Terence and Shakespear, iii. 37. by Catullus and Ovid, 46. by Virgil, 47. LUCIAN, the first of the antients who has left us any confiderable fpecimens of comic humour, i. 219. his AAEKTPYON and AAMIOAI, 230.

ΛΑΠΙΘΑΙ,

M.

MARKLAND, Mr. an emendation of his confirmed, 46.

3

MANNERS, why imperfect in both dramas, ii. 198. defcription of, whence taken, iii. 22. MALHERBE, M. the character and fortune of 1 his poetry. ii. 72. AP TINGIMEI MACHINERY, effential to the epic poetry, why, MOLIA xal EMARKS, of Imitation, iii. Letter to Mr. Mason. MASON, his Elfrida, commended, i. 132.1 MEDEA, of Euripides, commended, i. 102. its chorus vindicated, 149. of Seneca, cenfured,

iii. 62.

- 103.

MENAGE, his judgment of antient wit, i. 225. his intended difcourfe on imitation, ii. 124. MENANDER, why most admired after the AuSvigaftan age, i. 217. did not excel in comic humour, 219. his improvements of comedy, ii.

MILTON, his angels, whence taken, iii. 7. his attention to the effects of the manners, 53. MIMES, the character of them, 1. 196. defined by Diomedes, 198.

MODERNS, bad imitators of Plato, V. i. 252. MOLIERE, his comedies farcical, ii. 241. his Mifanthrope and Tartuffe commended, ibid. MONEY, love of, the bane of the antient arts, i. 262.

MORNING, defcriptions of, in the poets compared, iii. 15. when moft original, 19. Music, old, why preferred by the Greek writers,i. 170. why by the Latin, ibid. MUSIC, of the ftage, its rife and progrefs at * Rome, i. 155. defects of the old mufic, 170.

N.

NARRATION, oratorial, the credibility of, on what it depends, iii. 23. n. NOVELS, modern, criticized, ii. 153.

OTWAY, his Orphan cenfured, i. 42. OVID, the character of his genius, Introd. to I. xiii. a conjecture concerning his Medea, i. 127. makes the fatyrs to be a species of the

tragic drama, 182. his account of the

mimes, 248.

ODE, its character, i. 71. its end, 269. the poet's own odes, apologized for, ibid.

OPINION, popular, of writings, under what circumstances to be regarded, ii, 69.

D'ORVILLE, Mr. his defence of the double fenfe of verbs examined, ii. 72.

Oser, their language used in the Atellanes, i.186.

P.

PAINTING, Landskip, wherein its beauty confifts, i. 43. Portrait, its excellence, ii. 184. difference between the Italian and Flemish schools, i. 253. its moral efficacy, ii. 91. inferior to poetry, in what, iii. 22. wherein fuperior to poetry, 40. expreffes the general character, 55. hath an advantage in this respect over poetry, 57. unable to reprefent moral and œconomical fentiments, 64. PASSIONS, the way to paint them naturally,

iii. 24.

PASTORAL poetry, its genius, and fortunes, i.

206.

PATHOS, the fupreme excellence of tragedy, i. 96. ii. 115. how far to be admitted into comedy, ii. 210.. the pleasure,

arifing

arifing from, how to be accounted for, i.
99.

PATERCULUS, Velleius, an admirer of Menan-
der, i. 223. his character of Pomponius,
188.

PAUSANIAS, defcribes two pictures of Polygno-
tus, iii. 56.

PLATO, his opinion of Homer's imitations,
i. 41. commends the Aegyptian policy in re-
taining the fongs of Ifis, 170. his Symposium
criticized, 230. his manner of writing, cha-
racterised, 252. his Phædrus cenfured, ibid.
his objection to poetry anfwered, 254.
PLAUTUS, why Cicero commends his wit, and

Horace condemns it, i. 214. copied from
the middle comedy, 222. his apology for the
Amphitruo, why neceffary, ii. 176. preferred
to Terence in the Auguftan age, i. 223.
PERRON, Cardinal, his manner of critizing
Ronfard, ii. 114.

POETRY, the art of, wherein it confifts, ii. 135.
the knowledge of its several species, neceffary
to the dramatic poet, i. 71. more philo-
sophic than history, 254. tragic, its peculiar
excellence, ii. 115. hath the advantage of
all other modes of imitation, in what, iii.

POETRY, defcriptive, an identity in the subject
of, no proof of imitation, iii. 9.

POETRY, pure, the proper language of Paffion,
i. 83.

POETS, old, much efteemed by Horace, ii. 62.
their apology, 97. bad foldiers, ii. 101.
dramatic, a rule for their obfervance, i. 84
bad, characterized by Milton, 94.
POLYGNOTUS, his fimple manner, why ad-
mired, under the emperors, ii. 58. his expe-
dient to explain the defign of his pictures,
bii. 56.

POPE, Mr. honoured after death, by whom,
fi. 39. his cenfure of a paffage in the Iliad,
defended, 73. his judgment of the 6th book
of the Thebaid, iii. 90. his cenfure of the
comparisons in Virgil confidered, 101. his
opinion of imitation, 137.

PLOTS, double, in the Latin comedies admired,
why, ii. 68.

POMPONIUS, in what fenfe Inventor of the
Atellane poem, i. 188.

POUSSIN, Gafpar, his landskips, in what excel-
lent, i. 41.

PRODIGIES, inquiry into; the author's opinion
of that difcourfe, iii. 107.

quoted from it, ib.

an obfervation

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