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Remorse, anguish of remorse, i. 158. its gratification, i. 164. is not

mean, i. 293.
Repartee, i. 324.
Repetitions, ii 261.
Representation, its perfection lies in hiding itself and producing an

impression of reality, ii. 308.
Repulsive object, i. 160. Repulsive passions, i. 356.
Resemblance, and dissimilitude, ch. VIII. Resemblance in a series

of objects, ii. 14. The members of a sentence signifying a resem-
blance betwixt objects ought to resemble each other, ii. 27, &c. Re.
semblance betwixt sound and signification, ii. 62. 65. No resem-
blance betwixt objects of different senses, ii. 65. Resembling
causes may produce effects that have no resemblance, and causes
that have no resemblance may produce resembling effects, ii. 65,
&c. The faintest resemblance betwixt sound and signification
gives the greatest pleasure, ii. 69, &c. Resemblance carried too

far in some gardens, ii. 323. note.
Resentment, explained, i. 81, &c. Disagreeable in excess, i. 102.

Extended against relations of the offender, i. 140. Its gratifica-

tion, i. 163. When immoderate is silent, i. 399.
Rest, neither agreeable nor disagreeable, i. 212. explained, ii. 396.
Revenge, animates but doth not elevate the mind, i. 196. Has no dig-

nity in it, i. 293. When immoderate is silent, i. 399.
Reverie, cause of the pleasure we bave in it, i. 89. 260.
Rbyme, for what subjects it is proper, ii. 125, &c. Melody of rhyme,

ii. 126.
Rhythmus, defined, ii. 74.
Rich and poor put upon a level by habit, i. 340.
Riches, love of, corrupts the taste, ii. 370.
Riddle, ii. 327.
Ridicule, a gross pleasure, i. 105. Is losing ground in England, i.

106. Emotion of ridicule, i. 230. Not concordant with grandeur,
i, 251. Ridicule, i. 283. ch. XII. Whether it be a test of truth, i.

Ridiculous, distinguished from risible, i. 230.
Right and wrong as to actions, i. 46.
Risible objects, ch. VII. Risible distinguished from ridiculous, i.

Room, its form, ii. 337.
Rubens, censured, ii. 214.
Ruin, ought not to be seen from a flower-parterre, ii. 322. In what

form it ought to be, ii. 329.

Sallust, censured for want of connexion, i. 38.
Sapphic verse, has a very agreeable modulation, ii. 75.
Savage, knows little of social affection, i. 104.
Scorn, i. 283. 300.
Sculpture, imitates nature, ii. 5. What emotions can be raised by it,

ii. 318.
Secchia Rapita, characterised, i. 300.
Secondary qualities of matter, i. 178. Secondary relations, i. 277.
Seeing, in seeing we feel no impression, ii. 378. Objects of sight are

all of them complex, ii. 382.
Self-deceit, i. 136. 390.



Selfish passions, i. 53. Are pleasant, i, 103. Less refined and less

pleasant than the social, i. 104. The pain of selfish passions more
severe than of social passions, i. 104. Interior in dignity to the so-
cial, i. 295. A selfish emotion arising from a social principle, i. 53.

A selfish motive arising from a social principle, i. 53. note.
Selfishness, promoted by luxury, ii. 370. and also by love of riches, ii.

Self-love, its prevalence accounted for, i. 55. In excess disagreeable,

i. 102. Not inconsistent with benevolence, i. 161.
Semi-pause, in an hexameter line, ji. 82. What semi-pauses are

found in an English heroic line, ij. 94.
Sensation, defined, ii. 376. described, ii. 382.
Sense, of order, i. 33, &c. contributes to generate emotions, i. 71.

note. and passions, i. 76. Sense of right and wrong, i. 46. The
veracity of our senses, i. 85. ii. 379. note. Sense of congruity or
propriety, i. 275. of the dignity of human nature, i. 291. ii. 365.
Sense of ridicule, i. 309. Sense by which we discover a passion
from its external signs, i. 356. Sense of a common nature in every
species of beings, i. 101. ii. 362. Sense internal and external, ii.
374. In touching, tasting, and smelling, we feel the impression at

the organ of sense, not in seeing and hearing, i. 17. ii. 378.
Senses, whether active or passive, ii. 396.
Sentence, it detracts from neatness to vary the scene in the same sen-

tence, ii. 30. A senience so arranged as to express the sense clear.
ly, seems always more musical than where the sense is left in any

degree doubtful, ii. 47.
Sentiment, elevated, low, i. 191. Sentiments, ch. XVI. ought to be

suited to the passion, i. 365. Sentiments expressing swelling of
passion, i. 373. expressing the different stages of passion, i: 374
dictated by co-existent passions, i. 376. Sentiments of strong pas-
sions are bid or dissembled, i. 377. Sentiments above the tone of
the passion, i. 380. below the tone of the passion, i. 381. Senti.
ments 100 gay for a serious passion, i. 382. too artificial for a se.
rious passion, i. 383. fanciful or finical, i. 385. discordant with cha.
racter, i. 387. misplaced, i. 389. Immoral sentiments expressed
without disguise, i. 389. unnatural, i. 394. Sentiments both in dra-
matic and epic compositions ought to be subservient to the action,

ii. 282. Sentiment defined, ii. 390.
Sentimental music, i. 124. note.
Series, from small to great agreeable, i. 189. Ascending series, i.

189. Descending series, i. 190. The effect of a number of objects

placed in an increasing and decreasing series, ii. 14.
Serpentine river, its beauty, i. 214. ii. 332.
Sertorius, of Corneille censured, i. 372.
Shaft, of a column, ii. 353.
Shakspeare, his sentiments just representations of nature, i. 371. is

superior to all other writers in delineating passions and sentiments,
i. 403. excels in the knowledge of human nature, i. 404. note, deals
litile in inversion, ii. 120. excels in drawing characters, ii. 246. his
style, in what respect excellent, ii. 258. his dialogue finely con-

ducted, ij. 294. deals not in barren scenes, ii. 301.
Shame, arising from affection or aversion, i. 111. is not mean, i. 293.
Sight, influenced by passion, i. 154. 240, &c.
Similar emotions, i. 115. their effects when co-existent, i. 117. ii.


Similar passions, i. 128. Effects of coexistent similar passions, i..

Simple perception, ii. 382.
Simplicity, taste for simplicity has produced many Utopian systems

of human nature, i. 43. Beauty of sin plicity, i. 173. abandoned in
the fine arts, i. 178. a great beauty in tragedy, ii. 291. ought to be

the governing taste in gardening and architecture, ii 320.
Singing, distinguished from proi.ouncing or reading, ii. 70. Singing

and pronouncing compared, ii. 72.
Situation, different situations suited to different buildings, ii. 346.
Sky, the relish of it lost by familiarity, 1. 108.
Smelling, in smelling we feel an impression upon the organ of sense,

ii. 378.
Smoke, the pleasure of ascending smoke accounted for, i. 35. 214.
Social passions, i. 53. more refined and more pleasant than the sel-

fish, i. 104. The pain of social passions more mild than of selfish

passions, i. 105. Social passions are of greater dignity, i. 295.
Society, advantages of, i. 166. 168.
Soliloquy, has a foundation in nature, i. 250. Soliloquies, i. 407, &c.
Sophocles, generally correct in the dramatic rules, ii. 312.
Sounds, power of sounds to raise emotions, i. 57. concordant, i. 114.

discordant, i. 114. disagreeable sounds, i. 124. fit for accompany-
ing certain passions, i. 124. Sounds produce emotions that resem.
ble them, i. 155. articulate how far agreeable to the ear, ii. 8. A
smooth sound soothes the mind, and a rough sound animates, ii. 11.
A continued sound tends to lay us asleep, an interrupted sound

rouses and animates, ii. 32.
Space, natural computation of space, i. 152, &c. Space explained, ii.

Species, defined, ii. 392.
Specific habit, defined, i. 334.
Speech, power of speech to raise emotions, whence derived, i. 89. 94.
Spondee, in. 79, &c. 132.
Square, its beauty, i. 175. 269.
Stairs, their proportion, ii. 337.
Standard of taste, ch. XXV. Standard of morals, ii. 364. 367. 369.
Star, in gardening, ii. 324.
Statue, the reason why a statue is not coloured, i. 248. The limbs of

a statue ought to be contrasted, i. 266. An equestrian statue is
placed in a centre of streets, that it may be seen from many places
at once, ii. 259. Statues for adorning a building, where to be placed,
1. 349. Statue of an animal pouring out water, ii. 326. of a water.
god pouring water out of his urn, ii. 358. Statues of animals em-
ployed as supports condemned, ü. 358. Naked statues condemned,

ii. 345. note.
Steeple, ought to be pyramidal, i. 266.
Btrada, censured, ii. 239.
Style, natural and inverted, ii. 38, &c. The beauties of a natural

style, ii. 61. of an inverted style, ii. 62. Concise style a great or-

nament, ü. 261.
Subject may be conceived independent of any particular quality, ij.

39. Subject with respect to its qualities, ii. 375. 395. Subject den

fined, ii. 397.
Sublimity, ch IV. Sublime in poetry, i. 192. General terms ought

to be avoided where sublimity is intended, i. 202. Sublimity may



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be employed indirectly to sink the mind, i. 205. False sublime, i

206. 209.
Submission, natural foundation of submission to government, i. 166,

Substance, defined, ii. 375.
Substratum, defined, ii. 375.
Succession, of perceptions and ideas, i. 29, &c. 253, &c. In a quick

succession of the most beautiful objects we are scarce sensible of
any emotion, i. 90. Succession of syllables in a word, ii. 9. of ob-

jects, ii. 14.
Superlatives, inferior writers deal in superlatives, ii. 256.
Surprise, the essence of wit, i. 33. 311. Instantaneous, i. 108. 109.

220. decays suddenly, i. 109. 220. pleasant or painful according 10
circumstances, i. 221, &c. Surprise the cause of contrast, i. 240.
has an influence upon our opinions, and even upon our eye-sight, i.
242. Surprise a silent passion, i. 399. studied in Chinese gardens,

ii. 333.
Suspense, an uneasy state, i. 148.
Sweet distress, explained, i. 116.
Swift, his language always suited to his subject, ü. 255. has a pecu-

liar energy of style, ii: 257. compared with Pope, ii. 258.
Syllable, ii. 8. Syllables considered as composing words, ii. 9. Syl.

lables long and short, ii. 10. 79. Many syllables in English are ar-

bitrary, ii. 89.
Sympathy, sympathetic emotion of virtue, i. 64, &c. The pain of

sympathy is voluntary, i. 105. It improves the temper, i. 105.
Sympathy, i. 162. attractive, i. 162. 362. never low nor mean, i. 292.

the cement of society, i. 361.
Synthetic, and analytic methods of reasoning compared, i. 35.
Tacitus, excels in drawing characters, ii. 246. his style comprehen-

sive, ii. 261.
Tasso, censured, ii. 285. 289.
Taste, in tasting we feel an impression upon the organ of sense, i.

17. ii. 377. Taste in the fine arts though natural requires culture,
i. 20. ii. 371. note. Taste in the fine arts compared with the moral
şense, i. 21. its advantages, i. 23, &c. Delicacy of taste, i. 104. a
low taste, i. 191. Taste in some measure influenced by reflection,
ii. 353. note. The foundation of a right and wrong in taste, ii. 364.
Tašte in the fine arts as well as in morals corrupted by voluptu.
ousness, ii. 370. corrupted by love of riches, ii. 370. Taste never
naturally bad or wrong, ii. 372. Aberrations from a true taste in

the fine arts, ii. 367.
Tautology, a blemish in writing, ii. 263.
Telemachus, an epic poem, ii. 271. note. Censured, ii. 290. note.
Temples, of ancient and modern virtue in the gardens of Stow, ii.

Terence, censured, i. 409, &c. ii. 313.
Terror, arises sometimes to its utmost height instantaneously, i. 108,

&c. a silent passion, i. 399. Objects that strike terror have a fine
effect in poetry and painting, ji. 265. The terror raised by tragedy
explained, ii. 276.
Theorem, general theorems agreeable, i. 177.
Vol. II.

3 H


Time, past time expressed as present, i. 94, &c. Natural computa.

tion of time, i. 146, &c. Time explained, ii. 393.
Titus Livius. See Livy.
Tone, of mind, ii. 376.
Touch, in touching we feel an impression upon the organ of sense, ii.

Trachiniens, of Sophocles censured, ii. 312.
Tragedy, the deepest tragedies are the most crowded, i. 362. note.

The later English tragedies censured, i. 369. French tragedy cen.
sured, i. 371. note. 392. The Greek tragedy accompanied with mus
sical notes to ascertain the pronunciation, ii. 72. Tragedy, ch.
XXII. in what respect it differs from an epic poem, ii. 271. distin.
guished into pathetic and moral, ii. 272. its good effects, ii. 273.
compared with the epic as to the subjects proper for each, ii. 274.
how far it may borrow from history, ii

. 280. rule for dividing it into
acts, ii. 281. double plot in it, ii. 291. admits not violent action or
supernatural events, ii. 293. its origin, ii. 303. Ancient tragedy a
continued representation without interruption, ii. 304. Constitu-

tion of the modern drama, ii. 304.
Tragi-comedy, ii. 292.
Trees, the best manner of placing them, ii. 325.
Triangle, equilateral, its beauty, i. 176.
Tribrachys, ii. 132.
Trochæus, ii. 132.
Tropes, ch. XX.
Ugliness, proper and figurative, ii. 385.
Unbounded prospect disagreeable, i. 244. note.
Uniformity of the operations of nature, i. 269, &c. Uniformity apt to

disgrist by excess, i. 176. Uniformity and variety, ch. IX. conspi-
cuous in the works of nature, i. 273. The melody of the verse
ought to be uniform where the things described are uniform, ii.

105. Uniformity defined, ii. 386.
Unity, the three unities, ch. XXIIL of actions, ii. 298, &c. Unity of
action in a picture, ii. 301. of time and of place, ii. 301, &c. Uni.
ties of time and of place not required in an epic poem, ii. 302.
Strictly observed in the Greek tragedy, ii. 304. Unity of place in
the ancient drama, ii. 311. Unities of place and time ought to be
strictly observed in each act of a modern play, ii. 315. Wherein

the unity of a garden consists, ii. 322.
Dnumquodque eodem modo dissolvitur quo colligatum est, i. 246.
Vanity, a disagreeable passion, i. 102. always appears mean, i. 293.
Variety, distinguished from novelty, i. 223.' Variety, ch. IX. Varie-

ty in pictures, i. 265. conspicuous in the works of nature, i. 273.

in gardening, ii. 331.
Veracity of our senses, i. 85.
Verb, active and passive, ii. 35.
Verbal antithesis, defined, i. 320. ii. 24.
Versailles, gardens of, ii. 328.
Verse, distinguished from prose, ii. 73. Sapphic verse extremely me.

lodious, ii. 76. lambic less so, ii. 76. Structure of an hexameter
line, ii. 79. Structure of English heroic verse, ii. 80. note. 89, &c.
118. English monosyllables arbitrary as to quantity, ii. 90. Eng.

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