A like order necessary to be observed in all assertions of propositions, 130. Sentence ought not to conclude with a feeble word, ibid. Fundamental rule in the construction of, 133. Sound not to be disregarded, 134. Two circumstan- ces to be attended to, for producing har- mony in, 134, 139. Rules of the ancient rhetoricians for this purpose, 135. Why harmony much less studied now than formerly, 136. English words cannot be so exactly measured by metrical feet, as those of Greek and Latin, 139. What required for the musical close of a sen- tence, 141. Unmeaning words introduc- ed merely to round a sentence, a great blemish, ibid. Sounds ought to be adapt- ed to sense, 142.
Sermons, English compared with French, 281. Unity an indispensable requisite in, 316. The subject ought to be precise and particular, 317. The subject ought not to be exhausted, ibid. Cautions against dryness, 318. And against con- forming to fashionable modes of preach- ing, 319. Style, 320. Quaint expres- sions, 321. Whether best written or delivered extempore, ibid. Delivery, 322. Remarks on French sermons, ibid. Cause of the dry argumentative style of English sermons, 325. General ob.. servations, ibid. Remarks on the pro- per division of, 347. Conclusion, 364. Delivery, 365.
Sevigné, Madame de, character of her let- ters, 416.
Shaftesbury, Lord, observations on his style, 106, 113, 120, 127, 129, 142, 166. His general character as a writer, 209. Shakspeare, the merit of his plays exam- ined, 28. Was not possessed of refined taste, 29. Instance of his improper use of metaphors, 161, 164, 165. Exhibits passions in the language of nature, 524. His character as a tragic poet, 530. As a comic poet, 541.
Shenstone, his pastoral ballad, 441. Shepherd, the proper character of, in pas- toral description, 437.
Sheridan, his distinction between ideas and emotions, 373, note.
Sherlock, Bishop, fine instance of personi-
fication cited from his sermons, 174. A happy allusion cited from his sermons, 320. note.
Silius Italicus, his sublime representation of Hannibal, 36, note.
Simile, distinguished from metaphor, 158,
182. Sources of the pleasure they afford, ibid. Two kinds of, ibid. Requisites in, 183. Rules for, 185. Local proprie- ty to be adhered to in, 213. Simplicity applied to style, different senses of the term, 382. Smollett, improper use of figurative style, cited from him, 126, note.
Solomon's song, descriptive beauties of, 456. Songs, Runic, the origin of Gothic history ibid.
Sophists of Greece, rise and character of,
Sophocles, the plots of his tragedies re- markably simple, 512. Excelled in the pathetic, 524. His character as a tra- gic poet, 526. Sorrow, why the emotions of, excited by tragedy, communicate pleasure, 515. Sounds, of an awful nature, affect us with sublimity, 32. Influence of, in the for- mation of words, 61.
Speaker, public, must be directed more by his ear than by rules, 138. Spectator, general character of that publi- cation, 216. Critical examination of those papers that treat of the pleasures of the imagination, 217. Speech, the power of, the distinguishing privilege of mankind, 9. The grammati- cal division of, into eight parts, not lo- gical, 79. Of the ancients, regulated by musical rules, 136.
Strada, his character as an historian, 406. Style, in language, defined, 101. The dif-
ference of, in different countries, ibid. The qualities of a good style, 102. Per- spicuity, ibid. Obscurity, owing to in- distinct conceptions, 102. Three requi- site qualities in perspicuity, ibid. Pre- cision, 104. A loose style, from what it proceeds, 105. Too great an atten- tion to precision, renders a style dry and barren, 111. French distinction of style, 113. The characters of, flow from Dif- peculiar modes of thinking, 195. ferent subjects require a different style, ibid. Ancient distinctions of, 196. The different kinds of, ibid. Concise and diffusive, on what occasions proper, 196. Nervous and feeble, 199. A harsh style, from what it proceeds, ibid. Era of the formation of our present style, 200. Dry manner described, 201. style, ibid. Neat style, 202. Elegant style, 203. Florid style, 203. Natural style, 205. Different senses of the term simplicity, ibid. The Greek writers dis- tinguished for simplicity, 207. Vehe- ment style, 211. General directions how to attain a good style, 212. Imita- tion dangerous, 214. Style not to be studied to the neglect of thoughts, 215. Critical examination of those papers in the Spectator that treat of the pleasures of imagination, 217. Critical examina- tion of a passage in Swift's writings, 250. General observations, 259. See Elo.
Sublimity of external objects, and sublimi- Its im- ty in writing distinguished, 32. pressions, ibid. Of space, ib. Of sounds, Violence of the elements, 32. So- lemnity, bordering on the terrible, ibid
Obscurity, not unfavourable to, 34. In buildings, 35. Heroism, ibid. Great virtue, 36. Whether there is any one fundamental quality in the sources of sublime, ibid.
Sublimity in writing, 310.
ginus pointed out, ibid.
The most an- cient writers afford the most striking in- stances of sublimity, 311. Sublime re- presentation of the Deity in Psalm xviii. 39. And in the prophet Habakkuk, 40. In Moses and Isaiah, ibid. Instances of sublimity in Homer, ibid. In Ossian, 42. Amplification injurious to sublimi- ty, ibid. Rhyme in English verse unfa- vourable to, 43. Strength essential to sublime writing, 44. A proper choice
of circumstances essential to sublime description, 45. Strictures on Virgil's description of Mount Etna, 46.
The proper sources of the sublime, 47. Sub- limity consists in the thought, not in the words, 48. The faults opposed to the sublime, ibid.
Sully, Duke de, character of his memoirs, 408.
Superstition, sublime representation of its dominion over mankind, from Lucretius, 34, note.
Swift, observations on his style, 104, 111, 120, 131, 142. General character of his style, 202. Critical examination of the beginning of his proposals for correct- ing, &c. the English tongue, 250. Con- cluding observations, 259. His lan- guage, 383. Character of his epistola-
ry writing, 416. Syllables, English, cannot be exactly mea- sured by metrical feet, as those of Greek and Latin, 139.
Synecdoche, in figurative style, explained, 157.
Synonymous words, observations on, 108. T.
Tacitus, character of his style, 197.
character as an historian, 402. His hap- py manner of introducing incidental ob- servations, ibid. Instance of his success- ful talent in historical painting, 406 His defects as a writer, 408. Tasso, a passage from his Gierusalemme distinguished by the harmony of num- bers, 145. Strained sentiments in his pastorals, 443. Character of his Amin- ta, 487. Critical examination of his poem, 496.
Taste, true, the uses of in common life, 14. Definition of, 16. Is more or less com- mon to all men, 17. Is an improvable faculty, 18 How to be refined, 19. Is assisted by reason, 19. A good heart requisite to a just taste, 20. Delicacy and correctness the characters of perfect taste, ibid. Whether there be any stan- dard of taste, 22. The diversity of, in different men, no evidence of their tastes
being corrupted, ibid. The test of, re ferred to the concurring voice of the pol ished part of mankind, 25. Distinguish- ed from genius, 29. The sources of pleasure in, 30. The powers of, enlarge the sphere of our pleasures, 31. Imi- tations as a source of pleasure, 55. Mu- sic, ibid. To what class the pleasures received from eloquence, poetry, and fine writing, are to be referred, 56. Telemachus. See Fenelon. Temple, Sir William, observations of his style, 106. Specimens, 113, 120, 122, 125, 139. His general character as a writer, 208. Terence, beautiful instance of simplicity from, 209. His character as a dramatic writer, 538.
Terminations of words, the variation of, in the Greek and Latin languages, fa- vourable to the liberty of transposition,
Theocritus, the earliest known writer of pastorals, 434. His talents in painting rural scenery, 435. Character of his pastorals, 439.
Thomson, fine passage from, where he animates all nature, 176. Character of his Seasons, 453. His eulogium by Dr. Johnson, ibid, note.
Thuanus, his character as an historian, 398. Thucydides, his character as an historian, 396. Was the first who introduced ora- tions in historical narration, 405. Tillotson, Archbishop, observations on his style, 106, 118, 139, 161. General cha- racter of as a writer, 208.
Tones, the due management of, in public speaking, 373.
Topics, among the ancient rhetoricians, explained, 353.
Tragedy, how distinguished from comedy, 506. More particular definition of, 507. Subject and conduct of, 508. Rise and progress of, 509. The three dramatic unities, 511. Division of the represen- tation into acts, 513. The catastrophe, 514. Why the sorrow excited by tra- gedy communicates pleasures, ibid. Proper iden of scenes, and how to be conducted, 516. Characters, 520. High- er degrees of morality inculcated by mo- dern than by ancient tragedy, 521. Too great use made of the passion of love on the modern stages, ibid. All trage- dies expected to be pathetic, 522. The proper use of moral reflections in, 524. The proper style and versification, 525. Brief view of the Greek stage, 526. French tragedy, 528. English tragedy, 530. Concluding observations, 532. Tropes, a definition of, 148. Origin of, 150. The rhetorical distinctions among frivo- lous, 156.
Turnus, the character of, not favourably treated in the Æneid, 491.
Vanburgh, his character as a dramatic writer, 542.
Verbs, their nature and office explained, 89. No sentence complete without a verb, expressed or implied, 90. The tenses, ibid. The advantage of English over the Latin, in the variety of tenses, 91. Active and passive, ibid. Are the most artificial and complex of all the parts of speech, 92.
Verse, blank, more favourable to sublimity than rhyme, 43. Instructions for the reading of, 371. Construction of, 431. Virgil, instances of sublimity in, 33, 45, 46. Of harmony, 145, 146. Simplicity of language, 149. Figurative language, 157, 174, 179. Specimens of his pasto- ral descriptions, 435, note, 438. Charac- ter of his pastorals, 439. His Georgics, a perfect model of didactic poetry, 447. Beautiful descriptions in his Æneid, 456. Critical examination of that poem, 489. Compared with Homer, 491.
Virtue, high degrees of, a source of the sublime, 36. A necessary ingredient to form an eloquent orator, 378.
Vision, the figure of speech so termed, in what it consists, 190.
Unilies, dramatic, the advantages of ad- hering to, 511. Why the moderns are less restricted to the unities of time and place than the ancients, 518.
Voice, the powers of, to be studied in pub- lic speaking, 366.
Voiture, character of his epistolary wri- tings, 416.
Voltaire, his character as an historian, 409. Critical examination of his Henriade, 502. His argument for the use of rhyme in dramatic composition, 525. His cha- racter as a tragic poet, 529. Vossius, Joannes Gerardus, character of his writings on eloquence, 385.
Waller, the first English poet who brought couplets into vogue, 432.
Wit, is to be very sparingly used at the bar, 304.
Words, obsolete, and new coined, incon- gruous with purity of style, 103. Bad consequences of their being ill chosen, 104. Observations on those ter med sy- nonymous, 108. Considered with refer- ence to sound, 134.
Words, and things, instances of the ana- logy between, 61.
Writers of genius, why they have been more numerous in one age than another, 387. Four happy ages of, pointed out, 388.
Writing, two kinds of, distinguished, 72. Pictures, the first essay in, ibid. Hiero- glyphic, the second, 73. Chinese cha- racters, 74. Arithmetical figures, 75.
The considerations which led to the in- vention of an alphabet, ibid. Cadmus's alphabet the origin of that now used, 76. Historical account of the materials used to receive writing, 77. General remarks, ibid. See Grammar.
Young, Dr. his poetical character, 167. Too fond of antithesis, 188. The merit of his works examined, 451. His cha racter as a tragic poet, 532.
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