudden in growth is sudden in decay i. 148. ceases upon attaining its ultimate end i. 148. Co-existent passions i. 151. &_c._ Passions similar and dissimilar i. 171. Fluctuation of passion i. 178. &_c._ Its influence upon our opinions and belief i. 183. &_c._ 203. 358. Its influence upon our perceptions i. 215. 216. Prone to its gratification i. 238. 239. has an influence even upon our eye-sight i. 362. 363. Passions ranked according to their dignity ii. 32. No disagreeable passion is attended with dignity ii. 33. Social passions of greater dignity than selfish ii. 37. External signs of passion ch. 15. ii. 116. Passion generally fluctuates, swelling and subsiding by turns ii. 163. Language of passion ch. 17. ii. 204. &_c._ A passion when immoderate is silent ii. 204. Language of passion broken and interrupted ii. 206. What passions admit figurative expression ii. 208. Language proper for impetuous passion ii. 210. for melancholy ii. 210. for calm emotions ii. 211. for turbulent passion ii. 211. Passions expanded upon related objects i. 76. &_c._ ii. 312. &_c._ 336. 372. 415. 416. iii. 60. &_c._ 139. 140. With regard to passion man is passive iii. 377. We are conscious of passions as in the heart iii. 377.

Passionate) personification iii. 64.

Passive subject) defined iii. 406.

Pathetic tragedy iii. 221.

Pause) pauses necessary for three different purposes ii. 360. Musical pauses in an hexameter line ii. 368. Musical pauses ought to coincide with those in the sense ii. 371. 375. What musical pauses are essential in English heroic verse ii. 388. Rules concerning them ii. 390. &_c._ Pause and accent have a mutual influence ii. 428.

Pedestal) ought to be sparingly ornamented iii. 347.

Perceptions) succession of i. 380. Perception defined iii. 378. Original and secondary iii. 382. Simple and complex iii. 383.

Period) has a fine effect when its members proceed in the form of an increasing series ii. 252. In the periods of a discourse variety ought to be studied ii. 253. Different thoughts ought not to be crowded into one period ii. 263. The scene ought not to be changed in a period ii. 278. A period so arranged as to express the sense clearly, seems more musical than where the sense is left doubtful ii. 307. In what part of the period doth a word make the greatest figure ii. 318. A period ought to be closed with that word which makes the greatest figure ii. 320. When there is occasion to mention many particulars, in what order ought they to be placed ii. 321. A short period is lively and familiar, a long period grave and solemn ii. 328. A discourse ought not to commence with a long period ii. 329.

Personification iii. 54. &_c._ Passionate and descriptive iii. 64.

Perspicuity) a capital requisite in writing ii. 256.

Pharsalia) censured iii. 220.

Phedra) of Racine censured ii. 113. 216.

Pilaster) less beautiful than a column iii. 345.

Pindar) defective in order and connection i. 35.

Pity) defined i. 55. apt to produce love i. 93. always painful, yet always agreeable i. 134. resembles its cause i. 211. What are the proper subjects for raising pity iii. 226.

Planetary system) its beauty i. 316.

Play) is a chain of connected facts, each scene making a link iii. 266.

Play of words) ii 71. 228 &_c._ Comparisons that resolve into a play of words iii. 42.

Pleasant emotions and passions i. 127. &_c._ Pleasant pain explained i. 155.

Pleasure) pleasures of seeing and hearing distinguished from those of the other senses i. 1. 2. &_c._ Pleasure of order i. 32. of connection i. 32. Pleasures of taste, touch, and smell, not termed _emotions_ or _passions_ i. 42. Pleasures refined and gross i. 137. Corporeal pleasure low and sometimes mean ii 32. Pleasures of the eye and ear never low or mean ii. 32. Pleasures of the understanding are high in point of dignity ii. 34. Some pleasures felt internally, some externally iii. 387.

Poet) the chief talent of a poet who deals in the pathetic ii. 119.

Poetry) objects that strike terror have a fine effect in it iii. 211. Objects of horror ought to be banished from it iii. 213. Poetry has power over all the human affections iii. 296. The most successful in describing objects of sight iii. 385.

Polite behaviour i. 138.

Polygon) regular its beauty i. 252.

Polysyllables) how far agreeable to the ear ii. 242. seldom have place in the construction of English verse ii. 385. 421.

Pompey) of Corneille censured ii. 176. 191. 194.

Pope excels in the variety of his melody ii. 411. His style compared with that of Swift iii. 198.

Posture) constrained posture disagreeable to the spectator i. 219.

Power of abstraction iii. 401. Its use iii. 402. 403.

Prepositions) explained ii. 289.

Pride) incites us to ridicule the blunders and absurdities of others ii 17. Considered with respect to dignity and meanness ii. 34. Its external expressions or signs disagreeable ii. 132.

Primary and secondary qualities of matter i. 259.

Principle) of order i. 28. 29. of morality i. 49. 74. ii. 21. of self-preservation i. 96. of selfishness i. 227. 229. of benevolence i. 228. 229. Principle that makes us fond of esteem i. 237. 286. of curiosity i. 320. 345. &_c._ of habit ii. 105. Principle that makes us wish others to be of our opinion iii. 57. 359. Principle defined iii. 394. _See_ Propensity.

Principles of the fine arts i. 7.

Proceleusmaticus ii. 461.

Prodigies) find ready credit with the vulgar i. 198.

Prologue of the ancient tragedy iii. 271.

Pronoun) defined ii. 310.

Pronunciation) rules for it ii. 347. &_c._ distinguished from singing ii. 348. Singing and pronouncing compared ii. 351.

Propensity) opinion and belief influenced by it i. 199. Propensity to fit objects for the gratification of our passions i. 184. iii. 98. Propensity to justify our passions and actions i. 185. Propensity to punish guilt and reward virtue i. 231. Propensity to carry along the good or bad properties of one subject to another i. 76. ii. 235. 307. 312. 372. 415. 416. iii. 101. Propensity to complete every work that is begun and to carry things to perfection i. 364. 365. iii. 262. 345. Propensity to communicate to others every thing that affects us ii. 204. Propensity to place together things mutually connected ii. 308. Propensity defined iii. 394. _See_ Principle.

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

Property) the affection man bears to his property i. 84.

Prophecy) those who believe in prophecies wish the accomplishment i. 239.

Propriety ii. 3. &_c._ distinguished from congruity ii. 8. distinguished from proportion ii. 19. Propriety in buildings iii. 338.

Proportion) distinguished from propriety ii. 19. As to quantity coincides with congruity ii. 19. examined as applied to architecture iii. 318. Proportion defined iii. 391.

Prose) distinguished from verse ii. 353.

Prospect) pleasure of a fine prospect i. 298. An unbounded prospect disagreeable i. 366. Note.

Provok’d husband) censured iii. 253.

Pun) defined ii. 77.

Punishment) in the place where the crime was committed i. 371. Punishment of impropriety ii. 15.

Public games) of the Greeks i. 314.

Pyrrhichius ii. 459.

Qualities) primary and secondary i. 259. A quality cannot be conceived independent of the subject to which it belongs ii. 293. Different qualities perceived by different senses iii. 376.

Quantity) with respect to melody ii. 363. 383. Quantity with respect to English verse ii. 383.

Quintilian) censured iii. 92.

Quintus Curtius) censured ii. 167.

Racine) criticised ii. 216. &_c._

Rape of the Lock) characteriz’d ii. 43. admirable versification ii. 362.

Reading) chief talent of a fine reader ii. 120. Plaintive passions require a slow pronunciation ii. 161. Note. Rules for reading ii. 347. &_c._ compared with singing ii. 351.

Reason) reasons to justify a favourite opinion are always at hand and much relished i. 186.

Refined pleasure i. 137.

Regularity) not essential in grand objects i. 257. required in a small work, not so much in one that is extensive i. 299. how far to be studied in architecture iii. 301. 322. 328. how far to be studied in a garden iii. 305. Regular line defined iii. 389. Regular figure defined iii. 389. Regularity proper and figurative iii. 390.

Relations i. 22. 23. have an influence in generating emotions and passions i. 76. &_c._ are the foundation of congruity and propriety ii. 5. in what manner are relations expressed in words ii. 286.

Relative beauty i. 244.

Remorse) its gratification i. 232. is not mean. ii. 34.

Repartee ii. 80.

Representation) its perfection lies in hiding itself and producing an impression of reality iii. 279.

Repulsive) object i. 226. Repulsive emotions ii. 133.

Resemblance) and contrast, ch. 8. i. 345. The members of a sentence signifying a resemblance betwixt objects ought to resemble each other ii. 270. &_c._ Resembling causes may produce effects that have no resemblance, and causes that have no resemblance may produce resembling effects ii. 337. &_c._ Resemblance carried too far in some gardens iii. 305. Note.

Resentment) explained i. 98. &_c._ disagreeable in excess i. 134. extended against relations of the offender i. 190. its gratification i. 231. when immoderate is silent ii. 205.

Rest) neither agreeable nor disagreeable i. 309.

Revenge) animates but doth not elevate the mind i. 283. has no dignity in it ii. 33.

Reverie) cause of the pleasure we have in it i. 112.

Rhyme) for what subjects it is proper ii. 447. &_c._ Melody of rhyme ii. 449.

Rhythmus) defined ii. 355.

Riches) love of, corrupts the taste iii. 370.

Riddle iii. 310.

Ridicule) a gross pleasure i. 138. is losing ground in England i. 138. Emotion of ridicule i. 341. not concordant with grandeur i. 377, Ridicule ii. 16. 40. &_c._ whether it be a test of truth ii. 55.

Ridiculous) distinguished from risible i. 341.