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This, by way of contraft, should be compar'd with B. II, 881.

« On a sudden open fly “ With impetuous recoil and jarring found " Th’infernal doors, and on their hinges grate

“ Harsh thunder.” The reader, if he has any ear, will plainly perceive how the sound of these verses corresponds to the sense; and how finely they are improved from Virgil. Aen. VI, 573.

Tum demum horrisono stridentes cardine sacrae -06 Panduntur portae.Hell gates grate harsh thunder ; the gates of Heaven open with harmonious found. This' (to omit Homer and the Psalmist mentioned already) he had from Amadis de Gaul, B. IV. Ch. XI. where he describes the palace of Apolidon. And the Witty Rabelais (B. V. Ch. 37.) has the self-fame image. In these two last instances here brought no mention is made of Shakespeare, but this small digression, pero haps, the reader will excuse as it shews in a new light some fine passages of our epic poet.

INDE X.

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N. B. The figures shew the page ; the letter n, the note :

and the Roman figures the Preface.

A

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

Acts of the Apostles, explained, 323, n. 341. Admiration, how the pasion is to be raised, 44, 45, n.

85, 86.

ADONIS, bis gardens, 151, &c.
AESCHYLUS, his improvement of the stage, 101, &c.
ALCYONIUS, Petrus, cited and correeted, 19, n.
Alliteration, 266, 267, 408, &c. The affectation of it

ridiculed in Shakespeare, 268.
Ambition, its effe&ts exemplified in Shakespeare's Macbeth,

27, &c.

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ANACREON, Spurious, 291, 292.
ANTONY, Mark, his character, 75, 89.
Ayl.plannery TW aivéww, to fail in the wind's eye, 341.
APOLLONIUS, Rhodius, corrected, 155, n.
Apofiopefis, a figure in rhetorick used by Shakespeare, B. II.

Sect. IV.
ARIST ARCHUS, the resemblance between him and Dr. Bent-

ley, 132, 133. What he disliked in Homer he reje&ted,
Ibid. & n.

An infance of his arbitrary alteration of
Homer, 220, 221.
ARISTOPHANES, bis Plutus a play after the middle Comedy,

119, & n.

His Plutus explained, 161.

His Scholiaft corrected, 111, n. ARITotle, in his poetics explained, passim. 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 difcourses of Epictetus, 32, 69, n. 223, n.

315, 316

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Arts and sciences, flourish in popular government, and why,

B. I. Sect. XV.
Ascham, cited, 5, n. 20, n.
Afiatic eloquence, 89, & n. go.
ATHENIANS, rise and progress of dramatic poetry among

them, 100, &c.
Attic writers, fee Greek authors.
AUGUSTUS CAESAR, see OCTAVIUS.

B.
Band e prefixed to English words, as the Æolians prefixed

6 and the digamma F. 209.
BATAVIA, its etymology, 298.
BEAUMONT and Fletcher's Knight of the burning Pestle,

corre&ed, 154, n. 404. Two Noble Kinsmen, corrected, 185, n.

424.

False One, explained, 259, n.
Beauty, in what it confifts, 54, & n. Beauty of character,

Of di&tion, 374. fee Character. In what the chief beauty in poetry confifts, 83, 84, &c. The mind necesarily in love with beauty, 131, 132. fee Truth. How

conftituted in variety, 134. Bentley, his critical rules examined, B. I. Sect. I. The

resemblance between bim and Aristarchus, 132, 133. His
correction of a pasage of Virgil examined and refuted,
390, &c. Of several passages in Horace, refuted, 88, n.
109, n. 165, 166, &c. 398. A pasage in his dissertati-

on on Phalaris, examined, 106, 107,
Baulós, 322.
Bourn, 319, 320.
Britons, see Englishmen.
BRUT U, his charaéter, 74, 78, 79.

Buffoon,

79, 80.

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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 Greck
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. charakter for tragedy, what? 30, 31, 69, 70.
Suitableness of character, 69, 70. Characters of women,

Known characters, how to be drawn, 73,
71, 72, & n.
74. Confiftency of character, 76, &c. The mind pleased
with this consistency, and why, 79, 80. Honeft charac-
ter of poets, whether necessary, B. I. Sect. XI. Honesty

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 Rose, corrected,, 241, n.

xxvii.
In Troilus and Crefeide, explained, 346, n.
Plowman's tale, the alliteration affected, 410,
In the house of Fame, corrected, 297, n.
In the Chanon Yeman's tale, corrected, 297, n.
In the Legende of Hypsiphyle and Medea, como

rested, 403.
Chivalry, a pi&ture of ancient chivalry in Shakespeare, 21, &c.
Cicero, his opinion of music, 32.
His character, 75.

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CICERO,

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