Hebrew poetry, in what points of view
to be considered, 459. The ancient pro-
nunciation of lost, 460. Music and poe-
try, early cultivated among the He
brews, ibid. Construction of Hebrew
poetry, ibid. Is distinguished by a con-
cise strong figurative expression, 463.
The metaphors employed in, suggested
by the climate and nature of the land
of Judea, 463, 465. Bold and sublime
instances of personification in, 466.
Book of proverbs, 467. Lamentations
of Jeremiah, ibid. Book of Job, 468.
Helen, her character in the Iliad examin-
ned, 484.

Hell, the various descents into, given by
epic poets, show the gradual improve-
ment of actions concerning a future
state, 501.

Henriade. See Voltaire.

les, ibid. General character of his
Odyssey, 488. Defects of the Odyssey,
ibid. Compared with Virgil, 489.
Hooker, a specimen of his style, 200.
Horace, figurative passages cited from, 153.
Instance of mixed metaphor in, 165.
Crowded metaphers, 166. His charac-
ter as a poet, 393, 445. Was the refor-
mer of satire, 450.
Humour, why the English possess their
quality more eminently than other na-
tions, 540.

Hyperbole, an explanation of that figure,
169. Cautions for the use of, 170. Two
kinds of, ibid.

I.

Ideas, abstract, entered into the first for-
mation of language, 80.

Jeremiah, his poetical character, 468. See
Lamentations.

397.

Heroism, sublime instances of pointed out,
35.

Harvey, character of his style, 204.
Hieroglyphics, the second stage of writing,
73. Of Egypt, ibid.

Historians, modern, their advantages over
the ancient, 390. Ancient models of,
393. The objects of their duty, 394.
Character of Polybius, 396. Of Thucy-
dides, ibid. Of Herodotus and Thuanus,
397. Primary qualities necessary in an
historian, 398. Character of Livy and
Sallust, 399. Of Tacitus, ibid. Instruc-
tions and cautions to historians, 400.
How to preserve the dignity of narra-
tion, 401. How to render it interesting,
402. Danger of refining too much in
drawing characters, 404. Character of
the Italian historians, 406. The French
and English, 407.

history, the proper object and end of, 394.
True, the characters of, ibid. The dif
ferent classes of, 395. General history,
the proper conduct of, ibid. The ne-
cessary qualities of historical narration,
401. The propriety of introducing ora-
tions in history, examined, 405. And
characters, ibid. The Italians the best
modern historians, 406. See Annals,
Biography, Memoirs, and Novels.
Hogarth, his analysis of beauty consider-
ed, 51.

Homer, not acquainted with poetry as a
systematic art, 27. Did not possess a
refined taste, 30. Instances of sublimi-
ty in, 41. Is remarkable for the use of
personification, 175. Story of the Iliad,
482. Remarks on, ibid. His inven-
tion and judgment in the conduct of
the poem, 483. Advantages and de-
fects arising from his narrative speeches,
ibid. His character, 484. His machi-
nery, 485. His style, 48€. His skill
in narrative description, 487. His simi-

Machi-

The principal characters, 484.
nery of, 485.
Imagination, the pleasures of, as specified
by Mr. Addison, 31. The powers of,
to enlarge the sphere of our pleasure, a
striking instance of divine benevolence,
ibid. Is the source of figurative lan-
guage 147, 151.

Imitation, considered as a source of plea-
sure to taste, 55. And description dis-
tinguished, 57.

Inferences from a sermon, the proper man-
agement of, 364.

Infinity of space, numbers, or duration af-
fect the mind with sublime ideas, 32.
Interjections, the first elements of speech,

60.

Interrogation, instances of the happy use
and effect of, 189. Mode of their ope-
ration, ibid. Rule for using, 190.
Job, exemplification of the sublimity of
obscurity in the book of, 34. Remarks
on the style of, 460. The subject and
poetry of, 468. Fine passage from,
469.

Johnson, his character of Dryden's prose
style, 200, note. His remarks on the
style of Swift, 250, note. His character
of Thompson, 454, note. His character of
Dryden's comedies, 541, note. His char-
acter of Congreve, 542.

Jonson, Ben, his character as a dramatic
poet, 540.

Isaus, the rhetorician, his character, 270.
Isaiah, sublime representation of the Deity
in, 40. His description of the fall of the
Assyrian empire, 180. His metaphors
suited to the climate of Judea, 463, 464.
His character as a poet, 468.
Isocrates, the rhetorician, his character,

269.

Judea, remarks on the climate and natural
circumstances of that country, 463.
Judicial orations, what, 284.
Juvenal, a character of his satires, 450.

K.

Kaimes,Lord, his severe censures of English
comedies, 543.

Knight errantry, foundation of the roman-
ces concerning, 418.
Knowledge an essential requisite for elo-
quence, 380. The progress of, in favour
of the moderns, upon a comparison with
the ancients, 391. The acquisition of,
difficult in former ages, 392.

L.

Lamentations of Jeremiah, the most perfect
elegiac composition in the sacred scrip-
tures, 467.

Landscape, considered as an assemblage of
beautiful objects, 418.
Language, the improvement of, studied
even by rude nations, 9. In what the
true improvement of language consists,
10. Importance of the study of language
ibid. Defined, 59. The present refine-
ments of, ibid. Origin and progress of,
60.

The first elements of, ibid. Ana-
logy between words and things, 61. The
great assistance afforded by gestures,
63. The Chinese language, 64. The
Greek and Roman languages, ibid. Ac-
tion much used by ancient orators, 64.
Roman pantomimes, 65. Great differ-
ence between ancient and modern pro-
nunciation, ibid. Figures of speech the
origin of, 66. Figurative style of Ame-
rican languages, 67. Cause of the de-
cline of figurative language, ibid. The
natural and original arrangement of
words in speech, 68. The arrangement
of words in modern languages, different
from that of the ancients, 70. An exem-
plification, ibid. Summary of the fore-
going observations, 72. Its wonderful
powers, 155. All language strongly
tinctured with metaphor, 158. In mo-
dern productions, often better than the
subjects of them, 260. Written and oral,
distinction between, 383. See Grammar,
Style, and Writing.

Latin language, the pronunciation of,
musical and gesticulating, 64, 136. The
natural arrangement of words in, 69.
The want of articles a defect in, 81.
Remarks on words deemed synonymous
in, 108.

Learning, an essential requisite for elo-
quence, 380.

Lebanon, metaphorical allusions to, in He-
brew poetry, 464.

Lee, extravagant hyperbole quoted from,
171. His character as a tragic poet,
531.

Liberty, the nurse of true genius, 265.
Literary composition, importance of the
study of language, preparatory to, 11.
The beauties of, indefinite, 54. To what
class the pleasures received from elo-
quence, poetry and fine writing, are to

be referred, 56. The beauties of, not
dependant on tropes and figures, 192.
The different kinds of distinguished, 394.
See History, Poetry, &c.

Livy, his character as an historian, 399,
402.

Locke, general character of his style, 202.
The style of his Treatise on Human Un-
derstanding, compared with the writings
of Lord Shaftesbury, 411.
Longinus, strictures on his Treatise on the
Sublime, 38. His account of the conse
quences of liberty, 265. His sententious
opinion of Homer's Odyssey, 488.
Lopez de la Vega, his character as a drama-
tic poet, 538.

Love, too much importance and frequency
allowed to, on the modern stage, 521.
Lowth's English Grammar recommended,
101, note, 124, note. His character of the
prophet Ezekiel, 468.

Lucan, instances of his destroying a sub-
lime expression of Cæsar, by amplifica-
tion, 43. Extravagant hyperbole from,
171. Critical examination of his Phar-
salia, 493. The subject, ibid. Charac
ters and conduct of the story, 494.
Lucian, character of his dialogues, 413.
Lucretius, his sublime representation of the
dominion of superstition over mankind,
34, note. The most admired passages in
his Treatise De Rerum Natura, 449.
Lusiad. See Camoens.
Lyric poetry, the peculiar character of,
443. Four classes of odes, 444. Char-
acters of the most eminent lyric poets,

445.

Lysias, the rhetorician, his character, 270.
M.

Machiavel, his character as an historian,

406.

Machinery, the great use of in epic poetry,
478. Cautions for the use of, 479, 485.
Mackenzie, Sir George, instance of regular
climax in his proceedings, 191.

Man, by nature both a poet and musician,

423.

Marivaux, a character of his novels, 420.
Marmontel, his comparative remarks on

French, English, and Italian poetry,
431, note.

Marsy, Fr. his contrast between the cha-
racters of Corneille and Racine, 529,
note.

Massillon, extracts from a celebrated ser-
mon of his, 323, note. Encomium on,
by Louis XIV. 326. His artful divi;

sion of a text, 350.
Memoirs, their class in

historical composi-
tion assigned, 408. Why the French
are fond of this kind of writing, ibid.
Melalepsis, in figurative language explain-
ed, 156.

Metaphor, in figurative style, explained,
157, 158. All language strongly tinct

ured with, 159. Approaches the nearest
to painting of all the figures of speech,
ibid. Rules to be observed in the con-
duct of, 160. See Allegory.
Metastasio, his character as a dramatic
writer, 529.

Melonomy, in figurative style, explained,

159.

Mexico, historical pictures the records of
that empire, 73.

Milo, narrative of the encounter between
him and Clodius, by Cicero, 351.
Millon, instances of sublimity in, 33, 44,
46. Of harmony, 135, 144. Hyperboli-
cal sentiments of Satan in, 170. Striking
instances of personification in, 175, 176.
Excellence of his descriptive poetry, 454.
Who the proper hero of his Paradise
Lost, 478. Critical examination of this
poem, 503. His sublimity characterized,
505. His language and versification,
ibid.

Moderns. See Ancients.

Moliere, his character as a dramatic poet,
539.

Monboddo,Lord, his observations on Eng-
lish and Latin verse, 429, note.
Monotony in language, often the result of
too great attention to musical arrange-
ment, 141.

Montague, Lady Mary Wortley, a charac-
ter of her epistolary style, 417.
Montesquieu, character of his style, 154.
Monumental inscriptions, the numbers suit-
ed to the style, 145.

Morall, M. his severe censure of English
comedy, 543.

More, Dr. Henry, character of his divine
dialogues, 413.

Motion, considered as a source of beauty,

0.
Obscurity, not unfavourable to sublimity,
34. Of style, owing to indistinct concep-
tions, 102.

Ode, the nature of defined, 443. Four
distinctions of, 444. Obscurity and ir-
regularity, the great faults in, ibid.
Odyssey, general character of, 488. De-
fects of, ibid.

(Edipus, an improper character for the
stage, 521.

Orators, ancient, declaimed in recitative, 64.
Orations, the three kinds of, distinguished
by the ancients, 284. The present dis-
tinctions of, 285. Those in popular
assemblies considered, ibid. Prepared
speeches not to be trusted to, 287., Ne-
cessary degrees of premeditation, ibid.
Method, 288. Style and expression,
ibid. Impetuosity, 289. Attention to
decorums, 290. Delivery, 292, 365.
The several parts of a regular oration,
341. Introduction, 342. Introduction
to replies, 347. Introduction to sermons,
ibid. Division of a discourse, 348.
Rules for dividing it, 349. Explication,
350. The argumentative part, 353. The
pathetic, 358. The peroration, 364. Vir-
tue necessary to the perfection of elo-
quence, 378. Description of a true ora-
tor, 380. Qualifications for, ibid. The
best ancient writers on oratory, 385,
393. The use made of orations by the
ancient historians, 405. See Eloquence.
Oriental poetry, more characteristical of
an age than of a country, 424. Style
of scripture language, 67.
Orlando Furioso. See Ariosto.
Ossian, instances of sublimity in his works,
42. Correct metaphors, 164. Confu-
sed mixture of metaphorical and plain
language in, ibid. Fine apostrophe, 180.
Delicate simile, 183. Lively descrip-
tions in, ibid.

Otway, his character as a tragic poet, 513.
P.

Pantomime, an entertainment of Roman
origin, 65.

Parables, Eastern, their general vehicle for
the conveyance of truth, 465.
Paradise Lost, critical review of that
poem, 503.
The characters in, 504.
Sublimity of, 505. Language and ver-
sification, ibid.

Parenthesis, cautions for the use of them,
121.

Paris, his character in the Iliad, exam-
ined, 485.
Parliament of Great-Britain, why elo-
quence has never been so powerful an
instrument in, as in the ancient popular
assemblies of Greece and Rome, 283.
Parnel, his character as a descriptive poet,
454.

Particles, cautions for the use of them, 124.
Ought never to close sentences, 130.

Passion, the source of oratory, 264.
Passions, when and how to be addressed
ty orators, 358. The orator must feel
emotions before he can communicate
them to others, 360. The language of,
361. Poets address themselves to the
passions, 423.
Pastoral poetry, inquiry into its origin, 433.
A threefold view of pastoral life, 434.
Rules for pastoral writing, ibid. Its
scenery, 435. Characters, 437. Sub-
jects, 438. Comparative merit of an-
cient pastoral writers, 439. And of
moderns, 440.
Pathetic, the proper management of, in a
discourse, 358. Fine instance of from
Cicero, 362.

Pauses, the due use of, in public speaking,
370. In poetry, 371, 430.

His

Pericles, the first who brought eloquence
to any degree of perfection, 368.
general character, ibid.
Period. See Sentence.
Personification, the peculiar advantages of
the English language in, 83. Limitations
of gender in, 84. Objections against

the practice of, answered, 172. The dis-
position to animate the objects about us,
natural to mankind, 173. This dispo-
sition may account for the number of
heathen divinities, ibid. Three degrees
of this figure, 174. Rules for the man-
agement of the highest degree of, 177.
Cautions for the use of in prose compo-
sitions, 178. See Apostrophe.
Perseus, a character of his satires, 450.
Perspicuity, essential to a good style, 102.
Not merely a negative virtue, 103. The
three qualities of, ibid.

Persuasion, distinguished from conviction,
262. Objection brought from the abuse
of this art, answered, ibid. Rules for,

286.

Peruvians, their method of transmitting
their thoughts to each other, 74.
Petronius Arbiler, his address to the de-
claimers of his time, 279.
Pharsalia. See Lucan.

Pherecydes of Sycros, the first prose wri-
ter, 68.

Philips, character of his pastorals, 441.
Philosophers, modern, their superiority

over the ancient, unquestionable, 390.
Philosophy, the proper style of writing
adapted to, 410. Proper embellishment
for, ibid.

Pictures, the first essay toward writing, 72.
Pindar, his character as a lyric poet, 445.
Pitcairn, Dr. extravagant hyperbole cited
from, 172.

Plato, character of his dialogues, 412.
Plautus, his character as a dramatic poet,
538.

Pleaders at the bar, instruction to, 301,
350.

Pliny's letters, general character of, 415.

Plutarch, his character as a biographer,
409.

Poetry, in what sense descriptive, and in
what imitative, 57. Is more ancient
than prose, 67. Source of the pleasure
we receive from the figurative style of,
176. Test of the merit of, 185. Whence
the difficulty of reading poetry arises,
371. Compared with oratory, 377.
Epic, the standards of, 393. Definition
of poetry, 421. Is addressed to the ima-
gination and the passions, 422. Its ori-
gin, ibid. In what sense older than
prose, 422. Its union with music, 423.
Ancient history and instructions first
conveyed in poetry, 424. Oriental,
more characteristical of an age than of
a country, ibid. Gothic, Celtic, and
Grecian, 425. Origin of the different
kinds of, 426. Was more vigorous in
its first rude essays than under refine-
ment, 427. Was injured by the separa-
tion of music from it, ibid. Metrical
feet, invention of, 428. These measures
not applicable to English poetry, 429.
English heroic verse, the structure of,
430. French poetry, ibid. Rhyme and
blank verse compared, 431. Progress
of English versification, 432. Pastorals,
433. Lyrics, 443. Didactic poetry,
447. Descriptive poetry, 452. Hebrew
poetry, 459. Epic poetry, 470. Poetic
characters, two kinds of, 478. Dramat.
ic poetry, 507.

Pointing cannot correct a confused sen-
tence,
121.

Politics, the science of, why ill understood

among the ancients, 398.

Polybius, his character as an historian,
396.

Pope, criticism on a passage in his Homer,
43. Prose specimen from, consisting of
short sentences, 113. Other specimens
of his style, 127, 132. Confused mix-
tures of metaphorical and plain lan-
guage in, 163. Mixed metaphor in, 166.
Confused personification, 178. Instance
of his fondness for antithesis, 188.
Character of his epistolary writings, 416.
Criticism on, ibid. Construction of his
verse, 430. Peculiar character of his
versification, 432. His pastorals, 438,
440. His ethic epistles, 451. The merit
of his various poems examined, ibid.
Character of his translation of Homer,
486.

Precision in language, in what it consists,
104. The importance of, ibid, 114. Re-
quisite to, 111.

Prepositions, whether more ancient than
the declension of nouns by cases, 85
Whether more useful and beautiful, 86.
Dr. Campbell's observations on, 87.
Their great use in speech, 94.
Prior, allegory cited from, 168.
Pronouns, their use, varieties, and cases,

87. Relative instances illustrating the
importance of their proper position in a
sentence, 116.
Pronunciation, distinctness of, necessary
in public speaking, 367. Tones of, 372.
Proverbs, book of, a didactic poem, 497.
Psalm xviii. sublime representation of the
Deity in, 39. lxxxth, a fine allegory
from, 168. Remarks on the poetic con-
struction of the Psalms, 461, 464.
Pulpit, eloquence of the, defined, 263.
English and French sermons compared,
281. The practice of reading sermons
in England, disadvantageous to oratory,
283. The art of persuasion resigned to
the Puritans, ibid. Advantages and dis-
advantages of pulpit eloquence, 312.
Rules for preaching, 313. The chief
characteristics of pulpit eloquence, 316.
Whether it is best to read sermons or
deliver them extempore, 321. Pronun-
ciation, 322. Remarks on French ser-
mons, ibid. Cause of the dry argumen-
tative style of English sermons, 324.
General observations, 325.

Pisistratus, the first who cultivated the arts
of speech, 267.

Q.

Quintilian, his ideas of taste, 17, note. His
account of the ancient division of the
several parts of speech, 79, note. His
remarks on the importance of the study
of grammar, 94. On perspicuity of
style, 102, 108. On climax, 129. On
the structure of sentences, 131. Which
ought not to offend the ear, 134, 140.
His caution against too great an atten-
tion to harmony, 141. His caution
against mixed metaphor, 164. His fine
apostrophe on the death of his son, 180.
His rule for the use of similes, 186. His
direction for the use of figures of style,
193. His distinction of style, 196, 203.
His instructions for good writing, 213.
His character of Cicero's oratory, 204.
His instructions to public speakers for
preserving decorum, 291. His instruc-
tions to judicial pleaders, 301. His ob-
servations on exordiums to replies in de-
bate, 347. On the proper division of an
oration, 348. His mode of addressing
the passions, 357. His lively represen-
tations of the effects of depravity, 379.
Is the best ancient writer on oratory,
386.

R.

Racine, his character as a tragic poet, 528.
Ramsay, Allan, character of his Gentle
Shepherd, 442.

Rapin, P. remarks on his parallels be-
tween Greek and Roman writers, 277.
Relz, Cardinal de, character of his Me-
moirs, 408.

Rhetoricians, Grecian, rise and character
of, 268.

Rhyme, in English verse, unfavourable to

sublimity, 43. And blank verse com-
pared, 431. The former, why improper
in the Greek and Latin languages, 432.
The first introduction of couplets in
English poetry, ibid.

Richardson, a character of his novels, 420.
Ridicule, an instrument often misapplied,

533.

Robinson Crusoe, a character of that no-
vel, 420.

Romance, derivation of the term, 418. See
Novels.

Romans, derived their learning from
Greece, 273. Comparison between them
and the Greeks, 274. Historical view
of their eloquence, ibid. Oratorical
character of Cicero, 274. Era of the

decline of eloquence among, 278.
Rosseau, Jean Baptiste, his character as a
lyric poet, 446.

Rowe, his character as a tragic poet, 532.
S.

Sallust, his character as an historian, 399.
Sanazarius, his piscatory eclogues, 440.
Satan, examination of his character in
Milton's Paradise Lost, 504.

Satire, poetical, general remarks on the
style of, 449.

Saxon language, how established in Eng-
land, 95.

Scenes, dramatic, what, and the proper
conduct of, 516.

Scriptures, sacred, the figurative style of,
remarked, 67. The translators of, hap-
py in suiting their numbers to the sub-
ject, 143. Fine apostrophe in, 180.
Presents us with the most ancient monu-
ments of poetry extant, 459. The di-
versity of style in the several books of,
ibid. The Psalms of David, 460. No
other writings abound with such bold
and animated figures, 463. Parables
466. Bold and sublime instances of per-
sonification in, toid. Book of Proverbs,
467. Lamentations of Jeremiah, ibid.
Scuderi, Madam, her romances, 419.
Seneca, his frequent antithesis censured,

114.

187. Character of his general style,
198. His epistolary writings, 411.
Sentence, in language, definition of, 112.
Distinguished into long and short, 113.
A variety in, to be studied, ibid. The
properties essential to a perfect sentence,
A principal rule for arranging
the members of, 115. Position of ad-
verbs, ibid. And relative pronouns,
116. Unity of a sentence, rules for pre-
serving, 119. Pointing, 121. Paren-
thesis, ibid. Should always be brought
to a perfect close, 122. Strength, 123.
Should be cleared of redundancies, ibid.
Due attention to particles recommend-
ed, 124. The omission of particles
sometimes connects objects closer to-
gether, 126. Directions for placing the
important words, ibid. Climax, 129