44. Abstract terms are a happy invention: it is by their means chiefly, that the particulars which make the subject of our reasoning, are brought into close union, and separated from all others however naturally connected. Without the aid of such terms, the mind could never be kept steady to its proper subject, but be perpetually in hazard of assuming foreign circumstances, or neglecting what are essential. We can without the aid of language, compare real objects by intuition, when these objects are present; and when absent, we can compare them in idea. But when we advance farther, and attempt to make inferences and draw conclusions, we always employ abstract terms, even in thinking it would be as difficult to reason without them, as to perform operations in algebra without signs; for there is scarce any reasoning without some degree of abstraction, and we cannot easily abstract without using abstract terms. Hence it follows, that without language man would scarce be a rational being.

45. The same thing, in different respects, has different names. With respect to certain qualities, it is termed a substance; with respect to other qualities, a body; and with respect to qualities of all sorts, a subject. It is termed a passive subject with respect to an action exerted upon it: an object with respect to a percipient: a cause with respect to the effect it produces and an effect with respect to its

cause.

THE END

INDEX.

The volumes are denoted by numeral letters, the pages by
figures.]

ABSTRACTION, power of, ii. 394. Its use, ii. 394.

Abstract terms, ought to be avoided in poetry, i. 203. ii. 258. Cannot be
compared but by being personified, ii. 138. Personified, ii. 173. Defined,
fi. 393. The use of abstract terms, ii. 394.

Accents, defined, ii. 78. The musical accents that are necessary in an hex.
ameter line, ii. 87. A low word must not be accented, ii. 108. Rules for
accenting English heroic verse, ii. 107. How far affected by the pause, ii.
111. Accent and pause have a mutual influence, ii. 112.
Action, what feelings are raised by human actions, i. 45, 46. 190. 290. We
are impelled to action by desire, i. 50. Some actions are instinctive, some
intended as means to a certain end, i. 52. Actions great and elevated,
low and grovelling, i. 191. Slowness and quickness in acting, to what
causes owing, i. 253. 262. Emotions occasioned by propriety of action, i.
281. Occasioned by impropriety of action, i. 282. Human actions con-
sidered with respect to dignity and meanness, i. 294. Actions the inter-
preters of the heart, i. 353. Action is the fundamental part of epic and
dramatic compositions, ii. 282. Unity of action, ii. 298. We are con-
scious of internal action as in the head, ii. 375. Internal action may pro-
ceed without our being conscious of it, ii. 376.

Action and reaction betwixt a passion and its object, i. 111.

Actor, bombast actor, i. 209. The chief talents of an actor, i. 349. An ac-
tor should feel the passion he represents, i. 368. Difference as to pronun-
ciation betwixt the French and English actors, i. 371. note.
Admiration, i. 110. 218.

Eneid. See Virgil-

Affectation, i. 280.

Affection to children accounted for, i. 72. To blood relations, i. 72. Affec-
tion for what belongs to us, i. 72. Social affections more refined than
selfish, i. 104. Affection, in what manner inflamed into a passion, i. 110.
Opposed to propensity, i. 113. Affection to children endures longer than
any other affection, i. 113. Opinion and belief influenced by affection, i.
145. Affection defined, i. 329. ii. 388.

Agamemnon, of Seneca censured, i. 391.

Agreeable emotions and passions, i. 98, &c. Things neither agreeable nor
disagreeable. See Object.

Alcestes, of Euripides censured, i. 409. ii. 312.

Alexandre, of Racine censured, i. 381.

Alexandrine line, ii. 89.

Allegory, defined, ii. 202. More difficult in painting than in poetry, ii. 213
In an historical poem, ii. 288.

All for love, of Dryden censured, i. 397.

Alto Relievo, ii. 349.

Ambiguity, occasioned by a wrong choice of words, ii. 17. Occasioned by

a wrong arrangement, ii. 41.

Amynta, of Tasso censured, i. 375.

Amor patria, accounted for, i. 75.
Amphibrachys, ii. 133.
Amphimacer, ii. 132.

Analytic, and synthetic methods of reasoning compared, i. 35.
Anapestus, ii. 132.

Anger, explained, i. 79, &c. Frequently comes to its height instantaneous-
ly, i. 109. Decays suddenly, i. 112. Sometimes exerted against the in-
nocent, i. 140, and even against things inanimate, i. 141. Not infectious,
i. 158. Has no dignity in it, i. 293.

Angle, largest and smallest angle of vision, i. 153.

Animals, distributed by nature into classes, ii. 363.
Antioacchius, ii. 132.

Anticlimax, ii. 69.

Antispastus, ii. 133.

Antithesis, ii. 24. Verbal antithesis, i. 317. ii. 24.

Apostrophe, ii. 187, &c.

Appearance, things ought to be described in poetry, as they appear, not as
they are in reality, ii, 240.

Appetite, defined, i. 51. Appetites of hunger, thirst, animal love, arise with.
out an object, i. 66. Appetite for fame or esteem, i. 166.

Apprehension, dulness and quickness of apprehension, to what causes
owing, i. 254.

Architecture, ch. XXIV. Grandeur of manner in architecture, i. 198. The
situation of a great house ought to be lofty, i. 277. A play-house or amu-
sic room susceptible of much ornament, i. 279 What emotions can be
raised by architecture, ii. 318. Its emotions compared with those of
gardening, ii. 318. Every building ought to have an expression suited to
its destination, ii. 319. 346. Simplicity ought to be the governing taste,
ii. 320. Regularity to be studied, ii. 323. 340. External form of dwell-
ing-houses, ii. 337. Divisions within, ii. 337, 347. A palace ought to be
regular, but in a small house convenience ought to be preferred, ii. 336.
A dwelling-house ought to be suited to the climate, ii. 339. Congruity
ought to be studied, ii. 345. Architecture governed by principles that
produce opposite effects, ii. 348. Different ornaments employed in it, ii.
349. Witticisms in architecture, ii. 356. Allegorical or emblematic or-
naments, ii. 357. Architecture inspires a taste for neatness and regularity,
ii. 359.

Ariosto, censured, i. 267. ii. 300.

Aristaus, the episode of Aristaus in the Georgics censured, ii. 131.
Aristotle, censured, ti. 379. note.

Army defined, ii. 396.

Arrangement, the best arrangement of words is to place them if possible in
an increasing series, ii. 15 Arrangement of members in a period, ii. 15.
Of periods in a discourse, ii. 16. Ambiguity from wrong arrangement, ii.
41. Arrangement natural and inverted, ii 61.

Articulate sounds, how far agreeable, ii. 7—10.
Artificial mount, ii. 329.

Arts. See Fine Arts.

Ascent, pleasant, but descent not painful, i. 189.

Athalie, of Racine censured, i. 391.

Attention, defined, ii. 390 Impression made by objects depends on the
degree of attention, ii. 391. Attention not always voluntary, ii, 392.

Attractive passions, i. 356.

Attractive objects, i. 160.

Attractive signs of passion, i. 356.

Attributes, transferred by a figure of speech from one subject to an-

other, ii. 196, &c.

Avarice, defined, i. 48.

Avenue, to a house, ii. 329.

Aversion, defined, i. 110. 329. ii. 390.

Bacchius, ii. 132.

Bajazet, of Racine censured, í. 406.

Barren scene, defined, ii. 300.
Base, of a column, ii. 353.

Basso-relievo, ii. 349.

Batrachomuomachia, censured, i. 301.

Beauty, ch. III. Intrinsic and relative, i. 171. ii. 329. Beauty of simplicity,
i. 173. of figure, i. 174. of the circle, i. 175, of the square, i. 175. of a re-
gular polygon, i. 175. of a parallelogram, i. 176. of an equilateral triangle,
i. 176. Whether beauty be a primary or secondary quality of objects, i.
179. Beauty distinguished from grandeur, i. 183. Beauty of natural
colours, i. 270 Beauty distinguished from congruity, i. 278. Consum-
mate beauty seldom produces a constant lover, i. 337. Wherein consists
the beauty of the human visage, i. 346. Beauty, proper and figurative, ii.
385.

Behaviour, gross and refined, i. 105.

Belief, of the reality of external objects, i. 85. Enforced by a lively narra-
tive, or a good historical painting, i. 95, 96. Influenced by passion, i. 143,
144. ii. 167, 189. Influenced by propensity, i. 145. Influenced by af-
fection, i. 145.

Benevolence operates in conjunction with self-love to make us happy, i.
161. Benevolence inspired by gardening, ii. 334.

Berkeley, censured, ii. 380. note.

Blank verse, ii. 88, 118. Its aptitude for inversion, ii. 120. Its melody, ii.
121. How far proper in tragedy, ii. 295.

Body, defined, ii. 375.

Boileau, censured, ii. 186, 284.

Bombast, i. 207. Bombast in action, i. 209.

Bossu, censured, ii. 303. note.

Burlesque, machinery does well in a burlesque poem, i. 97. Burlesque dis-

tinguished into two kinds, i. 300.

Business, men of middle age best qualified for it, i. 254.

Cadence, ii. 71, 78.

Capital, of a column, ii. 353.

Careless Husband, its double plot well contrived, ii. 292.
Cascade, i. 213.

Cause, resembling causes may produce effects that have no resemblance;
and causes that have no resemblance may produce resembling effects, ii.
65. Causes defined, ii 397.

Chance, the mind revolts against misfortunes that happen by chance, ii. 279.
Character, to draw a character is the master-stroke of description, ii. 246.
Characteristics, of Shaftsbury criticised, i. 279. note.

Children, love to them accounted for, i. 72. A child can discover a passion
from its external signs, i. 357. Hides none of its emotions, i. 364.

Chinese gardens, ii. 332. Wonder and surprise studied in them, ii. 333.
Choreus, ii, 132.

Choria mbus, ii, 133.

Chorus, and essential part of the Grecian tragedy, ii, 303.

Church, what ought to be its form and situation, ii, 345.

Cicero censured, ii, 60, 72, 74.

Cid, of Corneille censured, i. 374, 395.

Cinna, of Corneille censured, i, 280, 372, 392.

Circle, its beauty, i, 174.

Circumstances, in a period, where they should be placed, ii, 46, 51.