CID, of P. Corneille, its uncommon fuccefs, to
COMPARISON, fimilarity of, in all writers, why
neceffary, iii. 93. why more fo in the graver
than lighter poetry, 98.
CHORUS, its ufe and importance, i. 129. its mo-
ral character, 141. more eafily conducted by
ancient than modern poets, 147. improve-
ments in the Latin tragic chorus, 168.
CLOWNS, their character in Shakespeare, i. 175.
COMEDY, Roman, three fpecies of it, i. 183.
COMEDY, the author's idea of it, ii. 164. con-
clufions concerning its nature, from that idea,
170. attributes, common to it and tragedy,
177. attributes, peculiar to it, 179. its ge-
nius, confidered at large, 192. M. de Fon-
tenelle's notion of it, confidered, 212. idea of
it enlarged fince the time of Ariftotle, 201.
polite and heroic, what we are to think of it,
225. on high life, cenfured, ib. of modern
invention, ib. accounted for, 226. why
more difficult than tragedy, ib.
CORNEILLE, P. his objection to Euripides's
Medea, confuted, i. 149. his notion of comic
action confidered, ii. 175.
DANCE, the choral, commended, i. 161.
DRAMA, fee Tragedy, Comedy, Farce.
DRAMA, Peruvian, fome account of, ii. 203.
Chinefe, 204. Greek and Roman, its charac-
ter, 206. the laws of, in what different from
those of history, iii. 76.
DACIER, M. criticisms of his confidered, i. 72.
155. 161. ibid. 163. 236. 240, 241, ii. 267.
ibid. the author's opinion of him, as a critic,
i. 36. and 272. his account of the opening
of the Epifle to Auguftus cenfured, 35.
DAVENANT, Sir William, his Gondibert, criti-
cifed, iii. 139.
DEMETRIUS PHALEREUS, characterizes the
fatiric piece, i. 183.
DESCRIPTION, natural and moral, why fimilar
in the form as well as matter in all poets, iii.
190.
DIALOGUE, Socratic, the genius of, i. 249.
DIO CASSIUS, inftances from him of the grofs
flattery paid to Caefar, ii. 41.
DIOMEDES, of the fatiric and Atellane fables,
i. 185. of the ufe of the fatiric piece, 194.
a paffage in him corrected by Cafaubon, 200.
his character of the Atellanes, 229.
diftin-
guishes the different kinds of the Roman
drama, 237.
DIONYSIUS of Halicarnaffus, of the use of words,
i. 69, of Plato's figurative style, 252.
DOCTUS, the meaning of, explained, ii. 66. DONATUS, diftinguishes the three forms of comedy, i. 182, 183.
DULCE, its diftinction from pulchrum, i. 89. DUPORT, Pr. his collection of moral parallelisms in Homer and facred writ, of what use, iii. 34.
ELECTRA, of Euripides, vindicated, i. 107. a circumftance in the two plays of that name by Euripides and Sophocles compared, 257. ELFRIDA, of Mr. Mafon, i. 132. the best apology for the ancient chorus, ibid.
EXPRESSION, why fimilar in different writers without imitation, iii. 104.
EPIC Poetry, admits new words, i. 48. its plan, how far to be copied by the tragic poet, 120. in what different from history, iii. 76.
EPISODE, its character and laws, iii. 83. EPISTLE, didactic and elegiac, Intr. to vol. I. v. Didactic, the offspring of the fatire, vi. its three-fold character, xiii. Elegiac, the difference of this from the didactic form, xii, xiii. EURIPIDES, his character, i. 97. his Medea commended, 102. Electra vindicated, 107. Iphigenia in Aulis vindicated, 113. the decorum R 4
of his characters, 115. his Hippolytus led
Seneca into mistakes, 135. an observation on
the chorus of that play, 147. and of the
Medea, 149. Quintilian's character of him,
180. a circumftance in his Electra compared
with Sophocles, 257. his genius resembling
Virgil's, iii. 47.
ENVY, how it operates in human nature, ii. 39.
how it operated in the cafe of Mr. Pope, 38.
ERATOSTHENES, his idea of the end of poetry,
ii. 136.
FABLE, why effential to both dramas, ii. 177.
why an unity and even fimplicity in the fable,
178. a good one, why not fo effential to co-
medy as tragedy, 179.
FLATTERY of the Roman Emperors exceffive, ii.
40. imported from the Afiatic provinces, 42.
FARCE, the author's idea of it, ii. 164. its
laws, 236. its end and character, how diftin-
guished from those of tragedy and comedy,
238.
FEELING, rightly made the teft of poetical
merit, ii. 107.
FENELON, of the use of words, i. 68.
FICTION, poetical, when credible, iii. 23. the
foul of poetry, ii. 143..
FONTENELLE, M. de, his opinion of the origin
of comedy, i. 240. his notion of the drama,
ii. 212. &c. his comedies criticifed, 229.
his paftorals cenfured, ibid. his opinion of
the ufes of criticifin, 247.
GEDDES, J. Efq; his notion of the moft effen-
tial principles of eloquence, ii. 98.
GELLIUS, Aulus, his opinion of Laberius, i. 197.
GENIUS, original, a proof of, in the particula-
rity of description, iii. 19. fimilarity of, in
two writers, its effects, 127.
GEORGIC, the form of this poem, what, iii. 80.
GREEKS, their moft ancient writers falfely fup-
posed to be the best, ii. 59.
HEINSIUS, his idea of true criticism, i. 39. his
explanation of a paffage in Horace, 132.
thought one part of the Epiftle to the Pifos
inexplicable, 278. This tranfpofition of the
Epiftle cenfured, 272.
HIPPOLYTUS, of Euripides; an observation on
the chorus, i. 147. of Seneca, cenfured, 133.
HOMER, firft invented dramatic imitations, i.
14. his excellence in painting the effects of
the manners, iii. 52.
|