Elements of criticism / By Henry Home, Lord Kames.

  • Kames, Henry Home, Lord, 1696-1782.
Date:
1839
Catalogue details

Licence: Public Domain Mark

Credit: Elements of criticism / By Henry Home, Lord Kames. Source: Wellcome Collection.

    505/510 (page 483)
    457. Substratum defined, ib. Succes- sion of perceptions and ideas, 1, 132 ; in a quick succession of the most beautiful objects we are scarce sensible of any emotion, 35 ; succession of syllables in a word, 231 ; of objects, 233, 234. Su- perlatives, inferior writers deal in su- perlatives, 351. Surprise the essence of wit, 3, 166; instantaneous, 46, 47, 112; decays suddenly, ib. ; pleasant or painful according to circumstances, 114 ; surprise the cause of contrast, ib.; has an influence upon our opinions, and even upon our eve-sight, 126; surprise a silent passion, 218 ; studied in Chinese gardens, 432. Suspense an uneasy state, 70. Sweet distress explained, 51. Swift, his language always suited to his subject, 387 ; has a peculiar energy of style, ib. ; compared with Pope, ib. Syllable, 230 ; syllables con- sidered as composing words, 231 ; syl- lables long and short. 231, 273; many syllables in English are arbitrary, 281. Sympathy, sympathetic emotion of vir- tue, 21 ; the pain of sympathy is vo- luntary, 44 ; it improves the temper, ib. Sympathy, 78 ; attractive, 78, 195 ; never low nor mean, 155 ; the cement of society, 195. Synthetic and analytic methods of reasoning compared, 4. Tacitus excels in drawing characters, 380 ; his style comprehensive, 389. Tasso censured, 403, 406. Taste, in tasting we feel an impression upon the organ of sense i., 458 ; taste in the fine arts thoughnatural requires culture, xi., 455, note ; taste in the fine arts compared with the moral sense, xi.; its advantages, xiii; delicacy of taste, 44 ; a low taste, 95 ; taste in some measure influenced by reflection, 444, note ; the foundation of a right and wrong in taste, 450 ; taste in the fine arts as well as in morals corrupted by voluptuousness, 454 ; cor- rupted by love of riches, ib.; taste never naturally bad or wrong, 455 ; aberra- tions from a true taste in the fine arts, 453. Tautology a blemish in writing, 390. Telemachus an epic poem, 395, note; censured, 406, note. Temples of Ancient and Modern Virtue in the gar- dens of Stow, 447. Terence censured, 224, 420, 421. Terror arises sometimes to its utmost height instantaneously, 46; a silent passion, 208 ; objects that strike terror have a fine effect in poetry and painting, 392 ; the terror raised by tra- gedy explained, 398. Theorem, gene- ral theorems agreeable, 87. Time, past time expressed as present, 38 ; natural computation of time, 69 ; time explain- ed, 468. Titus Livius.—See Livy. Tone 483 of mind, 457. Touch, in touching we feel an impression upon the organ of sense, 457. Trachiniens of Sophocles censured, 419. Tragedy, the deepest tragedies are the most crowded, 195, note ; the later English tragedies cen- sured, 199 ; French tragedy censured, 201, note, 213 ; the Greek tragedy ac- companied with musical notes to ascer- tain the pronunciation, 269 ; tragedy, Chap. XXII. in what respect it differs from an epic poem, 395 ; distinguished into pathetic and moral, 396 ; its good effects, 396 ; compared with the epic as to the subjects proper for each, 397 ; how far it may borrow from history, 400 ; rule for dividing it into acts, 401 ; dou- ble plot in it, 407 ; admits not violent action or supernatural events, 408 ; its origin, 414 ; ancient tragedy a conti- nued representation without interrup- tion, ib. ; constitution of the modern drama, 415. Tragi-comedy, 408. Trees, the best manner of placing them, 427, 428. Triangle, equilateral, its beauty, 86. Tribrachys, 308. Trochaeus, ib. Tropes, Chap. XX. Ugliness, proper and figurative, 463. Un- bounded prospect disagreeable, 127. note. Uniformity of the operations of nature, 141 ; uniformity apt to disgust by excess, 87 ; uniformity and variety, Chap. IX. conspicuous in the works of nature, 144 ; the melody of the verse ought to be uniform where the things described are uniform, 291 ; uniformity defined, 464. Unity, the , three unities, Chap. XXIII.; of actions, 411 ; unity of action in a picture, 413 ; of time and of place, 413 ; unities of time and of place not required in an epic poem, ib. ; strictly observed in the Greek tragedy, 414; unity of place in the ancient drama, 419; unities of place and time ought to be strictly ob- served in each act of a modem play, 421 ; wherein the unity of a garden consists, 426. Unumquodque eodem modo dissolvitur quo colligatum est, 128. Vanity a disagreeable passion, 43 ; always appears mean, 156. Variety, distin- guished from novelty, 115 ; variety, Chap. IX. ; variety in pictures, 140 ; conspicuous in the works of nature, 144 ; in gardening, 431. Veracity of our senses, 33. Verb active and pas- sive, 246, 247. Verbal antithesis de- fined, 171, 240. Versailles, gardens of, 429. Verse distinguished from prose, 270; Sapphic verse extremely melo- dious, 272 ; Iambic less so, ib. ; stnic-