Intellectual pleasure i. 2, 3.
Internal sense iii. 375.
Intrinsic beauty i. 244.
Intuitive conviction) of the veracity of our senses i. 105.
of the dignity of human nature ii. 29. iii. 361.
of a common nature or standard in every species of beings
iii. 356. and of the perfection of that standard iii. 357.
also that it is invariable iii. 357.
Intuitive conviction that the external signs of passion
are natural, and the same in all men ii. 135.
Inversion) an inverted style described ii. 290. &_c._
Inversion gives force and liveliness to the expression
by suspending the thought till the close ii. 324.
Inversion how regulated ii. 330. 331. 332.
Beauties of inversion ii. 331. 332.
Full scope for it in blank verse ii. 438.
Ionicus ii. 461.
Joy) its cause i. 65.
infectious i. 220.
considered with respect to dignity and meanness ii. 33.
Iphigenia) of Racine censured ii. 112.
Iphigenia in Tauris) censured iii. 287. 288. 289.
Irony) defined ii. 50.
Italian tongue) too smooth ii. 246. Note.
Judgement) and memory in perfection, seldom united i. 28.
Judgement seldom united with wit i. 28.
Julius Cæsar) of Shakespear censured ii. 200.
Justice) of less dignity than generosity or courage ii. 31.
Kent) his skill in gardening iii. 303.
Key-note ii. 348. 361.
Kitchen-garden iii. 315.
Labyrinth) in a garden iii. 310.
Landscape) why it is so agreeable i. 156.
The pleasure it gives explained i. 298.
A landscape in painting ought to be confined to a single expression i. 376.
Language) power of language to raise emotions, whence derived i. 112. 121.
Language of passion ch. 17. ii. 204.
broken and interrupted ii. 206.
of impetuous passion ii. 210.
of languid passion ii. 210.
of calm emotions ii. 211.
of turbulent passion ii. 211.
Language elevated above the tone of the sentiment ii. 224.
too artificial or too figurative ii. 225.
too light or airy ii. 227.
Language how far imitative of nature ii. 234.
its beauty with respect to signification ii. 235. 254. &c.
its beauty with respect to sound ii. 238.
it ought to correspond
to the subject ii. 258.
its structure explained ii. 285.
Beauty of language from a resemblance betwixt sound
and signification ii. 333 &_c._
The force of language proceeds from raising complete images iii. 174.
its power of producing pleasant emotions iii. 208.
Without language man would scarce be a rational being iii. 406.
_L’avare_) of Moliere censured ii 198.
Laughter i. 338.
Laugh of derision or scorn ii. 16.
Law) defined ii. 22.
Laws of human nature) necessary succession of perceptions i. 21. 380.
We never act but through the impulse of desire i. 55. 222.
An object loses its relish by familiarity i. 144.
Passions sudden in their growth are equally sudden
in their decay i. 148. ii. 91.
Every passion ceases upon attaining its ultimate end i. 148.
Laws of motion) agreeable i. 255.
_Les Freres ennemies_) of Racine censured ii. 177.
_Lex talionis_) upon what principle founded i. 370.
Line) definition of a regular line iii. 389.
Littleness) is neither pleasant nor painful i. 272.
Logic) cause of its obscurity and intricacy ii. 138.
_Logio_) improper in this climate iii. 327.
Love) to children accounted for i. 82.
The love a man bears to his country explained i. 88.
Love produced by pity i. 93.
It signifies more commonly affection than passion i. 146.
To a lover absence appears long i. 202.
Love assumes the qualities of its object i. 219.
considered with respect to dignity and meanness ii. 33.
seldom constant when founded on exquisite beauty ii. 101.
ill represented in French plays ii. 194.
when immoderate is silent ii. 205.
Love for love) censured iii. 266.
Lowness) is neither pleasant nor painful i. 272.
Lucan) too minute in his descriptions i. 292.
censured iii. 220.
Ludicrous i. 338.
may be introduced into an epic poem i. 378.
Lutrin) censured for incongruity ii. 9.
characterized ii. 41.
Luxury) corrupts our taste iii. 370.
Machinery) ought to be excluded from an epic poem i. 125. iii. 239.
does well in a burlesk poem i. 125.
Man) fitted for society i. 237.
Conformity of the nature of man to his external
circumstances i. 310. ii. 143.
The different branches of his internal constitution
finely suited to each other iii. 332. 364.
Manners) gross and refined i. 1, 8.
The bad tendency of rough and blunt manners ii. 141. Note.
Marvellous) in epic poetry iii. 246.