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friendship we have passed together in this place. I see indeed, with regret, the approach of that time, which threatens to take me both from it, and you. But, however fortune may dispose of me, she cannot throw me to a distance, to which your affection and good wishes, at least, will not follow me.

And for the rest,
“ Be no unpleasing melancholy mine."

The coming years of my life will not, I foresee, in many respects, be what the past have been to me. But, till they take me from myself, I must always bear about me the agreeable remembrance of our friendship.

re

I am,

Dear Sir,
Your most affectionate

Friend and Servant.
CAMBRIDGE,
Aug. 15, 1757.

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ADDISON, Mr: his judgınent of the double sense

of verbs, i. 359. his Cato, defended, 102. not
.; too poetical, ib. its real defects, ib. his criti-

cism on Milton proceeds on just principles, 393.
APOTHEosis, the usual mode of Aattery in the Au-

hrow far defective, : 396.
AENEIS, prefigured under the idea of a temple, .

i. 333. the destruction of Troy, an episode,

why, i. 139. ' .
AGLAOPHON, his rude manner of painting; why

preferred to Parrhasius and Zeuris, i. 346.
ALLEGORY, the distinguished pride of ancient

poetry, i. 343. a fine instance from Virgil, 333.
ANCIENTS, immoderately extolled, why, i. 346.
ANTIGONE, the chorus of it defended, i. 158.
APHORISMS, condemned in the Roman writers, i,

184. why used so frequently by the Greeks, 185.
APOLLONIUS · Rhodius, why censured by Aristopha-

nes and Aristarchus, i. 267.

gustan age, i. 333.
ARISTOTLE, his opinion of Homer's imitations, i.

67. of Euripides, 116. of the business of the
chorus, 145. of the sententious manner, 186.
his fine Ode, corrected, 188. n. translated, 189.
of the origin of tragedy, 194. a passage in his
poetics explained, 123. , his censure of the
Iphigenia at Aulis, considered, 131. he was
little known at Rome in Cicero's time, 191. why
Horace differs from him in his account of Aeschy-
lus's inventions, 240. a supposed contradiction
between him and Horace reconciled, 267. his
judgment of moral pictures, 375. his admiration,

of an epithet in Homer, on what founded, ii. 126.
ART and Nature, their provinces in forming a

poet, i. 273.
ATELLANE FABLE, a species of Comedy, i. 192.

different from the satyric piece, 195. the Oscan
language used in it, 198. why criticised by Ho-
race, 206. in what sense Pomponius, the In-

ventor of it, 198.
ATHENAEUS, of the moralizing turn of the Greeks,

i. 187.
Auctor ad Herennium, defines an aphorism, i. 184.
AUGUSTUS, fond of the old Comedy, i. 228. n.

B.

BACON, Lord, his idea of poetry, ii. 178.
BALZAC, Mr. his fattery of LOUIS LE JUSTE,

BEAUTY, the idea of, how distinguished from the

pathetic, i. 110.
BENTLEY, Dr. corrections of his censured, i. 71,

72, 106, 142. an interpretation of his confuted,

110. a conjecture of his confirmed, 349.
Bos, M. de, how he accounts for the effect of Tra-

gedy, i. 119. for the degeneracy of taste and
literature, 264. what he thought of modern imi-

tations of the ancient poets, ii. 224.
BOUHOURS, P, his merit as a critic, pointed out,

i. 393. wherein censured, 395.
BRUMOY, P. his character, i. 133. commends the

Athalie and Esther of Racine, 145. justifies the
chorus, ib. accounts for the sententious manner
of the Greek stage, 185. an observation of his

on the imitation of foreign characters, 247.
BRUYERE, M. de la, an observation of his concern-

ing the manners, ii. 135.
Busiris, in what sense a ridiculous character, i.

208.

CAESAR, C. Julius, his judgment of Terence, i. 225.
CASAUBON, Isaac, his book on satyric poetry re-

commended, i. 194. an emendation of his con-

firmed, 208.
CHARACTER, the object of comedy, ii. 56. of what

sort, 40. of what persons, ib. plays of, in what
faulty, 43. instances of such plays, 53.

VOL. II.

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