[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 i

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.
Narration) it animates a narrative to represent things past as present i. 118.
Narration and description, ch. 21. iii. 169.
It animates a narrative, to make it dramatic iii. 197. 220.
Nation) defined iii. 404.
Note, a high note and a low note in music i. 278.
Novelty and the unexpected appearance of objects, ch. 6. i. 319.
Novelty a pleasant emotion i. 322. &c.
distinguished from variety i. 329.
its different degrees i. 329. &c.
Number) defined iii. 331.
_Numerus_) defined ii. 355.
Object) of a passion defined i. 56.
An agreeable object produceth a pleasant emotion,
and a disagreeable object a painful emotion i. 223.
attractive object i. 226.
repulsive object i. 226.
Objects of sight the most complex i. 243.
Objects that are neither pleasant nor painful i. 272. 309. 312.
Objects of external sense in what place they are perceived iii. 370.
Objects of internal sense iii. 377.
All objects of sight are complex iii. 400.
Objects simple and complex iii. 401.
Object defined iii. 406.
Old Bachelor) censured iii. 266.
Opera) censured ii. 9.
Opinion) influenced by passion i. 183. &c. iii. 55.
influenced by propensity i. 99.
influenced by affection i. 199.
why differing from me in opinion is disagreeable iii. 359.
Opinion defined iii. 396.
Oration) _pro Archia poeta_ censured ii. 329.
Orchard iii. 315.
Order) i. 28. &c. iii. 392.
pleasure we have in order i. 32.
necessary in all compositions i. 34.
Sense of order has an influence upon our passions i. 81. 89.
when a list of many particulars is brought into
a period, in what order should they be placed? ii. 321.
Order in stating facts iii. 264.
Organ of sense i. 1.
Organic pleasure i. 1. 2. 3. 4.
Orlando Furioso) censured iii. 264.
Ornament) redundant ornaments ought to be avoided iii. 168.
Ornaments in architecture iii. 342.
Allegorical or emblematic ornaments iii. 347.
Othello) censured iii. 215.
PÆon ii. 461.
Pain) cessation of pain extremely pleasant i. 68.
Pain lessens by custom ii. 102. iii. 355.
Some pains felt internally some externally iii. 387.
Painful emotions and passions i. 127. &c.
Painting) in grotesque painting the figures ought
to be small, in historical painting as great
as the life i. 279.
Grandeur of manner in painting i. 293.
Painting is an imitation of nature ii. 234.
In history painting the principal figure ought
to be in the best light iii. 201.
A good picture agreeable, though the subject be disagreeable iii. 208.
Objects that strike terror have a fine effect in painting iii. 211.
Objects of horror ought not to be represented iii. 213.
What emotions can be raised by painting iii. 296.
Panic i. 221.
Parallelogram) its beauty i. 252.
Parody) defined ii. 52. 160. Note.
Particles ii. 404. not capable of an accent ii. 405. 416.
Passion) no pleasure of external sense denominated
a passion except of seeing and hearing i. 42.
Passion distinguished from emotion i. 52. 53. 54.
Passions distinguished into instinctive and deliberative i. 58. 95. &c.
What are selfish, what social i. 59.
What dissocial i. 62.
Passion founded on relations i. 76. &c.
A passion paves the way to others in the same tone i. 92.
Passions considered as pleasant or painful, agreeable
or disagreeable i. 127. &c.
as refined or gross i. 137.
Their interrupted existence i. 139. &c.
Their growth and decay i. 139.
&c. The identity of a passion i. 141.
The bulk of our passions are the affections of
love or hatred inflamed into a passion i. 146.
Passions swell by opposition i. 146.
A passion sudden in growth is sudden in decay i. 148.
ceases upon attaining its ultimate end i. 148.
Co-existent passions i. 151. &c.
Passions similar and dissimilar i. 171.
Fluctuation of passion i. 178. &c.
Its influence upon our opinions and belief i. 183. &c. 203. 358.
Its influence upon our perceptions i. 215. 216.
Prone to its gratification i. 238. 239.
has an influence even upon our eye-sight i. 362. 363.
Passions ranked according to their dignity ii. 32.
No disagreeable passion is attended with dignity ii. 33.
Social passions of greater dignity than selfish ii. 37.
External signs of passion ch. 15. ii. 116.
Passion generally fluctuates, swelling and
subsiding by turns ii. 163. Language of
passion ch. 17. ii. 204. &c.
A passion when immoderate is silent ii. 204.
Language of passion broken and interrupted ii. 206.
What passions admit figurative expression ii. 208.
Language proper for impetuous passion ii. 210.
for melancholy ii. 210.
for calm emotions ii. 211.
for turbulent passion ii. 211.
Passions expanded upon related objects i. 76. &c.
ii. 312. &c. 336. 372. 415. 416. iii. 60. &c. 139. 140.
With regard to passion man is passive iii. 377.
We are conscious of passions as in the heart iii. 377.
Passionate) personification iii. 64.
Passive subject) defined iii. 406.
Pathetic tragedy iii. 221.
Pause) pauses necessary for three different purposes ii. 360.
Musical pauses in an hexameter line ii. 368.
Musical pauses ought to coincide with those in the sense ii. 371. 375.
What musical pauses are essential in English heroic verse ii. 388.
Rules concerning them ii. 390. &c.
Pause and accent have a mutual influence ii. 428.
Pedestal) ought to be sparingly ornamented iii. 347.
Perceptions) succession of i. 380.
Perception defined iii. 378.
Original and secondary iii. 382.
Simple and complex iii. 383.
Period) has a fine effect when its members proceed
in the form of an increasing series ii. 252.
In the periods of a discourse variety ought to be studied ii. 253.
Different thoughts ought not to be crowded into one period ii. 263.
The scene ought not to be changed in a period ii. 278.
A period so arranged as to express the sense clearly,
seems more musical than where the sense is left
doubtful ii. 307.
In what part of the period doth a word make the greatest figure ii. 318.
A period ought to be closed with that word which
makes the greatest figure ii. 320.
When there is occasion to mention many particulars,
in what order ought they to be placed ii. 321.
A short period is lively and familiar, a long period
grave and solemn ii. 328.
A discourse ought not to commence with a long period ii. 329.
Personification iii. 54. &c.
Passionate and descriptive iii. 64.
Perspicuity) a capital requisite in writing ii. 256.
Pharsalia) censured iii. 220.
Phedra) of Racine censured ii. 113. 216.
Pilaster) less beautiful than a column iii. 345.
Pindar) defective in order and connection i. 35.
Pity) defined i. 55.
apt to produce love i. 93.
always painful, yet always agreeable i. 134.
resembles its cause i. 211.
What are the proper subjects for raising pity iii. 226.
Planetary system) its beauty i. 316.
Play) is a chain of connected facts, each scene making a link iii. 266.
Play of words) ii 71. 228 &c.
Comparisons that resolve into a play of words iii. 42.
Pleasant emotions and passions i. 127. &c.
Pleasant pain explained i. 155.
Pleasure) pleasures of seeing and hearing
distinguished from those of the other senses i. 1. 2. &c.
Pleasure of order i. 32.
of connection i. 32.
Pleasures of taste, touch, and smell, not termed
_emotions_ or _passions_ i. 42.
Pleasures refined and gross i. 137.
Corporeal pleasure low and sometimes mean ii 32.
Pleasures of the eye and ear never low or mean ii. 32.
Pleasures of the understanding are high in point of dignity ii. 34.
Some pleasures felt internally, some externally iii. 387.
Poet) the chief talent of a poet who deals in the pathetic ii. 119.
Poetry) objects that strike terror have a fine effect in it iii. 211.
Objects of horror ought to be banished from it iii. 213.
Poetry has power over all the human affections iii. 296.
The most successful in describing objects of sight iii. 385.
Polite behaviour i. 138.
Polygon) regular its beauty i. 252.
Polysyllables) how far agreeable to the ear ii. 242.
seldom have place in the construction of English verse ii. 385. 421.
Pompey) of Corneille censured ii. 176. 191. 194.
Pope excels in the variety of his melody ii. 411.
His style compared with that of Swift iii. 198.
Posture) constrained posture disagreeable to the spectator i. 219.
Power of abstraction iii. 401.
Its use iii. 402. 403.
Prepositions) explained ii. 289.
Pride) incites us to ridicule the blunders and absurdities of others ii 17.
Considered with respect to dignity and meanness ii. 34.
Its external expressions or signs disagreeable ii. 132.
Primary and secondary qualities of matter i. 259.
Principle) of order i. 28. 29.
of morality i. 49. 74. ii. 21.
of self-preservation i. 96.
of selfishness i. 227. 229.
of benevolence i. 228. 229.
Principle that makes us fond of esteem i. 237. 286.
of curiosity i. 320. 345. &c.
of habit ii. 105.
Principle that makes us wish others to be of our opinion iii. 57. 359.
Principle defined iii. 394.
_See_ Propensity.
Principles of the fine arts i. 7.
Proceleusmaticus ii. 461.
Prodigies) find ready credit with the vulgar i. 198.
Prologue of the ancient tragedy iii. 271.
Pronoun) defined ii. 310.
Pronunciation) rules for it ii. 347. &c.
distinguished from singing ii. 348.
Singing and pronouncing compared ii. 351.
Propensity) opinion and belief influenced by it i. 199.
Propensity to fit objects for the gratification of our
passions i. 184. iii. 98.
Propensity to justify our passions and actions i. 185.
Propensity to punish guilt and reward virtue i. 231.
Propensity to carry along the good or bad properties
of one subject to another i. 76. ii. 235. 307.
312. 372. 415. 416. iii. 101.
Propensity to complete every work that is begun
and to carry things to perfection i. 364. 365.
iii. 262. 345.
Propensity to communicate to others every thing that affects us ii. 204.
Propensity to place together things mutually connected ii. 308.
Propensity defined iii. 394.
_See_ Principle.
Properties) transferred from one subject to another iii. 100. &c.
Property) the affection man bears to his property i. 84.
Prophecy) those who believe in prophecies wish the accomplishment i. 239.
Propriety ii. 3. &c.
distinguished from congruity ii. 8.
distinguished from proportion ii. 19.
Propriety in buildings iii. 338.
Proportion) distinguished from propriety ii. 19.
As to quantity coincides with congruity ii. 19.
examined as applied to architecture iii. 318.
Proportion defined iii. 391.
Prose) distinguished from verse ii. 353.
Prospect) pleasure of a fine prospect i. 298.
An unbounded prospect disagreeable i. 366. Note.
Provok’d husband) censured iii. 253.
Pun) defined ii. 77.
Punishment) in the place where the crime was committed i. 371.
Punishment of impropriety ii. 15.
Public games) of the Greeks i. 314.
Pyrrhichius ii. 459.
Qualities) primary and secondary i. 259.
A quality cannot be conceived independent of
the subject to which it belongs ii. 293.
Different qualities perceived by different senses iii. 376.
Quantity) with respect to melody ii. 363. 383.
Quantity with respect to English verse ii. 383.
Quintilian) censured iii. 92.
Quintus Curtius) censured ii. 167.
Racine) criticised ii. 216. &c.
Rape of the Lock) characteriz’d ii. 43.
admirable versification ii. 362.
Reading) chief talent of a fine reader ii. 120.
Plaintive passions require a slow pronunciation ii. 161. Note.
Rules for reading ii. 347. &c.
compared with singing ii. 351.
Reason) reasons to justify a favourite opinion are
always at hand and much relished i. 186.
Refined pleasure i. 137.
Regularity) not essential in grand objects i. 257.
required in a small work, not so much in one that is extensive i. 299.
how far to be studied in architecture iii. 301. 322. 328.
how far to be studied in a garden iii. 305.
Regular line defined iii. 389.
Regular figure defined iii. 389.
Regularity proper and figurative iii. 390.
Relations i. 22. 23.
have an influence in generating emotions and passions i. 76. &c.
a

corrupted by love of riches iii. 370.
Taste never naturally bad or wrong iii. 372.
Aberrations from a true taste in the fine arts iii. 366.
Tautology) a blemish in writing iii. 205.
Temples) of Ancient and Modern Virtue in the gardens of Stow iii. 348.
Terence) censured iii. 288. 290.
Terror) arises sometimes to its utmost height instantaneously i. 143.
a silent passion ii. 205.
Objects that strike terror have a fine effect
in poetry and painting iii. 211.
The terror raised by tragedy explained iii. 228.
Theorem) general theorems agreeable i. 255.
Time) past time expressed as present i. 118.
Natural computation of time i. 200. &c.
Tone) of mind iii. 378.
Touch) in touching we feel an impression upon the organ of sense iii. 380.
Trachiniens) of Sophocles censured iii. 286.
Tragedy) modern tragedy censured ii. 155.
French tragedy censured ii. 159. Note. ii. 194.
The Greek tragedy accompanied with musical notes
to ascertain the pronunciation ii. 350.
Tragedy ch. 22. iii. 218.
in what respect it differs from an epic poem iii. 218.
distinguished into pathetic and moral iii. 221.
its good effects iii. 223.
compared with the epic as to the subjects proper for each iii. 225. 226.
how far it may borrow from history iii. 234.
rule for dividing it into acts iii. 236.
double plot in it iii. 251.
admits not supernatural events iii. 254.
its origin iii. 270.
Ancient tragedy a continued representation without interruption iii. 271.
Constitution of the modern drama iii. 273.
Trees) the best manner of placing them iii. 307.
Triangle) equilateral, its beauty i. 253.
Tribrachys ii. 459.
TrochÆus ii. 459.
Tropes ch. 20. iii. 53.
Ugliness) proper and figurative iii. 388.
Unbounded prospect) disagreeable i. 366. Note.
Uniformity) apt to disgust by excess i. 253.
Uniformity and variety ch. 9. i. 380.
The melody ought to be uniform where the things
described are uniform ii. 411.
Uniformity defined iii. 390.
Unity) the three unities ch. 23. iii. 259.
of action iii. 260.
of time and of place ii. 267.
Unities of time and place not required in an epic poem iii. 268.
Strictly observed in the Greek tragedy iii. 272.
Unity of place in the ancient drama iii. 285.
Unities of place and time ought to be strictly observed
in each act of a modern play iii. 291.
Wherein the unity of a garden consists. iii. 304.
_Unumquodque eodem modo dissolvitur quo colligatum est_ i. 368.
Vanity) a disagreeable passion i. 134.
always appears mean ii. 34.
Variety) distinguished from novelty i. 329.
Variety ch. 9. i. 380.
Verbal antithesis) defined ii. 73. 268.
Versailles) gardens of iii. 310.
Verse) distinguished from prose ii. 353
Sapphic verse extremely melodious ii. 358.
Iambic less so ii. 358.
Structure of an hexameter line ii. 364.
Structure of English heroic verse ii. 382. 384.
English monosyllables arbitrary as to quantity ii. 383.
English heroic lines distinguished into four sorts ii. 421.
Latin hexameter compared with English rhyme ii. 441.
compared with blank verse ii. 442.
French heroic verse compared with hexameter and rhyme ii. 443.
The English language incapable of the melody of hexameter verse ii. 446.
For what subjects is rhyme proper ii. 447. &c.
Melody of rhyme ii. 449.
Melody of verse is so inchanting as to draw a veil
over gross imperfections ii. 457.
Verses composed in the shape of an axe or an egg iii. 310.
Violent action) ought to be excluded from the stage iii. 254.
Virgil) censured for want of connection i. 36. &c.
his verse extremely melodious ii. 357.
his versification criticised ii. 376.
censured iii. 179. 194. 246.
_Virgil travestie_) characterized ii. 41.
Voltaire) censured iii. 178. 236. 243.
Vowels ii. 238.
Walk) in a garden, whether it ought to be straight or waving iii. 311.
artificial walk elevated above the plain iii. 313.
Wall) that is not perpendicular occasions an uneasy feeling i. 218.
Water-fall i. 314.
Water-god) statue of, pouring out water iii. 350.
Way of the World) censured iii. 266.
the unities of place and time strictly observed in it iii. 293.
Will) how far our train of perceptions can be regulated by it i. 23. 381. 388.
determined by desire i. 222
Windows) their proportions iii. 323.
Wish) distinguished from desire i. 55.
Wit) defined i. 28. seldom united with judgement
i. 28. but generally with memory i. 28.
not concordant with grandeur i. 377.
Wit ch. 13. ii. 58.
Wonder) instantaneous i. 143.
Wonders and prodigies find ready credit with the vulgar i. 198.
Wonder i. 320.
studied in Chinese gardens iii. 319.
Words) play of ii. 228. &c.
jingle of ii. 231.
what are their best arrangement in a period ii. 251.
A conjunction or disjunction in the members of
the thought ought to be imitated in the expression ii. 260. 265.
Words expressing things connected ought to be
placed as near together as possible ii. 307. &c.
In what part of a sentence doth a word make the greatest figure ii. 318.
Words acquire a beauty from their meaning iii. 139.
The words ought to accord with the sentiment iii. 188.
A word is often redoubled to add force to the expression iii. 201.
Writing) a subject intended for amusement may be highly ornamented ii. 9.
A grand subject appears best in a plain dress ii. 10.

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