Plautus, the liberty he takes as to place and time, 439.
Play, is a chain of connected facts, each
scene making a link, 431. Play of words, 189, &c. 245, &c., gone into disrepute, 190. Comparisons that resolve into a play of words, 343, &c.
Pleasant emotions and passions, 59, &c. Social passions more pleasant than the selfish, 176. Pleasant pain explained, 69.
Pleasure, pleasures of seeing and hear-
ing distinguished from those of the other senses, I1, &c., pleasure of or- der, 22, &c., of connection, 22. Plea- sures of taste, touch, and smell, not termed emotions or passions, 26. Pleasure of a reverie, 53. 156. Plea- sures refined and gross, 62. Pleasure of a train of perceptions in certain circumstances, 155, &c. Corporeal pleasure low, and sometimes mean, 174. Pleasures of the eye and ear never low or mean, ib. Pleasures of the understanding are high in point of dignity, 175. Custom augments mo- derate pleasures, but diminishes those that are intense, 201. Some pleasures felt internally, some externally, 481. Poet, the chief talent of a poet who deals in the pathetic, 205. Poetical flights, in what state of mind they are most relished, 335. Poetry, grandeur of manner in poetry, 119, &c. How far variety is proper, 159. Objects that strike terror have a fine effect in it, 410. Objects of hor- ror ought to be banished from it, 411. Poetry has power over all the human affections, 442. The most successful in describing objects of sight, 486. Polite behaviour, 62.
Polygon, regular its beauty, 106. Polysyllables, how far agreeable to the ear, 253., seldom have place in the construction of English verse, 299.
Pompey, of Corneille censured, 225. 231, 232.
Poor, habit puts them on a level with the rich, 201, 202.
Pope, excels in the variety of his melo- dy, 307., censured, 338. 344. 400. His style compared with that of Swift, 404.
Posture, constrained posture disagree- able to the spectator, 95. Power of abstraction, 485, 486., its use, 387.
Prepositions explained, 270.
Pride, how generated, 64., why it is perpetual, 66. incites us to ridicule |
the blunders ana absurdities of others, 169., a pleasant passion, 169, 170., considered with respect to dignity and meanness, 175. Its external expres- sions or signs disagreeable, 210. Primary, and secondary qualities of matter, 107. Primary and secondary relations, 165, note.
Principle of order, 22., of morality, 28. 40. 168, &c., of self-preservation, 47., of selfishness, 97., of benevo- lence, ib., &c., of punishment, 100. 169. Principle that makes us fond of esteem, 100. 118., of curiosity, 131. 139., of habit, 200, 201. Principle that makes us wish ethers to be of our opinion, 468, 469. Principle de- fined, 483., sometimes so enlivened as to become an emotion, 40. See Pro- pensity.
Principles of the fine arts, 14. Proceleusmaticus, 324. Prodigies, find ready credit with the vulgar, 88.
Prologue, of the ancient tragedy, 433. Pronoun, defined, 274. Pronunciation, rules for it, 283, &c., 287., distinguished from singing, 287. Singing and pronouncing compared, 288.
Propensity, sometimes so enlivened as to become an emotion, 40. 65., op- posed to affection, 67. Opinion and belief influenced by it, 88. Propen- sity to justify our passions and ac- tions, 83. Propensity to punish guilt and reward virtue, 100, &c. Pro- pensity to carry along the good or bad properties of one subject to another, 42. 95. 103. 247. 275. 283. 295. 309. 366. 380. Propensity to complete every work that is begun, and to carry things to perfection, 146. 461. Pro- pensity to communicate to others every thing that affects us, 235. Propensity to place together things mutually con- nected, 283. Propensity defined, 483. See Principle.
Properties, transferred from one subject to another, 42. 95 103. 247. 275. 283. 295. 309. 366. 380.
Property, the affection man bears to his property, 43. A recondary relation, 166, note.
Prophecy, those who believe in prophe- cies wish the accomplishment, 101. Propriety, ch. x., a secondaty relation 165., note., distinguished frem con- gruity, 166., distinguished from pro- portion, 170. Propriety in buildings, 457. 458. Proportion, contributes to grandeur, 111., distinguished from propriety.
170. As to quantity coincides with congruity, ., examined as applied to architecture, 454. Proportion de- fined, 482.
Prose, distinguished from verse, 289, &c. Prospect, an unbounded prospect dis- agreeable, 146., note. By what means a prospect may be improved, 446. Provoked Husband, censured, 426. Pun, defined, 191.
Punishment, in the place where the crime was committed, 148. Punish- ment of impropriety, 169, &c. Public games, of the Greeks, 129. Phyrrhichus, 323.
Qualities, primary and secondary, 107. A quality cannot be conceived inde- pendent of the subject to which it be- longs, 269. Different qualities per- ceived by different senses, 474, 475. Communicated to related objects. See Propensity.
Quantity, with respect to melody, 291. Quantity with respect to English verse, 298. False quantity, 299. Quintilian, censured, 362. Quintus Curtius, censured, 222.
Racine, criticised, 240. Censured, 243. Rape of the Lock, characterized, 179. Its verse admirable, 292. Reading, chief talent of a fine reader, 205. Plaintive passions require a slow pronunciation, 219, note. Rules for reading, 286, &c., compared with singing, 287.
Reality, of external objects, 51. Reason, reasons to justify a favourite opinion are always at hand, and much relished, 83. Recitative, 290. Refined pleasure, 61. Regularity, not so essential in great ob- jects as in small, 111., not in a small work so much as in one that is ex- tensive, ib. How far to be studied in architecture, 442. 445. 454. How far to be studied in a garden, 443, 444. Regular line defined, 481. Regular figure defined, 481. Regularity pro- per and figurative, 482. Relations, 19. Have an influence in generating emotions and passions, 42. &c. Are the foundation of congruity and propriety, 165. Primary and secondary relations, ib. note. In what manner are relations expressed in words, 266, &c. The effect that even the slighter relations have on the mind, 449.
Relative beauty, 103. 449.
Remorse, anguish of remorse, 95., its
gratification, 99. Punishment pro vided by nature for injustice, 172., is not mean, 175. Repartee, 192. Repetitions, 406.
Representation, its perfection lies in hiding itself and producing an im- pression of reality, 435. Repulsive, object, 97. Repulsive pas- sions, 97. 213.
Resemblance, and dissimilitude, ch. viii. Resemblance in a series of objects, 252. The members of a sentence sig- nifying a resemblance betwixt objects ought to resemble each other, 261, &c. Resemblance betwixt sound and sig- nification, 282-284. No resemblance betwixt objects of different senses, 283. Resembling causes may pro- duce effects that have no resemblance, and causes that have no resemblance may produce resembling effects, ib., &c. The faintest resemblance be- twixt sound and signification gives the greatest pleasure, 284, &c. Re- semblance carried too far in some gardens, 445, note.
Resentment, explained, 48, &c. Dis- agreeable in excess, 61. Extended against relations of the offender, 85. Its gratification, 99. When immo- derate is silent, 236.
Rest, neither agreeable nor disagreeable, 127., explained, 243.
Revenge, animates but doth not elevate the mind, 118. Has no dignity in it,
175. When immoderate is silent, 236., improper, but not mean, 174. Reverie, cause of the pleasure we have in it, 53. 156.
Rhyme, for what subjects it is proper, 322, &c. Melody of rhyme, 322. Rhythmus, defined, 290.
Rich and poor put upon a level by ha bit, 201, 202.
Riches, love of, corrupts the taste, 472. Riddle, 447.
Ridicule, a gross pleasure, 62. Is losing ground in England, ib. Emotion of ridicule, 138. Not concordant with grandeur, 150. Ridicule, 169, ch. xii. Whether it be a test of truth, 183.
Ridiculous, distinguished from risible, 138.
Right and wrong as to actions, 28. Risible objects, ch. vii. Risible distin- guished from ridiculous, 138. Room, its form, 453. Rubens, censured, 376.
Ruin, ought not to be seen from a flower- parterre, 444. In what form it ought to be, 448.
Selfish, passions, 32, 33. Are pleasant, 61. Less refined and less pleasant than the social, 62. The pain of self- ish passions more severe than of so- cial passions, ib. Inferior in dignity to the social, 176. A selfish emotion arising from a social principle, 32. A selfish motive arising from a social principle, 32., note.
Selfishness, promoted by luxury, 471., and also by love of riches, 472. Self-love, its prevalence accounted for, 34. In excess disagreeable, 60. Not inconsistent with benevolence, 97. Semipause, in an hexameter line, 294. What semipauses are found in an English heroic line, 309.
Sensation, defined, 475., described, 479. Sense, of order, 23, &c., contributes to generate emotions, 43, nole., and pas- sion 3, 45. Sense of right and wrong, 28. The veracity of our senses, 51. 477, note. Sense of congruity or pro- priety, 165., of the dignity of human nature, 173. 469. Sense of ridicule, 179. Sense by which we discover a passion from its external signs, 211. Sense of a common nature in every species of beings, 60. 467. Sense, in- ternal and external, 474. In touch- ing, tasting, and smelling, we feel the impression at the organ of sense, not in seeing and hearing, 476. Senses, whether active or passive, 488. Sentence, it detracts from neatness to vary the scene in the same sentence, 263. A sentence so arranged as to express the sense clearly, seems al- ways more musical than where the sense is left in any degree doubtful, 273.
Sentiment, elevated, low, 115. Senti- ments, ch. xvi., ought to be suited to the passion, 216. Sentiments ex- pressing swelling of passion, 219., expressing the different stages of pas- sion, 220., dictated by coexistent pas-
sions, 221. Sentiments of strong pas sions are hid or dissembled, 222. Sen- timents above the tone of the passion, 223., below the tone of the passion, 225. Sentiments too gay for a scri- ous passion, ib., too artificial for a serious passion, ib., fanciful or finical, 226., discordant with character, 227., misplaced, 229. Immoral sentiments expressed without disguise, 230-233., unnatural, 233. Sentiments both in dramatic and epic compositions ought to be subservient to the action, 420. Sentiment defined, 480.
Sentimental music, 74, note Series, from small to great agreeable, 114. Ascending series, ib. Descend- ing series, ib. The effect of a num- ber of objects placed in an increasing or decreasing series, 252. Serpentine river, its beauty, 128. 450. Sertorius, of Corneille censured, 220. Shaft of a column, 462. Shakspeare, his sentiments just repre- sentations of nature, 218., is superior to all other writers in delineating pas- sions and sentiments, 239, 240., ex- cels in the knowledge of human na- ture, 240, note., deals little in inver- sion, 317., excels in drawing charac ters, 397., his style in what respect excelient, 404., his dialogue finely conducted, 427., deals not in barren scenes, 431.
Shame, arising from affection or aver- sion, 65., is not mean, 175. Sight, influenced by passion, 93. 146. Similar emotions, 68., their effects when coexistent, 69. 457.
Similar passions, 68, &c. Effects of co- existent similar passions, 71. Simple perception, 480. Simplicity, taste for simplicity has pro- duced many Utopian systems of hu- man nature, 27. Beauty of simpli- city, 104., abandoned in the fine arts, 107., a great beauty in tragedy, 425., ought to be the governing taste in gar- dening and architecture, 443. Singing, distinguished from pronoun- cing or reading, 287. Singing and pronouncing compared, 288. Situation, different situations suited to different buildings, 458.
Sky, the relish of it lost by familiarity, 64.
Smelling, in smelling we feel an impres- sion upon the organ of sense, 11. 476. Smoke, the pleasure of ascending smoke accounted for, 128.
Social passions, 32., more refined and more pleasant than the selfish, 62. The pain of social passions more mild
than of selfish passions, ib. Social passions are of greater dignity, 176. Society, advantages of, 101. Soliloquy, has a foundation in nature, 242. Soliloquies, 241, &c. Sophocles, generally correct in the dra- matic rules, 438.
Sounds, power of sounds to raise emo- tions, 35, 36., concordant, 68., dis- cordant, ib., disagreeable sounds, 74., fit for accompanying certain passions, 74, 75. Sounds produce emotions
that resemble them, 94., articulate how far agreeable to the ear, 248-250. A smooth sound soothes the mind, and a rough sound animates, 251. A con- tinued sound tends to lay us asleep, an interrupted sound rouses and ani- mates, 265.
Space, natural computation of space, 92, &c. Space explained, 485, 486. Species, defined, 485.
Specific habit, defined, 198.
Substratum, defined, 475. Succession, of perceptions and ideas, 19. 152, &c. In a quick succession of the most beautiful objects we are scarce sensible of any emotion, 53. Succession of syllables in a word, 249., of objects, 252.
Superlatives, inferior writers deal ir su- perlatives, 367.
Surprise, the essence of wit, 21. 185. Instantaneous, 64, 65. 186., decays suddenly, 65. 186., pleasant or painful according to circumstances, 133, &c. Surprise the cause of contrast, 144., has an influence upon our opinions, and even upon our eye-sight, 147. Surprise a silent passion, 236. studi- ed in Chinese gardens, 451. Suspense, an uneasy state, 90. Sweet distress, explained, 68. Swift, his language always suited to his subject, 403., has a peculiar energy of style. 404., compared with Pope, ib.
Speech, power of speech to raise emo- | Syllable, 248, &c. Syllables considered
tions, whence derived, 53. 56.
Spondee, 293, 294. 323.
Square, its beauty, 106. 160. Stairs, their proportion, 453.
Standard of taste, ch. xxv. Standard of morals, 468–471. Star, in gardening, 445.
Statue, the reason why a statue is not coloured, 149. The limbs of a statue ought to be contrasted, 159. equestrian statue is placed in a centre of streets, that it may be seen from many places at once, 405. Statues for adorning a building, where to be placed, 459, 460. Statue of an animal pouring out water, 448., of a water- god pouring water out of his urn, 465. Statues of animals employed as supports condemned, ib. Naked statues condemned, 457, note. Steeple, ought to be pyramidal, 159. Strada, censured, 392.
Style, natural and inverted, 270, &c. The beauties of a natural style, 281., of an inverted style, ib. Concise style a great ornament, 406. Subject, may be conceived independent of any particular quality, 269. Sub- ject with respect to its qualities, 474. 486. Subject defined, 488. Sublimity, ch. iv. Sublime in poetry, 115. General terms ought to be avoid- ed where sublimity is intended, 122. Sublimity may be employed indirectly to sink the mind, 124. False sub- lime, 125.
Submission, natural foundation of sub- mission to government, 100, &c. Substance, defined, 475.
as composing words, 249. Syllables long and short, 250, 292. Many syl- lables in English are arbitrary, 298. Sympathy, sympathetic emotion of vir- tue, 40, &c. The pain of sympathy is voluntary, 62. It improves the teni- per, ib.
Sympathy, 98., attractive, 93. 212., ne- ver low nor mean, 174., the cement of society, 212.
Synthetic, and analytic methods of rea- soning compared, 22.
Tacitus, excels in drawing characters, 397., his style comprehensive, 407. Tasso, censured, 422. 424. Taste, in tasting we feel an impression upon the organ of sense, 11. 476. Taste in the fine arts though natural requires culture, 13. 472, note. Taste in the fine arts compared with the moral sense, 13., its advantages, 14, 15. Delicacy of taste, 61. 472., a low taste, 115. Taste in some measure influenced by reflection, 462, note. The foundation of a right and wrong in taste, 466. Taste in the fine arts as well as in morals corrupted by vo- luptuousness, 471., corrupted by love of riches, 472. Taste never naturally bad or wrong, 473. Aberrations from a true taste in the fine arts, 476. Tautology, a blemish in writing, 407. Telemachus, an epic poem, 414, note. Censured, 425, note.
Temples, of ancient and modern virtue in the gardens of Stow, 464. Terence, censured, 242. 439. Terror, arises sometimes to its utmost
Time, past time expressed as present. Vay a facere Tanz, f 55, &c. Natural computation of ume 89, &c. Time explained, 485. Titus Livius. See Livy. Tone, of mind, 475.
Touch, in touching we feel an impres sion upon the organ of sense, 1147€. Trachiniens, of Sophocles censured, 438 Tragedy, the deepest tragedies are the most crowded, 213, note. The later English tragedies censured, 217. Verse French tragedy censured, 219, 232. The Greek tragedy accompa nied with musical notes to ascerta the pronunciation, 29. Tract ch. xxii., in what respect it c from an epic poem, 414. &c., drs guished into pathetic and moral 415 its good effects, 416., compared wit the epic as to the subjects proper ine each, 416, 417., how far I SAT YE row from history, 419, re viding it into acts, 430 4! plot in it, 425, admits soc tion or supernatural even s origin, 432. Ancient tr
tinued representation ruption, 433.
modern drama, 434
Tragi-comedy, 4:26.
Trees, the best manner of play 445, 446.
Triangle, equilateral, its beary 1 Tibrachys, 323.
Trochæus, 323.
Tropes, ch. xx.
Ugliness, proper and £
Unbounded prospect cisa grove Saf
a picture, 431, of time an off pane 432, &c. Unites of some and vé para not required in an est Strictly observed is se gedy, ib. Unity of pat cient drama, is
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