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A B of different kinds ii. 403

Bstract idea) defined iü. 402. Abstract ideas of different kinds iii.

403. Abstraction) power of iii. 401. Its use üii. 402. 403. Abstract terms) ought to be avoided in poetry i. 294. mii. 198. Cannot be compared but by being per

sonified iii. 6. Personified iji. 65. Defined iii. 402.

The use of abstract terms iii. 495. Accent) defined ii. 361. The musical accents that

are necessary in an hexameter line ii. 376. A low it word must not be accepted ii. 405. Rules for ac

cepting English heroic verse ii. 415. How far af. fected by the pause ii. 422. &c. Accent and pause

have a mutual influence ií. 428. Action) what feelings are raised by human actions i.

48. 49. 27.6. We are impelled to action by de fire i. 55. Some actions are ultimate, some are means leading to an end i. 57. Actions great and elevated, low and groveling i. 276. Emotions occasioned by propriety of action ii. 13. Occasioned by impropriety of action ii. 14. Human actions produce a great variety of emotions ii. 28. Human actions considered with respect to dignity and meanness ii. 35. We are conscious of internal ac


tion as in the head iii. 377. Internal action may

exist without our being conscious of it iii. 377.
Actor) bombast action i. 308. An actor ought to feel

the passion he represents ii. 153.
Admiration) defined i. 320.
Affectation) defined ii. 11.
Affection) to children accounted for i. 82. To blood-

relations accounted for i. 83. To property accounted
for i. 84. Affection to children endures longer
than any other affection i. 150. Opinion and be-
lief influenced by affection i. 199. Affection defi-

ned ii. 87. iii. 394.
Agamemnon) of Seneca censured ii. 193.
Agreeable emotions and passions i. 127. &c.
Alcestes) of Euripides censured iii. 286. 289.
Alexandre of Racine) censured ii. 177.
Allegory iii. 108. &c. More difficult in painting than

in poetry iii. 129. In an historical poem iii. 248.
All for Love) of Dryden censured ii. 202.
Ambiguity) occafioned by a wrong arrangement ii.

Amynta) of Tasso censured ii. 167.
Amor patriæ) accounted for i. 88.
Amphibrachys ii. 460.
Amphimacer ii. 460.
Analytic) and synthetic methods of reasoning compa-

red i. 31.

Anapæstus ii. 460.
Anger) explained i. 95. &c. Sometimes exerted a.

gainst the innocent i, 191. And even against things
inanimate i. 191. Not infectious i. 221. Has no
dignity in it ii. 33 .


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Animals) distributed by nature into classes iii. 356.
Antibacchius ii. 460.
Anticlimax ii. 345.
Antispastus ii. 461.
Antithesis ii. 73. 262. Verbal antithesis ii. 268.

Apostrophe iii. 87. doc.
Appearance) in poetry, things ought to be described

as they appear, not as they are in reality iii. 172. Appetite) defined i. 59. Appetites' of hunger, thirst,

animal love, arise without an object i. 73. Appe

tite for fame or esteem i. 237. Architecture ch. 24. jil. 294.

Grandeur of manner in architecture i. 294.

The situation of a great house ought to be lofty ii. 7. A playhouse or a music-room susceptible of much ornament ii. Os What emotions can be raised by architecture iis. 297. Its emotions compared with those of gardening iji. 297. Every building ought to have an expression suited to its destination iii. 298. 338. Simplicity ought to be the governing talte iii. 300. Regularity ought to be studied iii. 301. External form of dwelling-houses iii. 324. Divisions within iii. 324. 340. A palace ought to be regular, but in a small house convenience ought chiefly to be studied iii. 326. The form of a dwelling-honfe ought to be suited to the climate iii. 327. Propriety ought to be studied in architecture iii. 338. Governed by principles which produce opposite effects iii. 342. Different ornaments employed by it iii. 342. Allegorical or emblematic ornaments jii. 347. Architecture inspires a taste for neatness and regularity iii. 350. VOL. III.


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Architrave iii. 344.
Ariosto) censured iii. 264.
Arifæus) the episode of Arifæus in the Georgics

censured ii. 457
Army) defined iii. 405.
Arrangement) the best arrangement of words is to

place them as much as possible in an increasing fe-

ries ii. 251

Articulate Counds) how far agreeable to the ear ii.

Artificial mount iii. 313.
Ascent) pleasant, but descent not painful i. 273.
Athalie) of Racine censured ii. 193.
Attention) defined iii. 396. Impreslion which objects

make depends on the degree of attention iii. 396

Attention not always voluntary iii. 398.
Attractive emotions ii. 133.
Attractive object i. 226.
Attributes) transferred from one subject to another

iii. 100. &c.
Avarice) defined i. 52.
Avenue) to a house iii. 312.
Aversion) defined ii. 87. iii. 395.

Bacchius ii. 460.
Barren scene) defined iii. 266.
Bale) of a column ill. 346.
Basto-relievo iii. 347.
Batrachomuomachia) censured ii. 42.
Beauty, ch. 3. i. 241. Intrinsic and relative i. 244 .

Beauty of fimplicity i. 247. of figure i. 248. of
the circle i. 251. of the square i. 251. of a regu-


lar polygon i. 252. of a parallelogram i. 252. of
an equilateral triangle i. 253. Beauty, whether a
primary or secondary quality of objects i. 260. Dis-
tinguished from congruity ii. 8. Great beauty fel-
dom produces a constant lover ii. 101. Beauty

proper and figurative iii. 388. .
Belief) fortified by a lively narrative or a good histor

rical painting i. 122. influenced by passion i. 196.
iii. 55. 89. influenced by propensity i. 199. in.

fluenced by affection i. 199.
Benevolence) joins with self-love to make us happy i.

228. inspired by gardening iii. 320.
Blank verse ii. 38 1. 435. Its aptitude for inversion iie

438. Its melody ii. 439. &c.
Body) defined iii. 406.
Boileau) censured iii. 242.
Bombaft i. 303. Bombast in action i. 308.
Burlesk) machinery does well in a burlesk poem i. 125.

Burlesk distinguished into two kinds ii. 41.

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Cadence ii. 348. 362.
Capital) of a column iii. 346.
Careless Husband) its double plot well contrived iii.

Cascade i. 314.
Cause) resembling causes may produce effects that

have no resemblance : and causes that have no re-
femblance may produce resembling effects ii. 337.

&c. Cause defined iii. 406.
Chance) the mind revolts against misfortunes that hap-

pen by chance iii. 232.
Character) to draw a character is the master-piece of
description iii. 182.

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