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Attractive and repulsive emotions. ii. 133. Emo.
tion 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
pallive 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 in.
tolerable in a sonnet or epigram i. 299. Its com-
mencement 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 iï. 223. Compared with tragedy as to
the subjects proper for each iii. 225. How far it
may borrow from history iii. 234. Rule for divi.

ding it into parts iii. 236.
Epic poetry ch. 22. iii. 218.
Episode) in an historical poem iii. 250. .
Epistles dedicatory) censured ii. 6. Note.
Epithers) redundant iii. 206.
Epitritus ii. 462.
VOL. III.

Efteem)

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Esteem) love of i. 237. 286.
Esther) of Racine censured ii. 193. 198.
Evergreens) cut in the shape of animals ii. 309.
Expression) elevated, low i. 276. Expression that has

i no distinct meaning ii. 232. Two members of a - fentence 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. 1. Ex.

ternal sense iii. 375. External signs) of emotions and passions, ch. 15. ii. 15116. External signs of passion, what emotions

they raise in a spectator ii. 131.66.

Faculty) by which we know passion from its external

figns ii. 136. Fairy Queen) criticised iii. 120. False quantity) painful to the ear ii. 386, Fame) love of i. 237, Falhion) its influence accounted for i. 80. Fashion is ic in a continual flux i. 256. ... Fear) explained i. 95. &c. rises often to its utmoft

pitch in an instant i. 148. is infectious i. 221. Feeling) its different significations iii. 379. 32, 13 Fiction) emotions raised by fiction i. 104. &c. Figure) beauty of i. 248. Definition of a regular fi

gure iii. 389. Si Figures) fome pallions favourable to figurative expref. Yfion ii. 208. Figures, ch. 20. iii. 33. Figure of - speech iii. 70. 113, 136. &C :si cil Final cause) of our sense of order and connection i. 5:46. of the fympathetic emotion of virtue i. 74

of

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of the instinctive passion of fear i. 96. 97. of the instinctive paffion of anger i. To 3." of ideal prex

sence i. 129. of the power that fiction has on the 2 mindi. 126 of emotions and passions i. 222. &c

of regularity, uniformity, order, and simplicity 1. 249. 251. of proportion i, 250. of beauty i. 262. why certain objects are neither pleafant 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. 66. of congruity and propriety ii. 18. &c. of dignity and mcanness ii. 35. &c. of habit ii. 106. &c. of the external signs of passion and emotion ii. 127. 137. &c. why articulate founds singly agreeable are always agreeable in conjunction ii. 241. of the plea. fure 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 arts ii. 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 * 1. 8. Their emotions ooght to be contrafted in fuccellion 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 üi. 234. Aberrations from a true taste

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in these arts iii. 366. Who are qualificd to be jud-

ges in the fine arts iii. 371.). "
Fluid) motion of fluids i. 311. !
Foot) a list of verfe feet ii. 459.
Force) produces a feeling that resembles it i. 218.

Force i. 309. &c. Moving force i. 312. The plea-
fure of force differs from that of motion i. 313. It

contributes to grandeur i. 315.
Foreign) preference giveni to foreign curiofities i. 335.
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 contrafted in fucceffion i.
375. A small garden ought to be confined to a
fingle expression i. 376. A garden pear a great ci-
ty ought to have an air of folitude i. 376. A gar-
den in a wild country ought to be gay and fplen-

did i. 377. Gardening ch. 24. iii. 294. What e-
- niotions can be raised by it iii. 296. Its emotions

compared with those of architecture iï. 297. Sim-
- plicity ought to be the governing taste ii. 300.

Wherein the unity of a garden consists iii. 304. How
far onght 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 gi-
x. koving play to the imagination iii. 318. Gardening

inspires

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 pallions ii. 120.

121. 125.
Gierufalleme liberata) censured iii. 242. 249.
Good nature) why of less dignity than courage or ge-

nerosity ii. 31.
Gothic tower) its beauty iii. 324.
Government) natural foundation of submission to go.

vernment i. 236.
Grandeur) demands not strict regularity i. 257. 298.

Grandeur and fublimity Ch. 4. i. 264. Real and
figurative grandeur intimately connected i. 279.
Grandeur of manner i. 288. Grandeur may
ployed indirectly to humble the mind i. 300. Suits
ill with wit and ridicule i. 377. Figurative gran-
deur 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.
Gratitade) exerted upon the children of the benefactor
i. 187. Punishment of ingratitude ii. 25. Gratitude

considered

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