Superlatives) inferior writers deal in superlatives iii. 195.
Surprise) instantaneous i. 142. 321.
pleasant or painful according to circumstances i. 326. &_c._
Surprise is the cause of contrast i. 359.
Surprise a silent passion ii. 205.
studied in Chinese gardens iii. 319.
Suspense) an uneasy state i. 205.
Sweet distress) explained i. 155.
Swift) his language always suited to his subject iii. 194.
has a peculiar energy of style iii. 198.
compared with Pope iii. 198.
Syllable ii. 239.
Syllables long and short ii. 363.
Sympathy) sympathetic emotion of virtue i. 70.
Sympathy i. 229.
attractive i. 230.
never low nor mean ii. 32.
the cement of society ii. 143.
Synthetic) and analytic methods of reasoning compared i. 31.
Tacitus) excells in drawing characters iii. 182.
his style comprehensive iii. 204.
Tasso) censured iii. 242.
Taste) in tasting we feel an impression upon the organ of sense iii. 380.
Taste in the fine arts compared with the moral sense i. 7.
its advantages i. 10. &_c._
Delicacy of taste i. 136.
A low taste i. 276.
The foundation of a right and a wrong in taste iii. 358.
Taste in the fine arts as well as in morals
corrupted by voluptuousness iii. 370.
corrupted by love of riches iii. 370.
Taste never naturally bad or wrong iii. 372.
Aberrations from a true taste in the fine arts iii. 366.
Tautology) a blemish in writing iii. 205.
Temples) of Ancient and Modern Virtue in the gardens of Stow iii. 348.
Terence) censured iii. 288. 290.
Terror) arises sometimes to its utmost height instantaneously i. 143.
a silent passion ii. 205.
Objects that strike terror have a fine effect
in poetry and painting iii. 211.
The terror raised by tragedy explained iii. 228.
Theorem) general theorems agreeable i. 255.
Time) past time expressed as present i. 118.
Natural computation of time i. 200. &_c._
Tone) of mind iii. 378.
Touch) in touching we feel an impression upon the organ of sense iii. 380.
Trachiniens) of Sophocles censured iii. 286.
Tragedy) modern tragedy censured ii. 155.
French tragedy censured ii. 159. Note. ii. 194.
The Greek tragedy accompanied with musical notes
to ascertain the pronunciation ii. 350.
Tragedy ch. 22. iii. 218.
in what respect it differs from an epic poem iii. 218.
distinguished into pathetic and moral iii. 221.
its good effects iii. 223.
compared with the epic as to the subjects proper for each iii. 225. 226.
how far it may borrow from history iii. 234.
rule for dividing it into acts iii. 236.
double plot in it iii. 251.
admits not supernatural events iii. 254.
its origin iii. 270.
Ancient tragedy a continued representation without interruption iii. 271.
Constitution of the modern drama iii. 273.
Trees) the best manner of placing them iii. 307.
Triangle) equilateral, its beauty i. 253.
Tribrachys ii. 459.
Trochæus ii. 459.
Tropes ch. 20. iii. 53.
Ugliness) proper and figurative iii. 388.
Unbounded prospect) disagreeable i. 366. Note.
Uniformity) apt to disgust by excess i. 253.
Uniformity and variety ch. 9. i. 380.
The melody ought to be uniform where the things
described are uniform ii. 411.
Uniformity defined iii. 390.
Unity) the three unities ch. 23. iii. 259.
of action iii. 260.
of time and of place ii. 267.
Unities of time and place not required in an epic poem iii. 268.
Strictly observed in the Greek tragedy iii. 272.
Unity of place in the ancient drama iii. 285.
Unities of place and time ought to be strictly observed
in each act of a modern play iii. 291.
Wherein the unity of a garden consists. iii. 304.
_Unumquodque eodem modo dissolvitur quo colligatum est_ i. 368.
Vanity) a disagreeable passion i. 134.
always appears mean ii. 34.
Variety) distinguished from novelty i. 329.
Variety ch. 9. i. 380.
Verbal antithesis) defined ii. 73. 268.
Versailles) gardens of iii. 310.
Verse) distinguished from prose ii. 353
Sapphic verse extremely melodious ii. 358.
Iambic less so ii. 358.
Structure of an hexameter line ii. 364.
Structure of English heroic verse ii. 382. 384.
English monosyllables arbitrary as to quantity ii. 383.
English heroic lines distinguished into four sorts ii. 421.
Latin hexameter compared with English rhyme ii. 441.
compared with blank verse ii. 442.
French heroic verse compared with hexameter and rhyme ii. 443.
The English language incapable of the melody of hexameter verse ii. 446.
For what subjects is rhyme proper ii. 447. &_c._
Melody of rhyme ii. 449.
Melody of verse is so inchanting as to draw a veil
over gross imperfections ii. 457.
Verses composed in the shape of an axe or an egg iii. 310.
Violent action) ought to be excluded from the stage iii. 254.
Virgil) censured for want of connection i. 36. &_c._
his verse extremely melodious ii. 357.
his versification criticised ii. 376.
censured iii. 179. 194. 246.
_Virgil travestie_) characterized ii. 41.
Voltaire) censured iii. 178. 236. 243.
Vowels ii. 238.
Walk) in a garden, whether it ought to be straight or waving iii. 311.
artificial walk elevated above the plain iii. 313.
Wall) that is not perpendicular occasions an uneasy feeling i. 218.
Water-fall i. 314.
Water-god) statue of, pouring out water iii. 350.
Way of the World) censured iii. 266.
the unities of place and time strictly observed in it iii. 293.
Will) how far our train of perceptions can be regulated by it i. 23. 381. 388.
determined by desire i. 222
Windows) their proportions iii. 323.
Wish) distinguished from desire i. 55.
Wit) defined i. 28. seldom united with judgement
i. 28. but generally with memory i. 28.
not concordant with grandeur i. 377.
Wit ch. 13. ii. 58.
Wonder) instantaneous i. 143.
Wonders and prodigies find ready credit with the vulgar i. 198.
Wonder i. 320.
studied in Chinese gardens iii. 319.
Words) play of ii. 228. &_c._
jingle of ii. 231.
what are their best arrangement in a period ii. 251.
A conjunction or disjunction in the members of
the thought ought to be imitated in the expression ii. 260. 265.
Words expressing things connected ought to be
placed as near together as possible ii. 307. &_c._
In what part of a sentence doth a word make the greatest figure ii. 318.
Words acquire a beauty from their meaning iii. 139.
The words ought to accord with the sentiment iii. 188.
A word is often redoubled to add force to the expression iii. 201.
Writing) a subject intended for amusement may be highly ornamented ii. 9.
A grand subject appears best in a plain dress ii. 10.