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and belief influenced by affection i. 154. Affection defined i. 389.

ii. 517.

Agamemnon) of Seneca cenfured i. 469.

Agreeable emo ions and paffions i. 96, &c.

Alceftes) of Euripides cenfured i. 491. ii. 418. 420.

Alexandre) of Racine cenfured i. 456.

Alexandrine line ii. 120.

Allegory) defined ii. 275. More difficult in painting than in poetry In an historical poem ii. 387. 388.

ii. 290. All for love) of Dryden cenfured i. 476.

Alto relievo ii. 466.

Ambiguity) occafioned by a wrong choice of words ii. 20. occafioned by

a wrong arrangement ii. 54.

Amynta) of Taffo cenfured i. 449.

Amor patria) accounted for i. 67.
Amphibrachys ii. 179.

Amphimacer ii. 179.

Analytic and fynthetic methods of reafoning compared i. zz.
Anapæftus ii. 178.

Anger explained i. 72, &c. Frequently comes to its height inftantaneously i. 10. Decays fuddenly i. 113. Sometimes exerted against the innocent i. 148 and even against things inanimate i. 148. Not infectious i. 170. Has no dignity in it i. 341.

Angle) largest and smallest angle of vifion i. 164.

Animals diftributed by nature into claffes ii. 484. 455.

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Apostrophe ii. 253, &c.

ii. 29.

Appearance) things ought to be described in poetry, as they appear, not as they are in reality ii. 324 325

Appetite) defined i. 42. Appetites of hunger, thirst, animal love, arife without an object i. 55. Appetite for fame or esteem i. 180. Apprehention) dullness and quickness of apprehenfion, to what causes owing i. 292

Architecture ch. 24. Grandeur of manner in architecture i. 220. The fituation of a great house ought to be lofty i. 321. A playhouse or a mufic room fufceptible of much ornament i. 323. What emotions can be raised by archite&ure ii. 427. Its emotions compared with those of gardening ii. 428. Every building ought to have an expres fion fuited to its deftination ii 428. 460. 461. Simplicity ought to be the governing taste ii. 429. Regularity ought to be studied ii. 430.453. External form of dwelling-houses ii. 449. 450. Divifions

within ii. 450. 462. 463. A palace ought to be regular, but in a
fmall house convenience ought to be preferred ii. 448. 451. Adwell-
ing house ought to be fuited to the climate ii. 452. Propriety ought
to be studied ii. 460. Architecture governed by principles that pro,
duce oppofite effects ii. 464. 465. Different ornaments employ'd in
it ii. 465. Witticifms in architecture ii. 473. Allegorical or em-
blematic ornaments ii. 473. Architecture infpires a taste for neat-
nefs and regularity ii. 475.

Ariofto) cenfured i. 308. ii. 401,

Ariftaus) the episode of Aristæus in the Georgics cenfured ii. 176.
Aristotle) cenfured ii. 505. Note.

Army) defined ii. 525.

Arrangement) the best arrangement of words is to place them if pof-
fible in an increasing series ii. 15. 16. Arrangement of members in a
period ii. 16. Of periods in a discourse ii. 17. Ambiguity from wrong
arrangement ii. 54. Arrangement natural and inverted ii. 81.
Articulate founds) how far agreeable ii. 6. 7. 8. 9. 10.

Artificial mount ii. 441.

Arts) See Fine Arts.

Afcent) pleasant, but defcent not painful i. 209.

Athalie) of Racine cenfured i. 469.

Attention) defined ii. 519. Impreffion made by objects depends on the
degree of attention ii. 519. Attention not always voluntary ii.

420. 421.

Attractive paffions i. 423.

Attractive object i. 173.

Attributes) transferred by a figure of speech from one fubject to ano

ther ii. 266, &c.

Avarice) defined i. 38.

Avenue) to a house ii. 440.

Averfion) defined i. 111. 389. ii. 518.

Bacchius ii. 179.

Bajazete) of Racine cenfured i. 487.

Barren fcene) defined ii. 403.

Bafe) of a column ii. 469.

Baffo-relievo ii. 466.

Batrachomuomachia) cenfured i. 354.

Beauty) ch. 3. Intrinsic and relative i. 186. ii. 442. Beauty of fim-
plicity i. 189. of figure i. 190. of the circle i. 191. of the fquare i.
191. 192. of a regular polygon i. 192. of a parallelogram i. 192. of an
equilateral triangle i. 192. Whether beauty be a primary or fecon-
dary quality of objects i. 195. Beauty distinguished from grandeur
202. Beauty of natural colours i. 312. Beauty diftinguished from

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congruity i. 322. Confummate beauty seldom produces a conftant
lover i. 398. Wherein confifts the beauty of the human vifage i.
410. Beauty proper and figurative ii. 513.

Behaviour) grofs and refined i. 104.

Belief) of the reality of external objects i. 80. Inforced by a lively
narrative, or a good historical painting i. 92. 93. Influenced by
paffion i. 152. ii. 226. 257. Influenced by propenfity i. 154. In-
fluenced by affection i. 154.

Benevolence operates in 'conjunction with felf-love to makes us happy
i. 174. Benevolence inspired by gardening ii. 446.

Berkeley) cenfured ii. 505. Note.

Blank verfe ii. 119. 160. Its aptitude for inversion ii. 162. Its melo,
dy ii. 163. How far proper in tragedy ii. 397.

Body) defined ii. 500.

Boileau) cenfured ii. 252. 383;

Bombaft i. 230. Bombaft in action i. 234.

Boffu) cenfured ii. 406. Note.

Burlesque) machinery does well in a burlesque poem i. 95. Burlesque

diftinguished into two kinds i. 350.

Business) men of middle age best qualified for it i. 292.

Cadence ii. 94. 104.

Capital) of a column ii. 469.

Careless husband) its double plot well contrived ii. 393.
Cascade i. 240.

Caufe) refembling caufes may produce effects that have no refem-
blance; and causes that have no refemblance may produce refem-
bling effects ii. 86. Caufe defined ii. 527.

Chance) the mind revolts against misfortunes that happen by chance

ii. 375.

Character) to draw a character is the mafter-stroke of description ii.

333.334.

Characteristics) of Shaftesbury criticifed i. 323. Note.

Children) love to them accounted for i. 63. A child can discover a paf-
fion from its external figns 1. 425. Hides none of its emotions i.

4.33.

Chinese gardens ii. 443. Wonder and furprise studied in them ii. 445.
Choreus ii. 178.

Choriambus ii. 180.

Chorus) an effential part of the Grecian tragedy ii. 406.

Church) what ought to be its form and fituation ii. 461.
Cicero) cenfured ii. 80. 96. 99.

Cid) of Corneille cenfured i. 447-473-

Cinna) of Corneille cenfured i. 335. 443. 470.

Circle)

Circle) its beauty i. 191.

Circumstances) in a period, where they should be placed ii. 61. 67.
Clafs) all living creatures diftributed into claffes ii. 484. 485.

Climax) in sense i. 215. 446. ii. 74. In found ii. 17. When thefe are
joined, the fentence is delightful ii. 91.

Coephores) of Efchylus cenfured i. 408.

Coexiftent) emotions and paffions i. 115, &c.

Colonnade) where proper ii. 452.

Colour) a fecondary quality i. 195. Natural colours i. 312. Colouring
of the human face, exquisite i. 312.

Columns) every column ought to have a base i. 168.

461:

The base ought
to be fquare i. 169. Columns admit different proportions ii. 459.
What emotions they raise ii. 461. Column more beautiful
than a pilaster ii. 467. Its form ii. 469. Five orders of columns
ii. 469. Capital of the Corinthian order cenfüred ij. 471.
Comedy) double plot in a comedy ii. 392..393. Modern manners do
best in comedy ii. 378. Immorality of English comedies ii. 478.
Comet) motion of the comets and planets compared with respect to
beauty i. 238.

Commencement) of a work ought to be modeft and fimple ii. 323.
Common nature) in every fpecies of animals i. 99. ii 484. We have
a conviction that this common nature is invariable ii. 485. Alfo
that it is perfect or right i. 99. 100. ii. 485.

Common sense ii. 487. 497.

Communication of paffion to related objects. See paffion. Commu
nication of qualities to related objects. See Propensity.

Comparison i. 265, &c. ch. 19. In the early compofitions of all na.
tions,comparisons are carried beyond proper bounds ii. 183. Com.
parisons that refolve into a play of words ii. 217.

Complex emotion i. 116, &c.

Complex object) its power to generate paffion i. 67. 68. 225,

Complex perception i. 509.

Complexion) what colour of dress is the most suitable to different com.
plexions i. 282.

Conception) defined ii. 502.

Concord) or harmony in objects of fight i. 119. 120.

Concordant founds) defined i. 116.

Congreve) cenfured i. 353. 415. 416. Note. ii. 396. 403.479.480.
Congruity and propriety ch. io. A fecondary relation i. 320. 321. Note.
Congruity diftinguifhed from beauty i. 322. Diftinguished from propri-
ety i. 322. As to quantity, congruity coincides with proportion i. 330.
Connection) effential in all compofitions i. 25.

Conquest of Granada) of Dryden cenfured i. 475.
Confonants ii. 7.

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Conftancy) confummate beauty the cause of inconstancy i. 398.
Construction) of language explained ii. 44, &c.

Contemplation) when painful i. 300.

Contempt) raised by improper action i. 260.

Contraft ch. 8. Its effect in language ii. 12. In a feries of objects ii.

15. Contraft in the thought requires contrast in the members of the
expreffion ii. 37. 38. The effect of contraft in gardening ii. 444-
Conviction) intuitive. See Intuitive conviction.

Copulative) to drop the copulatives enlivens the expreffion ii. 41, &c.
Coriolanus) of Shakespear cenfured i. 474.

Corneille) cenfured i. 442. 463. 486 492.

Corporeal pleafure i. 1. 2. Low and fometimes mean i. 340.

Couplet ii. 120. Rules for its compofition ii. 160.

Courage) of greater dignity than justice i. 339.

Creticus ii. 179.

Criminal) the hour of execution feems to him to approach with a swift
pace i 156.

Criticifm) its advantages i. 6, &c. Its terms not accurately defined i

427.

Crowd) defined ii. 525.

Curiofity i. 245. 264, &c.

Custom and habit ch. 14. Renders objects familiar i. 246. Custom
distinguished from habit i. 384. 385. Custom puts the rich and poor
upon a level i. 403. Taste in the fine arts improved by custom ïi-
495. Note.

Dactyle ii. 181, &c. 178.
Davila) cenfured i. 308.

Declenfions) explained ii. 46. 47.

Dedications. See Epiftles dedicatory.

Delicacy) of tafte i. 103. ii. 495.

Derifion i. 328. 350.

Des Cartes) cenfured ii. 505. Note.

Defcent) not painful i. 208.

Description) it animates a defcription to represent things past as prefent
i. 90 The rules that ought to govern it ii. 322. A lively description
is agreeable, though the subject described be disagreeable ii. 357.
No objects but those of fight can be well defcribed ii. 510.

Defcriptive perfonification ii. 234.

Defcriptive tragedy i. 439.

Defire) defined i. 40. It impells us to action i. 41.

It deter

mines the will i. 171. Defire in a criminal to be punished i. 177.
Defire tends the most to happiness when moderate i. 198.
Dialogue) dialogue-writing requires great genius i. 437, &c.

In dia-

logue

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