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[The volumes are denoted by numeral letters, the pages by

figures.]

AB

Bftract idea) defined iii. 402. Abstract ideas of different kinds iii. 493.

Abstraction) power of iii. 401. Its ufe iii. 402. 403. Abstract terms) ought to be avoided in poetry i. 294. iii. 198. Cannot be compared but by being per fonified iii. 6. Personified iii. 65. Defined iii. 402. The use of abftract terms iii. 405.

Rules for ac

How far afAccent and paufe

Accent) defined ii. 361. The mufical accents that are neceffary in an hexameter line ii. 376. A low word must not be accented ii. 405. centing English heroic verfe ii. 415. fected by the pause ii. 422. &c. have a mutual influence ii. 428. "Action) what feelings are raised by human actions i. 48. 49. 276. We are impelled to action by de fire i. 55. Some actions are ultimate, some are means leading to an end i. 57. Actions great and elevated, low and groveling i. 276. Emotions occafioned by propriety of action ii. 13. Occasioned by impropriety of action ii. 14. Human actions produce a great variety of emotions ii. 28. Human actions considered with respect to dignity and meannefs ii. 35. We are conscious of internal ac

tion

tion as in the head iii. 377. Internal action may
exist without our being conscious of it iii. 377.
Actor) bombast action i. 308. An actor ought to feel
the paffion he represents ii. 153.
Admiration) defined i. 320.

Affectation) defined ii. 1.1.

Affection) to children accounted for i. 82. To blood-
relations accounted for i. 83. To property accounted
for i. 84. Affection to children endures longer
than any other affection i. 150. Opinion and be-
lief influenced by affection i. 199. Affection defi-
ned ii. 87. iii. 394.

Agamemnon) of Seneca cenfured ii. 193.
Agreeable emotions and passions i. 127. &c.
Alceftes) of Euripides cenfured iii. 286. 289.
Alexandre of Racine) cenfured ii. 177.

Allegory iii. 108. &c. More difficult in painting than
in poetry iii. 129. In an historical poem iii. 248.
All for Love) of Dryden cenfured ii. 202.

Ambiguity) occafioned by a wrong arrangement ii.

297.

Amynta) of Taffo cenfured ii. 167.

Amor patria) accounted for i. 88.

Amphibrachys ii. 460.

Amphimacer ii. 460.

Analytic) and synthetic methods of reafoning compa-

red i. 31.

Anapæftus ii. 460.

Anger) explained i. 95. &c.

gainst the innocent i. 191.

Sometimes exerted a-

And even against things

inanimate i. 191. Not infectious i. 221. Has no

dignity in it ii. 33.

Animals)

Animals) diftributed by nature into claffes iii. 356.

Antibacchius ii. 460.

Anticlimax ii. 345.

Antifpaftus ii. 461.

Antithefis ii. 73. 262. Verbal antithefis ii. 268.
Apoftrophe iii. 87. &c.

Appearance) in poetry, things ought to be described

as they appear, not as they are in reality iii. 172. Appetite) defined i. 59. Appetites of hunger, thirst, animal love, arise without an object i. 73. Appetite for fame or esteem i. 237.

Architecture ch. 24. iii. 294. Grandeur of manner in architecture i. 294. The fituation of a great house ought to be lofty ii. 7. A playhouse or a mufic-room fufceptible of much ornament ii. 9. What emotions can be raised by architecture iii. 297. Its emotions compared with those of gardening iii. 297. Every building ought to have an expreffion fuited to its deftination iii. 298. 338. Simplicity ought to be the governing tafte iii. 300. Regularity ought to be ftudied iii. 301. External form of dwelling-houfes iii. 324. Divifions within iii. 324. 340. A palace ought to be regular, but in a small houfe convenience ought chiefly to be ftudied iii. 326. The form of a dwelling-houfe ought to be fuited to the climate iii. 327. Propriety ought to be ftudied in architecture iii. 338. Governed by principles which produce opposite effects iii. 342. Different ornaments employed by it iii. 342. Allegorical or emblematic ornaments iii. 347. Architecture infpires a tafte for neatnefs and regularity iii. 350.

VOL. III.

3 F

Archi.

Architrave iii. 344.

Ariofto) cenfured iii. 264.

Ariftaus) the episode of Ariftæus in the Georgics
cenfured ii. 457•

Army) defined iii. 405.

Arrangement) the best arrangement of words is to
place them as much as poffible in an increasing se-
ries ii. 251.

Articulate founds) how far agreeable to the ear ii.

[blocks in formation]

Ascent) pleasant, but descent not painful i. 273.
Athalie) of Racine cenfured ii. 193.

Attention) defined iii. 396. Impreffion which objects
make depends on the degree of attention iii. 396.
Attention not always voluntary iii. 398.
Attractive emotions ii. 133.

Attractive object i. 226.

Attributes) transferred from one fubject to another
iii. 100. &c.

Avarice) defined i. 52.

Avenue) to a house iii. 312.

Averfion) defined ii. 87. iii. 395.

Bacchius ii. 460.

Barren fcene) defined iii. 266.

Bafe) of a column iii. 346.

Baflo-relievo iii. 347.

Batrachomuomachia) cenfured ii. 42.

Beauty, ch. 3. 1. 241. Intrinfic and relative i. 244-

Beauty of fimplicity i. 247. of figure i. 248. of

the circle i. 251. of the fquare i. 251. of a regu

·lar

lar polygon i. 252. of a parallelogram i. 252. of
an equilateral triangle i. 253. Beauty, whether a
primary or fecondary quality of objects i. 260. Dif-
tinguished from congruity ii. 8. Great beauty fel-
dom produces a conftant lover ii. 101. Beauty
proper and figurative iii. 388.
Belief) fortified by a lively narrative or a good histo-
rical painting i. 122. influenced by paffion i. 196.
iii. 55. 8. influenced by propensity i. 199. in-
fluenced by affection i. 199.

.

Benevolence) joins with self-love to make us happy i.
228. inspired by gardening iii. 320..

Blank verse ii. 381. 435. Its aptitude for inversion ii,
438. Its melody ii. 439. &c.

Body) defined iii. 406.

Boileau) cenfured iii. 242.

Bombaft i. 303. Bombast in action i. 308.

Burlesk) machinery does well in a burlesk poem i. 125.
Burlesk distinguished into two kinds ii. 41.

Cadence ii. 348. 362.

Capital) of a column iii. 346.

Careless Hufband) its double plot well contrived iii.

253.

Cascade i. 314.

Caufe) refembling caufes may produce effects that
have no resemblance: and caufes that have no re-
femblance may produce refembling effects ii. 337.
&c. Caufe defined iii. 406.

Chance) the mind revolts against misfortunes that hap-
pen by chance iii. 232.

Character) to draw a character is the mafter-piece of
defcription iii. 182.
3 F 2

Characteristics)

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