of this characters, r15. his Hippolytus led Seneca into mistakes, 135. an observation on the chorus of that play, 147. and of the Media, 149. Quintilian's character of him, 180. a circumftance in his Electra compar'd with Sophocles, 257. his genius resembling Virgil's, iii. 47.

ENVY, how it operates in human nature, ii. 39. how it operated in the cafe of Mr. Pope, 38. ERATOSTHENES, his idea of the end of poetry, ii. 136.

F.

FABLE, why effential to both Drama's? ii. 177. why an unity and even fimplicity in the fable, 178. a good one, why not fo effential to comedy as tragedy? 179.

FLATTERY of the Roman Emperors exceffive, ii. 240.29 imported from the Afiatic provinces, 42. FARCE, the author's idea of it, ii. 164. its laws, 236. its end and character, how diftinguifhed from thofe of tragedy and comedy, 238.

FEELING, rightly made the teft of poetical merit, ii. 107.

!,

FENELON, of the ufe of old words, i. 68. H FICTION, poetical, when credible, iii. 23 the foul of poetry, ii. 143.

FONTENELLE,

FONTENELLE, M. de, his opinion of the origin of comedy, i. 240. his notion of the drama, ii. 212, &c. his comedies criticifed, 229. his pastorals cenfur'd, ibid. his opinion of the ufes of criticism, 247.

G.

GEDDES, J. Efq; his notion of the most effential principles of Eloquence, ii. 98.

GELLIUS, Aulus, his opinion of Laberius, i. 197, GENIUS, original, a proof of, in the particularity of description, iii. 19. fimilarity of, in

two writers, its effects, 127.

GEORGIC, the form of this poem, what, iii. 80. GREEKS, their most antient writers falfely sup- pofed to be the best, ii. 59.

H.

HEINSIUS, his idea of true criticism, i. 39. his explanation of a paffage in Horace, 132. thought one part of the Epistle to the Pifos inexplicable, 278. his tranfpofition of the Epiftle cenfured, 272.

HIPPOLYTUS, of Euripides; an obfervation on

the chorus, i. 147. of Seneca, cenfured, 133. HOMER, firft invented dramatic imitations, i. sit 14. his excellence in painting the effects of the manners, iii. 52.;

HOESLINUS,

HOESLÍNUS, his opinion of the fourth book of the Aeneis, iii. 49.

HORACE, explained and illustrated, passim. his Epistle to the Pifos, a criticism on the Roman drama. Introd. to I. iii. the character of his

genius, xiii. his Epistle to Auguftus, an apology for the Roman poets, ii. 35. design and character of his other critical works, 127. what may be faid for his flattery of Auguftus, 40. fond of the old latin poets, 62. his knowledge of the world, 96. HOBBES, Mr. his censure of the Italian romancers in their unnatural fiction, iii, 142.

HUME, David, Efq; his account of the pathos

in tragedy, confider'd, V. i. 98. his judgment of Fontenelle's difcourfe on paftoral poetry, 211.

two

HUMOUR, the end of comedy, ii. 192. fpecies of humour, 195. one of these not much known to the antients, ibid. neither of them in that perfection on the antient as modern stage, 196. may fubfift without ridicule, 198. yet enlivened by it, 200. HYMNS, profane and facred, why similar,

I.

ii.

32.

INVENTION, in poetry, what, iii. 2. principally difplay'd in the manner of imitation 53.

JESTER,

JESTER, a character by profeffion amongst the

Greeks, i. 230.

IPHIGENIA at AULIS, of Euripides, vindicated,

i. 113.

INTRIGUE, when faulty in comedy, ii. 173. IMITATION, primary and fecondary, what, iii. 4. the latter not easily distinguishable from the former, ibid. fhewn at large in respect of the matter of poetry, 7 to 73. of the manner, 73 to 117. in painting, fooner detected than in poetry, why, 57. how it may be detected, 112. and Letter to Mr. Mafon, throughout. Why no rules delivered for it in the Difcourfe on imitation, 115. confeffed, no certain proof of an inferiority of genius, 117, accounted for from habit, 118. from authority, 123. from judgment, 124. from fimilarity of genius, 127. from the nature of the subject, 129. it's fingular merit, 131. not to be avoided by literate writers without affectation, 137. JOHNSON, Ben. a criticism on his Catiline, i.

118. his Every man out of his humour, cenfur'd, ii. 189. his Alchymift and Volpone criticiz'd, 241. the character of his genius and comedy, 244.

INCOLUMI GRAVITATE, a learned critic's interpretation of these words, i. 193.

INNOVATION,

INNOVATION, in words, why allowed to old writers, and not to others, i. 64.

JULIUS POLLUX, fhews the Tibia to have been ufed in the chorus, i. 165.

JUNCTURA CALLIDA, explain'd, i. 49. exemplified from Shakespear, 52.

K.

KNOWLEDGE, of the world, what, ii. 96.

L.

LAMBIN, his comment on communia supported, i. 116.

LABERIUS, his mimes, what, i. 1975 LANDSKIP-PAINTING, wherein its beauty confifts, i. 45.

LEX TALIONIS, i. 109.

LICENCE, of particular seasons in Greece and Rome, its effect on tafte, i. 229, 230. of antient wit, to what owing, 226. LIPSIUS, his extravagant flattery, ii. 43. LONGINUS, his opinion of imitators without genius, i. 247. accounts for the decline of the arts, 264. his opinion of the mutual affistance, of art and nature, 238. his method of criticizing, scientific, ii. 110, wherein defective, 113. LOVE, fubjects of, a defect in modern tragedy,

why, ii. 167. paffion of, how described by

Tevence