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.
Ideas, abstract, entered into the first for- mation of language, 80.
Jeremiah, his poetical character, 468. See Lamentations.
Herodotus, his character as an historian, Iliad, story of, 482. Remarks on, ibid.
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-
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,
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,
Judea, remarks on the climate and natural circumstances of that country, 463. Judicial orations, what, 284. Juvenal, a character of his satires, 450.
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.
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,
Lysias, the rhetorician, his character, 270. M.
Machiavel, his character as an historian,
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,
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,
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.
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,
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.
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.
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,
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,
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
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