Bacon, his observations on romances, 373.
Ballads, have great influence over the man-
ners of a people, 373. Were the first ve-
hicles of historical knowledge and in-
struction, 379.

Bar, the eloquence of, defined, 236. Why
more confined than the pleadings before
ancient tribunals, 253. Distinction be-
tween the motives of pleading at the bar,
and speaking in popular assemblics, 268.
In what respects ancient pleadings differ
from those of modern times, ibid. In-
structions for pleaders, 269. 313.
Bards, ancient, the first founders of law
and civilization, 379.

Barrow, Dr. character of his style, 178.
Character of his sermons, 291.
Beaumont and Fletcher, their characters as
dramatic posts, 483.

Beauty, the emotion raised by, distinguish-
ed from that of sublimity, 45. Is a term
of vague application, ibid. Colours, 46.
Figures, ibid. Hogarth's line of beauty,
and line of grace considered, 47. Motion,
ibid. A landscape the most complete as-
semblage of beautiful objects, ibid. The
human countenance, 48. Works of art,
49. The influence of fitness and design
in our ideas of beauty, ibid. Beauty in
literary composition, 50. Imitation, 51.
Bergerus, a German critic, writes a trea-
tise on the sublimity of Cæsar's Com-
mentaries, 35.

Berkeley, bishop, character of bis Dialogues
on the Existence of Matter, 369.
Biography, as a class of historical composi-
tion, characterized, 365.
Blackmore, Sir Richard, remarks on his
description of Mount Etna, 43.
Blackwell, his character as a writer, 188.
Boileau, his character as a didactic poet,
404.

Bolingbroke, instances of inaccuracy in his
style, 109. 119. A beautiful climax from,
1-16. A beautiful metaphor from, 143.

His general character as a politician and
philosopher, ibid. His general character
as a writer, 189. 343.
Bombast in writing described, 44.
Bossu, his definition of an epic poem, 420,
His account of the composition of the
Iliad, 421.

Bossuet, M. instances of apostrophes to
personified objects, in his funeral ora-
tions, 160, note. Conclusion of his funeral
oration on the Prince of Conde, 326.
Britain, Great, not eminent for the study of
eloquence, 251. Compared with France
in this respect, 252.

Bruyere, his parallel between the eloquence
of the pulpit and the bar, 280, note.
Buchanan, his character as an historian,
364.

Building, how rendered sublime, 32.

C.

Calmus, account of his alphabet, 69.
Caesar's Commentaries, the style of, cha-
racterized, 35. Is considered by Bergerus
as a standard of sublime writing, ibid.
Instance of his happy talent in historical
painting, 361, note. His character of
Terence the dramatist, 481, note.
Camoens, critical examination of his Lusiad,
446. Confused machinery of, ibid. 46.
Campbell, Dr. his observations on English
particles, 79, note.

Carmel, Mount, metaphorical allusions to,
in Hebrew poetry, 415.
Casimir, his character as a lyric poet, 399.
Catastrophe, the proper conduct of, in dra-

matic representations, 460.
Caudine Furca, Livy's happy description
of the disgrace of the Roman army there,
360.

Celtic language, its antiquity and character,
85. The remains of it where to be found,
86. Poetry, its character, 380.
Characters, the dangers of labouring them
too much in historical works, 363. The
due requisites of, in tragedy, 464.
Chinese language, character of, 68. And
writing, 67.

Chivalry, origin of, 374.

Chorus, ancient, described, 455. Was the
origin of tragedy, ibid. Inconveniences
of, ibid. How it might properly be intro-
duced on the modern theatre, 457.
Chronology, a due attention to, necessary
in historical compositions, 355.
Chrysostom, St., his oratorical character,

250.

Cibber, his character as a dramatic writer,
484.

Cicero, his ideas of taste, 16, note. His dis-
tinction between amare and diligere, 97.
His observations on style, 102. Very at-
tentive to the beauties of climax, 116. Is
the most harmonious of all writers, 121.
His remarks on the power of music in
orations, 123. His attention to harmony
too visible, 127. Instance of his happy
talent of adapting sound to sense, 128.

His account of the origin of figurative
language, 136. His observations on suit-
ing language to the subject, 144. His
rule for the use of metaphor, 145. In-
stance of antithesis in, 168. The figure
of speech called vision, 171. His caution
against bestowing profuse ornaments on
an oration, 174. His distinction of style,
176. His own character as a writer, 177.
His character of the Grecian orators,240.
His own character as an orator, 246.
Compared with Demosthenes, 247. Mas-
terly apostrophe in, 260, note. His me-
thod of studying the judicial causes he
undertook to plead, 270. State of the
prosecution of Avitus Cluentius, 273.
Analysis of Cicero's oration for him, ibid.
The exordium of his second oration
against Rullus, 306. His method of pre-
paring introductions to his orations, 308.
Excelled in narration, 314. His defence
of Milo, ibid. 319. Instance of the pa-
thetic in his last oration against Verres,
324. Character of bis treatise de Oratore,
345. Character of his dialogues, 369.
His epistles, 371.

Clarendon, lord, remarks on his style, 108.
His character as an historian, 364.
Clarke, Dr. the style of his sermons charac-
terized, 290.

Classics, ancient, their merits now finally
settled beyond controversy, 348. The
study of them recommended, 352.
Climax, a great beauty in composition, 116.
In what it consists, 171.
Cluentius, Avitus, history of his prosecu
tion, 273. His cause undertaken by Ci-
cero, ibid. Analysis of Cicero's oration
for him, ibid.

Colours, considered as the foundation of
beauty, 46.

Comedy, how distinguished from tragedy,
452. 476. Rules for the conduct of, 477.
The characters in, ought to be of our own
country, and our own time, ibid. Two
kinds of, 478. Characters ought to be
distinguished, 479. Style, ibid. Rise and
progress to comedy, ibid., Spanish co-
medy, 481. French comedy, 482. English
comedy, 483. Licentiousness of, from the
era of the restoration, ibid. The restora-
tion of, to what owing, 486. General
remarks, 487.

Comparison, distinguished from metaphor,

141. Nature of this figure explained, 163.
Composition. See Literary composition.
Congreve, the plot of his Mourning Bride
embarrassed, 458. General character of
this tragedy, 475. His comedies, 485.
Conjugation of verbs, the varieties of, 81.
Conviction, distinguished from persuasion,
235.

Copulatives,caution for the use of them, 111.
Corneille, his character as a tragic writer,
472.

Couplets, the first introduction of, into
English poetry, 387.

Cowley, instances of forced metaphors in

his poems, 145. His use of similes cen-
sured, 166. His general character as a
poet, 399

Crevier, his character of several eminent
French writers, 342, note.

Criticism, true and pedantic, distinguished,
12. Its object, 25. Its origin, ibid. Why
complained of by petty authors, 26.
May sometimes decide against the voice
of the public, ibid.

Cyphers, or arithmetical figures, a kind of
universal character, 68.

D.

David, King, his magnificent institutions
for the cultivation of sacred music and
poetry, 411. His character as a poet,

418.

Debate in popular assemblies, the eloquence
of, defined, 234. More particularly con-
sidered, 256. Rules for, 257.
Declamation, unsupported by sound reason-
ing, false eloquence, 256.
Declension of nouns considered in various
languages, 76.
Whether cases or pre-

positions were most anciently used, 77.
Which of them are most useful and beau-
tiful, 78.

Deities, heathen, probable cause of the
number of, 155.

Deliberative orations, what, 225.
Delivery, the importance of in public speak-
ing, 261. 326. The four chief requisites
in, 328. The powers of voice, ibid. Ar-
ticulation, ibid. Pronunciation, 329.
Emphasis, 330. Pauses, 331. Declama-
tory delivery, 334. Action, 335. Affec-
tation, 336.

Demetrius Phalerus, the rhetorician, his
character, 244.

Demonstrative orations, what, 255.
Demosthenes, his eloquence characterized,
239. His expedients to surmount the
disadvantages of his person and address,

242.

His opposition to Philip of Mace-
don, 243. His rivalship with Æschines,
ibid. His style and action, 244. Com-
pared with Cicero, 247. Why his orations
still please in perusal, 256. Extracts from
his Philippics, 262. His definition of the
several points of oratory, 326.
Description, the great test of a poet's ima-
gination, 404. Selection of circumstan-
ces, ibid. Inanimate objects should be
enlivened, 407. Choice of Epithets, 490.
Description and imitation, the distinction
between, 51.

Des Brosses, his speculations on the ex-
pressive power of radical letters and syl-
lables, 56, note.

Dialogue writing, the properties of, 368.
Is very difficult to execute, ibid. Modern
dialogues characterized, ibid.
Didactic poetry, its nature explained, 399.
The most celebrated productions in this
class, specified, 400. Rules for composi
tions of this kind, ibid. Proper ember-
lishments of, 401.

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

Dido, her character in the Eneid exa-
mined, 438.

Dionysius of Halicarnassus, his ideas of ex-
cellency in a sentence, 122. His distinc-
tion of style, 176. Character of his trea-
tise on Grecian oratory, 241. His com-
parison betweenLysias andIsocrates, 242,
note. His criticism on Thucydides, 355.
Discourse. Sec Oration.

Dramatic Poetry, the origin of, 381. Dis-
tinguished by its objects, 452. See Tra-
gedy and Comedy.
Dryden, one of the first reformers of our
style, 180. Johnson's character of his
prose style, ibid. note. His character as

a poet, 337. His character of Shaks-
pcare, 474, note. His own character as a
dramatic writer, 475. 484.

Du Bos, Abbe, his remark on the theatrical
compositions of the ancients, 123.
E.

Education, liberal, an essential requisite
for eloquence, 340.

Egypt, the style of the hieroglyphical wri-
ting of, 66. This an early stage of the art
of writing, ibid. The alphabet probably
invented in that country, 69.
Emphasis, its importance in public speak-
ing, 330. Rule for, ibid.
Eloquence, the several objects of considera-

tion under this head, 234. Definition of
the term, ibid. 337. Fundamental max-
ims of the art, 234. Defended against the
objection of the abuse of the art of per-
suasion, ibid. Three kinds of cloquence
distinguished, 235. Oratory, the highest
degree of, the offspring of passion, 236.
Requisites for eloquence, 237. French
eloquence, ibid. Grecian, 233. Rise and
character of the rhetoricians of Greece,
240. Roman, 245. The Attici and Asiani,
247. Comparison between Cicero and
Demosthenes, ibid. The schools of the
declaimers, 250. The eloquence of the
primitive fathers of the church, ibid. Ge-
neral remarks on modern eloquence, 251.
Parliament, 253. The bar and pulpit, ib.
254. The three kinds of orations distin-
guished by the ancients, 255. These dis-
tinctions how far correspondent with
those made at present, ib. Eloquence of
popular assemblies considered, ibid. The
foundation of cloquence, 256. The dan-
ger of trusting to prepared speeches at
public meetings, 257. Necessary preme-
ditation pointed out, ibid. Method, 258.
Style and expression, ibid. Impetuosity,

259.

Attention to decorum, 260. Deli-
very, 261. 326. Summary, 261. See Ci-
cero, Demosthenes, Oration, and Pulpit.
English language, the arrangement of
words in, more refined than that of an-
cient languages, 64. But more limited,
ibid. The principies of general grammar
seldom applied to it, 71. The important

use of articles in, 73. All substantive
nouns of inanimate objects of the neuter
gender, 74. The place of declension in,
supplied by prepositions, 76. The various
tenses of English verbs, 82. Historical
view of the English language, 85. The
Celtic, the primitive language of Britain,
ibid. The Teutonic tongue the basis of
our present speech, 86. Its irregularities
accounted for, 87. Its copiousness, ibid.
Compared with the French language, ib.
Its style characterized, 88. Its flexibility,
ibid. Is more harmonious than is gene-
rally allowed, 89. Is rather strong than
graceful, ibid. Accent thrown farther
back in English words, than in those of
any other language, ib. General proper-
ties of the English tongue, ibid. Why so
loosely and inaccurately written, 90. 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, 91. Grammatical au-
thors recommended, ibid. note.

Epic poetry, the standards of, 361. Is the
highest effort of poetical genius, 420.-
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 ten-
dency, 422. Predominant character of,
423. Action of, ibid. Episodes, 424. The
subject should be of remote date, 425.
Modern history more proper for dramatic
writing than for epic poetry, ibid. The
story must be interesting and skilfully
managed, 426. The intrigue, ibid. The
question considered whether it ought to
end successfully, ibid. Duration for the
action, 427. Characters of the person-
ages, ibid. The principal hero, ibid. The
machinery, 428. Narration, 429. Loose
observations, 430.

Episode, defined with reference to epic po-

etry, 424. Rules for the conduct of, ibid.
Epistolary writing, general remarks on,369.
Eve, her character in Milton's Paradise
Lost, 451.

Euripides, instance of his excellence in the
pathetic, 468, note. His character as a
tragic writer, 471.
Exclamations, the proper use of, 169. Mode
of their operation, 170. Rule for the
employment of, ibid.

Exercise improves both bodily and mental
powers, 17.

Exordium of a discourse, the objects of,
306. Rules for the composition of, 307.
Explication of the subject of a sermon, ob-
scrvation on, 315.

F.

Face, human, the beauty of, complex, 48.
Farquhar, his character as a dramatic wri-
ter, 542.

Fathers, Latin, character of their style of
eloquence, 250.

Fenelon, archbishop, his parallel between

Demosthenes and Cicero, 249. His re-
marks on the composition of a sermon,
311. Critical examination of his adven-
tires of Telemachus, 447.
Fielding, a character of his novels, 376.
Figurative style of language defined, 131.
Is not a scholastic invention, but a natural
effusion of imagination, 132. How de-
scribed by rhetoricians, ibid. Will not
render a cold or empty composition inter-
esting, 134. The pathetic and sublime re-
ject figures of speech, ibid. Origin of, ibid.
How they contribute to the beauty of
style, 137. Illustrate description, 138.
Heightened emotion, 139. The rhetorical
names and classes of figures frivolous,
140. The beauties of composition not
dependent on tropes and figures, 173.
Figures must always rise naturally from
the subject, ibid. Are not to be profusely
used, ibid. The talent of using derived
from nature, and not to be created, 174..
If improperly introduced, are a deform-
ity, ibid. note. See Metaphor.
Figure considered as a source of beauty,
46.

Figures of speech, the origin of, 60.
Figures of thought among rhetoricians, de-
fined, 133.

Fitness and design, considered as sources of
beauty, 49.

Fleece, a poem, harmonious passage from,
130.

Fontenelle, character of his dialogues, 369.
French Norman, when introduced into
England, 86.

French writers, general remarks on their
style, 178. Eloquence, 237. 251. French
and English oratory compared, 252.
Frigidity in writing characterized, 44.

G.

Its

Gay, a character of his pastorals, 394.
Gender of nouns, foundation of, 74.
Genius distinguished from taste, 27.
import, ibid. Includes taste, ibid. The
pleasures of the imagination, a striking
testimony of divine benevolence, 29. True,
is nursed by liberty, 237. In arts and wri-
ting why displayed more in one age than
another, 347. Was more vigorous in the
ancients than in the moderns, 350. A
general mediocrity of now diffused, 351.
Gesner, a character of his Idylls, 394.
Gestures in public oratory. See Action.
Gil Blas of Le Sage, character of that no-
vel, 375.

Girard abbe, character of his Synonymes
Francois, 100, note.

Gordon, instances of his unnatural disposi-
tion of words, 114.

Gorgius of Leontium, the rhetorician, his
character, 240.

Gothic poetry, its character, 380.
Gracchus, C. his declamations regulated by
musical rules, 123.

Grammar, general, the principles of, titles
attended to by writers, 71. The division

of the several parts of speech, ibid. Nouns
substantive, 72. Articles, 73. Number,
gender, and case of nouns, 74. Preposi-
tions, 77. Pronouns, 79. Adjectives, 80.
Verbs, 81. Verbs the most artificial com-
plex of all the parts of speech, 83. Ad-
verbs, 84. Prepositions and conjunc-
tions, ibid. Importance of the study of
grammar, 85.

Grandeur. See Sublimity.

Greece, short account of the ancient repub.
lics of, 238. Eloquence carefully studied
there, 239. Characters of the distinguish
ed orators of, ibid. Rise and character
of the rhetoricians, 240.

Greek, a musical language, 58. 122. Its
flexibility, 88. Writers distinguished for
simplicity, 186.

Guarini, character of his Pastor Fido, 394.
Guicciardini, his character as an historian,

363.

H.

Habakkuk, sublime representation of the
Deity in, 36.

Harris, explanatory simile cited from, 164.
Hebrew poetry, in what points of view to
be considered, 410. The ancient pronun-
ciation of, lost, 411. Music and poetry,
early cultivated among the Hebrews, ibid.
Construction of Hebrew poetry, 412. Is
distinguished by a concise, strong, figu-
rative expression, 413. The metaphors
employed in, suggested by the climate
and nature of the land of Judea, 414. 416.
Bold and sublime instances of personifi-
cation in, ibid. Book of Proverbs, 417.
Lamentations of Jeremiah, ibid. Book
of Job, 418.

Helen, her character in the Iliad examined,

Hervey, character of his style, 183.
Hieroglyphics, the second stage of writing,
66. Of Egypt, ibid.
Historians, modern, their advantages over
the ancient, 349. Ancient models of, 351.
The objects of their duty, 352. Character
of Polybius, 354. Of Thucydides, 355.
Of Herodotus and Thuanus,356. Primary
qualities necessary in an historian, ibid.
Character of Livy and Sallust, 357. Of
Tacitus, ibid. Instructions and cautions
to historians, ibid. How to preserve the
dignity of narration, 350. How to render
it interesting, ibid. Danger of refining too
much in drawing characters, 362. Cha-
racter of the Italian historians, 363. The
French and English, 364.

History, the proper objects and end of, 352.

True, the characters of, 353. The differ-

ent classes of, ibid. General history, the
proper conduct of, 354. The necessary
qualities of historical narration, 359. The
propriety of introducing orations in his-
tory examined, 362. And characters, ibid.
The Italians the best modern historians,
363. See Annals, Biography, Memoirs,
and Novels.

Hogarth, his analysis of beauty considered,

47.

Homer, not acquainted with poetry as a
systematic art, 25. Did not possess a re-
fined taste, 28. Instances of sublimity in,
37. Is remarkable for the use of per-
sonification, 157. Story of the Iliad, 430.
Remarks on, 431. His invention and
judgment in the conduct of the poem,432.
Advantages and defects arising from his
narrative speeches, ibid. His character,
433. His machinery, 434. His style, 435.
His skill in narrative description, ibid.
His similes, 436. General character of
his Odyssey, ibid. Defects of the Odys-
sey, 437. Compared with Virgil, ibid.
Hooker, a specimen of his style, 179.
Horace, figurative passages cited from, 138.
Instance of mixed metaphor in, 148.
Crowded metaphors, 149. His character
as a poet, 351. 398. Was the reformer
of satire, 402.

Humour, why the English possess this
quality more eminently than other na-
tions, 483.

Hyperbole, an explanation of that figure,
152. Cautions for the use of, ibid. Two
kinds of, 153.

I.

Ideas, abstract, entered into the first forma
tion of language, 73.
Jeremiah, his poetical character, 418. See
Lamentations.

Iliad, story of, 430. Remarks on, 431. The
principal characters, 433. Machinery of,
434.

Imagination, the Pleasures of, as specified

by Mr. Addison, 28. The powers of, to
enlarge the sphere of our pleasure, a
striking instance of divine benevolence,
29. Is the source of figurative language,
132. 135.

Imitation, considered as a source of pleasure
to taste, 51. And description distinguish-
ed, 52.

Inferences from a sermon, the proper ma-
nagement of, 325.

Infinity of space, numbers, or duration, af-

fect the mind with sublime ideas, 30.
Interjections, the first elements of speech,
55.
Interrogation, instances of the happy use
and effect of, 169. Mode of their opera-
tion, 170. Rule for using, ibid.
Job, exemplification of the sublimity of ob-
scurity in the book of, 31. Remarks on
the style of, 411. The subject and poetry
of, 419. Fine passage from, ibid.
Johnson, his character of Dryden's prose

style, 180, note. His remarks on the style
of Swift, 224, note. His character of
Thompson, 405, note. His character of
Dryden's comedies, 484, note. His cha-
racter of Congreve, 485, note.

Jonson, Ben, his character as a dramatic
poet, 483.

Isaus, the rhetorician, his character, 242.
Isaiah, sublime representation of the Deity
in, 37. His description of the fall of the
Assyrian empire, 162. His metaphors
suited to the climate of Judea, 414, 415.
His character as a poet, 418.
Isocrates, the rhetorician, his character, 241.
Judea, remarks on the climate and natural
circumstances of that country, 414.
Judicial orations, what, 255.
Juvenal, a character of his satires, 402.

K.

Kaims, lord, his severe censures of English
comedies, 485.

Knight errantry, foundation of the roman-
ces concerning, 374.
Knowledge, an essential requisite for elo-
quence, 340. The progress of, in favour
of the moderns upon a comparison with
the ancients, 350. The acquisition of,
difficult in former ages, ibid.

L.

Lamentations of Jeremiah, the most perfect

elegiac composition in the sacred Scrip-
tures, 417.

The

Landscape, considered as an assemblage of
beautiful objects, 48.
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, 53. The present refinements of,
ibid. Origin and progress of, 54.
first elements of, 55. Analogy between
words and things, ibid. The great assist-
ance afforded by gestures, 57. The Chi-
nese language, 58. The Greek and Ro-
man languages, ibid. Action much used
by ancient orators, ibid. Roman panto-
mimes, 59. Great difference between an-
cient and modern pronunciation, ibid.
Figures of speech, the origin of, 60. Figu-
rative style of American languages, ibid.
Cause of the decline of figurative lan-
guage, 61. The natural and original ar-
rangement of words in speech, 62. The
arrangement of words in modern lan-
guages, different from that of the ancients,
63. An exemplification, ibid. Summary of
the foregoing observations, 65. Its won-
derful powers, 139. All language strongly
tinctured with metaphor, 142. In mo-
dern productions, often better than the
subjects of them, 233. Written and oral,
distinction between, 342. See Grammar,
Style, and Writing.

Latin language, the pronunciation of, musi-
cal and gesticulating, 58. 122. The natu-
ral arrangement of words in, 62. The
want of articles a defect in, 73. Remarks