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.
Comedy, how distinguished from tragedy, 506, 533. Rules for the conduct of, ibid. The characters in, ought to be of our own country and our own time, 534. Two kinds of, ibid. Characters ought to be distinguished, 535. Style, 536. Rise and progress of comedy, ibid. Spa- nish comedy, 538. French comedy, 539. English comedy, 540. Licentiousness of, from the era of the restoration, 541. The restoration of, to what owing, 543. General remarks, 544.
Comparison, distinguished from metaphor, 158. The nature of this figure explain- ed. 181.
Composition. See Literary composition. Congreve, the plot of his Mourning Bride
embarrassed, 513. General character of his tragedy, 532. His comedies, 541. Conjugation of verbs, the varieties of, 90. Conviction, distinguished from persuasion,
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.
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 cloquence, 286. Declension of nouns considered in various Whether cases or pre- languages, 84. 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 eló- 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 distinctious 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. 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, 104 Grammati- cal authors recommended, ibid. note, Epic poetry, the standards of, 393 Is the highest effort of poetical 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 persouages, 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.
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.
Habakkuk, sublime representation of the Deity in, 40.
Harris, explanatory simile cited from, 183.
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 metaphors, 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,
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 raste, 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,
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, temarks on the climate and natural circumstances of that country, 463. Judicial orations, what, 284. Juvenal, a character of his satires, 450.
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. 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. Lopes 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.
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, 423.
Marivaux, a character of his novels, 420. Marmontel, his comparative remarks on
French, English, and Italian petry, 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. Metalepsis, in figurative language explain. ed, 156.
Metaphor, in figurative style, explained, 157, 168. All language strongly tinct
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