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39. Hence clearly appears the meaning of an abftra&t term, and abstract idea. If in viewing an object we can abstract from fome of its parts or properties and attach ourselves to others, there must be the fame facility when we recall this object to the mind in idea. This leads directly to the definition of an abftract idea, viz. "A partial idea of a complex object, limited to "one or more of the component parts or properties, laying afide or abftracting from the reft." A word that denotes an abstract idea, is called an abstract term:

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40. The power of abftraction is bestowed upon man, for the purpose folely of reasoning. It tends greatly to the facility as well as clearness of any procefs of reafoning, that, withdrawing from every other circumftance, we can confine our attention to the fingle property we defire to investigate.

41. Abtract ideas, may, I think, be diftinguished into three different kinds, all equally fubfervient to the reafoning faculty. Individuals appear to have no end; and did we not poffefs the faculty of diftributing them into claffes, the mind would be loft in an endless variety, and no progrefs be made in knowledge. It is by the faculty of abftraction that we diftribute beings into genera and Species: finding a number of individuals connected by certain qualities common to all, we give a name to thefe individuals confidered as thus connected, which name, by gathering them together into one clafs, ferves in a curt manner to exprefs the whole of thefe individuals as diftinct from others. Thus the word animal ferves to denote every being which hath felf-motion; and the words man, horse, lion, &c. answer fimilar purposes. This is the firft and most common fort of abstraction; and it is of the most extenfive use, by enabling us to comprehend in our reafoning whole kinds and forts, inftead of individuals without end. The next fort of abstract ideas and terms comprehends a number of individual objects confidered as connected by some occafional relation. A great number of perfons collected together in one place, without any other relation but merely that of contiguity, are denominated a crowd: in forming this term, we abftract from fex, from age, from condition, from dress, &c. A number of perfons connected..

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connected by being fubjected to the fame laws and te the fame government, are termed a nation: and a number of men fubjected to the fame military command, are termed an army. A third fort of abftraction is, where a fingle property or part, which may be common to many individuals, is felected to be the fubject of our contemplation; for example, whitenefs, heat, beauty, length, roundnefs, head, arm.

42. Abftract terms are a happy invention: it is by their means chiefly, that the particulars which we make the fubject of our reafoning are brought into close union, and separated from all others however naturally Connected. Without the aid of fuch terms, the mind could never be kept fteady to its proper fubject, but be perpetually in hazard of affuming foreign circumftances, or neglecting what are effential. We can, without the aid of language, compare real objects by intuition, when thefe objects are prefent; and, when abfent, we can compare them in idea. But when we advance farther, and attempt to make inferences, and draw conclufions, we always employ abftract terms, even in thinking it would be as difficult to reafon without them, as to perform operations in algebra without figns; for there is fcarce any reafoning without fome degree of abstraction, and we cannot abitract to purpose without making ufe of abstract terms. Hence it follows, that without language man would scarce be a rational being.

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43. The fame thing, in different refpects, has different names. With refpect to certain qualities, it is termed a fubftance; with refpect to other qualities, a body; and with refpect to qualities of all forts, a fubjed. It is termed a paffive fubject with respect to an action exerted upon it; an object with refpect to a percipient; a caufe with refpect to the effect it produces; and an effect with refpect to its cause.

[The volumes are denoted by numeral letters, the pages

by figures.]

ABtract idea) defined ii.
340. Abstract ideas of
different kinds ii. 340.
Abstraction) power of ii.
339. Its ufe ii. 339.340.
Abstract terms) ought to be
avoided in poetry i. 146.
ii. 223. Cannot be coin-
pared but by being per-
fonified ii. 118. Perfo-
nified ii. 151. Defined ii.
340. The use of abstract
terms ii. 341.
Accent) defined ii. 64. The
mufical accents that are
neceffary in an hexameter
line ii. 75: A low word
must not be accented ii.
94. Rules for accenting
English heroic verfe ii. 93.
94. How far affected by
the pause ii. 96. 97. Ac-
cent and paufe have a
mutual influence ii. 98.
Action) what feelings are
raised by human actions
i. 15. 16. 136. 219. We
are impelled to action by
defire i. 19. Some acti-
ons are inftinctive, fome
intended as means to a
certain end i. 20. 21. Ac-
tions great and elevated,
low and groveling i. 137.
Slownefs and quickness

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in acting, to what caufes
owing i. 189. 190. 197.
Emotions occafioned by
propriety of action i. 212.
Occafioned by impropri-
ety of action i. 213. Hu-
man actions confidered
with respect to dignity
and meanness i. 223. Ac-
tions the interpreters of
the heart i. 272. Action
is the fundamental part
of epic and dramatic com-
pofitions ii. 245. Unity
of action ii. 259. We
are confcious of internal
action as in the head ii.
324. Internal action may
proceed without our be
ing confcious of it ii. 324.
Action and reaction betwixt.
a paflion and its object
i. 69.
Actor) bombaft actor i. 152.
The chief talents of an
actor i. 269. An actor
fhould feel the paffion he
reprefents i.. 284. Dif-
ference as to pronuncia-
tion betwixt the French
and English actors i, 288.
Note.
Admiration i. 69. 159.
Æneid. See Virgil.
Affectation i. 211, 212.

P3

Affec

Affection) to children ac-
counted for i. 37. To
blood-relations i. 38. Af-
fection for what belongs

Amor patriæ) accounted for
i. 40.

Amphibrachys ii. 114.
Amphimacer ii. 114.

to us i. 38. Social affec-Analytic) and synthetic me-

tions more refined than

thods of reafoning com-

felfish i. 64. Affection in pared i. 6.
what manner inflamed in-Anapeftus ii. 114.

to a paffion i. 68. Op-Anger) explained i. 44, &c.

pofed to propensity i. 71.
Affection to children en-
dures longer than any o-
ther affection i. 71. O-
pinion and belief influen-
ced by affection i. 99.
Affection defined i. 252.
ii. 336.
Agamemnon) of Seneca.cen-
fured i. 307.
Agreeable emotions and
paffions i. 59, &c. Things
neither agreeable nor dil-
agreeable. See Object.
Alceftes) of Euripides cen
fured i. 322. ii. 271. 272.
Alexandre) of Racine, cen-
fured i. 298:
Alexandrine line ii. 78.
Allegory) defined ii. 177.
More difficult in painting
than in poetry ii. 187.
In an historical poem,
ii.
251.
All for love) of Dryden

cenfured i. 312.
Alto relievo ii. 303.
Ambiguity) occafioned by
a wrong choice of words
ii. 14. occafioned by a
wrong arrangement ii, 36.
Amynta) of Taffo cenfured

i. 292

Frequently comes to its
height inftantaneously i.
68. Decays fuddenly i.
70. Sometimes exerted
against the innocent i.

95. and even against
things inanimate i. 95.
Not infectious i. 110.
Has no dignity in iti 221.
Angle) largest and smallest
angle of vifion i. 105.
Animals) diftributed by na--
ture into claffes ii. 314,
Antibacchius ii. 1.14.
Anticlimax ii. 60.
Antifpaftus ii. 115.
Antithefis ii. 19. Verbal
antithefis i. 245. ii. 19.
Apoftrophe ii. 163, &c.
Appearance) things ought
to be defcribed in poetry,
as they appear, not as
they are in reality ii. 207.
Appetite) defined i. 19. Ap--
petites of hunger, thirst,
animal love, arife with-
out an object i. 32. Ap-
petite for fame or esteem,
i. 117.
Apprehenfion) dullnefs and
quickness of apprehenfi-
on, to what causes owing
i. 189. 190.

Architecture

Architecture ch. 24. Gran- | Ariofto) cenfured i. 201.

deur of manner in archi-
tecture i. 142. The fi
tuation of a great houfe
ought to be lofty i. 209.
A playhoufe or a mufic
room fufceptible of much
ornament 1. 210. What
emotions can be raised by
architecture ii. 277. Its
emotions compared with
those of gardening ii 277.
Every building ought to
have an expreffion fuited
to its deftination ii. 277.
299. Simplicity ought to
be the governing taste ii.
277. Regularity to be
Atudied ii. 280. 294. Ex-
ternal form of dwelling
houfes ii. 292. 293. Di-
vitions within ii. 293 301.
A palace ought to be re-
gular, but in a finall houfe
convenience ought to be
preferred ii. 291. 293. A
dwelling houfe ought to
be fuited to the climate
ii. 294. Congruity ought
to be ftudied ii. 299.
Architecture governed by
principles that produce
oppofite effects ii. 301.
302. Different ornaments
employ'd in it ii. 302.
Witticifms in architec
ture ii. 309. Allegorical
or emblematic ornaments
ii. 309. 310. Architec-
ture infpires a taste for
neatnefs and regularity
ik 31.

202. ii. 260.
Ariftæus) the epifode of A-
riftæus in the Georgics.
cenfured ii. 113.
Ariftotle) cenfured ii. 327.

Note.
Army) defined ii 341.
Arrangement) the best ar-

rangement of words is to
place them if poffible in
an increasing series ii. 11.
Arrangement of members
in a period ii. 12. Of
periods in a difcourse ii.
Ambiguity from

12.

wrong arrangement i..
36. Arrangement natu-
ral and inverted ii. 54.
Articulate founds) how far
agreeable ii. 5. 6. 7. 8.
Artificial nount ii. 285.
Arts) See Fine arts.
Afcent) pleafant, but def-
cent not painful i. 135.
Athalie) of Racine cenfured
i. 307.

Attention) defined ii. 337.
Impreffion made by ob-
jects depends on the de-
gree of attention ii. 337.
Attention not always vo-
luntary ii. 338. 339.
Attractive passions i. 275.
Attractive object i. 11.
Attractive figns of paffion
i. 275.
Attributes) transferred by
a figure of speech from
one fubject to another ii.
172. &c.
Avarice) defined i. 17.

Avenue)

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