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c. 176, 177. 288. 291. ii. 228. 255. 259. 267, &c. E-
motions refemble their caufes i. 178, &c. Emotions of
grandeur i. 211, &c. of fublimity i. 211. A low emotion
i. 223. Emotion of laughter ch. 7. of ridicule i. 275. Emo-
tions when contrafted should not be too flow nor too quick
in their fucceffion i. 300. Emotions raised by the fine arts
ought to be contrafted in fucceffion i. 300. Emotion of con-
gruity i. 340. of propriety i. 342. Emotions produced by
human actions i. 353. Ranked according to their dignity
i. 356. External figns of emotions ch. 15. Attractive and
repulfive emotions i. 439. What emotions do best in fuc-
ceffion, what in conjunction ii. 436. What emotions are
raifed by the productions of manufactures ii. 453. note.
Man is paffive with regard to his emotions ii. 507. We
are confcious of emotions as in the heart ii. 507.
Emphasis) defined ii. 144. note. Ought never to be but upon
words of importance ii. 94, 95. 147.

Eneid) its unity of action ii. 406.

English plays) generally irregular ii. 428. English comedies
generally licentious i. 55.

English tongue) too rough ii. 13. In English words the long
fyllable is put early ii. 1o. note. English tongue more grave
and fedate in its tone than the French ii. 150. note. Pecu-
liarly qualified for perfonification ii. 235. note.
Entablature ii. 476.

Envy) defined i. 42. How generated i. 119. Why it is perpe-
tuali. 123. It magnifies every bad quality in its object i. 156.
Epic poem) no improbable fact ought to be admitted i. 102.
Machinery in it has a bad effect i. 102, 103. It doth not always
reject ludicrous images i, 304. Its commencement ought to
be modeft and fimple ii. 326. In what refpect it differs from
a tragedy ii. 370. Diftinguished into pathetic and moral ii.
372. Its good effects ii. 374. Compared with tragedy as to
the fubjects proper for each ii. 375. How far it may borrow
from hiftory ii. 382. Rule for dividing it into parts ii. 383.
Epic poetry ch. 22.

Epicurus) cenfured ii. 511. note.

Episode) in an hiftorical poem ii. 394. Requifites ii. 395.
Epiftles dedicatory) cenfured i. 334, 335, note.

Epithets) redundant ii. 359.

Epitritus ii. 181.

Effays on man) criticised ii. 176.

Efteem) love of i. 192. 231.

Either) of Racine cenfured i. 485. 490.

Eunuch

Eunuch) of Terence cenfured i. 509.

Euripides) cenfured i. 508. ii. 424.

Evergreens) cut in the fhape of animals ii. 443.

Effect of experience with refpect to taste in the fine arts ii.
501. note.

Expreffion) elevated, low i. 223. Expreffion that has no di-
ftinct meaning i. 517. Members of a fentence expreffing a
refemblance betwixt two objects, ought to resemble each
other ii. 34, &c. Force of expreffion by fufpending the
thought till the clofe ii. 76.

External objects) their reality i. 88.

External fenfes) diftinguifhed into two kinds i. I. External
fenfe ii. 505.

External figns) of emotions and paffions ch. 15. External figns

of paffion, what emotions they raise in a spectator i. 106, &c.
Eye-fight(influenced by paffion i. 176, 177. 288. 291.

Face) though uniformity prevail in the human face, yet every
face is diftinguishable from another i. 331.

Faculty)by which we know paffion from its external figns i.441.
Fairy Queen) criticifed ii. 285.

Falfe quantity) painful to the ear ii. 123.

Fame) love of i. 192.

Familiarity) its effect i. 118. 259. ii. 301. it wears off by ab-
fence i. 266.

Fashion) its influence accounted for i. 69. Fashion is in a con-
tinual flux i. 206.

Fear) explained i. 81. &c. Rifes often to its utmost pitch in
an inftant i. 119. Fear arifing from affection or averfion
i. 120. Fear is infectious i. 180.

Feeling) its different fignifications ii. 509.

Fiction) emotions raised by fiction i. 88, &c.

Figure) beauty of i. 201. Definition of a regular figure ii. 521.
Figures)fome paffions favourable to figurative expreffion i. 497.

11. 204.

Figures eh. 20. Figure of fpeech ii. 240. 278. 299, &c.
Figures were of old much ftrained ii, 184. 284.
Final caufe) defined i. 358. Final caufe of our fense of order
and connection i. 32. of the fympathetic emotion of virtue
i. 64, 65. of the inftinctive paffion of fear i. 81, 82. of the
inftinctive pafion of angeri. 86. of ideal prefence i. 100,.
of the power that fiction has over the mind i. 103. of emo-
tions and paffions i. 181, &c. of the communication of paf-
fion to related objects i. 192. of regularity, uniformity, or-

der,

der, and fimplicity, i. 201. of proportion, i. 202. of beauty i.
208. Why certain objects are neither pleafant nor painful,
i. 219, 220. 250. of the pleasure we have in motion and
force i. 257. of curiofity i. 258. of wonder i. 269. of fur-
prife i. 270. of the principle that prompts us to perfect every
work i. 295. of the pleature or pain that refults from the
different circumftances of a train of perceptions i. 317, &c.
of congruity and propriety i. 347, c. of dignity and mean-
nefs i. 359, &c. of habit i. 418, c. of the external figns of
paffion and emotion i. 434. 442, &c. Why articulate founds
fingly agreeable are always agreeable in conjunction ii. S. of
the pleafure we have in language ii. 362. of our relish for
various proportions in quantity ii. 462. Why delicacy of
tafte is withheld from the bulk of mankind ii. 489. of our
conviction of a common ftandard in every fpecies of beings
ii. 494. of uniformity of taste in the fine arts ii. 495, 496.
Why the fenfe of a right and a wrong in the fine arts is lefs
clear than the sense of a right and a wrong in actions ii. 498,
499. Final caule of greater importance than the efficient
caufe i. 358.

Fine arts) defined i. 6. 13. A fubject of reasoning i. 7.
Education promoted by the fine arts i. 8, 9. ii. 453. The
fine arts a great fupport to morality i. 9, c. ii. 454. 485.

c. Their emotions ought to be contrafted in fucceffion i.
300. Uniformity and variety in the fine arts i. 321. Con-
fidered with refpect to dignity i. 358. How far they may
be regulated by custom i. 420. None of them are imitative
but painting and fculpture ii. 3. Aberrations from a true tafte
in thefe arts ii. 497. Who qualified to be judges in the fine
arts ii. 501.

Fluid) motion of fluids i. 252.

Foot) the effect that fyllables collected into feet have upon
the ear ii. 42. Mufical feet defined ii. 106. note. A litt of
verfe feet ii. 178.

Force) produces a feeling that refembles it i. 178. Force ch. 5.
Moving force i. 252. Force gives a pleafure differing from
that of motion i. 253. It contributes to grandeur i. 254.
Foreign) preference given to foreign curiofities i. 267.
Fountains) in what form they ought to be ii. 447.

French dramatic writers) criticiied i. 459. note. 486. ii. 428.
French verte) requires rhyme ii. 173.

French language) more lively to the ear than the English ii.
150. note. In French words the latt fyllable generally long
and accented ïi. 150. note.

Friendship) confidered with refpect to dignity and meannefs

i. 357-

Galle

Gallery) why it appears longer than it is in reality ii. 441. Is
not an agreeable figure of a room ii. 467.

Games) public games of the Greeks i. 254.

Gardening) a fine garden gives luftre to the owner i. 70. note.
Grandeur of manner in gardening i. 238. Its emotions ought
to be contrafted in fucceffion i. 301. A small garden fhould
be confined to a fingle expreffion i. 302. ii. 432. A garden
near a great city fhould have an air of folitude i. 302. A
garden in a wild country should be gay and fplendid i. 302,
303. Gardening ch. 24. What emotions can be raised by
it ii. 432. Its emotions compared with thofe of architecture
ii. 432. Simplicity ought to be the governing tafte ii. 434.
Wherein the unity of a garden confifts ii. 438. How far
fhould regularity be ftudied in it ii. 438. Resemblance car-
ried too far in it ii. 438. 439. note. Grandeur in gardening
ii. 439. Every unnatural object ought to be rejected ii. 442.
Distant and faint imitations difpleafe ii. 443. Winter-gar-
den ii. 448, 449. The effect of giving play to the imagi-
nation ii. 452. Gardening infpires benevolence ii. 453.
And contributes to rectitude of manners ii. 485.
General idea) there cannot be fuch a thing ii. 516. note.
General terms) should be avoided in compofitions for amufe-
ment i. 238. ii. 352.

General theorems) why agreeable i. 205.

Generic habit) defined i. 411.

Generofity) why of greater dignity than juftice i. 355.
Genus) defined ii. 528.

Gestures) that accompany the different paffions i. 428, 429.

430.433.

Gierufalemme liberata) cenfured ii. 389. 394.

Globe) a beautiful figure i. 324.

Good-nature) why of lefs dignity than courage or generofity
i. 355.

Gothic tower) its beauty ii. 457. Gothic form of buildings
ii. 469.

Government) natural foundation of fubmiffion to government

i. 191.

Grace, ch. 11. Grace of motion i. 256. Grace analysed i.
361. &c.

Grandeur and fublimity, ch. 4. Diftinguished from beauty i.
213. Grandeur demands not strict regularity i. 214. Re-
gularity, order, and proportion, contribute to grandeur i
215. Real and figurative grandeur intimately connected i.
225. Grandeur of manner i. 232. Graudeur may be em-

ployed

ployed indirectly to humble the mind i. 241. Suits ill with
wit and ridicule i. 303. Fixes the attention i. 308. Figu-
rative grandeur diftinguished from figurative elevation ii.
201. Grandeur in gardening ii. 439. Irregularity and
difproportion increase in appearance the fize of a building
ii. 472.
Gratification) of paffion i. 46. 58. 149. 284. ii. 228, &c. 255.
259. Obftacles to gratification inflame a paffion i. 121.
Gratitude, confidered with refpect to its gratification i. 123.
Exerted upon the children of the benefactor i. 155. Pu-
nishment of ingratitude i. 350. Gratitude confidered with
refpect to dignity and meannefs i. 357-

Greek words) finely compofed of long and fhort fyllables ii.168.
Grief) magnifies its caufe i. 157. Occafions a false reckoning
of time i. 173. Is infectious i. 180. When immoderate
is filent i. 494.

Grofs pleasure i. 112.

Group) natural objects readily form themselves into groups
i. 332.

Guido) cenfured ii. 294.

Habit, ch. 14. Prevails in old age i. 307. Habit of appli-
cation to bufinefs i. 313. 316. 320. Converts pain into
pleasure i. 320, 321. Diftinguished from cuftom i. 400.
Puts the rich and poor upon a level i. 419, 420.

Harmony) or concord in objects of fight i. 128, 129. Har-
mony distinguished from melody ii. 101. note.

Hatred) how produced i. 119. Signifies more commonly af-
fection than paflion i. 119. Its endurance i. 123.
Hearing) in hearing we feel no impreffion ii. 510.
Henriade) cenfured ii. 333. 383. 389. 394.

Hexameter) Virgil's hexameters extremely melodious, thofe
of Horace feldom fo ii. 101. And the reafon why they are
not ii. 118. Structure of an hexameter line ii. 105. Rules
for its ftructure ii. 107, 108. Mufical paufes in an hexa-
meter line ii. 107. note. Wherein its melody confifts ii.
118.

Hiatus) defined ii. 9.

Hippolytus) of Euripides cenfured i. 489. ii. 423, 424.
Hiftory) why the hiftory of heroes and conquerors is fingu
larly agreeable i. 63. 228. By what means does hiftory
raife our paflions i. 95, 96, 97. It rejects poetical images
ii. 326, 327.

Hiftory-painting. See Painting.

Homer

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