a projector, with a ludicrous specimen of news, 415. A news-let-
ter of whispers proposed, 421. From B. D. about her lover, Mr.
Shapely, 453. From a humourist in gardening, 457, 461.
scription of a cot-quean, 466.
A de-
Leucas, an island of the Ionian sea, formerly joined to Acarnania, 11.
Leucate, a promontory of Acarnania, why famous, 4.
Libel, most approved when aimed at great men, 67. Punished by
the Romans with death, 411.
Libertines, ashamed of decency, 21.
Liberty, civil, what may be properly so called, 223. Its natural fruits,
riches, and plenty, 225.
Life, its end like the winding up of a play, 274.
Light, and colours, ideas and not qualities, 346.
Limbo of Vanity, an objectionable allegory in Paradise Lost, 113.
Linus, his observation on hope, 449.
Livy, his excellence as an historian, 372.
Loadstone, the means of correspondence between two absent friends,
38.
Locke, his remark on the interspersion of evil with good, 303, 304.
On the doctrine of light and colours, 347.
Logic, necessary in criticism, 108.
Logic-lane, a passage in Oxford, why so called, 34.
London, an aggregate of various nations, 319.
Longinus, quotes an ode of Sappho, 6. Reference to his criticisms on
a fragment from Sappho, 17. His observation on genius, 110. His
remark on the sublime and the pathetic, 163. His precept on su-
blime writing, ib.
Looking-glass, and the gay old woman, a fable, 409.
Love, feigned, often more successful than true love, 76. Reflection on
its pleasures compared to those of sense, 175.
Love, the mother of poetry, 290.
Lover's Leap, a fatal experiment to Sappho, 4. Its situation described,
ib. 11. Account of persons who took it, 22.
Lucan, his poetry too epigrammatic, 99. His unnecessary digres-
sions, 114.
Lucian, his manner imitated by Addison, 305, 308. His gods, an
instance of the second species of ridicule, 53.
Lyrics, modern, infected by conceits and false wit, 3.
Lysippus, his noble statue of Alexander, 353.
Mackerel-fishery benefited by the news of the French king's death,
322.
Mahometans, their supposed belief in the transmigration of souls, 268.
Maintenon, (Madame de) to preside over the petticoat politicians, 244.
Making a sermon, an arch expression, 210, note.
Males, account of a republic of them, 379. Their customs, 380.
Alliance with the Amazons, 382. And union, 383.
Mammon, in Paradise Lost, a finely drawn character, 123. His
speech in the second book, 128.
Man, the merriest species of the creation, 51. His dependance on his
Manner, greatness of, in architecture, 353.
Manners, in Epic poetry, signify the fable and the characters, 91.
Mann's (Jenny) reflections there on the French king's death, 321.
Marriages, those most happy which are preceded by a long court-
ship, 76. Importance of a right choice, ib. Qualities desirable in
a companion for life, 77. Rules before and after marriage, ib. 78.
Fruits of a happy one, ib. Unequal, cannot be happy, 287.
Married state, compared to purgatory, 465, 466.
Mars, his outcry when wounded, 160.
Martial, his epigram on Cato, at the theatre, 402.
Maundrell, his account of the river Adonis, and idolatrous rites per-
formed there, 122.
Mauro, (St.) the modern name of the island of Leucas, 11.
Maxims on morality and faith, 429.
Medal, struck by Queen Elizabeth on the defeat of the Armada, 233.
Meditation, religious, strengthens faith, 440.
Melancholy, incident to merry persons, 293. A dæmon that haunts
our island, 303.
Melesinda, shews her temper by her head-dress, 84.
Melissa, her leap from the promontory of Leucate, 23.
Melissa, her motive for asking advice in marriage, 453.
Memory, its relief to the mind, 449.
Mencetes, the only instance of pleasantry in the Æneid, 100.
Menippus, the philosopher, fable respecting, 305.
Men's, as the genitive plural of man, not allowable, 80, note.
Merit, without modesty, insolent, 19. Dissipates small blemishes in
men's characters, but is obscured by a great one, 68.
Merry fellows, account of an establishment of them, 391.
Mesnager, (Mons.) his controversy with Count Rechteren, 462.
Messiah, the true hero of Milton's poem, 113. His chariot, 151.
His commission to extirpate the rebel angels, 161.
majesty of his deeds, 162. Accomplishes the work of creation, 164,
169. His intercession for Adam and Eve, 194.
Metamorphoses of Ovid, their effect on the imagination, 362.
Metaphor, its use in discourse, 375. Precepts for conducting one to
advantage, 422, note.
Metaphors, in epic poetry, their use, 103.
Method, its advantages in writing, 455. In conversation, 456.
Mexico, expresses sent to the emperor in paintings, 356.
Michael, his sword, 159. Employed to expel Adam and Eve from
Paradise, 196.
Michael Angelo, a maimed statue at Rome, called his school, 15.
Middle condition, most favourable to the gaining of wisdom, 435.
Milton, his description of the colloquial amusements of the damned,
30. His poetical figure of laughter, 53. Considered the first of our
English poets, 82. Introduces into his fable every variety of cha-
racter of which it is capable, 92. His characters mostly his own
His errors in syn-
Boldness of his me-
Introduces several
invention, 97. His chief talent, sublimity, 98.
tax, and use of vulgar expressions, 101, 102.
taphors, 104. His use of foreign idioms, ib.
words of his own coining, 105. Said to have copied Homer rather
than Virgil, 107. His expedients to cure the imperfection of
his fable, 112. Wherein his majesty forsakes him, 133. Excels
other poets in his battle of the angels, 157. Indebted to the Jewish
writers for his account of the creation, 164. Employs in this de-
scription the whole energy of our tongue, 167. Force of imagina-
tion in Adam's story to Raphael, 171. His frequent instances of
prosopopœia, 192. Improves upon Ovid's account of the deluge,
199. His judgment in concluding his poem, 204. His description
of the delights of spring, 310. His great power over the imagination,
363.
Mimicry, why it affords delight, 357.
Mind, how supplied with materials for thinking, 448.
Minds of wise men and fools, little difference between them, 7.
Miracles, in poetry, how to be reconciled with credibility, 136.
Mirth, contrasted with cheerfulness, 293.
Mistake, of Mr. Addison, on a passage in Milton, 132, note.
Mock heroic poems, allegorical persons why admissible in them, 23.
Moderns, exceed the ancients in the arts of ridicule, 52.
Modesty a disadvantage to public persons, 19. An embellishment to
great talents, 20. An ornament and guard to virtue, 20. A de-
fence against suicide, and a guard of female virtue, 21. Vicious
modesty exposed, 22. False, distinguished from true, 424. Its evil
tendency, 425.
Moloch, his appropriate character, 126. His rash and furious speech,
127. Wounded, the idea taken from the Iliad, 160.
Moluc, Muly, his magnanimous death, 275.
Monarchy, unlimited, arguments for and against, 225.
Montaigne, a pattern for essay-writing, 455.
Monuments, remarkable, raised by eastern nations, 278.
Moral, inculcated in Paradise Lost, 207.
Moral world, of a mixt nature, 378.
Morality, its pre-eminence to faith, 428. Not perfect unless support-
ed by Christian faith, 429. Strengthes faith, 440.
More preferable, a blunder not imputed to Mr. Addison, 337, note.
More, Sir Thomas, his gaiety in life, and cheerfulness in death, 274.
Morning hymn, in Paradise, 150.
Mortality, a bill of, an argument for Providence, 227.
persons who died for love, 291.
Moses, a Jewish tradition concerning him, 32. Certain passages in
his history copied by Milton, 203.
Much cry but little wool, to whom applied, 56.
Mucro, or point, of a coquette's heart, its qualities, 220.
Musculi amatorii, or ogling muscles in a beau's head, 218.
Muse, Sappho called the 10th, 4.
Muses, how represented by Homer and Hesiod, 325.
Music, a religious art among the Jews, 325.
other ancient nations, 325. Strengthens devotion, 326.
Names of authors to be put to their works, the hardships and incon-
veniences of it, 409.
Nature, described as disturbed by the guilt of our first parents, 182.
Its works more delightful to the imagination than those of art,
347.
Nemesis, an old maid, a great discoverer of judgments, 468.
New or uncommon, every thing that is so, a source of pleasure to the
imagination, 341. What understood by the term with respect to
objects, ib. Improves what is great and beautiful ib. Why a secret
pleasure annexed to ideas of it, 345. Every thing so that pleases in
architecture, 355.
News, its publication, how to be regulated in the London cries, 56.
The general thirst of Englishmen for it remarkable, 413. Inflamed
by the late wars, 414. Food for news-mongers, ib. Ludicrous
specimen of news, 416.
Nicolini (Signor), the Spectator's regret on his leaving the opera, 323.
Nightingale, its music delightful to a man in love, 299.
Nor, misused for but, 310, note.
Novelty, a source of pleasure to the imagination, 340.
November, for what remarkable in England, 303.
Ode to Venus, by Sappho, 5. Preserved by a Greek critic as a per-
fect pattern, 6. Specimen of an ode, with various readings, 446, 447.
Oddly, Lady Mary, her marriage to Sir John Anvil, 240.
Edipus, a story most proper for tragedy, 112. His dying request,
beautiful and pathetic, 194.
Oglers, or squint-eyed people, an assembly of them, 287.
Olivares, (Count d'), why disgraced at the court of Madrid, 231.
Olphis, a fisherman, cured by the Lover's Leap, 24.
Olympiad, the 250th, number of persons who took the Lover's Leap in
that period, 25.
Opinion; few have so good an opinion of us as we have of ourselves, 70.
Optics, a common experiment in, 348.
Orators, female, several kinds of them described, 47. English, use
less gesture than those of other countries, 326. Their gestures ridi-
culous, 328.
Oratory, modesty how far requisite in, 19.
Os Cribiforme of a beau's head described, 217.
Otway, his Monimia's tender complaint on her lover's absence, 37.
Ovid, his remark on the tongue of a beautiful female, 50. His precepts
on dress in his Art of Love, 85. His poetry sometimes trifling and
puerile, 99. His account of the deluge inferior to Milton's, 199. In
his Metamorphosis affects the imagination with what is strange,
363. His description of the palace of Fame, 387.
Oyster, and the drop of water, a Persian fable, 234.
Pagan deities, their worship mixt with absurdities, 418.
Painting, a less natural kind of representation than statuary, 356.
But more so than writing, 357.
Pandæmonium, fine description of, 123.
Pandora's box, moral deduced from that story, 450.
Pantheon at Rome, its effect on the imagination, 353.
Paper-manufacture, its benefit to the public, 283.
merated, 284.
Paphos, prayers from, to Jupiter, 307.
Paradise, how described by Milton, 141.
Paradise Lost, if not an epic, a divine poem, 86. In what superior
to the poems of Homer and Virgil, 87, 88. Greatness of its subject,
89. The action considered, 86, 99. Space of time not to be ascer-
tained, 90. Actors, 91. Why universally interesting, 95. Senti-
ments, 96. An exceptionable pleasantry noticed, 100. Language,
101. Its event unhappy, 111. Fable interwoven with improbable
circumstances, 113. Too many digressions, ib. Frequent allusion
to heathen fables, 115. Ostentation of learning, ib. Jingle of words,
116. Technical terms, 117. First book.-Simplicity in opening
the poem, 118. Person, character, and speech of Satan sublimely
appropriate, 120. Catalogue of evil spirits, 121. Character of
Mammon, and description of Pandæmonium, beautiful, 123. No-
ble similies and allusions, 124. Second book.-Satan's encounter
with Sin and Death-Moloch's character, 126. Belial, 127. Mam-
mon, 128. Belzebub, ib. Rising of the assembly, 130. Diver-
sions of the fallen angels, ib. Genealogy of Sin and Death managed
with delicacy, 131. Gates of Hell-Chaos, 132. Third book.-
Failure of Milton in the speeches of the divine persons, 133. The
Almighty's survey of the creation, 134. The fable a master-piece in
reconciling the marvellous with the probable, 136. Fine concep-
tion of the angel in the sun, and Satan's flight thither, 138. Fourth
book.-Description of Paradise, 141. Satan's meeting and confer-
ence with Zephon and Gabriel, 143. The golden scales, 144.
Adam and Eve, 145. Their evening worship, 147. Fifth book.-
Eve's dream, 149. Morning hymn, 150. Raphael's descent to
Paradise, 152. Revolt in Heaven, 154. Sixth book.-Sublime de-
scription of Messiah, 161. Seventh book.-The six days' works of
the creation, 164. Eighth book.-Adam relates to Raphael his own
history, 170. His love for Eve, 175. Ninth book.-Story of the
serpent and the tree of life, taken from Scripture, 178. Eve's
temptation and transgression, 182. Tenth book.-Greater variety
of persons than in any other, 184. Guardian angels' return to Hea-
ven from Paradise after the fall, ib. Arrival of Sin and Death into
the works of creation, 185. Satan's return to Hell, and trans-
formation, 187. Adam's remorse and despair, 188. Bold personi-
fications of Milton, 192. Eleventh book.-Penitence of our first
parents on the spot where their sentence was pronounced, 193. In-
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