Selfishness) promoted by | 371. fcene in the fame sentence arranged as to express 47. Serpentine river) its beau- Shaft) of a column ii. great beauty in tragedy 73. the organ of fenfe ii. Smoke) the pleasure of af- Society) advantages of i. tion of space i. 127. $6. ་ Statue) the reason why a ftatue is not coloured i. 223. An equeftrian ftatue is placed in a centre of freets that it may be feen from many places at once ii. 266. Statue of an animal pouring out water ii. 330. of a watergod pouring water out of his urn ii. 354. Strada) cenfured ii. 247. Style) natural and inverted ii. 36. &c. The beauties of a natural ftyle ii. 62. of an inverted style ii. 62. Concise style a great ornament ii. 268. Subject) may be conceived independent of any particular quality ii. 38.Subject with refpect to its qualities ii. 369. Subject defined ii. 387. Sublimity i. 157. &c. Sublime in poetry i. 165. Sublimity may be employed indirectly to fink the mind i. 179. Falfe fublime i. 181. 183. Submiflion) natural foundation of fubmiffion to government i. 141. Substance) defined ii.. 387. Subftratum) defined ii 369, Succeffion) of perceptions and ideas i. 227. &c. Superlatives) inferior writers deal in fuperlatives ii. 263. Surprise) inftantaneous i 85. 192. pleafant or painful according to circumftances i 195. &c. Surprife is the cause of contraft i. 215. Surprife a filent paffion i. 372. ftudied in Chinese gatdens ii. 336. Sufpenfe) an uneasy state i. 123. Sweet diftrefs) explained i. 93. Swift) his language always fuited to his fubject ii. 262. has a peculiar energy of ftyle ii. 264. compared with Pope ii. 264. Syllable ii. 6. Syllables long and short ii. 80. Sympathy) fympathetic emotion of virtue i. 42. Sympathy i. 137. attractive i. 137. never low nor mean i. 265. the cement of fociety i. 333 Synthetic) and analytic methods of reafoning compared i. 19. Tacitus) excells in drawing characters ii. 254 his ftyle comprehenfive ii. 268. Taffo) cenfured ii. 292. Tafte) in. tafting we feel an impreffion upon the organ of fenfe ii. 371. Tafte in the fine arts compared with the moral fenfe i. 4. its advantages i. 6. &c. Delica cy of tafte i. 81. A low tafte i. 165. The foundation of a right and wrong in talte ii. 358. a Tafte in the fine arts as well as in morals corrupted by voluptuousnels ii. 365. corrupted by love of riches ii. 365. Tafte never naturally bad or wrong ii. 367. Aberrations from a true tafte in the fine arts ii. 363. 364. Tautology) a blemish in writing ii. 269. Temples) of Ancient and Modern Virtue in the gardens of Stow ii. 353. Terence) cenfured ii. 318. 319. Terror) arifes fometimes to its utmost height inflantaneously i. 85. a filent paffion i. 372. Objects that ftrike terror have a fine effect in poetry and painting ii. 273. The terror raised by tragedy explained ii. 283. 284. Theorem) general theorems agreeable i 152. Time) paft time expreffed as prefent i. 71. Natural computation of time i. 121. &c. Tone) of mind ii. 370. Touch) in touching we feel an impreffion upon the organ of fenfe ii.371. Trachiniens) of Sophocles cenfured ii. 317. Tragedy) modren tragedy cenfured i. 340. French tragedy cenfured i. 342. Note. 343. i. 365. The Greek tragedy accompanied with mufical notes to afcertain the pronunciation ii. 73. Tragedy ch. 22. ii. 277. in what refpect it differs from an epic poem ii. 277. diftinguished into pathetic and moral ii. 279. its good effects ii. 280. compared with the epic as to the fubjects. proper for each ii. 281. 282. how far it may borrow from history ii. 287. rule for dividing it into acts ii. 288.double plot in it ii. 297. admits not fuper natural events ii. 298. Note. its orgin ii. 308. Ancient tragedy a continuedrepresentation without interruption ii. 308. Conftitution of the modern drama ii. 309. Trees) the best manner of placing them ii. 229. Triangle) equilateral, its beauty i. 151. Tribrachys ii. 139. Trochæus ii. 139. Tropes ch. 20. ii. 174. Uglinefs) proper and figurative ii. 376. Unbounded profpe&t) difagreeable i. 219. Note. Uniformity) apt to difguft by by excels i. 151. Uniformity and variety ch. 9. i. 226. The melody ought to be uniform where the things defcribed are uniform ii. 109.Uniformity defined ii. 377. Par. Unity) the three unities ch. 23. ii. 301. of action ii. 302. of time and of place ii. 306. U. nities of time and place not required in an epic poem ii. 306. ftrictly obferved in the Greek tragedy ii. 309. Unity of place in the ancient drama ii. 316. Unities of place and time ought to be ftrictly obferved in each act of a modern play ii. 320. Wherein the unity of a garden confifts ii. 327. Unumquodque eodem modo diffolvitur quo colligatum eft i. 220. Vanity) a difagreeable paffion i. 8o. always appears mean i. 266. Variety) diftinguished from novelty i.196. Variety ch. 9. i. 227. Verbal antithefis) defined i. 291. ii. 23. Verfailles) gardens of iì. of an hexameter line ii. 81. Structure of English heroic verse ii. 92. 94. English monofyllables arbitrary as to quantity ii. 93. English heroic lines diftinguished into four forts ii. 115. Latin hexameter compared with English rhyme ii. 128. compared with blank verfe ii. 128. French heroic verfe compared with hexameter and rhyme ii. 129. The English language incapable of the melody of hexameter verfe ii. 131. For what fubjects is rhyme proper ii. 131. &c. Melody of rhyme ii. 133. Melody of verfe is fo inchanting as to draw a veil over grofs imperfections ii. 137. Ver fes compofed in the fhape of an axe or an egg ii. 331. Violent action) ought to be excluded from the ftage ii. 298. Virgil) cenfured for want of connection i. 22. &c. his verfe extremely melodious ii. 77. his verfification criticifed ii. 89. cenfured ii. 262. 294. Virgil travestie)characterized i. 270. Voltaire) cenfured ii. 252. 288. 292. |