Accents, thrown farther back from the ter-
mination in the English than in any oth-
er language, 99. Seldom more than
one in English words, 368. Govern the
measure of English verse, 430.
Achilles, his character in the Iliad examin-
ed, 485.

Action, much used to assist language in an
imperfect state, 63. And by ancient ora-
tors and players, 64. Fundamental rule
of propriety in, 374. Caution with res-
pect to, 376. In epic poetry, the requi-
sites of, 474.

Acts, the division of a play into five, and
arbitrary limitation, 513. These pauses
in represent, tion ought to fall proper-
ly, 514.

Adam, his character in Milton's Paradise
Lost, 504.

Addison, general view of his Essay on the
Pleasures of the Imagination, 31. His
invocation of the muse in his Campaign
censured, 48. Blemishes in his style,
115, 116, 124. Ease and perspicuity of,
127, 128, 130. His beautiful description
of light and colours, 155. Instance of
his use of metaphor, 165. Improper
use of similes, 184. His general cha-
racter as a writer, 208. Character of
his Spectator, 216. Critical examina-
tion of some of those papers, ibid. Re-
marks on his criticism of Tasso's Amin-
ta, 441, note. His tragedy of Cato cri-
tically examined, 511, 518, 522, 524.
Adjectives, common to all languages, 88.
How they came to be classed with nouns,
ibid.

Adverbs, their nature and use defined, 93.
Importance of their position in a sen-
tence illustrated, 115.

Eneid, of Virgil, critical examination of
that poem, 489. The subject, ibid. Ac-
tion, 490. Is deficient in characters,
ibid. Distribution and management of
the subject, ibid. Abounds with awful
and tender scenes, 491. The descent
of Æneas into hell, 492. The poem left
unfinished by Virgil, 493.
Eschines, a comparison between him and
Demosthenes, 272.

Eschylus, his character as a tragic writer,

526.

that mountain, 46. And on that by Sir
Richard Blackmore, ibid.

Affectation, the disadvantages of, in public
speaking, 376.

Ages, four, peculiarly fruitful in learned
men, pointed out, 388.

Akenside, his comparison between sublimi-
ty in natural and moral objects, 36, note.
Instance of his happy allusion to figures,
155. Characters of his Pleasures of the
Imagination, 449.

Alphabet of letters, the consideration which
led to the invention of, 76. Remote ob-
scurity of this invention, ibid. The al-
phabets of different nations derived from
one common source, 77.

Allegory, explained, 168. Anciently a fa-
vourite method of conveying instruc-
tions, 169. Allegorical personages im-
proper agents in epic poetry, 172, 230.
Ambiguity in style, from whence it pro-
ceeds, 114.

Amplification in speech, what, 191. Its
principal instrument, ibid.
American languages, the figurative style
of, 67, 152.

Anagnorisis, in ancient tragedy explained,

515.

Annals and history, the distinction be-
tween, 408.

Ancients and moderns distinguished, 388.
The merits of ancient writers are now
finally ascertained, 389. The progress
of knowledge favourable to the moderns,
in forming a conparison between them,
390. In philosophy and history, ibid.
The efforts of genius greater among the
ancients, 391. A mediocrity of genius
now more diffused, 392.
Antithesis, in language explained, 188.

The too frequent use of, censured, ibid.
Apostrophe, the nature of this figure ex-
plained, 179. Find one from Cicero,
290, note.

Arabian Nights Entertainments, a charac-
ter of those tales, 418.
Arabian poetry, its character, 425.
Arbuthnot, character of his epistolary writ-
ing, 416.

Architecture, sublimity in, whence it arises,
35. The sources of beauty in, 54.
Arguments, the proper management of in
a discourse, 353. Analytic and synthe-

tic methods, 354. Arrangement of, 355.
Are not to be too much multiplied, 357.
Ariosto, character of his Orlando Furioso,
419, 498.

Aristotle, his rules for dramatic and epic
composition, whence derived, 27. His
definition of a sentence, 112. His ex-
tended sense of the term metaphor, 159.
Character of his style, 197, 201. His in-
stitutions of rhetoric, 270, 386. His de-
finition of tragedy considered, 507. His
observations on tragic characters, 520.
Aristophanes, character of his comedies,
537.

Arithmetical figures, universal characters,

75.

Ark of the covenant, choral service per-
formed in the procession of bringing it
back to Mount Zion, 461.
Armstrong, character of his Art of Preserv-
ing Health, 449.

Art, works of, considered as a source of
beauty, 54.

Articles, in language, the use of, 81. Their
importance in the English language il-
Justrated, ibid.

Articulation, clearness of, necessary in
public speaking, 367.
Associations, academical, recommended,
384. Instructions for the regulation of,
385.

Athenians, ancient character of, 266. Elo-
quence of, ibid.

Atterbury, a more harmonious writer than
Tillotson, 142. Critical examination of
one of his sermons, 326. His exordium
to a 30th of January sermon, 345.
Attici and Asiani, parties at Rome, account
of, 275.

Authors, petty, why no friends to criticism,
28. Why the most ancient afford the
most striking instances of sublimity, 39.
Must write with purity to gain esteem,
100, 101.

B.

Bacon, his observations on romances, 417.
Ballads, have great influence over the man-
ners of a people, 417. Were the first
vehicles of historical knowledge and in-
struction, 423.

Bar, the eloquence of defined, 263. Why
more confined than the pleadings before
ancient tribunals, 283. Distinction be-
tween the motives of pleading at the
bar, and speaking in popular assemblies,
299. In what respect ancient pleadings
differ from those of modern times, ibid.
Instructions for pleaders, 301, 350.
Bards, ancient, the first founders of law
and civilization, 424.

Barrow, Dr. character of his style, 199.
Character of his sermons, 325.
Beaumont and Fletcher, their characters
as dramatic poets, 540.

Beauty, the emotion raised by, distinguish-
ed from that of sublimity, 49. Is a term

of vague application, 50. Colours, ibid
Figures, 51. Hogarth's line of beauty
and line of grace considered, 51. The
human countenance, 53. Works of art,
ibid. The influence of fitness and de-
sign in our ideas of beauty, 54. Beauty
in literary composition, ibid. Novelty,
55. Imitation, ibid.

Bergerus, a German critic, writes a treatise
on the sublimity of Cæsar's Commenta-
ries, 38.

Berkeley, bishop, character of his Dia-
logues on the existence of Matter, 413.
Biography, as the class of historical com-
position, characterized, 409.
Blackmore, Sir Richard, remarks on his
description of Mount Etna, 46.
Blackwell, his character as a writer, 210.
Boileau, his character as a didactic poet,
451.

Bolingbroke, instances of inaccuracy in his
style, 121, 132. A beautiful climax
from, 129.
A beautiful metaphor from,
159. His general character as a politi-
cian and philosopher, 160. His general
character as a writer, 211, 383.
Bombast, in writing described, 48.
Bossu, his definition of an epic poem, 470.
His account of the composition of the
Iliad, 471.

Bossuet, M. instances of apostrophes to
personified objects, in his funeral ora-
tions, 179, note. Conclusion of his tu-
neral oration on the Prince of Conde, 364.
Britain, Great, not eminent for the study
of Eloquence, 280. Compared with
France in this respect, 281.

Bruyere, his parallel between the elo
quence of the pulpit and the bar, 313,
note.
Buchanan, his character as an historian,
407.

Building, how rendered sublime, 35.
C.

Cadmus, account of his alphabet, 76.
Cæsar's commentaries, the style of charac.
terized, 38. Is considered by Bergerus
as a standard of sublime writing, ibid.
Instance of his happy talent in historical
painting, 404, note. His character of

Terence the dramatist, 538.
Cameons, critical examination of his Lusi-
ad, 499. Confused machinery of, ibid.
Campbell, Dr. his observations on English
particles, 87, note.

Carmel, Mount, metaphorical allusions to
in Hebrew poetry, 464.
Casimir, his character as a lyric poet, 446.
Catastrophe, the proper conduct of, in dra-
matic representations, 514.
Caudine Forks, Livy's happy description
of the disgrace of the Roman army there,
402.

Celtic language, its antiquity and charac-
ter, 95. The remains of it where to be
found, ibid. Poetry, its character, 424

Characters, the dangers of labouring them
too much in historical works, 405. The
due requ sites of, in tragedy, 519.
Chinese language, character of, 64. And
writing, 74.

Chivalry, origin of, 418.

Chorus, ancient, described, 509. Was the
origin of tragedy, ibid. Inconveniences
of, ibid. How it might properly be in
troduced on the modern theatre, 503.
Chronology, a due attention to, necessary

to historical compositions, 397.
Chrysostom, St. his oratorical character,
280.

Cibber, his character as a dramatic writer,

541.

Cicero, his ideas of taste, 17, note. His dis-
tinction between amare and diligere, 108.
His observations on style, 113. Very
attentive to the beauties of climax, 129.
Is the most harmonious of all writers,
135. His remarks on the power of mu-
sic in orations, 137. His attention to
harmony too visible, 141. Instance of
his happy talent of adapting sound to
sense, 143. His account of the origin
of figurative language, 152. His obser-
vations on suiting language to the sub-
ject, 161. His rule for the use of meta-
phor, 162. Instance of antithesis in, 187.
The figure of speech called vision, 90.
His caution against bestowing profuse
ornaments on an oration, 193. His dis-
tinction of style, 196. His own charac-
ter as a writer, 197. His character of
the Grecian orators, 268. His own cha-
racter as an orator, 274. Compared
with Demosthenes, 276. Masterly apos-
trophe in, 290, note. His method of
studying the judicial causes he under-
took to plead, 301. State of the prose-
cution of Avitus Cluentius, 305. Analysis
of Cicero's oration for him, ibid. The ex-
ordium of his second oration against Rul-
lus, 343. His method of preparing intro-
ductions to his orations, 344. Excelled in
narration, 351. His defence of Milo, ibid.
357. Instance of the pathetic in his last
oration against Verres, 362. Character of
his treatise de Oratore, 389. Character
of his dialogues,412. His epistles, 415.
Clarendon, Lord, remarks on his style,
120. His character as an historian, 407.
Clarke, Dr. the style of his sermons cha-
racterized, 324.

Classics, ancient, their merits now finally
settled beyond controversy, 388. The
study of them recommended, 393.
Climax, a great beauty in composition,
129. In what it consists, 191.
Cluentius, Avitus, history of his prosecu-
tion, 305. His cause undertaken by Ci-
cero, ibid. Analysis of Cicero's oration
for him, ibid.

Colours, considered as the foundation of
beauty, 50.

262.

Copulatives, caution for the use of them,
124.
Corneille, his character as a tragic writer,

528.

Couplets, the first introduction of, into
English poetry, 432.

Cowley, instances of forced metaphors in
his poems, 162. His use of similes cen-
sured, 186. His general character as a
poet, 446.

Crevier, his character of several eminent
French writers, 382, note.

Criticism, true and pedantic distinguished,
13. Its object, 27. Its origin, 28.
Why complained of by petty authors,
ibid. May sometimes decide against the
voice of the public, ibid.
Cyphers, or arithmetical figures, a kind of
universal character, 75.

D.

David, King, his magnificent institutions
for the cultivation of sacred music and
poetry, 460. His character as a poet,
468.

Debate in popular assemblies, the eloquence
of, defined, 262. More particularly con-
sidered, 285. Rules for, 287.
Declamation, unsupported by sound rea-
soning, false eloquence, 286.
Declension of nouns considered in various
languages, 84.

Whether cases or pre-
positions were most anciently used, 85.
Which of them are most useful and
beautiful, 86.

Deities, heathen, probable cause of the
number of, 173.
Deliberative orations what, 284.
Delivery, the importance of,in public speak-

ing, 292, 365. The four chief requisites
in, 366. The powers of voice, ibid.
Articulation, 367. Pronunciation, 368,
Emphasis, 369. Pauses, 370. Decla
matory delivery, 374. Action ibid. Af
fectation, 376.

Demetrius, Phalerus, the rhetorician, his
character, 273.

Demonstrative orations, what, 284.
Demosthenes, his eloquence characterized,
267. His expedients to surmount the
disadvantages of his person and address,
271. His opposition to Philip of Ma-
cedon, ibid. His rivalship with Es-
chines, 272. His style and action, ibid.
Compared with Cicero, 276. Why his
orations still please in perusal, 286.
Extracts from his Philippics, 293. His
definition of the several points of orato-
ry, 365.

Description, the great test of a poet's ima-
gination, 452. Selection of circum-
stances, ibid. Inanimate objects should
be enlivened, 455. Choice of epithets,
456.

Description and imitation, the distinction
between, 56.

Des Brosses, his speculations on the ex-
pressive power of radical letters and
syllables, 61, note.

Dialogue writing, the properties of, 411.

Is very difficult to execute, 412. Mo-
dern dialogues characterized, ibid.
Didactic poetry, its nature explained, 447.
The most celebrated productions in this
class specified, ibid. Rules for composi-
tions of this kind, 448. Proper embel-
lishments of, ibid.

Diderot, M. his character of English co-
medy, 543.

Dido, her character in the Æneid examin-
ed, 490.

Dionysius of Halicarnassus, his ideas of
excellency in a sentence, 136 His dis-
tinction of style, 196. Character of his
treatise on Grecian oratory, 269. His
comparison between Lysias and Iso-
crates, 270, note. His criticism on Thu-
cydides, 397.
Discourse. See Oration.
Dramatic poetry, the origin of, 425. Dis-

tinguished by its objects, 505. See Tra-
gedy and Comedy.

Dryden, one of the first reformers of our
style, 200. Johnson's character of his
prose style, ibid, note.
His character as
a poet, 432. His character of Shak-
speare, 530, note. His own character as
a dramatic writer, 531, 541.

Du Bos, Abbé, his remark on the theatri-
cal compositions of the ancients, 137.
E.

Education, liberal and essential requisite
for eloquence, 380.

Egypt, the style of the hieroglyphical writ-
ing of, 73. This an early stage of the
art of writing, ibid. The alphabet pro-
bably invented in that country, 76.
Emphasis, its importance in public speak-
ing, 369. Rule for, ibid.

Eloquence, the several objects of considera-
tion under this head, 261. Definition of

the term, 262, 377. Fundamental max-
ims of the art, 262. Defended against
the objection of the abuse of the art of
persuasion, ibid. Three kinds of elo-
quence distinguished, 263. Oratory, the
highest degree of, the offspring of pas-
sion, 264. Requisites for eloquence, ibid.
French eloquence, 265. Grecian, 266.
Rise and character of the rhetoricians of
Greece, 268. Roman, 274. The attici
and asiani, 276. Comparison between
Cicero and Demosthenes, ibid. The
schools of the declaimers, 279. The
eloquence of the primitive fathers of the
church, 280. General remarks on mod-
ern eloquence, ibid. Parliament, 283.
The bar and pulpit, ibid. The three kinds
of orations distinguished by the ancients,
284. These distinctions how far corres-
pondent with those made at present,
285. Eloquence of popular assemblies
considered, ibid. The foundation of elo-
quence, 286. The danger of trusting to
prepared speeches at public meetings,
287. Necessary premeditation pointed
out, ibid. Method, 288. Style and ex-
pression, ibid. Impetuosity, 289. At-
tention to decorums, 290. Delivery,
292, 366. Summary, 292. See Cicero,
Demosthenes, Oration, and Pulpit.
English language, the arrangement of
words in, more refined than that of an-
cient languages, 70. But more limited,
ibid. The principles of general grammar
seldom applied to it, 78. The important
use of articles in, 81. All substantive
nouns of inanimate objects of the neuter
gender, 82. The place of declension in,
supplied by prepositions, 85. The va-
rious tenses of English verbs, 91. His-
torical view of the English language,
95. The Celtic the primitive language of
Britain, ibid. The Teutonic tongue the
basis of our present speech, 96. Its ir
regularities accounted for, ibid. Its
copiousness, ibid. Compared with the
French language, 97. Its style charac-
terized, ibid. Its flexibility, 98. Is more
harmonious than is generally allowed,
ibid. Is rather strong than graceful, 99.
Accent thrown farther back in English
words, than in those of any other lan-
guage, ibid. General properties of the
English tongue, ibid. Why so loosely
and inaccurately written, 100. The
fundamental rules of syntax, common
both to the English and Latin, ibid.
No author can gain esteem if he does
not write with purity, 101. Grammati-
cal authors recommended, ibid, note.
Epic poetry, the standards of, 393. Is the
highest effort of poctical genius, 470.
The characters of, obscured by critics,
ibid. Examination of Bossu's account
of the formation of the Iliad, ibid. Epic
poetry considered as to its moral tenden-

cy, 472. Predominant character of, 473.
Action of, ibid. Episodes, 474. The
subject should be of remote date, 475.
Modern history more proper for dramatic
writing than for epic poetry, ibid. The
story must be interesting and skilfully
managed, 476. The intrigue, 477. The
question considered whether it ought
to end successfully, ibid. Duration for
the action, ibid. Characters of the
personages, 478. The principal hero,
ibid. The machinery, 479. Narration,
480. Loose observations, 481.
Episode, defined with reference to epic
poetry, 474. Rules for conduct of, 475.
Epistolary writing, general remarks on,

413.

Eve, her character in Milton's Paradise
Lost, 504.

Euripides, instance of his excellence in the
pathetic, 524, note. His character as a
tragic writer, 527,

Exclamations, the proper use of, 189.
Mode of their operation, ibid. Rule for
the employment of, 190.

Exercise improves both bodily and mental
powers, 18.

Exordium of a discourse, the objects of,
342. Rules for the composition of, 343.
Explication of the subject of a sermon, ob-
servation on, 352.

F.

Face, human, the beauty of, complex, 53.
Farquhar, his character as a dramatic writ-
er, 542.

Fathers, Latin, character of their style of
eloquence, 279.

Fenelon, archbishop, his parallel between
Demosthenes and Cicero, 277. His re-
marks on the composition of a sermon,
347. Critical examination of his Ad-
ventures of Telemachus, 500.
Fielding, a character of his novels, 420.
Figurative style of language defined, 146.
Is not a scholastic invention, but a natu-
ral effusion of imagination, 147. How
described by rhetoricians, 148. Will not
render a cold or empty composition in-
teresting, 149. The pathetic and sub-
lime reject figures of speech, ibid. Ori-
gin of, 150. How they contribute to
the beauty of style, 153. Illustrative des-
cription, 154. Heightened emotion, ibid.
The rhetorical names and classes of fig-
ures frivolous, 156. The beauties of
composition not dependant on tropes and
figures, 192. Figures must always rise
naturally from the subject, 193. Are not
to be profusely used, 194. The talent
of using derived from nature, and not to
be created, ibid. If improperly intro-
duced, are a deformity, ibid, note. See
Metaphor.

Figure, considered as a source of beauty,
51.

Figures of speech, the origin of, 66.

Figures of thought among rhetoricians, de-
fined, 148.

Fitness and design, considered as sources
of beauty, 54.

Fleece, a poem, harmonious passage from,
145.

Fontenelle, character of his dialogues, 413.
French, Norman, when introduced into
England, 95.

French writers, general remarks on their
style, 198. Eloquence, 265, 280. French
and English oratory compared, 282.
Frigidity in writing characterized, 48.

G.

Gay, a character of his pastorals, 441.
Gender of nouns, foundation of, 82.
Genius distinguished from taste, 29. Its
import, ibid. Includes taste, 30. The
pleasures of the imagination, a striking
testimony of Divine benevolence, 31.
True, is nursed by liberty, 265. In arts
and writing, why displayed more in one
age than another, 291. Was more vi-
gorous in the ancients than in the mod.
erns, 391. A general mediocrity of,
how diffused, ibid.

Gesner, a character of his Idyls, 440.
Gestures in public oratory. See Action.
Gil Blas of Le Sage, character of that no-
vel, 419.

Girard, abbé, character of his Synonymes
François, 111.

Gordon, instances of his unnatural disposi
tion of words, 56.

Gorgius of Leontium, the rhetorician, his
character, 268.

Gothic poetry, its character, 424.
Gracchus, C. his declamations regulated by
musical rules, 137.

Grammar, general, the principles of, titles
attended to by writers, 78. The divi
sion of the several parts of speech, 79.
Nouns substantive, 80. Articles, 81.
Number, gender, and case of nouns, 82.
Prepositions, 85. Pronouns, 88. Ad-
jectives, ibid. Verbs, 90. Verbs the

most artificial complex of all the parts
of speech, 92. Adverbs, 93. Prepo-
sitions and conjunctions, ibid. Impor-
tance of the study of grammar, 94.
Grandeur. See Sublimity.
Greece, short account of the ancient repub-
lics of, 266. Eloquence carefully stu-
died there, 287. Characters of the dis-
tinguished orators of, ibid. Rise and
character of the rhetoricians, 268.
Greek, a musical language, 64, 136. Its
flexibility, 98. Writers distinguished
for simplicity, 207.

Guarini, character of his Pastor Fido, 441.
Guicciardini, his character as an historian,
406.

H.

Habakkuk, sublime representation of the
Deity in, 40.

Harris, explanatory simile cited from, 183