press the sense clearly, seems always more musical than
where the sense is left in any degree doubtful, ii. 54.
Sentiment elevated, low, i. 201. ought to be suited to the
passion, ch. 16. Sentiments expressing swelling of pas-
sion i. 416. expressing the different stages of passion, i.
418. dictated by coexistent passions, i. 420. Sentiments
of strong passions are hid or dissembled, i. 422. Senti-
ments above the tone of the passion, i. 425. below the
tone of the passion, i. 426. Sentiments too gay
for a
serious passion, i. 427. too artificial for a serious passion,
i. 428. fanciful or finical, i. 430. discordant with charac-
ter, i. 433. misplaced, i. 435. Immoral sentiments ex-
pressed without disguise, i. 436. unnatural, i. 441. Sen-
timents, both in dramatic and epic compositions, ought
to be subservient to the action, ii. 342. Sentiment de-
fined, ii. 471.
Sentimental music, i. 124. note.
Series from small to great agreeable, i. 199. Ascending
series, i. 199. Descending series, i. 199. The effect of
a number of objects placed in an increasing or decreas-
ing series, ii. 12.
Serpentine river, its beauty, i. 227. ii. 402.
Sertorius of Corneille censured, i. 416.
Shaft of a column, ii. 426.
Shakespeare, his sentiments just representations of nature,
i. 411. is superior to all other writers in delineating pas-
sions and sentiments, i. 453. excels in the knowledge
of human nature, i. 455. note, deals little in inversion, ii.
145. excels in drawing characters, ii. 299. his style in
what respect excellent, ii. 313. his dialogue finely con-
ducted, ii. 357. deals not in barren scenes, ii. 364.
Shame arising from affection or aversion, i. 108. is not
mean, i. 321.
Sight influenced by passion, i. 158. 259.
Similar emotions, i. 113. their effects when coexistent, i.
115. ii. 416.
Similar passions, i. 128. Effects of coexistent similar pas-
sions, i. 128.
Simple perception, ii. 461.
Simplicity, taste for simplicity has produced many Utopian
systems of human nature, i. 31. Beauty of simplicity, i.
180. abandoned in the fine arts, i. 186. a great beauty in
tragedy, ii. 354. ought to be the governing taste in gar-
dening and architecture, ii. 387.
Singing distinguished from pronouncing or reading, ii. 83.
Singing and pronouncing compared, ii. 85.
Situation, different situations suited to different buildings,
ii. 418.
Sky, the relish of it lost by familiarity, i. 106.
Smelling, in smelling we feel an impression upon the organ
of sense, ii. 456.
Smoke, the pleasure of ascending smoke accounted for, i,
Social passions, i. 42. more refined and more pleasant than
the selfish, i. 101. The pain of social passions more
mild than of selfish passions, i. 102. Social passions are
of greater dignity, i. 324.
Society, advantages of, i. 173. 176.
Soliloquy has a foundation in nature, i. 388. Soliloquies,
Sophocles generally correct in the dramatic rules, ii. 378.
Sounds, power of sounds to raise emotions, i. 48. concor-
dant, i. 112. discordant, i. 112. disagreeable sounds, i.
124. fit for accompanying certain passions, i. 124.
Sounds produce emotions that resemble them, i. 160.
articulate, how far agreeable to the ear, ii. 5. A smooth
sound soothes the mind, and a rough sound animates, ii.
9. A continued sound tends to lay us asleep, an inter-
rupted sound rouses and animates, ii. 36.
Space, natural computation of space, i. 157. Space ex-
plained, ii. 476.
Species defined, ii. 474.
Specific habit defined, i. 369.
Speech, power of speech to raise emotions, whence deriv-
ed, i. 83.
Spondee, ii. 94. 159.
Square, its beauty, i. 184. 292.
Stairs, their proportion, ii. 407.
Standard of taste, ch. 25. Standard of morals, ii. 440. 443.
445.
Star in gardening, ii. 392.
Statue, the reason why a statue is not coloured, i. 269.
The limbs of a statue ought to be contrasted, i. 290.
An equestrian statue is placed in a centre of streets,
that it may be seen from many places at once, ii. 314.
Statues for adorning a building where to be placed, ii.
422. Statue of an animal pouring out water, ii. 394. of
a water-god pouring water out of his urn, ii. 433. Sta-
tues of animals employed as supports condemned, ii.
433. Naked statues condemned, ii. 417. note.
Steeple ought to be pyramidal, i. 290.
Strada censured, ii. 288.
Style, natural and inverted, ii. 43. The beauties of a na-
tural style, ii. 72. of an inverted style, ii. 72. Concise
style a great ornament, ii. 317.
Subject may be conceived independent of any particular
quality, ii. 44. Subject with respect to its qualities, ii.
452. 476. Subject defined, ii. 480.
Sublimity, ch. 4. Sublime in poetry, i. 202. General
terms ought to be avoided where sublimity is intended,
i. 215. Sublimity may be employed indirectly to sink
the mind, 218. False sublime, i. 220. 222.
Submission, natural foundation of submission to govern-
ment, i. 173.
Substance defined, ii. 452.
Substratum defined, ii. 452.
Succession of perceptions and ideas, i. 15. 274.
quick succession of the most beautiful objects, we are
scarce sensible of any emotion, i. 84.
any emotion, i. 84. Succession of syl-
lables in a word, ii. 7. of objects, ii. 11.
Superlatives, inferior writers deal in superlatives, ii. 310.
Surprise, the essence of wit, i. 19. 342. Instantaneous, i.
105. 107. 235. decays suddenly, i. 107. 235. pleasant or
painful according to circumstances, i. 237. Surprise the
cause of contrast, i. 259. has an influence upon our opi-
nions, and even upon our eye-sight, i. 261. Surprise a
silent passion, i. 448. studied in Chinese gardens, ii. 403.
Suspense, an uneasy state, i. 152.
Sweet distress explained, i. 115.
Swift, his language always suited to his subject, ii. 309. has
a peculiar energy of style, ii. 312. compared with Pope,
ii. 312.
Syllable, ii. 5. Syllables considered as composing words,
ii. 6. Syllables long and short, ii. 7. 93. Many sylla-
bles in English are arbitrary, ii. 107.
Sympathy, sympathetic emotion of virtue, i. 55. The pain
of sympathy is voluntary, i. 102. It improves the tem-
per, i. 102.
Sympathy, i. 168. attractive, i. 168. 402. never low nor
mean, i. 320. the cement of society, i. 402.
Synthetic and analytic methods of reasoning compared, i.
Tacitus excels in drawing characters, ii. 299. his style com-
prehensive, ii. 317.
Tasso censured, ii. 346. 351.
Taste, in tasting we feel an impression upon the organ of
sense, i. 1. ii. 455. Taste in the fine arts though natural
requires culture, i. 5. ii. 488. note. Taste in the fine arts
compared with the moral sense, i. 6. its advantages, i. 8.
Delicacy of taste, i. 100. a low taste, i. 201. Taste in
some measure influenced by reflection, ii. 427. note.
The foundation of a right and wrong in taste, ii. 439.
Taste in the fine arts as well as in morals corrupted by
voluptuousness, ii. 446. corrupted by love of riches, ii.
447. Taste never naturally bad or wrong, ii. 449.
Aberrations from a true taste in the fine arts, ii. 444.
Tautology a blemish in writing, ii. 319.
Telemachus, an epic poem, ii. 329. note. Censured, ii.
352. note..
Temples of Ancient and Modern Virtue in the gardens of
Stow, ii. 432.
Terence censured, i. 460. ii. 378.380.
Terror arises sometimes to its utmost height instanta-
neously, i. 105. a silent passion, i. 448. Objects that
strike terror have a fine effect in poetry and painting,
ii. 324. The terror raised by tragedy explained, ii. 385.
Theorem, general theorems agreeable, i. 185.
Time, past time expressed as present, i. 88. Natural com-
putation of time, i. 149. Time explained, ii. 476.
Titus Livius. See Livy.
Touch, in touching we feel an impression upon the organ
of sense, ii. 455.
Trachiniens of Sophocles censured, ii. 378.
Tragedy, the deepest tragedies are the most crowded, i.
403, note. The later English tragedies censured, i.
410. French tragedy censured, i. 413. note. 439. The
Greek tragedy accompanied with musical notes to ascer-
tain the pronunciation, ii. 85. Tragedy, ch. 22. in what
respect it differs from an epic poem, ii. 329. distinguish-
ed into pathetic and moral, ii. 331. its good effects, ii.
332. compared with the epic as to the subjects proper
k k
for each, ii. 333. how far it may borrow from history, ii.
339. rules for dividing it into acts, ii. 341. double plot
in it, ii. 353. admits not violent action or supernatural
events, ii. 355. its origin, ii. 367. Ancient tragedy a
continued representation without interruption, ii. 368.
Constitution of the modern drama, ii. 369.
Tragi-comedy, ii. 354.
Trees, the best manner of placing them, ii. 392.
Triangle, equilateral, its beauty, i. 184.
Tribrachys, ii. 159.
Trochæus, ii. 159.
Tropes, ch. 20.
Ugliness, proper and figurative, ii. 465.
Unbounded prospect disagreeable, i. 264. note.
Uniformity of the operations of nature, i. 293. Unifor-
mity apt to disgust by excess, i. 185. Uniformity and
variety, ch. 9. conspicuous in the works of nature, i.
298. The melody of the verse ought to be uniform
where the things described are uniform, ii. 125. Uni-
formity defined, ii. 467.
Unity, the three unities, ch. 23. of actions, ii. 360. Unity
of action in a picture, ii. 365. of time and of place, ii.
365. Unities of time and of place not required in an
epic poem, ii. 366. Strictly observed in the Greek
tragedy, ii. 368. Unity of place in the ancient drama,
ii. 377. Unities of place and time ought to be strictly
observed in each act of a modern play, ii. 381. Where-
in the unity of a garden consists, ii. 390.
Unumquodque eodem modo dissolvitur quo colligatum est, i.
Vanity a disagreeable passion, i. 99. always appears mean,
i. 321.
Variety distinguished from novelty, i. 239. Variety, ch. 9.
Variety in pictures, i. 290. conspicuous in the works of
nature, i. 298. in gardening, ii. 401.
Veracity of our senses, i. 79.
Verb, active and passive, ii. 38.
Verbal antithesis defined, i. 353. ii. 25.
Versailles, gardens of, ii. 396.
Verse distinguished from prose, ii. 86. Sapphic verse ex-
tremely melodious, ii. 89. Iambic less so, ii. 89. Struc-
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