his address in his flattery of _Augustus_, 332.
his introduction to the third _Georgic_ explained, 333.
three verses in the same, spurious, 341. n.
his moral character, vindicated, 403.
his poetical, vol. ii. _Discourse on poetical imitation_, throughout;
his book of _games_ defended from the charge of plagiarism, 187.
why few comparisons in his works, but what are to be found
in _Homer_, 201.
UNCTI, the meaning of, in the Epistle to _Augustus_, i. 349.
VOLTAIRE, _M. de_, his judgment of machinery, what, ii. 166. n.
UPTON, Mr., his criticism on the satyrs, examined, i. 202.
W.
WARBURTON, Mr., his edition of Mr. _Pope_; Intr. to i. 26.
and of Shakespear, Ded. to Epistle to Augustus, 287. and 80.
his judgment of the intricacy of the comic plot, ii. 39.
of the scene of the drama, 55.
of comic humour, 61.
of the double sense in writing, i. 365.
of the similarity in religious rites, ii. 165.
WHOLE, its beauty consists not in the accurate finishing, but in
the elegant disposition, of the parts, i. 69.
WIT, ancient, licentious, i. 230.
why, 231.
WORDS, old ones, their energy, how revived, i. 89.
X.
XENOPHON, an elegant inaccuracy in a speech in the _Cyropaedia_,
i. 99. n.
his fine narration of a circumstance in the story of _Panthea_,
unsuited to the stage, 143.
his symposium explained, 235. n.
a conversation on painting from the _Memorabilia_, translated,
375.
Z.
ZEUXIS, his pictures, in what repute under the Emperors, i. 346.
THE END OF THE SECOND VOLUME.
Nichols and Son, Printers,
Red Lion Passage, Fleet Street, London.
FOOTNOTES:
[1] Empedocles. See Plutarch, vol. I. p. 15. Par. 1624.
[2] See STRABO, l. i. p. 15. Par. 1620.
[3] ADV. OF LEARNING, vol. i, p. 50. Dr. Birch’s Ed. 1765.
[4] Aristotle was of the same mind, as appears from his definition of
comedy, which, says he, is ΜΙΜΗΣΙΣ ΦΑΥΛΟΤΕΡΩΝ; [κ. ε.] that is, _the
imitation of characters_, whatever be the distinct meaning of the term
φαυλότεροι. It is true, this critic, in his account of the origin of
tragedy and comedy, makes them both the imitations of ACTIONS. Οἱ μὲν
σεμνότεροι ΤΑΣ ΚΑΛΑΣ ἐμιμοῦντο ΠΡΑΞΕΙΣ, οἱ δὲ εὐτελέστεροι ΤΑΣ τῶν
φαύλων. [κ. δ.] Yet, even here, the expression is so put, as if he had
been conscious that _persons_, not _actions_, were the direct object
of comedy. And the quotation, now alledged from another place, where a
definition is given more in form, shews, that this was, in effect, his
sentiment.
[5] The neglect of this is one of the greatest defects in the _modern
drama_; which in nothing falls so much short of the perfection of the
Greek scene as in this want of simplicity in the construction of its
fable. The good sense of the author of the _History of the Italian
Theatre_ (who, though a mere player, appears to have had juster notions
of the drama, than the generality of even professed critics) was
sensibly struck with this difference in _tragedy_. “Quant à l’unité
d’action, says he, je trouve un grande difference entre les tragedies
Grecques et les tragedies Françoises; j’apperçois toûjours aísément
l’action des tragedies Grecques, et je ne la perds point de vûe; mais
dans les tragedies Françoises, j’avoüe, que j’ai souvent bien de la
peine à demêler l’action des episodes, dont elle est chargée.” [_Hist.
du Theatre Italian_, par LOUIS RICCOBONI, p. 293. _Paris_ 1728.]
[6] _Non hominem ex ære fecit, sed iracundiam._ Plin. xxxiv. 8.
[7] P. ALVAREZ SEMEDO, speaking of their poetry, says, “Le plus grand
advantage et la plus grande utilité qu’en ont tiré les CHINOIS, est
cette grande modestie et retenuë incomparable, qui se voit en leurs
ecrits, _n’ayant pas meme une lettre en tous leurs livres, ni en toutes
leurs ecritures, pour exprimer les parties honteuses de la nature_.”
[HIST. UNIV. DE LA CHINE, p. 82, à LYON 1667. 4^{to}.]
[8] LE RIDICULE EST CE QU’IL Y A DE PLUS ESSENTIEL A LA COMEDIE. [P.
RAPIN, REFLEX. SUR LA POES. p. 154. PARIS 1684.]
[9] Οἱ μὲν σεμνότεροι τὰς καλὰς ἐμιμοῦντο πράξεις, καὶ τὰς τῶν τοιούτων
τύχας· οἱ δὲ εὐτελέστεροι, τὰς τῶν φαύλων, ΠΡΩΤΟΝ ΨΟΓΟΥΣ ΠΟΙΟΥΝΤΕΣ,
ΩΣΠΕΡ ἙΤΕΡΟΙ ΥΜΝΟΥΣ ΚΑΙ ΕΓΚΩΜΙΑ. [ΠΕΡ. ΠΟΙΗΤ. κδ.] This is Aristotle’s
account of the origin of the different _species of_ POETRY. They were
occasioned, he says, by the different and even opposite _tempers
and dispositions of men: those of a loftier spirit delighting in
the encomiastic poetry, while the humbler sort betook themselves to
satire_. But this, also, is the just account of the rise and character
of the different _species of the_ DRAMA. For they grew up, he tells
us in this very chapter, from the DITHYRAMBIC, and PHALLIC songs. And
who were the _men_, who chaunted _these_, but the ΣΕΜΝΟΤΕΡΟΙ, and
ΕΥΤΕΛΕΣΤΕΡΟΙ, before-mentioned? And how were they _employed_ in them,
_but the former, in hymning the praises of Bacchus; the latter, in
dealing about obscene jokes and taunting invectives on each other_? So
that the _characters_ of the men, and their _subjects_, being exactly
the same in _both_, what is said of the _one_ is equally applicable
to the _other_. It was proper to observe this, or the reader might,
perhaps, object to the use made of this passage, _here_, as well as
_above_, where it is brought to illustrate Aristotle’s notion of the
_natures_ of the tragic and comic poetry.
[10] _Pref. generale_, tom. vii. Par. 1751.
[11] “On attache par le grand, par le noble, par le rare, par
l’imprévû. On émeut par le terrible ou affreux, par le pitoyable, par
le tendre, par le plaisant ou ridicule.” p. xiv.
[12] “Que nous sommes en droit d’examiner si, en fait de Theatre, nous
n’aurions pas quelquefois des _habitudes_ au lieu de _regles_, car les
regles ne peuvent l’être qu’ après avoir subi les rigueurs du tribunal
de la raison.” p. 37.
[13] Οὐ πᾶσαν δεῖ ζητεῖν ἡδονὴν ἀπὸ τραγῳδίας, ἀλλὰ τὴν οἰκείαν.
Ποιητ. κ. ιδʹ.
[14] _Reflex. sur la Poes._ p. 132.
[15] “Ces sortes de speculations ne donnent point de genie à ceux
qui en manquent; elles n’aident beaucoup ceux qui en ont: et le plus
souvent même les gens de génie sont incapables d’être aidées par les
speculations. A quoi donc sont-elles bonnes? A faire remonter jusqu’aux
premieres idées du beau quelques gens qui aiment la raisonnement, et
se plaisent à reduire sous l’empire de la philosophie les choses qui
en paroissent le plus indépendantes, et que l’on croit communément
abandonnées à la bizarrerie des goûts.”
M. DE FONTENELLE.
[16] Μελαίνει τε, says Dionysius of Halicarnassus, speaking of his
figurative manner, τὸ σαφὲς καὶ ζόφῳ ποιεῖ παραπλήσιον· [T. ii. p. 204.
_Ed. Hudson_.]
[17] PLATO DE REPUB. lib. x.
[18] Spectator, No. 56.
[19] QUINCTIL. lib. x. c. 11.
[20] Botanists give it the name of _oriental bind weed_. It is said to
be a very rambling plant, which climbs up trees, and rises to a great
height in the Levant, where it particularly flourishes.
[21] ARIST. RHET. lib. iii. c. xi.
[22] Ὅταν ἃ λέγῃς, ὑπ’ ἐνθουσιασμοῦ καὶ πάθους βλέπειν δοκῇς, καὶ
ὑπ’ ὄψιν τιθῇς ἀκούουσιν. [ΠΕΡ. ΥΨ. § xv.]
[23] What is here said of _poetical fiction_, Quinctilian hath applied
to _oratorial narration_; the credibility of which will depend on the
observance of this rule. _Credibilis erit narratio antè omnia, si priùs
consuluerimus nostrum_ ANIMUM, _nequid naturae dicamus adversum_. [L.
iv. 2.]
[24] So the great philosopher, ὃ γὰρ περὶ ἐνίας συμβαίνει πάθος ψυχὰς
ἰσχυρῶς, τοῦτο ἐν πάσαις ὑπάρχει. τῷ δὲ ἧττον διαφέρει, καὶ τῷ μᾶλλον.
ΠΟΛΙΤ. Θ. Whence our Hobbes seems to have taken his aphorism, which
he makes the corner-stone of his philosophy. “That for the similitude
of the thoughts and passions of one man to the thoughts and passions
of another, whosoever looketh into himself, and considereth what he
doth, when he does _think, opine, reason, hope, fear_, &c. and upon
what grounds; he shall thereby read and know, what are the thoughts and
passions of all other men, upon the like occasions.”
LEVIATHAN, _Introd. p. 2. fol. London_. 1651.
[25] M. DE LA BRUYERE, Tom. 1. p. 91. Amst. 1701.
[26] Dr. Duport.
[27] JEREMIAS HOELSLINUS, _Prolegom. ad. Apollon. Rhodium_.
[28] DIV. LEG. vol. ii. par. 1. p. 355. ed. 1741.
[29] Sir WILLIAM TEMPLE’S _Works_, vol. i. p. 245. ed. 1740. fol.
[30] “_La machine du merveilleux_, _l’intervention d’un pouvoir
céleste_, la nature des episodes, tout ce qui _depend de la tyrannie de
la coutume_, & de cet instinct qui on nomme goût; voilà sur quoi il y a
mille opinions, & _point de régles générales_.” M. DE VOLTAIRE, _Essaye
sur la poësie Epique_, chap. i.
[31] DE AUGM. SCIENT. lib. ii. c. 13.
[32] _A Critical and Philosophical Inquiry into the causes of prodigies
and miracles_, &c. p. 130.
[33] Letter to Mr. MASON.
[34] Mr. Addison.
[35] _Somn. Scip._ ii. c. 10.
[36] PLATO, _Alcibiad._
[37] _Reflex. sur la Poës. et sur la Peint._ tom. ii. 80. Par. 1746.
[38] _Inquiry into the L. and W. of Homer_, p. 174.
[39] MACROBIUS, V. _Saturnal._
[40] _Inquiry into L. &c. of Homer_, p. 319.
[41] _Mem. de l’Acad. des Inscript. &c._ tom. vi. p. 445.
[42] Mr. Pope’s Preface to his Works.
[43] Pref. to GONDIBERT, p. 2. Lond. 1651, 4^{to}.
[44] Ibid. p. 30.
[45] Pref. to GONDIBERT, p. 3. Lond. 1651, 4^{to}.
[46] Answer to the Preface, p. 81.
[47] P. 214.
[Transcriber’s Note:
All instances of a stigma (ϛ) in words have been changed to sigma tau
(στ).
The original text had an alternative pi (ϖ) at the start of a word.
These have been changed to the standard pi (π).
Inconsistent spelling and hyphenation are as in the original.]