193. Figurative grandeur distinguished from figurative elevation ií. 200. 201. Grandeur in gardening ii: 434. Irregularity and difproportion increase in appearance the size of a building ii. 464. 465. Gratification) of paffion i. 44. 50. 143, &c. 157. 273. ii. 226, &c. 253.257. Obstacles to gratification inflame a passion i. 112.

Gratitude) confidered with respect to its gratification i. 114. Exerted upon the children of the benefactor i. 145. Punishment of ingratitude i. 335. Gratitude confidered with refpect to dignity and meannefs i. 341.

Greek words) finely composed of long and short syllables ii. 168.
Grief) magnifies its cause i. 147. Occafions a falfe reckoning of time
i. 163. Is infectious i. 170. When immoderate is filent i. 477.
Grofs pleasure i. 104.

Group) natural objects readily form themselves into groups i. 317.
Guido) cenfured ii. 292.

Habit ch. 14. Prevails in old age i. 292. Habit of application to bufinefs i. 298. 301. 305. Converts pain into pleasure i. 305. Distinguished from custom i. 384. Puts the rich and poor upon a level i.

403.

Harmony) or concord in objects of fight i. 119. 120. Harmony distinguished from melody ii. 101. Note.

Hatred) how produced i. 111. Signifies more commonly affection than paffion i. 111. Its endurance i. 111.

Hearing) in hearing we feel no impression ii. 503.

Henriade) cenfured ii. 330. 378. 384. 388.

Hexameter) Virgil's hexameters extremely melodious, thofe of Horace feldom fo ii. 101. And the reason why they are not ii. 118. Struc

ture of an hexameter line ii. 105. Rules for its structure ii. 106. 107. Mufical pauses in an hexameter line ii. 108. Note. Wherein its melody consists ii. 118.

Hiatus) defined ii. 10.

Hippolytus) of Euripides cenfured i. 472. ii. 418. 419.

History) why the history of heroes and conquerors is fingularly agreeaable i. 55. 216. By what means does history raise our paffions i. 86. 87. 88. It rejects poetical images ii. 322. 323.

History-painting. See painting.

Homer) defective in order and connection i. 25. His language finely fuited to his fubject ii. 345. His repetitions defended ii. 352. His poems in a great measure dramatic ii. 366. Cenfured ii. 387. Hope i. 111.

Horace) defective in connection i. 25. His hexameters not melodious Their defects pointed out ii. 118.

ii. 101.

Horror)

Horror) objects of horror should be banished from poetry and painting

ii. 361.

House) a fine house gives luftre to the owner i. 62. Note.

Human nature) a complicated machine i. 32.

Humanity) the finest temper of mind i. 104.

Humour) defined i. 353. Humour in writing distinguished from hu

mour in character i. 353.

Hyperbole i. 230. ii. 257, &c.

Hippobachius ii. 179.

Iambic verfe) its modulation faint ii. ror,

Iambus ii. 178.

Jane Shore) cenfured i. 449. 462.

Idea) not so easily remembered as a perception is i. 160.

Succeffion

of ideas i. 290. Pleasure and pain of ideas in a train i. 298, ¿c. Idea of memory defined ii. 504. Cannot be innate ii. 508. Note: There are no general ideas ii. 509. Note. Idea of an object of fight more distinct than of any other object ii. 509. Ideas distinguished into three kinds ii. 511. Ideas of imagination not fo pleafant as ideas of memory ii. 516. 517.

Ideal prefence i. 82, &c. raised by theatrical representation i. 88, raię fed by painting i. 88. 89.

Images) the life of poetry and rhetoric i. 85. 92. 225;

Imagination) not always at reft

even in fleep i. 258. The great in

ftrument of recreation i. 258. To give play to it has a good effect in gardening ii. 445. Its power in fabricating imageș ii. 511. 517. Agreeableness of ideas of imagination ij. 516.

Imitation) we naturally imitate virtuous actions i. 170. Not thofe that are vicious i. 170. Inarticulate founds imitated in words ii. 83. None of the fine arts imitate nature except painting and sculpture ii. 3. The agreeableness of im tation overbalances the disagreeableness of the subject ii. 357. Distant and faint imitations displease ii. 438.

Impreffion) made on the organ of sense i. 1. ii. 503. Successive impreffions ii. 15. 16.

Impropriety) in action raises contempt i. 260. Its punishment i. 328.329. Impulse) a strong impulfe fucceeding a weak, makes a double impreffion: a weak impulfe fucceeding a strong, makes scarce any impreffion ii. 16.

Infinite

Infinite feries) becomes difagreeable when prolonged i. 279. Note,
Innate idea) there cannot be fuch a thing ii. 508. Note.

Instinct) we act fometimes by instinct i. 43. 73, &c.

Inftrument) the means or instrument conceived to be the agent ii. 265. Intellectual pleasure i. 2. 3.

Internal fenfe ii. 499.

Intrinsic beauty i. 186.

Intuitive conviction) of the veracity of our fenfes i. 8o. of the dignity of human nature i. 338. ii. 488. of a common nature or standard in every species of beings ii. 484. of this standard being invariable ii. 485. and of its being perfect or right ii. 485. Intuitive conviction that the external signs of passion are natural, and also that they are the fame in all men i. 424. 425.

Intuitive knowledge) of external objects i. 80.

Inverfion) and inverted ftyle described ii. 48, &c. Inverfion gives force and liveliness to the expreffion by fufpending the thought till the clofe ii. 76. Inverfion how regulated ii. 81. 82. Beauties of inverfion ii. 81 82 Inverfion favourable to paufes ii. 135. Full fcope for it in blank verfe ii. 162. 163.

Involuntary figns) of paflion i. 412. 416. 417.
Ionicus ii. 179.

Joy) its cause i. 50. 111.

Infectious i, 170. Confidered with refpect

to dignity and meannefs i. 341.

Iphigenia) of Racine cenfured i. 407.

Iphigenia in Tauris) cenfured i. 491. ii. 419. 420. 421.

Irony) defined i. 358.

Italian tongue) too smooth ii. 12. Note, Italian words finely diverfified by long and short syllables ii. 10. Note.

Judgment) and memory in perfection, feldom united i. 20. Judgement feldom united with wit i. 20.

Julius Cæfar) of Shakespear cenfured i.

474.475.

Justice) of lefs dignity than generosity or courage i. 339.

Kent) his skill in gardening ii. 432.

Key-note ii. 94. 104.

Kitchen-garden ii. 425.

Knowledge) intuitive knowledge of external objects i. 80. Its plea fures never decay i. 401. 402.

Labyrinth) in a garden ii. 438.

Landscape) why for agreeable i, 119. 120. 317. More agreeable when comprehended under one view ii. 436, A landscape in painting ought to be confined to a fingle expreffion i. 287. 288. Contrast ought to prevail in it i. 307. 308.

Language)

Language) power of language to raise emotions, whence derived i.
85. 92. 93. Language of paffion ch. 17. Ought to be fuited to the
Sentiments i. 435. 479. 481. 482. broken and interrupted i. 479.
of impetuous paffion i. 481. of languid paffion i. 482. of calm e-
motions i. 482. of turbulent paffion i. 482. Examples of language
elevated above the tone of the fentiment i. 493. Of language too
artificial or too figurative i. 494. too light or airy i. 495. Language
how far imitative ii. 3. Its beauty with refpect to fignification ii. 4-
5. 18, c. Its beauty with refpect to founds ii. 6, &c. It ought
to correfpond to the subject ii. 24. 339. Its structure explained ii.
44, c. Beauty of language from a resemblance betwixt found and
fignification ii. 3. 4. 83, &c. The character of a language depends
on the character of the nation whose language it is ii. 150. Note.

The force of language confifts in raifing complete images i. 92. ii. 326.

Its power of producing pleasant emotions ii. 357. Without language
man would scarce be a rational being ii. 526.

Latin tongue) finely diversified with long and short syllables ii. 168.
L'avare) of Moliere cenfured i. 472.

Laughter i. 258.

Laugh of derifion or scorn i. 328.

Law) defined i. 332. 333.

Laws of human nature) neceffary fucceffion of perceptions i. 15. 290.
We never act but through the impulfe of defire i. 41. 171. An ob-
ject lofes its relish by familiarity i. 109. 110. Paffions fudden in
their growth are equally fudden in their decay i. 113. 391. Every
paffion ceases upon obtaining its ultimate end i. 114.
An agreeable
cause produceth always a pleasant emotion, and a difagreeable cause
a painful emotion i. 172.

Laws of motion) agreeable i. 194.

Les Freres ennemies) of Racine cenfured i. 456.
Lewis XIV. of France) cenfured i. 319. Note.
Lex talionis) upon what principle founded i. 283.
Line) definition of a regular line ii. 513.

Littleness) is neither pleasant nor painful i. 208.
refpect and humility i. 413. 414. Note.

Livy) cenfured ii. 20.

Locke) cenfured ii. 505. Note.

Is connected with

Logic) caufe of its obfcurity and intricacy i, 426.
Logio) improper in this climate ii. 452. 453.
Love) to children accounted för i. 63. The love a man bears to his
country explained i. 67. Love produced by pity i. 70.
Love gra-
dual i. 110. 111. It fignifies more commonly affection than paflion
i. 111. Love inflamed by the caprices of a mistress i. 113. Its
endurance i. 114. To a lover abfence appears long i. 156. Love

affumes

affumes the qualities of its object i. 169. confidered with refpect to
dignity and meannefs i. 340. seldom constant when founded on ex-
quifite beauty i. 399. ill reprefented in French plays i. 469, when
immoderate is filent i. 478.

Love for love) cenfured ii. 403.

Lowness is neither pleasant nor painful i. 208.

Lucan) too minute in his descriptions i. 124. cenfured ii. 366. 367.
Ludicrous i. 258. may be introduced into an epic poem 289.
Lutrin) cenfured for incongruity i. 322. 323. characterised i. 351.
Luxury) corrupts our taste ii. 494.

Machinery) ought to be excluded from an epic poem i. 94. ii. 381.
does well in a burlesk pocm i. 95.
Malice) how generated i. 110. Why it is perpetual i. 113.
Man) a benevolent as well as a selfish being i. 174. fitted for fociety i.
180. Conformity of the nature of man to his external circumstances
j. 208. 237. 244. 315. 316. 430. Man intended to be more ac-
tive than contemplative i. 342. The different branches of his in-
ternal conftitution finely fuited to each other ii. 456. 490.
Manners) grofs and refined i. 105.
blunt manners i. 428. Note,

in an epic poem ii. 378.

The bad tendency of rough and
Modern manners make a poor figure

Manufactures) the effect of their productions with respect to morali-
ty ii. 446. Note.

Marvellous) in epic poetry ii. 386.

Means) the means or instrument conceived to be the agent ii. 265.
Measure) natural measure of time i. 155, &c. of space i. 163, &c.
Meaux) Bishop of, cenfured i. 285.

Medea) of Euripides cenfured ii. 419

Melody or modulation defined ii. 99. distinguished from harmony ii,
101. Note. In English heroic verse are four different forts of melody
ii. 124. 149. Melody of blank verse superior to that of rhyme, and
even to that of hexameter ii. 165.

Members of a period) have a fine effect placed in an increasing feries
ii. 16. 17.

Memory) and judgement in perfection seldom united i. 20. Memory
and wit often united i. 20. greater with refpect to perceptions than
ideas i. 160. Memory ii. 504.

Merry wives of Windfor) its double plot well contrived ii. 393.

Metaphor ii. 272, C In early compofitions of nations we find me-

taphors much trained ii. 282.

Metre ii. 119.