Terror) arises sometimes to its utmost height instantaneously i. 143. a silent passion ii. 205. Objects that strike terror have a fine effect in poetry and painting iii. 211. The terror raised by tragedy explained iii. 228.
Theorem) general theorems agreeable i. 255.
Time) past time expressed as present i. 118. Natural computation of time i. 200. &_c._
Touch) in touching we feel an impression upon the organ of sense iii. 380.
Trachiniens) of Sophocles censured iii. 286.
Tragedy) modern tragedy censured ii. 155. French tragedy censured ii. 159. Note. ii. 194. The Greek tragedy accompanied with musical notes to ascertain the pronunciation ii. 350. Tragedy ch. 22. iii. 218. in what respect it differs from an epic poem iii. 218. distinguished into pathetic and moral iii. 221. its good effects iii. 223. compared with the epic as to the subjects proper for each iii. 225. 226. how far it may borrow from history iii. 234. rule for dividing it into acts iii. 236. double plot in it iii. 251. admits not supernatural events iii. 254. its origin iii. 270. Ancient tragedy a continued representation without interruption iii. 271. Constitution of the modern drama iii. 273.
Trees) the best manner of placing them iii. 307.
Triangle) equilateral, its beauty i. 253.
Ugliness) proper and figurative iii. 388.
Unbounded prospect) disagreeable i. 366. Note.
Uniformity) apt to disgust by excess i. 253. Uniformity and variety ch. 9. i. 380. The melody ought to be uniform where the things described are uniform ii. 411. Uniformity defined iii. 390.
Unity) the three unities ch. 23. iii. 259. of action iii. 260. of time and of place ii. 267. Unities of time and place not required in an epic poem iii. 268. Strictly observed in the Greek tragedy iii. 272. Unity of place in the ancient drama iii. 285. Unities of place and time ought to be strictly observed in each act of a modern play iii. 291. Wherein the unity of a garden consists. iii. 304.
_Unumquodque eodem modo dissolvitur quo colligatum est_ i. 368.
Vanity) a disagreeable passion i. 134. always appears mean ii. 34.
Variety) distinguished from novelty i. 329. Variety ch. 9. i. 380.
Verse) distinguished from prose ii. 353 Sapphic verse extremely melodious ii. 358. Iambic less so ii. 358. Structure of an hexameter line ii. 364. Structure of English heroic verse ii. 382. 384. English monosyllables arbitrary as to quantity ii. 383. English heroic lines distinguished into four sorts ii. 421. Latin hexameter compared with English rhyme ii. 441. compared with blank verse ii. 442. French heroic verse compared with hexameter and rhyme ii. 443. The English language incapable of the melody of hexameter verse ii. 446. For what subjects is rhyme proper ii. 447. &_c._ Melody of rhyme ii. 449. Melody of verse is so inchanting as to draw a veil over gross imperfections ii. 457. Verses composed in the shape of an axe or an egg iii. 310.