Touch) in touching we feel an impreflion upon the organ of fenfe ii.

397.

Trachiniens) of Sophocles cenfured. ii. 333.

..293.

Tragedy) the deepeit tragedies are the moit crowded i. 352. note.
The later English tragedies cenfured i. 360. Erench tragedy "cen
fured i. 369. note. 334. The Greek tragedy accompanied with
mufical notes to afcertain the pronunciation ii. 77. Tragedy,
ch. 22. in what refpect it differs from an epic poem ii. 292. dif-
tinguished into pathetic and moral ii. 294. its good effects ...
compared with the epic as to the fubjects proper for each ii. 296.
how far it may borrow from hiftory ii. 301. rule for dividing it
into acts ii. 302, 303. double plot in it fi. 312. admits not violent
action or fupernatural events ii. 314. its origin ii. 324. Ancient
tragedy a continued reprefentation without interruption ii. 325,
Conftitution 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, ch. 20.

Uglines) proper and figurative 405

Unbounded profpect) difagreeable i. 235, note.

Uniformity of the operations of nature i. 259, &c. Uniformity
apt to difguft by excefsi. 164 Uniformity and variety, ch. 9.
confpicuous in the works of nature i. 263. The melody of the
verfe ought to be uniform where the things defcribed are uniform
i. 13. Uniformity defined ii. 406.

Unity) the three unities, ch. 23. of actions ii. 319, &c. Unity of
action 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 i. 332. Unities of place and time ought to
be triedy obferved in each act of a modern play ii. 336. Where-
in the unity of a garden confifts i. 343.

Unumquodque eodem modo diffokottur quo colligatum eft i, 236.

Vanity) a difagreeable passion i. 92. always appears mean i. 283.
Variety) diftinguished from novelty i. 273. Variety, ch. 9. Varie
ty in pictures is 256, confpicuous in the works of nature i. 263,"
964. In gardening f. 353.

Veracity of our fenfes 1. 75.
Verb) active and palive.ii. 36...
Verbabantithefis) defined i. 30. ii. 23.
Verfilles) gardens of ii. 848.

Sapphic verfe extremely
Structure of an hexam-

Verfe) diftinguished from profe ii. 79.
melodious ii. 81. Iambic less fo ii. 81.
eter line ii. 85. Structure of English beroic verfe ii. 86, note.-
"95, &c. 127. English monofyllables arbitrary as to quantity ii.
97. Englifh heroic lines diftinguished into four forts ii. 99. 111.
they have a due mixture of uniformity and variety ir. 127. En-
glith rhyme compared with blank verfeil. 127, 128. Rules for
compofing each i, 128, 129. Latin hexameter compared with
English rhyme ii. 139: compared with blank verfe ii. 132. French
heroic verfe compared with hesameter and rhyme i. 132. The
English language incapable of the melody of hexameter verfe ii.

134, 135. For what fubjects is rhyme proper ii, 137, &c. Melo-
dy of rhyme, ii. 136. Rhyme neceffary to French verse ii. 138.
Melody of verfe is fo enchanting as to draw a veil over grofs im
perfections ii. 148. Verles compofed in the fhape of an axe of
anegg ii. 348.

Violent action) ought to be excluded from the ftage ii. 314.
Virgil) cenfured for want of connection i. 33. his verfe extremely
melodious ii. 81. his verfification criticifed ii. 92. cenfured ii.
141. 269. 273. 280. 303.

Virgil traveftie) characterifed i. 290.

Virtue) the pleafures of virtue never decay i. 330.
Vifion) the largest and fmalleft angle of vifion i. 140.
Voltaire) ceufured ii. 263. 302 307.

Voluntary figns of paffion i. 337.

Voluptuoufnels tends to vitiate our tafte ii. 391.

Vowels ii. 5, &c.

Walk) in a garden, whether it ought to be fraight or waving ii.
349. Artificial walk elevated above the plain ii. 350.

Wall) that is not perpendicular occafions an uneafy feeling i. 145.
Waterfall i. 144. 204.

Water-god) ftatue of pouring out water ii. 379.

Way of the world) cenfured ii. 322. the unities of place and time
ftrictly obferved in it ii. 337.

Will) how far our train of perceptions can be regulated by it i. 26,
244, 248. determined by deftre i. 147.

Windows) their proportion ii. 358. double row ii. 369.

Winter-garden ii. 352.

Wifh) diftinguished from defire i. 42, 43.

Wit) defined i. 28. 301. Heldom united with judgment 1. 28. but
generally with memory 1. 28. not concordant with grandeur i.
241. Wit, ch. 13. Wit in founds i. 315. Wit in architecture ii.
378.
Wonder) inftantaneous i. 98. decors fuddenly i. 101. Wonders and
prodigies find ready credit ith the vulgar i. 133. Wonder de-
fined i. 207. ftudied in Chinele gardens ii. 354.

Words) rules for coining words it 47, nole. Play of words i. 405,
406, &c. Jingle of words i, 407. Words confidered with refpect
to their found f. 8. Words of different languages compared ii. 9.
What are their best arrangement in period 11. 13. A conjunc
tion or disjunction in the members, of the thought ought to be
Imitated in the expreffion ii. 20. 27, 28. Words expreffing things
connected ought to be placed as near together as poflible ii. 50, &c.
In what part of a sentence doth a word make the greatest figure
ii. 58. Words acquire a beatity from their meaning ii. 69. 238.
Some words make an impre honretembling that of their meaning
ii. 70. The words ought to accord avith the fentiment i. 356, 391.
394. ii. 19. 270. A word is often redoubled to add force to the
expreffion i. 394. ii. 279. See Language..

Writing) a fubject intended for amufement may be highly orna-
mented i. 269. A grand subject appears best in a plain dress i. 269.

Youth) requires more variety of amufement than old age i. 244. ~

FINIS