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their principal object is, as before stated, to render the instruction of classes less irksome, and less difficult. The editor would, therefore, recommend to professors and teachers, uniformly to insist that scholars, at the commencement of their recitations, be prepared to repeat, with perfect clearness, the subject of each chapter or section, by its respective analysis; and from it to conduct the recitation of the class. He is aware, however, that to teachers not familiar with the subject, this would be impossible; but where is the teacher to be found, determined to excel in his profession, who would not, from considerations, both of duty and of interest, study to acquire that familiarity by which alone, he can secure to himself, the confidence and respect of his scholars, and ultimate success in his calling!
That in works for general reading, and especially in text books, translations should be uniformly affixed to passages introduced from the ancient classics, as illustrations, the editor does not hesitate to say must be the conviction of every candid and intelligent mind: as to scholars who may be familiar with those languages, they can certainly be no hinderance; while to those who have not enjoyed the advantages of a classical education, they are indispensably necessary. It is true that many persons still seem to think it bordering almost on presumption for any one to pretend to taste or elegant scholarship in the Belles Lettres, who can not read Latin and Greek; but though the advantages of a knowledge of these languages, in forming one's taste, must ever be acknowledged to be immensely great, yet it by no means follows, that those who may not understand them have not it in their power to cultivate theirs. The principles of taste, and the perception of the Sublime and the Beautiful, exist, in a greater or less degree, in every mind; and as every man fami
liar with the subject, must be sensible that English literature is enriched with its full share of the most exquisite productions, both in poetry and prose; so it would seem to follow, that if these be devotedly studied, their beauties will be properly ascer tained, and duly appreciated.
Besides, it must not be forgotten, that the pursuits of elegant literature form the most important part of the course of instruction at the present time pursued in every well regulated femaleschool, both in this country and in Great Britain; and as cases very rarely occur, in which young ladies are to be found with sufficient acquaintance with the ancient classics to study works filled with illustrations taken from them, that their studies may not be constantly interrupted, every beauty should be presented in such a form that they may immediately perceive it.
It is by no means pretended, however, that the force and spirit of the original poetry, is uniformly retained in the translations. This, when the dissimilarity that exists between the two languages is borne in mind, will at once be perceived to be impossible; but as the greater part of the translations here introduced, are from translators of acknowledged celebrity, the editor feels confident that, though accuracy principally was aimed at in preparing them, yet they will be found sufficiently elegant not to mar, at least, the interest of the work.
With regard to the body of the work, the editor has been at great pains to preserve it in as pure a state, and as nearly as it originally came from the pen of the celebrated author, as possible. To effect this purpose, the present edition is printed, with the utmost accuracy, from a copy of an edition published in Edinburgh before the author's death, and which received his last revision.
Having thus briefly stated the character of the work, and the
improvements tha are proposed to have been added to it, the editor leaves the public to decide how far his labors may be considered commendable; and should the objects mentioned in the commencement of these remarks, be found to have been attained, he will feel himself abundantly compensated.
New-York, April, 1833.
Chap. I. Perceptions and Ideas in a train,
Chap. II. Emotions end Passions,
Part 1. Causes unfolded of the Emotions and Passions:
Sect. 1. Difference between Emotion and Passion.-Causes that are the
most common and the most general.—Passion considered as
Sect. 2. Power of Sounds to raise Emotions and Passions,
Sect. 3. Causes of the Emotions of Joy and Sorrow,
Sect. 5. In many instances one Emotion is productive of another.-The
same of Passions,
Sect. 6. Causes of the Passions of Fear and Anger,
Chap. VI. Novelty, and the unexpected appearance of Objects,
Chap. VII. Risible Objects,
Chap. VIII. Resemblance and Dissimilitude,
Chap. IX. Uniformity and Variety,
to Uniformity and Variety,
Chap. X. Congruity and Propriety,
Part 2. Emotions and Passions as pleasant and painful, agreeable and
disagreeable.-Modification of these Qualities,
Part 3. Interrupted Existence of Emotions and Passions.-Their Growth
Part 4. Coexistent Emotions and Passions,
Part 5. Influence of Passion with respect to our Perceptions, Opinions,
Appendix.-Methods that Nature hath afforded for computing Time
Part 6. Resemblance of Emotions to their Causes,
Part 7. Final Causes of the more frequent Emotions and Passions,
Chap. IV. Grandeur and Sublimity,
Chap. XV. External Signs of Emotions and Passions,
Chap. XVII. Language of Passion,
Chap. XVIII. Beauty of Language,
Sect. 1. Beauty of Language with respect to Sound,
Sect. 2. Beauty of Language with respect to Signification,
Sect. 3. Beauty of Language from a resemblance between Sound and
Sect. 4. The Means or Instrument conceived to be the agent,
Sect. 5. A figure which, among related Objects, extends the Properties
Sect. 6. Metaphor and Allegory,
Table 1. Subjects expressed figuratively,
Table 2. Attributes expressed figuratively,
Chap. XXI. Narration and Description,
Chap. XXII. Epic and Dramatic Compositions,
Chap. XXIII. The Three Unities,
Chap. XXIV. Gardening and Architecture,
Appendix. Terms defined or explained,