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CHARACTERS, of comedy, general; of tragedy,
particular, why, ii. 48. this matter explained at
large, to 54.
CHORUS, its use and importance, i. 145. its moral
character, 156. more easily conducted by ancient
than modern poets, 161. improvements in the
Latin tragic chorus, 179.

CICER, M. Tullius, of the use of old words, i. 89. of
self-murder, 162. of poetic licence, 174. of the
language of Democritus and Plato, 180. of the
music of his time, 182. of the neglect of philo-
sophy, 191. of the mimes, 205. of Plautus's wit,
220. does not mention Menander, 229. mentions
corporal infirmities as proper subjects for ridicule,
231. of a good poet, 249. of decorum, 251. of
the use of philosophy, ib.

CID, of P. Corneille, its uncommon success, to
what owing, i. 398.

CLOWNS, their character in Shakespear, i. 186.
COMEDY, Roman, three species of it, i. 192.

the author's idea of it, ii. 30. conclusions.
concerning its nature, from that idea, 37. attri-
butes, common to it and tragedy, 42. attributes,
peculiar to it, 45. its genius, considered at large,
57. M. de Fontenelle's notion of it, considered,
75. idea of it enlarged since the time of Aristotle,
65. polite and heroic, what we are to think of it,
86. on high life, censured, ib. of modern inven-
tion, ib. accounted for, 87. why more difficult
than tragedy, ib.

COMPARISON, similarity of, in all writers, why ne-
cessary, ii. 194. why more so in the graver than
lighter poetry, 198.

CORNEILLE, P. his objection to Euripides's Medea,

confuted, i. 163. his notion of comic action con-
sidered, ii, 41.

CRITICISM, the uses of it, ii. 105. its aim, 391.
when perfect, ib.

D.

1 11

DACIER, M. criticisms of his considered, i. 94, 168,
173, 174, 175, 240, 244, 245, 268, ibid. the
author's opinion of him, as a critic, 62, n. and
272. his account of the opening of the Epistle to
Augustus censured, 326.

DANCE, the choral commended, i. 178.
DAVENANT, Sir William, his Gondibert criticised,
ii. 235.

DEMETRIUS PHALEREUS, characterizes the satyric
piece, i. 193.

DESCRIPTION, natural and moral, why similar in
the form as well as matter in all poets, ii. 191,

192.

DIALOGUE, Socratic, the genius of, i. 252.
DIO CASSIUS, instances from him of the gross flat-
tery paid to Caesar, i. 330,

DIOMEDES, of the Satyric and Atellane fables, i. 195.

of the use of the Satyric piece, 203. a passage
in him corrected by Casaubon, 208. his character
of the Atellanes, 234. distinguishes the different
kinds of the Roman drama, 241.

DIONYSIUS, of Halicarnassus, of the use of words,
i. 92. of Plato's figurative style, 254.

DOCTUS, the meaning of, explained, i. 350-352.
Donatus, distinguishes the three forms of comedy,
i. 192, 193.

DRAMA, see Tragedy, Comedy, Farce.

Peruvian, some account of, ií. 66, 67.
Chinese, 67. Greek and Roman, its character,
69. the laws of, in what different from those of
history, ii. 179.

DULCE, its distinction from pulchrum, i. 109.
DUPORT, Pr. his collection of moral parallelisms in
Homer, and Sacred Writ, of what use? ii. 142

ELECTRA, of Euripides, vindicated, i. 125. a cir-
cumstance in the two plays of that name by Eu-
ripides and Sophocles compared, 259.

ELFRIDA, of Mr. Mason, i. 148. the best apology
for the ancient chorus, ibid.

ENVY, how it operates in human nature, i. 329.
how it operated in the case of Mr. Pope, 328.

EPIC Poetry, admits new words, i. 73. its plan how
far to be copied by the tragic poet, 187. in what
different from history, ii. 179.

EPISODE, its character and laws, ii. 185.

EPISTLE, didactic and elegiac, Intr. to vol. i. 17.
Didactic, the offspring of the satyr, ibid. its
three-fold character, 24. Elegiac, the difference
of this from the didactic form, 23, 24.

ERATOSTHENES, his idea of the end of poetry, ii. 4.
EURIPIDES, his character, i. 116. his Medea com-

mended, 121. Electra vindicated, 125. Iphi-
genia in Aulis vindicated, 131. the decorum of
his characters, 132. his Hippolytus led Seneca
into mistakes, 150. an observation on the chorus
of that play, 161. and of the Medea, 162. Quin-
tilian's character of him, 191. a circumstance in
his Electra compared with Sophocles, 259. his
genius resembling Virgil's, ii. 152.

EXPRESSION, why similar in different writers without
imitation, ii. 204.

FABLE, why essential to both Dramas, ii. 42. why
an unity and even simplicity in the fable, 43. a
good one, why not so essential to comedy as
tragedy, 45.

FARCE, the author's idea of it, ii. 30. its laws, 96.
its end and character, how distinguished from
those of tragedy and comedy, 98.

FEELING, rightly made the test of poetical merit,

i. 390.

FENELON, of the use of old words, i. 91.

FICTION, poetical, when credible, ii. 130. the soul
of poetry, ii. 11.

FLATTERY of the Roman Emperors excessive, i.

330. imported from the Asiatic provinces, 331.
FONTENELLE, M. de,, his opinion of the origin of
comedy, i. 244. his notion of the drama, ii, 75,

&c. his comedies criticised, 90. his pastorals
censured, ibid. his opinion of the uses of criti-
cism, 105.

G.

GEDDES, J. Esq. his notion of the most essential
principles of Eloquence, i. 381.

GELLIUS, Aulus, his opinion of Laberius, i. 206.
GENIUS, original, a proof of, in the particularity

of description, ii. 126. similarity of, in two wri-
ters, its effects, 225.

GEORGIC, the form of this poem, what, ii. 183.
GREEKS, their most ancient writers falsely supposed
to be the best, i. 347.

H.

HEINSIUS, his idea of true criticism, i. 65. his ex-
planation of a passage in Horace, 148. thought
one part of the Epistle to the Pisos inexplicable,
269. his transposition of the Epistle censured,

272.

HIPPOLYTUS, of Euripides; an observation on the
chorus, i. 161. of Seneca, censured, 149.
HOBBES, Mr. his censure of the Italian romancers
in their unnatural fiction, ii. 238.

HOESLINUS, his opinion of the fourth book of the
Aeneis, ii. 154.