than of selfish passions, ib. Social Substratum, defined, 475. passions are of greater dignity, 176. Society, advantages of, 101. Soliloquy, has a foundation in nature, 242. Soliloquies, 241, &c. Sophocles, generally correct in the dra- matic rules, 438.
Sounds, power of sounds to raise emo- tions, 35, 36., concordant, 68., dis- cordant, ib., disagreeable sounds, 74., fit for accompanying certain passions, 74, 75. Sounds produce emotions that resemble them, 94., articulate how far agreeable to the ear, 248-250. A smooth sound soothes the mind, and a rough sound animates, 251. A con- tinued sound tends to lay us asleep, an interrupted sound rouses and ani- mates, 265.
Space, natural computation of space, 92, &c. Space explained, 485, 486.
Species, defined, 485.
Specific habit, defined, 198.
Succession, of perceptions and ideas, 19. 152, &c. In a quick succession ef the most beautiful objects we are scarce sensible of any emotion, 53. Succession of syllables in a word, 249., of objects, 252.
Superlatives, inferior writers deal ir su- perlatives, 367.
Surprise, the essence of wit, 21. 185. Instantaneous, 64, 65. 186., decays suddenly, 65. 186., pleasant or painful according to circumstances, 133, &c. Surprise the cause of contrast, 144, has an influence upon our opinions, and even upon our eye-sight, 147. Surprise a silent passion, 236. studi- ed in Chinese gardens, 451. Suspense, an uneasy state, 90. Sweet distress, explained, 68. Swift, his language always suited to his subject, 403., has a peculiar energy of style. 404., compared with Pope, ib.
Speech, power of speech to raise emo- Syllable, 218, &c. Syllables considered
tions, whence derived, 53. 56.
Spondee, 293, 294. 323.
Square, its beauty, 106. 160. Stairs, their proportion, 453.
Standard of taste, ch. xxv. Standard of morals, 468–471. Star, in gardening, 445.
Statue, the reason why a statue is not coloured, 149. The limbs of a statue ought to be contrasted, 159. An equestrian statue is placed in a centre of streets, that it may be seen from many places at once, 405. Statues for adorning a building, where to be placed, 459, 460. Statue of an animal pouring out water, 448., of a water- god pouring water out of his urn, 465. Statues of animals employed as supports condemned, ib. Naked statues condemned, 457, note. Steeple, ought to be pyramidal, 159. Strada, censured, 392.
Style, natural and inverted, 270, &c. The beauties of a natural style, 281., of an inverted style, ib. Concise style a great ornament, 406. Subject, may be conceived independent of any particular quality, 269. Sub- ject with respect to its qualities, 474. 486. Subject defined, 488. Sublimity, ch. iv. Sublime in poetry, 115. General terms ought to be avoid- ed where sublimity is intended, 122. Sublimity may be employed indirectly to sink the mind, 124. False sub- lime, 125.
Submission, natural foundation of sub- mission to government, 100, &c. Substance, defined, 475.
as composing words, 249. Syllables long and short, 250. 292. Many syl- lables in English are arbitrary, 298. Sympathy, sympathetic emotion of vir- tue, 40, &c. The pain of sympathy is voluntary, 62. It improves the teni- per, ib.
Sympathy, 98., attractive, 93. 212., ne- ver low nor mean, 174., the cement of society, 212.
Synthetic, and analytic methods of rea- soning compared, 22.
Tacitus, excels in drawing characters, 397., his style comprehensive, 407. Tasso, censured, 422. 424. Taste, in tasting we feel an impression upon the organ of sense, 11. 476. Taste in the fine arts though natural requires culture, 13. 472, note. Taste in the fine arts compared with the moral sense, 13., its advantages, 14, 15. Delicacy of taste, 61. 472., a low taste, 115. Taste in some measure influenced by reflection, 462, note. The foundation of a right and wrong in taste, 466. Taste in the fine arts as well as in morals corrupted by vo- luptuousness, 471., corrupted by love of riches, 472. Taste never naturally bad or wrong, 473. Aberrations from a true taste in the fine arts, 476. Tautology, a blemish in writing, 407. Telemachus, an epic poem, 414, note. Censured, 425, note.
Temples, of ancient and modern virtue in the gardens of Stow, 464. Terence, censured, 242. 439.
Terror, arises sometimes to its utmos
height instantaneously, 64, &c., a si- lent passion, 236. Objects that strike terror have a fine effect in poetry and painting, 410. The terror raised by tragedy explained, 418.
Theorem, general theorems agreeable,
Time, past time expressed as present, 55, &c. Natural computation of time, 89, &c. Time explained, 485. Titus Livius. See Livy. Tone, of mind, 475.
Touch, in touching we feel an impres- sion upon the organ of sense, 11. 476. Trachiniens, of Sophocles censured,438. Tragedy, the deepest tragedies are the most crowded, 213, nole. The later English tragedies censured, 217. French tragedy censured, 219, note., 232. The Greek tragedy accompa- nied with musical notes to ascertain
the pronunciation, 289. Tragedy, ch. xxii., in what respect it differs from an epic poem, 414, &c., distin- guished into pathetic and moral, 415., its good effects, 416., compared with the epic as to the subjects proper for cach, 416, 417., how far it may bor- row from history, 419., rule for di- viding it into acts, 420, 421., double plot in it, 425., admits not violent ac- tion or supernatural events, 426., its origin, 432. Ancient tragedy a con- tinued representation without inter- ruption, 433. Constitution of the
modern drama, 434. Tragi-comedy, 426.
Trees, the best manner of placing them, 445, 446.
Triangle, equilateral, its beauty, 105. Tibrachys, 323. Frochæus, 323. Tropes, ch. xx.
Ugliness, proper and figurative, 482. Unbounded prospect disagreeable, 146,
Uniformity of the operations of nature, 161, &c. Uniformity apt to disgust by excess, 106. Uniformity and va- riety, ch. ix., conspicuous in the works of nature, 163. The melody of the verse ought to be uniform where the things described are uni- form, 308. Uniformity defined, 481. Unity, the three unities, ch. xxiii., of actions, 430, &c. Unity of action in a picture, 431., of time and of place, 432, &c. Unities of time and of place not required in an epic poem, ib. Strictly observed in the Greek tra- gedy, ib. Unity of place in the an- cient drama, ib Unities of place and
-time ought to be strictly observed in each act of a modern play, 434, &c. Wherein the unity of a garden con- sists, 444.
Unumquodque eodem modo dissolvitur quo colligatum est, 147.
Vanity, a disagreeable passion, 61., al- ways appears mean, 175. Variety, distinguished from novelty, 134. Variety, ch. ix. Variety in pictures, 159., conspicuous in the works of na- ture, 163., in gardening, 450. Veracity of our senses, 51. Verb, active and passive, 266, 267. Verbal antithesis, defined, 190. 259. Versailles, gardens of, 447. Verse, distinguished from prose, 289 Sapphic verse extremely melodious, 290. Iambic less so, ib. Structure of an hexameter line, 292, &c. Struc- ture of English heroic verse, 298, note., 308. &c. 318. English mono- syllables arbitrary as to quantity, 298. English heroic lines distinguished into four sorts, 300. 311., they have a due mixture of uniformity and variety, 315. English rhyme compared with blank verse, 316. Rules for compo- sing each, 316, &c. Latin hexameter compared with English rhyme, 318., compared with blank verse, ib. French heroic verse compared with hexameter and rhyme, ib. The En- glish language incapable of the melo- dy of hexameter verse, 319. For what subject is rhyme proper, 320, &c. Melody of rhyme, ib. Rhyme necessary to French verse, 322. Me- lody of verse is so enchanting as to draw a veil over gross imperfections, 323. Verses composed in the shape of an axe or an egg, 417.
Violent action, ought to be excluded from the stage, 426.
Virgil, censured for want of connection,
21., his verse extremely melodious, 296., his versification criticised, 308., censured, 323. 399. 402. 408. 411, 412. 423.
Virgil travestie, characterised, 179. Virtue, the pleasures of virtue never de- cay, 40.
Vision, the largest and smallest angle of vision, 92. 93. Voltaire, censured, 395. 419. 422. 424. Voluntary signs of passion, 205, 206. Voluptuousness tends to vitiate our taste, 471, 472. Vowels, 218, 219.
Walk, in a garden, whether it ought to be straight or waving, 448. Arti-
ficial walk elevated above the plain, 448.
Wall, that is not perpendicular occa- sions an uneasy feeling, 94. Waterfall, 94. 129.
Water-god, statue of, pouring out wa- ter, 465.
Way of the world, censured, 431., the unities of place and time strictly ob- served in it, 440.
Will, how far our train of perceptions can be regulated by it, 20. 154-156., determined by desire, 96.
Windows, their proportion, 452., double row, 459.
Winter garden, 449.
Wish, distinguished from desire, 30. Wit, defined, 21. 183., seldom united with judgment, 21., but generally with memory, ib., not concordant with grandeur, 150. Wit, ch. xiii. Wit in sounds, 192. Wit in architecture, 464.
Wonder, instantaneous, 64, decays sud- denly, ib. Wonders and prodigies find ready credit with the vulgar, 88. Wonder defined, 131., studied in Chi- nese gardens, 451. Words, rules for coining words, 33,
note. Play of words, 189. 215, &c. Jingle of words, 246. Words consi. dered with respect to their sound, 250. Words of different languages com- pared, 250, &c. What are their best arrangement in a period, 252. A con- junction or disjunction in the mem- bers of the thought ought to be imi- tated in the expression, 259, 261, &c. Words expressing things connected ought to be placed as near together as possible, 273, &c. In what part of a sentence doth a word make the great- est figure, 277. Words acquire a beauty from their meaning, 282. 380. Some words make an impression re- sembling that of their meaning, 282. The words ought to accord with the sentiment, 215. 237, 238. 247. 283. 403. A word is often redoubled to add force to the expression, 238. 405. See Language.
Writing, a subject intended for amuse- ment may be highly ornamented, 167. A grand subject appears best in a plain dress, ib.
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