Space) natural computation of space i. 211. &c.

Species) defined iii. 399.

Specific habit) defined ii. 95.

Speech) power of speech to raife emotions, whence

derived i. 112. 12 I.

Spondee ii. 364. &c. ii. 459.

Square) its beauty i. 251.

Stairs) their proportion iii. 323.

Standard) of taste ch. 25. iii, 351. Standard of mo
rals iii. 367.

Star) in gardening iii. 307.

Statue) the reason why a ftatue is not coloured i.

372. An equestrian statue is placed in a centre of
ftreets, that it may be feen from many places at
once iii. 201. Statue of an animal pouring out wa-
ter iii. 308. of a water-god pouring water out of
his urn iii. 350.

Strada) cenfured iii. 170.

Style) natural and inverted ii. 290. &c. The beauties

of a natural ftyle ii. 332. of an inverted ftyle ii.
332. Concise style a great ornament iii. 204.
Subject) may be conceived independent of any parti-
cular quality ii. 293. Subject with refpect to its
qualities iii. 376. Subject defined iii. 406.

Sublimity i. 264. &c. Sublime in poetry i. 277. Sub-
limity may be employed indirectly to fink the mind
i. 300. Falfe fublime i. 303. 306.

Submiffion) natural foundation of fubmiffion to go-
vernment i. 236.

Subftance) defined iii. 406.

Subftratum) defined iii. 376.

Succeffion) of perceptions and ideas i. 380. &c.

Superlatives) inferior writers deal in fuperlatives iii.

195.

Surprise) instantaneous i. 142. 321. pleasant or pain.
⚫ful according to circumstances i. 3 26. &c. Surprise
is the cause of contraft i. 359. Surprise a filent pas-
fion ii. 205. ftudied in Chinese gardens iii. 319.
Sufpenfe) an uneasy state i. 205.

Sweet diftrefs) explained i. 155.

Swift) his language always fuited to his fubject iii.
194. has a peculiar energy of style iii. 198. com-
pared with Pope iii. 198. ⠀

Syllable ii. 239. Syllables long and short ii, 363.
Sympathy) fympathetic emotion of virtue i. 70. Sym-

pathy i. 229. attractive i. 230. never low nor
mean ii. 32. the cement of fociety ii. 143.
Synthetic) and analytic methods of reafoning compa-
red i. 31.

Tacitus) excells in drawing characters iii. 182. his
style comprehensive iii. 204.

Taffo) cenfured iii. 242.

Tafte) in tafting we feel an impreffion upon the organ
of fenfe iii, 380. Taste in the fine arts compared
with the moral fenfe i. 7. its advantages i. 1o. &
Delicacy of tafte i. 136. A low tafte i. 276. The
foundation of a right and a wrong in taste iii..358.
Taste in the fine arts as well as in morals corrupted
by voluptuousness iii. 370. corrupted by love of
riches iii. 370. Taste never naturally bad or wrong
iii. 372. Aberrations from a true tafte in the fine
arts iii. 366.

Tautology) a blemish in writing iii. 205.

3 K 2

Teniples)

Temples) of Ancient and Modern Virtue in the gar
dens of Stow iii. 348.

Terence) cenfured iii. 288. 290.

Terror) arifes fometimes to its utmost height instanta-
neously i. 143. a filent paffion ii. 205. Objects
that strike terror have a fine effect in poetry and
painting iii. 21 1. The terror raised by tragedy ex-

plained iii. 228.

Theorem) general theorems agreeable i. 255.

Time) past time expreffed as prefent i. 118. Natural
computation of time i. 200. &c.

Tone) of mind iii. 378.

Touch) in touching we feel an impreffion upon the
- organ of fenfe iii, 380.

Trachiniens) of Sophocles cenfured iii. 286.

Tragedy) modern tragedy cenfured ii. 155. French
tragedy cenfured ii. 159. Note. ii, 194. The
Greek tragedy accompanied with musical notes to
afcertain the pronunciation ii, 350. Tragedy ch,
22. iii. 218. in what refpect it differs from an e-
pic poem iii. 218. diftinguished into pathetic and
moral iii. 221. its good effects iii. 223. compa-
red with the epic as to the subjects proper for each
iii. 225. 226. how far it may borrow from history
iii. 234. rule for dividing it into acts iii. 236.
double plot in it iii. 251. admits not supernatural
events iii. 254. its origin iii. 270. Ancient trage-
dy a continued representation without interruption
iii. 271. Conftitution of the modern drama iii.
273:

Trees) the best manner of placing them iii. 307.
Triangle) equilateral, its beauty i. 253.

Tribrachys

Tribrachys ii. 459.

Trochæus ii. 459.

Tropes ch. 20. iii. 53.

Uglinefs) proper and figurative iii. 388.

Unbounded profpect) difagreeable i. 366. Note.
Uniformity) apt to difguft by excess i. 253. Uni-
formity and variety ch. 9. i. 380. The melody
ought to be uniform where the things defcribed
are uniform ii. 411. Uniformity defined iii. 390.
Unity) the three unities ch. 23. iii. 259. of action

iii. 260. of time and of place iii. 267. Unities of
time and place not required in an epic poem iii.
268. strictly observed in the Greek tragedy iii. 272.
Unity of place in the ancient drama iii. 285. Uni-
ties of place and time ought to be strictly observed
in each act of a modern play iii. 291. Wherein the
unity of a garden confists iii. 304.

Unumquodque eodem modo dissolvitur quo colligatum
eft i. 368.

Vanity) a difagreeable paffion i. 134. always appears
mean ii. 34.

Variety) distinguished from novelty i. 329. Variety
cb. 9. i. 380.

Verbal antithefis) defined ii. 73. 268.

Versailles) gardens of iii. 310.

Verfe) distinguished from prose ii, 353. Sapphic verse
extremely melodious ii. 358. Iambic less so ii. 358.
Structure of an hexameter line ii. 364. Structure
of English heroic verfe ii. 382. 384. English
monofyllables arbitrary as to quantity ii. 383.
English heroic lines diftinguished into four forts ii.
421. Latin hexameter compared with English
rhyme

rhyme ii. 441. compared with blank verfe ii. 442.
French heroic verfe compared with hexameter and
rhyme ii. 443. The English language incapable of
the melody of hexameter verfe ii. 446. For what
fubjects is rhyme proper ii. 447. &c. Melody of
rhyme ii. 449. Melody of verfe is so inchanting
as to draw a veil over grofs imperfections ii. 457.
Verfes composed in the shape of an axe or an egg
iii. 310.

Violent action) ought to be excluded from the stage

iii. 254.

Virgil) cenfured for want of connection i. 36. &c.
his verse extremely melodious ii. 357. his verfifica-
tion criticised ii. 376. cenfured iii. 179. 194. 246,
Virgil traveftie) characterized ii. 41.

Voltaire) cenfured iii. 178. 236. 243.
Vowels ii. 238.

Walk) in a garden, whether it ought to be straight

इ

or, waving iii. 311. artificial walk elevated above
the plain iii. 313.

Wall) that is not perpendicular occafions an uneafy
feeling i. 218.

Water-fall i. 314.

Water-god) ftatue of, pouring out water iii. 350.
Way of the World) cenfured iii. 266. the unities of
place and time strictly observed in it iii. 293.

Will) how far our train of perceptions can be regu-
lated by it i. 23. 381. 388. determined by defire
i. 222.

Windows) their proportions iii. 323.

Wish) distinguished from defire i. 55.

Wit) defined i. 28. feldom united with judgement i.