Part 20

Risible objects, ch. 7. i. 337. Risible distinguished from ridiculous i. 341.

Rubens) censured iii. 130.

Ruin) ought not to be seen from a flower-parterre iii. 303. in what form it ought to be iii. 313.

Sallust) censured for want of connection i. 37.

Sapphic verse) has a very agreeable modulation ii. 358.

Scorn ii. 16.

Sculpture) imitates nature ii. 234. what emotions can be raised by it iii. 296.

_Secchia rapita_) characterized ii. 41.

Secondary qualities of matter i. 259.

Seeing) in seeing we feel no impression iii. 380. Objects of sight are all of them complex iii. 400.

Self-deceit i. 185. ii. 190.

Selfish passions i. 59. are pleasant i. 131. less refined than the social i. 137. inferior in dignity to the social ii. 37.

Selfishness) promoted by luxury iii. 370. and also by love of riches iii. 370.

Self-love) its prevalence accounted for i. 63. in excess disagreeable i. 134. not inconsistent with benevolence i. 228.

Semipause) in an hexameter line ii. 369. what semipauses are found in an English heroic line ii. 390.

Sensation) defined iii. 378.

Sense) of order i. 28. &_c._ contributes to generate emotions i. 81. and passions i. 89. Sense of right and wrong i. 49. of the veracity of our senses i. 105. Sense of congruity or propriety ii. 6. of the dignity of human nature ii. 29. iii. 361. Sense by which we discover a passion from its external signs ii. 136. Sense of a common nature in every species of beings iii. 356. Sense internal and external iii. 375. In touching, tasting, and smelling, we feel the impression at the organ of sense, not in seeing and hearing iii. 380.

Sentence) it detracts from neatness to vary the scene in the same sentence ii. 278. A sentence so arranged as to express the sense clearly, seems always more musical than where the sense is left in any degree doubtful ii. 307.

Sentiment) elevated, low i. 276. Sentiments ch. 16. ii. 149. Sentiments expressing the swelling of passion ii. 164. expressing the different stages of a passion ii. 165. dictated by co-existent passions ii. 169. Sentiments of strong passions are hid or dissembled ii. 171. Sentiments above the tone of the passion ii. 175. below the tone of the passion ii. 176. Sentiments too gay for a serious passion ii. 178. too artificial for a serious passion ii. 179. fanciful or sinical ii. 182. discordant with character ii. 186. misplaced ii. 189. Immoral sentiments expressed without disguise ii. 189. unnatural ii. 196. Sentiment defined iii. 396.

Series) from small to great agreeable i. 272. Ascending series i. 274. Descending series i. 275. The effect of a number of objects placed in an increasing or decreasing series ii. 249.

Serpentine river) its beauty i. 311. iii. 316.

Sertorius) of Corneille censured ii. 163.

Shaft) of a column iii. 346.

Shakespear) criticised ii. 212 deals little in inversion ii. 439. excells in drawing characters iii. 182. his style in what respect excellent iii. 198. his dialogue excellent iii. 257. deals not in barren scenes iii. 267.

Shame) is not mean ii. 34.

Similar emotions i. 153. their effects when co-existent i. 155. iii. 336. Similar passions i. 171. Effects of co-existent similar passions i. 171.

Simple perception iii. 383.

Simplicity) beauty of i. 247. 254. abandoned in the fine arts i. 255. a great beauty in tragedy iii. 252. Note. ought to be the governing taste in gardening and architecture iii. 300.

Singing) distinguished from pronouncing or reading ii. 348. Singing and pronouncing compared ii. 351.

Situation) different situations suited to different buildings iii. 339.

Smelling) in smelling we feel an impression upon the organ of sense iii. 380.

Smoke) the pleasure of ascending smoke accounted for i. 33. 313.

Social passions i. 59. more refined than the selfish i. 137. of greater dignity ii. 37.

Society) advantages of i. 237. 238. 240.

Soliloquy) has a foundation in nature ii. 123. Soliloquies ii. 218. &_c._

Sorrow) cause of it i. 65.

Sounds) concordant i. 151. discordant i. 152. produce emotions that resemble them i. 218. articulate how far agreeable to the ear ii. 240. A smooth sound sooths the mind, and a rough sound animates ii. 245.

Space) natural computation of space i. 211. &_c._

Species) defined iii. 399.

Specific habit) defined ii. 95.

Speech) power of speech to raise emotions, whence derived i. 112. 121.

Spondee ii. 364. &_c._ ii. 459.

Square) its beauty i. 251.

Stairs) their proportion iii. 323.

Standard) of taste ch. 25. iii. 351. Standard of morals iii. 367.

Star) in gardening iii. 307.

Statue) the reason why a statue is not coloured i. 372. An equestrian statue is placed in a centre of streets that it may be seen from many places at once iii. 201. Statue of an animal pouring out water iii. 308. of a water-god pouring water out of his urn iii. 350.

Strada) censured iii. 170.

Style) natural and inverted ii. 290. &_c._ The beauties of a natural style ii. 332. of an inverted style ii. 332. Concise style a great ornament iii. 204.

Subject) may be conceived independent of any particular quality ii. 293. Subject with respect to its qualities iii. 376. Subject defined iii. 406.

Sublimity i. 264. &_c._ Sublime in poetry i. 277. Sublimity may be employed indirectly to sink the mind i. 300. False sublime i. 303. 306.

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

Substance) defined iii. 406.

Substratum) defined iii. 376.

Succession) of perceptions and ideas i. 380. &_c._

Superlatives) inferior writers deal in superlatives iii. 195.

Surprise) instantaneous i. 142. 321. pleasant or painful according to circumstances i. 326. &_c._ Surprise is the cause of contrast i. 359. Surprise a silent passion ii. 205. studied in Chinese gardens iii. 319.

Suspense) an uneasy state i. 205.

Sweet distress) explained i. 155.

Swift) his language always suited to his subject iii. 194. has a peculiar energy of style iii. 198. compared with Pope iii. 198.

Syllable ii. 239. Syllables long and short ii. 363.

Sympathy) sympathetic emotion of virtue i. 70. Sympathy i. 229. attractive i. 230. never low nor mean ii. 32. the cement of society ii. 143.

Synthetic) and analytic methods of reasoning compared i. 31.

Tacitus) excells in drawing characters iii. 182. his style comprehensive iii. 204.

Tasso) censured iii. 242.

Taste) in tasting we feel an impression upon the organ of sense iii. 380. Taste in the fine arts compared with the moral sense i. 7. its advantages i. 10. &_c._ Delicacy of taste i. 136. A low taste i. 276. The foundation of a right and a wrong in taste iii. 358. Taste in the fine arts as well as in morals corrupted by voluptuousness iii. 370. corrupted by love of riches iii. 370. Taste never naturally bad or wrong iii. 372. Aberrations from a true taste in the fine arts iii. 366.

Tautology) a blemish in writing iii. 205.

Temples) of Ancient and Modern Virtue in the gardens of Stow iii. 348.

Terence) censured iii. 288. 290.

Terror) arises sometimes to its utmost height instantaneously i. 143. a silent passion ii. 205. Objects that strike terror have a fine effect in poetry and painting iii. 211. The terror raised by tragedy explained iii. 228.

Theorem) general theorems agreeable i. 255.

Time) past time expressed as present i. 118. Natural computation of time i. 200. &_c._

Tone) of mind iii. 378.

Touch) in touching we feel an impression upon the organ of sense iii. 380.

Trachiniens) of Sophocles censured iii. 286.

Tragedy) modern tragedy censured ii. 155. French tragedy censured ii. 159. Note. ii. 194. The Greek tragedy accompanied with musical notes to ascertain the pronunciation ii. 350. Tragedy ch. 22. iii. 218. in what respect it differs from an epic poem iii. 218. distinguished into pathetic and moral iii. 221. its good effects iii. 223. compared with the epic as to the subjects proper for each iii. 225. 226. how far it may borrow from history iii. 234. rule for dividing it into acts iii. 236. double plot in it iii. 251. admits not supernatural events iii. 254. its origin iii. 270. Ancient tragedy a continued representation without interruption iii. 271. Constitution of the modern drama iii. 273.

Trees) the best manner of placing them iii. 307.

Triangle) equilateral, its beauty i. 253.

Tribrachys ii. 459.

Trochæus ii. 459.

Tropes ch. 20. iii. 53.

Ugliness) proper and figurative iii. 388.

Unbounded prospect) disagreeable i. 366. Note.

Uniformity) apt to disgust by excess i. 253. Uniformity and variety ch. 9. i. 380. The melody ought to be uniform where the things described are uniform ii. 411. Uniformity defined iii. 390.

Unity) the three unities ch. 23. iii. 259. of action iii. 260. of time and of place ii. 267. Unities of time and place not required in an epic poem iii. 268. Strictly observed in the Greek tragedy iii. 272. Unity of place in the ancient drama iii. 285. Unities of place and time ought to be strictly observed in each act of a modern play iii. 291. Wherein the unity of a garden consists. iii. 304.

_Unumquodque eodem modo dissolvitur quo colligatum est_ i. 368.

Vanity) a disagreeable passion i. 134. always appears mean ii. 34.

Variety) distinguished from novelty i. 329. Variety ch. 9. i. 380.

Verbal antithesis) defined ii. 73. 268.

Versailles) gardens of iii. 310.

Verse) distinguished from prose ii. 353 Sapphic verse extremely melodious ii. 358. Iambic less so ii. 358. Structure of an hexameter line ii. 364. Structure of English heroic verse ii. 382. 384. English monosyllables arbitrary as to quantity ii. 383. English heroic lines distinguished into four sorts ii. 421. Latin hexameter compared with English rhyme ii. 441. compared with blank verse ii. 442. French heroic verse compared with hexameter and rhyme ii. 443. The English language incapable of the melody of hexameter verse ii. 446. For what subjects is rhyme proper ii. 447. &_c._ Melody of rhyme ii. 449. Melody of verse is so inchanting as to draw a veil over gross imperfections ii. 457. Verses composed in the shape of an axe or an egg iii. 310.

Violent action) ought to be excluded from the stage iii. 254.

Virgil) censured for want of connection i. 36. &_c._ his verse extremely melodious ii. 357. his versification criticised ii. 376. censured iii. 179. 194. 246.

_Virgil travestie_) characterized ii. 41.

Voltaire) censured iii. 178. 236. 243.

Vowels ii. 238.

Walk) in a garden, whether it ought to be straight or waving iii. 311. artificial walk elevated above the plain iii. 313.

Wall) that is not perpendicular occasions an uneasy feeling i. 218.

Water-fall i. 314.

Water-god) statue of, pouring out water iii. 350.

Way of the World) censured iii. 266. the unities of place and time strictly observed in it iii. 293.

Will) how far our train of perceptions can be regulated by it i. 23. 381. 388. determined by desire i. 222

Windows) their proportions iii. 323.

Wish) distinguished from desire i. 55.

Wit) defined i. 28. seldom united with judgement i. 28. but generally with memory i. 28. not concordant with grandeur i. 377. Wit ch. 13. ii. 58.

Wonder) instantaneous i. 143. Wonders and prodigies find ready credit with the vulgar i. 198. Wonder i. 320. studied in Chinese gardens iii. 319.

Words) play of ii. 228. &_c._ jingle of ii. 231. what are their best arrangement in a period ii. 251. A conjunction or disjunction in the members of the thought ought to be imitated in the expression ii. 260. 265. Words expressing things connected ought to be placed as near together as possible ii. 307. &_c._ In what part of a sentence doth a word make the greatest figure ii. 318. Words acquire a beauty from their meaning iii. 139. The words ought to accord with the sentiment iii. 188. A word is often redoubled to add force to the expression iii. 201.

Writing) a subject intended for amusement may be highly ornamented ii. 9. A grand subject appears best in a plain dress ii. 10.

FINIS.

FOOTNOTES:

[1] Chap. 8.

[2] Dunciad, b. 4. l. 405.

[3] Book 2. l. 111.

[4] Book 2. l. 551.

[5] See Vidæ Poetic. lib. 2. l. 282.

[6] See chap. 4.

[7] Beginning of book 3.

[8] Book 4. l. 498.

[9] Guardian No. 153.

[10] Strada de bello Belgico.

[11] It is accordingly observed by Longinus, in his treatise of the Sublime, that the proper time for metaphor, is when the passions are so swelled as to hurry on like a torrent.

[12] Chap. 2. part 5.

[13] Philoctetes of Sophocles, act 4. sc. 2.

[14] Alcestes of Euripides, act 2. sc. 1.

[15] See this principle accounted for, chap. 25.

[16] Philoctetes of Sophocles, at the close.

[17] The chastity of the English language, which in common usage distinguishes by genders no words but what signify beings male and female, gives thus a fine opportunity for the prosopopœia; a beauty unknown in other languages, where every word is masculine or feminine.

[18] See appendix, containing definitions and explanation of terms.

[19] _Æneid._ iv. 173.

[20] Chap. 19.

[21] Dec. 1. l. 1.

[22] Chap. 31. of his treatise on the sublime.

[23] L. 8. cap. 6. in fin.

[24] See chap. 2. part 1. sect. 4.

[25] See chap. 1.

[26] L. 8. cap. 6. sect. 2.

[27] Reflexions sur la Poesie, _&c._ vol. 1. sect. 24.

[28] Act 4. sc. 6.

[29] See chap. 2. part 1. sect. 4.

[30] I have often regretted, that a factious spirit of opposition to the reigning family made it necessary in public worship to distinguish the King by his proper name. One will scarce imagine, who has not made the trial, how much better it sounds to pray for our Sovereign Lord the King, without any addition.

[31] Poet. lib. 2. l. 30.

[32] Part 1. sect. 6.

[33] Henry V. act 4. sc. 4.

[34] Merry Wives of Windsor, act 3. sc. 15.

[35] Lib. 4. l. 632.

[36] See Æneid. lib. 1. 188.--219.

[37] Montaigne, reflecting upon the then present modes, observes, that there never was at any other time so abject and servile prostitution of words in the addresses made by people of fashion to one another; the humblest tenders of life and soul, no professions under that of devotion and adoration; the writer constantly declaring himself a vassal, nay a slave: so that when any more serious occasion of friendship or gratitude requires more genuine professions, words are wanting to express them.

[38] Ch. 18. sect. 3.

[39] One can scarce avoid smiling at the blindness of a certain critic, who, with an air of self-sufficiency, condemns this expression as low and vulgar. A French poet, says he, would express the same thought in a more sublime manner: “Mais tout dort, et l’armée, et les vents, et Neptune.” And he adds, “The English poet may please at London, but the French every where else.”

[40] See chap. 4.

[41] Georg. l. ii. 468.

[42] Lib. 8. cap. 6. § 2.

[43] See chap. 18.

[44] See chap 2. part 4.

[45] The dialogue in a dramatic composition separates it so clearly from other compositions, that no writer has thought it necessary to search for any other distinguishing mark. But much useless labour has been bestowed, to distinguish an epic poem by some such mark. Bossu defines this poem to be, “A composition in verse, intended to form the manners by instructions disguised under the allegories of an important action,” which will exclude every epic poem founded upon real facts, and perhaps include several of Esop’s fables. Voltaire reckons verse so essential, as for that single reason to exclude the adventures of Telemachus. See his _Essay upon Epic Poetry_. Others, affected with substance more than with ornament, hesitate not to pronounce that poem to be epic. It is not a little diverting, to see so many shallow critics hunting for what is not to be found. They always take for granted, without the least foundation, that there must be some precise criterion to distinguish epic poetry from every other species of writing. Literary compositions run into each other, precisely like colours: in their strong tints they are easily distinguished; but are susceptible of so much variety, and take on so many different forms, that we never can say where one species ends and another begins. As to the general taste, there is little reason to doubt, that a work where heroic actions are related in an elevated style, will, without further requisite, be deemed an epic poem.

[46] Poet. ch. 25. sect. 6.

[47] Lib. 7. from line 385. to line 460.

[48] The same distinction is applicable to that sort of fable which is said to be the invention of Æsop. A moral, it is true, is by all critics considered as essential to such a fable. But nothing is more common, than to be led blindly by authority. Of the numerous collections I have seen, the fables that clearly inculcate a moral, make a very small part. In many fables, indeed, proper pictures of virtue and vice are exhibited: but the bulk of these collections convey no instruction, nor afford any amusement beyond what a child receives in reading an ordinary story.

[49] See chap. 2. part 1. sect. 3.

[50] In Racine, tender sentiments prevail; in Corneille, grand and heroic manners. Hence clearly the preference of the former before the latter, as dramatic poets. Corneille would figure better in an heroic poem.

[51] Part 4.

[52] If one can be amused with a grave discourse which promiseth much and performs nothing, he may see this subject treated by Brumoy in his _Theatre Grec._ Preliminary discourse on the origin of tragedy.

[53] See essays on the principles of morality, edit. 2. p. 291.

[54] Chap. 2. part 1. sect. 6.

[55] I would not from this observation be thought to undervalue modern manners. The roughness, plainness, and impetuosity of ancient manners, may show better in an epic poem, without being better fitted for society. But without regard to this circumstance, it is the familiarity of modern manners that unqualifies them for a lofty subject. The dignity of our present manners, will be better understood in future ages when they have become ancient.

[56] Third part of his art of poetry.

[57] Chap. 20. sect. 1.

[58] Ibid.

[59] See chap. 2. part 1. sect. 6.

[60] Canto 9.

[61] Racine, in his preface to the tragedy of _Berenice_, is sensible, that simplicity is a great beauty in tragedy, but mistakes the cause. “Nothing (says he) but verisimilitude pleases in tragedy: but where is the verisimilitude, that within the compass of a day, events should be crowded which commonly are extended through months?” This is mistaking the accuracy of imitation for the probability or improbability of future events. I explain myself. The verisimilitude required in tragedy, is that the actions correspond to the manners, and the manners to nature. When this resemblance is preserved, the imitation is just, because it is a true copy of nature. But I deny that the verisimilitude of future events, meaning the probability of future events, is any rule in tragedy. A number of extraordinary events, are, it is true, seldom crowded within the compass of a day: but what seldom happens may happen; and when such events fall out, they appear not less natural than the most ordinary accidents. To make verisimilitude in the sense of probability a governing rule in tragedy, would annihilate this sort of writing altogether; for it would exclude all extraordinary events, in which the life of tragedy conflicts. It is very improbable or unlikely, pitching upon any man at random, that he will sacrifice his life and fortune for his mistress or for his country: yet when this event happens, supposing it agreeable to the character, we recognize the verisimilitude as to nature, whatever want of verisimilitude or of probability there was _a priori_ that such would be the event.

[62] Spectator, No. 44.

[63] Poet. cap 6. See also cap. 7.

[64] Chap. 8.

[65] See chap. 1.

[66] See chap. 21.

[67] I am sensible that a commencement of this sort is much relished by certain readers disposed to wonder. Their curiosity is raised, and they are much tickled in its gratification. But curiosity is at an end with the first reading, because the personages are no longer unknown; and therefore at the second reading a commencement so artificial, loses all its power even over the vulgar. A writer of genius loves to deal in lasting beauties.

[68] Bossu, after observing, with wonderful critical sagacity, that winter is an improper season for an epic poem, and night not less improper for tragedy; admits however, that an epic poem may be spread through the whole summer months, and a tragedy through the whole sun-shine hours of the longest summer-day. _Du poeme epique, l. 3. chap. 12._ At this rate an English tragedy may be longer than a French tragedy; and in Nova Zembla the time of a tragedy and of an epic poem may be the same.

[69] Chap. 2. part 1. sect. 6.

[70] Act 1. sc. 6.

[71] Act 2. sc. 2.

[72] Act 2. sc. 1.

[73] Act 2.

[74] Act 4. at the close.

[75] Act 5. sc. 4.

[76] See chap 15.

[77] See chap. 8.

[78] See appendix to part 5. chap. 2.

[79] A square field appears not such to the eye when viewed from any part of it; and the centre is the only place where a circular field preserves in appearance its real figure.

[80] Chap. 8.

[81] Chap. 2. part 4.

[82] See the place immediately above cited.

[83] The influence of this connection surpassing all bounds, is visible in many gardens, left in their original form of horizontal plains forc’d with great labour and expence, perpendicular faces of earth supported with massy stone walls, terrace-walks in stages one above another, regular ponds and canals without the least motion, and the whole surrounded, like a prison, with high walls excluding every external object. At first view it may puzzle one to account for a taste running cross to nature in every particular. But nothing happens without a cause. Perfect regularity and uniformity are required in a house; and this idea is extended to its accessory the garden, especially if it be a small spot incapable of grandeur or much variety. The house is regular, so must the garden be: the floors of the house are horizontal, and the garden must have the same position: in the house we are protected from every intruding eye, so must we be in the garden. This, it must be confessed, is carrying the notion of resemblance very far. But where reason and taste are laid asleep, nothing is more common than to carry resemblance beyond proper bounds.

[84] See chap. 4.

[85] See these terms defined, chap. 3.

[86] Taste has suggested to Kent the same artifice. The placing a decay’d tree properly, contributes to contrast; and also produces a sort of pity, grounded on an imaginary personification.

[87] “Houses are built to live in, and not to look on. Therefore let use be preferred before uniformity, except where both may be had.”

_Lo. Verulam, essay 45._

[88] p. 94.

[89] Chap. 2. part 4.

[90] Chap. 10.

[91] Chap. 8.

[92] See chap. 20. sect. 5.

[93] See chap. 8.

[94] See Essays on morality and natural religion, part 1. essay 2. ch. 1.

[95] See chap. II.

[96] Yet a singular opinion that impressions are the only objects of perception, has been espoused by some philosophers of no mean rank; not attending to the foregoing peculiarity in the senses of seeing and hearing, that we perceive objects without being conscious of an organic impression or of any impression. See the treatise upon human nature, where we find the following passage, book 1. p. 4. sect. 2. “Properly speaking it is not our body we perceive when we regard our limbs and members; so that the ascribing a real and corporeal existence to these impressions or to their objects, is an act of the mind as difficult to explain,” &_c._