An analytical inquiry into the principles of taste (Google eBook)

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T. Payne, 1806 - Aesthetics - 473 pages
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Contents

Titillation
3
Sir Joshua Reynoldss Position confirmed
4
Internal Stimuli
5
External Stimuli in Plants
6
Sensation of Plants organic Sensations in general
7
Have no Resemblance to Objects or Ideas Evi dence of Sense
8
Ideasaccording to Plato 10 Scepticism
9
Its Origin
11
Inverted Action of the Nerves Cessation
12
Various Pleasures of Cessation or inverted Action
13
OF HEARING
25
Connected with mental Sympathies in Animals
6
In Mankind
7
Expression in Music
8
Verse
10
Compared with Music
11
Measure and Quantity
12
J3 How violated in the dead Languages 14 How far addressed to organic Sense
14
Musical and Poetical Melody
15
Distance and Direction of Sounds
16
Their Grandeur and Sublimity
17
OF SIGHT
18
Its Causes 2 Primary Effects Projection 3 Distance
69
Visible Magnitude 5 Error of Mr Burke
79
In the Coats of Animals 4 In Buildings Gardens Pieces of Water
226
Error
29
p
99
j Artificial Perceptionhow far independent
172
A Imitative
206
3 Imitation in general
3
Its Pleasures of short Duration
4
Science in Artits Pleasures
5
Whence derived
6
Originals and Copiestheir Difference
7
Drawings and unfinished Sketches
8
Juvenile and imperfect Works
9
Mental Habitstheir Effect on Sensation
10
Exactitude of Imitationwhere vicious
11
Where just and necessary in Painting
12
In Sculpture
13
Sculpture compared with Painting
14
Poetry with Music
15
Articulate Language and inarticulate Notes
16
Idiom in Language Rhythm Prosody
17
Melody in Language
18
Modes of Articulation
19
Verse considered in the Abstract I
21
With Passion Sentiment and Sympathy
22
Irregularity and Variety comparatively consi deredin Poetry and Musicin Sculpture and Painting
23
Pope and Milton
24
English Verseits Nature and Character
25
General distinct Characters of Verse and Prose
26
Verse necessary to Poetry and wherefore
27
Paradise Lost
28
English Blank Verseits Defects in Milton
29
In Thomson and Cowper
30
Inversions and Transpositions
31
Collocation of Words Order of the Imagina
32
tion Order of the Understanding
127
Association of Ideaswhen become habitual involuntary
1
a Its Effects on Temper and Disposition Lunacy 3 Intoxication
3
Dreams
4
5 Anxiety Grief and Vexation
5
Vivacity Wit Madness
6
Idiocy
7
Memoryhow connected with Imagination
8
Memoryartificial
9
Natural but unregulated
10
Pleasures of Intellectin natural Objects
12
In social and moral
13
In the fine Arts
14
The Picturesque
15
Origin and Use of this Word
16
Its proper Meaning
17
Style of Painting at its Revival
18
Its Defects
19
How changed and corrected
20
Thence the Distinction of Picturesque
21
Which could not have existed before
22
In what Sense picturesque Objects may not be beautiful
23
Objects purely picturesque
24
Pleasures of Sense and Intellect improve each other
25
Such are picturesque Objects which are there fore indefinite in Number and Kind
27
Dress and Culture Consistency and Propriety
29
In Houses and Gardens
30
In Parks and Forests
31
Sense of Propriety or Congntity artificial and acquired Mixed Architecture
32
Its Advantages
33
Gothic Architecture military and monastic
35
Buildings of the Goths Celts Scandinavians
36
Military Architecture of the Greeksand Romans
37
When employed in Houses and Villas
38
Rise and Progress of Monastic or Cathedral Gothic
39
Sacred Architecture of the Greeks and Romans
40
Improperly copied and applied to Houses
41
In Decorations of Grounds
42
Ancient Coins Sec why interesting 44 Symmetryin Animals 45 In the Orders of Architecture
45
Its Reasons
46
Its Origin and Progress
47
Refinement and Excessopposed to the Gothic Principle of Contrast
48
Scale by which the Eye measures
49
Consequent Effects of Proportion in St Peters
50
And of Contrast in Gothic Cathedrals
51
Of Intricacy and Extent
52
Lightness in Sculpture and Building
53
Errors of Imitation in Principles
54
Lightness in Painting Flowing Lines Rubens
55
Corregio
56
Sexual Beautyits Principle
57
Sudden Love
58
Love as existing among civilized and savage Men and brute Animals comparatively con sidered
59
Power of Imagination
60
Sensual and Social or Sentimental Love
61
Metaphysical Love Petrarch Cowley Waller
62
Pastoral Love in Theocritus
114
Sculpture compared with Painting 66 Forms appropriate to Sculpture
192
Sculpturesque
193
Grottesque
194
Other distinct Characters as 70 Classical 71 Romantic
195
Pastoral
196
Uniformity and Regularity
198
Irregularity and Mutilation 77 As affecting general Characteristics or Mental Sympathies
200
As differently perceived by the Mind or the Eye 79 Mr Prices Illustration 80 His general Mistake of Ideas for Things 81 Deceptions of Sexual and So...
205
Regularity and Irregularity in Features and Attitudes
210
Belong to Character and Expression and not to particular Lines and Forms
84
Iu inanimate as well as animal Bodies
85
Dignity and Elegance wherein different
86
S7 Dancing 88 Grace of Savages
88
Of the Greeks
89
go Lines of Grace 91 Spiral Columns scooped Pediments
92
In Gardening
93
Clumps and Canals Terraces and Borders
94
Composition in Houses Offices and Plantations
95
Hanging Terraces
96
Irregularity in Architecture
97
Exemplified
98
Trick and Affectation in Houses
99
Situations
102
Sir John Vanbrugh
103
Mr Brown
104
Made Water
105
Walks
106
Accounted
117
Mechanical and liberal Arts their Difference
118
Feeling Sentiment and Science in Painting
119
In Sculpture
120
Public Schools of Rhetoric their Effect on the Latin Language
121
Freedom of Study its Effect on the Greek
122
On the English 124 Instanced in Dr Blairs Criticism on a Passage of Pope
123
Criticism examined
125
The Passage justified by others from Euripide and Shakespeare
126
Theoretical Criticism in general
127
OF JUDGMENT
262
Judgment in what it consists ft Reason as applied to Taste 3 Demonstration and Analogy 4 Laws of Nature 5 In Matters of Demonstration in Matters o...
264
Probability in Epic Fiction 11 In Dramatic
272
Oratory 14 Acting
282
Epic and Dramatic License in Fiction their Difference
309
Poetical Probability
16
Unities of Time and Place
17
Of Action
18
Action and Subject or Cause of Action their Difference
19
Exemplified
20
In the Tragedy of Macbeth
21
In the Iliad
22
Both compared
23
Unity of Subject
24
Tragicomedy
25
Dramatic not to be judged by Epic Style
26
Effect of Style on Probability of Fiction
27
Of gradual Elevation and Exaggeration
28
Of circumstantial Minuteness
29
Mixture of Truth in the Iliad
30
In the Productions of all unpolished Nations Ossian
31
Odyssey Gullivers Travels
32
Novel of Clarissa Harlowe
33
Politeness or good Breeding in Language
34
In Dress and Demeanor
35
Its Principles
36
Permanent Principles and fluctuating Modei
37
General and individual Nature
38
Allegorical Personages Limits of Fiction
39
In Epic and Dramatic Poetry
275
In Painting
286
Symbolical Figures
297
Truth of Expression The Laocoon 46 Michael Angelo
438
Extravagance in Invention
47
Truth in Action and Gesture Greek Artists Michael Angelo
48
Reasons for his Deviation from it Abstract Form
49
Character and Expression of Form
50
Raphaels Vision of Ezekiel Salvator Rosas Witch of Endor
51
Titian Rubens Rembrandt
52
Difference of Character between Sculpture arid Painting
53
Similar to that between Epic and Dramatrc Poetry
54
Homeric Heroes how far suited to the Stage
55
Reasons for Horaces recommending them His Character of Achilles examined
56
Ulysses of Euripides and iEneas of Virgil
57
Judgment of Virgil
58
His peculiar Excellence
59
OF THE SUBLIME AND PATHETIC 1 Sympathy
83
Semblance of Truth 3 Mr Burkes Opinion 4 Examined as
119
Fiction and Reality
283
Roman Mime of Laureolus 9 Fights of Gladiators
328
Attending Executions
11
Stoic Opinion of the Deity
12
Passive and Active Fortitude Combats Cock fighting Bullbaiting and Boxing
13
Tragedy and Comedy their radical Difference
14
Dramatic Distress always known to be fictitious
15
Terror and Pity
16
Longinuss Opinion Ecstacy
17
Selfish Sufferings not tragic
18
Energetic Passions sublime
19
Rapture Enthusiasm Love
20
Hatred Malignity
21
Fortitude The Laocoon
22
Sculpture and Poetry their comparative Influ ence on the Passions
23
Acting and Reading
24
Energies of Reason and Passion Cato Achilles
25
26 Passion in Poetry may be too reasonable
26
Madness Folly Perverted Energy Weakness
27
Morality of Tragedy
28
False Terrors of Horace what
29
No Terror felt at Dramatic Exhibitions
30
Pity melting the Mind to Love
31
Only when Sympathy is with Energies of Mind
32
Active and Passive Courage
33
Weakness False Delicacy
34
Timidity Modesty
35
Pliability Stubbornness Themistocles
36
Tenacity la Trifles
37
Sublime and Pathetic how connected both energetic Macbeth
38
Otways Venice Preservd Shakespeares Julius Caisar
39
Achilles
40
Pathetic must be sublime
41
Extreme Suffering Honor
42
Selfish Passions 44 Distress remote from Self Miltons Satan 45 Remembrances of past Sufferings
45
Power
46
Infinity Extent Vastness
47
Magnificence Richness Splendor
48
Darkness Vacuity Silence
49
Storms Earthquakes Volcanos
51
Passage of Virgil
52
of Lucretius
53
Superstition and Enthusiasm
54
Their Principles in common Observation
55
Plague Pestilence Famine Discord
56
Terror in the Character of Achilles
57
Augmentatives and einphatical Expletives de rived from Terror
58
Pain and Terror not Sources of the Sublime
59
Mr Burkes Philosophy on the Subject
60
Not clearly understood by himself
61
Leads to Materialism i
63
Contrary in its Principles to the System of Lon ginus and all others known
64
Considered in its different Graduations of Re spect
65
Astonishment and Terror as applicable to him
66
self
108
Deduction from
113
Treatise on Oriental Gardening Experiments
382
tried
425
Noxious and Innocent Tame and Wild Ani mals Game Cock
70
71
71
Ulyssess
72
Destroying and preserving Powers compared as to Energy
73
as to the Effect of that Energy in the Sublime
74
Description and Reality compared
75
Illustrated by Virgils Bees
76
By Homers Moor Fowl
77
Acquired Tastes
78
Passage of Horace explained
79
Mr Burkes Opinion of Description examined
80
Obscurity Things distinct and Things deter minate
81
Consequences of Obscurity being thought su blime
83
Impassioned Modes of Speech Ideas Ossian
84
Sound Sense and Mental Energy in Character
85
in Description
86
Enthusiastic Language Heroic Style
87
Lyric Style Pindar Sophocles Gray
88
Miltons Imagery sometimes obscure not so in the Instance quoted by Mr Burke
89
Where really so faulty Instance
90
Influence of Authority
91
Images limited Mental Energies
92
Instances and Illustrations
93
94 Exceptions
94
Comparative Influence of Music on the Passions
95
Fabulous Stories concerning
96

Common terms and phrases

Popular passages

Page 357 - Above them all the archangel: but his face Deep scars of thunder had intrench'd; and care Sat on his faded cheek; but under brows .Of dauntless courage, and considerate pride Waiting revenge; cruel his eye, but cast Signs of remorse and passion, to behold The fellows of his crime, the followers rather (Far other once beheld in bliss,) condemn'd For ever now to have their lot in pain...
Page 396 - Commander : he, above the rest In shape and gesture proudly eminent, Stood like a tower : his form had yet not lost All her original brightness ; nor appear'd Less than Arch-Angel ruin'd, and the excess Of glory obscured...
Page 352 - Be innocent of the knowledge , dearest chuck , Till thou applaud the deed. Come, seeling night, Scarf up the tender eye of pitiful day; And with thy bloody and invisible hand Cancel and tear to pieces that great bond Which keeps me pale!
Page 245 - THAT HE HAD A HEAD TO CONTRIVE, A TONGUE TO PERSUADE, AND A HAND TO EXECUTE ANY MISCHIEF.
Page 395 - Mighty victor, mighty lord, Low on his funeral couch he lies! No pitying heart, no eye, afford A tear to grace his obsequies.
Page 9 - I do not know whether I am singular in my opinion: but for my own part, I would rather look upon a tree in all its luxuriancy and diffusion of boughs and branches, than when it is thus cut and trimmed into a mathematical figure; and can not but fancy, that an orchard in flower looks infinitely more delightful than all the little labyrinths of the most finished parterre.
Page 397 - Looks through the horizontal misty air Shorn of his beams; or from behind the moon, In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.
Page 395 - Give ample room, and verge enough The characters of hell to* trace. Mark the year, and mark the night, When Severn shall re-echo with affright The shrieks of death, thro...
Page 369 - When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are delightful, as we every day experience.
Page 395 - Fair laughs the Morn, and soft the zephyr blows, While proudly riding o'er the azure realm In gallant trim the gilded vessel goes: Youth on the prow, and Pleasure at the helm: Regardless of the sweeping whirlwind's sway, That hush'd in grim repose expects his evening prey.

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