mixture of metaphorical and plain lan- guage in, ibid. Fine apostrophe, 161. Delicate simile, 164. Lively descriptions in, 408.
Otway, his character as a tragic poet, 475. P.
Pantomime, an entertainment of Roman origin, 59.
Parables, Eastern, their general vehicle for the conveyance of truth, 416. Paradise Lost, critical review of that poem, 450. The characters in, ibid. Sublimity of, 451. Language and versification, 452. Parenthesis, cautions for the use of them,
Paris, his character in the Iliad, examined, 433. Parliament of Great-Britain, why eloquence has never been so powerful an instrument in, as in the ancient popular assemblies of Greece and Rome, 253.
Parnel, his character as a descriptive poet, 406.
Particles, cautions for the use of them, 112.
Ought never to close sentences, 117. Passion, the source of oratory, 236. · Passions, when and how to be addressed by orators, S21. The orator must feel emo- tions before he can communicate them to others, 322. The language of $23 Poets address themselves to the passions. 378. Pastoral poetry, inquiry into its origin, 387. A threefold view of pastoral life, 388. Rules for pastoral writing 1bid. Its scene- ry, 389. Characters, 391. Subjects, 392. Comparative merit of ancient pas- toral writers 393. And of moderns ibid. Pathetic, the proper management of, in a discourse, 321. Fine instance of, from Cicero, 324.
Pauses, the due uses of in public speaking, 331. In poetry 332. 384. Pericles, the first who brought eloquence to any degree of perfection, 239. His gene- ral character. ibid. Period. See Sentence.
Personification, the peculiar advantages of the English language in. 75. Limitations of gender in. 76. Objections against the practice of, answered, 155. The disposi- tion to animate the objects about us, natu- ral to mankind, ibid. This disposition may account for the number of heathen divinities, ihed Three degrees of this fi- gure, 156. Rules for the management of the highest degree of, 158. Cautions for the use of, in prose compositions, 160. See Apostrophe.
Persius. a character of his satires, 402. Perspicuity essential to a good style. 92.
Not merely a negative virtue, 93. The three qualities of, ibid.
Persuasion, distinguished from conviction, 235. Objection brought from the abuse of this art, answered, ibid. Rules for, 256. Peruvians, their method of transmitting their thoughts to each other, 67. Petronius Arbiter, his address to the de- claimers of his time, 250, Pharsalia. See Lucan.
Pictures, the first essay toward writing, 66. Pindur, his character as a lyric poet, 398 Pitcairn, Dr. extravagant hyperbole eited from, 154.
Plato, character of his dialogues, 368. Plautus, his character as a dramatic poet, 481.
Pleaders at the bar, instructions to, 209, 315. Pliny's Letters, general character of. $71. Plutarch, his character as a biographer, 366, Poetry, in what sense descriptive, and in what imitative, 52. Is more ancient than prose, 61. Source of the pleasure we re ceive from the figurative style of, 158. Test of the merit of, 166. Whence the difficulty of reading poetry arises, 332 Compared with oratory, 338. Epic, the standards of, 351. Definition of poetry, S 6. Is addressed to the imagination and the passions, 377. Its origin, bid. In what sense older than prose, ibid. Its union with music, 378. Ancient history and instruction first conveyed in poetry, 379. Oriental, more characteristical of an age than of a country, ibid Gothic, Cel tic. and Grecian, 380. Origin of the dif ferent kinds of 381. Was more vigorous in its first rude essays than under refine- ment, ibid. Was injured by the separa tion of music from it 382 Metrical feet, invention of 383. These measures not applicable to English poetry. ibid. Eng. lish heroic verse, the structure of, $34. French poetry ibid. Rhyme and blank verse compared. 386. Progress of Eng lish versification, 387. Pastorals. id. Lyrics 396. Didactic poetry, 399. De- scriptive poetry, 404. Hebrew poetry, 410. Epic poetry, 420. Poetic charac ters, two kinds of, 427. Dramatic poetry, 4.52.
Pointing cannot correct a confused sentence,
Politics, the science of, why ill understood among the ancients, 356.
Polybius, his character as an historian, 357. Pope, criticism on a passage in his Homer, 40. Prose specimen from, consisting of short sentences, 102. Other specimens of his style, 114. 119. Confused mixtures of metaphorical and plain language, in, 146. Mixed metaphor in, 149. Confused personification. 160. Instance of his fond- ness for antithesis, 169. Character of his epistolary writings, 372. Criticism on, ibid. Construction of his verse. 385. Pe- culiar character of his versification, 387. His pastorals, 392. 394. His ethic epistles, 403. The merits of his various poems ex- amined ibid. Character of his translation of Homer, 435.
Precision in language, in what it consists,
94. The importance of, ibid. 103. quisities to, 100. Prepositions, whether more ancient than the declension of nouns by cases, 77. Whe. ther more useful and beautiful, 78. Dr. Campbell's observations on, 79, note. Their great use in speech, 84. Prior, allegory cited from, 151. Pronouns, their use varieties, and cases, 79. Relative instances illustrating the impor tance of their proper position in a sen- tence, 104. Pronunciation, distinctness of, necessary in public speaking, 328. Tones of, 333. Proverbs, book of, a didactic poem, 417. Psalm xviii, sublime representation of the Deity in, 36. lxxxth, a fine allegory from, 151. Remarks on the poetic construc- tion of the Psalms, 412. 415. Pulpit, eloquence of the, defined, 236. Eng. lish and French sermons compared,_252. The practice of reading sermons in Eng. land, disadvantageous to oratory, 254. The art of persuasion resigned to the Pu- ritans, ibid. Advantages and disadvanta- ges of pulpit eloquence, 280. Rules for preaching 281. The chief characteris- tics of pulpit eloquence, 283. Whether it is best to read sermons, or deliver them
extempore. 288. Pronunciation, ibid. Re- marks on French sermons, ibid. Cause of the dry argumentative style of Eng- lish sermons, 290. General observations, 291.
Pisistratus, the first who cultivated the arts of speech, 239.
Quintilian, his ideas of taste, 16, note. His account of the ancient division of the several parts of speech, 72, note. His re- marks on the importance of the study of grammar, 85. On perspicuity of style. 92. 97. On climax, 116. On the structure of sentences, 118. Which ought not to of fend the ear, 120. 125. His caution a- gainst too great an attention to harmony, 127. His caution against mixed metaphor, 147. His fine apostrophe on the death of his son 161. His rule for the use of simi- lies '167. His direction for the use of fig. ures of style 174. His distinctions of style, 176. 182. His instructions for good writing, 191. His character of Cicero's oratory, 247. His instructions to public speakers for preserving decorums, 260. His instructions to judical pleaders, 270. His observations on exordiums to replies in debate, 310. On the proper division of an oration, 312. His mole of addressing the passions, 323. His lively representa- tion of the effects of depravity, 339. Is the best ancient writer on oratory, 346.
Rhetoricians, Gretian, rise and character of, 240. 1
Rhyme, in English verse, unfavourable to esublimity, 39. And blank verse compar- ed, 386. The former, why improper in the Greek and Latin languages, ibid. The first introduction of complets in Eng- lish poetry, $87.
Richardson, a character of his novels. 376 Ridicule, an instrument often misapplied, 477.
Robinson Crusoe, a character of that novel, 375.
Romance, derivation of the term, 374. See Novels.
Romans,derived their learning from Greece, 245. Comparison between them and the Greeks ibid. Historical view of their eloquence ibid. Oratorical character of Ci- cero, 246. Era of the decline of elo- quence among, 249.
Rosseau, Jean Baptiste, his character as a lyric poet, 399.
Rowe, his character as a tragic poet, 475.
Sallust, his character as an historian, 357. Sanazarius, his piscatory eclogues, 393. Satan, examination of his character in Mil- ton's Paradise Løst, 450.
Satire, poetical, general remarks on the style of, 402.
Saxon language, how established in En- gland, 86.
Scenes, dramatic, what, and the proper con- duct of, 462.
Scriptures, sacred, the figurative style of, remarked, 61. The translators of, happy in suiting their numbers to the subject, 128. Fine apostrophe in, 162. Present us with the most ancient monuments of poetry extant, 410. The diversity of style in the several books of, 411. The Psalms of David, 412. No other writings abound with such bold and animated figures. 414. Parables, 416. Bold and sublime instances of personification in, ibid Book of Pro- verbs, 417. Lamentations of Jeremiah, ibid.
Scuderi, Madam, her romances, 375. Seneca, his frequent antithesis censured, 168, Character of his general style, 178. His epistolary writings, 370.
Sentence, in language, definition of, 101. Distinguished into long and short, ibid. A variety in, to be studied. 102. The proper- perties essential to a perfect sentence, 103. A principal rule for arranging the mem- bers of, ibid. Position of adverbs, ibid. And relative pronouns, 104. Unity of a sentence, rules for preserving, 107. Point- ing, 109. Parenthesis, ibid. Should al- ways be brought to a perfect close, ibid. Strength, 110. Should be cleared of redun- dancies, 111. Due attention to particles recommended, ibid. The omission of particles sometimes connects objects closer together, 113. Directions for placing the important words, 114. Climax, 116. A like order necessary to be observed in all assertions of propositions, ibid. Sentence
ought not to conclude with a feeble word, 117. Fundamental rule in the construe- tion of, 120. Sound not to be disregarded, ibid. Two circumstances to be attended to. for producing harmony in, 121. 125. Rules of the ancient rhetoricians for this purpose, 122. Why harmony much less studied now than formerly ibid. English words cannot be so exactly measured by metrical feet, as those of Greek and Latin, 124. What required for the musical close of a sentence, 126. Unmeaning words in troduced merely to round a sentence, a great blemish, 127. Sounds ought to be adapted to sense, 128. Sermons. English compared with French, 252. Unity an indispensible requisite in, 283. The subject ought to be precise and particular, 28 The subject ought not to be exhausted, ibid. Cautions against dry- ness, 285. And against conforming to A fashionable modes of preaching, 286. Style, ibid. Quaint expressions, 287. Whether best written or delivered ex- tempore, 288. Delivery, ibid. Remarks on French Sermons, ibid. Cause of the dry argumentative style of English ser. mons, 290. General observations, 291. Remarks on the proper division of, 311. Conclusion, 325. Delivery, 326. Sevigne, Madam de, character of her let- ters, 372.
Shaftesbury, lord, observations on his style, 96. 103. 108 115. 127. 150. His general character as a writer, 188. Shakspeare, the merit of his plays examined, 26 Was not possessed of refined taste,28. Instance of his improper use of metaphors, 145. 148. Exhibits passions in the lan- guage of nature. 468. His character as a tragic poet, 474. As a comic poet, 483. Shenstone, his pastoral ballad, 594. Shepherd, the proper character of, in pasto- ral description, 391.
Sheridan, his distinction between ideas and emotions, 333, note.
Sherlock, bishop. fine instance of personifi- cation cited from his sermons, 156. happy allusion cited from his sermons, 287, note. Silius Italicus, his sublime representation of Hannibal, 33 note.
Simile, distinguished from metaphor, 141. 163. Sources of the pleasure they af- ford, ibid. Two kinds of, 164. Requisites in, 165. Rules for, 166. Local propriety to be adhered to in, 167. Simplicity applied to style,different senses of the term, 184.
Smollett, improper use of figurative style, cited from him, 144, note.
Solomon's song, descriptive beauties of. 407. Songs, Runic, the origin of Gothic history, 379.
Sophists of Greece, rise and character of,
Sophocles, the plots of his tragedies remark- ably simple, 458. Excelled in the pathet- ic, 468. His character as a tragic poet, 470:
Sorrow, why the emotions of, excited by tragedy, communicate pleasure, 461. Sounds of an awful nature, affect us with sublimity, 30 Influence of, in the forms- tion of words, 55.
Speaker, public, must be directed more by his ear than by rules, 124. Spectator, general character of that publica- tion, 195. Critical examination of those papers that treat of the pleasures of the imagination, 194.
Speech the power of, the distinguishing privilege of mankind, 9. The grammat ical division of. into eight parts, not logi cul, 72. Of the ancients, regulated by mu sical rules. 122.
Strada, his character as an historian, 364. Style, in language defined, 91. The differ- ence of, in different countries, 92. The qualities of a good style. ibid perspicui- ty, ibid. Obscurity, owing to indistinct conceptions, 93. Three requisite quali ties in perspicuity, ibid. Precision, 94. A loose style, from what it proceeds. 95. Too great an attention to precision ren- ders a style dry and barren, 100. French distinction of style, 102. The characters of, flow from peculiar modes of thinking, 175. Different subjects require a different style. ibid. Ancient distinctions of. 176. The different kinds of, ibid. Concise and diffusive, on what occasions proper, 177. Nervous and feeble, 178. A harsh style, from what it proceeds, 179. Era of the formation of our present style, 180. Dry manner described, ibid. A plain style, ibid.
Neat style, 181 Elegant style, Florid style. ibid. Natural style, 184. Different senses of the term simpli- city, ibid. The Greek writers distinguish- ed for simplicity, 185. Vehement style, 189. General directions how to attain a good style, 190. Imitation dangerous, 192. Style not to be studied to the ne- glect of thoughts, 193. Critical examina tion of those papers in the Spectator that treat of the pleasures of imagination, 194. Critical examination of a passage in Swift's writings, 224. General observations, 233. See Eloquence.
Sublimity of external objects, and sublimity in writing distinguished. 29. Its impres sions, ibid. Of space, 30. Of sounds, ibid. Violence of the elements, ibid. Solemnity, bordering on the terrible, ibid. Obscuri ty, not unfavourable to, 31. In buildings, 32. Heroism, ind. Great virtue, $3. Whether there is any one fundamental quality in the sources of sublime, ibid. Sublimity in writing, 34. Errors in Longin- us pointed out, ibid. The most ancient writers afford the most striking instances of sublimity, 36. Sublime representation of the Deity in Psalm xviii, ibid. And in the prophet Habakkuk, ibid. In Moses, ibid. And in Isaiah, 57. Instances of sub- limity in Homer, ibid. In Ossian, 38. Amplification injurious to sublimity, 39. Rhyme in English verse unfavourable to, ibid. Strength essential to sublime wri-
ting, 41. A proper choice of circumstan- 這 ces essential to sublime description, ibid. Strictures on Virgil's description of Mount Etna, 42. The proper sources of the sublime, 43. Sublimity consists in the thought, not in the words. ibid. The faults opposed to the sublime, 44. *Sully, Duke de, character of his memoirs, 365.
Superstition, sublime representation of its dominion over mankind, from Lucretius, 232, note.
Swift, observations on his style, 94. 100. 108. 118. 128. General character of his style, 181. Critical examination of the be- ginning of his proposal for correcting, &c. the English tongue, 224. Concluding observations, 233. His language, 343. Character of his epistolary writing, 372. Syllables, English, cannot be exactly meas ured by metrical feet, as those of Greek and Latin, 124
Synedoche, in figurative style, explained, 141. Synonymous words, observations on, 97. T.
Tacitus, character of his style, 177. His character as an historian, 357. His happy manner of introducing incidental observa- tions, 358. Instance of his successful ta- lent in historical painting, 561. His de- fects as a writer, 362.
Tasso, a passage from his Gierusalemme dis- tinguished by the harmony of numbers, 129. Strained sentiments in his pastorals, 391 Character of his Aminta, 394. Cri- tical examination of his poem 443. Taste, true, the uses of, in common life, 13. Definition of, 15. Is more or less common to all men, 16. Is an improva- ble faculty, 17. How to be refined, 18. Is assisted by reason, ibid. A good heart re- qusite to a just taste, 19. Delicacy and correctness the characters of perfect taste, ibid. Whether there be any standard of taste, 20. The diversity of, in different men, no evidence of their tastes being corrupted, 21. The test of, referred to the concurring voice of the polished part of mankind, 23. Distinguished from ge- nius, 27. The sources of pleasure in, 28. The powers of, enlarge the sphere of our pleasures, 29. Imitation, as a source of pleasure, 51. Music, ibid. To what class the pleasures received from eloquence, poetry, and fine writing, are to be referred ibid. Telemachus. See Fenelon.
Temple, sir William, observations on his
style, 95. Specimens, 102. 108. 110. 112. 125. His general character as a writer, 187.
Terence, beautiful instance of simplicity from, 186. His character as a dramatic writer, 481.
Terminations of words, the variation of, in the Greek and Latin languages, favour- able to the liberty of transposition, 64. Theocritus, the earliest known writer of pastorals, 388. His talents in painting
rural scenery, 389. Character of his pas- torals, $93.
Thomson, fine passage from, where he ani- mates all nature, 158. Character of his seasons, 405. His eulogium by Dr. John- son, ibid. note,
Thuanus, his character as an historian, 356. Thucydides, his character as an historian, $55. Was the first who introduced ora- tions in historical narration, 362. Tillotson, archbishop, observations on his style, 95. 106. 125. 145. General charac- ter of, as a writer, 186
Tones, the due management of, in public speaking, 333.
Topics, among the ancient rhetoricians, ex- plained, $16.
Tragedy, how distinguished from comedy, 452 More particular definition of, 453. Subject and conduct of, 454. Rise and progress of, 455. The three dramatic; unities, 457. Division of the representa- tion into acts, 458. The catastrophe, 460. Why the sorrow excited by tragedy com- municates pleasure, 467 The proper idea of scenes, and how to be conducted, 462. Characters, 464. Higher degrees of morality inculcated by modern than by ancient tragedy, 465. Too great use made of the passion of love on the modern stages, 466. All tragedies expected to be pathetic, ibid. The proper use of moral reflections in, 469. The proper style and versification, ibid. Brief view of the Greek stage, 470. French tragedy, 472. English tragedy, 474. Concluding obser- vations, 476.
Tropes, a definition of 132. Origin of 154. The rhetorical distinctions among, frivo. lous, 140.
Turnus, the character of,not favourably treat- ed in the neid, 439. Turpin, archbishop of Rheims, a romance writer, 374. Typographical figures of speech, what, 170. V.
Vanburgh, his character as a dramatic wri. ter, 484.
Verbs, their nature and office explained, 81. No sentence complete without a verb, ex- pressed or implied, ibid. The tenses, 82. The advantage of English over the Latin, in the variety of tenses, ibid. Active and passive, ibid. Are the most artificial and complex of all the parts of speech, 83. Verse, blank, more favourable to sublimity than rhynie, 39. Instructions for the read- ing of, 332. Construction of, 385. Virgil, instances of sublimity in, 31. 41, 42. Of harmony, 130, 131. Simplicity of lan- guage, 134. Figurative language, 141. 156. 161. Specimens of his pastoral descrip- tions, 389, note. 391. Character of his pastorals. 393. His Georgies, a perfect model of didactic poetry, 400. Beautiful descriptions in his Eneid, 407. Critical examination of that poem, 437. Compar- ed with Homer, 440.
Virtue, high degrees of, a source of the sub-
ous with purity of style, 93. Bad conse quences of their being ill chosen, ibid. Observations on those termed synonymous, 97. Considered with reference to sound, 121.
Words, and things, instances of the analogy between, 55.
Writers of genius, why they have been more numerous in one age than another $47. Four happy ages of pointed out, ibid. Writing, two kinds of, distinguished. 65. Pictures, the first essay in. 66. Hierogly. phic, the second, ibid. Chinese charac ters, 67. Arithmetical figures. 68. The considerations which led to the invention of an alphabet, ibid. Cadmus's alphabet the origin of that now used. 69. Historical account of the materials used to receive writing, 70, General remarks, ibid. See Grammar,
Young, Dr., his poetical character, 150. Tee fond of antithesis, 168. The merit of his works examined, 403. His character a a tragic poet, 475.
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