that Shakespear’s language is every where so much his own as to secure
his imitations, if they were such, from discovery; when I pronounce
with such assurance of those of our other poets. The answer is given
for me in the Preface to Mr. Theobald’s Shakespear; though the
observation, I think, is too good to come from that critic. It is,
that, though his words, agreeably to the state of the English tongue
at that time, be generally Latin, his phraseology is perfectly English:
An advantage, he owed to his slender acquaintance with the Latin idiom.
Whereas the other writers of his age, and such others of an older date
as were likely to fall into his hands, had not only the most familiar
acquaintance with the Latin idiom, but affected on all occasions to
make use of it. Hence it comes to pass, that, though he might draw
sometimes from the Latin (Ben Jonson, you know, tells us, _He had less
Greek_) and the learned English writers, he takes nothing but the
_sentiment_; the expression comes of itself, and is purely English.
I might indulge in other reflexions, and detain you still further with
examples taken from his works. But we have _lain_, as the Poet speaks,
_on these primrose beds_, too long. It is time that you now rise to
your own nobler _inventions_; and that I return myself to those, less
pleasing, perhaps, but more useful studies from which your friendly
sollicitations have called me. Such as these amusements are, however,
I cannot repent me of them, since they have been innocent at least,
and even ingenuous; and, what I am fondest to recollect, have helped
to enliven those many years of friendship we have passed together in
this place. I see indeed, with regret, the approach of that time, which
threatens to take me both from _it_, and _you_. But, however fortune
may dispose of me, she cannot throw me to a distance, to which your
affection and good wishes, at least, will not follow me.
And for the rest,
“Be no unpleasing melancholy mine.”
The coming years of my life will not, I foresee, in many respects, be
what the past have been to me. But, till they take me from myself, I
must always bear about me the agreeable remembrance of our friendship.
_I am,_
_Dear Sir,_
_Your most affectionate
Friend and Servant._
CAMBRIDGE,
Aug. 15, 1757.
INDEX
TO THE
TWO VOLUMES.
A.
ADDISON, Mr., his judgment of the double sense of verbs, i. 359.
his _Cato_, defended, 102.
not too poetical, ib.
its real defects, ib.
his criticism on _Milton_ proceeds on just principles, 393.
how far defective, 396.
AENEIS, prefigured under the idea of a temple, i. 333.
the destruction of Troy, an episode, why, i. 139.
AGLAOPHON, his rude manner of painting; why preferred to _Parrhasius_
and _Zeuxis_, i. 346.
ALLEGORY, the distinguished pride of ancient poetry, i. 343.
a fine instance from _Virgil_, 333.
ANCIENTS, immoderately extolled, why, i. 346.
ANTIGONE, the chorus of it defended, i. 158.
APHORISMS, condemned in the _Roman_ writers, i. 184.
why used so frequently by the Greeks, 185.
APOLLONIUS _Rhodius_, why censured by _Aristophanes_ and
_Aristarchus_, i. 267.
APOTHEOSIS, the usual mode of flattery in the _Augustan_ age, i. 333.
ARISTOTLE, his opinion of _Homer’s_ imitations, i. 67.
of _Euripides_, 116.
of the business of the chorus, 145.
of the sententious manner, 186.
his fine Ode, corrected, 188. n.
translated, 189.
of the origin of tragedy, 194.
a passage in his poetics explained, 123.
his censure of the _Iphigenia at Aulis_, considered, 131.
he was little known at Rome in Cicero’s time, 191.
why _Horace_ differs from him in his account of _Aeschylus’s_
inventions, 240.
a supposed contradiction between him and _Horace_ reconciled, 262.
his judgment of moral pictures, 375.
his admiration of an epithet in _Homer_, on what founded, ii. 126.
ART and NATURE, their provinces in forming a poet, i. 273.
ATELLANE FABLE, a species of Comedy, i. 192.
different from the satyric piece, 195.
the Oscan language used in it, 198.
why criticised by _Horace_, 206.
in what sense Pomponius, the Inventor of it, 198.
ATHENAEUS, of the moralizing turn of the Greeks, i. 187.
AUCTOR ad Herennium, defines an aphorism, i. 184.
AUGUSTUS, fond of the old Comedy, i. 228. n.
B.
BACON, Lord, his idea of poetry, ii. 178.
BALZAC, Mr., his flattery of LOUIS LE JUSTE, i. 344, 345.
BEAUTY, the idea of, how distinguished from the pathetic, i. 110.
BENTLEY, Dr., corrections of his censured, i. 71, 72, 106, 142.
an interpretation of his confuted, 110.
a conjecture of his confirmed, 349.
BOS, _M. de_, how he accounts for the effect of Tragedy, i. 119.
for the degeneracy of taste and literature, 264.
what he thought of modern imitations of the ancient poets, ii. 224.
BOUHOURS, P., his merit as a critic, pointed out, i. 393.
wherein censured, 395.
BRUMOY, P., his character, i. 133.
commends the _Athalie_ and _Esther_ of _Racine_, 145.
justifies the chorus, ib.
accounts for the sententious manner of the _Greek_ stage, 185.
an observation of his on the imitation of foreign characters, 247.
BRUYERE, _M. de la_, an observation of his concerning the manners,
ii. 135.
BUSIRIS, in what sense a ridiculous character, i. 208.
C.
CAESAR, _C. Julius_, his judgment of _Terence_, i. 225.
CASAUBON, _Isaac_, his book on satyric poetry recommended, i. 194.
an emendation of his confirmed, 208.
CHARACTER, the object of comedy, ii. 56.
of what sort, 40.
of what persons, ib.
plays of, in what faulty, 48.
instances of such plays, 53.
CHARACTERS, of comedy, general; of tragedy, particular, why, ii. 48.
this matter explained at large, to 54.
CHORUS, its use and importance, i. 145.
its moral character, 156.
more easily conducted by ancient than modern poets, 161.
improvements in the Latin tragic chorus, 179.
CICER, _M. Tullius_, of the use of old words, i. 89.
of self-murder, 162.
of poetic licence, 174.
of the language of _Democritus_ and _Plato_, 180.
of the music of his time, 182.
of the neglect of philosophy, 191.
of the mimes, 205.
of _Plautus’s_ wit, 220.
does not mention _Menander_, 229.
mentions corporal infirmities as proper subjects for ridicule, 231.
of a good poet, 249.
of decorum, 251.
of the use of philosophy, ib.
CID, of _P. Corneille_, its uncommon success, to what owing, i. 398.
CLOWNS, their character in _Shakespear_, i. 186.
COMEDY, _Roman_, three species of it, i. 192.
—— the author’s idea of it, ii. 30.
conclusions concerning its nature, from that idea, 37.
attributes, common to it and tragedy, 42.
attributes, peculiar to it, 45.
its genius, considered at large, 57.
M. _de Fontenelle’s_ notion of it, considered, 75.
idea of it enlarged since the time of _Aristotle_, 65.
polite and heroic, what we are to think of it, 86.
on high life, censured, ib.
of modern invention, ib.
accounted for, 87.
why more difficult than tragedy, ib.
COMPARISON, similarity of, in all writers, why necessary, ii. 194.
why more so in the graver than lighter poetry, 198.
CORNEILLE, P., his objection to _Euripides’s Medea_, confuted, i. 163.
his notion of comic action considered, ii. 41.
CRITICISM, the uses of it, ii. 105.
its aim, 391.
when perfect, ib.
D.
DACIER, _M._, criticisms of his considered, i. 94, 168, 173, 174, 175,
240, 244, 245, 268, ibid.
the author’s opinion of him, as a critic, 62, n. and 272.
his account of the opening of the _Epistle to Augustus_ censured,
326.
DANCE, the choral commended, i. 178.
DAVENANT, Sir _William_, his _Gondibert_ criticised, ii. 235.
DEMETRIUS PHALEREUS, characterizes the satyric piece, i. 193.
DESCRIPTION, natural and moral, why similar in the form as well as
matter in all poets, ii. 191, 192.
DIALOGUE, _Socratic_, the genius of, i. 252.
DIO CASSIUS, instances from him of the gross flattery paid to
_Caesar_, i. 330.
DIOMEDES, of the Satyric and Atellane fables, i. 195.
of the use of the Satyric piece, 203.
a passage in him corrected by _Casaubon_, 208.
his character of the Atellanes, 234.
distinguishes the different kinds of the _Roman_ drama, 241.
DIONYSIUS, of _Halicarnassus_, of the use of words, i. 92.
of _Plato’s_ figurative style, 254.
DOCTUS, the meaning of, explained, i. 350-352.
DONATUS, distinguishes the three forms of comedy, i. 192, 193.
DRAMA, see _Tragedy_, _Comedy_, _Farce_.
—— _Peruvian_, some account of, ii. 66, 67.
_Chinese_, 67.
_Greek_ and _Roman_, its character, 69.
the laws of, in what different from those of history, ii. 179.
DULCE, its distinction from _pulchrum_, i. 109.
DUPORT, _Pr._, his collection of moral parallelisms in _Homer_, and
Sacred Writ, of what use? ii. 140.
E.
ELECTRA, of _Euripides_, vindicated, i. 125.
a circumstance in the two plays of that name by _Euripides_ and
_Sophocles_ compared, 259.
ELFRIDA, of Mr. Mason, i. 148.
the best apology for the ancient chorus, ibid.
ENVY, how it operates in human nature, i. 329.
how it operated in the case of Mr. _Pope_, 328.
EPIC _Poetry_, admits new words, i. 73.
its plan how far to be copied by the tragic poet, 137.
in what different from history, ii. 179.
EPISODE, its character and laws, ii. 185.
EPISTLE, didactic and elegiac, Intr. to vol. i. 17.
_Didactic_, the offspring of the satyr, ibid.
its three-fold character, 24.
_Elegiac_, the difference of this from the didactic form, 23, 24.
ERATOSTHENES, his idea of the end of poetry, ii. 4.
EURIPIDES, his character, i. 116.
his _Medea_ commended, 121.
_Electra_ vindicated, 125.
_Iphigenia_ in _Aulis_ vindicated, 131.
the decorum of his characters, 132.
his _Hippolytus_ led _Seneca_ into mistakes, 150.
an observation on the chorus of that play, 161.
and of the _Medea_, 162.
_Quintilian’s_ character of him, 191.
a circumstance in his _Electra_ compared with _Sophocles_, 259.
his genius resembling _Virgil’s_, ii. 152.
EXPRESSION, why similar in different writers without imitation, ii.
204.
F.
FABLE, why essential to both Dramas, ii. 42.
why an unity and even simplicity in the fable, 43.
a good one, why not so essential to comedy as tragedy, 45.
FARCE, the author’s idea of it, ii. 30.
its laws, 96.
its end and character, how distinguished from those of tragedy and
comedy, 98.
FEELING, rightly made the test of poetical merit, i. 390.
FENELON, of the use of old words, i. 91.
FICTION, _poetical_, when credible, ii. 130.
the soul of poetry, ii. 11.
FLATTERY of the _Roman Emperors_ excessive, i. 330.
imported from the _Asiatic_ provinces, 331.
FONTENELLE, M. _de_, his opinion of the origin of comedy, i. 244.
his notion of the drama, ii. 75, &c.
his comedies criticised, 90.
his pastorals censured, ibid.
his opinion of the uses of criticism, 105.
G.
GEDDES, J. Esq., his notion of the most essential principles of
Eloquence, i. 381.
GELLIUS, _Aulus_, his opinion of _Laberius_, i. 206.
GENIUS, original, a proof of, in the particularity of description,
ii. 126.
similarity of, in two writers, its effects, 225.
GEORGIC, the form of this poem, what, ii. 183.
GREEKS, their most ancient writers falsely supposed to be the best,
i. 347.
H.
HEINSIUS, his idea of true criticism, i. 65.
his explanation of a passage in _Horace_, 148.
thought one part of the Epistle to the _Pisos_ inexplicable, 269.
his transposition of the Epistle censured, 272.
HIPPOLYTUS, of _Euripides_; an observation on the chorus, i. 161.
of _Seneca_, censured, 149.
HOBBES, Mr., his censure of the Italian romancers in their unnatural
fiction, ii. 238.
HOESLINUS, his opinion of the fourth book of the Aeneis, ii. 154.
HOMER, first invented dramatic imitations, i. 42.
his excellence in painting the _effects_ of the manners, ii. 157.
HORACE, explained and illustrated, _passim_.
his _Epistle to the Pisos_, a criticism on the Roman drama, Introd.
to vol. i. 15.
the character of his genius, 24.
his _Epistle to Augustus_, an apology for the _Roman_ poets, 325.
design and character of his other critical works, 407.
what may be said for his flattery of _Augustus_, 330.
fond of the old _Latin_ poets, 349.
his knowledge of the world, 379.
HUME, _David_, Esq., his account of the pathos in tragedy, considered,
i. 118.
his judgment of Fontenelle’s discourse on pastoral poetry, 218.
HUMOUR, the end of comedy, ii. 57.
two species of humour, 59.
one of these not much known to the ancients, ibid.
neither of them in that perfection on the ancient as modern stage,
60.
may subsist without ridicule, 62.
yet enlivened by it, 64.
HYMNS, profane and sacred, why similar, ii. 138.
I. and J.
INVENTION, in poetry, what, ii. 111.
principally displayed in the _manner_ of imitation, 158.
JESTER, a character by profession amongst the _Greeks_, i. 235.
IMITATION, primary and secondary, what, ii. 113.
the latter not easily distinguishable from the former, ibid.
shewn at large in respect of the matter of poetry, 115 to 176.
of the _manner_, 176 to 215.
in painting, sooner detected than in poetry, why, 162.
how it may be detected, 208 and _Letter to Mr. Mason_, throughout.
Why no rules delivered for it in the _Discourse on imitation_, 214.
confessed, no certain proof of an inferiority of genius, 215, 216.
accounted for from habit, 217.
from authority, 221.
from judgment, 222.
from similarity of genius, 224.
from the nature of the subject, 226.
its singular merit, 228.
not to be avoided by literate writers without affectation, 234.
INCOLUMI GRAVITATE, a learned critic’s interpretation of these words,
i. 201.
INNOVATION, in words, why allowed to old writers, and not to others,
i. 88.
INTRIGUE, when faulty in comedy, ii. 39.
JONSON, _Ben_, a criticism on his _Catiline_, i. 135.
his _Every man out of his humour_ censured, ii. 52.
his _Alchymist_ and _Volpone_ criticized, 101.
the character of his genius and comedy, 103.
IPHIGENIA at AULIS, of Euripides, vindicated, i. 131.
JULIUS POLLUX, shews the _Tibia_ to have been used in the chorus,
i. 177.
JUNCTURA CALLIDA, explained, i. 74.
exemplified from Shakespear, 77.
K.
KNOWLEDGE of the world, what, i. 379.
L.
LABERIUS, his mimes, what, i. 205.
LAMBIN, his comment on _communia_ supported, i. 133.
LANDSKIP-PAINTING, wherein its beauty consists, i. 71.
LEX TALIONIS, i. 127.
LICENCE, of particular seasons in _Greece_ and _Rome_, its effect
on taste, i. 234, 235.
of ancient wit, to what owing, 231.
LIPSIUS, his extravagant flattery, i. 332.
LONGINUS, his opinion of imitators without genius, i. 250.
accounts for the decline of the arts, 265.
his opinion of the mutual assistance of art and nature, 273.
his method of criticizing, scientific, 392.
wherein defective, 394.
LOVE, subjects of, a defect in modern tragedy, why, ii. 34.
passion of, how described by _Terence_ and _Shakespear_, ii. 144.
by _Catullus_ and _Ovid_, 151.
by _Virgil_, 152.
LUCIAN, the first of the ancients who has left us any considerable
specimens of comic humour, i. 225.
his ΑΛΕΚΤΡΥΩΝ and ΛΑΠΙΘΑΙ, 235.
M.
MACHINERY, essential to the epic poetry, why, ii. 166.
MALHERBE, M., the character and fortune of his poetry, i. 358.
MANNERS, why imperfect in both dramas, ii. 60.
description of, whence taken, 129.
MARKLAND, Mr., an emendation of his confirmed, i. 71.
MARKS, of _Imitation_, ii. _Letter to Mr. Mason_.
MASON, his _Elfrida_, commended, i. 148.
MEDEA, of _Euripides_, commended, i. 121.
its chorus vindicated, 162.
of _Seneca_, censured, 122.
MENAGE, his judgment of ancient wit, i. 230.
his intended discourse on imitation, 405.
MENANDER, why most admired after the _Augustan_ age, i. 223.
did not excel in comic humour, 225.
his improvements of comedy, ii. 72.
MILTON, his angels, whence taken, ii. 116.
his attention to the effects of the manners, 158.
MIMES, the character of them, i. 205.
defined by _Diomedes_, 206.
MODERNS, bad imitators of _Plato_, i. 234.
MOLIERE, his comedies farcical, ii. 100.
his _Misanthrope_ and _Tartuffe_ commended, 101.
MONEY, love of, the bane of the ancient arts, i. 264.
MORNING, descriptions of, in the poets compared, ii. 123.
when most original, 126.
MUSIC, old, why preferred by the _Greek_ writers, i. 181.
why by the _Latin_, 182.
—— of the stage, its rise and progress at _Rome_, i. 168.
defects of the old music, 182.
N.
NARRATION, oratorial, the credibility of, on what it depends,
ii. 130. n.
NOVELS, modern, criticized, ii. 18.
O.
ODE, its character, i. 94.
its end, 270.
the poet’s own odes, apologized for, ibid.
OPINION, popular, of writings, under what circumstances to be
regarded, i. 355.
D’ORVILLE, Mr., his defence of the double sense of verbs examined,
i. 358.
OSCI, their language used in the Atellanes, i. 196.
OTWAY, his _Orphan_ censured, i. 68.
OVID, the character of his genius, Introd. to i. 23, 24.
a conjecture concerning his _Medea_, i. 143.
makes the satyrs to be a species of the tragic drama, 192.
his account of the mimes, 205.
P.
PAINTING, _Landskip_, wherein its beauty consists, i. 71.
_Portrait_, its excellence, ii. 49.
difference between the _Italian_ and _Flemish_ schools, i. 256.
its moral efficacy, 375.
inferior to poetry, in what, ii. 130.
wherein superior to poetry, 146.
expresses the general character, 160.
hath an advantage in this respect over poetry, 162.
unable to represent moral and œconomical sentiments, 168.
PASSIONS, the way to paint them naturally, ii. 131.
PASTORAL poetry, its genius, and fortunes, i. 214.
PATHOS, the supreme excellence of tragedy, i. 116., 397.
how far to be admitted into comedy, ii. 73.
the pleasure arising from, how to be accounted for, i. 119.
PATERCULUS, _Velleius_, an admirer of _Menander_, i. 229.
his character of Pomponius, 197.
PAUSANIAS, describes two pictures of _Polygnotus_, ii. 161.
PERRON, Cardinal, his manner of criticizing _Ronsard_, i. 394.
PLATO, his opinion of _Homer’s_ imitations, i. 67.
commends the _Aegyptian_ policy in retaining the songs of
_Isis_, 181.
his _Symposium_ criticized, 235.
his manner of writing, characterised, 255.
his _Phaedrus_ censured, ibid.
his objection to poetry answered, 256.
PLAUTUS, why _Cicero_ commends his wit, and _Horace_ condemns
it, i. 220.
copied from the middle comedy, 228.
his apology for the _Amphitruo_, why necessary, ii. 42.
preferred to _Terence_ in the _Augustan_ age, i. 228.
PLOTS, double, in the _Latin_ comedies, admired, why, i. 354.
PLUTARCH, his admiration of _Menander_, i. 229.
POETRY, the art of, wherein it consists, ii. 3.
the knowledge of its several species, necessary to the dramatic
poet, i. 94.
more philosophic than history, 257.
tragic, its peculiar excellence, 397.
hath the advantage of all other modes of imitation, in what,
ii. 172.
—— descriptive, an identity in the subject of, no proof of
imitation, ii. 118.
—— pure, the proper language of Passion, i. 104.
POETS, old, much esteemed by _Horace_, i. 349.
their apology, 380.
bad soldiers, 384.
dramatic, a rule for their observance, i. 105.
bad, characterized by _Milton_, 378.
POLYGNOTUS, his simple manner, why admired, under the emperors,
i. 346.
his expedient to explain the design of his pictures, ii. 161.
POMPONIUS, in what sense Inventor of the Atellane poem, i. 198.
POPE, Mr., honoured after death, by whom, i. 329.
his censure of a passage in the _Iliad_, defended, 359.
his judgment of the 6th book of the _Thebaid_, ii. 191.
his censure of the comparisons in _Virgil_ considered, 201.
his opinion of imitation, 234.
POUSSIN, _Gaspar_, his landskips, in what excellent, i. 70.
PRODIGIES, inquiry into, the author’s opinion of that discourse,
ii. 206.
an observation quoted from it, ib.
PULCHRUM, how distinguished from _Dulce_, i. 109.
Q.
QUINTILIAN, his judgment of new words, i. 88, 93.
of _Varius’_ tragedy of Thyestes, 95.
of the pathetic vein of _Euripides_, 116.
of _Ovid’s Medea_, 144.
of the state of Music in his time, 182.
of _Euripides’_ use of sentences, 190.
of the old _Greek_ comic writers, 223.
of _Terence’s_ wit, 225.
and elegance, 226.
of the licentious feasts of _Bacchus_, &c., 235.
of _Aeschylus_, 239.
of the false fire of bad writers, 250.
his opinion of the necessary inferiority of a copy to its
original, how far to be admitted, ii. 114.
his rule for oratorial narration, 130. n.
R.
RANDOLPH, his _Muse’s Looking-glass_, censured, ii. 53.
RHYME, how far essential to modern poetry, ii. 11.
RICCOBONI, L., his observation of the difference betwixt the
_Greek_ and _French_ drama, ii. 43. n.
a good critic, though a mere player, ib.
ROBORTELLUS, his explanation of a passage, inforced, i. 110.
ROMANS, much addicted to spectacles, i. 389.
RUISDALE, his waters, i. 71.
S.
SALMASIUS, what he thought of the method of the _Epistle to the
Pisos_, Intr. to vol. i. 25. n.
SAPERET, the meaning of this word in A. P., i. 169.
SATYRS, a species of the tragic drama, i. 192.
distinct from the Atellane fables, 195.
—— of elder _Greece_, what, i. 194.
—— why _Horace_ enlarges upon them, i. 202, 203.
their double purpose, 200.
style, 210.
measure, 219.
SCALIGER, J., what he thought of the Epistles of _Horace_, Intr.
to i. 24. n.
of the ancient Mimes, i. 205.
his wrong interpretation of the _Art of Poetry_, to what owing,
Intr. to i. 16.
SCENE, of comedy, laid at home; of tragedy, abroad; the reason
of this practice, ii. 55.
SCHOLARS, their pretensions to public honours and preferments,
on what founded, i. 399.
SCHOLIA, of the _Greeks_, i. 187.
Aristotle’s translated, 189.
SENECA, the philosopher, his account of the mimes of _Laberius_,
i. 206.
—— his _Medea_, censured, i. 121, 143.
his _Hippolytus_ censured, 149.
his Aphorisms quaint, 191.
SENTENCES, why so frequent in the _Greek_ writers, i. 185.
SENTIMENTS, religious, moral, and œconomical, why the descriptions
of, similar in all poets, ii. 136, 145.
SERMO, the meaning of this word, i. 327.
SHAFTESBURY, E., of, his opinion of _Homer’s_ imitations, i. 67.
of the writings of _Plato_, 252.
his Platonic manner liable to censure, 253.
SHAKESPEAR, excels in the _callida junctura_, i. 77.
how he characterizes his clowns, 200.
his want of a learned education, 248.
advantages of it, ib.
his excellence in drawing characters, wherein it consists, ii. 53.
his power in painting the passion of grief, 133.
his description of œconomical sentiments, original, 144.
STATIUS, his character, ii. 190.
his book of games criticized, 191.
SHIRLEY, a fine passage from one of his plays, i. 86.
SIDNEY, Sir Philip, his character, i. 116.
his encomium on the pathos of tragedy, 397.
SOCRATES, his office in the symposia of _Xenophon_ and _Plato_, i.
236. n.
his judgment of moral paintings, 375.
SOPHOCLES, the chorus of his _Antigone_ defended, i. 158, 163. n.
a satyric tragedy ascribed to him, 193.
a circumstance in his _Electra_ compared with _Euripides_, 259.
STEPHENS, H., his observations on the refinement of the _French_
language, i. 90.
STRABO, a passage from him to prove the Tuscan language used in
the Atellanes, i. 198.
STYLE, of poetry, defined, ii. 10.
SUBJECTS, public, how to acquire a property in them, i. 219.
domestic, why fittest for the stage, 247.
real, succeed best in tragedy; feigned, in comedy, why, ii. 46.
T.
TACITUS, a bold expression of his, justified, i. 103.
TELEMAQUE, why no new similes in this work, ii. 203.
TELEPHUS, a tragedy of _Euripides_, i. 107.
another tragedy of that name glanced at by _Horace_, 108.
TEMPE, _Aelian’s_ description of, translated, ii. 119.
TEMPLE, Sir William, his sentiments on the passion of avarice,
i. 265.
his notion of religious description in modern poets, ii. 166.
TERENCE, why his plays ill received, i. 224.
fell short of _Menander_ in the elegance of his expression, 225.
a remarkable instance of humour in the Hecyra, ii. 62.
the characteristic of his comedies, his _Hecyra_ vindicated,
i. 354, 355.
a passage in his _Andrian_ compared with one in _Shakespear’s
Twelfth-Night_, ii. 144.
his opinion of the necessary uniformity of moral description, 194.
TRAGEDY, the Author’s idea of, ii. 30.
conclusions, concerning its nature, from this idea, 31.
attributes, common to it and comedy, 42.
attributes peculiar to it, 45.
—— admits pure poetry, i. 101.
why its pathos pleases, 119.
on low life, censured, ii. 84.
a modern refinement, 86.
accounted for, 87.
TRAPP, Dr., his interpretation of _communia_, i. 134.
his judgment of the chorus, 146.
TRUTH IN POETRY, what, i. 255.
may be followed too closely in works of imitation, ib.
U.
VARRO, _M. Terentius_, assigns the distinct merit of _Cæcilius_
and _Terence_, i. 353.
VATRY, Abbé, his defence of the ancient chorus, i. 148.
VICTORIUS, of the satyric Metre, i. 219.