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243

AUCTOR ad Herennium, defines an aphorifm,

i. 173.

AUGUSTUS, fond of the old comedy, i. 223. n.

B.

BACON, Lord, his idea of poetry, iii. 75. BALZAC, Mr. his flattery of LoviS LE JUSTE, 】 ii. 57.

BENTLEY, Dr. corrections of his 'cenfured, i.

46, 84, 126. an interpretation of his confuted, 9o. a conjecture of his confirmed, ii. 62.

BEAUTY, the idea of, how diftinguished from the pathetic, i. 89.

Bos, M. de, how he accounts for the effect of

Tragedy, i. 99. for the degeneracy of taste and literature, 263. what he thought of modern imitations of the antient poets, iii. 126. BOUHOURS, P. his merit as a critic, pointed out, ii. 111. wherein cenfured, 113.

BUSIRIS, in what sense a ridiculous character, i.

200.

BRUYERE, M. de la, an obfervation of his concerning the manners, iii. 28.

BRUMOY, P. his character, i. 115. commends the Athalie and Efther of Racine, 129. justifies the chorus, ib. accounts for the fententious manner of the Greek stage,174. an observation

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of his on the imitation of foreign characters,

243.

C.

I

CASAUBON, Ifaac, his book on fatiric poetry re-
commended, i. 184. an emendation of his
confirmed, 200.
CHARACTER, the object of comedy, ii. 192.
of what fort, 174. of what perfons, ib. plays
of, in what faulty, 183. inftances of fuch
-plays, 189.

CHARACTERS, of comedy, general; of tragedy,
particular, why, ii. 182. this matter ex-
plained at large, to 190.

CAESAR, C. Julius, his judgment of Terence, i.

219.

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CRITICISM, the ufes of it, ii. 246. its aim,
109. when perfect, ib.
CICERO, M. Tullius, of the ufe of old words, i.
66. of felf-murder, 148. of poetic licence,
162. of the language of Democritus and Plato,
168. of the mufic of his time, 171. of the
neglect of philofophy, 181. of the mimes,
196. of Plautus's wit, 214. does not men-
tion Menander, 224. mentions corporal in-
firmities as proper fubjects for ridicule, 225.
of a good poet, 246. of decorum, 248. of
the ufe of philofophy, ib.

MAN CID,

CID, of P. Corneille, its uncommon fuccefs, to

what owing, ii. 117.

COMPARISON, fimilarity of, in all writers, why neceffary, iii. 93. why more fo in the graver than lighter poetry, 98.

CHORUS, its use and importance, i. 129. its moral character, 141. more eafily conducted by antient than modern poets, 147. improvements in the Latin tragic chorus, 168. CLOWNS, their character in Shakespear, i. 175. COMEDY, Roman, three fpecies of it, i. 183. COMEDY, the author's idea of it, ii. 164. conclufions concerning its nature, from that idea, 170. attributes, common to it and tragedy, 177. attributes, peculiar to it, 179. its genius, confidered at large, 192. M. de Fontenelle's notion of it, confidered, 212. idea of it enlarged fince the time of Aristotle, 201. polite and heroic, what we are to think of it, 225. on high life, cenfured, ib. of modern invention, ib. accounted for, 226. why more difficult than tragedy, ib.

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CORNEILLE, P. his objection to Euripides's Medea, confuted, i. 149. his notion of comic action confidered, ii. 175.

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DANCE, the choral, commended, i. 161.
DRAMA, fee Tragedy, Comedy, Farce.

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DRAMA, Peruvian, fome account of, ii, 203, Chinefe, 204. Greek and Roman, its charac

ter, 206. the laws of, in what different from those of history, iii. 76.

DACIER, M. criticisms of his confidered, i. 72,

155, 161. ibid. 163, 236, 240, 241. H. 267, ibid. the author's opinion of him, as a critic, i. 36. and 272. his account of the opening of the Epiftle to Auguftus cenfur'd, 35. DAVENANT, Sir William, his Gondibert, criticifed, iii. 139.

DEMETRIUS PHALEREUS, characterizes the fatyric piece, i. 183.

DESCRIPTION, natural and moral, why fimilar in the form as well as matter in all poets, iii. 190.

DIALOGUE, Socratic, the genius of, i. 249. DIO CASSIUS, instances from him of the gross flattery paid to Caefar, ii. 41.

DIOMEDES, of the Satyric and Atellane fables, i. 185. of the ufe of the Satyric piece, 194, a paffage in him corrected by Cafaubon, 200, his character of the Atellanes, 229. distinguishes the different kinds of the Roman drama, 237.

DIONYSIUS, of Halicarnaffus, of the use of words, i. 69. of Plato's figurative style, 252.

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DOCTUS,

DOCTUS, the meaning of, explained, ii. 66. DONATUS, distinguishes the three forms of comedy, i. 182, 183.

DULCE, its diftinction from pulchrum, i. 89, DUPORT, Pr. his collection of moral parallelisms in Homer and Sacred Writ, of what ufe? iii. 34.

E.

ELECTRA, of Euripides, vindicated, i. 107. a circumstance in the two plays of that name by Euripides and Sophocles compared, 257.

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ELFRIDA, of Mr. Mafon, i. 132. apology for the antient chorus, ibid. EXPRESSION, why fimilar in different writers without imitation, iii. 104.

EPIC Poetry, admits new words, i, 48. its plan, how far to be copied by the tragic in what different from hiftory, poet, 120.

iii. 76.

EPISODE, its character and laws, ii. 83.

EPISTLE, didactic and elegiac, Intr. to vol, I. v.

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Didactic, the offspring of the fatyr, vi. its three-fold character, xiii. Elegiat, the difference of this from the didactic form, xii, xiii. EURIPIDES, his character, i. 97. his Medea com

mended, 102. Electra vindicated, 107. Iphigenia in Aulis vindicated, 113. the decorum

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