Abbildungen der Seite

Characteristics) of Shaftesbury criticised . 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.

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

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 ar.

ranged ii. 314. &c.
Class) all living creatures distributed into classes iii.

Climax) in fense i. 281. ii. 322. in found ii. 252.
Coephores) of Eschylus censured ii. 1 14.
Coexistent) emotions and passions i.
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. Co-
lumns admit different proportions ii. 332. What e-
motions they raise iii. 339. Column more beautiful

than a pilaster iii. 344. Its form iii. 346.13)
Comedy) double plot in a comedy iji. 253.
Commencement) the commencement of a work ought

to be modest and simple jii. 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. Comparifons

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 onc

that is over-flushed i. 369.
Conception) defined iii. 379.
Concord) or harmony io objects of sight i. 156.
Concordant sounds) defined i. 151.
Congreve) censured iii. 258.
Congruity and propriety, ch. 10, ii. 3. Congruity dis-

tinguished from beauty ii. 8. diftinguished from
propriety ii. 8, Congruity coincides with propor.

tion with respect to quantity ii. 19.
Connection) necessary in all compositions i. 34. 3
Conqueft of Granada) of Dryden cenfured ü, 201.
Confonants ii. 239-
Constancy) great beauty the cause generally of incon.

{tancy 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 ex,

preffion ii. 281. &c.
Coriolanus) of Shakespear cenfured ii. 200.
Corneille) censured č. 159. 216.



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

ji. 32

Couplet ii. 381.
Courage) of greater dignity than justice. Why? ii.

Creticus ii. 460.
Criminal) the hour of execution seems to him to ap-
proach with a swift



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.

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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 a-
greeable, though the subject described be disagree.
able iii. 208. Description cannot reach any object

but those of light 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

üi. 196. Rules for its composition iii. 256.
Dignity and meanness, ch. 11. ij. 27. Dignity of hu-

man nature iii. 361.
Diiambus ii. 461.
Disagreeable emotions and passions i. 127. doc.
Discordant sounds) defined i. 152.
Dispondeus ïi. 465.
Disposition) defined iii. 394.
Dillimilar emotions i. 153. Their effects when co-ex-

istent i. 159. iii. 303. 337.
Dissimilar passions) their effects i. 171.
Disfocial passions i. 62. Diffocial passions all painful

i. 131. and also disagreeable i. 134.
Ditrochæus ii. 461.
Door) its proportion iii. 322.
Double action) in an epic poem üi. 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. 28o.
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 our-

selves and respecting others ii. 20. Foundation of
duties that respect ourselves ii. 21. Of those that re-
spect others ii, 21.

Effects) resembling effects may be produced by causes


that have no resemblance ii. 337. &c. Effect de

fined iii. 406-
Electra) of Sophocles censured ii. 115.
Elevation i. 264, &c. real and figurative intimately

connected i. 279. Figurative elevation diftinguished

from figurative grandeur iii. 21. 22.
Emotion) no pleafure of external seose except of fee-

ing and hearing is termed an emotion or paffion i.
42. Emotions defined i. 46. 47. and their causes
assigned i. 47. &c. Emotion distinguished from pal-
sion i. 52. &c. Emotions generated by relations
i. 76. &c. Primary, secondary i. 81. Raised by
fiction i. 104. doc. Division of emotions into plea-
fant and painful, agreeable and disagreeable i. 127.
&c. iii. 387. The interrupted existence of emo-
tions i. 139. &c. Their growth and decay i. 139.
&c. Their identity i. 141. Co-existent emotions
i. 151. &c. Emotions similar and diffimilar i. 153.
Complex emotion i. 154. 155. Effects of similar
emotions when co-existent i. 155. iii. 336. Ef.
fects of diffimilar emotions when co-existent i.
159. iii. 303. 337. Emotions resemble their caufes
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 flow or too
quick in their succession i. 373. Emotions raised
by the fine arts ought to be contrasted in succession
374. Emotion of congruity ii. 12. of propriety

Emotions produced by human actions ii.
28. Emotions ranked according to their dignity ii.
32. External signs of emotions ch. 15. ii. 116.


ii. 12.

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