Part 17

HORACE, explained and illustrated, _passim_. his _Epistle to the Pisos_, a criticism on the Roman drama, Introd. to vol. i. 15. the character of his genius, 24. his _Epistle to Augustus_, an apology for the _Roman_ poets, 325. design and character of his other critical works, 407. what may be said for his flattery of _Augustus_, 330. fond of the old _Latin_ poets, 349. his knowledge of the world, 379.

HUME, _David_, Esq., his account of the pathos in tragedy, considered, i. 118. his judgment of Fontenelle’s discourse on pastoral poetry, 218.

HUMOUR, the end of comedy, ii. 57. two species of humour, 59. one of these not much known to the ancients, ibid. neither of them in that perfection on the ancient as modern stage, 60. may subsist without ridicule, 62. yet enlivened by it, 64.

HYMNS, profane and sacred, why similar, ii. 138.

I. and J.

INVENTION, in poetry, what, ii. 111. principally displayed in the _manner_ of imitation, 158.

JESTER, a character by profession amongst the _Greeks_, i. 235.

IMITATION, primary and secondary, what, ii. 113. the latter not easily distinguishable from the former, ibid. shewn at large in respect of the matter of poetry, 115 to 176. of the _manner_, 176 to 215. in painting, sooner detected than in poetry, why, 162. how it may be detected, 208 and _Letter to Mr. Mason_, throughout. Why no rules delivered for it in the _Discourse on imitation_, 214. confessed, no certain proof of an inferiority of genius, 215, 216. accounted for from habit, 217. from authority, 221. from judgment, 222. from similarity of genius, 224. from the nature of the subject, 226. its singular merit, 228. not to be avoided by literate writers without affectation, 234.

INCOLUMI GRAVITATE, a learned critic’s interpretation of these words, i. 201.

INNOVATION, in words, why allowed to old writers, and not to others, i. 88.

INTRIGUE, when faulty in comedy, ii. 39.

JONSON, _Ben_, a criticism on his _Catiline_, i. 135. his _Every man out of his humour_ censured, ii. 52. his _Alchymist_ and _Volpone_ criticized, 101. the character of his genius and comedy, 103.

IPHIGENIA at AULIS, of Euripides, vindicated, i. 131.

JULIUS POLLUX, shews the _Tibia_ to have been used in the chorus, i. 177.

JUNCTURA CALLIDA, explained, i. 74. exemplified from Shakespear, 77.

K.

KNOWLEDGE of the world, what, i. 379.

L.

LABERIUS, his mimes, what, i. 205.

LAMBIN, his comment on _communia_ supported, i. 133.

LANDSKIP-PAINTING, wherein its beauty consists, i. 71.

LEX TALIONIS, i. 127.

LICENCE, of particular seasons in _Greece_ and _Rome_, its effect on taste, i. 234, 235. of ancient wit, to what owing, 231.

LIPSIUS, his extravagant flattery, i. 332.

LONGINUS, his opinion of imitators without genius, i. 250. accounts for the decline of the arts, 265. his opinion of the mutual assistance of art and nature, 273. his method of criticizing, scientific, 392. wherein defective, 394.

LOVE, subjects of, a defect in modern tragedy, why, ii. 34. passion of, how described by _Terence_ and _Shakespear_, ii. 144. by _Catullus_ and _Ovid_, 151. by _Virgil_, 152.

LUCIAN, the first of the ancients who has left us any considerable specimens of comic humour, i. 225. his ΑΛΕΚΤΡΥΩΝ and ΛΑΠΙΘΑΙ, 235.

M.

MACHINERY, essential to the epic poetry, why, ii. 166.

MALHERBE, M., the character and fortune of his poetry, i. 358.

MANNERS, why imperfect in both dramas, ii. 60. description of, whence taken, 129.

MARKLAND, Mr., an emendation of his confirmed, i. 71.

MARKS, of _Imitation_, ii. _Letter to Mr. Mason_.

MASON, his _Elfrida_, commended, i. 148.

MEDEA, of _Euripides_, commended, i. 121. its chorus vindicated, 162. of _Seneca_, censured, 122.

MENAGE, his judgment of ancient wit, i. 230. his intended discourse on imitation, 405.

MENANDER, why most admired after the _Augustan_ age, i. 223. did not excel in comic humour, 225. his improvements of comedy, ii. 72.

MILTON, his angels, whence taken, ii. 116. his attention to the effects of the manners, 158.

MIMES, the character of them, i. 205. defined by _Diomedes_, 206.

MODERNS, bad imitators of _Plato_, i. 234.

MOLIERE, his comedies farcical, ii. 100. his _Misanthrope_ and _Tartuffe_ commended, 101.

MONEY, love of, the bane of the ancient arts, i. 264.

MORNING, descriptions of, in the poets compared, ii. 123. when most original, 126.

MUSIC, old, why preferred by the _Greek_ writers, i. 181. why by the _Latin_, 182.

—— of the stage, its rise and progress at _Rome_, i. 168. defects of the old music, 182.

N.

NARRATION, oratorial, the credibility of, on what it depends, ii. 130. n.

NOVELS, modern, criticized, ii. 18.

O.

ODE, its character, i. 94. its end, 270. the poet’s own odes, apologized for, ibid.

OPINION, popular, of writings, under what circumstances to be regarded, i. 355.

D’ORVILLE, Mr., his defence of the double sense of verbs examined, i. 358.

OSCI, their language used in the Atellanes, i. 196.

OTWAY, his _Orphan_ censured, i. 68.

OVID, the character of his genius, Introd. to i. 23, 24. a conjecture concerning his _Medea_, i. 143. makes the satyrs to be a species of the tragic drama, 192. his account of the mimes, 205.

P.

PAINTING, _Landskip_, wherein its beauty consists, i. 71. _Portrait_, its excellence, ii. 49. difference between the _Italian_ and _Flemish_ schools, i. 256. its moral efficacy, 375. inferior to poetry, in what, ii. 130. wherein superior to poetry, 146. expresses the general character, 160. hath an advantage in this respect over poetry, 162. unable to represent moral and œconomical sentiments, 168.

PASSIONS, the way to paint them naturally, ii. 131.

PASTORAL poetry, its genius, and fortunes, i. 214.

PATHOS, the supreme excellence of tragedy, i. 116., 397. how far to be admitted into comedy, ii. 73. the pleasure arising from, how to be accounted for, i. 119.

PATERCULUS, _Velleius_, an admirer of _Menander_, i. 229. his character of Pomponius, 197.

PAUSANIAS, describes two pictures of _Polygnotus_, ii. 161.

PERRON, Cardinal, his manner of criticizing _Ronsard_, i. 394.

PLATO, his opinion of _Homer’s_ imitations, i. 67. commends the _Aegyptian_ policy in retaining the songs of _Isis_, 181. his _Symposium_ criticized, 235. his manner of writing, characterised, 255. his _Phaedrus_ censured, ibid. his objection to poetry answered, 256.

PLAUTUS, why _Cicero_ commends his wit, and _Horace_ condemns it, i. 220. copied from the middle comedy, 228. his apology for the _Amphitruo_, why necessary, ii. 42. preferred to _Terence_ in the _Augustan_ age, i. 228.

PLOTS, double, in the _Latin_ comedies, admired, why, i. 354.

PLUTARCH, his admiration of _Menander_, i. 229.

POETRY, the art of, wherein it consists, ii. 3. the knowledge of its several species, necessary to the dramatic poet, i. 94. more philosophic than history, 257. tragic, its peculiar excellence, 397. hath the advantage of all other modes of imitation, in what, ii. 172.

—— descriptive, an identity in the subject of, no proof of imitation, ii. 118.

—— pure, the proper language of Passion, i. 104.

POETS, old, much esteemed by _Horace_, i. 349. their apology, 380. bad soldiers, 384. dramatic, a rule for their observance, i. 105. bad, characterized by _Milton_, 378.

POLYGNOTUS, his simple manner, why admired, under the emperors, i. 346. his expedient to explain the design of his pictures, ii. 161.

POMPONIUS, in what sense Inventor of the Atellane poem, i. 198.

POPE, Mr., honoured after death, by whom, i. 329. his censure of a passage in the _Iliad_, defended, 359. his judgment of the 6th book of the _Thebaid_, ii. 191. his censure of the comparisons in _Virgil_ considered, 201. his opinion of imitation, 234.

POUSSIN, _Gaspar_, his landskips, in what excellent, i. 70.

PRODIGIES, inquiry into, the author’s opinion of that discourse, ii. 206. an observation quoted from it, ib.

PULCHRUM, how distinguished from _Dulce_, i. 109.

Q.

QUINTILIAN, his judgment of new words, i. 88, 93. of _Varius’_ tragedy of Thyestes, 95. of the pathetic vein of _Euripides_, 116. of _Ovid’s Medea_, 144. of the state of Music in his time, 182. of _Euripides’_ use of sentences, 190. of the old _Greek_ comic writers, 223. of _Terence’s_ wit, 225. and elegance, 226. of the licentious feasts of _Bacchus_, &c., 235. of _Aeschylus_, 239. of the false fire of bad writers, 250. his opinion of the necessary inferiority of a copy to its original, how far to be admitted, ii. 114. his rule for oratorial narration, 130. n.

R.

RANDOLPH, his _Muse’s Looking-glass_, censured, ii. 53.

RHYME, how far essential to modern poetry, ii. 11.

RICCOBONI, L., his observation of the difference betwixt the _Greek_ and _French_ drama, ii. 43. n. a good critic, though a mere player, ib.

ROBORTELLUS, his explanation of a passage, inforced, i. 110.

ROMANS, much addicted to spectacles, i. 389.

RUISDALE, his waters, i. 71.

S.

SALMASIUS, what he thought of the method of the _Epistle to the Pisos_, Intr. to vol. i. 25. n.

SAPERET, the meaning of this word in A. P., i. 169.

SATYRS, a species of the tragic drama, i. 192. distinct from the Atellane fables, 195.

—— of elder _Greece_, what, i. 194.

—— why _Horace_ enlarges upon them, i. 202, 203. their double purpose, 200. style, 210. measure, 219.

SCALIGER, J., what he thought of the Epistles of _Horace_, Intr. to i. 24. n. of the ancient Mimes, i. 205. his wrong interpretation of the _Art of Poetry_, to what owing, Intr. to i. 16.

SCENE, of comedy, laid at home; of tragedy, abroad; the reason of this practice, ii. 55.

SCHOLARS, their pretensions to public honours and preferments, on what founded, i. 399.

SCHOLIA, of the _Greeks_, i. 187. Aristotle’s translated, 189.

SENECA, the philosopher, his account of the mimes of _Laberius_, i. 206.

—— his _Medea_, censured, i. 121, 143. his _Hippolytus_ censured, 149. his Aphorisms quaint, 191.

SENTENCES, why so frequent in the _Greek_ writers, i. 185.

SENTIMENTS, religious, moral, and œconomical, why the descriptions of, similar in all poets, ii. 136, 145.

SERMO, the meaning of this word, i. 327.

SHAFTESBURY, E., of, his opinion of _Homer’s_ imitations, i. 67. of the writings of _Plato_, 252. his Platonic manner liable to censure, 253.

SHAKESPEAR, excels in the _callida junctura_, i. 77. how he characterizes his clowns, 200. his want of a learned education, 248. advantages of it, ib. his excellence in drawing characters, wherein it consists, ii. 53. his power in painting the passion of grief, 133. his description of œconomical sentiments, original, 144.

STATIUS, his character, ii. 190. his book of games criticized, 191.

SHIRLEY, a fine passage from one of his plays, i. 86.

SIDNEY, Sir Philip, his character, i. 116. his encomium on the pathos of tragedy, 397.

SOCRATES, his office in the symposia of _Xenophon_ and _Plato_, i. 236. n. his judgment of moral paintings, 375.

SOPHOCLES, the chorus of his _Antigone_ defended, i. 158, 163. n. a satyric tragedy ascribed to him, 193. a circumstance in his _Electra_ compared with _Euripides_, 259.

STEPHENS, H., his observations on the refinement of the _French_ language, i. 90.

STRABO, a passage from him to prove the Tuscan language used in the Atellanes, i. 198.

STYLE, of poetry, defined, ii. 10.

SUBJECTS, public, how to acquire a property in them, i. 219. domestic, why fittest for the stage, 247. real, succeed best in tragedy; feigned, in comedy, why, ii. 46.

T.

TACITUS, a bold expression of his, justified, i. 103.

TELEMAQUE, why no new similes in this work, ii. 203.

TELEPHUS, a tragedy of _Euripides_, i. 107. another tragedy of that name glanced at by _Horace_, 108.

TEMPE, _Aelian’s_ description of, translated, ii. 119.

TEMPLE, Sir William, his sentiments on the passion of avarice, i. 265. his notion of religious description in modern poets, ii. 166.

TERENCE, why his plays ill received, i. 224. fell short of _Menander_ in the elegance of his expression, 225. a remarkable instance of humour in the Hecyra, ii. 62. the characteristic of his comedies, his _Hecyra_ vindicated, i. 354, 355. a passage in his _Andrian_ compared with one in _Shakespear’s Twelfth-Night_, ii. 144. his opinion of the necessary uniformity of moral description, 194.

TRAGEDY, the Author’s idea of, ii. 30. conclusions, concerning its nature, from this idea, 31. attributes, common to it and comedy, 42. attributes peculiar to it, 45.

—— admits pure poetry, i. 101. why its pathos pleases, 119. on low life, censured, ii. 84. a modern refinement, 86. accounted for, 87.

TRAPP, Dr., his interpretation of _communia_, i. 134. his judgment of the chorus, 146.

TRUTH IN POETRY, what, i. 255. may be followed too closely in works of imitation, ib.

U.

VARRO, _M. Terentius_, assigns the distinct merit of _Cæcilius_ and _Terence_, i. 353.

VATRY, Abbé, his defence of the ancient chorus, i. 148.

VICTORIUS, of the satyric Metre, i. 219.

VIRGIL, his method in conducting the _Aeneis_ justified, i. 139. his address in his flattery of _Augustus_, 332. his introduction to the third _Georgic_ explained, 333. three verses in the same, spurious, 341. n. his moral character, vindicated, 403. his poetical, vol. ii. _Discourse on poetical imitation_, throughout; his book of _games_ defended from the charge of plagiarism, 187. why few comparisons in his works, but what are to be found in _Homer_, 201.

UNCTI, the meaning of, in the Epistle to _Augustus_, i. 349.

VOLTAIRE, _M. de_, his judgment of machinery, what, ii. 166. n.

UPTON, Mr., his criticism on the satyrs, examined, i. 202.

W.

WARBURTON, Mr., his edition of Mr. _Pope_; Intr. to i. 26. and of Shakespear, Ded. to Epistle to Augustus, 287. and 80. his judgment of the intricacy of the comic plot, ii. 39. of the scene of the drama, 55. of comic humour, 61. of the double sense in writing, i. 365. of the similarity in religious rites, ii. 165.

WHOLE, its beauty consists not in the accurate finishing, but in the elegant disposition, of the parts, i. 69.

WIT, ancient, licentious, i. 230. why, 231.

WORDS, old ones, their energy, how revived, i. 89.

X.

XENOPHON, an elegant inaccuracy in a speech in the _Cyropaedia_, i. 99. n. his fine narration of a circumstance in the story of _Panthea_, unsuited to the stage, 143. his symposium explained, 235. n. a conversation on painting from the _Memorabilia_, translated, 375.

Z.

ZEUXIS, his pictures, in what repute under the Emperors, i. 346.

THE END OF THE SECOND VOLUME.

Nichols and Son, Printers, Red Lion Passage, Fleet Street, London.

FOOTNOTES:

[1] Empedocles. See Plutarch, vol. I. p. 15. Par. 1624.

[2] See STRABO, l. i. p. 15. Par. 1620.

[3] ADV. OF LEARNING, vol. i, p. 50. Dr. Birch’s Ed. 1765.

[4] Aristotle was of the same mind, as appears from his definition of comedy, which, says he, is ΜΙΜΗΣΙΣ ΦΑΥΛΟΤΕΡΩΝ; [κ. ε.] that is, _the imitation of characters_, whatever be the distinct meaning of the term φαυλότεροι. It is true, this critic, in his account of the origin of tragedy and comedy, makes them both the imitations of ACTIONS. Οἱ μὲν σεμνότεροι ΤΑΣ ΚΑΛΑΣ ἐμιμοῦντο ΠΡΑΞΕΙΣ, οἱ δὲ εὐτελέστεροι ΤΑΣ τῶν φαύλων. [κ. δ.] Yet, even here, the expression is so put, as if he had been conscious that _persons_, not _actions_, were the direct object of comedy. And the quotation, now alledged from another place, where a definition is given more in form, shews, that this was, in effect, his sentiment.

[5] The neglect of this is one of the greatest defects in the _modern drama_; which in nothing falls so much short of the perfection of the Greek scene as in this want of simplicity in the construction of its fable. The good sense of the author of the _History of the Italian Theatre_ (who, though a mere player, appears to have had juster notions of the drama, than the generality of even professed critics) was sensibly struck with this difference in _tragedy_. “Quant à l’unité d’action, says he, je trouve un grande difference entre les tragedies Grecques et les tragedies Françoises; j’apperçois toûjours aísément l’action des tragedies Grecques, et je ne la perds point de vûe; mais dans les tragedies Françoises, j’avoüe, que j’ai souvent bien de la peine à demêler l’action des episodes, dont elle est chargée.” [_Hist. du Theatre Italian_, par LOUIS RICCOBONI, p. 293. _Paris_ 1728.]

[6] _Non hominem ex ære fecit, sed iracundiam._ Plin. xxxiv. 8.

[7] P. ALVAREZ SEMEDO, speaking of their poetry, says, “Le plus grand advantage et la plus grande utilité qu’en ont tiré les CHINOIS, est cette grande modestie et retenuë incomparable, qui se voit en leurs ecrits, _n’ayant pas meme une lettre en tous leurs livres, ni en toutes leurs ecritures, pour exprimer les parties honteuses de la nature_.” [HIST. UNIV. DE LA CHINE, p. 82, à LYON 1667. 4^{to}.]

[8] LE RIDICULE EST CE QU’IL Y A DE PLUS ESSENTIEL A LA COMEDIE. [P. RAPIN, REFLEX. SUR LA POES. p. 154. PARIS 1684.]

[9] Οἱ μὲν σεμνότεροι τὰς καλὰς ἐμιμοῦντο πράξεις, καὶ τὰς τῶν τοιούτων τύχας· οἱ δὲ εὐτελέστεροι, τὰς τῶν φαύλων, ΠΡΩΤΟΝ ΨΟΓΟΥΣ ΠΟΙΟΥΝΤΕΣ, ΩΣΠΕΡ ἙΤΕΡΟΙ ΥΜΝΟΥΣ ΚΑΙ ΕΓΚΩΜΙΑ. [ΠΕΡ. ΠΟΙΗΤ. κδ.] This is Aristotle’s account of the origin of the different _species of_ POETRY. They were occasioned, he says, by the different and even opposite _tempers and dispositions of men: those of a loftier spirit delighting in the encomiastic poetry, while the humbler sort betook themselves to satire_. But this, also, is the just account of the rise and character of the different _species of the_ DRAMA. For they grew up, he tells us in this very chapter, from the DITHYRAMBIC, and PHALLIC songs. And who were the _men_, who chaunted _these_, but the ΣΕΜΝΟΤΕΡΟΙ, and ΕΥΤΕΛΕΣΤΕΡΟΙ, before-mentioned? And how were they _employed_ in them, _but the former, in hymning the praises of Bacchus; the latter, in dealing about obscene jokes and taunting invectives on each other_? So that the _characters_ of the men, and their _subjects_, being exactly the same in _both_, what is said of the _one_ is equally applicable to the _other_. It was proper to observe this, or the reader might, perhaps, object to the use made of this passage, _here_, as well as _above_, where it is brought to illustrate Aristotle’s notion of the _natures_ of the tragic and comic poetry.

[10] _Pref. generale_, tom. vii. Par. 1751.

[11] “On attache par le grand, par le noble, par le rare, par l’imprévû. On émeut par le terrible ou affreux, par le pitoyable, par le tendre, par le plaisant ou ridicule.” p. xiv.

[12] “Que nous sommes en droit d’examiner si, en fait de Theatre, nous n’aurions pas quelquefois des _habitudes_ au lieu de _regles_, car les regles ne peuvent l’être qu’ après avoir subi les rigueurs du tribunal de la raison.” p. 37.

[13] Οὐ πᾶσαν δεῖ ζητεῖν ἡδονὴν ἀπὸ τραγῳδίας, ἀλλὰ τὴν οἰκείαν. Ποιητ. κ. ιδʹ.

[14] _Reflex. sur la Poes._ p. 132.

[15] “Ces sortes de speculations ne donnent point de genie à ceux qui en manquent; elles n’aident beaucoup ceux qui en ont: et le plus souvent même les gens de génie sont incapables d’être aidées par les speculations. A quoi donc sont-elles bonnes? A faire remonter jusqu’aux premieres idées du beau quelques gens qui aiment la raisonnement, et se plaisent à reduire sous l’empire de la philosophie les choses qui en paroissent le plus indépendantes, et que l’on croit communément abandonnées à la bizarrerie des goûts.” M. DE FONTENELLE.

[16] Μελαίνει τε, says Dionysius of Halicarnassus, speaking of his figurative manner, τὸ σαφὲς καὶ ζόφῳ ποιεῖ παραπλήσιον· [T. ii. p. 204. _Ed. Hudson_.]

[17] PLATO DE REPUB. lib. x.

[18] Spectator, No. 56.

[19] QUINCTIL. lib. x. c. 11.

[20] Botanists give it the name of _oriental bind weed_. It is said to be a very rambling plant, which climbs up trees, and rises to a great height in the Levant, where it particularly flourishes.

[21] ARIST. RHET. lib. iii. c. xi.

[22] Ὅταν ἃ λέγῃς, ὑπ’ ἐνθουσιασμοῦ καὶ πάθους βλέπειν δοκῇς, καὶ ὑπ’ ὄψιν τιθῇς ἀκούουσιν. [ΠΕΡ. ΥΨ. § xv.]

[23] What is here said of _poetical fiction_, Quinctilian hath applied to _oratorial narration_; the credibility of which will depend on the observance of this rule. _Credibilis erit narratio antè omnia, si priùs consuluerimus nostrum_ ANIMUM, _nequid naturae dicamus adversum_. [L. iv. 2.]

[24] So the great philosopher, ὃ γὰρ περὶ ἐνίας συμβαίνει πάθος ψυχὰς ἰσχυρῶς, τοῦτο ἐν πάσαις ὑπάρχει. τῷ δὲ ἧττον διαφέρει, καὶ τῷ μᾶλλον. ΠΟΛΙΤ. Θ. Whence our Hobbes seems to have taken his aphorism, which he makes the corner-stone of his philosophy. “That for the similitude of the thoughts and passions of one man to the thoughts and passions of another, whosoever looketh into himself, and considereth what he doth, when he does _think, opine, reason, hope, fear_, &c. and upon what grounds; he shall thereby read and know, what are the thoughts and passions of all other men, upon the like occasions.” LEVIATHAN, _Introd. p. 2. fol. London_. 1651.

[25] M. DE LA BRUYERE, Tom. 1. p. 91. Amst. 1701.

[26] Dr. Duport.

[27] JEREMIAS HOELSLINUS, _Prolegom. ad. Apollon. Rhodium_.

[28] DIV. LEG. vol. ii. par. 1. p. 355. ed. 1741.

[29] Sir WILLIAM TEMPLE’S _Works_, vol. i. p. 245. ed. 1740. fol.

[30] “_La machine du merveilleux_, _l’intervention d’un pouvoir céleste_, la nature des episodes, tout ce qui _depend de la tyrannie de la coutume_, & de cet instinct qui on nomme goût; voilà sur quoi il y a mille opinions, & _point de régles générales_.” M. DE VOLTAIRE, _Essaye sur la poësie Epique_, chap. i.

[31] DE AUGM. SCIENT. lib. ii. c. 13.

[32] _A Critical and Philosophical Inquiry into the causes of prodigies and miracles_, &c. p. 130.

[33] Letter to Mr. MASON.

[34] Mr. Addison.

[35] _Somn. Scip._ ii. c. 10.

[36] PLATO, _Alcibiad._

[37] _Reflex. sur la Poës. et sur la Peint._ tom. ii. 80. Par. 1746.

[38] _Inquiry into the L. and W. of Homer_, p. 174.

[39] MACROBIUS, V. _Saturnal._

[40] _Inquiry into L. &c. of Homer_, p. 319.

[41] _Mem. de l’Acad. des Inscript. &c._ tom. vi. p. 445.

[42] Mr. Pope’s Preface to his Works.

[43] Pref. to GONDIBERT, p. 2. Lond. 1651, 4^{to}.

[44] Ibid. p. 30.

[45] Pref. to GONDIBERT, p. 3. Lond. 1651, 4^{to}.

[46] Answer to the Preface, p. 81.

[47] P. 214.

[Transcriber’s Note:

All instances of a stigma (ϛ) in words have been changed to sigma tau (στ).

The original text had an alternative pi (ϖ) at the start of a word. These have been changed to the standard pi (π).

Inconsistent spelling and hyphenation are as in the original.]