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five subjeft 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 effeCl with respect to its cause.

INDEX.-

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

ABstract idea) defined ii. 114. Abstract ideas of different kinds,
ii. 514-
Abstraction) power of ii. $13. Its use ii. J»3. $14.

Abstract terms) ought to be avoided in poetry i. zij. ii. 348. Cannot'
be compared but by being personified ii. 185. Personified ii. 134.
Defined ii. 514. The use of abstract terms ii. 516.

Accent) defined ii. 104. The musical accents that are necessary in an
hexameter line ii. nj. A low word must not be accented ii. 145.
Rules for accenting English heroic verse ii. 14^. 14s. How far affect>-
ed by the pause ii. Ijo. Accent and pause have a mutual influence
ii. IJ4.

Action) what feelings are raised by human actions i. 3J. 3S. Hi. 337.
We are impelled to action by desire i. 40. Some actions are instinc-
tive, some intended as means to a certain end i. 43. Actions great
and elevated, low and groveling i. x 11. Slowness and quickness in
acting, to what causes owing i. 193. 301. Emotions occasioned by
propriety of action i. 316. Occasioned by impropriety of action
i. 317. Human actions considered with respect to dignity and mean-
ness i. 341. Actions the interpreters of the heart i. 413. Actioii
is the fundamental part of epic and dramatic compositions ii. 380.
Unity of action ii. 400. We are conscious of internal action as in
the head ii. 500. Internal action may proceed without our being
conscious of it ii. s°°-

Action and reaction betwixt a passion andits object i. is*.

Actor) bombast actor i. 134. An actor should feel the passion he re-
presents i. 439. Difference as to pronunciation betwixt the French
and English actors i. 443. Nott.

Admiration i. in. 24$.

Æneid. See Virgil.

Affectation i. 31$.

Affection) to children accounted for i. 1S3. To blood-relations i. &].
Affection for what belongs to us i. 64. Social affections more refi-
ned than selsifli i. 104. Affection in what manner inflamed into a
passion i. no. in. Opposed to propensity i. 114. Affection to
children endures longer than any other affection i. n j:. Opinion
Vol.. II. 'LI 4»4

and belief influenced by affection i. 1J4. Affection defined!. 35; ii. 517.

Agamemnon) of Seneca censured i. 46J.

Agreeable emo ions and passions i. 96, &c.

Alcestes) of Euripide> censured i. 491. ii. 418. 4x0.

Alciandre) of Racine censured i. 4JS.

Alexandiinc 1 ne ii. izo.

Allegory) defined ii. 17j. More difficult in painting than in poetry ii. 190. In an historic il poem ii. 387. 388.

All for love) of Dryden censured i. 475.

Alto relievo ii. 466.

Ambiguity) occasioned by a wrong choice of words ii. 10. occasionedby a wrong a'rangement ii. 54.

Amynta) of Tasso censured i. 449.

Awr patr'ui) accounted for i. S7.

Amphibrachys ii. 179.

Amphimacer ii. 179

An Imic and synthetic methods of reasoning compared i. xx.

Anapæstus ii. 178.

Anger; explainedi. 7X, ire. Frequently comes to its height instant;. neoullyi.iio. Decays suddenly i. 113. Sometimes exerted again/! the innocent i. 148 and even against things inanimate i. r48. Not infectious 1. 170. Has no dignity in it i. 34X.

Angle) largest and smallest angle of vision i. 164.

Animals' distributed by nature into classes ii. 484. 4s J.

Antibacchius ii. 179.

Anticlimax ii. 9*

Antispastus ii. 180.

Antithesis ii. 19 Verbal antithesis i. 377. ii. 19.

Apostrophe ii. xss. ire.

Appearance) things ought to be described in poetry, as they appear, not as they arc in reality ii. 314. 3x5

Appetite) defined i. 4X. .Appetites of hunger, thirst, animal love, avise without an object i. $5. Appetite for fame or esteem i. ifco.

Apprehension) dullness and quickness of apprehension, to what causes owing i. X9X

Architecture ch. 14. Grandeur of manrter in architecture i. xxo. Tbe situation of a greathouse ought to be lofty i. 3x1. A playhouse on music room susceptible of much ornament i. 3x3. "What emotions can lie raised by architecture ii. 4x7. Its emotions compared with those of gardening ii. 418. Every building ought to have an expression suited to its destination ii 4x8. 460. 461. Simplicity ought to be the governing taste ii. 4x9. Regularity ought to be studied ii. ♦30-453' External form of dwelling-houses ii. 449. 4J0. Divisions

within ii. 4J0. 451.463. A palace ought to be regular, but in a
sinall house convenience ought to be preferred ii. 448. 451. Adwell-
jng house ought to be suited to the climate ii. 451. Propriety ought
to be studied ii 460. Architecture goveraed by principles that pro-
duce opposite effects ii. 454.465. Different ornaments employ'd in
it ii. 4<Sj. Witticisms in architecture ii. 473. Allegorical or em-
blematic ornaments ii. 473. Architecture inspires a taste for neat-
ness and regularity ii. 47;.

Arioslo) censured i. 308. ii. 401.

Aristæus) the episode of Aristæus in tfye Georgics censured ii. 175.

Aristotle) censured ii. J»J . Note.

Army) defined ii.iij.

Arrangement) die best arrangement of words is to place them if pos-
sible in an increasing series ii. 15. 16. Arrangement of members in a
period ii. i<S. Of periods in adiscourse ii. 17. Ambiguity from wrong
arrangement ii. 54. Arrangement natural and inverted ii. 81.

Articulate sounds) how far agreeable ii. 6. 7. 8. 9. 10.

Artificial mount ii. 441.

Arts) See Fine Arts.

Ascent) pleasant, but descent not painful i. 109.

Athalie) of Racine censured i. 469.

Attention) defined ii. 5 rp. Impression made by objects depends on the
degree of attention ii. 519. Attention not always voluntary ii.
4x0. 411.

Attractive paflibns i. 4x3.

Attractive object i. 173.

Attributes) transferred by a figure of speech from one subject to ano-
ther ii. 166, ire.

Avarice) defined i. 38.

Avenue) to a house ii. 440.

Aversion) defined i. in. 389. ii. 518.

Bacchiusii. 179.

Bajazete) of Racine censured i. 487.

Barren scene) defined ii. 403.

Base) of a column ii. 469. 1

Basso-relievo ii. 466.

Batrachomuomachia) censuredi. 351.

Beauty) ch. 3. Intrinsic and relative i. 18S. ii. 441. Beauty of sim-
plicity i. 189. of figure i. 190. of the circle i. 191. of the square i.
191.19». of a regular polygon i. i9x. of a parallelogram i. 191.of an
equilateral triangle i. 191. Whether beauty be a primary or secon-
dary quality of objects i. 195. Beauty distinguished from grandeur
». aoi. Beauty of natural colours i. 31X. Beauty distinguished from
L 1 3, congruity

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