INDEX.

[The volumes are denoted by numeral letters, the pages
by figures.]

ABSTRACTION) power of ii. 532. Its ufe ii. 533.

Abstract terms) ought to be avoided in poetry i. 238. ii. 352.
Cannot be compared but by being perfonified ii. 186. Per-
fonified ii. 236. Defined ii. 532. The use of abstract terms
ii. 533.
Accent) defined ii. 104. The mufical accents that are neces-
fary in an hexameter line ii. 116. A low word must not
be accented ii. 146. Rules for accenting English heroic
verse ii. 145, 146. How far affected by the pause ii. 150.
Accent and paufe have a mutual influence ii. 153.
Action) what feelings are raised by human actions i. 37, 38.
222. 353. We are impelled to action by desire i. 43. Some
actions are instinctive, fome intended as means to a certain
end i. 46. Actions great and elevated, low and grovelling
i. 223. Slownefs and quickness in acting, to what causes
owing i. 306. 318. Emotions occafioned by propriety of
action i. 341. Occafioned by impropriety of action i. 342.
Human actions confidered with refpect to dignity and
meannefs i. 359. Actions the interpreters of the heart i.
436. Action is the fundamental part of epic and dramatic
compofitions ii. 385. Unity of action ii. 405. We are
confcious of internal action as in the head ii. 507. Internal
action may proceed without our being confcious of it
ii. 507.

Action and reaction betwixt a paffion and its object i. 121.
Actor) bombaft actor i. 247. The chief talents of an actor i.
431. An actor fhould feel the paffion he represents i. 454.
Difference as to pronunciation betwixt the French and
English actors i. 460. note.

Admiration i. 120. 258.

Æneid. See Virgil.

Affectation i. 340.

Affection to children accounted for i. 71. To blood-rela-

tions i. 72. Affection for what belongs to us i. 72. So-
cial affections more refined than selfish i. 112. Affection in
what manner inflamed into a paffion i. 119. Opposed to
propenfity i. 123. Affection to children endures longer
than any other affection i. 124. Opinion and belief influ-
enced by affection i. 164. Affection defined i. 405. ii. 525.
Agamemnon) of Seneca cenfured i. 486.

Agreeable emotions and paffions i. 105, &c. Things neither
agreeable nor difagreeable. See Object.

Alceftes) of Euripides cenfured i. 508. ii. 424, 425.
Alexandre) of Racine cenfured i. 473.

Alexandrine line ii. 120.

Allegory) defined ii. 278. More difficult in painting than
in poetry ii. 293. In an hiftorical poem ii. 393, 394.
All for love) of Dryden cenfured i. 493.

Alto Relievo ii. 473.

Ambiguity) occafioned by a wrong choice of words ii. 19.
occafioned by a wrong arrangement ii. 54.

Amynta) of Taffo cenfured i. 465.

Amor patria) accounted for i. 176.

Amphibiachys ii. 179.

Amphimacer ii. 179.

Analytic) and fynthetic methods of reafoning compared i. 24.
Anapeftus ii. 178.

Anger) explained i. 81, &c. Frequently comes to its height

inftantaneously i. 119.
times exerted against the
things inanimate i. 159.
dignity in it i. 357.
Angle) largest and smallest

Decays fuddenly i. 122. Some-
innocent i. 158. and even against
Not infectious i. 181. Has no

angle of vifion i. 174.

Animals) diftributed by nature into claffes ii. 491.

Antibacchius ii. 179.

Anticlimax ii. 92.

Antifpaftus ii. 180.

Antithefis ii. 29. Verbal antithefiş i.

Verbal antithefis i. 390. ii. 29.

Apoftrophe ii. 255, &c.*

Appearance) things ought to be defcribed in poetry, as they
appear, not as they are in reality ii. 328.

Appetite) defined i. 44. Appetites of hunger, thirst, ani-
mal love, arife without an object i. 63. Appetite for
fame or efteem i. 192.

Apprehenfion) dulnefs and quickness of apprehenfion, to
what caufes owing i. 307.

Architecture

Architecture ch. 24.

Grandeur of manner in architecture
i. 232. The fituation of a great house ought to be lofty
i. 337. A playhouse or a mufic-room fufceptible of much
ornament i. 338. What emotions can be raised by archi-
tecture ii. 432. Its emotions compared with thofe of gar-
dening ii. 433. Every building ought to have an expref-
fion fuited to its deftination ii. 433. 467. Simplicity
ought to be the governing tafte ii. 434 Regularity to be
ftudied ii. 438. 460. External form of dwelling-houses
ii. 457, 458. Divifions within ii. 457. 470, 471. A palace
ought to be regular, but in a fmall houfe convenience
ought to be preferred ii. 455. 458. A dwelling-house
ought to be fuited to the climate ii. 459. Congruity ought
to be ftudied ii. 467. Architecture governed by princi-
ples that produce oppofite effects ii. 471. 472. Different
ornaments employed in it ii. 472. Witticifis in ar-
chitecture ii. 482. Allegorical or emblematic ornaments
ii. 482. Architecture infpires a tafte for neatness and re-
gularity ii. 485.

Ariofto) cenfured i. 323. ii. 407.

Ariftaus) the episode of Ariftaus in the Georgics cenfured
ii. 176.

Ariftotle) cenfured ii. 512. note.

Army defined) ii. 536.

Arrangement) the beft arrangement of words is to place
them if poffible in an increafing feries ii. 16. Arrange-
ment of members in a period ii. 16. Of periods in a dif-
course ii. 17. Ambiguity from wrong arrangement ii. 54.
Arrangement natural and inverted ii. 81, 82.

Articulate founds) how far agreeable ii. 6, 7, 8, 9, 10.
Artificial mount ii. 446.

Arts.) See Fine arts.

Afcent) pleasant, but defcent not painful i. 225.

Athalie) of Racine cenfured i. 486.

Attention) defined ii. 528.

Impreffion made by objects de-

pends on the degree of attention ii. 528. Attention not

always voluntary ii. 529, 530.

Attractive paffions i. 440.

Attractive objects i. 184.

Attractive figns of paffion i. 439.

Attributes) transferred by a figure of fpeech from one fub-

ject to another ii. 269, &c.

M m 3

Avarice)

Avarice) defined i. 40.

Avenue) to a house ii. 446.

Averfion) defined i. 119, 120. 405. ii. 527.

Bacchius ii. 179.

Bajazet) of Racine cenfured i. 505.
Barren fcene) defined ii. 409.

Bafe) of a column ii. 478.
Baffo-relievo ii. 473.

Batrachomuomachia) cenfured i. 368.

Beauty, ch. 3. Intrinfic and relative i. 197. ii. 447. Beauty
of fimplicity i. 200. of figure i. 201. of the circle i. 203.
of the fquare i. 203. of a regular polygon i. 203. of a pa-
rallelogram i. 203. of an equilateral triangle i. 204.
Whether beauty be a primary or fecondary quality of ob-
jects i. 207. Beauty diftinguished from grandeur i. 213.
Beauty of natural colours i. 327. Beauty diftinguished
from congruity i. 337. Confummate beauty feldom pro-
duces a conftant lover i. 414. Wherein confifts the beauty
of the human vifage i. 426. Beauty proper and figurative
ii. 522, 523.

Behaviour) grofs and refined i. 113.
Belief) of the reality of external objects i. 88. Enforced
by a lively narrative, or a good historical painting i. Ico,
101. Influenced by paffion i. 162, 163. ii 228. 259. Influ-
enced by propenfity i. 163. Influenced by affection i. 163.
Benevolence operates in conjunction with felf-love to make
us happy i. 185. Benevolence infpired by gardening ii.
453.

Berkeley) cenfured ii. 513. note.

Blank verfe ii. 119. 160. Its aptitude for inverfion ii. 163.
Its melody ii. 163. How far proper in tragedy ii. 403.
Body) defined ii. 507.

Boileau) cenfured ii. 254. 388.

Bombaft i. 243. Bombaft in action i. 247.

Boffu) cenfured ii. 411. note.

Burlesque) machinery does well in a burlesque poem i. 103.

Burlefque diftinguished into two kinds i. 366.

Bufinefs) men of middle age beft qualified for it i. 307.

Cadence ii 94. 104.

Capital) of a column ii. 478.

Careless

Careless Hufband) its double plot well contrived ii. 399.

Cascade i. 252.

Cause) resembling caufes may produce effects that have no
resemblance; and caufes that have no refemblance may
produce refembling effects ii. 86. Caufe defined ii. 537.
Chance) the mind revolts against misfortunes that happen
by chance ii. 380.

Character) to draw a character is the mafter-ftroke of de-
fcription ii. 337, 338.

Characteristics) of Shaftsbury criticifed i. 339. note.

Children) love to them accounted for i. 71. A child can
discover a paflion from its external figns i. 441. Hides
none of its emotions i. 450.

Chinese) gardens ii. 450. Wonder and surprise studied in
them ii. 452.

Choreus ii. 178.

Choriambus ii. 180.

Chorus) an effential part of the Grecian tragedy ii. 412.
Church) what ought to be its form and fituation ii. 468.
Cicero cenfured ii. 80. 96. 99.

Cid) of Corneille cenfured i. 464. 490.

Cinna) of Corneille cenfured i. 341. 459. 487.
Circle) its beauty i. 201.

Circumstances) in a period, where they fhould be placed ii.
61. 68.

Clafs) all living creatures diftributed into claffes ii. 491,
492.

Climax) in sense i. 226. 462. ii. 74. In found ii. 17. When
thefe are joined, the fentence is delightful ii. 92.
Cophores) of Efchylus cenfured i. 424.

Coexiftent emotions and paffions i. 124, &c.
Colonnade) where proper ii. 459.

Colour) gold and filver efteemed for their beautiful colours
i. 199. A fecondary quality i. 107. Natural colours i.
327. Colouring of the human face, exquifite i. 327.
Columns) every column ought to have a bafe i. 179. The
bafe ought to be fquare i. 179. Columns admit different
proportions ii. 465. 468. What emotions they raife ii.
468. Column more beautiful than a pilafter ii. 477. Its
form ii. 478. Five orders of columns ii. 479.
of the Corinthian order cenfured ii. 481.
Comedy) double plot in a comedy ii. 397. 399.

Capital

Modern

M m 4

manners