Characteristics) of Shaftesbury criticifed ii. 1o. Note.
Children) love to them accounted for i. 82.

Chinese gardens iii. 316. Wonder and furprise studied
in them iii. 319.

Choreus ii. 459.
Choriambus ii. 461.

Chorus) an effential part of the Grecian tragedy iii.
270.

Church) what ought to be its form and fituation iii,
338.

Cicero) cenfured ii. 329. 350.

Cid) of Corneille cenfured ii. 166. 198,

Cinna) of Corneille cenfured ii. 11. 161. 194,'
Circle) its beauty i. 251.

Circumftances) in a period, how they ought to be ar-
ranged ii. 314. &c.

Clafs) all living creatures diftributed into claffes iii.
356.

Climax) in fense i. 28 1. ii. 322. in found ii. 252.

Coephores) of Eschylus cenfured ii. 1 14.

Coexiftent) emotions and paffions i. 151. &c.
Colonnade) where proper iii. 327.

Colour) a fecondary quality i. 259.

Columns) every column ought to have a bafe i. 218.
The bafe ought to be fquare i. 218 219. Co-
lumns admit different proportions iii. 332. What e-
motions they raife iii. 339. Column more beautiful
than a pilafter iii. 344. Its form iii. 346.450430
Comedy) double plot in a comedy iii. 253.
Commencement) the commencement of a work ought
to be modeft and fimple iii. 171.

Common nature) in every fpecies of animals iii, 356.

We

1

We have a conviction that this common nature is
perfect or right iii. 357. Also that it is invariable

iii. 357.

Common sense iii. 359. 373.

Comparison i. 346. &c. Ch. 19. iii. 3. Comparifons
that refolve into a play of words iii. 42.
Complex emotion i. 152. 154. 155.
Complex perception iii. 383.

Complexion) white fuits with a pale complexion,
black with a dark complexion, and scarlet with one
that is over-flushed i. 369.

Conception) defined iii. 379.

Concord) or harmony in objects of fight i. 156.
Concordant founds) defined i. 151.

Congreve) cenfured iii. 258.

ན་

Congruity and propriety, ch. 10. ii. 3. Congruity dif-
tinguished from beauty ii. 8. diftinguished from
propriety ii. 8. Congruity coincides with propor-
tion with respect to quantity ii. 19.

Connection) neceffary in all compositions i. 34.
Conqueft of Granada) of Dryden cenfured ii. 201.
Confonants ii. 239. ·

Conftancy) great beauty the cause generally of incon-

ftancy ii. 101.

Conftruction) of language explained ii. 285.

Contempt) raised by improper action i. 340.

Contraft i. 345. &c. Its effect in gardening iii. 317.
Conviction) intuitive. See Intuitive conviction.

Copulative) to drop the copulatives enlivens the ex,
preffion ii. 281. &c.

Coriolanus) of Shakespear cenfured ii. 200.

Corneille) cenfured ii. 159. 216..

Corporeal

Corporeal pleasure i. 1. 2. low and fometimes mean

ii. 32.

Couplet ii. 381.

Courage) of greater dignity than justice. Why? ii.
31.

Creticus ii. 460.

Criminal) the hour of execution feems to him to ap-
pace i. 202.

proach with a fwife

Criticism) its advantages i. 8. 9. 10. 11. 12. 13. its
terms not accurately defined ii. 139.

Crowd) defined iii. 404.

Curiosity i. 320. 345. &c.

Custom and habit, ch. 14. ii. 81. Custom distinguished

from habit ii. 82.

Dactyle ii. 364. &c. 460.

Declenfions) explained ii. 288. 289.

Delicacy) of tafte i. 136,

Derifion ii. 16.

Defcent) not painful i. 273.

Description) it animates a description to reprefent
things past as present i. 118. The rules which ought
to govern it iii. 169. &c. A lively description is a-
greeable, though the subject described be disagree-
able iii. 208. Description cannot reach any object
but those of fight iii. 385.

Descriptive personification iii. 64.
Defcriptive tragedy ii. 155.

Defire) defined i. 55. It impels us to action i. 55.
It determines the will i. 222. Defire in a criminal
of self-punishment i. 232. Defire tends the most to
happiness when moderate i, 263.

Dialogue)

Dialogue) dialogue-writing requires great genius ii.
151. 152. 153. In dialogue every expreffion
ought to be fuited to the character of the speaker
iii. 196. Rules for its compofition iii. 256.
Dignity and meanness, ch. 11. ii. 27. Dignity of hu-
man nature iii. 361.

Diiambus ii. 461.

Difagreeable emotions and paffions i. 127. &c..
Discordant founds) defined i. 152.

Difpondeus ii. 461.

Difpofition) defined iii. 394.

Diffimilar emotions i. 153. Their effects when co-ex-

istent i. 159. iii. 303. 337.

Diffimilar paffions) their effects i. 171.

Diffocial paffions i. 62. Diffocial paffions all painful
i. 131. and alfo disagreeable i. 134.

Ditrochæus ii. 461.

Door) its proportion iii. 322.

Double action) in an epic poem iii. 264.

Double-dealer) of Congreve cenfured ii. 193. iii. 266.
Double plot) in a dramatic composition iii. 251.
Drama) ancient and modern drama compared iii. 280.
Dramatic poetry iii. 218. &c.

Drapery ought to hang loose i. 219.

Dress) rules about dress ii. 10. iii. 300.

Dryden) cenfured iii. 128. 257. 267.
Duties) moral duties of two kinds,

selves and respecting others ii. 20.

respecting our-

Foundation of

duties that respect ourselves ii. 21. Of those that re-

spect others ii. 21,

Effects) resembling effects may be produced by caufes

that

that have no refemblance ii. 337. &c. Effect de-
fined iii. 406.

Electra) of Sophocles censured ii. 115.

Elevation i. 264, &c. real and figurative intimately
connected i. 279. Figurative elevation diftinguished
from figurative grandeur iii. 21. 22.

Emotion) no pleasure of external sense except of fee-
ing and hearing is termed an emotion or paffion i.
42. Emotions defined i. 46. 47. and their causes
affigned i. 47. &c. Emotion distinguished from paf-
fion i. 52. &c. Emotions generated by relations
i. 76. &c. Primary, fecondary i. 81, Raised by
fiction i. 104. &c. Divifion of emotions into plea-
fant and painful, agreeable and difagreeable i. 127.
&c. iii. 387. The interrupted existence of emo-
tions i. 139. &c. Their growth and decay i. 139.
&c. Their identity i. 141. Co-exiftent emotions
i. 151. &c. Emotions fimilar and diffimilar i. 153.
Complex emotion i. 154. 155. Effects of fimilar
emotions when co-exiftent i. 155. iii. 336. Ef-
fects of diffimilar emotions when co-existent i.
159. iii. 303. 337. Emotions refemble their caufes
i. 217. &c. Emotion of grandeur i. 266. &c. of
fublimity i. 269. A low emotion i. 276. Emotion
of laughter i. 337. of ridicule i. 341. Emotions
when contrafted ought not to be too flow or too
quick in their fucceffion i. 373. Emotions raifed
by the fine arts ought to be contrafted in fucceffion
i. 374. Emotion of congruity ii. 12. of propriety
ii. 12.
Emotions produced by human actions ii.
28. Emotions ranked according to their dignity ii.
32. External figns of emotions ch. 15. ii. 116.

Attractive