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Touch)in touching we feel an impreslion upon the organ of senfe ii:

Trachiniens) of Sophocles cenfured. ii. 333.
Tragedy) the deepett tragedies are the most crowded i. 352. rofe.

The later English tragedies cenfured i. 360. Erench tragedy "cen-
sured i. 369. note. 334. The Greek tragedy accompanied with
musical notes to ascertain the pronunciation ii. 77. Tragedy,
cho 22. in what respect it differs from an epic poem ii. 292. dif-
tinguished inty pathetic and moral ij. 294. its good cffects ni.. 293.
compared with the epic as to the subjects proper for each ii. 296.
how far it may borrow from hiflory ii. 301. rule for dividing it
into acts ii. 302, 303. double plot hii it ii. 312. admits not violent
action or supernatural evenis ii. 314. its origin ii. 324. Ancient >
tragedy a continued representation without interruption ii. 325

Constitution of the modern drama ii. 326."
Tragi-comedy ii. 313.
Trees) the best manner of placing them ii. 345,846, 347.
Triangle) equilateral, its beauty i. 164.
„Tribrachys ii. 142.*
Trochæus ii. 142
Tropes, chi. 20.
Ugliness) proper and figurative i. 405
Unbounded prospect) disagreeable ix235, note.
Uniformity of the operations of natı:re i. 259, &c. Uniformity

apt to disgust by exces i. 164. Uniformity and variety, ch. 9.
conspicuous in the works of nature i. 263. The melody of the
verse, ought to be uniform where the things described are uniform
ii. 1*3. Uniformity defined ii. 406.
Unity) the three unities, ch. 23. of actions ii. 319, &c. Unity of
yaction in a picture ii. 322. of time and of place ii. 323, &c.

Unities of time and of place not required in an epic poem ii.323.
Strictly obferved in the Greek tragedy ii. 325. Unity of place
in the ancient drama ii. 332. Unities of place and time ought to -
be itriidy observed in each act of a modern play ii. 336. Where-
in the imity of a garden consists ii. 343.
Unumquodique eodem modo diljokitur qub coliigatuni eji i. 236.
Vanity) a disagreeable paflion i. 92. always appears mean i. 283.
Variety) distinguifhed from noveltyi. 273. Variety, chåg. Varie.

ty in pictures is 256, conspicuous in the works of nature.i. 263,

964. In gardening ii. 353..
Veracity of our senies 1.75:
Verb active and pa live ii. 36.
Verbolantichelis) defined i. 310. ii. 23.
Verrilles) gardens of 1.348.
Verse) distinguished from prole ii. 79. Sapphic verse extremely
melodious ii. 81. Tambic less ro ii. 81. Structure of an hexain.

eter line ii. 85. Strnelure of Englii Leroic verse ii. 86. rcte. "95, &c. 127... English monofyllables arbitrary as to quantity ii.

97. English heroic lines distinguished into four forts ii. 99. 111. they have a due mixture of uniforinity and variety ii. 127. En. glish rbynia compared with blank verse ji. 127, 128. Rules for compoliny eachii 128, 12). Latin hexameter compareil with English rliyne is. 139: compared svith blank verse ii

. 132. Frencli heroic verse compared with hearieter and rhyme ii. 132. The Englith language incapable of the melody of hexameter verse ii.

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134, 135. For what fubjects is rhyme proper ii, 137, &c: Melo-
dy of rhyme, ii. 136. Rlyme necessarg to French verse ii. 138.
Melody of verse is to enchanting as to draw a veil over grofs in-
perfections ii. 148. Verles composed in the shape of an axe of
anegg ii. 348.
Violent action) ought to be excluded from the Stage ii. 314.
Virgil) censured for want of connection i. 33. his verse extremely

melodious ii. 81. his versification criticised ii. 92. cenfured ii.

141. 269. 273. 280. 303.
Virgil travestie) characterised i. 290.
Virtue) the pleasures of virtue never decay i. 330.
Vision) the largest and smallest angle of vision i. 140.
Voltaire) ceufured ii. 263. 3027 307.
Voluntary ligns of passion i. 337,
Voluptuousness tends to vitiate our taste ji. 391.
Vowels ii. 5, &c.
Walk) in a garden, whether it ought to be Nraight or waving ii.

349. Artificial walk elevated above the plain ii. 350.
Wall) that is not perpendicular occafions an uneasy feeling i. 145.
Waterfall i. 144. 204:
Water-god) statue ofi pouring out water ii. 379.
Way of the world) cenfured ii. 329. the unities of place and time
Will) how far our train of perceptions can be régulated by it i. 26,

244, 248. determined by deftre j. 147.
Windows) their proportion ii. 368. double rów ii. 369.
Winter-garden ii. 352.
Wish) diftinguithed from delirefi. 427 43.
Wit) defined i. 28. 301. leldom united with judgment 1. 28. but

generally with memory i. 28. not concordant with grandeur i.
241. Wit, ch. 13. Wit in soundsi. 315. Wit in archite ture ii.

Wonder) instantaneous i. 98. decarsfuldenly i. 101. Wonders and

prodigies find ready credit with the vulgar i. 133. Wonder den

fined i. 207. studied in Chincie gardens ii. 354.
Words) rules for coining words it 47; 1:08. Play of words i. 405,

406, &c. Jingle of words ir 407. Words confidered with respect
to their found i. 8. Words of ditrerent langua es compared ii. 9.
What are their best arrangement'in period 1. 13. A conjunc-
tion or wlisjunction in the members of the thought ought to be
Imitated in the exprelourii. 20. 27, 28. Words expressing things
connected ought to be placed as ncar together as possible ii.

50, c.
In what part of a sentence doth a word make the greatest figure
11. 58., Words acquirea veality from their meaning ii. 69.238.
Some words make an impreffionreiembling that of their meaning
ii. 70. The words ought to accord aviti the sentiment i. 396, 391.
394. ii. 19.270. A word is often redoubled to add force to the

expression i. 394. ii. 277. See Language.
Writing) a subject intended for anrutement may be liighly orna.

mented i. 269. Aograpd subject appears best in a plain dress i. 269.
Youtlı) requires more variety of amusement than old age i. 244.*



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