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congruity!. 121 • Consummate beauty seldom produces a constant
lover i. 398. Wherein consists the beauty of the human visage i.
410. Beauty proper and figurative ii. J13. »

Behaviour) gross and refined i. 104.

Belief) of the reality of external objects i. 80. Inforccd by a lively
narrative, or a good historical paintingi. 91. 93. Influenced by
passion i. 151. ii. 226. 157. Influenced by propensity!. 154. In-
fluenced by affection i. 154.

Benevolence operates in conjunction with self-love to makes us happy
i. 174. Benevolence inspired by gardening ii. 44S.

Berkeley) censured ii. Joj. Note.

Blank verse ii. 119. ifip. Its aptitude for inversion ii. 162. Its melo:
dy ii. 163. How far proper in tragedy ii. 397.

Body) defined ii. 500.

Boileau) censured ii. 252. 383.

Bombast i. 130. Bombast in action i. 134.

Boffu) censured ii. 406. A etc.

Burlesque) machinery does well in a burlesque poem i. 9c. Burlesque
distinguished into two kinds i. 350.

Business) men of middle age best qualified for it i. 292.

Cadence (i. 94. 204.

Capital) of a column ii. 41S9.

Careless husband) its double plot well contrived ii. 393.

Cascade i. 140.

Cause) resembling causes may produce effects that have no resem-
blance; and causes that have no resemblance may produce resem-
bling effects ii. 86. Cause defined ii. $17.

Chance) the mind revolts against misfortunes that happen by chance
ii. }7js-

Character) to draw a character is the master-stroke of description ii.

333-334-
Characteristics) of Shaftelbury criticised i. 3*3. Nile.
Children) love to them accounted for i. Si". A child can diseover apif-

sion from its external signs 1. 42 c. Hides none of its emotions i.

433-
Chinese gardens ii. 443. Wonder and surprise studied in them ii. 44;.
Choreus ii. 178.
Choriambus ii. 180.

Chorus) an essential part of [he Grecian tragedy ii. 406.
Church) what ought to be its form and situation ii. 4S1.
Cicero) censured ii. 80. 96. 99.
Cid) os Corneille censured i. 447. 473.
Cmna) of Corneille censured i. 315. 443. 470,

fuels)

Circle) its beauty i. ipi.

Circumstances) in a period, where they should be placed ii. dr. 6f,
Class) all living creatures distributed into classes ii. 484. 48$.
. Climax) in fense i. *rj. 44S. ii. 74. In sound ii. 17. When these are

joined, the sentence is delightful ii. 91.
Coephores) of Eschylus censured i. 408.
Coexistent) emotions and paslions i. Iij, ire.
Colonnade) where proper ii. 45a.
Colour) a secondary quality i. 19 j. Natural colours i. 311. Colouring

of the human face, exquisite i. 31a.
Columns) every column ought to have a base i. 168. The base ought

to be square i. 169. Columns admit different proportions ii. 459.

4S1. What emotions they raise ii. 461. Column more beautifu'

than a pilaster ii. 457. Its form ii. 469. Five orders of columns

ii.459. Capital of the Corinthian order censured ii. 471.
Comedy) double plot in a comedy ii. 39a. .393. Modern manners do

best in comedy ii. 378. Immorality of English comedies ii. 478
Comet) motion of the comets and planets compared with respect to

beauty i. 138.
Commencement) of a work ought to be modest and simple ii 313.
Common nature) in every species of animals i. 99. ii 484. We have

a conviction that this common nature is invariable ii. 485. Also

that it is perfect or right i. 99. 100. ii. 48;.
Common sense ii. 487. 497.
Communication of passion to related objects. See passion.- Commu^

nication of qualities to related objects. See Propensity.
Comparison i. atfj, &c.ch. 19. In the early compositions of all na.

tions.comparisons are carried beyond proper bounds ii. 183. Com.

parisons that resolve into a play of words ii. ai 7.
Complex emotion i. ntf, &c.

Complex object) its power to generate passion i. (S7. 68. aij.
Complex perception i. J09.
Complexion) what colour of dress is the most suitable to different corn*

plexionsi. 181.
Conception) defined ii. joa.

Concord) or harmony in objects of sight i. 119. 116.
Concordant sounds) defined i. 116.

Congreve) censured i. 353. 415. 416. Note. ii. 395. 403. 479.480.
Congruity and propriety ch. 1 o. A secondary relation i. 3x0. 31 r. Nott.

Congruity distinguished from beauty i. 311. Distinguished from propri-
ety i. 311. As to quantity, congruity coincides with proportion i. 330.
Connection) essential in all compositions i. ij.
Conquest of Granada) of Dryden censured i. 47;.
Consonants ii. 7.

L 1 3 Constancy)
Constancy) consummate beauty the cause of inconstancy i. 3$»8.

Construction) of language explained ii. 44, &c.

Contemplation) when painful i. 300.

Contempt) raised by improper action i. %So.

Contrast ch. 8. Its effect in language ii. ii. In a scries of objects ii.
15. Contrast in the thought requires contrast in the members of the
expression ii. 37. 38. The effect of contrast in gardening ii. 444.

Conviction) intuitive. See Intuitive conviction.

•Copulative) to drop the copulatives enlivens the expression ii. 41, &c-

Coriolapus) of Shakespear censured i. 474.

Corneillc) censured i. 441. 463. 488 49*-

Corporeal pleasure i. 1.a. Low and sometimes mean >. 340.

Couplet ii. 110. Rules for its composition ii. 160.

Courage) of greater dignity than justice i. 339.

Creticus ii. 179.

Criminal) the hour of execution seems to him to approach with a swift
pace! ijtf.

Criticism) its advantages i. 6, &c. Its terras not accurately defined i.

417-
Crowd) defined ii. JiJ.
Curiosity i. 14J. *64, (re.
Custom and habit ch. 14. Renders objects familiar i. »4fi. Custom

distinguissied from habit i. 384. 385 Custom puts the rich and poor

upon a level i. 403. Taste in the sine arts improved by custom ii-

49S. Note.

Dactyleii. 181, ire. 178. ,

Davila) censured i. 3 08.

Declensions) explained ii. 4S. 47.

Dedications. See Epistles dedicatory.

Delicacy) of taste i. 103. ii. 495.

Derisiou i. 318. 350.

Des Cartes) censured ii. Joj. Note.

Descent) not painful i. 108.

Description) it animates a description to represent things past as present
i. 90 The rules that ought to govern it ii. 3x1. A lively description
is agreeable, though the subject described be disagreeable ii. 3J7.
No objects but those of sight can be well described ii. 510.

Descriptive personification ii. X34.

Descriptive tragedy i. 439.

Desire) defined i. 40. It impells us to action i. 41. It deter-
mines the willi. 171. Desire in a criminal to be punisliedi. 177.
Desire tends the mostrto happiness when moderate i. 198.

Dialogue) dialogue-writing requires great genius i. 437, ire. In dia-
logue
logue every expression ought to be suited to the character of the
speaker ii. 347. Dialogue makes a deeper impression than narration
ii. $66. Qualified fjr expressing sentiments ii. 3 70. Rules for it ii.
39S. ire. .f

Dignity and grace ch. 11. Dignity of human nature ii. 488.
Diiambus ii. 179.
Diphthongs ii 8.

Disagreeable emotions and passions i. $6, &c.
Discordant sounds) defined i. ti6.
Diipondeus ii. 179.
Disposition defined ii. J 17.
Dissimilar emotions i. 117. Their effects when co-eristent i. 1*1. t»».

•1.^.31.419
Dissimilar passions) their effects i. 133.

Dissocial passions i. 47. All of them painful i. 99. and also disagree-
able i. 101.
Distance) the natural method of computing the distance of objects i.

163, &c. Errors to which this computation is liable ii. 454. 464.
Ditrochæus ii. 179.
Door) its proportions ii. 449 •
Double action) in an epic poem ii. 461.
Double-dealer) of Congreve censured i. 469. ii. 403.
Double plot) in a dramatic composition ii. 391.
Drama) ancient and modern compared ii. 407. 408.
Dramatic poetiy ch. ai.
Drapery) ought to hang loose i. 169.
Dress) rules about dress i. 314. 3*J. ii. 4x9.
Dryden) censured ii. 190. 39S-4°3-

Duties) moral duties distinguissied into those which respect ourselves
and those which respect others i. 331. Foundation of duties that
repscct ourselves i. 33*. of those that respect others i. 33*. 333. Diity
of acting up to the dignity of our nature i. 338. 339.
Dwelling-house) its external form ii. 449. Internal form ii. 4J0. 4*1.
463.

Education) promoted by the fine arts i. 6. 7. ii. 446.

Effects) resembling effects may be produced by causes that have no re-
semblance ii. 86. Effect defined ii, j*7-

Efficient cause) of less importance than the final cause i. 341.

Electra) of Sophocles censured i. 408.

Elevation i. 199, &c. Real and figurative intimately connected!. *n.
Figurative elevation distinguissied from figurative grandeur ii. 100.101.

Emotion) what feelings are termed emotions i. 31. Emotions defined

i. 34, &c. And their causes assigned i. 34. Jj. Distinguished from

L14 passions

passions!. 38. 39. Emotion generated by relations i. 58, ire. E.
motions expanded upon related objects i. $8, ire. ii. 66. 84. 85. in.
144. 14;. 13b, he. 158. 299. Emotions distinguished into primary
and secondary i. 6x. Raised by fiction i. 79, &c. Raised by paint-
ing i. 89: Emotions divided into pleasant-and painful, agreeable
and disagreeable i. 96, ire. ii 511. 513. The interrupted existence
of emotions i. 106, &c. Their growth and decay i. 106, &e. Their
identity i. 107. Coexistent emotions i. 115, ire. Emotions similar
and dissimilar i. 117. Complex emotion i. 117. 118. Effects of si-
milar coexistent emotions i. 118. ii. 459. Effects of dissimilar coex-
istent emotions i. 111. in. ii. 431. Influence of emotions upon
Our perceptions, opinions, and belief i. 141, ire. 166. i6y. X73-
277. ii. 116.153.157. 165- Emotions resemble their causes i. 16-,
ire. Emotion of grandeur i. 100, ire. of sublimity i. zoo. A low
emotion 1. in. Emotion of laughter ch. 7. Of ridicule i. ifii. K-
motions when contrasted ssiould not be too flow nor too quick in
their succession i. I8j. Emotions raised by the fine arts ought to be
contrasted in succession i. a8tf. Emotion of edngruity i. 315. of pro-
priety i. i%6. Emotions produced by human actions i. 337. Rank-
ed according to their dignity i. 340. External signs of emotions ch.
IS- Attractive and repulsive emotions!.413. What emotions da
best in succession, what in conjunction ii. 433. What emotions are
raised by the productions of manufactures ii. 44^. Note. Man is
passive with regard to his emotions ii. 500. 501. We are conscious
of emotions as in the heart ii. 500.

Emphasis) defined ii. 14J. Note. Ought never to be but upon words
of importance ii. 94. 9;. 147.

Eneid) its unity of action ii. 401.

English plays) generally irregular ii. 4»x. English comedies generally
licentious ii. 478.

English tongue) too rough ii. 13. In Englisli words the long syllable
is put early ii. 10. Note. Englisli tongue more grave and sedate in
its tone than the Frenchii. Ijo. Note. Peculiarly qualified for
personification ii. 133. Note.

Entablature ii. 407.

Envy) defined i. 40. How generated i. no. Why it is perpetual i.
113. It magnifies every bad quality in its object!. 14s. 146.

Epic poem) no improbable fact ought to be admitted i. 94. Machine-
ry in ithasabad effect i. 94. 93. It doth not always reject ludicrous
images i. 389. Its commencement ought to be modest and simple
ii. 313. In what respect it differs from a tragedy ii. 36$. Distin-
guissied into pathetic and moral ii. 387. Its good effects ii. 3*8.
369. Compared with tragedy as to the subjects proper for eachi'-

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