to gratification inflame a
paflion i. 69.
Gratitude) confidered with
respect to its gratification
i. 71. Exerted upon the
children of the benefactor
i. 93:
Punishment of
ingratitude i. 218. Gra
titude confidered with
refpect to dignity and
meanness i. 221.
Greek words) finely compo
fed of long and short
fyllables ii. 107.
Grief) magnifies its cause i
94. Occafions a falfe
reckoning of time i. 104.
Is infectious i. 109. When
immoderate isfilenti.3.12.
Grofs pleasure i. 64.
Group) natural objects rea-
dily form themselves into
groups i. 206.
Guido) cenfured ii. 187.

Habit ch. 14. Prevails in

old age i. 190. Habit
of application to bufinefs
i. 194 196. 199. Con-
verts pain into pleafure i.
198. 199. Diftinguished
from cultom i. 250. Puts
the rich and poor upon a
level i. 162.
Harmony) or concord in
objects of fight i. 74.
Harmony distinguished
from melody ii. 66. Note.
Hatred) how produced i.
69. Signifies more com-
monly affection than paf-
fion i 69. Its endurance

i, 70.

Hearing) in hearing we feel
no impreffion ii. 325.
Henriade) cenfured ii. 211.
244. 251.
Hexameter) Virgil's Hexa-
meters extremely melo-
dious, thofe of Horace
feldom fo it. 66. And
the reason why they are
not ii. 77. Structure of
an hexameter line ii. 69.
Rules for its fructure ii.

69. 70. Mufical pauses

in an hexameter line ii.
70. Note. Wherein its
melody confifts ii. 77.
Hiatus) defined ii. 7.
Hippolytus) of Euripides
cenfured i. 309. ii. 271.
272.

Hiftory) why the history of
heroes and conquerors is
fingularly agreeable i. 32.
140. By what means
does hiftory raise our paf-
fions i. 52. 53. It rejects
poetical images ii, 206.
Hiftory painting. See paint-
ing.
Homer) defective in order
and connection i. 8. His
language finely fuited to
his fubject ii. 221. His
repetitions defended ii.
227. His poems in a
great measure dramatic ii.
237. Cenfured ii. 250.
Hope i. 69.

Horace) defective in con-
nection i. 8. His hexa-
meters not melodious ii.
66. Their defects point-
ed out ii. 77.

Horroc

ed i. 181. Note.

Innate idea) there cannot
be fuch a thing ii. 330.
Note.
Inftinct) we act fometimes

by inftinct i 21. 44, &c Inftrument) the means or inftrument conceived to be the agent ii. 171. Intellectual pleasure i.

2.

Intr. Internal fenfe ii. 323. Intrinsic beauty i. 120. Intuitive conviction) of the veracity of our fenfes i 48. of the dignity of human nature i. 220. ii. 316. of a common na ture or ftandard in every fpecies of beings ii. 314 of this ftandard being invariable ii. 314. and of its being perfect or right ii. 314. Intuitive conviction that the external figns of paflion are natural, and also that they are the fame in all men i. 275.276. Intuitive knowledge) of external objects i. 48.

described ii. 33, &c. Inverfion gives force and liveliness to the expreffion byfufpending the thought till the clofe ii 50. Inverfion how regulated ii. 53. 54. Beauties of inverfion ii. 53. 54. Inverfion favourable to pauses: ii. 87 Full scope for it in blank verfe ii. 104. involuntary figns) of paffion i. 267. 271. Ionicus ii. 115. Joy) its cause i. 29. 69.. Infectious i. 109. Confidered with refpect to dignity and meanness i.

221.

Iphigenia) of Racine cen. fured i. 264: Iphigenia in Tauris) cenfured i. 322. ii. 271. 272. Irony) defined i. 232. Italian tongue) too smooth ii. 9. Note. Italian words finely diverfified by long and fhort fyllables ii. 7. Note.

Judgment) and memory in perfection, feldom united. 1. 4. 5 Judgment feldom united with wit i. 5. Julius Cæfar) of Shakespear cenfured i. 311. Juftice) of lefs dignity than generofity or. courage i.

Key note ii. 61. 67. 68. Kitchen-garden ii. 275. Knowledge) intuitive knowledge of external objects, i. 48. Its pleasures never decay i. 261.

Labyrinth) in a garden ii. 284. Landscape) why fo agreeable i. 74. 206. More a greeable when comprehended under one view ii. 282. A landscape in painting ought to be con fined to a fingle expreffion i. 187. Contraft ought to prevail in it i. 200 Language) power of language to raife emotions, whence derived i. 51. 56. Language of paffion ch 17. Ought to be fuited to the fentiments i. 282. 314 315 316. broken and interrupted i. 314 of impetuous paffion i. 316 of languid paffion i. 316 of calm emotions i. 315. of turbulent paffions i 316. Examples of language elevated above the tone of the fentiment i. 324 Of language too artificial or too figurative i. 325. too light or airy i. 326 Language how far imitative ii. 3. Its beauty with respect to fignification ii. 4. 12, &c. Its beauty with respect to founds ii. 5, &c. It ought

to correspond to the subject ii. 16. 219. Its ftructure explained ii. 29 30, &c. Beauty of language from a refemblance betwixt found and fignification ii. 3. 54, &c. The character of a language depends on the character of the nation whofe lan

guage it is ii. 96 Note. The force of language confifts in raifing complete images i. 56. 57. ii. 209. Its power of producing pleafant emotions ii. 231. Without lan

guage man would scarce be a rational being ii. 341. Latin tongue) finely diverfified with long and short fyllables ii. 107. L'avare) of Moliere cenfured i. 309. Laughter i. 168. Laugh of derifion or fcorn

i. 214. Law) defined i. 216. 217. Laws of human nature) neceffary fucceffion of perceptions i. 1. 189. We never act but through the impulfe of defire i. 19. 110. An object lofes its relith by familiarity i. 68. Paffions fudden in their growth are equally fudden in their decay i. 70. 254. Every paflion ceafes upon obtaining its ultimate end i. 70. An agreeable caufe produ

ceth

oeth always a pleasant emotion, and a difagreeable caufe a painful emotion i. 111. Laws of motion) agreeable i. 125. Les Freres ennemies) of Racine cenfured i. 298. Lewis XIV. of France) cen fured i. 208. Note. Lex talionis) upon what principle founded i. 184. Line) definition of a regular line ii. 333. Littlenefs) is neither pleafant nor painful i. 134. Is connected with refpect and humility i. 268. Note. Livy) cenfured ii. 14. Locke) cenfured ii. 327.

Note.

Logic) cause of its obfcu rity and intricacy i. 277. Logio) improper in this climate ii. 294. Love) to children accounted for i. 38. The love a man bears to his country explained i. 40. Love produced by pity i. 42. Love gradual i. 68. It fignifies more commonly affection than paffion i. 69. Love inflamed by the caprices of a mistress i. 70. Its endurance i. 71. To a lover absence appear's long i. 100. Love affumes the qualities of its object i. 109 when exceffive becomes felfish i. 128. confidered with respect to dignity and

meanness i. 221. feldom conftant when founded on exquifite beauty i 259. ill reprefented in French plays i. 307. when immoderate is filent i. 313. Love for love) cenfured ii. 261.

Lowness is neither pleafant nor painful i. 134. Lucan) too minate in his defcriptions i. 145. cenfured ii. 237. Ludicrous i. 168. may be introduced into an epic poem i. 188. Lutrin) cenfured for incongruity i. 210. characterifed i. 227. Luxury) corrupts our taste ii. 320.

Machinery) ought to be excluded from an epic poem i. 57. ii. 247. does well in a burlesque poem i. 58. Malice) how generated i. 68. Why it is perpetual i. 70. Man) a benevolent as well as a felfish being i. 112. fitted for fociety i. 117. Conformity of the nature of man to his external circumstances i. 134. 154. 158. 208. 279. Man intended to be more active than contemplativei.222. The different branches of his internal conftitution finely fuited to each other ii. 296. 317.

Manners)