Chapter VIII: Part 8

17. As the range of an individual is commonly within narrow bounds of space, opportunities seldom offer of an enlarged acquaintance with external objects. Original perceptions therefore, and their corresponding ideas, are a provision too scanty for the purposes of life. Language is an admirable contrivance for supplying this deficiency; for by language, the original perceptions of each individual may be communicated to all; and the same may be done by painting and other imitative arts. It is natural to suppose, that the most lively ideas are the most susceptible of being communicated to others. This holds more especially when language is the vehicle of communication; for language hitherto has not arrived at any greater perfection than to express clear and lively ideas. Hence it is, that poets and orators, who are extremely successful in describing objects of sight, find objects of the other senses too faint and obscure for language. An idea thus acquired of an object at second hand, ought to be distinguished from an idea of memory; though their resemblance has occasioned the same term to be apply’d to both. This is to be regretted; for when knowledge is to be communicated by language, ambiguity in the signification of words is a great obstruction to accuracy of conception. Thus nature hath furnished the means of multiplying ideas without end, and of providing every individual with a sufficient stock to answer, not only the necessities, but even the elegancies of life.

18. Further, man is endued with a sort of creative power: he can fabricate images of things that have no existence. The materials employ’d in this operation, are ideas of sight, which may be taken to pieces and combined into new forms at pleasure: their complexity and vivacity make them fit materials. But a man has no such power over any of his other ideas, whether of the external or internal senses: he cannot, after the utmost effort, combine these into new forms: his ideas of such objects are too obscure for this operation. An image thus fabricated cannot be called a secondary perception, not being derived from an original perception: the poverty of language however, as in the case immediately above mentioned, has occasioned the same term _idea_ to be apply’d to all. This singular power of fabricating images independent of real objects, is distinguished by the name _imagination_.

19. As ideas are the chief materials employ’d in thinking, reasoning, and reflecting, it is of consequence that their nature and differences be understood. It appears now, that ideas may be distinguished into three kinds; first, Ideas or secondary perceptions, properly termed _ideas of memory_; second, Ideas communicated by language or other signs; and, third, Ideas of imagination. These ideas differ from each other in many respects; but the chief foundation of the distinction is the difference of their causes. The first kind are derived from real existences that have been objects of our senses: language is the cause of the second, or any other sign that has the same power with language; and a man’s imagination is to himself the cause of the third. It is scarce necessary to add, that an idea, originally of imagination, being convey’d to others by language or any other vehicle, becomes in the mind of those to whom it is convey’d an idea of the second kind; and again, that an idea of this kind, being afterward recalled to the mind, becomes in that circumstance an idea of memory.

20. Human nature is not so constituted, as that its objects are perceived with indifferency: these, with very few exceptions, raise in us either pleasant or painful emotions. External objects, at the same time, appear in themselves agreeable or disagreeable; but with some difference betwixt those which produce organic impressions, and those which affect us from a distance. When we touch a soft and smooth body, we have a pleasant feeling as at the place of contact; and this feeling we distinguish not, at least not accurately, from the agreeableness of the body itself. The same holds in general with regard to all the organic impressions. It is otherwise in hearing and seeing. A sound is perceived as in itself agreeable; and, at the same time, raises in the hearer a pleasant emotion: an object of sight appears in itself agreeable; and, at the same time, raises in the seer a pleasant emotion. These are accurately distinguished. The pleasant emotion is felt as within the mind: the agreeableness of the object is placed upon the object, and is perceived as one of its qualities or properties. The agreeable appearance of an object of sight, is termed _beauty_; and the disagreeable appearance of such an object is termed _ugliness_.

21. But though beauty and ugliness, in their proper and genuine signification, are confined to objects of sight; yet in a more lax and figurative signification, they are apply’d to objects of the other senses. They are sometimes apply’d even to abstract terms; for it is not unusual to say, _a beautiful theorem, a beautiful constitution of government_. But I am inclined to think, that we are led to use such expression by conceiving the thing as delineated upon paper, and as in some sort an object of sight.

22. A line composed by a precise rule, is perceived and said to be regular. A straight line, a parabola, a hyperbola, the circumference of a circle, and of an ellipse, are all of them regular lines. A figure composed by a precise rule, is perceived and said to be regular. Thus a circle, a square, a hexagon, an equilateral triangle, are regular figures, being composed by a rule that determines the form of each. When the form of a line or of a figure is ascertained by a rule that leaves nothing arbitrary, the line and the figure are said to be perfectly regular: this is the case of the figures now mentioned; and it is the case of a straight line and of the circumference of a circle. A figure and a line are not perfectly regular where any part or circumstance is left arbitrary. A parallelogram and a rhomb are less regular than a square: the parallelogram is subjected to no rule as to the length of sides, other than that the opposite sides be equal: the rhomb is subjected to no rule as to its angles, other than that the opposite angles be equal. For the same reason, the circumference of an ellipse, the form of which is susceptible of much variety, is less regular than that of a circle.

23. Regularity, properly speaking, belongs, like beauty, to objects of sight: like beauty, it is also apply’d figuratively to other objects. Thus we say, _a regular government, a regular composition of music_, and, _regular discipline_.

24. When two figures are composed of similar parts, they are said to be uniform. Perfect uniformity is where the constituent parts of two figures are precisely similar to each other. Thus two cubes of the same dimensions are perfectly uniform in all their parts. An imperfect uniformity is, where the parts mutually correspond, but without being precisely similar. The uniformity is imperfect betwixt two squares or cubes of unequal dimensions; and still more so betwixt a square and a parallelogram.

25. Uniformity is also applicable to the constituent parts of the same figure. The constituent parts of a square are perfectly uniform: its sides are equal and its angles are equal. Wherein then differs regularity from uniformity? for a figure composed of similar or uniform parts must undoubtedly be regular. Regularity is predicated of a figure considered as a whole composed of resembling or uniform parts: uniformity again is predicated of these parts as related to each other by resemblance. We say, a square is a regular, not an uniform figure: but with respect to the constituent parts of a square, we say not that they are regular, but that they are uniform.

26. In things destined for the same use, as legs, arms, eyes, windows, spoons, we expect uniformity. Proportion ought to govern parts intended for different uses. We require a certain proportion betwixt a leg and an arm; in the base, the shaft, the capital, of a pillar; and in the length, the breadth, the height, of a room. Some proportion is also required in different things intimately connected, as betwixt a dwelling-house, the garden, and the stables. But we require no proportion among things slightly connected, as betwixt the table a man writes on and the dog that follows him. Proportion and uniformity never coincide: things perfectly similar are uniform; but proportion is never applied to them: the four sides and angles of a square are equal and perfectly uniform; but we say not that they are proportional. Thus, proportion always implies inequality or difference; but then it implies it to a certain degree only: the most agreeable proportion resembles a _maximum_ in mathematics; a greater or less inequality or difference is less agreeable.

27. Order regards various particulars. First, in tracing or surveying objects, we are directed by a sense of order: we conceive it to be more orderly, that we should pass from a principle to its accessories and from a whole to its parts, than in the contrary direction. Next, with respect to the position of things, a sense of order directs us to place together things intimately connected. Thirdly, in placing things that have no natural connection, that order appears the most perfect, where the particulars are made to bear the strongest relation to each other that position can give them. Thus parallelism is the strongest relation that position can bestow upon straight lines. If they be so placed as by production to intersect each other, the relation is less perfect. A large body in the middle and two equal bodies of less size, one on each side, is an order that produces the strongest relation the bodies are susceptible of by position. The relation betwixt the two equal bodies would be stronger by juxtaposition; but they would not both have the same relation to the third.

28. The beauty or agreeableness of an object, as it enters into the original perception, enters also into the secondary perception or idea. An idea of imagination is also agreeable; though in a lower degree than an idea of memory, where the objects are of the same kind. But this defect in the ideas of imagination is abundantly supply’d by their greatness and variety. For the imagination acting without control, can fabricate ideas of finer visible objects, of more noble and heroic actions, of greater wickedness, of more surprising events, than ever in fact existed. And by communicating these ideas in words, painting, sculpture, &_c._ the influence of the imagination is not less extensive than great.

29. In the nature of every man, there is somewhat original, that serves to distinguish him from others, that tends to form a character, and, with the concurrence of external accidents, to make him meek or fiery, candid or deceitful, resolute or timorous, chearful or morose. This original bent is termed _disposition_. Which must be distinguished from a _principle_: no original bent obtains the latter appellation, but what belongs to the whole species. A principle makes part of the common nature of man: a disposition makes part of the nature of this or that man. A _propensity_ comprehends both; for it signifies indifferently either a principle or a disposition.

30. _Affection_, signifying a settled bent of mind toward a particular being or thing, occupies a middle place betwixt propensity on the one hand, and passion on the other. A propensity being original, must exist before any opportunity be offered to exert it: affection can never be original; because, having a special relation to a particular object, it cannot exist till the object be presented. Again, passion depends on the presence of the object, in idea at least, if not in reality: when the idea vanishes, the passion vanishes with it. Affection, on the contrary, once settled on a person, is a lasting connection; and, like other connections, subsists even when we do not think of it. A familiar example will clear the whole. There may be in the mind a propensity to gratitude, which, through want of an object, happens never to be exerted, and which therefore is never discovered even by the person who has it. Another who has the same propensity, meets with a kindly office that makes him grateful to his benefactor: an intimate connection is formed betwixt them, termed _affection_; which, like other connections, has a permanent existence, though not always in view. The affection, for the most part, lies dormant, till an opportunity offer of exerting it: in this circumstance, it is converted into the passion of gratitude; and the opportunity is greedily seized for testifying gratitude in the most complete manner.

31. _Aversion_, I think, must be opposed to affection, and not to desire, as it commonly is. We have an affection for one person; we have an aversion to another: the former disposes us to do good to its object, the latter to do ill.

32. What is a sentiment? It is not a perception; for a perception signifies our consciousness of external objects. It is not consciousness of an internal action; such as thinking, suspending thought, inclining, resolving, willing, &_c._ Neither is it a conception of relation amongst objects or of their differences: a conception of this kind, is termed _opinion_. The term _sentiment_ is appropriated to those thoughts that are suggested by a passion or emotion.

33. _Attention_ is that state of mind which prepares a man to receive impressions. According to the degree of attention, objects make a stronger or weaker impression[98]. In an indolent state, or in a reverie, objects make but a slight impression; far from what they make when they command our attention. In a train of perceptions, no single object makes such a figure as it would do single and apart: for when the attention is divided among many objects, no single object is intitled to a large share. Hence the stillness of night contributes to terror, there being nothing to divert the attention.

Horror ubique animos, simul ipsa silentia terrent.

_Æneid._ 2.

_Zara._ Silence and solitude are ev’ry where!
Through all the gloomy ways and iron doors
That hither lead, nor human face nor voice
Is seen or heard. A dreadful din was wont
To grate the sense, when enter’d here, from groans
And howls of slaves condemn’d, from clink of chains,
And crash of rusty bars and creeking hinges:
And ever and anon the sight was dash’d
With frightful faces and the meagre looks
Of grim and ghastly executioners.
Yet more this stillness terrifies my soul
Than did that scene of complicated horrors.
_Mourning Bride, act 5. sc. 8._

And hence it is, that an object seen at the termination of a confined view, is more agreeable than when seen in a group with the surrounding objects.

The crow doth sing as sweetly as the lark
When neither is attended; and, I think,
The nightingale, if she should sing by day,
When ev’ry goose is cackling, would be thought
No better a musician than the wren.
_Merchant of Venice_

34. In matters of slight importance, attention, in a great measure, is directed by will; and for that reason, it is our own fault if trifling objects make any deep impression. Had we power equally to with-hold our attention from matters of importance, we might be proof against any deep impression. But our power fails us here: an interesting object seizes and fixes the attention beyond the possibility of control; and while our attention is thus forcibly attached by one object, others may solicit for admittance; but in vain, for they will not be regarded. Thus a small misfortune is scarce felt in presence of a greater:

_Lear._ Thou think’st ’tis much, that this contentious storm
Invades us to the skin; so ’tis to thee;
But where the greater malady is fix’d,
The lesser is scarce felt. Thou’d’st shun a bear;
But if thy flight lay tow’rd the roaring sea,
Thou’d’st meet the bear i’ th’ mouth. When the mind’s free,
The body’s delicate: the tempest in my mind
Doth from my senses take all feeling else,
Save what beats there.
_King Lear, act 3. sc. 5_.

35. _Genus_, _species_, _modification_, are terms invented to distinguish beings from each other. Individuals are distinguished by their qualities: a large class of individuals enjoying qualities in common, is termed a _genus_: a subdivision of such class is termed a _species_. Again, that circumstance which distinguisheth one genus, one species, or even one individual, from another, is termed a _modification_: the same particular that is termed a _property_ or _quality_ when considered as belonging to an individual or a class of individuals, is termed a _modification_ when considered as distinguishing the individual or the class from another. A black skin and soft curled hair, are properties of a negro: the same circumstances considered as marks that distinguish a negro from a man of a different species, are denominated _modifications_.

36. Objects of sight, being complex, are distinguishable into the several particulars that enter into the composition: these objects are all of them coloured; and they all have length, breadth, and thickness. When I behold a spreading oak, I distinguish in this object, size, figure, colour, and sometimes motion: viewing a flowing river, I distinguish colour, figure, and constant motion: a dye has colour, black spots, six plain surfaces, all equal and uniform. The objects of touch, have all of them extension. Some of them are felt rough, some smooth: some of them are hard, some soft. With respect to the other senses, some of their objects are simple, some complex: a sound, a taste, a smell, may be so simple as not to be distinguishable into any parts: others are perceived to be compounded of different sounds, different tastes, and different smells.

37. The eye at one look can take in a number of objects, as of trees in a field, or men in a crowd: as these objects are distinct from each other, each having a separate and independent existence, they are distinguishable in the mind as well as in reality; and there is nothing more easy, than to abstract from some and to confine our contemplation to others. A large oak with its spreading branches, fixes our attention upon itself, and abstracts us from the shrubs that surround it. In the same manner, with respect to compounded sounds, tastes, or smells, we can fix our thoughts upon any one of the component parts, abstracting our attention from the rest. But the power of abstraction is not confined to objects that are separable in reality as well as mentally: it also takes place where there can be no real separation. The size, the figure, the colour, of a tree, are inseparably connected, and cannot exist independent of each other: the same of length, breadth, and thickness: and yet we can mentally confine our observations to one of these, neglecting or abstracting from the rest. Here abstraction takes place where there cannot be a real separation.

38. This power of abstraction is of great utility. A carpenter considers a log of wood, with regard to hardness, firmness, colour, and texture: a philosopher, neglectting these properties, makes the log undergo a chymical analysis; and examines its taste, its smell, and its component principles: the geometrician confines his reasoning to the figure, the length, breadth, and thickness. In general, every artist, abstracting from all other properties, confines his observations to those which have a more immediate connection with his profession.

39. Hence clearly appears the meaning of an _abstract term_, and _abstract idea_. If in viewing an object, we can abstract from some of its parts or properties, and attach ourselves to others; there must be the same facility, when we recall this object to the mind in idea. This leads directly to the definition of an abstract idea, _viz._ “A partial view of a complex object, limited to one or more of the component parts or properties, laying aside or abstracting from others.” A word that denotes an abstract idea, is called an _abstract term_.

40. The power of abstraction is bestowed upon man, for the purposes solely of reasoning. It tends greatly to the facility as well as clearness of any process of reasoning, that, withdrawing from every other circumstance, we can confine our attention to the single property we desire to investigate.

41. Abstract ideas, may, I think, be distinguished into three different kinds, all equally subservient to the reasoning faculty. Individuals appear to have no end; and did we not possess the faculty of distributing them into classes, the mind would be lost in an endless variety, and no progress be made in knowledge. It is by the faculty of abstraction that we distribute beings into _genera_ and _species_: finding a number of individuals connected by certain qualities common to all, we give a name to these individuals considered as thus connected; which name, by gathering them together into one class, serves in a curt manner to express the whole of these individuals as distinct from others. Thus the word _animal_ serves to denote every being which hath self-motion; and the words _man_, _horse_, _lion_, &_c._ answer similar purposes. This is the first and most common sort of abstraction; and it is of the most extensive use, by enabling us to comprehend in our reasoning whole kinds and sorts, instead of individuals without end. The next sort of abstract ideas and terms comprehends a number of individual objects considered as connected by some occasional relation. A great number of persons collected together in one place, without any other relation but merely that of contiguity, are denominated _a crowd_: in forming this term, we abstract from sex, from age, from condition, from dress, &_c._ A number of persons connected by being subjected to the same laws and to the same government, are termed _a nation_; and a number of men subjected to the same military command, are termed _an army_. A third sort of abstraction is, where a single property or part, which may be common to many individuals, is selected to be the subject of our contemplation; for example, whiteness, heat, beauty, length, roundness, head, arm.

42. Abstract terms are a happy invention: it is by their means chiefly, that the particulars which we make the subject of our reasoning, are brought into close union, and separated from all others however naturally connected. Without the aid of such terms, the mind could never be kept steady to its proper subject, but would perpetually be in hazard of assuming foreign circumstances or neglecting what are essential. In a word, a general term denotes in a curt manner certain objects occasionally combined. We can, without the aid of language, compare real objects by intuition, when these objects are present; and, when absent, we can compare them by means of the ideas we have of them: but when we advance farther, and attempt to make inferences, and draw conclusions, we always employ abstract terms, even in thinking. It would be as difficult to reason without them, as to perform operations in algebra without signs: for there is scarce any reasoning without some degree of abstraction; and we cannot abstract to purpose without making use of general terms. Hence it follows, that without language man would scarce be a rational being.

43. The same thing, in different respects, has different names. With respect to certain qualities, it is termed a _substance_; with respect to other qualities, a _body_; and with respect to qualities of all sorts, a _subject_: it is termed a _passive subject_ 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 _effect_ with respect to its cause.

INDEX.

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

Abstract idea) defined iii. 402.
Abstract ideas of different kinds iii. 403.

Abstraction) power of iii. 401.
Its use iii. 402. 403.

Abstract terms) ought to be avoided in poetry i. 294. iii. 198.
Cannot be compared but by being personified iii. 6.
Personified iii. 65.
Defined iii. 402.
The use of abstract terms iii. 405.

Accent) defined ii. 361.
The musical accents that are necessary in an hexameter line ii. 376.
A low word must not be accented ii. 405.
Rules for accenting English heroic verse ii. 415.
How far affected by the pause ii. 422. &_c._
Accent and pause have a mutual influence ii. 428.

Action) what feelings are raised by human actions i. 48. 49. 276.
We are impelled to action by desire i. 55.
Some actions are ultimate, some are means leading to an end i. 57.
Actions great and elevated, low and groveling i. 276.
Emotions occasioned by propriety of action ii. 13.
Occasioned by impropriety of action ii. 14.
Human actions produce a great variety of emotions ii. 28.
Human actions considered with respect to dignity and meanness ii. 35.
We are conscious of internal action as in the head iii. 377.
Internal action may exist without our being conscious of it iii. 377.

Actor) bombast action i. 308.
An actor ought to feel the passion he represents ii. 153.

Admiration) defined i. 320.

Affectation) defined ii. 11.

Affection) to children accounted for i. 82.
To blood-relations accounted for i. 83.
To property accounted for i. 84.
Affection to children endures longer than any other affection i. 150.
Opinion and belief influenced by affection i. 199.
Affection defined ii. 87. iii. 394.

Agamemnon) of Seneca censured ii. 193.

Agreeable emotions and passions i. 127. &_c._

Alcestes) of Euripides censured iii. 286. 289.

Alexandre of Racine) censured ii. 177.

Allegory iii. 108. &_c._
More difficult in painting than in poetry iii. 129.
In an historical poem iii. 248.

All for Love) of Dryden censured ii. 202.

Ambiguity) occasioned by a wrong arrangement ii. 297.

Amynta) of Tasso censured ii. 167.

_Amor patriæ_) accounted for i. 88.

Amphibrachys ii. 460.

Amphimacer ii. 460.

Analytic) and synthetic methods of reasoning compared i. 31.

Anapæstus ii. 460.

Anger) explained i. 95. &_c._
Sometimes exerted against the innocent i. 191.
And even against things inanimate i. 191.
Not infectious i. 221.
Has no dignity in it ii. 33.

Animals) distributed by nature into classes iii. 356.

Antibacchius ii. 460.

Anticlimax ii. 345.

Antispastus ii. 461.

Antithesis ii. 73. 262.
Verbal antithesis ii. 268.

Apostrophe iii. 87. &_c._

Appearance) in poetry, things ought to be described as they appear,
not as they are in reality iii. 172.

Appetite) defined i. 59.
Appetites of hunger, thirst, animal love, arise without an object i. 73.
Appetite for fame or esteem i. 237.

Architecture ch. 24. iii. 294.
Grandeur of manner in architecture i. 294.
The situation of a great house ought to be lofty ii. 7.
A playhouse or a music-room susceptible of much ornament ii. 9.
What emotions can be raised by architecture iii. 297.
Its emotions compared with those of gardening iii. 297.
Every building ought to have an expression suited to its
destination iii. 298. 338.
Simplicity ought to be the governing taste iii. 300.
Regularity ought to be studied iii. 301.
External form of dwelling-houses iii. 324.
Divisions within iii. 324. 340.
A palace ought to be regular, but in a small house convenience ought chiefly
to be studied iii. 326.
The form of a dwelling-house ought to be suited to the climate iii. 327.
Propriety ought to be studied in architecture iii. 338.
Governed by principles which produce opposite effects iii. 342.
Different ornaments employed by it iii. 342.
Allegorical or emblematic ornaments iii. 347.
Architecture inspires a taste for neatness and regularity iii. 350.

Architrave iii. 344.

Ariosto) censured iii. 264.

Aristæus) the episode of Aristæus in the Georgics censured ii. 457.

Army) defined iii. 405.

Arrangement) the best arrangement of words is to place them as
much as possible in an increasing series ii. 251.

Articulate sounds) how far agreeable to the ear ii. 240.

Artificial mount iii. 313.

Ascent) pleasant, but descent not painful i. 273.

Athalie) of Racine censured ii. 193.

Attention) defined iii. 396.
Impression which objects make depends on the degree of attention iii. 396.
Attention not always voluntary iii. 398.

Attractive emotions ii. 133.

Attractive object i. 226.

Attributes) transferred from one subject: to another iii. 100. &_c._

Avarice) defined i. 52.

Avenue) to a house iii. 312.

Aversion) defined ii. 87. iii. 395.

Bacchius ii. 460.

Barren scene) defined iii. 266.

Base) of a column iii. 346.

Basso-relievo iii. 347.

Batrachomuomachia) censured ii. 42.

Beauty, ch. 3. i. 241.
Intrinsic and relative i. 244.
Beauty of simplicity i. 247.
of figure i. 248.
of the circle i. 251.
of the square i. 251.
of a regular polygon i. 252.
of a parallelogram i. 252.
of an equilateral triangle i. 253.
Beauty, whether a primary or secondary quality of objects i. 260.
Distinguished from congruity ii. 8.
Great beauty seldom produces a constant lover ii. 101.
Beauty proper and figurative iii. 388.

Belief) fortified by a lively narrative or a good historical painting i. 122.
influenced by passion i. 196. iii. 55. 89
influenced by propensity i. 199.
influenced by affection i. 199.

Benevolence) joins with self-love to make us happy i. 228.
inspired by gardening iii. 320.

Blank verse ii. 381. 435.
Its aptitude for inversion ii. 438.
Its melody ii. 439. &_c._

Body) defined iii. 406.

Boileau) censured iii. 242.

Bombast i. 303.
Bombast in action i. 308.

Burlesk) machinery does well in a burlesk poem i. 125.
Burlesk distinguished into two kinds ii. 41.

Cadence ii. 348. 362.

Capital) of a column iii. 346.

Careless Husband) its double plot well contrived iii. 253.

Cascade i. 314.

Cause) resembling causes may produce effects that have
no resemblance: and causes that have no
resemblance may produce resembling effects ii. 337. &_c._
Cause defined iii. 406.

Chance) the mind revolts against misfortunes that happen by chance iii. 232.

Character) to draw a character is the master-piece of description iii. 182.

Characteristics) of Shaftesbury criticised ii. 10. Note.

Children) love to them accounted for i. 82.

Chinese gardens iii. 316.
Wonder and surprise studied in them iii. 319.

Choreus ii. 459.

Choriambus ii. 461.

Chorus) an essential part of the Grecian tragedy iii. 270.

Church) what ought to be its form and situation iii. 338.

Cicero) censured ii. 329. 350.

Cid) of Corneille censured ii. 166. 198.

Cinna) of Corneille censured ii. 11. 161. 194.

Circle) its beauty i. 251.

Circumstances) in a period, how they ought to be arranged ii. 314. &_c._

Class) all living creatures distributed into classes iii. 356.

Climax) in sense i. 281. ii. 322.
in sound ii. 252.

Coephores) of Eschylus censured ii. 114.

Coexistent) emotions and passions i. 151. &_c._

Colonnade) where proper iii. 327.

Colour) a secondary quality i. 259.

Columns) every column ought to have a base i. 218.
The base ought to be square i. 218. 219.
Columns admit different proportions iii. 332.
What emotions they raise iii. 339.
Column more beautiful than a pilaster iii. 344.
Its form iii. 346.

Comedy) double plot in a comedy iii. 253.

Commencement) the commencement of a work ought
to be modest and simple iii. 171.

Common nature) in every species of animals iii, 356.
We have a conviction that this common nature is perfect or right iii. 357.
Also that it is invariable iii. 357.

Common sense iii. 359. 373.

Comparison i. 346. &_c._ Ch. 19. iii. 3.
Comparisons that resolve into a play of words iii. 42.

Complex emotion i. 152. 154. 155.

Complex perception iii. 383.

Complexion) white suits with a pale complexion,
black with a dark complexion, and scarlet
with one that is over-flushed i. 369.

Conception) defined iii. 379.

Concord) or harmony in objects of sight i. 156.

Concordant sounds) defined i. 151.

Congreve) censured iii. 258.

Congruity and propriety, ch. 10. ii. 3.
Congruity distinguished from beauty ii. 8.
distinguished from propriety ii. 8.
Congruity coincides with proportion with respect to quantity ii. 19.

Connection) necessary in all compositions i. 34.

Conquest of Granada) of Dryden censured ii. 201.

Consonants ii. 239.

Constancy) great beauty the cause generally of inconstancy ii. 101.

Construction) of language explained ii. 285.

Contempt) raised by improper action i. 340.

Contrast i. 345. &_c._
Its effect in gardening iii. 317.

Conviction) intuitive. _See_ Intuitive conviction.

Copulative) to drop the copulatives enlivens the expression ii. 281. &_c._

Coriolanus) of Shakespear censured ii. 200.

Corneille) censured ii. 159. 216.

Corporeal pleasure i. 1. 2.
low and sometimes mean ii. 32.

Couplet ii. 381.

Courage) of greater dignity than justice. Why? ii. 31.

Creticus ii. 460.

Criminal) the hour of execution seems to him
to approach with a swift pace i. 202.

Criticism) its advantages i. 8. 9. 10. 11. 12. 13.
its terms not accurately defined ii. 139.

Crowd) defined iii. 404.

Curiosity i. 320. 345. &_c._

Custom and habit, ch. 14. ii. 81.
Custom distinguished from habit ii. 82.

Dactyle ii. 364. &_c._ 460.

Declensions) explained ii. 288. 289.

Delicacy) of taste i. 136.

Derision ii. 16.

Descent) not painful i. 273.

Description) it animates a description to
represent things past as present i. 118.
The rules which ought to govern it iii. 169. &_c._
A lively description is agreeable, though
the subject described be disagreeable iii. 208.
Description cannot reach any object but
those of sight iii. 385.

Descriptive personification iii. 64.

Descriptive tragedy ii. 155.

Desire) defined i. 55.
It impels us to action i. 55.
It determines the will i. 222.
Desire in a criminal of self-punishment i. 232.
Desire tends the most to happiness when moderate i. 263.

Dialogue) dialogue-writing requires great genius ii. 151. 152. 153.
In dialogue every expression ought to be suited
to the character of the speaker iii. 196.
Rules for its composition iii. 256.

Dignity and meanness, ch. 11. ii. 27.
Dignity of human nature iii. 361.

Diianibus ii. 461.

Disagreeable emotions and passions i. 127. &_c._

Discordant sounds) defined i. 152.

Dispondeus ii. 461.

Disposition) defined iii. 394.

Dissimilar emotions i. 153.
Their effects when co-existent i. 159. iii. 303. 337.

Dissimilar passions) their effects i. 171.

Dissocial passions i. 62.
Dissocial passions all painful i. 131.
and also disagreeable i. 134.

Ditrochæus ii. 461.

Door) its proportion iii. 322.

Double action) in an epic poem iii. 264.

Double-dealer) of Congreve censured ii. 193. iii. 266.

Double plot) in a dramatic composition iii. 251.

Drama) ancient and modern drama compared iii. 280.

Dramatic poetry iii. 218. &_c._

Drapery ought to hang loose i. 219.

Dress) rules about dress ii. 10. iii. 300.

Dryden) censured iii. 128. 257. 267.

Duties) moral duties of two kinds, respecting
ourselves and respecting others ii. 20.
Foundation of duties that respect ourselves ii. 21.
Of those that respect others ii. 21.

Effects) resembling effects may be produced by causes
that have no resemblance ii. 337. &_c._
Effect defined iii. 406.

Electra) of Sophocles censured ii. 115.

Elevation i. 264. &_c._
real and figurative intimately connected i. 279.
Figurative elevation distinguished from figurative grandeur iii. 21. 22.

Emotion) no pleasure of external sense except
of seeing and hearing is termed an _emotion_ or _passion_ i. 42.
Emotions defined i. 46. 47.
and their causes assigned i. 47. &_c._
Emotion distinguished from passion i. 52. &_c._
Emotions generated by relations i. 76. &_c._
Primary, secondary i. 81.
Raised by fiction i. 104. &_c._
Division of emotions into pleasant and painful,
agreeable and disagreeable i. 127. &_c._ iii. 387.
The interrupted existence of emotions i. 139. &_c._
Their growth and decay i. 139. &_c._
Their identity i. 141.
Co-existent emotions i. 151. &_c._
Emotions similar and dissimilar i. 153.
Complex emotion i. 154. 155.
Effects of similar emotions when co-existent i. 155. iii. 336.
Effects of dissimilar emotions when co-existent i. 159. iii. 303. 337.
Emotions resemble their causes i. 217. &_c._
Emotion of grandeur i. 266. &_c._
of sublimity i. 269.
A low emotion i. 276.
Emotion of laughter i. 337.
of ridicule i. 341.
Emotions when contrasted ought not to be too slow
or too quick in their succession i. 373.
Emotions raised by the fine arts ought to be
contrasted in succession i. 374.
Emotion of congruity ii. 12.
of propriety ii. 12.
Emotions produced by human actions ii. 28.
Emotions ranked according to their dignity ii. 32.
External signs of emotions ch. 15. ii. 116.
Attractive and repulsive emotions ii. 133.
Emotion and passions expanded upon related objects
i. 76. &_c._ ii. 312. &_c._ 336. 372. 415. 416. iii. 60. &_c._ 139. 140.
Gratification of emotions i. 183. &_c._ 203. 358. iii. 98.
What emotions do best in succession, what in conjunction iii. 302.
Man is passive with regard to his emotions iii. 377.
We are conscious of emotions as in the heart iii. 377.

Emphasis) must not be put upon a low word ii. 405.

Eneid) its unity of action iii. 263.

English plays) generally irregular iii. 292.

English tongue) too rough ii. 247.
It is peculiarly qualified for personification iii. 63. Note.

Envy) defined i. 55.
It magnifies every bad quality in its object i. 187.

Epic poem) no improbable fact ought to be admitted in it i. 124.
Machinery in it has a bad effect i. 125.
It doth not always reject ludicrous images i. 378.
We pardon many faults in it which are intolerable
in a sonnet or epigram i. 299.
Its commencement ought to be modest and simple iii. 171.
In what respect it differs from a tragedy iii. 218.
Distinguished into pathetic and moral iii. 221.
Its good effects iii. 223.
Compared with tragedy as to the subjects proper for each iii. 225.
How far it may borrow from history iii. 234.
Rule for dividing it into parts iii. 236.

Epic poetry ch. 22. iii. 218.

Episode) in an historical poem iii. 250.

Epistles dedicatory) censured ii. 6. Note.

Epithets) redundant iii. 206.

Epitritus ii. 462.

Esteem) love of i. 237. 286.

Esther) of Racine censured ii. 193. 198.

Evergreens) cut in the shape of animals iii. 309.

Expression) elevated, low i. 276.
Expression that has no distinct meaning ii. 232.
Two members of a sentence which express a resemblance
betwixt two objects ought to have a resemblance to
each other ii. 270. &_c._

External senses) distinguished into two kinds i. I.
External sense iii. 375.

External signs) of emotions and passions ch. 15. ii. 116.
External signs of passion, what emotions they
raise in a spectator ii. 131. &_c._

Faculty) by which we know passion from its external signs ii. 136.

Fairy Queen) criticised iii. 120.

False quantity) painful to the ear ii. 386.

Fame) love of i. 237.

Fashion) its influence accounted for i. 80.
Fashion is in a continual flux i. 256.

Fear) explained i. 95. &_c._
rises often to its utmost pitch in an instant i. 148.
is infectious i. 221.

Feeling) its different significations iii. 379.

Fiction) emotions raised by fiction i. 104. &_c._

Figure) beauty of i. 248.
Definition of a regular figure iii. 389.

Figures) some passions favourable to figurative expression ii. 208.
Figures ch. 20. iii. 53.
Figure of speech iii. 70. 113. 136. &_c._

Final cause) of our sense of order and connection i. 41.
of the sympathetic emotion of virtue i. 74.
of the instinctive passion of fear i. 96. 97.
of the instinctive passion of anger i. 103.
of ideal presence i. 121.
of the power that fiction has on the mind i. 126.
of emotions and passions i. 222. &_c._
of regularity, uniformity, order, and simplicity i. 249. 251.
of proportion i. 250.
of beauty i. 262.
why certain objects are neither pleasant nor painful i. 272. 309.
of the pleasure we have in motion and force i. 318.
of curiosity i. 320.
of wonder i. 335.
of surprise i. 336.
of the principle that prompts us to perfect every work i. 366.
of the pleasure or pain that results from the different
circumstances of a train of perceptions i. 397. &_c._
of congruity and propriety ii. 18. &_c._
of dignity and meanness ii. 35. &_c._
of habit ii. 106. &_c._
of the external signs of passion and emotion ii. 127. 137. &_c._
why articulate sounds singly agreeable are always
agreeable in conjunction ii. 241.
of the pleasure we have in language iii. 208.
of our relish for various proportions in quantity iii. 333.
of our conviction of a common standard in every species of beings iii. 362.
of uniformity of taste in the fine arts iii. 363. 364.
why the sense of a right and a wrong in the fine arts is less
clear and authoritative than the sense of a
right and a wrong in actions iii. 368.

Fine arts) defined i. 6. 7. 16.
a subject of reasoning i. 8.
Their emotions ought to be contrasted in succession i. 374.
considered with respect to dignity ii. 34.
How far they may be regulated by custom ii. 108.
None of them are imitative but painting and sculpture ii. 234.
Aberrations from a true taste
in these arts iii. 366.
Who are qualified to be judges in the fine arts iii. 371.

Fluid) motion of fluids i. 311.

Foot) a list of verse feet ii. 459.

Force) produces a feeling that resembles it i. 218.
Force i. 309. &_c._
Moving force i. 312.
The pleasure of force differs from that of motion i. 313.
It contributes to grandeur i. 315.

Foreign) preference given to foreign curiosities i. 331.

Fountains) in what form they ought to be iii. 313.

Friendship) considered with respect to dignity and meanness ii. 33.

Games) public games of the Greeks i. 314.

Gardening) grandeur of manner in gardening i. 294.
Its emotions ought to be contrasted in succession i. 375.
A small garden ought to be confined to a single expression i. 376.
A garden near a great city ought to have an air of solitude i. 376.
A garden in a wild country ought to be gay and splendid i. 377.
Gardening ch. 24. iii. 294.
What emotions can be raised by it iii. 296.
Its emotions compared with those of architecture iii. 297.
Simplicity ought to be the governing taste iii. 300.
Wherein the unity of a garden consists iii. 304.
How far ought regularity to be studied in it iii. 305.
Resemblance carried too far in it iii. 305. Note.
Grandeur in gardening iii. 306.
Every unnatural object ought to be rejected iii. 308.
Distant and faint imitations displease iii. 309.
The effect of giving play to the imagination iii. 318.
Gardening
inspires benevolence iii. 320.
and contributes to rectitude of manners iii. 350.

General idea) there cannot be such a thing iii. 383. Note.

General terms) ought to be avoided in compositions for amusement iii. 198.

General theorems) why they are agreeable i. 255.

Generic habit) defined ii. 95.

Generosity) why of greater dignity than justice ii. 31.

Genus) defined iii. 399.

Gestures) that accompany the different passions ii. 120. 121. 125.

_Gierusalleme liberata_) censured iii. 242. 249.

Good nature) why of less dignity than courage or generosity ii. 31.

Gothic tower) its beauty iii. 324.

Government) natural foundation of submission to government i. 236.

Grandeur) demands not strict regularity i. 257. 298.
Grandeur and sublimity Ch. 4. i. 264.
Real and figurative grandeur intimately connected i. 279.
Grandeur of manner i. 288.
Grandeur may be employed indirectly to humble the mind i. 300.
Suits ill with wit and ridicule i. 377.
Figurative grandeur distinguished from figurative elevation iii. 21. 22.
Grandeur in gardening iii. 306.
Regularity and proportion hide the grandeur of a building iii. 342.

Gratification) of passion i. 58. 59. 65. 66. 183. _&c._ 203. 358. iii. 98.

Gratitude) exerted upon the children of the benefactor i. 187.
Punishment of ingratitude ii. 25.
Gratitude
considered with respect to dignity and meanness ii. 33.

Grief) magnifies its cause i. 190.
occasions a false reckoning of time i. 211.
is infectious i. 220.
when immoderate is silent ii. 204.

Gross pleasure i. 137.

Guido) censured iii. 131.

Habit) ch. 14. ii. 81.
distinguished from custom ii. 82.

Harmony) or concord in objects of sight i. 156.
Distinguished from melody ii. 358. Note.

Hatred) signifies more commonly affection than passion i. 146.

Hearing) in hearing we feel no impression iii. 380.

Henriade) censured iii. 178. 236. 243. 249.

Hexameter) Virgils hexameters extremely melodious;
those of Horace not always so ii. 357.
Structure of an hexameter line ii. 364.
Rules for its structure ii. 367.
Musical pauses in an hexameter line ii. 368.
Wherein its melody consists ii. 380.

Hippolytus) of Euripides censured ii. 197. iii. 286. 288.

History) histories of conquerors and heroes singularly
agreeable. Why? i. 72. 285.
By what means does history raise our passions i. 115. 118.
It rejects poetical images iii. 170.

Homer) defective in order and connection i. 35.
His language finely suited to his subject iii. 194.
His repetitions defended iii. 204.
His poems in a great measure dramatic iii. 220.
censured iii. 246.

Horace) defective in connection i. 35.
His hexameters not always melodious ii. 358.
Their defects pointed out ii. 380.

Horror) objects of horror ought to be banished from
poetry and painting iii. 213.

Humour) defined ii. 44.
Humour in writing distinguished from humour in character ii. 44.

Hyperbole iii. 89.

Hyppobacchius ii. 460.

Iambic verse) its modulation faint ii. 358.

Iambus ii. 459.

Jane Shore) censured ii. 168.

Idea) succession of ideas i. 381.
Idea of memory defined iii. 382.
cannot be innate iii. 382. Note.
No general ideas iii. 383. Note.
Idea of an object of sight more distinct than of any other object iii. 384.
Ideas distinguished into three kinds iii. 386.
Idea of imagination not so pleasant as an idea of memory iii. 393.

Ideal presence i. 107. &_c._

Identity) of passions and emotions i. 141.

_Jet d’eau_ i. 313. 314. iii. 308. 310.

Jingle of words ii. 231.

Iliad) criticised iii. 263.

Imagination) not always at rest even in sleep i. 337.
Effect in gardening of giving play to it iii. 318. Its
power of fabricating images iii. 385.

Imitation) we naturally imitate virtuous actions i. 220.
not those that are vicious i. 221.
None of the fine arts imitate nature except painting and sculpture ii. 234.
The agreeableness of imitation overbalances
the disagreeableness of the subject iii. 208.
Distant and faint imitations displease iii. 309.

Impression) made on the organ of sense iii. 380.

Impropriety) in action raises contempt i. 340. Its punishment ii. 15.

Impulse) a strong impulse succeeding a weak, makes a double
impression: a weak impulse succeeding a strong,
makes scarce any impression ii. 251.

Infinite series) becomes disagreeable when prolonged i. 365. Note.

Innate idea) there cannot be such a thing iii. 382. Note.

Instrument) the means or instrument conceived to be the agent iii. 98. &_c._

Intellectual pleasure i. 2, 3.

Internal sense iii. 375.

Intrinsic beauty i. 244.

Intuitive conviction) of the veracity of our senses i. 105.
of the dignity of human nature ii. 29. iii. 361.
of a common nature or standard in every species of beings
iii. 356. and of the perfection of that standard iii. 357.
also that it is invariable iii. 357.
Intuitive conviction that the external signs of passion
are natural, and the same in all men ii. 135.

Inversion) an inverted style described ii. 290. &_c._
Inversion gives force and liveliness to the expression
by suspending the thought till the close ii. 324.
Inversion how regulated ii. 330. 331. 332.
Beauties of inversion ii. 331. 332.
Full scope for it in blank verse ii. 438.

Ionicus ii. 461.

Joy) its cause i. 65.
infectious i. 220.
considered with respect to dignity and meanness ii. 33.

Iphigenia) of Racine censured ii. 112.

Iphigenia in Tauris) censured iii. 287. 288. 289.

Irony) defined ii. 50.

Italian tongue) too smooth ii. 246. Note.

Judgement) and memory in perfection, seldom united i. 28.
Judgement seldom united with wit i. 28.

Julius Cæsar) of Shakespear censured ii. 200.

Justice) of less dignity than generosity or courage ii. 31.

Kent) his skill in gardening iii. 303.

Key-note ii. 348. 361.

Kitchen-garden iii. 315.

Labyrinth) in a garden iii. 310.

Landscape) why it is so agreeable i. 156.
The pleasure it gives explained i. 298.
A landscape in painting ought to be confined to a single expression i. 376.

Language) power of language to raise emotions, whence derived i. 112. 121.
Language of passion ch. 17. ii. 204.
broken and interrupted ii. 206.
of impetuous passion ii. 210.
of languid passion ii. 210.
of calm emotions ii. 211.
of turbulent passion ii. 211.
Language elevated above the tone of the sentiment ii. 224.
too artificial or too figurative ii. 225.
too light or airy ii. 227.
Language how far imitative of nature ii. 234.
its beauty with respect to signification ii. 235. 254. &c.
its beauty with respect to sound ii. 238.
it ought to correspond
to the subject ii. 258.
its structure explained ii. 285.
Beauty of language from a resemblance betwixt sound
and signification ii. 333 &_c._
The force of language proceeds from raising complete images iii. 174.
its power of producing pleasant emotions iii. 208.
Without language man would scarce be a rational being iii. 406.

_L’avare_) of Moliere censured ii 198.

Laughter i. 338.

Laugh of derision or scorn ii. 16.

Law) defined ii. 22.

Laws of human nature) necessary succession of perceptions i. 21. 380.
We never act but through the impulse of desire i. 55. 222.
An object loses its relish by familiarity i. 144.
Passions sudden in their growth are equally sudden
in their decay i. 148. ii. 91.
Every passion ceases upon attaining its ultimate end i. 148.

Laws of motion) agreeable i. 255.

_Les Freres ennemies_) of Racine censured ii. 177.

_Lex talionis_) upon what principle founded i. 370.

Line) definition of a regular line iii. 389.

Littleness) is neither pleasant nor painful i. 272.

Logic) cause of its obscurity and intricacy ii. 138.

_Logio_) improper in this climate iii. 327.

Love) to children accounted for i. 82.
The love a man bears to his country explained i. 88.
Love produced by pity i. 93.
It signifies more commonly affection than passion i. 146.
To a lover absence appears long i. 202.
Love assumes the qualities of its object i. 219.
considered with respect to dignity and meanness ii. 33.
seldom constant when founded on exquisite beauty ii. 101.
ill represented in French plays ii. 194.
when immoderate is silent ii. 205.

Love for love) censured iii. 266.

Lowness) is neither pleasant nor painful i. 272.

Lucan) too minute in his descriptions i. 292.
censured iii. 220.

Ludicrous i. 338.
may be introduced into an epic poem i. 378.

Lutrin) censured for incongruity ii. 9.
characterized ii. 41.

Luxury) corrupts our taste iii. 370.

Machinery) ought to be excluded from an epic poem i. 125. iii. 239.
does well in a burlesk poem i. 125.

Man) fitted for society i. 237.
Conformity of the nature of man to his external
circumstances i. 310. ii. 143.
The different branches of his internal constitution
finely suited to each other iii. 332. 364.

Manners) gross and refined i. 1, 8.
The bad tendency of rough and blunt manners ii. 141. Note.

Marvellous) in epic poetry iii. 246.

Meanness ii. 27. &_c._

Means) the means or instrument conceived to be the agent iii. 98. &_c._

Measure) natural measure of time i. 200. &_c._
of space, i. 211 &_c._

Medea) of Euripides censured iii. 287.

Melody) or modulation defined ii. 355.
distinguished from harmony ii. 358. Note.

Members of a period) have a fine effect placed in
an increasing series ii. 252.

Memory) and judgement in perfection seldom united i. 28.
Memory and wit often united i. 28.
Memory iii. 381.

Merry wives of Windsor) its double plot well contrived iii. 253.

Metaphor iii. 108. &_c._

Metre ii. 381.

Mile) the computed miles are longer in a barren
than in a populous country i. 209.

Milton) his style much inverted ii. 439.
The defect of his verification is the want of
coincidence betwixt the pauses of the sense
and the sound ii. 445.
the beauty of Milton’s comparisons iii. 16.

Moderation) in our desires contributes the most to happiness i. 263.

Modern manners) make a poor figure in an epic poem iii. 235.

Modification) defined iii. 399.

Modulation) defined ii. 355.

Molossus ii. 459.

Monosyllables) English, arbitrary as to quantity ii. 383.

Moral duties) _See_ Duties.

Morality) its foundation iii. 358.
Aberrations from its true standard iii. 366.

Moral tragedy iii. 221.

Motion) productive of feelings that resemble it i. 217.
Its laws agreeable i. 255.
Motion and force, ch. 5. i. 309. &_c._
What motions are the most agreeable i. 310.
Regular motion i. 311.
accelerated motion i. 311.
upward motion i. 311.
undulating motion i. 311.
Motion of fluids i. 311.
A body moved
neither agreeable nor disagreeable i. 312.
The pleasure of motion differs from that of force i. 313.
Grace of motion i. 317.
Motions of the human body i. 317.

Motive) defined i. 58. 59.

Mount) artificial iii. 313.

Mourning Bride) censured ii. 180. 197. iii. 279. 292.

Music) vocal distinguished from instrumental i. 166.
What subjects proper for vocal music i. 166. &_c._
Music betwixt the acts of a play, the advantages
that may be drawn from it iii. 283.
Though it cannot raise a passion, it disposes
the heart to various passions iii. 284.

Musical instruments) their different effects upon the mind i. 283.

Musical measure) defined ii. 355.