Painting) in grotesque painting the figures ought
to be small, in historical painting as great
as the life i. 279.
Grandeur of manner in painting i. 293.
Painting is an imitation of nature ii. 234.
In history painting the principal figure ought
to be in the best light iii. 201.
A good picture agreeable, though the subject be disagreeable iii. 208.
Objects that strike terror have a fine effect in painting iii. 211.
Objects of horror ought not to be represented iii. 213.
What emotions can be raised by painting iii. 296.
Panic i. 221.
Parallelogram) its beauty i. 252.
Parody) defined ii. 52. 160. Note.
Particles ii. 404. not capable of an accent ii. 405. 416.
Passion) no pleasure of external sense denominated
a passion except of seeing and hearing i. 42.
Passion distinguished from emotion i. 52. 53. 54.
Passions distinguished into instinctive and deliberative i. 58. 95. &_c._
What are selfish, what social i. 59.
What dissocial i. 62.
Passion founded on relations i. 76. &_c._
A passion paves the way to others in the same tone i. 92.
Passions considered as pleasant or painful, agreeable
or disagreeable i. 127. &_c._
as refined or gross i. 137.
Their interrupted existence i. 139. &_c._
Their growth and decay i. 139.
&_c._ The identity of a passion i. 141.
The bulk of our passions are the affections of
love or hatred inflamed into a passion i. 146.
Passions swell by opposition i. 146.
A passion sudden in growth is sudden in decay i. 148.
ceases upon attaining its ultimate end i. 148.
Co-existent passions i. 151. &_c._
Passions similar and dissimilar i. 171.
Fluctuation of passion i. 178. &_c._
Its influence upon our opinions and belief i. 183. &_c._ 203. 358.
Its influence upon our perceptions i. 215. 216.
Prone to its gratification i. 238. 239.
has an influence even upon our eye-sight i. 362. 363.
Passions ranked according to their dignity ii. 32.
No disagreeable passion is attended with dignity ii. 33.
Social passions of greater dignity than selfish ii. 37.
External signs of passion ch. 15. ii. 116.
Passion generally fluctuates, swelling and
subsiding by turns ii. 163. Language of
passion ch. 17. ii. 204. &_c._
A passion when immoderate is silent ii. 204.
Language of passion broken and interrupted ii. 206.
What passions admit figurative expression ii. 208.
Language proper for impetuous passion ii. 210.
for melancholy ii. 210.
for calm emotions ii. 211.
for turbulent passion ii. 211.
Passions expanded upon related objects i. 76. &_c._
ii. 312. &_c._ 336. 372. 415. 416. iii. 60. &_c._ 139. 140.
With regard to passion man is passive iii. 377.
We are conscious of passions as in the heart iii. 377.
Passionate) personification iii. 64.
Passive subject) defined iii. 406.
Pathetic tragedy iii. 221.
Pause) pauses necessary for three different purposes ii. 360.
Musical pauses in an hexameter line ii. 368.
Musical pauses ought to coincide with those in the sense ii. 371. 375.
What musical pauses are essential in English heroic verse ii. 388.
Rules concerning them ii. 390. &_c._
Pause and accent have a mutual influence ii. 428.
Pedestal) ought to be sparingly ornamented iii. 347.
Perceptions) succession of i. 380.
Perception defined iii. 378.
Original and secondary iii. 382.
Simple and complex iii. 383.
Period) has a fine effect when its members proceed
in the form of an increasing series ii. 252.
In the periods of a discourse variety ought to be studied ii. 253.
Different thoughts ought not to be crowded into one period ii. 263.
The scene ought not to be changed in a period ii. 278.
A period so arranged as to express the sense clearly,
seems more musical than where the sense is left
doubtful ii. 307.
In what part of the period doth a word make the greatest figure ii. 318.
A period ought to be closed with that word which
makes the greatest figure ii. 320.
When there is occasion to mention many particulars,
in what order ought they to be placed ii. 321.
A short period is lively and familiar, a long period
grave and solemn ii. 328.
A discourse ought not to commence with a long period ii. 329.
Personification iii. 54. &_c._
Passionate and descriptive iii. 64.
Perspicuity) a capital requisite in writing ii. 256.
Pharsalia) censured iii. 220.
Phedra) of Racine censured ii. 113. 216.
Pilaster) less beautiful than a column iii. 345.
Pindar) defective in order and connection i. 35.
Pity) defined i. 55.
apt to produce love i. 93.
always painful, yet always agreeable i. 134.
resembles its cause i. 211.
What are the proper subjects for raising pity iii. 226.
Planetary system) its beauty i. 316.
Play) is a chain of connected facts, each scene making a link iii. 266.
Play of words) ii 71. 228 &_c._
Comparisons that resolve into a play of words iii. 42.
Pleasant emotions and passions i. 127. &_c._
Pleasant pain explained i. 155.
Pleasure) pleasures of seeing and hearing
distinguished from those of the other senses i. 1. 2. &_c._
Pleasure of order i. 32.
of connection i. 32.
Pleasures of taste, touch, and smell, not termed
_emotions_ or _passions_ i. 42.
Pleasures refined and gross i. 137.
Corporeal pleasure low and sometimes mean ii 32.
Pleasures of the eye and ear never low or mean ii. 32.
Pleasures of the understanding are high in point of dignity ii. 34.
Some pleasures felt internally, some externally iii. 387.
Poet) the chief talent of a poet who deals in the pathetic ii. 119.
Poetry) objects that strike terror have a fine effect in it iii. 211.
Objects of horror ought to be banished from it iii. 213.
Poetry has power over all the human affections iii. 296.
The most successful in describing objects of sight iii. 385.
Polite behaviour i. 138.
Polygon) regular its beauty i. 252.
Polysyllables) how far agreeable to the ear ii. 242.
seldom have place in the construction of English verse ii. 385. 421.
Pompey) of Corneille censured ii. 176. 191. 194.
Pope excels in the variety of his melody ii. 411.
His style compared with that of Swift iii. 198.
Posture) constrained posture disagreeable to the spectator i. 219.
Power of abstraction iii. 401.
Its use iii. 402. 403.
Prepositions) explained ii. 289.
Pride) incites us to ridicule the blunders and absurdities of others ii 17.
Considered with respect to dignity and meanness ii. 34.
Its external expressions or signs disagreeable ii. 132.
Primary and secondary qualities of matter i. 259.
Principle) of order i. 28. 29.
of morality i. 49. 74. ii. 21.
of self-preservation i. 96.
of selfishness i. 227. 229.
of benevolence i. 228. 229.
Principle that makes us fond of esteem i. 237. 286.
of curiosity i. 320. 345. &_c._
of habit ii. 105.
Principle that makes us wish others to be of our opinion iii. 57. 359.
Principle defined iii. 394.
_See_ Propensity.
Principles of the fine arts i. 7.
Proceleusmaticus ii. 461.
Prodigies) find ready credit with the vulgar i. 198.
Prologue of the ancient tragedy iii. 271.
Pronoun) defined ii. 310.
Pronunciation) rules for it ii. 347. &_c._
distinguished from singing ii. 348.
Singing and pronouncing compared ii. 351.
Propensity) opinion and belief influenced by it i. 199.
Propensity to fit objects for the gratification of our
passions i. 184. iii. 98.
Propensity to justify our passions and actions i. 185.
Propensity to punish guilt and reward virtue i. 231.
Propensity to carry along the good or bad properties
of one subject to another i. 76. ii. 235. 307.
312. 372. 415. 416. iii. 101.
Propensity to complete every work that is begun
and to carry things to perfection i. 364. 365.
iii. 262. 345.
Propensity to communicate to others every thing that affects us ii. 204.
Propensity to place together things mutually connected ii. 308.
Propensity defined iii. 394.
_See_ Principle.