249. his Platonic manner liable to cenfure,
250.

STATIUS, his character, iii. 88. his book of
games criticized, 89.

STRABO, a paffage from him to prove the Tuf-

can language used in the Atellanes, i. 189.
SHAKESPEARE, excels in the callida juntura,
i. 52. how he characterizes his clowns, 192.
his want of a learned education, 245. ad-
vantages of it, ib. his excellence in drawing
characters, wherein it confifts, ii. 189. his
power in painting the paffion of grief, iii. 26.
his defcription of economical fentiments,
original, 35.

SENTENCES, why fo frequent in the Greek
writers, i. 174.

SCENE, of comedy, laid at home; of tra
gedy, abroad: the reafon of this practice,
ii. 191.

SENTIMENTS, religious, moral, and œconomi-
cal, why the defcriptions of, fimilar in all
poets, iii. 30, 39.

SENECA, the philofopher, his account of the
mimes of Laberius, i, 198.

SENECA, his Medea centured, i, 102. 127.
his Hippolytus cenfured, 133. his Aphorifins
quaint, 181.

STEPHENS,

STEPHENS, H. his obfervations on the refine-

nent of the French language, i. 68.

SERMO, the meaning of this word, ii. 37.
SIDNEY, Sir Philip, his character, i. 96. his
encomium on the pathos of tragedy, ii.
116.

SHIRLEY, a fine paffage from one of his plays,
i. 62.

SCHOLARS, their pretenfions to public ho-
nours and preferments, on what founded, ii.

117.

SCHOLIA, of the Greeks, i. 176. Ariftotle's
tranflated, 179.

SOPHOCLES, the chorus of his Antigone defended,
i. 144. 149. n. a fatiric tragedy afcribed to
him, 184. a circumftance in his Electra com-
pared with Euripides, 257.

SOCRATES, his office in the fympofia of Xenophon
and Plato, i. 231. n, his judgment of moral
paintings, ii. 91.

STYLE of poetry, defined, ii. 143•.

SUBJECTS, public, how to acquire a property in
them, i. 213. domeftic, why fitteft for the
stage, 244. real, fucceed beft in tragedy;
feigned, in comedy, why, ii. 181,

TACITUS,

T.

TACITUS, a bold expreffion of his, justified, i,
..81.

TRAGEDY, the author's idea of, ii. 164. con-
elufions concerning its nature, from this idea,
165. attributes, common to it and comedy,
77. attributes peculiar to it, 179.
TRAGEDY, admits pure poetry, i. 79. why its
pathos pleafes, 99. on low life, cenfured, ii.

223. a modern refinement, 226. accounted
for, ib.

TRAPP, Dr. his interpretation of communia, i.
116. his judgment of the chorus, 129.
TEMPLE, Sir William, his fentiments on the
paffion of avarice, i. 264. his notion of
religious defcription in modern poets, iii.

61..

TELEPHUS, a tragedy of Euripides, i. 86. ano-
ther tragedy of that name glanced at by
Horace, 87.

TELEMAQUE, why no new fimiles in this work,
44 iii. 104.

TEMPE, Aelian's description of, tranflated, iii.

10.

TERENCE, why his plays ill received, i. 218.
fell short of Menander in the elegance of his

expreffion,

expreffion, 219. a remarkable inftance of
humour in the Hecyra, ii. 197. the cha-
racteristic of his comedies, his Hecyra vin-
dicated, 67, 68. a paffage in his Andrian
compared with one in Shakespeare's Twelfth-
Night, iii. 38. his opinion of the neceffary
uniformity of moral defcription, 93.

TRUTH in POETRY, what, i. 252. may be
followed too closely in works of imitation,
ib.

U.

UNCTI, the meaning of, in the Epistle to Au-
guftus, ii. 61.

UPTON, Mr. his criticifm on the fatires, exa-
mined, i. 194.

VARRO, M. Terentius, affigns the diftinct merit
of Cacilius and Terence, ii. 67.

VATRY, Abbé, his defence of the ancient cho-
rus, i. 132.

VICTORIUS, of the fatiric metre, i. 213.
VIRGIL, his method in conducting the Aeneis,
juftified, i. 122. his address in his flattery of
Auguftus, ii. 42. his introduction to the
third Georgic explained, 44. three verses in
the fame, fpurious, 53. n. his moral cha-
racter,

3

racter, vindicated, 122. his poetical, vol. iii. Difcourfe on Poetical Imitation, throughout; his book of games defended from the charge of plagiarifm, 85. why few comparisons in his works, but what are to be found in Homer, 101.

VOLTAIRE, M. de, his judgment of machinery, what, iii, 62. n.

W.

WARBURTON, Mr. his edition of Mr. Pope; Intr. to I. xv. and of Shakespeare, Ded. to ii. and i. 56. his judgment of the intricacy of the comic plot, ii. 173. of the fcene of the drama, 191. of comic humour, 197. of the double fenfe in writing, i. 80. of the fimilarity in religious rites, ill.

60.

WIT, ancient, licentious, i. 225. why, 226. WHOLE, its beauty confifts not in the accurate finishing, but in the elegant difpofition, of the parts, i. 43.

WORDS, old ones, their energy, how revived,

i. 65.

X.

XENOPHON, an elegant inaccuracy in a fpeech in the Cyropaedia, i. 77. n. his fine narration

of