ii. 12. A continued found tends to lay us afleep, an interrupted

2

found roufes and animates ii. 42.

Space) natural computation of space i. 163, &c..

Species) defined ji. 521.

Specific habit) defined i. 394.

Speech) power of speech to raise emotions, whence derived i. 85. 92

93.

Spondee) ii. 106, &c. 178.

Square) its beauty i. 192. 309€

Stairs) their proportion ii. 449.

Standard of taste ch. 25. Standard of morals ii. 486. 491. 492. 493.
Star) in gardening ii. 435.

Statue) the reason why a ftatue is not coloured i. 285. The limbs of a
ftatue ought to be contrasted i. 307. An equestrian statue is placed
in a centre of streets that it may be feen from many places at once ii.
350. Statues for adorning a building where to be placed ii. 465.466,
Statue of an animal pouring out water ii. 437. of a water-god pour-
ing water out of his urn ii. 475,
fupports condemned ii. 475.

: Note.

Statues of animals employed as Naked ftatues condemned ii. 461.

Steeple) ought to be pyramidal i. 307.
Strada) cenfured ii. 323.

Style) natural and inverted ii. 48, &c.

ii. 81. of an inverted style ii. 82.
ii. 353.

The beauties of a natural style Concife ftyle a great ornament

Subject) may be conceived independent of any particular quality ii. 50. 51. Subject with respect to its qualities ii. 499. 509. Subject defined ii. 526.

Sublimity ch. 4. Sublime in poetry i. 212. General terms ought to be avoided where fublimity is intended i. 225. Sublimity may be employed indirectly to fink the mind i. 227. 228. Falfe fublime i. 230,

232.

Submiffion) natural foundation of submission to government i. 180. Substance) defined ii. 500.

Subftratum) defined) ii. 500.

Succeffion) of perceptions and ideas i. 15, &c. 290, &c.``In a quick fucceffion of the most beautiful objects, we are scarce fenfible of any emotion i. 86. Succeffion of fyllables in a word ii. 9. of impressions ii. 14. 15.

Superlatives) inferior writers deal in fuperlatives ii. 346. Surprise) the effence of witi. 20. 365. instantaneous i. 108. 109. 110. 246. decays fuddenly i. 110. pleasant or painful according to circumstances i. 249, &c. Surprise the cause of contrast i. 274. has an influence upon our opinions, and even upon our eye-fight i. 277. Sur

prife a filent paffion i. 478. ftudied in Chinese gardens ii. 443Sufpenfe) an uneasy state i. 158.

Sweet diftrefs) explained i. 118.

Swift) his language always-fuited to his fubject ii. 345. has a peculiar energy of style ii. 348, compared with Pope ii. 348.

Syllable ii. 8. Syllables confidered as composing words ii. 9. Syllables long and short ii. 10. 105. Many fyllables in English are arbitrary ii.

120.

Sympathy) fympathetic emotion of virtue i. 53, &c. The pain of fympathy is voluntary i. 104. 105. It improves the temper i. 10s. Sympathy i. 175. attractive i. 175. 429. never low nor mean i. 340. the cement of society i. 429.

Synthetic) and analytic/methods of reasoning compared i. 22. 23.

Tacitus) excels in drawing characters ii. 334. his style comprehenfive ii. 353.

Taffo) cenfured ii. 384. 388.

Taste) in tasting we feel an impreffion upon the organ of sense i. 1. ii. 503. Taste in the fine arts though natural requires culture i. 4. 5. ii. 495. Note. Taste in the fine arts compared with the moral fenfe i. 5. its advantages i. 8. &c. Delicacy of taste i. 103. a low taste i. 211. Taste in some measure governed by reason ii. 469. Note. The foundation of a right and wrong in taste ii. 485. Taste in the fine arts as well as in morals corrupted by voluptuousness ii. 494. corrupted by love of riches ii. 494. Taste never naturally bad or wrong ii. 496. 497. Aberrations from a true taste in the fine arts ii, 491.

492.

Tautology) a blemish in writing ii. 354.
Telemachus) an epic poem ii. 365. Note. Cenfured ii. 390. Note.
Temples) of ancient and modern virtue in the gardens of Stow ii.

474.

Terence cenfured i. 491 ii. 419. 421.

Terror) arises sometimes to its utmost height instantaneously i. 108. 109.

110. a filent paffion i. 478. Objects that strike terror have a fine effect in poetry and painting ii, 360. The terror raised by tragedy explainçd ii. 372.

Theorem) general theorems agreeable i. 194.

Time) past time expreffed as prefent i, 99, &c. Natural computation of time i. 155, &c.

Titus Livius. See Livy.

Tone) of mind ii. 501.

Touch) in touching we feel an impreffion upon the organ of sense ii.

503.

Trachiniens) of Sophocles cenfured ii. 418. 419.

1

Tragedy)

Tragedy) the deepest tragedies are the most crowded i. 431. Note. The later English tragedies cenfured i. 440. French tragedy cenfured i. 442. Note. 469. The Greek tragedy accompanied with mufical notes to ascertain the pronunciation ii. 96. Tragedy ch. 22. in what refpect it differs from an epic poem ii. 365. distinguished into pathetic and moral ii. 367. its good effects ii. 368. compared with the epic as to the fubjects proper for each ii. 270. how far it may bor row from history ii. 377. rule for dividing it into acts ii. 378. double plot in it ii. 391. admits not violent action or fupernatural events ii. 393. its origin ii. 406. Ancient tragedy a continued representation without interruption ii. 407. Constitution of the modern drama ii. 408.

Tragi-comedy ii. 393.

Trees) the best manner of placing them ii. 434 435. 436.
Triangle) equilateral, its beauty i. 192.

Tribrachys ii. 178.

Trochæus ii. 178.

Tropes ch. 20.

Uglinefs) proper and figurative ii. 513.

Unbounded profpect) disagreeable i. 279. Note.

Uniformity of the operations of nature i. 160, Uniformity apt to difgust by excess i. 193. Uniformity and variety ch. 9. conspicuous in the works of nature i. 315. 316. The melody of the verse ought to be uniform where the things described are uniform ii. 141. Uniformity defined ii. 514.

Unity) the three unities ch. 23. of action ii. 398, &c. Unity of action in a picture ii. 404. of time and of place ii. 404, &c. Unities of time and of place not required in an epic poem ii. 405. Strictly obUnity of place in the ancient

served in the Greek tragedy ii. 407. drama ii. 417. Unities of place and time ought to be strictly obferved in each act of a modern play ii. 422. Wherein the unity of a garden confists ii. 432.

Unumquodque eodem modo diffolvitur quo colligatum eft i. 282.

Vanity) a difagreeable paffion i. 102. always appears mean i. 341. Variety diftinguished from novelty i. 251. Variety ch. 9. Variety in pictures i. 307. confpicuous in the works of nature i. 315. 316. in gardening ii. 443.

Veracity of our fenfes i. 80.

Verb) active and passive ii. 44. 45.

Verbal antithefis) defined i. 377. ii. 29.

Versailles) gardens of ii. 438. 439.

Verfe) distinguished from profe ii. 98. Sapphic verfe extremely melo

dious ii. 1ot. Iambic lefs fo ii. 1or. Structure of an hexameter line ii. 105. Structure of English heroic verse ii. 108. Note. 119, &c. 160. English monofyllables arbitrary as to quantity ii. 120. English heroic lines diftinguished into four forts ii. 124. 149. they have a due mixture of uniformity and variety ii. 159. English rhyme compared with blank verfe ii. 160. Rules for compofing each ii. 160. 161. 162. Latin hexameter compared with English rhyme ii. 164. compared with blank verse ii. 165. French heroic verfe compared with hexameter and rhyme ii. 165. 166. The English language incapable of the melody of hexameter verfe ii. 167. 168. For what fubjects is rhyme proper ii. 171, &c. Melody of rhyme, ii. 170. Rhyme neceffary to French verfe ii. 173. Melody of verfe is fo inchanting as to draw a veil over grofs imperfections ii. 176. Verfes compofed in the shape of an axe or an egg ii. 438.

Violent action) ought to be excluded from the stage ii. 393.

Virgil) cenfured for want of connection i. 26. his verse extremely melodious ii. 101. his verfification criticised ii. 114. cenfured ii. 176. 337. 338. 345. 350. 379.

Virgil travestie) characterised i. 351.

Virtue) the pleasures of virtue never decay i. 401. 402.

Vision) largest and smallest angle of vifion i. 164.

Voltaire) cenfured ii. 330. 378. 384.

Voluntary signs of paffion i. 412.

Voluptuoufnefs) tends to vitiate our taste ii. 494.

Vowels ii. 6.

Walk) in a garden, whether it ought to be straight or waving ii. 439.
Artificial walk elevated above the plain ii. 441.

Wall) that is not perpendicular occafions an uneafy feeling i. 168.
Waterfall i. 167. 168. 240.

Water-god) ftatue of, pouring out water ii. 475.

Way of the world) cenfured ii. 403. the unities of place and time stricly observed in it ii. 424.

Will) how far our train of perceptions can be regulated by it i. 17. 291. 296. determined by defire i. 171.

Windows) their proportion ii. 449. double row ii. 464.

Wish) distinguished from defire i. 40.

Wit) defined i. 20. 365. feldom united with judgement i. zo. but ge nerally with memory i. zo. not concordant with grandeur i. 288. Wit ch. 13. Wit in sounds i. 383. Wit in architecture ii. 473. Wonder) inftantaneous i. 110. decays fuddenly i. 113. Wonders and prodigies find ready credit with the vulgar i. 153. Wonder defined i. 245. ftudied in Chinese gardens ii. 445.

Words) rules for coining words i. 47. Note. Play of words, i. 496.

497, &c. Jingle of words ii. 498. Words confidered with refpe& to their found ii. 9. Words of different languages compared ii. 11. What are their best arrangement in a period ii. 16. A conjunction or disjunction in the members of the thought ought to be imitated in the expreffion ii. 25. 33. 34. Words expreffing things connected ought to be placed as near together as poffible ii. 62, &c. In what part of a sentence doth a word make the greatest figure ii. 71. Words acquire a beauty from their meaning ii. 84. 298. Some words make an impression resembling that of their meaning ii. 86. The words ought to accord with the fentiment i. 435. 479. 481. ii. 24. 339. A word is often redoubled to add force to the expreffion i. 483. ii. 350. See Language

Writing) a subject intended for amusement may be highly ornamented i. 323. A grand subject appears best in a plain dress i.

323.

Youth) requires more variety of amusement than old age i. 292.

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