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Professor of Moral and Mental Philosophy ih Bowdoin College.

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Entered, according to Act of Congress, in the year 1840, by

Thomas C. UPHAM, in the Clerk's office of the District Court of Maine.

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CONTENTS.

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20. Grounds or occasions of emotions of beauty various

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21. Illustrations of the foregoing statement

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22. Of the objects in general which excite emotions of beauty 40

23. All objects not equally fitted to cause these emotions .

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24. A susceptibility of emotions of beauty an ultimate principie of our

mental constitution

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25. Remarks on the beauty of forms.—The circle

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26. Original or intrinsic beauty.–The circle

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27. Of the beauty of straight and angular forms

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28. Of square, pyramidal, and triangular forms

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29. The variety of the sources of that beauty, which is founded on

forms, illustrated from the different styles of architecture 49

30. Of the original or intrinsic beauty of colours

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31. Further illustrations of the original beauty of colours

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32. Of sounds considered as a source of beauty

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33. Illustrations of the original beauty of sounds

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34. Further instances of the original beauty of sounds

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35. The permanency of musical power dependant on its being intrinsic 59

36. Of motion as an element of beauty

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37. Explanations of the beauty of motion from Kaimes

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38. Or intellectual and moral objects as a source of the beautiful 61

39. Of a distinct sense or faculty of beauty

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CHAP. III.-ASSOCIATED BEAUTY.

40. Associated beauty implies an antecedent or intrinsic beauty

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41. Objects may become beautiful by association merely

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42. Further illustrations of associated feelings

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43. Instances of national associations

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44. The sources of associated beauty coincident with those of human

happiness

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45. Of fitness considered as an element of associated beauty

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46. Of utility as an element of associated beauty

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47. Of proportion as an element of associated beauty

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48. Relations of emotions of beauty to the fine arts

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49. Differences of original susceptibility of this emotion

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50. Objection to the doctrine of original beauty

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5). Summary of views in regard to the beautiful

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52. Of picturesque beauty

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CHAP. IV.-EMOTIONS OF SUBLIMITY.

53. Connexion between beauty and sublimity

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54. The occasions of the emotions of sublimity various

55. Great extent or expansion an occasion of sublimity

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56. Great height an element or occasion of sublimity

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57. Of depth in connexion with the sublime

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58. Of colours in connexion with the sublime

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59. Of sounds as furnishing an occasion of sublime emotions

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60. Of motion in connexion with the sublime

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61. Indications of power accompanied by emotions of the sublime 84

62. Of moral worth in connexion with sublimity

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63. Sublime objects have some elements of beauty

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64. Emotions of grandeur

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65. Of the original or primary sublimity of objects

66. Considerations in proof of the original sublimity of objects

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67. Influence of association on emotions of sublimity.

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68. Further illustrations of sublimity from association

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CHAP. V.-NATURE OF INTELLECTUAL TASTE..

69. Definition of taste, and some of its characteristics

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70. Distinguishable from mere quickness of feeling or sensibility 92

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