N. B. The figures fhew the page; the lettern, the note: and the Roman figures the Preface.

A

CTORS (ftage,) their original, 100, &c.

Acts of the Apoftles, explained, 323, n. 341. Admiration, how the paffion is to be raised, 44, 45, n. 85, 86.

ADONIS, his gardens, 151, &c.

AESCHYLUS, his improvement of the ftage, 101, &c.

ALCYONIUS, Petrus, cited and corrected, 19, n.

Alliteration, 266, 267, 408, &c. The affectation of it, ridiculed in Shakespeare, 268.

Ambition, its effects exemplified in Shakespeare's Macbeth, 27, &c.

ANACREON, Spurious, 291, 292.

ANTONY, Mark, his character, 75, 89.

Ανοφθαλμεῖν τῷ ἀνέμῳ, to fail in the wind's eye, 341.
APOLLONIUS, Rhodius, corrected, 155, n.

Apofiopefis, a figure in rhetorick used by Shakespeare, B. II.
Se&t. IV.

ARISTARCHUS, the refemblance between him and Dr. Bentr ley, 132, 133. What he disliked in Homer he rejected, Ibid. & n. An inftance of his arbitrary alteration of Homer, 220, 221.

ARISTOPHANES, his Plutus a play after the middle Comedy,

119, & n.

His Plutus explained, 161.

His Scholiaft corrected, 111, n.

ARITOTLE, in his poetics explained, paffim. explained and corrected, 14, n. 24, 25, n. 27, 44, 45, 46, n. 56, 57, n.

88, n. 103, n. 112, 113, n.

ARRIAN,

ARRIAN, bis difcourfes of Epictetus, 32, 69, n. 223, n.
315, 316.

Arts and sciences, flourish in popular government, and why,
B. I. Sect. XV.

ASCHAM, cited, 5, n. 20, n.

Afiatic eloquence, 89, & n. 90.

ATHENIANS, rife and progress of dramatic poetry among
them, 100, &c.

Attic writers, fee Greek authors.

AUGUSTUS CAESAR, fee OCTAVIUS.

B.

Band I prefixed to English words, as the Eolians prefixed
Cand the digamma F. 209.

BATAVIA, its etymology, 298.

BEAUMONT and FLETCHER's Knight of the burning Peftle,

corrected, 154, n. 404.

Two Noble Kinfmen, corrected, 185, n.

404.

Falfe One, explained, 259, n.

Beauty, in what it confifts, 54, & n. Beauty of character,
79, 80. Of diction, 374. See Character. In what the
chief beauty in poetry confifts, 83, 84, &c. The mind ne-
ceffarily in love with beauty, 131, 132. See Truth. How
conftituted in variety, 134.

BENTLEY, his critical rules examined, B. I. Sect. I. The
resemblance between him and Ariftarchus, 132, 133. His
correction of a paffage of Virgil examined and refuted,
390, &c. Of several passages in Horace, refuted, 88, n.
109, n. 165, 166, &c. 398. A passage in his differtati-
on on Phalaris, examined, 106, 107.

Βελυτός, 322.

Bourn, 319, 320.

BRITONS, fee Englishmen.

BRUTUS, his character, 74, 78, 79..

Buffoon,

Buffoon, 397.

Buffoonery, all, or all formality, 97, 98.

BURNET, bishop, wrongly judges of Milton, 10.

Burning of the Palatine library, 18, 19. Of the Greek

authors, 19.

C.

CALEDONIA, its etymology, 298.

CALLIMACHUS, corrected, 124, n. Explained, 413.
CASSIUS, his character, 75.

CATILINE. characterized in Virgil, 140.

CATULLUS, explained, 361.

Characters poetic, B. I. Sect. X. Character of man, 68, 69.
Proper character for tragedy, what? 30, 31, 69, 70%
Suitableness of character, 69, 70. Characters of women,
71, 72, & n. Known characters, how to be drawn, 73,
74. Confiftency of character, 76, &c. The mind pleafed
with this confiftency, and why, 79, 80. Honeft charac-
ter of poets, whether necessary, B. I. Sect. XI. Honefty
of Shakespeare's character, ibid.

CHAUCER, in the prologue of the Canterbury Tales, cor-
rected and explained, 184, 185, n. 403, 404.

In the Miller's tale, corrected, 226, n.

In the Reve's tale, explained, xx.

In the Romaunt of the Rofe, corrected,, 241, n.
xxvii.

In Troilus and Crefeide, explained, 346, n.
Plowman's tale, the alliteration affected, 410
In the boufe of Fame, corrected, 297, n.
In the Chanon Yeman's tale, corrected, 297, n.
In the Legende of Hypfiphyle and Medea, cor
rected, 403.

Chivalry, a picture of ancient chivalry in Shakespeare, 21, &c.
CICERO, his opinion of mufic, 32.

His character, 75.,

CICERO, characterized in Virgil, 139, 140.
His accuracy, 294.

In his epiftles, explained, 188, n.

De Natura deorum, corrected, 282.

De Finibus, explained, 359.

De Officiis, alluded to by Shakespeare, 300, 301, n.
Comedy, its original and improvement, 109, &c. Proper
fubject for it, 112, 113, n.

Confiftency of character, fee Character.

Courtier, a ridiculous character in Shakespeare, 90.

Critics, their whimfical rules, B. I. Sect. I. a very good cri-
tical rule, z, n. The province of critics, B. II. Sect. I.
Cruelty, without neceffity not allowable in tragedy, 45, & n.
D.

Dæmon, 183, &c.

Dear, 327.

Devil, bis character in Milton, 66. Called by Shakespeare
Monarch of the North, 216.

:

Diction, poetic, 92, 93- Its chief beauty, what? 374-
Digamma, Aeolic, 209, 210, & n. 43, n. 175, n.
Dignity of character, 86, 87.

DIOGENES LAERTIUS, explained, 102, n.

DIOMEDES, the grammarian, explained, 102, n.

DIONYSIUS, in his Roman Antiquities, corrected, 256.

Diverfions, public, 16, &c.

DRYDDN, alters Shakespeare's poems, 7, n. Turns the Pa-

radife Loft of Milton into rime, 10, 11.

the Rebear fal, 120.

in bis verfes, 266.

Characterized in

Fond of repeating the fame letters

Dunces, their pride and pertness,' 5, 15, 295.

E.

Eidwdoñoría, a fine inftance of that figure, 36, & n.

ELIZABETH, Queen, her learning, 5, & n. Shakespeare

wrote

wrote a comedy at her request, 91. Complemented by Shake-

Speare, 119, n.

Eloquence, flourishes in popular government, B. I. Sec. XV.
EMPEDOCLES, corrected, 219, n.

Englishmen, their taste, 6, 7, 15, 16, 121. B. III. Se&t. I.
Ancient Britons, 19, 20.

EPICHARMUS, his improvement of comedy, 112, &c. Several
of his verfes corrected, 113, 114, n.

EPICURUS, his doctrine to be found in Homer, 94, п.

ΕπιΓεννήματα τῶν καλῶν, 55, Πε

Εὖ διαβάς, 236, 237.

Ευμνημόνευλον, 55, n.

EURIPIDES, his cyclops, 94, 95, n. 101, n.

his Medaea corrected, 407.

Ευσύνοπλον, 55, n.

Εφέσια γράμματα, 324, πο

A verfe in

Fanaticism, its influence on arts and Sciences, 6, 16, & n

ཁ་

Fashion, vicious in poetry, 86. Folly of judging from mode
and fashion, 385, 386.

Fathers, of the church, deftroyed the Greek writers, 18, 19,

& n.

Flattery, how defpicable, B. I. Sect. XV.

Fool, a character in our old plays, 8.

Formal authors, 97, 98. All formality, or all buffoonery,

ibid.

FRANCE, its influence on English taft and manners, 6, 7.
B. I. Sect. XV.

French crown, meaning of the phrafe, 147, 148, & n.