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Orations, 211, note. Conclusion of his funeral oration on the prince of
Condé, 441

Britain, Great, not eminent for the study of eloquence, 338. Compared with
France in this respect, 339.

Bruyere, his parallel between the eloquence of the pulpit and the bar, 378, note.
Buchanan, his character as a historian, 493.

Building, how rendered sublime, 33.

Cadmus, account of his alphabet, 84.

C

Casar's Commentaries, the style of, characterized, 34. Is considered by Berge-
rus as a standard of sublime writing, 37. Instance of his happy talent in
historical painting, 489, note. His character of Terence the dramatist, 655,
note.

Camoens, critical examination of his Lusiad, 606. Confused machinery of, 608.
Campbell, Dr., his observations on English particles, 98, note.

Carmel, Mount, metaphorical allusions to, in Hebrew poetry, 563.

Casimir, his character as a lyric poet, 541.

Catastrophe, the proper conduct of, in dramatic representations, 626

Caudina, Furcæ, Livy's happy description of the disgrace of the Roman army
there, 488.

Celtic language, its antiquity and character, 107. The remains of it, where to
be found, ib. Poetry, its character, 515.

Characters, the danger of labouring them too much in historical works, 492.
The due requisites of, in tragedy, 632.
Chinese language, character of, 69.

Chivalry, origin of, 507.

And writing, 81.

Chorus, ancient, described, 619. Was the origin of tragedy, ib. Incon-
veniences of, 621. How it might properly be introduced on the modern
theatre, 622.

Chronology, a due attention to, necessary in historical compositions, 481.
Chrysostom, St., his oratorical character, 337.

Cibber, his character as a dramatic writer, 659.

Cicero, his ideas of taste, 11, note. His distinction between amare and diligere,
124. His observation on style, 130. Very attentive to the beauties of climax,
150. Is the most harmonious of all writers, 157. His remarks on the power
of music in orations, 160. His attention to harmony too visible, 165. In-
stance of his happy talent of adapting sound to sense, 166. His account of
the origin of figurative language, 177. His observations on suiting language
to the subject, 188. His rule for the use of metaphor, 190. Instance of anti-
thesis in, 220. The figure of speech called vision, 225. His caution against
bestowing profuse ornament on an oration, 228. His distinctions of style, 232.
His own character as a writer, 233. His character of the Grecian orators,
324. His own character as an orator, 331. Compared with Demosthenes,
333. Masterly apostrophe in, 350, note. His method of studying the judicial
causes he undertook to plead, 363. State of the prosecution of Avitus Cluen-
tius, 368. Analysis of Cicero's oration for him, 370. The exordium to his
second oration against Rullus, 415. His method of preparing introductions
to his orations, 416. Excelled in narration, 425. His defence of Milo, ib.,
431. Instance of the pathetic, in his last oration against Verres, 438. Cha-
racter of his treatise De Oratore, 468. Character of his Dialogues, 500. His
Epistles, 503.

Clarendon, lord, remarks on his style, 138. His character as a historian, 494.
Clarke, Dr., the style of his sermons characterized, 391.

Classics, ancient, their merits now finally settled beyond controversy, 472. The
study of them recommended, 476.

Climax, a great beauty in composition, 149. In what it consists, 225.

Cluentius, Avitus, history of his prosecution, 369. His cause undertaken by
Cicero, ib. Analysis of Cicero's oration for him, 370.

Colours considered as the foundation of beauty, 52.

Comedy, how distinguished from tragedy, 616, 648. Rules for the conduct of,
649. The characters in, ought to be of our own country, and of our own
time, 650. Two kinds of, ib. Characters ought to be distinguished, 652.
Style, ib. Rise and progress of comedy, 653. Spanish comedy, 655. French
comedy, 656. English comedy, 657. Licentiousness of, from the era of the
Restoration, 658. The reformation of, to what owing, 661. General re-
marks, 663.

Comparison, distinguished from metaphor, 185. The nature of this figure ex
plained, 215.

Composition. See Literary Composition.

Congreve, the plot of his Mourning Bride embarrassed, 624. General character
of this tragedy, 647. His comedies, 604.
Conjugation of verbs, the varieties of, 102.
Conviction distinguished from persuasion, 317.
Copulatives, cautions for the use of them, 143.

Corneille, his character as a tragic writer, 643.

Couplets, the first introduction of, into English poetry, 525.

Cowley, instances of forced metaphors in his poems, 190. His use of similes cen.
sured, 219. His general character as a poet, 542.

Crevier, his character of several eminent French writers, 463, note

Criticism, true and pedantic, distinguished, 6. Its object, 23. Its origin, ib.
Why complained of by petty authors, 24. May sometimes decide against the
voice of the public, 25.

Cyphers, or arithmetical figures, a kind of universal character, 82.

David, king, his magnificent institutions for the cultivation of sacred music and
poetry, 559. His character as a poet, 568.

Debate, in popular assemblies, the eloquence of, defined, 317. More particularly
considered, 343. Rules for, 345.

Declamation, unsupported by sound reasoning, false eloquence, 344.

Declension of nouns considered, in various languages, 94. Whether cases or
prepositions were most anciently used, 95. Which of them are most useful
and beautiful, 27.

Deities, heathen, probable cause of the number of, 203.

Deliberative orations, what, 343.

Delivery, the importance of, in public speaking, 352, 442. The four chief requi-
sites in, 443. The powers of voice, ib. Articulation, 444. Pronunciation,
445. Emphasis, 446. Pauses, 448. Declamatory delivery, 452. Action,
454. Affectation, 455.

Demetrius Phalerius, the rhetorician, his character, 328.
Demonstrative orations, what, 343.

Demosthenes, his eloquence characterized, 321. His expedients to surmount the
disadvantages of his person and address, 326. His opposition to Philip of
Macedon, ib. His rivalship with Esches, 327. His style and action, ib.
Compared with Cicero, 333. Why his orations still please in perusal, 344.
Extracts from his Philippics, 353-4. His definition of the several points of
oratory, 442.

Description, the great test of a poet's imagination, 549.
stances, ib. Inanimate objects should be enlivened, 553.

555.

Selection of circum-
Choice of epithets,

Description and imitation, the distinction between, 60.
Des Brosses, his speculations on the expressive power of radical letters and syl-
lables, 66, note.

Dialogue writing, the properties of, 499. Is very difficult to execute, ib.
Modern dialogues characterized, 501..

Didactic poetry, its nature explained, 542. The most celebrated productions in
this class specified, 543. Rules for compositions of this kind, ib. Proper em-
bellishments of, 544.

Diderot, M., his character of English comedy, 661.

Dido, her character in the Eneid examined, 596.

Dionysius of Halicarnassus, his ideas of excellency in a sentence, 158. His dis-
tinctions of style, 231. Character of his treatise on Grecian oratory, 325.
His comparison between Lysias and Isocrates, 325, note. His criticism on
Thucydides, 482.

Discourse. See Oration.

Dramatic poetry, the origin of, 517. Distinguished by its objects, 616. See
Tragedy and Comedy.

Dryden, one of the first reformers of our style, 237.

Johnson's character of his

prose style, ib. note. His character as a poet, 525. His character of Shake-
speare, 645, note. His own character as a dramatic writer, 647, 639.

Du Bos, Abbé, his remark on the theatrical compositions of the ancients, 159.

E

Education, liberal, an essential requisite for eloquence, 319.

Egypt, the style of the hieroglyphical writing of, 81. This an early stage of the
art of writing, ib. The alphabet probably invented in that country, 81.
Emphasis, its importance in public speaking, 446. Rule for, 447.
Eloquence, the several objects of consideration under this head, 314. Definition
of the term, 316. Fundamental maxims of the art, ib. Defended against the
objection of the abuse of the art of persuasion, ib. Three kinds of eloquence
distinguished, ib. Oratory, the highest degree of, the offspring of passion,
317. Requisites for eloquence, 318. French eloquence, 319. Grecian, 320.
Rise and character of the rhetoricians of Greece, 323. Roman, 329. The At-
tici and Asiani, 332. Comparison between Cicero and Demosthenes, 333. The
schools of the declaimers, 336. The eloquence of the primitive fathers of the
church, 337. General remarks on modern eloquence, 338. Parliament, 343.
The bar, ib, and pulpit, ib. The three kinds of orations distinguished by
the ancients, ib. These distinctions how far correspondent with those made
at present, 344. Eloquence of popular assemblies considered, ib. The founda-
tion of eloquence, 345. The danger of trusting to prepared speeches at public
meetings, 346. Necessary premeditation pointed out, ib. Method, 347.
Style and expression, ib. Impetuosity, 349. Attention to decorums, 350.
Delivery, 352, 442. Summary, 352. See Cicero, Demosthenes, Oration, and
Pulpit.
English language, the arrangement of words in, more refined than that of
ancient languages, 76. But more limited, 77. The principles of general
grammar seldom applied to it, 87. The important use of articles in, 90. All
substantive nouns of inanimate objects, of the neuter gender, 92. The place
of declension in, supplied by prepositions, 95. The various tenses of English
verbs, 101. Historical view of the English language, 107. The Celtic the
primitive language of Britain, ib. The Teutonic tongue the basis of our
present speech, 108. Its irregularities accounted for, 109. Its copiousness, ib.
Compared with the French language, 110. Its style characterized, ib. Its
flexibility, 111. Is more harmonious than is generally allowed. ib. Is rather
strong than graceful, 112. Accent thrown farther back in English words than
in those of any other language, ib. General properties of the English tongue,
113. Why so loosely and inaccurately written, ib, The fundamental rules of
syntax, common to both the English and Latin, 114. No author can gain
esteem if he does not write with purity, 115. Grammatical authors recom-
mended, 115, note.

Epic poetry, the standards of, 476. Is the highest effort of poetical genius, 571.
the characters, obscured by critics, ib. Examination of Bossu's account of
the formation of the Iliad, 572. Epic poetry considered as to its moral ten-
dency, 574. Predominant character of, ib. Action of, 575. Episodes, 576.
The subject should be of remote date, 578. Modern history more proper for
dramatic writing than for epic poetry, ib. The story must be interesting and
skilfully managed, 579. The intrigue, ib. The question considered, whether
Duration of the action, 580.

it ought to end successfully, ib.

Characters

The machinery, 582. Nar-

Rules for conduct of, 577.

of the personages, 581. The principal hero, ib.
ration, 583. Loose observations, 584.
Episode, defined, with reference to epic poetry, 576.
Epistolary writing, general remarks on, 501.
Eve, her character in Milton's Paradise Lost, 614.
Euripides, instance of his excellence in the pathetic, 638, note. His character
as a tragic writer, 641.

Exclamations, the proper use of, 223. Mode of their operation, ib. Rule for
the employment of, ib.

Exercise improves both bodily and mental powers, 13.

Exordium of a discourse, the objects of, 413. Roles for the composition of, ib.
Explication, of the subject of a sermon, observauons on, 427.

F

Face, human, the beauty of, complex, 55.

Farquhar, his character as a dramatic writer, 660.

Fathers, Latin, character of their style of eloquence, 337.

Fenelon, archbishop, his parrallel between Demosthenes and Cicero, 335. His
remarks on the composition of a sermon, 421. Critical examination of his
Adventures of Telemachus, 608.

Fielding, a character of his novels, 510.

Figurative, style of language defined, 170. Is not a scholastic invention, but a
natural effusion of imagination, 172. How described by rhetoricians, ib. Will
not render a cold or empty composition interesting, 173. The pathetic and
sublime reject figures of speech, 175. Origin of, ib. How they contribute to
the beauty of style, 179. Illustrate description, 180. Heighten emotions, 189.
The rhetorical names and classes of figures frivolous, 182. The beauties of
composition not dependent on tropes and figures, 227. Figures must always
rise naturally from the subject, ib. Are not to be profusely used, 228. The
talent of using derived from nature, and not to be created, 229. If improperly
introduced, are a deformity, 229, note. See Metaphor.

Figure, considered as a source of beauty, 52.

Figures of speech, the origin of, 71.

Figures of thought, among rhetoricians, defined, 172.

Fitness and design, considered as sources of beauty, 56.

Fleece, a poem, harmonious passage from, 169.

Fontenelle, character of his Dialogues, 500.

French, Norman, when introduced into England, 108.

French writers, general remarks on their style, 234. Eloquence, 319, 338. French

and English oratory compared, 339.

Frigidity in writing characterized, 50.

Gay, a character of his pastorals, 535.
Gender of nouns, foundation of, 91.

Genius, distinguished from taste, 26. Its import, 27. Includes taste, ih. The
pleasures of the imagination, a striking testimony of divine benevolence, 29.
True, is nursed by liberty, 320. In arts and writing, why displayed more in
one age than in another, 469. Was more vigorous in the ancients than in the
moderns, 475. A general mediocrity of, now diffused, 475.

Gesner, a character of his Idylls, 534.

Gestures, in public oratory. See Action.

Gil Blas, of Le Sage, character of that novel, 509.

Girard, Abbé, character of his Synonymes François, 127, note.
Gordon, instances of his unnatural disposition of words, 147.
Gorgias of Leontium, the rhetorician, his character, 323.
Gothic poetry, its character, 515.

Gracchus, C. his declamations regulated by musical rules, 158.

Grammar, general, the principles of, little attended to by writers, 87. The
division of the several parts of speech, 88. Nouns substantive, 89. Articles,
90. Number, gender, and case of nouns, 91. Prepositions, 95. Pronouns, 98.
Adjectives, 99. Verbs, 100. Verbs, the most artificial and complex of all the
parts of speech, 103. Adverbs, 105. Prepositions and conjunctions, ib.
Importance of the study of grammar, 106.
Grandeur. See Sublimity.

Greece, short account of the ancient republics of, 320. Eloquence carefully
studied there, 321. Characters of the distinguished orators of, 322. Rise and
character of the rhetoricians, 323.

Greek, a musical language, 69, 151. Its flexibility, 118. Writers distinguished
for simplicity, 245.

Guarini, character of his Pastor Fido, 535.

Guicciardini, his character as a historian, 493.

H

Habakkuk, sublime representation of the Deity in, 39.

Harris, explanatory simile cited from, 215.

Hebrew poetry, in what points of view to be considered, 557. The ancient
pronunciation of, lost, 558. Music and poetry early cultivated among the
Hebrews, ib. Construction of Hebrew poetry, 560. Is distinguished by a
concise, strong, figurative expression, 561. The metaphors employed in,
suggested by the climate and nature of the land of Judea, 563, 566. Bold and

sublime instances of personification in, ib. Book of Proverbs, 467. Lament-
ations of Jeremiah, 568. Book of Job, 570.

Helen, her character in the Iliad examined, 589.

Hell, the various descents into, given by epic poets, show the gradual improve-

ment of notions concerning a future state, 609.

Henriade. See Voltaire.

Herodotus, his character as a historian, 482.
Heroism, sublime instances of, pointed out, 33.
Hervey, character of his style, 243.

Hieroglyphics, the second stage of the art of writing, 80. Of Egypt, ib.
Historians, modern, their advantages over the ancient, 473. Ancient models of,
476. The objects of their duty, 478. Character of Polybius, 479. Of Thucy-
dides, 480. Of Herodotus and Thuanus, 482. Primary qualities necessary
in a historian, 483. Character of Livy and Sallust, 484. Of Tacitus, ib.
Instructions and cautions to historians, ib. How to preserve the dignity of
narration, 486. How to render it interesting, 487. Danger of refining too
much in drawing character, 492. Character of the Italian historians, ib.
the French and English, 493.

History, the proper object and end of, 478. True, the characters of, ib. The
different classes of, ib. General history, the proper conduct of, 479. The
necessary qualities of historical narration, ib. The propriety of introducing
orations in history examined, 490. And characters, 491. The Italians, the
best modern historians, 492. See Annals, Biography, Memoirs, and Novels.
Hogarth, his Analysis of beauty considered, 54.

Homer, not acquainted with poetry as a systematic art, 24. Did not possess a
refined taste, 27. Instances of sublimity in, 40. Is remarkable for the use of
personification, 206. Story of the Iliad, 586. Remarks on, 587. His inven.
tion and judgment in the conduct of the poem, 588. Advantages and defects
arising from his narrative speeches, 589. His characters, ib. His machinery,
590. His style, 591. His skill in narrative description, 592. His similes,
593. General character of his Odyssey, 594. Defects of the Odyssey, ib.
Compared with Virgil, 595.

Hooker, a specimen of his style, 236.

Horace figurative passages cited from, 179. Instance of mixed metaphor in,
195. Crowded metaphors, ib. Ilis character as a poet, 541. Was the re-
former of satire, 545.

Humour, why the English possess this quality more eminently than other nations,
657.

Hyperbole, an explanation of that figure, 199. Cautions for the use of, ib. Two
kinds of, 200.

I

Ideas, abstract, entered into the first formation of language, 689.

Jeremiah, his poetical character, 569. See Lamentations.

Iliad, story of, 586. Remarks on, ib. The principal characters, 589. Ma-
chinery of, 590.

Imagination, the pleasures of, as specified by Mr. Addison, 28. The powers of,
to enlarge the sphere of our pleasures, a striking instance of divine benevo
lence, 29. Is the source of figurative language, 172, 178.

Imitation, considered as a source of pleasure to taste, 59. And description,
distinguished, 60.

Inferences from a sermon, the proper management of, 440.

Infinity of space, numbers, or duration, affect the mind with sublime ideas, 30.
Interjections the first elements of speech, 64.

Interrogations, instances of the happy use and effect of, 223. Mode of their
operation, ib. Rule of using, ib.

Job, exemplification of the sublimity of obscurity in the book of, 33. Remarks
on the style of, 558. The subject and poetry of, 569. Fine passage from, 570.
Johnson, his character of Dryden's prose style, 237, note. His remarks on the
style of Swift, 300, note. His character of Thomson, 550, note. His
character of Dryden's comedies, 659, note. His character of Congreve, 660,

note.

Jonson, Ben, his character as a dramatic poet, 658.

Isaus, the rhetorician, his character, 525.

Isaiah, sublime representation of the deity in, 40. His description of the fall of
the Assyrian empire, 213. His metaphors suited to the climate of Judea, 563,
564. His character as a poet, 568.

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