HOESLINUS, his opinion of the fourth book of
the Aencis, iii. 49.
HORACE, explained and illuftrated, paffim. his
Epifle to the Pifos, a criticifin on the Roman
drama, Introd. to I. iii. the character of his
genius, xiii. his Epifile to Auguftus, an apo-
logy for the Roman poets, ii. 35. defign and
character of his other critical works, 127.
what may be faid for his flattery of Auguftus,
40. fond of the old Latin poets, 62. his
knowledge of the world, 96.
HOBBES, Mr. his cenfure of the Italian roman-
cers in their unnatural fiction, iii. 142.
HUME, David, Efq; his account of the pathos
in tragedy, confidered, i. 98. his judgment
of Fontenelle's difcourfe on paftoral poetry,
HUMOUR, the end of comedy, ii. 192. two
fpecies of humour, 195. one of these not
much known to the antients, ibid. neither
of them in that perfection on the ancient as
modern ftage, 196. may fubfift without ridi-
cule, 198. yet enlivened by it, 200.
HYMNS, profane and facred, why fimilar, ii. 32.
INVENTION, in poetry, what, iii. 2. principally
difplayed in the manner of imitation, 53.
JESTER, a character by profeffion amongst the
IPHIGENIA at AULIS, of Euripides, vindicated,
INTRIGUE, when faulty in comedy, ii. 173.
IMITATION, primary and secondary, what, iii. 4.
the latter not eafily diftinguishable from the
former, ibid. shewn at large in respect of the
matter of poetry, 7 to 73. of the manner, 73
to 117. in painting, fooner detected than in
poetry, why, 57. how it may be detected,
112. and Letter to Mr. Mason, throughout.
Why no rules delivered for it in the Discourse
on Imitation, 115. confeffed, no certain proof
of an inferiority of genius, 117. accounted
for from habit, 118. from authority, 123.
from judgment, 124. from fimilarity of ge-
nius, 127. from the nature of the subject,
129. its fingular merit, 131. not to be avoided
by literate writers without affectation, 137.
INCOLUMI GRAVITATE, a learned critic's in-
terpretation of these words, i. 193.
INNOVATION, in words, why allowed to old
writers, and not to others, i. 64.
JONSON, Ben, a criticifin on his Catiline, i. 118.
his Every man out of his Humour cenfured,
ii, 189. his Alchemist and Volpone criticized,
241. the character of his genius and co-
medy, 244.
JULIUS POLLUX, fhews the tibia to have been
ufed in the chorus, i. 165.
JUNCTURA CALLIDA, explained, i. 49. exem-
plified from Shakespeare, 52.
KNOWLEDGE of the world, what, ii. 96.
LAMBIN, his comment on communia supported,
LABERIUS, his mimes, what, i. 197.
LANDSKIP-PAINTING, wherein its beauty con-
fifts, i. 45.
LEX TALIONIS, i. 109.
LICENCE, of particular feafons in Greece and
Rome, its effect on tafte, i. 229, 230. of
ancient wit, to what owing, 226.
LIPSIUS, his extravagant flattery, ii. 43.
LONGINUS, his opinion of imitators without
genius, i. 247. accounts for the decline of the
arts, 264. his opinion of the mutual affiftance
of art and nature, 238. his method of criti-
cizing scientific, ii. 110. wherein defective,
113.
Love, fubjects of, a defect in modern tragedy,
why, ii. 167. paffion of, how described by
Terence and Shakespeare, iii. 37. by Catullus
and Ovid, 46. by Virgil, 47.
LUCIAN, the first of the antients who has left us
any confiderable specimens of comic humour,
i. 219, his ΑΛΕΚΤΡΥΩΝ and ΛΑΠΙΘΑΙ,
230.
MARKLAND, Mr. an emendation of his con-
firmed, i. 46.
MANNERS, why imperfect in both dramas, ii.
198. defcription of, whence taken, iii. 22.
MALHERBE, M. the character and fortune of
his poetry, ii. 72.
MACHINERY, effential to the epic poetry, why,
iii. 62.
MARKS of Imitation, iii. Letter to Mr. Mafon.
MASON, his Elfrida, commended, i. 132.
MEDEA, of Euripides, commended, i. 102. its
chorus vindicated, 149. of Seneca, cenfured,
103.
MENAGE, his judgment of ancient wit, i. 225.
his intended difcourfe on imitation, ii. 124.
MENANDER, why moft admired after the Au-
gufian age, i. 217. did not excel in comic
humour, 219. his improvements of comedy,
MILTON, his angels, whence taken, iii. 7. his attention to the effects of the manners, 53. MIMES, the character of them, 1. 196. defined by Diomedes, 198.
MODERNS, bad imitators of Plato, i. 252. MOLIERE, his comedies farcical, ii. 241. his Mifanthrope and Tartuffe commended, ibid. MONEY, love of, the bane of the ancient arts, i. 262.
MORNING, defcriptions of, in the poets compared, iii. 15. when moft original, 19. Music, old, why preferred by the Greek writers, i. 170. why by the Latin, ibid. MUSIC, of the stage, its rife and progress at Rome, i. 155. defects of the old mufic, 170,
NARRATION, oratorial, the credibility of, on what it depends, iii. 23. n. NOVELS, modern, criticized, ii. 153.
OTWAY, his Orphan cenfured, i. 42. OVID, the character of his genius, Introd. to I. xiii. a conjecture concerning his Medea, i. 127. makes the fatyrs to be a fpecies of the
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