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. 2co. of figure i. 201. of the circle i. 203. of the fquare i. 203. of a regular polygon i. 203. of a parallelogram i. 203. of an equilateral triangle i. 204. Whether beauty be a primary or fecondary quality of objects i. 207. Beauty diftinguished from grandeur i. 213. Beauty of natural colours i. 327. Beauty diftinguished from congruity i. 337. Confummate beauty feldom produces 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. SS. Enforced by a lively narrative, or a good hiftorical painting i. 100, 101. Influenced by paflion i. 162, 163. ii. 228. 259. Influenced by propensity i. 163. Influenced by affection i. 163. Benevolence operates in conjunction with felf-love to make us happy i. 185. Benevolence infpired by gardening i. 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.

Bombast i. 243. Bombast in action i. 247.

Boffu) cenfured ii. 411. note.

Burlefque) machinery does well in a burlefque poem i. 103.

Burlefque diftinguifhed 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 Hufband) its double plot well contrived ii. 399.
Cascade i. 252.

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

Char

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

Characteristics) of Shaftsbury criticifed i. 339. note.

Children) love to them accounted for i. 71. A child can dif cover a paffion from its external signs i. 441. Hides none of its emotions i. 450.

Chinese gardens ii. 450. Wonder and furprise 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.

Circumftances)in a period, where they should be placed ii.61.68.
Clafs) all living creatures diftributed into claffes ii. 491, 492.
Climax) in fense i. 226. 462. ii. 74. In found ii. 17. When
these 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. Capital of the Corinthian order cenfured ii. 481.

Comedy) double plot in a comedy ii. 397. 399. Modern manners do beft in comedy ii. 383. Immorality of English comedy i. 55.

Comet) motion of the comets and planets compared with refpect to beauty i. 251.

Commencement) of a work ought to be modest and fimple ii. 326.

Common nature) in every fpecies of animals i. 108. ii. 490.

We have a conviction that this common nature is invariable ii. 491. Also that it is perfect or right i. 108. ii. 491. Common fenfe ii. 493. 503.

Communication of paflion to related objects. See Paffion.

Communication of qualities to related objects. See Propea-
fity.

Comparison i. 279, &c. ch. 19. In the early composition of
all nations, comparifons are carried beyond proper bounds
ii. 184. Comparisons that refolve into a play of words ii,

218.

Complex emotion i. 125, &c.

Complex object) its power to generate passion i. 75, 76. 239,
Complex perception ii. 517.

Complexion) what colour of drefs is the moft fuitable to dif
ferent complexions i. 297.

Conception) defined ii. 509.

Concord) or harmony in objects of fight i. 129.
Concordant founds) defined i. 125.

Congreve) cenfured i. 57. 368. 432. note. ii. 402. 409.
Congruity and propriety, ch. 10. A fecondary relation i. 336.
note. Congruity diftinguished from beauty i. 337. Di-
ftinguished from propriety i. 337. As to quantity, con-
gruity coincides with proportion i. 346.
Connection) effential in all compofitions i. 27.

Conquest of Granada) of Dryden cenfured i. 492.
Confonants ii. 7.

Conftancy) confummate beauty the cause of inconstancy i,
414.

Construction) of language explained ii. 44, &c.
Contemplation) when painful i. 315.

Contempt) railed by improper action i. 274.

Contrast, ch. 8. Its effect in language ii. 12. In a series of
objects ii. 15. Contraft in the thought requires contraft
in the members of the expreffion ii. 37, 38. The effect of
contraft in gardening ii. 451.

Conviction) intuitive. See Intuitive conviction.

Copulative) to drop the copulative enlivens the expreffion ii.
41, &c.

Coriolanus) of Shakespeare cenfured i. 491.

Corneille) cenfured i. 459. 480. 503. 509.

Corporeal pleature i. 1, 2. Low and fometimes mean i. 356.
Couplet ii. 120. Rules for its compofition ii. 160, 161.
Courage) of greater dignity than justice i. 355.

Creticus ii. 179.

Criminal) the hour of execution feems to him to approach
with a fwift pace i. 167.

Criticifin) its advantages i. 7, &c. Its terms not accurately

defined i. 443.

Crowd)

Crowd) defined ii. 533.

Curiofity i. 258. 278, &c,

Custom and habit, ch. 14. Renders objects familiar i. 259.
Custom diftinguished from habit i. 400, 401. Custom puts
the rich and poor upon a level i. 419. Tafte in the fine
arts improved by custom ii. 501. note.

Dactyle ii. 179.

Davila) cenfured i. 323.

Declenfions) explained ii. 46, 47.
Dedications. See Epiftles Dedicatory.
Delicacy) of tafte i. 111. ii. 501.
Derifion i. 344. 366.

Des Cartes) cenfured ii. 512. note.
Defcent) not painful i. 220.

Defcription) it animates a defcription to reprefent things paft
as prefent i. 98. The rules that ought to govern it ii. 325.
A lively defcription is agreeable, though the fubject de-
fcribed be difagreeable ii. 362. No objects but those of
fight can be well defcribed ii. 518.

Defcriptive perfonifications ii. 236.

Defcriptive tragedy i. 455-

Defire) defined i. 42. It impels us to action i. 44. It deter-
mines the will i. 181. Defire in a criminal to be punished
i. 188. Defire tends the most to happiness when mode-
rate i. 209.

Dialogue) dialogue-writing requires great genius i. 453, &c.
In dialogue every expreffion ought to be fuited to the cha-
racter of the fpeaker ii. 351. Dialogue makes a deeper
impreffion than narration ii. 371. Qualified for expreting
fentiments ii. 375. Rules for it ii. 401, &c.

Dignity and grace, ch. 11. Dignity of human nature ii. 494.
Diiambus ii. 179.

Diphthongs ii. 8.

Difagreeable emotions and paffions i. 105, &c.

Difcordant founds) defined i. 125.

Difpondeus ii. 179.

Di pofition) defined ii. 526.

Diflimilar emotions i. 126. Their effects when coexiftent i.

131, 132. ii. 437. 466.

Diffimilar paflions) their effects i. 143.

Diffocial pathons i. 49. All of them painful i. 108. and also
difagreeable i. 110.

Distance) the natural method of computing the distance of

objects

objects i. 173, &c. Errors to which this computation is
liable ii. 463. 471.

Ditrochæus ii. 179.

Door) its proportion ii. 456.

Double action) in an epic poem, ii. 407.

Double dealer) of Congreve cenfured i. 486. ii. 409.

Double plot) in a dramatic composition ii. 397.
Drama) ancient and modern compared ii. 412, 413.
Dramatic poetry ch. 22.

Drapery) ought to hang loofe i. 179.
Drefs) rules about dress i. 339. ii. 434.
Dryden) cenfured ii. 292. 401. 409.

Duties) moral duties distinguished into thofe which respect
ourselves and those which refpect others i. 347. Founda-
tion of duties that refpect ourselves i. 347. of those that re-
fpect others i. 347. Duty of acting up to the dignity of
our nature i. 354, 355.

Dwelling-houfe) its external form ii. 458. Internal form ii.
457.470.

Education) promoted by the fine arts i. 8. ii. 453. Means to
promote in young perfons a habit of virtue i. 65.
Effects) refembling effects may be produced by causes that
have no refemblance ii. 86. Effect defined ii. 537.
Efficient caufe) of lefs importance than the final cause i. 358.
Electra) of Sophocles cenfured i. 425.

Elevation i. 210, &c. Real and figurative intimately connect-
ed i. 222. Figurative elevation diftinguished from figura-
tive grandeur ii. 201, 202.

Emotion) what feelings are termed emotions i. 33. Emotions
defined i. 36, &c. And their caufes affigned i. 36, 37. Di-
ftinguished from paffions i. 41. Emotion generated by re-
lations i. 66, &c. Emotions expanded upon related objects
i. 66, &c. ii. 66. 85. 111. 144. 232, 233. 301. Emotions
diftinguished into primary and fecondary i. 70. Raised by
fiction i. 88, &c. Raifed by painting i. 97. Emotions di-
vided into pleasant and painful, agreeable and difagreeable
i. 105, &c. ii. 520. The interrupted exiftence of emotions
i. 115, &c. Their growth and decay i. 117, &c. Their
identity i. 117. Coexiftent emotions i. 124, &c. Emotions
fimilar and diffimilar i. 126. Complex emotions i. 126, 127.
Effects of fimilar coexiftent emotions i. 127. ii. 466. Effects
of diffimilar coexiftent emotions i. 131. ii. 437. Influence of
emotions upon our perceptions, opinions and belief i. 152,