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 beft in
fucceffion, what in conjunction iii. 302. Man is
paffive 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 fonnet 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 iii. 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.

Epiftles dedicatory) cenfured ii. 6. Note.

Epithets) redundant iii. 206.

Epitritus ii. 462.

VOL. III.

3 G

Esteem)

Efteem) love of i. 237. 286.

Esther) of Racine cenfured ii. 193. 198.
Evergreens) cut in the shape of animals iii. 309.
Expreffion) elevated, low i. 276. Expreffion that has

no diftinct 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. xternal sense iii. 375

External figns) of emotions and paffions ch. 15. ii. 116. External figns of paffion, what emotions they raise in a spectator ii. 131. &c.

Faculty) by which we know paffion from its

* figns ii. 136.

Fairy Queen) criticised iii. 120.

Falle quantity) painful to the ear ii. 386.

Fame) love of i. 237.

ts external

Fashion) its influence accounted for i. 80. Fashion is in a continual flux i. 256.

Fear) explained i. 95. &c. rifes often to its utmost
tpitch in an instant i. 148. is infectious i. 221.
Feeling) its different fignifications iii. 379.
Fiction) emotions raised by fiction i. 194. &c.
Figure) beauty of i. 248. Definition of a regular fi

gure iii. 389. ¿ul &

Figures) fome paffions favourable to figurative expreffion ii. 208. Figures ch. 20. iii. 53. Figure of speech iii. 70. 113, 1363&c.) st well Final caufe) of our fenfe of order and connection i. 41 of the fympathetic emotion of virtue i. 74.

of

"

of the instinctive paffion of fear i. 96. 97. of the instinctive paffion of anger i. ro3. of ideal pres

fence i. 121. of the power that fiction has on the 7 mind i. 126. of emotions and paffions i. 222. &c. of regularity, uniformity, order, and fimplicity i. 249. 251. of proportion i, 250. of beauty i. 262. why certain objects are neither pleasant 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 refults from the different circumstances of a train of perceptions i. 397. &c. of congruity and propriety ii. 18. &c. of dignity and meannefs ii. 35. &c. of habit ii. 106. &c. of the external figns of paffion and emotion ii. 127. 137. &c. why articulate founds fingly agreeable are always agreeable in conjunction ii. 241. of the pleafure we have in language iii. 208. of our relish for various proportions in quantity iii. 333. of our conviction of a common ftandard in every species of beings iii. 362. of uniformity of tafte in the fine arts iii. 363. 364. why the fenfe of a right and a wrong in the fine arts is lefs 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

i. 8. Their emotions ought to be contrafted in fuc 30 ceffion i. 374. confidered with refpect to dignity

ii. 34. How far they may be regulated by custom ii. 108. None of them are imitative but painting and sculpture ii. 234. Aberrations from a true taste 3 G 2

in

1

in these arts iii. 366. Who are qualified to be jud-
ges in the fine arts iii. 371.
Fluid) motion of fluids i.
Foot) a lift of verfe feet ii. 459.

Force) produces a feeling that refembles 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 given to foreign curiofities i. 331.
Fountains) in what form they ought to be iii. 313.
Friendship) confidered with respect to dignity and
meannefs 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 expreffion i. 376. A garden near 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-
motions can be raised by it iii. 296. Its emotions
compared with those of architecture iii. 297. Sim-
plicity ought to be the governing taste iii. 300.
Wherein the unity of a garden confifts iii. 304. How
far ought regularity to be studied in it iii. 305.
Refemblance 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 difplease iii. 309. The effect of gi
xaving play to the imagination iii. 318. Gardening
infpires

infpires benevolence iii. 320. and contributes to
rectitude of manners iii. 350.

General idea) there cannot be fuch a thing iii. 383.
Note.

General terms) ought to be avoided in compofitions
for amusement iii. 198.

General theorems) why they are agreeable i. 255.
Generic habit) defined ii. 95.

Generofity) why of greater dignity than justice ii. 31.
Genus) defined iii. 399.

Gestures) that accompany the different paffions ii. 120.

121. 125.

Gierufalleme liberata) cenfured iii. 242. 249.

Good nature) why of lefs dignity than courage or ge-
nerosity ii. 31.

Gothic tower) its beauty iii. 324-

Government) natural foundation of fubmiffion 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 be em-
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 paffion i. 58. 59. 65. 66. 183. &C.
203. 358. iii. 98.
Gratitude) exerted upon the children of the benefactor
i. 187. Punishment of ingratitude ii. 25. Gratitude

confidered