from an epic poem ii. 235, &c. diftinguished into pathetic and moral ii. 237. its good effects ii. 238. compared with the epic as to the subjects proper for each ii. 239. how far it may borrow from history ii. 244. rule for dividing it into acts ii. 245. double plot in it ii. 253. admits not violent action or fupernatural events ii. 255 its origin ii. 263, &c. Antient tragedy a continued reprefen tation without interrup tion ii. 264. Constitution of the modern drama ii. 264, &c. Tragi-comedy ii. 255. Trees) the best manner of placing them ii 281,282. Triangle) equilateral, beauty i. 124. Tribrachys ii. 114. Trochæus ii. 114. Tropes ch. 20. its Uglinefs) proper and figurative ii. 333. Unbounded profpect) difagreeable i. 181. Vote. Uniformity of the operations of nature i. 202, &c. Uniformity apt to difguft bed are uniform ii. 91. Uniformity defined 'ii. 234. Unity) the three unities ch. 23. of action ii. 259, &c. Unity of action in a picture ii. 262. of time and of place ii. 262, &c. U. nities of time and of place not required in an epic poem ii. 262. Strictly obferved in the Greek tra gedy ii. 264 Unity of place in the antient drama ii. 271. Unities of place and time ought to be ftrictly obferved in each act of a modern play ii. 273. Wherein the unity of a garden confifts ii. 279. 280. Unumquodque eodem mode diffolvitur quo colligatum eft i. 183. Vanity) a difagreeable pasfion i. 63. always appears mean i. 222. Variety) diftinguished from novelty i. 164. Variety ch. 9. Variety in pictures i. 199. confpicuous in the works of nature i. 205. 206. in gardening ii. 288. Veracity of our fenfes i. 48. 30. by exces i. 125. Uni-Verb) active and paffive ii. Verbal antithefis) defined i. Verfe) Virgil) cenfured for want of Virtue) the pleasures of vir. Verfe) diftinguished from Voluntary figns of paffion i. 267. Voluptuoufnefs tends to vitiate our taste ii. 320. Vowels ii. 5, &c. Walk) in a garden, whether it ought to be straight or waving ii, 284 Artificial walk elevated above the plain ii. 285. that is not perpendicular occafions an unealy feeling i. 108. Waterfall i. 108. 156. Water-god) statue of, pouring out water ii. 310. French verfe ii. 111. MeWay of the world) cenfured lody of verfe is fo in. chanting as to draw a veil over grofs imperfections ii. 113. Verfes composed in the shape of an ax or an egg ii. 284. Violent action) ought to be excluded from the stage ii. 255. ii. 261. the unities of place and time ftrictly obferved in it ii. 274. Will) how far our train of perceptions can be regulated by it i. 2. 189. 193. determined by defire i. 110. Windows) their proportion ii. Wit) defined i. 5. 236. feldom united with judge ment i. 5. but generally with memory i., 5. not concordant with grandeur i. 187. Wit ch 13. Wit in founds i. 249. Wit in architecture ii. 309. Wonder) inftantaneous i 68. decays fuddenly i. 70. Wonders and prodigies find ready credit with the vulgar i. 99. Wonder defined i. 159. ftudied in Chinese gardens ii. 290. Words) rules for coining words i. 23. Note. Play of words i. 326, Esc. Jingle of words i. 328 Words confidered with refpect to their found ii. 7. Words of different languages compared ii. 8. What are their best arrangement in a period ii. 11. A conjunction or disjunction in the mem bers of the thought ought to be imitated in the expreffion ii 17. 22. 23. Words expreffing things connected ought to be placed as near together as poffible ii. 41, &c. In what part of a sentence doth a word make the greateft figure ii. 47. Words acquire a beauty from their meaning i $5. 192. Some words make an impreffion refembling that of their meaning ii. 57. The words ought to accord with the fentiment i. 282. 314. 316 ii: 16–217. A word is often redoubled to add force to the expreffion i. 316. ii. 225. See Language. Writing) a subject intended for amufement may be highly ornamented i. 209. A grand fubject appears best in a plain dress i. 210. Youth) requires more variety of amusement than old age i. 190. honosti FINI S. |
