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• Miscellaneous Reflections
• Miscellany I
• Chap. 1. Chapter I: Of the Nature, Rise, and Establishment of Miscellanys. —— the Subject of These Which Follow. —— Intention of the Writer.
• Chap. 2. Chapter II: Of Controversial Writings: Answers: Replies. —polemick Divinity; Or the Writing Church-militant. —philosophers, and Bear-garden. —authors Pair’d and Match’d.—the Match-makers.—foot-ball.—a Dialogue Between Our Author and His
• Chap. 3. Chapter III: Of the Letter Concerning Enthusiasm.— Foreign Criticks.—of Letters In General; and of the Epistolary Style.—addresses to Great Men.—authors and Horsemanship.—the Modern Amble.—further Explanation of the Miscellaneous Manner.
• Miscellany Ii
• Chap. 1. Chapter I: Review of Enthusiasm. — Its Defense, Praise: — Use In Business As Well As Pleasure: — Operation By Fear, Love. — Modifications of Enthusiasm: Magnanimity; Heroick Virtue; Honour; Publick Zeal; Religion; Superstition; Persecution; Ma
• Chap. 2. Chapter II: Judgment of Divines and Grave Authors Concerning Enthusiasm.— Reflections Upon Scepticism.— a Sceptick-christian.—judgment of the Inspir’d Concerning Their Own Inspirations. —knowledg and Belief.— History of Religion Resum’d. — Ze
• Chap. 3. Chapter III: Of the Force of Humour In Religion.—support of Our Author’s Argument In His Essay On the Freedom of Wit and Raillery.— Zeal Discuss’d. Spiritual Surgeons: Executioners: Carvers.—original of Human Sacrifice.— Exhilaration of
• Miscellany Iii
• Chap. 1. Chapter I: Further Remarks On the Author of the Treatises.— His Order and Design. — His Remarks On the Succession of Wit, and Progress of Letters, and Philosophy.— of Words, Relations, Affections. — Country-men and Country. — Old England
• Chap. 2. Chapter II: Explanation of a Taste Continu’d. — Ridiculers of It. — Their Wit, and Sincerity. — Application of the Taste to Affairs of Government and Politicks. — Imaginary Characters In the State.— Young Nobility, and Gentry. — Pursuit of
• Miscellany Iv
• Chap. 1. Chapter I: Connexion and Union of the Subject-treatises.— Philosophy In Form. — Metaphysicks. — Ego - Ity. Identity. — Moral Footing. — Proof and Discipline of the Fancys. Settlement of Opinion. — Anatomy of the Mind.— a Fable.
• Chap. 2. Chapter II: Passage From Terra Incognita to the Visible World. — Mistress-ship of Nature. — Animal-confederacy, Degrees, Subordination. — Master-animal Man. Privilege of His Birth. — Serious Countenance of the Author.
• Miscellany V
• Chap. 1. Chapter I: Ceremonial Adjusted, Between Author and Reader. — Affectation of Precedency In the Former. — Various Claim to Inspiration. — Bards; Prophets: Sibylline Scripture. — Written Oracles; In Verse and Prose.— Common Interest of Antie
• Chap. 2. Chapter II: Generation and Succession of Our National and Modern Wit.—manners of the Proprietors.— Corporation and Joint-stock—statute Against Criticism. a Coffee-house Committee.—mr. Bays. — Other Bays’ S In Divinity.—censure of Our Author
• Chap. 3. Chapter III: Of Extent Or Latitude of Thought. —free- Thinkers. — Their Cause, and Character. — Dishonesty, a Half-thought.— Short-thinking, Cause of Vice and Bigotry. — Agreement of Slavery and Superstition.— Liberty, Civil, Moral, Spir
• The Judgment of Hercules
• Intro. Introduction
• Chap. 1. Chapter I: Of the General Constitution Or Ordonnance of the Tablature
• Chap. 2. Chapter II: Of the First Or Principal Figure
• Chap. 3. Chapter III: Of the Second Figure
• Chap. 4. Chapter IV: Of the Third Figure
• Chap. 5. Chapter V: Of the Ornaments of the Piece; and Chiefly of the Drapery, and Perspective
• Chap. 6. Chapter VI: Of the Casual Or Independent Ornaments
• Conc. Conclusion
• A Letter Concerning the Art, Or Science of Design, Written From Italy, On the Occasion of the Judgment of Hercules, to My Lord * * * *

Chap. 4.CHAPTER IV

Of the Third Figure

CONCERNING Pleasure there needs little to be said, after what has been already remark’d in relation to the two preceding Figures. The Truth of Appearance, that of History, and even the Decorum it-self, (according to what has been explain’d above) require evidently that in this Period or Instant describ’d, Pleasure shou’d be found silent. She can have no other Language allow’d her than that merely of the Eyes. And ’twou’d be a happy Management for her in the Design, if in turning her Eyes to meet those of Hercules, she shou’d find his Head and Face already turn’d so much on the contrary side, as to shew it impossible for her as yet to discover the growing Passion of this Hero in favour of her Rival. By this means she might still with good right retain her fond Airs of Dalliance and Courtship; as having yet discover’d no reason she has to be dissatisfy’d.[370]

(2.) She may be drawn either standing, leaning, sitting, or lying; without a Crown, or crown’d either with Roses, or with Myrtle; according to the Painter’s Fancy. And since in this third Figure the Painter has so great a liberty left him, he may make good advantage of it for the other two, to which this latter may be subjected, as the last in order, and of least consequence.

(3.) That which makes the greatest difficulty in the Disposition or Ordonnance of this Figure Pleasure, is, that notwithstanding the supine Air and Character of Ease and Indolence, which shou’d be given her, she must retain still so much Life and Action, as is sufficient to express her persuasive Effort, and Manner of Indication towards her proper Paths; those of the flowery kind, and Vale below, whither she wou’d willingly guide our Hero’s steps. Now shou’d this Effort be over-strongly express’d; not only the supine Character and Air of Indolence wou’d be lost in this Figure of Pleasure; but, what is worse, the Figure wou’d seem to speak, or at least appear so, as to create a double Meaning, or equivocal Sense in Painting: which wou’d destroy what we have establish’d as fundamental, concerning the absolute Reign of Silence thro’out the rest of the Piece, in favour of Virtue, the[371] sole speaking Party at this Instant, or third Period of our History.

(4.) According to a Computation, which in this way of Reasoning might be made, of the whole Motion or Action to be given to our Figure of Pleasure; she shou’d scarce have one fifth reserv’d for that which we may properly call active in her, and have already term’d her persuasive or indicative Effort. All besides shou’d be employ’d to express, if one may say so, her Inaction, her Supineness, Effeminacy, and indulgent Ease. The Head and Body might intirely favour this latter Passion. One Hand might be absolutely resign’d to it; serving only to support, with much ado, the lolling lazy Body. And if the other Hand be requir’d to express some kind of Gesture or Action toward the Road of Pleasures recommended by this Dame; the Gesture ought however to be slight and negligent, in the manner of one who has given over speaking, and appears weary and spent.

(5.) For the Shape, the Person, the Complexion, and what else may be further remark’d as to the Air and Manner of Pleasure; all this is naturally comprehended in the Opposition, as above stated, between Her-self and Virtue.[372]