ON TASTE
THE SUBLIME AND BEAUTIFUL
PART I
SECT III.—THE DIFFERENCE BETWEEN THE REMOVAL OF PAIN， AND POSITIVE PLEASURE
SECT. IV.—OF DELIGHT AND PLEASURE AS OPPOSED TO EACH OTHER
SECT. VI.—OF THE PASSIONS WHICH BELONG TO SELFPRESERVATION
SECT. VIII.—OF THE PASSIONS WHICH BELONG TO SOCIETY
SECT. XI.—SOCIETY AND SOLITUDE
SECT. XII.—SYMPATHY， IMITATION， AND AMBITION
SECT. XIV. — THE EFFECTS OF SYMPATHY IN THE DISTRESSES OF OTHERS
SECT. XV.—OF THE EFFECTS OF TRAGEDY
SECT. XVIII.—THE RECAPITULATION
PART II
SECTION I.—OF THE PASSION CAUSED BY THE SUBLIME
SECT. IV.—OF THE DIFFERENCE BETWEEN CLEARNESS AND OBSCURITY WITH REGARD TO THE PASSIONS
SECT. IV.—THE SAME SUBJECT CONTINUED
SECT. IX.—SUCCESSION AND UNIFORMITY
SECT. X.—MAGNITUDE IN BUILDING
SECT. XI.—INFINITY IN PLEASING OBJECTS
SECT. XVI.—COLOUR CONSIDERED AS PRODUCTIVE OF THE SUBLIME
SECT. XVII.—SOUND AND LOUDNESS
SECT. XX.—THE CRIES OF ANIMALS
SECT. XXI.—SMELL AND TASTE. BITTERS AND STENCHES
PART III
SECT. II.—PROPORTION NOT THE CAUSE OF BEAUTY IN VEGETABLES
SECT. III.—PROPORTION NOT THE CAUSE OF BEAUTY IN ANIMALS
SECT. IV.—PROPORTION NOT THE CAUSE OF BEAUTY IN THE HUMAN SPECIES
SECT. V.—PROPORTION FURTHER CONSIDERED
SECT. VI.—FITNESS NOT THE CAUSE OF BEAUTY
SECT. VII.—THE REAL EFFECTS OF FITNESS
SECT. VIII.—THE RECAPITULATION
SECT. IX.—PERFECTION NOT THE CAUSE OF BEAUTY
SECT. X.—HOW FAR THE IDEA OF BEAUTY MAY BE APPLIED TO THE QUALITIES OF THE MIND
SECT. XI.—HOW FAR THE IDEA OF BEAUTY MAY BE APPLIED TO VIRTUE
SECT. XII.—THE REAL CAUSE OF BEAUTY
SECT. XIII.—BEAUTIFUL OBJECTS SMALL
SECT. XXIII.—ELEGANCE AND SPECIOUSNESS
SECT. XXIV.—THE BEAUTIFUL IN FEELING
SECT. XXV.—THE BEAUTIFUL IN SOUNDS
SECT. XXVII.—THE SUBLIME AND BEAUTIFUL COMPARED
PART IV
SECTION I.—OF THE EFFICIENT CAUSE OF THE SUBLIME AND BEAUTIFUL
SECT. III.—CAUSE OF PAIN AND FEAR
SECT. V.—HOW THE SUBLIME IS PRODUCED
SECT. VI.—HOW PAIN CAN BE A CAUSE OF DELIGHT
SECT. VII.—EXERCISE NECESSARY FOR THE FINER ORGANS
SECT. VIII.—WHY THINGS NOT DANGEROUS PRODUCE A PASSION LIKE TERROR
SECT. IX.—WHY VISUAL OBJECTS OF GREAT DIMENSIONS ARE SUBLIME
SECT. X.—UNITY WHY REQUISITE TO VASTNESS
SECT. XI.—THE ARTIFICIAL INFINITE
SECT. XII.—THE VIBRATIONS MUST BE SIMILAR
SECT. VII.—THE EFFECTS OF SUCCESSION IN VISUAL OBJECTS EXPLAINED
SECT. XIV.—LOCKE’S OPINION CONCERNING DARKNESS CONSIDERED
SECT. XV.—DARKNESS TERRIBLE IN ITS OWN NATURE
SECT. XVI.—WHY DARKNESS IS TERRIBLE
SECT. XVII.—THE EFFECTS OF BLACKNESS
SECT. XVIII.—THE EFFECTS OF BLACKNESS MODERATED
SECT. XIX.—THE PHYSICAL CAUSE OF LOVE
SECT. XX.—WHY SMOOTHNESS IS BEAUTIFUL
SECT. XXI.—SWEETNESS, ITS NATURE
SECT. XXII.—SWEETNESS RELAXING
SECT. XXIII.—VARIATION, WHY BEAUTIFUL
SECT. XXIV.—CONCERNING SMALLNESS
PART V
SECT. II.—THE COMMON EFFECTS OF POETRY，NOT BY RAISING IDEAS OF THINGS
SECT. III.—GENERAL WORDS BEFORE IDEAS
SECT. V.—EXAMPLES THAT WORDS MAY AFFECT WITHOUT RAISING IMAGES
SECT. VI.—POETRY NOT STRICTLY AN TMITATIVE ART
SECT. VII.—HOW WORDS INFLUENCE THE PASSIONS
REFLECTIONS ON THE REVOLUTION IN FRANCE