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in Divinity, quoted, 48, 52, 53, 54, 55, 59, 60, 62, 100.
Opinion of the Stage, 115. Of the School for Scandal, 116.
Of the imagination and fine arts, 116. Invocation to his Poem
on Redemption, 132. Opinion of Sacred music, and Ora-

torios, 186. Of Foote's wit, 204.
Hill, the Rev. Rowland, his Warning to Professors, quoted, 45, 91,

101, 147, 167, 136. His observations on a passage in the

Roman History, 161. Objects to Oratorios, 184.
Home, a Poem, instance of suicide in it, 171.
Honour, set up in opposition to Christianity, 33, 164.
Horace, his opinion of the Stage, 107.
Horne, Bishop, his Essays and Thoughts, quoted, 85, 197, 200, 201.
Sermon on Patience, 184. Sermon on Church music, 185.

the
cross, 191.

On the duty of contending for
the Faith, 200. His character as a Poet, 217.

On taking up

I.

Inchbald, Mrs. 193, 234. see, Such Things Are, To Marry or not

to Marry, Wives as they Were. Her remarks on The

Stranger, 244. On Lovers Vows, 251.
Invocations of Poets, remarks on, 129, 132.
Izzard, Anne, accused of being a Witch, 146.

J.

Jesting, how far lawful, 44, &c.
Jesus Christ, Said of him, that he was never known to laugh, 52.
Job, Book of, of a dramatic form, 11.
Johnson, Dr. Samuel, his opinion of making light of Scripture phrases,
&c. 63.

His Prayer on composing the Rambler, 131. His
Prologue on opening Drury-Lane Theatre, 112, 139. Life
of Rochester, 211. Of Dryden, 213. His moral from the

character of Falstaff, 232. His thoughts on acting, 234.
Jones, Rev. William, his Reflections on the growth of Heathenism

referred to, 122. Considerations on the Religious Worship of
the heathens, ditto. Letters from a Tutor to his Pupils, 123,
175, 219. Remarks on Voltaire, 143. Sermon on Church
music, 186. Lectures on the figurative language of Scripture,

207.
Jones, Sir William, writes Hymns to the Hindu gods, 77, Note.

Jonson, Ben, his remorse for his profane writings, 211,

K.

Kemble, Mr. his conversation with Dr. Johnson on the subject of

acting, 234.
Kotzebue, his plays, 240, &c.

L.

Landscape, the, a Poem. Instances of prayer lightly used, and

curses, '148, 156.
Laughter, considered as good for man, 53.
Law, Willian, his Tract on The Absolute unlawfulness of the Stage

Entertainment, quoted, 4, 100, 101, 175, 260. Suppresses
Tillotson's opinion in favour of an amended Stage, 22. His
opinion of the profession of a player, 88. Of the audience, 92.

Of a Clergyman's duty, 121. His Serious Call, quoted, 198.
Libertines, represented on the Stage as amiable, 33, 164. ,
Licencer of the Theatre, see Chamberlain, Lord.
Literary Panorama, its review of The Comedy of The World, 261,
Locke, John; his Essay on the Human Understanding, quoted, 46.

His definition of Wit and Judgment, 47.
London, (Porteus) Bishop of, His opinion of the Stage, 115. Inter-

feres respecting the Opera, 222.
Louisa, Song of, instance of Suicide, 172.
Love, the leading subject of our plays, 31, 160. Introduced in bad
examples, 32.

In good, 160, 163, 181. A species of
idolatry, 159.
Lowth's Lectures on Hebrew Poetry, quoted, 11, 52.
Loyally, taught by the Stage, 41, 182.

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M.

Magdalen Hospital, 245, 252.
Magistrates, their duties with respect to the Stage, 96, 258,

261, 262.
Managers of Theatres, their duties, 70, &c. 209, &c. Instance of

character required, 262.
Manlius, the Patrician, expelled the Roman Senate, 161.
Marriage, improperly treated on the Stage, 32, 163.

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Menander, quoted by St. Paul, 13. Respected by Cæsar, 104.

Reforms the Greek Stage, 221.
Miller, Mrs. her Letters from Italy, quoted, 85.
Milton, his opinion of the Stage, 104. Invocations in Paradise Lost,

131. His Comus, 138. Observations on Paradise Lost, by

Ely Bates, 218.
Ministers, Christian, called upon to shew people their duty in every

particular, 24, 36, 42, 96, 121.
Miseries of Human Life, 198. Antidote to ditto, 198.
Molierre, Morality of his Satire, 200.
More, Mrs. Hannah, Preface to her Tragedies, quoted, 33, 34, 147,

160, 164, 174, 184. An answer to it, 118. Introduction to
her Sacred Dranas, 132. Corrects the sentiments in Percy,
138, Attributes Budgel's death to the Stage, 167.

Her
Cheap Repository Tracts, 190, 238. Excellent models for
plays, ditto.

Her character as a Poet, 217. Her character
of Garrick, 227. Her Strictures on Female. Education :

opinion of The Stranger, 240, &c. 242. See Percy.
Moreland, the Painter, his paintings of humble life, 188.
Morning Chronicle, Newspaper, quoted, 224.
Morton, Thomas, Esq. 234, see School of Reform, Cure for the

Heart-Ache, Way to get Married.

N.

Nathan's Parable, 102.
Newton, Rev. John, his objections to Oratorios, 185.

0.

Observations on the Effect of Theatrical Representations, &c. a Pam-

phlet, quoted,—The uses of plays, 37, 38, 118, 174. Charac-
ter of Collier's work on the Stage, 97. On introducing love
into plays, 160. On the death of Budgell, 167. On the Cheap

Repository Tracts, 189. On the Character of Players, 229.
Offences, against God, not regarded, a sign of a nation going to de-

struction, 83.
Opera, when performed at Turin, previously read by the King, if

the Royal Family are to be present, 85.
Oratorios, 10, 40, 147. Objections to them, 184, 185. Favour-

able opinions of them, 185, abuses at them, 186.

Orthodox Churchman's Magazine, quoted, Letter on Patronage, 21.

On the Intermediate State, 143.
Orton, Job, his Exposition of the Old Testament, quoted, 11. His .

Discourse on the Stage, 22, 100, 109, 118, 167, 209.
Ossian, Poems of, tend to keep up superstition in the minds of some

persons, 144.
Owen, Dr. Charles, his Conduct of the Stage considered, quoted, 9,

104, 118, 259.

P.

Painting made use of as a mean of instruction by divine authority,

101.
Paley, Dr. his Moral Philosophy, quoted, 39.
Parables, Nathan's, 102. Christ's, 102.
Parkhurst

, John, his Greek Lexicon, quoted, 55, 207.
Patience, the moral of most plays,"183. Bishop Horne's Sermon on,

184.
Perigo, William, case of, instance of witchcraft, 146.
Philanthropy, taught by the Stage, 41, 82.
Pitt, William, Elegy on, profane expressions in it, 129.
Physiognomical Travels, 200.
Player, the Profession, how far lawful, 17, 86, &c. 236. Formerly

considered as infamous, 18. More reputable than some pro-
fessions not considered so, ditto. How far allowable to women,
238. Dissoluteness of manners amongst them, to be ascribed
in some measure to the profligate language put into their
mouths by Authors, 85, and other causes, 236. Their duties,
not to bear a part in bad productions, 86. The obloquy they
labour under, disadvantageous to improvement, 87, 230.
Some real disadyantages apprehended from the nature of the
profession, stated and answered, 89, &c, 229, 234. Roscius
respected by Cicero, , 104, 228. Dr. William Barrow's opi-
nion respecting them, 118. Instances of respectable, 211,
227, 235, Hints for them, 236. Reasons for the depravity
of many of the female performers, 85, 87, 229. Impropriety
of their appearing in men's clothes, 237, and swearing, 238.
Instance of good character in players, being required previous

to their coming into a town, 262.
Playhouse : see Stage.

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Playhouse Pocket Companion, quoted, respecting the corruptions of the

Stage, 236.
Plays, the influence of them, 5. See Stage; also separate List.

One acted in the open air in Wales, 188. Acted by peasants
in the north, 189. German, why we have been fearful of

them, 241. Hints for the regulation of plays, 259.
Plumptre, John, D.D. Editor of Hamond's Precepts, 200.
Plumptre, Anne, Translator of the Physiognomical Travels of Musæus,

200. Of several German Plays, 240.
Plumptre, James, his Collection of Songs referred to, 109, 117, 122,

215. Apology for quoting bis own works, 122. See Osway.
Account of the origin and progress of this Work: see Dedi-

cation.
Poets, quoted by St. Paul, 13.
Pope, Ode on St. Cecilia's Day, 130. Messiah, 131. His Satires,

198.
Powell, the Conjurer, 145.,
Prayers on the Stage, improper ones, 29, 148, proper, 29, 149, &c.
Printing, the abuse and use of it, 16.
Prizes, Subject of the middle Bachelors' at Cambridge, in the year

1808, 5.
Profligacy, encouraged by the Stage, 33.
Prologue and Epilogue, proper use of them, 176.
Prophecies, introduced on the Stage, 30, 155.
Providence, Fate and Fortune put instead of it, 27, 135, &c. Caution

what we attribute to it, 170, 219.
Psalms, some of them of a dramatic form, 9.
Pursuits of Literature, 198.

R.

Rapin, his opinion of the Stage, 107.
Reason, the test of Ridicule, 57, 58.
Reformation, the, effected by amending, not by extermination, 14.

Not to be expected all at once, 258.
Refutation of Heywood's Apology for Actors, quoted, 9,
Registers, Theatrical, account of the number of Plays acted at the

Theatres in a year, and the reasoning thereon, 225.
Reviewers, their duties with respect to the Stage, 96, 260, &c.

Exercise them, 223, 224, 261.

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