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mifplaced i. 482. Immoral fentiments expreffed without difguife i. 483. unnatural i. 488. Sentiments both in dramatic and epic compofitions ought to be fubfervient to the action ii. 385. Sentiment defined ii. 527.

Sentimental music i. 138. note.

Series) from fmall to great agreeable i. 220. Ascending feries
i. 220.. Defcending feries i. 220. The effect of a number of
objects placed in an increafing or decreasing series ii. 15.
Serpentine river) its beauty i. 252. ii. 450.

Sertorius) of Corneille cenfured i. 461.
Shaft) of a column ii. 478.

Shakespear) his fentiments juft reprefentations of nature i. 458.
is fuperior to all other writers in delineating paffions and
fentiments i. 500, 501. excels in the knowledge of human
nature i. 503. note. deals little in inverfion ii. 163. excels in
drawing characters ii. 337. his ftyle in what refpect excel-
lent ii. 352. his dialogue finely conducted ii. 401. deals
not in barren scenes ii. 409.

Shame) arifing from affection or averfion i. 120. is not mean i. 357.

Sight) influenced by paffion i. 175, 176. 288, &c.

Similar emotions i. 126. their effects when coexiftent i. 128. ii. 466.

Similar paffions i. 142. Effects of coexiftent fimilar paffions

i. 143.

Simple perception ii. 517.

Simplicity) tafte for fimplicity has produced many Utopian
fyftems of human nature i. 34, 35. Beauty of fimplicity i.
200. abandoned in the fine arts i. 206. a great beauty in
tragedy ii. 397. ought to be the governing tafte in garden-
ing and architecture ii. 434.

Singing) diftinguished from pronouncing or reading ii. 94.
Singing and pronouncing compared ii. 96.

Situation) different fituations suited to different buildings ii.
469.

Sky) the relish of it loft by familiarity i. 118.

Smelling) in fmelling we feel an impreffion upon the organ of fenfe ii. 510.

Smoke) the pleasure of afcending fmoke accounted for i. 26. 253.

Social paffions i. 47. more refined and more pleasant than the felfish i. 112. The pain of focial paffions more mild than of felfish paffions i. 113. Social paflions are of greater dignity i. 360.

Society)

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Society) advantages of i. 191. 194.

Soliloquy) has a foundation in nature i. 432. Soliloquies i 506, &c.

Sophocles) generally correct in the dramatic rules ii. 425. Sounds) power of founds to raise emotions i. 53. concordant i. 125. difcordant i. 125. difagreeable founds i. 137. fit for accompanying certain paffions i. 137. Sounds produce emotions that refemble them i. 178. articulate how far agreeable to the ear ii. S.. A fmooth found foothes the mind, and a rough found animates ii. 12. A continued found tends to lay us afleep, an interrupted found roufes and animates ii.42. Space) natural computation of space i. 173, &c. Space explained ii. 532, 533.

Species) defined ii. 530.

Specific habit) defined i. 411.

Speech) power of speech to raise emotions, whence derived i. 93. 100.

Spondee) ii. 106, &c. 178.

Square) its beauty i. 203. 325.

Stairs their proportion ii. 457.

Standard of tafte ch. 25. Standard of morals ii. 493. 497, 498, 499

Star) in gardening ii. 440.

Statue) the reason why a ftatue is not coloured i. 299. The limbs of a statue ought to be contrafted i.322. An equestrian ftatue is placed in a centre of streets that it may be seen from many places at once ii. 354. Statues for adorning a building where to be placed ii. 473. Statue of an animal pouring out water ii. 443. of a water-god pouring water out of his urn ii. 485. Statues of animals employed as fupports condemned ii. 485. Naked ftatues condemned ii. 468. note. Steeple) ought to be pyramidal i. 322.

Strada) cenfured ii. 326.

Style) natural and inverted ii. 49, &c. The beauties of a natural ftyle ii. 82. of an inverted ftyle ii. 82. Concife style a great ornament ii. 357.

Subject may be conceived independent of any particular quality ii. 50, 51. Subject with refpect to its qualities ii. 507533. Subject defined ii. 537.

Sublimity) ch.4. Sublime in poetry i. 223. General terms ought to be avoided where fublimity is intended i. 238. Sublimity may be employed indirectly to fink the mind i. 241. Falfe fublime i. 243. 246.

Submiflion

Submiffion) natural foundation of fubmiffion to government i.

190, &c.

Substance) defined ii. 507.

Subftratum) defined ii. 507.

Succeffion) of perceptions and ideas i. 17, &c. 305, &c. In a quick fucceffion of the most beautiful objects, we are scarce fenfible of any emotion i. 94. Succeffion of fyllables in a word ii. 9. of objects ii. 14. 15.

Superlatives) inferior writers deal in fuperlatives ii. 349. Surprife) the effence of wit i. 22. 381. Inftantaneous i. 117. 119. 260. decays fuddenly i. 119. 260. pleasant or painful according to circumftances i. 262, &c. Surprise the cause of contraft i. 288. has an influence upon our opinions, and even upon our eye-fight i. 291. Surprise a filent paflion i. 495. ftudied in Chinese gardens ii. 452.

Sufpenfe) an uneafy ftate i. 169.

Sweet diftrefs) explained i. 127.

Swift) his language always fuited to his fubject ii. 348. has a peculiar energy of ftyle ii. 351. compared with Pope ii. 352.

Syllable ii. 8. Syllables confidered as compofing words ii. 9. Syllables long and fhort ii. 10. 105. Many fyllables in English are arbitrary ii. 120.

Sympathy) fympathetic emotion of virtue i. 61, &c. The pain of fympathy is voluntary i. 113. It improves the temper i. 113.

Sympathy i. 186. attractive i. 186. 447. never low nor mean i. 356. the cement of fociety i. 446.

Synthetic) and analytic methods of reafoning compared i. 24.

Tacitus) excels in drawing characters ii. 337. his ftyle comprehenfive ii. 357

Taffo) cenfured ii. 389. 394.

Tafte) in tafting we feel an impreffion upon the organ of sense i. 1. ii. 509. Taste in the fine arts though natural requires culture i. 6. ii. 501. note. Tafte in the fine arts compared with the moral fenfe i. 6. its advantages i. 9, &c. Delicacy of taste i. 112. a low taste i. 223. Tafte in fome measure influenced by reflection ii. 478. note. The foundation of a right and wrong in tafte ii. 492. Tafte in the fine arts as well as in morals corrupted by voluptuoufnefs ii. 500. corrupted by love of riches ii. 500. Taste never naturally bad VOL. II.

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or wrong ii. 503.
arts ii. 497, 498.

Aberrations from a true taste in the fine

Tautology) a blemish in writing ii. 359.

Telemachus) an epic poem ii. 370. note. Cenfured ii. 396.

note.

Temples) of ancient and modern virtue in the gardens of Stow ii. 483.

Terence) cenfured i. 509, &c. ii. 425, 426.

Terror) arifes fometimes to its utmost height inftantaneously i. 117, &c. a filent paffion i. 495. Objects that ftrike terror have a fine effect in poetry and painting ii. 362. The terror raised by tragedy explained ii. 377.

Theorem) general theorems agreeable i. 205.

Time) paft time expreffed as prefent i. 98, &c. Natural computation of time i. 165, &c. Time explained ii. 532, 533. Titus Livius. See Livy.

Tone) of mind ii. 508.

Touch) in touching we feel an impreffion upon the organ of fenfe ii. 509.

Trachiniens) of Sophocles cenfured ii. 424.

Tragedy) the deepest tragedies are the moft crowded i. 447:
note. The later English tragedies cenfured i. 456. French
tragedy cenfured i. 459. note. 486. The Greek tragedy
accompanied with mufical notes to afcertain the pronuncia-
tion ii. 96. Tragedy ch. 22. in what refpect it differs from
an epic poem ii. 370. diftinguished into pathetic and moral
ii. 372. its good effects ii. 374. compared with the epic as
to the fubjects proper for each ii. 375. how far it may bor-
row from hiftory ii. 382. rule for dividing it into acts ii.
383, 384. double plot in it ii. 397. admits not violent action
or fupernatural events ii. 399. its origin ii. 412. Ancient
tragedy a continued reprefentation without interruption ii.
413. Conftitution of the modern drama ii. 414.
Tragi-comedy ii. 399.

Trees) the best manner of placing them ii. 440, 441, 442.
Triangle) equilateral, its beauty i. 204.

Tribrachys ii.178.

Trochæus ii. 178.

Tropes ch. 20.

Uglinefs) proper and figurative ii. 521.

Unbounded profpect) difagreeable i. 294. note.

Uni

Uniformity of the operations of nature i. 325, &c. Uniformity apt to disguft by excefs i. 204. Unformity and variety, ch. 9. confpicuous in the works of nature i. 330. The melody of the verfe ought to be uniform where the things defcribed are uniform ii. 141. Uniformity defined ii. 522. Unity) the three unities, ch. 23. of actions ii. 405, &c. Unity of action in a picture ii. 410. of time and of place ii, 410, &c. Unities of time and of place not required in an epic poem ii. 411. Strictly obferved in the Greek tragedy ii. 413. Unity of place in the ancient drama ii. 423. Unities of place and time ought to be strictly obferved in each act of a modern play ii. 427. Wherein the unity of a garden confifts ii. 437.

Unumquodque eodem modo diffolvitur quo colligatum eft i. 296.

Vanity) a difagreeable paffion i. 110. always appears mean i. 357.

Variety) diftinguifhed from novelty i. 265. Variety, ch. 9. Variety in pictures i. 321. confpicuous in the works of nature i. 330, 331. in gardening ii. 450.

Veracity of our fenfes i. 88.

Verb) active and paffive ii. 44, 45.
Verbal antithefis) defined i. 393. ii. 29.
Versailles) gardens of ii. 444.

Verfe) diftinguished from profe ii. 98. Sapphic verfe extremely melodious ii. 101. Iambic lefs fo ii. 101. Structure of an hexameter line ii. 105, 106. Structure of English heroic verfe ii. 108. note. 119, &c. 160. English monofyllables arbitrary as to quantity ii. 121. English heroic lines diftinguished into four forts ii. 124. 149. they have a due mixture of uniformity and variety ii. 159. English rhyme compared with blank verfe ii. 160, 161. Rules for compofing each ii. 161, 162. Latin hexameter compared with English rhyme ii. 165. compared with blank verfe ii. 165. French heroic verfe compared with hexameter and rhyme ii. 166. The English language incapable of the melody of hexameter verfe ii. 168, 169. For what fubjects is rhyme proper ii. 172, &c. Melody of rhyme ii. 171. Rhyme neceffary to French verfe ii. 173. Melody of verfe is fo enchanting as to draw a veil over grofs imperfections ii. 176. Verfes compofed in the shape of an axe or an egg ii. 444.2

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