fimple ii. 207. In what
refpect it differs from a
tragedy ii. 235. 236. Dif-
tinguished into pathetic
and moral ii. 237. Its
good effects ii. 238. Com-
pared with tragedy as to
the fubjects proper for
each. ii. 239.
How far
it may borrow from hif-
tory ii. 244. Rule for
dividing it into parts ii.
245.

Epic poetry ch. 22.
Epicurus) cenfured ii. 327.
Note.
Episode) in an hiftorical

poem ii. 252. Requifites
ii. 252.
Epiftles dedicatory) cenfur-
ed i. 207. 208. Note.
Epithets) redundant ii. 229.
Epitritus. ii. 115.
Effay on man) criticifed ii.

betwixt two objects,
ought to resemble each
other ii. 23, &c. Force
of expreffion by fufpend-
ing the thought till the
clofe ii. 50.
External objects) their rea-
lity i. 48. 49.
External fenfes) diftinguish-
ed into two kinds i. 1.
Intr. External sense ii.
323.

External figns) of emotions
and paffions ch. 15. Ex-
ternal figns of paffion,
what emotions they raise
in a spectator i. 60, &c.
Eye-fight) influenced by
pation i. 106. 107. 178.
180.

Face) though uniformity
prevail in the human face,
yet every face is diftin-
guishable from another
i. 205.
Faculty) by which we know
paffion from its external
figns i. 212.
Fairy Queen) criticised ii.
182.

Falle quantity) painful to
the ear ii. 79.
Fame) love of i. 117.
Familiarity) its effect i. 68.
159. ii. 192. it wears off
by abfence i. 164.
Fashion) its influence ac-
counted for i. 36. Fafh-
ion is in a continued flux
i. 126.
Fear) explained i. 44, &c.

Rifes often to its utmoft
pitch in an inftant i. 68.
Fear arifing from affection
or averfion i. 69. Fear
is infectious i. 110.
Feeling) its different fignifi.

cations ii. 324.
Fiction) emotions raised by
fiction i. 48, &c.
Figure) beauty of i. 122.
Definition of a regular
figure ii. 333, &c.
Figures) fome paflions fa-
vourable to figurative ex-
preffion i. 314. ii. 131.
Figures ch. 20. Figure
of fpeech ii. 153, &c.
171. 190, &c. Figures
were of old much strained
ii. 117. 181.

Final caufe) defined i. 222
Final caufe of our fenfe
of order and connection
i. 12. of the fympathetic
emotion of virtue i
33.
of the inftinctive passion
of fear i. 44. 45. of the
inftinctive paffion of anger
i. 48. of ideal presence i.
56, &c. of the power
that fiction has over the
mind i. 58. of emotions
and paffions i. 110, &c.
of the communication of
paífion to related objects
i. 117. of regularity,
uniformity, order, and
fimplicity i. 123. of pro-
portion i. 123. of beauty
i. 127. Why certain
objects are neither plea-.
fant nor painful i. 134.

135. 154 of the pleasure
we have in motion and
force i. 158. of curiofity
i 159 of wonder i. 166.
of furprise i. 167. of the
principle that prompts us
to perfect every work i.
182. of the pleasure or
pain that refults from the
different circumstances of
a train of perceptions i.
197, &c. of congruity
and propriety i. 215, &c.
of dignity and meannefs
i. 223. of habit i. 261,
&c. of the external figns
of paffion and emotion i.
271.277, &c. Why ar-
ticulate founds fingly a
greeable are always a-
greeable in conjunction
ii. 6. 7. of the pleasure
we have in language ii.
231. of our relish for
various proportions in
quantity i. 296. Why
delicacy of taste is with
held from the bulk of
mankind ii. 313. of our
conviction of a common
ftandard in every species
of beings ii. 316. of u-
niformity of taste in the
fine arts ii. 316. 317.
Why the fenfe of a right
and a wrong in the fine
arts is lefs clear than the
fenfe of a right and wrong
in actions ii. 319. Final
cause of greater impor-
tance than the efficient
cause i. 222.

Fine arts) defined i. 4. 9.
Intr. A fubject of rea-
foning i. 5. Intr. Educa-
tion promoted by the
fine arts i. 5. 6. Intr. ii.
290. The fine arts a
great fupport to morality.
i. 6, &c. Intr. ii. 290.
311, &c. Their emotions
ought to be contrasted in
fucceffion i. 186. Unifor-
mity and variety in the
fine arts i. 199. Confi-
dered with refpect to
dignity i. 222. How far
they may be regulated by
custom i. 263. None of
them are imitative but
painting and sculpture ii.

3.

Aberrations from a
true taste in these arts ii.
318. Who qualified to
be judges in the fine arts

ii. 320.
Fluid) motion of fluids i.
155.
Foot) the effect that fylla-

bles collected into feet
have upon the ear ii. 28.
Mufical feet defined ii.
69. Note. A lift of verse
feet ii. 114.
Force) produces a feeling
that refembles it i. 108.
Force ch. 5. Moving
force i. 155. Force gives
a pleasure differing from
that of motion i. 155. It
contributes to grandeur
i. 156.
Foreign) preference given
to foreign curiofities i.
165.

requires

Fountains) in what form
they ought to be ii. 286.
French dramatic writers)
criticised i. 287. Note.
307. ii. 274.
French verfe)
rhyme ii. 111.
French language) more live-
ly to the ear than the
English ii. 96. Note. In
French words the laft
fyllable generally long
and accented ii. 96. Note.
Friendship) confidered with
refpect to dignity and
meanness i. 221. 222.

Gallery) why it appears
longer than it is in reality
ii. 282. Is not an agree
able figure of a room ii.
299.

Games) public games of
the Greeks i. 156.
Gardening) a fine garden
gives luftre to the owner
i. 37. Note. Grandeur of
manner in gardening i.
146. Its emotions ought
to be contrafted in fuc-
ceffion i. 186. A small
garden fhould be confined
to a fingle expreffion i
187. ii. 276. A garden
near a great city should
have an air of folitude i.
187. A garden in a wild
country fhould be gay and
fplendid i. 187. Gar-
dening ch. 24. What
emotions can be raised
by it ii. 276. Its emoti-

ons