Imagens das páginas


be referred, 56. The beauties of, not
Kaimes, Lord, his severe censures of English dependant on tropes and figures, 192.
comedies, 543.

The different kinds of distinguished, 394.
Knighl errantry, foundation of the roman. See History, Poetry, &c.
ces concerning, 418.

Livy, his character as an historian, 399,
Knowledge an essential requisite for elo- 402.

quence, 380. The progress of, in favour Locke, general character of his style, 202.
oi the moderns, upon a comparison with The style of his Treatise on Human Un-
the ancients, 391. The acquisition of, derstanding, conipared with the writings
difficult in former ages, 392.

of Lord Shaftesbury, 411.

Longinus, strictures on his Treatise on the
Lamentations of Jeremiah, the most perfect Sublime, 38. His account of the conse-

elegiac composition in the sacred scrip- quences of liberty, 265. His sententious
tures, 467.

opinion of Homer's Odyssey, 488.
Landscape, considered as an assemblage of Lopez de la Vega, his character as a drama-
beautiful objects, 418.

tic poet, 638.
Language, the improvement of, studied Love, too much importance and frequency

eveu by rude nations, 9. In what the allowed to, on the modern stage, 621.
true improvement of language consists, Lowle's English Grammar recommended,
10. Importance of the study of language 101, note, 124, note. His character of the
ibid. Defined, 59. The present refine- prophet Ezekiel, 468.
ments of, ibid. Origin and progress of, Lucan, instances of his destroying a sub-
60. The first elements of, ibid. Ana- lime expression of Cæsar, by amplifica.
logy between words and things, 61. The tion, 43. Extravagant hyperbole from,
great assistance afforded by gestures, 171. Critical examination of his Phar.
63. The Chinese language, 64. The salia, 493. The subject, ibid. Charac
Greek and Roman languages, ibid. Ac- ters and conduct of the story, 494.
tion much used by ancient orators, 64. Lucian, character of his dialogues, 413.
Roman pantomimes, 65. Great differ. Lucretius, his sublime representation of the
ence between ancient and modern pro- dominion of superstition over mankind,
nunciation, ibid. Figures of speech the 34, note. The most admired passages in
origin of, 66. Figurative style of Ame- his Treatise De Rerum Natura, 449.
rican languages, 67. Cause of the de- Lusiad. See Camoens.
cline of tigurative language, ibid. The Lyric poetry, the peculiar character of,
natural and original arrangement of 443. Four classes of odes, 444. Char.
words in speech, 68. The arrangemert acters of the most eminent lyric poets,
of words in modern languages, different 445.
from that of the ancients, 70. An exem- Lysias, the rhetorician, his character, 270.
plification, ibid. Summary of the fore.

going observations, 72. its wonderful Machiavel, his character as an historian,
powers, 155.

All language strongly 406.
tinctured with metaphor, 158. In mo- Machinery, the great use of in epic poetry,
Jern productions, often better than the 478. Cautions for the use of, 479, 485.
subjects of them, 260. Written and oral, Mackensie, Sir George, instance of regular
distinction between, 383. See Grammar, climax in his proceedings, 101.
Style, and I riling.

Man, by nature both a poet and musician,
Lalin language, the pronunciation of, 423,

musical and gesticulating, 64, 136. The Marivaux, a character of his novels, 420.
natural arrangement of words in, 69. Marmontel, his comparative remarks on
'The want of articles a defect in, 81. French, English, and Italian poetry,
Remarkson words deemed synonymous 431, note.
in, 108.

Barsy, Fr. his contrast between the cha-
Learning, an essential requisite for elo- racters of Corneille and Racine, 529,

Lebanon, metaphorical allusions to, in He- Massillon, extracts from a celebrated ser-
brew poetry, 464.

mon of his, 323, nole. Encom:'ım on,
Lee, extravagant hyperbole quoted from, by Louis XIV. 326. His artful divi-

171. His character as a tragic poet, sion of a text, 350.

Memoirs, their class in historical composi.
Liberty, the nurse of true genius, 265. tion assigned, 408. Why the French
Literary composition, importance of the fond of this kind of writing, ibid.

study of language, preparatory to, 11. Melalepsis, in figurative language explain.
The beauties of, indeônite, 54. To what ed, 156.
class the pleasures received from elo- Metaphor, in figurative style, explained,
quence, poetry and tine writing, are to 157, 158. AŬ language strongly tinct

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ured with, 159. Approaches the nearest

to painting of all the figures of speech, Obscurity, not unfavourable to sublimity,
ibid. Rules to be observed in the con- 34. Of style, owing to indistinct concep-
duct of, 160. See Allegory.

tions, 102.
Metastasio, bis character as a dramatic Ode, the nature of defined, 443. Four
writer, 529.

distinctions of, 444. Obscurity an ir-
Metonomy, in figurative style, explained, regularity, the great faults in, ibid.

Odyssey, general character of, 488. De-
Merico, historical pictures the records of fects of, ibid.
that empire, 73.

(Edipus, an improper character for the
Milo, narrative of the encounter between

stage, 521.
him and Clodius, hy Cicero, 351. Orators, ancient, declaimed in recitative, 64
Milton, instances of sublimity in, 33, 44, Orations, the three kinds of, distinguished

46. Of harmony, 135, 144. Hyperboli- by the ancients, 284. The present dis-
cal sentiments of Satan in, 170. Striking tinctions of, 285. Those in popular
instances of personification in, 175, 176. assemblies considered, ibid. Prepared
Excellence of his descriptive poetry, 454. speeches not to be trusted 10, 287. Ne-
Who the proper hero of his Paradise cessary degrees of premeditation, ibid.
Lost, 478. Critical examination of this Method, 288. Style and expression,
poem, 503. His sublimity characterized, ibid. Impetuosity, 289. Attention to
505. His language and versification, decorums, 290. Delivery, 292, 365.

The several parts of a regular oration,
Moderns. See Ancients.

341. Introduction, 342. Introduction
Moliere, his character as a dramatic poet, to replies, 347. Introduction to sermons,

ibid. Division of a discourse, 348.
Monboddo,Lord, his observations on Eng. Rules for dividing it, 349. Explication.
lish and Latin verse, 429, note.

350. The argumentative part, 353. The
Monotony in language, often the result of pathetic, 358. The peroration, 364. Vir-

too great attention to musical arrange- tue necessary to the perfection of elo-
ment, 141.

quence, 378. Description of a true ora.
Montague, Lady Mary Wortley, a charac- tor, 380. Qualifcations for, ibid. The
ter of her epistolary style, 417.

best ancient writers on oratory, 385.
Montesquieu, character of his style, 154. 393. The use made of orations by the
Monumental inscriptions, the numbers suit- ancient historians, 405. See Eloquence.
ed to the style, 145.

Oriental poetry, more characteristical of
Moralt, M. his severe censure of English an age than or a country, 424. Style
comedy, 543.

of scripture language, 67.
More, Dr. Henry, character of his divine Orlando Furioso. See Ariosto.
dialogues, 413.

Ossian, instances of sublimity in his works,
Motion, considered as a source of beauty, 42. Correct metaphors, 164. Confu-

sed mixture of metaphorical and plain
Motte, M. de la, bis observations on lyric language in, ibid. Fine apostrophe, 180.

poetry, 445, nole. Remarks on his cri- Delicate simile, 183. Lively descrip-
ticism on Homer, 488.

tions in, ibid.
Music, its influence on the passions, 423. Otway, his character as a tragic poet, 518.
Its uniun with poetry, ibid. Their se-

paration injurious to each, 427.

Pantomime, an entertainment of Roman

origin, 65.
Natvetė, import of that French term, Parables, Eastern, their general vehicle for

the conveyance of truth, 465.
Narration, an important point in pleadings Paradise Lost, critical review of that
at the bar, 350.

poem, 503.

The characters in, 504.
Night scenes commonly sublime, 33. Sublimity of, 505. Language and ver-
Nomic melody of thc Athevians, what, sification, ibid.

Parenthesis, cautions for the use of them,
Novels, a species of writing, not so insignifi- 121.

cant as may be imagined, 416. Might Paris, his character in the Iliad, examp-
be employed for very useful purposes, ined, 485.
417. Rise and progress of fictitious Parliament of Great-Britain, why elo-
history, 418. Characters of the most quence has never been so powerful an

celebrated romances and novels, 419. instrument in, as in the ancient popular
Novelty, considered as a source of beauty, assemblies of Greece and Rome, 283.

Parnel, his character as a descriptive poet,
Nouns, substantive, the foundation of all 454.

grammar, 79. Number, gender, and Particles, cautions for the use of them, 124
cases of, 83.

Ought never to close sentences, 130.


Passion, the source of oratory, 264. Plutarch, his character as a biographer,
Passions, when and how to be adaressed

ky orators, 358. The orator must feel Poelry, in what sense descriptive, and in
emotions before he can communicate what imitative, 57. Is more ancient
them to others, 360. The language of, than prose, 67. Source of the pleasure
361. Poets address themselves to the we receive from the figurative style of,
passions, 423.

176. Test of the merit of, 185. Whence
Pastoral poetry, inquiry into its origin, 433. the difficulty of reading poetry arises,

A threefold view of pastoral life, 434. 371. Compared with oratory, 377.
Rules for pastoral writing, ibid. Its Epic, the standards of, 393. Definition
scenery, 435. Characters, 437. Sub-

of poetry,

421. Is addressed to the ima.
jects, 438. Comparative merit of an- gination and the passions, 422. Its ori-
cient pastoral writers, 439. And of

gin, ibid.

In what sense older than
moderns, 440.

prose, 422. Its union with music, 423.
Palhetic, the proper management of, in a Ancient history and instructions first

discourse, 358 Fine instance of from conveyed in poetry, 424. Oriental,
Cicero, 362.

more characteristical of an age than of
Pauses, the due use of, in public speaking,

a country, ibid. Gothic, Celtic, and
370. In poetry, 371, 430.

Grecian, 425. Origin of the different
Pericles, the first who brought eloquence kinds of, 426. Was more vigorous in

to any degree of perfection, 368. His its first rude essays than under refine-
general character, ibid.

ment, 427. Was injured by the separa.
Period. See Sentence.

tion of music from it, ibid. Metrical
Personification, the peculiar advantages of feet, invention of, 428. These measures

the English language in, 83. Limitations not applicable to English poetry, 429.
of gender in, 84. Objections against English heroic verse, the structure or,
the practice of, answered, 172. The dis- 430. French poetry, ibid. Rhyme and
position to animate the objects about us, blank verse compared, 431. Progress
natural to mankind, 173. This dispo- of English versification, 432. Pastorals,
sition may account for the number of 433. Lyrics, 443. Didactic poetry,
heathen divinities, ibid. Three degrees 447. Descriptive poetry, 452. Hebrew
of this figure, 174. Rules for the inan- poetry, 459. Epic poetry, 470. Poetic
agement of the highest degree of, 177. characters, two kinds of, 478. Dramat.
Cautions for the use of in prose compo- ic poetry, 507.
sitions, 178. See Apostrophe.

Poinling cannot correct a confused sen
Perseus, a character of his satires, 450.

tence, 121.
Perspicuity, essential to a good style, 102. Politics, the science of, why ill understood

Not merely a negative virtue, 103. The among the ancients, 398.
three qualities of, ibid.

Polybius, his character as an historian,
Persuasion, distinguished from conviction, 396.

262. Objection brought from the abuse Pope, criticism on a passage in his Homer,
of this art, answered, ibid. Rules for, 43. Prose specimen from, consisting of

short sentences, 113. Other specimens
Peruvians, their method of transmitting of his style, 127, 132. Confused mix-
their thoughts to each other, 74.

tures of metaphorical and plain lan-
Petronius Arbiler, his address to the de- guage iu, 163. Mixed metaphor in, 166.
claimers of his time, 279.

Confused personification, 178. Instance
Pharsalia. See Lucan.

of his fondness for antithesis, 188.
Pherecycles of Sycros, the first prose wri- Character of his epistolary writings, 416.

Criticism on, ibid. Construction of his
Philips, character of his pastorals, 441.

verse, 430.

Peculiar character of his
Philosophers, modern, their superiority versification, 432. His pastorals, 438,

over the ancient, unquestionable, 390. 440. His ethic epistles, 451. The merit
Philosophy, the proper style of writing of his various poems examined, ibid.

adapted to, 413. Proper embellishment Character of his translation of Homer,
for, ibid.

Pictures, the first essay toward writing, 72. Precision in language, in what it consists,
Pindar, his character as a lyric poet, 445. 104. The importance of, ibid, 114. Re-
Pilcairn, Dr. extravagant hyperbole cited quisite to, 111.
from, 172.

Prepositions, whether more ancient than
Plalo, character of his dialogues, 412. the declension of nouns by cases, 85
Plautus, his character as a dramatic poet, Whether more useful and beautiful, 86.

Dr. Campbell's observations on, 87.
Pleaders at the bar, instruction to, 301, Their great use in speech, 94.

Prior, allegory cited from, 168.
Pliny's letters, general character of, 415. Pronouns, their use, varieties, and cases,

ter, 68.

87. Relative instances illustrating the sublimity, 43. And blank verse com
importance of their proper position in a pared, 431. The former, why improper
sentence, 116.

in the Greek and Latin languages, 432
Pronunciation, distinctness of, necessary The first introduction of couplets in

in public speaking, 367. Tones of, 372. English poetry, ibid.
Proverbs, book of, a didactic poem, 497. Richardson, a character of his novels, 420.
Psalm xviii

. sublime representation of the Ridicule, an instrument often misapplied,
Deity in, 39. lxxxth, a fine allegory 533.
from, 168. Remarks on the poetic con- Robinson Crusoe, a character of that no-

struction of the Psalms, 461, 464. vel, 420.
Pulpit, eloquence of the, defined, 263. Romance, derivation of the term, 418. See

English and French sermons compared, Novels.
281. The practice of reading sermons Romans, derived their learning from
in England, disadvantageous to oratory, Greece, 273. Comparison between them
283. The art of persuasion resigned to and the Greeks, 274. Historical view
the Puritans, ibid. Advantages and dis- of their eloquence, ibid. Oratorical
advantages of pulpit eloquence, 312. character of Cicero, 274. Era of the
Rules for preaching, 313. The chief decline of eloquence among, 278.
characteristics of pulpit eloquence, 316. Rosseau, Jean Baptiste, his character as a
Whether it is best to read sermons or lyric poet, 446.
deliver them extempore, 321. Pronun- Rowe, his character as a tragic poet, 532
ciation, 322. Remarks on French ser.

mons, ibid. Cause of the dry argumen. Sallust, his character as an historian, 399.
tative style of English sermons, 324. Sanasarius, his piscatory eclogues, 440.
General observations, 325.

Satan, examination of his character in
Pisistralus, the first who cultivated the arts Milton's Paradise Lost, 504.
of speech, 267.

Salire, poetical, general remarks on the

style of, 449.
Quintilian, his ideas of taste, 17, note. His Saxon language, how established in Eng

account of the ancient division of the land, 95.
several parts of speech, 79, note. His Scenes, dramatic, what, and the proper
remarks on the importance of the study conduct of, 516.
of grammar, 94. On perspicuity of Scriptures, sacred, the figurative style of,
style, 102, 108. On climax, 129. On remarked, 67. The translators of, hap.
the structure of sentences, 131. Which py in suiting their numbers to the sub-
ought not to offend the ear, 134, 140.

ject, 143.

Fine apostrophe in, 180.
His caution against too great an atten- Presents us with the most ancient monu-
tion to harmony, 141. His caution ments of poetry extant, 459. The di-
against mixed metaphor, 164. His fine versity of style in the several books of,
apostrophe on the death of his son, 180. ibid. 'The Psalms of David, 460. No
His rule for the use of similes, 186. His other writings abound with such bola
direction for the use of figures of style, and animated figures, 463. Parables
193. His distinction of style, 196, 203. 466. Bold and sublime instances of per-
His instructions for good writing, 213. sonification in, wid. Book of Proverbs,
His character of Cicero's oratory, 204. 467. Lamentations of Jeremiah, ibid.
His instructions to public speakers for Scuderi, Madam, her romances, 419.
preserving decorum, 291. His instruc. Seneca, his frequent antithesis censured,
tions to judicial pleaders, 301. His ob- 187. Character of his general style,
servations on exordiums to replies in de- 198. His epistolary writings, 411.
bate, 347. On the proper division of an Sentence, in language, definition of, 112
oration, 348. His mode of addressing Distinguished into long and short, 113.
the passions, 357. His lively represen- A variety in, to be studied, ibid. The
tations of the effects of depravity, 379. properties essential to a perfect sentence,
Is the best ancient writer on oratory, 114. A principal rule for arranging

the members of, 116. Position of ad-

verbs, ibid.

And relative pronouns,
Racine, his character as a tragic poet, 628. 116. Unity of a sentence, rules for pre
Ramsay, Allan, character of his Gentle serving, 119. Pointing, 121. Paren
Shepherd, 442.

thesis, ibid. Should always be brought
Rapin, P. remarks on his parallels be. to a perfect close, 122. Strength, 123.

tween Greek and Roman writers, 277. Should be cleared of redundancies, ibid.
Relz, Cardinal de, character of his Me. Due attention to particles recommend
moirs, 408.

ed, 124.

The omission of particles
Rhetoricians, Grecian, rise and character sometimes connects objects closer to.
of, 268.

gether, 126. Directions for placing the
Rhyme, in English verse, unfavourable to important words, ibid. Climai, 129

A like order' necessary to be observed Solomon's song, descriptive beauties of, 456
in all assertions of propositions, 130. Songs, Runic, the origin of Gothic history
Sentence ought not to conclude with a ibid.
feeble word, ibid. Fundamental rule in Sophists of Greece, rise and character of,
the construction of, 133. Sound not to 269.
be disregarded, 134. Two circumstan- Sophocles, the plots of his tragedies re-
ces to be attended to, for producing har. markably simple, 512. Excelled in the
mony in, 134, 139. Rules of the ancient pathetic, 624

His character as a tra.
rhetoricians for this purpose, 135. Why

gic poet, 526.
harmony much less studied now than Sorrow, why the emotions of, excited by
formerly, 136. English words cannot tragedy, comniunicate pleasure, 516.
be so exactly measured by metrical feet, Sounds, of an awful nature, affect us with
as those of Greek and Latin, 139. What sublimity, 32. Influence of, in the for-
required for the musical close of a sen. mation of words, 61.
fence 141. Unmeaning words introduc. Speaker, public, must be directed more by
ed merely to round a sentence, a great his ear than by rules, 138.
blemish, ibid. Sounds ought to be adapt. Speclator, general character of that publi.
ed to sense, 142.

cation, 216. Critical examination of
Sermons, English compared with French, those papers that treat of the pleasures

281. Unity an indispensable requisite of the imagination, 217.
in, 316. The subject ought to be precise Speech, the power of, the distinguishing
and particular, 317. The subject ought privilege of mankind, 9. The grammati-
pot to be exhausted, ibid. Cautions cal division of, into eight parts, not lo.
against dryness, 318. And against con-

gical, 79. or the ancients, regulated
forming to fashionable modes of preach- by musical rules, 136.
ing, 319. Style, 320. Quaint expres- Strada, his character as an historian, 406.
sions, 321. Whether best written or Style, in language, defined, 101. The dif-
delivered extempore, ibid. Delivery, ference of, in different countries, ibid.
322. Remarks on French sermons, ibid. The qualities of a good style, 102. Per-
Cause of the dry argumentative style spicuity, ibid. Obscurity, owing to in-
of English sermons, 325. General ob.. distinct conceptions, 102. Three requi-
servations, ibid.
Remarks on the pro.

site qualities in perspicuity, ibid. Pre.
per division of, 347. Conclusion, 364. cision, 104, A loose style, from what
Delivery, 365.

it proceeds, 105. Too great an atten.
Sevigné, Madame de, character of her let. tion to precision, renders a style dry and

barren, 111. French distinction of
Shaftesbury, Lord, observations on his style, 113. The characters of, flow from

style, 106, 113, 120, 127, 129, 142, 166. peculiar modes of thinking, 195. Dif.

His general character as a writer, 209. ferent subjects require a different style,
Shakspeare, the merit of his plays exam. ibid. Ancient distinctions of, 196. The

ined, 28. Was not possessed of refined diffcrent kinds of, ibid. Concise and
taste, 29. Instance of his improper use diffusive, on what occasions proper, 196.
of metaphors, 161, 164, 165. Exhibits Nervous and feeble, 199. A barsh style,
passions in the language of nature, 524. from what it proceeds, ibid. Era of the
His character as a tragic poet, 530. As

formation of our present style, 200.
& comic poet, 541.

Dry manner described, 201. A plain
Shenstone, his pastoral ballad, 441.

style, ibid. Neat style, 202. Elegant
Shepherd, the proper character of, in pas. style, 203. Florid style, 203. Natural
toral description, 437.

style, 205. Different senses of the term
Sheridan, his distinction between ideas and simplicity, ibid. The Greek writers dis-
emotions, 373, nole.

tinguished for simplicity, 207. Vehe.
Sherlock, Bishop, fine instance of personi- ment styla, 211. General directions

fication cited from his sermons, 174. A how to attain a good style, 212. Imita-
happy allusion cited from his sermons, tion dangerous, 214. Style not to be
320. note.

studied to the neglect of thoughts, 215.
Silius Italicus. his sublime representatioa

Critical examination of those papers in
of Hannibal, 36, note.

the Spectator that treat of the pleasures
Simile, distinguished from metaphor, 158, of imagination, 217. Critical examina-

182. Sources of the pleasure they afford, tion of a passage in Swift's writings, 250.

Two kinds of, ibid. Pequisites General observations, 259. See Elo.
in, 183. Rules for, 185. Local proprie. quence.
ty to be adhered to in, 213.

Sublimity of external objects, and sublimi-
Simplicily applied to style, different senses ty in writing distinguishu32. Its im.
of the term, 382.

pressions, ibid. Of space, ib. Or sounds,
Smoliell, improper rise of figurative style, 32. Violence of the elements, 32. So.
cited from nim, 126, note.

lemnity, bordering on the terrible, ibid

ters, 416.

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