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ABDIEL, his character exhibits a noble moral, 154.
Abraham, his lineage traced in Paradise Lost, 203.
Absence, called by the poets, death in love, 37. Consolaticns of

lovers on such occasions, 38.
Academy for politics, projected at Paris, 243.
Acarnania, its promontory called Leucate, for what famous, 4.
Achilles, why chosen by Homer as the hero of his poem, 94.
Acquirement, used for acquisition, 331, note.
Action, in epic poetry, rules respecting it, ss.
Actions, of a mixt nature, and modified by circumstances, 73. Why

inadequate expressions of virtue, 74.
Actors, Roman, their speech on making their exit, 251, 252.
Adam, description of, in Paradise Lost, 145. His tender address to

awaken Eve, 148. Relates his history to Raphael, 170. His first
impressions, 172. Unhappy because alone, 173. In a dream be-
holds the formation of Eve, 174. His reflection on the pleasures
of love, compared to those of sense, 175. His speech to Eve after
her transgression, 181. His horror and despair, 188, 189. His
reconcilement to Eve, 190. His regret on leaving Paradise, 197.

His visions, 198. Joy at perceiving the Messiah, 204.
Addison, Mr. seen more to advantage as an imitator of Plato, than of

Lucian, 305, note: His amiable mind and elegant genius, wherein
conspicuous, 310, note. Possesses all the requisites for fine writing,
331, note. His essay on the pleasures of imagination, the most
masterly of all his critical works, 336, note. His hint on gardening
at present attended to, 350, note. Proofs of the elegant and vir-
tuous habits of his mind, 461, note. Proportions the expence of his

wit, to the worth of his subject, 448, note,
Admiration, one of our most pleasing passions, 29. Of great men,

les on nearer acquaintance with them, 67. A pleasing emotion

of the mind, 345.
Adversity, the post of honour in human life, 31.
Advice to the fair sex, 85.
Advice, remarks on asking and giving it in love affairs, 452.
Æneas, a perfect character, 92. Why chosen by Virgil for bis hero,

94. His descent to hell furnished a hint to Milton, 172. His real
history, 177.
Æneid, its action short but extended by episodes, 90. Only one

piece of pleasantry in it, 100. The longest reflection of the author
in it, 114. Story of the bleeding myrtle, exceptionable, 137. Effect
of the poem on the imagination, 362.
Æschines and his wife, take the Lover's Leap and are both cured, 23.
Æsculapius, his letter to the Spectator on the benefits of the Lover's

Leap, 12.
AMictions of our neighbours, not to be interpreted as judgments,

Agur, his

prayer, on what consideration founded, 436.
Ajax, a beautiful distich on, from the Art of Criticism, 61.
Alcæus, laments the fate of Sappho at Leucate, 25.
Aldus, the printer, more famous than any Doge of Venice, 285.
Alexandrine instanced in the Art of Criticism, 61.
Allegories, certain stories in the Iliad so called, 137. Well chosen,

their effect in discourse, 375.
Allegory of Chremylus and Plutus, 438.
Allusions, one great art of a writer, 376.
Amazons, a commonwealth of them, 379. Their education, and

amusements, 381. Government, 382. Alliance with the male

republic, ib. And union, 383.
Ambition, why implanted by Providence in mankind, 62. Most in-

cident to men of the greatest abilities, 63. Produces vanity, 64.
Why destructive of happiness, 69. Hinders us from attaining the

great end of our existence, 71.
Ancients excel the moderns in works of genius, 52. Inferior to the

moderns in architecture, 351.
Angels, the battle of, in Paradise Lost, 156.
Antiochus, his passion for his mother-in-law, how discovered, 17.
Antiphanes, his representation of the life of man, 229.
Anvil, Jack, (Sir John Enville), his letter to the Spectator, 239.
Apollo, his temple on the top of Leucate, by whom frequented, and

for what purpose, 4. Apollo and the critic, a story, 110.
Approbation, a curious mode of expressing it, at the theatre, 27.
Architecture, its tendency to produce the primary pleasures of imagi-

nation, 351. Noble works of Babylon and Egypt, 351, 352.
Chinese wall, ib. Its most striking figures the concave and con-

vex, 354.
Arguing in a catechetical method, introduced by Socrates, 33.
Argumentum basilinum, or baculinum, what, 34.
Aridæus, a youth of Epirus, how cured by the Lover's Leap, 24.
Aristophanes, an allegory on which a play of his is founded, 436.
Aristotle the inventor of syllogisms, 33. What he means by great-

ness of action in epic poetry, 89. His remark on the excitement of
terror and pity, 95. His rules for epic, why not perfect, 96. The
best critic because the best logician, 109. A pattern for regular

writing, 455.
Arrogance, offensive to the Deity, 234.

Art, its works less pleasing to the imagination than those of nature,

Art of Criticism, Mr. Addison's strictures on that poem, a proof of

his candour and gentleness, 59, note. Passages cited as precepts

and examples, 61.
Artillery, why introduced into the battle of the angels, 157.
Aspasia, said to have taught eloquence to Socrates, 47.
Asteria, her letter to the Spectator on her absent lover, 36.
Atalanta, an old maid, breaks her neck in the Lover's Leap, 24.
Atheism, deprives a man of cheerfulness, 294.
Athenais, her letter to the Spectator inquiring the situation of the

Lover's Leap, 13.
Augustus, the great poets of his reign, friends and admirers of

each other, 59. His saying to his friends on his death-bed, 251.
Author, a French one, his remark on two intellectual beings, 252. A

satirical one, most difficult to tame, 409.
Authors, for what most to be admired, 278.

Babel, tower of, 350.
Bacon, his aphorism on nature, a proper motto for modern gardens,

350. Prescribes a poem or prospect as conducive to health, 339.

His remark on taste and habit, 405.
Babylon, its noble works of architecture, 351.
Baker's chronicle, a favourite book with Sir Roger de Coverley,

Balance, the king of Babylon weighed in, 431. Milton's use of that

figure, ib.
Balk, the king's palace at, called a caravansary, 230.
Balzac (Mons.) instance of his greatness of mind, 278.
Bamboo, Benjamin, his philosophic resolution on his shrew of a

wife, 465.
Bar, British, gestures of orators there, ridiculous, 328.
Barnes, Mr. Joshua, the Achilles of the University Greeks, 46.
Bashfulness, without merit, awkward, 19. Of the English, in all that

regards religion, 426.
Battle of the angels, 155. Speech of Chaos to Satan in allusion to

it, 156.
Battus, his passion for Bombyca, how cured by the Lover's Leap, 23.
Bavius and Mævius, why the calumniators of Virgil, 59.
Baxter, his Last Words, 398.
Bayes, Mr. in the Rehearsal, confines his spirits to speak sense, 369.
B. D. her letter to the Spectator about Mr. Shapely, 453.
Beau's head dissected, 216. History of the person to whom it be-

longed, 218.
Beauty, a source of pleasure to the imagination, 342. Final cause of

this pleasure, 345.
Belial, how characterized, 127.
Belvidera, a critique on a song on her, 446.
Belus, Jupiter, temple of, 350.

Belzebub, described with wonderful majesty, 125. His moderation in

debate, 129.
Bigotry, its evil tendency, 318.
Birds, how affected by colours, 356.
Biton and Clitobus, story of, 471.
Blank verse, in what more difficult than rhyme, 106.
Blast, Lady, an agent for the Whisper news-letter, 422.
Blown upon, a metaphor well applied, 435, note.
Boileau, Monsieur, his translation of a fragment from Sappho, 16.

His remark on fine writing, 60. Answer to Perrault on Homer's

similitudes, 124.
Boccalini, his story of Apollo and the critic, 110. His fable of the

traveller and the grasshoppers, 279.
Boleyn, Ann, her last letter to King Henry, 313, 314.
Bossu, supposes the action of the Æneid to begin in the second

book, 153. His opinion on the moral of epic poetry, 207.
Brain of a beau, for what remarkable, 218.
Brutus, his exclamation before his death, 233. A saying of his, on

denying, 424.
Burlesque, of two kinds, 53. In the Iliad, 100.
Busby, Dr. Sir Roger de Coverley's remark on him, 262.
Business of mankind in this life, is rather to act than to know, 30.

Men of, their familiar metaphors, 375.
Business, public, advantage of employing men of learning in, 444.
But, repeated in a sentence, redundant, 83, note.

press, 285.

Cacus, comparison of Sappho to him, by Plutarch, 4.
Cæsar, his remedy for baldness, 22. A noble saying of his, 70. His

magnanimous saying on hope, 449, 450.
Cæsar's Commentaries, new edition of, an honour to the English
Calamities, in the language of the gods, blessings, 433.
Calumny, why difficult to be restrained, 410.
Canticles, written in a noble spirit of Eastern poetry, 148.
Card-match-makers, a whimsical circunstance respecting them, 56.
Cardinal and the spy, an anecdote, 388.
Cartesian philosophy, whimsically and happily exemplified, 360.
Cat-calls, letter on, 279. Those instruments supposed older than the

inventions of Jubal, 280. Why considered to be originally
English, 281. Their extraordinary effects, 282. A professor in the

art of playing them, 292.
Catechetical method of arguing introduced by Socrates, 33.
Cato would allow none but the virtuous to be handsome, 41. His visit

to the Roman theatre, 402.
Catullus, his translation of a fragment from Sappho, 15.
Cavaliers, female, 385. Fashion brought from France, 356.
Celia, her consultation with Leonilla, 452.
Censorious, the, a class of female orators, 47.

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