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Attractive and repulsive emotions. ii. 133. Emo.
are conscious of emotions as in the heart iii. 377.
qualified for personification iii. 63. Note.
its object i. 187.
in it i. 124. Machinery in it has a bad effect i.
ding it into parts iii. 236.
Esteem) love of i. 237. 286.
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 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
3 G 2
in these arts iii. 366. Who are qualificd to be jud-
ges in the fine arts iii. 371.). "
Force i. 309. &c. Moving force i. 312. The plea-
contributes to grandeur i. 315.
meanness ii. 33.
Games) public games of the Greeks i. 314.
Its emotions ought to be contrafted in fucceffion i.
did i. 377. Gardening ch. 24. iii. 294. What e-
compared with those of architecture iï. 297. Sim-
Wherein the unity of a garden consists iii. 304. How
faint imitations displease iii. 309. The effect of gi-
inspires benevolence iii. 320. and contributes to
rectitude of manners iii. 350.
for amusement iii. 198.
nerosity ii. 31.
vernment i. 236.
Grandeur and fublimity Ch. 4. i. 264. Real and
Grandeur in gardening iii. 306. Regularity
203. 358. iii. 98.