Volume 1 — CONTENTS.

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INTRODUCTION: On Taste 79

PART I 101

I. Novelty 101 II. Pain and Pleasure 102 III. The Difference between the Removal of Pain and Positive Pleasure 104 IV. Of Delight and Pleasure, as opposed to each other 106 V. Joy and Grief 108 VI. Of the Passions which belong to Self-Preservation 110 VII. Of the Sublime 110 VIII. Of the Passions which belong to Society 111 IX. The Final Cause of the Difference between the Passions belonging to Self-Preservation, and those which regard the Society of the Sexes 113 X. Of Beauty 114 XI. Society and Solitude 115 XII. Sympathy, Imitation, and Ambition 116 XIII. Sympathy 117 XIV. The Effects of Sympathy in the Distresses of Others 119 XV. Of the Effects of Tragedy 120 XVI. Imitation 122 XVII. Ambition 123 XVIII. The Recapitulation 125 XIX. The Conclusion 126

PART II. 130

I. Of the Passion caused by the Sublime 130 II. Terror 130 III. Obscurity 132 IV. Of the Difference between Clearness and Obscurity with regard to the Passions 133 [IV.] The Same Subject continued 134 V. Power 138 VI. Privation 146 VII. Vastness 147 VIII. Infinity 148 IX. Succession and Uniformity 149 X. Magnitude in Building 152 XI. Infinity in Pleasing Objects 153 XII. Difficulty 153 XIII. Magnificence 154 XIV. Light 156 XV. Light in Building 157 XVI. Color considered as productive of the Sublime 158 XVII. Sound and Loudness 159 XVIII. Suddenness 160 XIX. Intermitting 160 XX. The Cries of Animals 161 XXI. Smell and Taste—Bitters and Stenches 162 XXII. Feeling.—Pain 164

PART III. 165

I. Of Beauty 165 II. Proportion not the Cause of Beauty in Vegetables 166 III. Proportion not the Cause of Beauty in Animals 170 IV. Proportion not the Cause of Beauty in the Human Species 172 V. Proportion further considered 178 VI. Fitness not the Cause of Beauty 181 VII. The Real Effects of Fitness 184 VIII. The Recapitulation 187 IX. Perfection not the Cause of Beauty 187 X. How far the Idea of Beauty may be applied to the Qualities of the Mind 188 XI. How far the Idea of Beauty may be applied to Virtue 190 XII. The Real Cause of Beauty 191 XIII. Beautiful Objects Small 191 XIV. Smoothness 193 XV. Gradual Variation 194 XVI. Delicacy 195 XVII. Beauty in Color 196 XVIII. Recapitulation 197 XIX. The Physiognomy 198 XX. The Eye 198 XXI. Ugliness 199 XXII. Grace 200 XXIII. Elegance and Speciousness 200 XXIV. The Beautiful in Feeling 201 XXV. The Beautiful in Sounds 203 XXVI. Taste and Smell 205 XXVII. The Sublime and Beautiful compared 205

PART IV. 208

I. Of the Efficient Cause of the Sublime and Beautiful 208 II. Association 209 III. Cause of Pain and Fear 210 IV. Continued 212 V. How the Sublime is produced 215 VI. How Pain can be a Cause of Delight 215 VII. Exercise necessary for the Finer Organs 216 VIII. Why Things not Dangerous sometimes produce a Passion like Terror 217 IX. Why Visual Objects of Great Dimensions are Sublime 217 X. Unity, why requisite to Vastness 219 XI. The Artificial Infinite 220 XII. The Vibrations must be Similar 222 XIII. The Effects of Succession in Visual Objects explained 222 XIV. Locke's Opinion concerning Darkness considered 225 XV. Darkness Terrible in its own Nature 226 XVI. Why Darkness is Terrible 227 XVII. The Effects of Blackness 229 XVIII. The Effects of Blackness moderated 231 XIX. The Physical Cause of Love 232 XX. Why Smoothness is Beautiful 234 XXI. Sweetness, its Nature 235 XXII. Sweetness relaxing 237 XXIII. Variation, why Beautiful 239 XXIV. Concerning Smallness 240 XXV. Of Color 244

PART V. 246

I. Of Words 246 II. The Common Effect of Poetry, not by raising Ideas of Things 246 III. General Words before Ideas 249 IV. The Effect of Words 250 V. Examples that Words may affect without raising Images 252 VI. Poetry not strictly an Imitative Art 257 VII. How Words influence the Passions 258