mixture of metaphorical and plain lan-
guage in, ibid. Fine apostrophe, 161.
Delicate simile, 164. Lively descriptions
in, 408.

Otway, his character as a tragic poet, 475.
P.

Pantomime, an entertainment of Roman
origin, 59.

Parables, Eastern, their general vehicle
for the conveyance of truth, 416.
Paradise Lost, critical review of that poem,
450. The characters in, ibid. Sublimity
of, 451. Language and versification, 452.
Parenthesis, cautions for the use of them,

109.

Paris, his character in the Iliad, examined,
433.
Parliament of Great-Britain, why eloquence
has never been so powerful an instrument
in, as in the ancient popular assemblies
of Greece and Rome, 253.

Parnel, his character as a descriptive poet,
406.

Particles, cautions for the use of them, 112.

Ought never to close sentences, 117.
Passion, the source of oratory, 236.
· Passions, when and how to be addressed by
orators, S21. The orator must feel emo-
tions before he can communicate them to
others, 322. The language of $23 Poets
address themselves to the passions. 378.
Pastoral poetry, inquiry into its origin, 387.
A threefold view of pastoral life, 388.
Rules for pastoral writing 1bid. Its scene-
ry, 389. Characters, 391. Subjects,
392. Comparative merit of ancient pas-
toral writers 393. And of moderns ibid.
Pathetic, the proper management of, in a
discourse, 321. Fine instance of, from
Cicero, 324.

Pauses, the due uses of in public speaking,
331. In poetry 332. 384.
Pericles, the first who brought eloquence to
any degree of perfection, 239. His gene-
ral character. ibid.
Period. See Sentence.

Personification, the peculiar advantages of
the English language in. 75. Limitations
of gender in. 76. Objections against the
practice of, answered, 155. The disposi-
tion to animate the objects about us, natu-
ral to mankind, ibid. This disposition
may account for the number of heathen
divinities, ihed Three degrees of this fi-
gure, 156. Rules for the management of
the highest degree of, 158. Cautions for
the use of, in prose compositions, 160. See
Apostrophe.

Persius. a character of his satires, 402.
Perspicuity essential to a good style. 92.

Not merely a negative virtue, 93. The
three qualities of, ibid.

Persuasion, distinguished from conviction,
235. Objection brought from the abuse
of this art, answered, ibid. Rules for, 256.
Peruvians, their method of transmitting
their thoughts to each other, 67.
Petronius Arbiter, his address to the de-
claimers of his time, 250,
Pharsalia. See Lucan.

Pictures, the first essay toward writing, 66.
Pindur, his character as a lyric poet, 398
Pitcairn, Dr. extravagant hyperbole eited
from, 154.

Plato, character of his dialogues, 368.
Plautus, his character as a dramatic poet,
481.

Pleaders at the bar, instructions to, 209, 315.
Pliny's Letters, general character of. $71.
Plutarch, his character as a biographer, 366,
Poetry, in what sense descriptive, and in
what imitative, 52. Is more ancient than
prose, 61. Source of the pleasure we re
ceive from the figurative style of, 158.
Test of the merit of, 166. Whence the
difficulty of reading poetry arises, 332
Compared with oratory, 338. Epic, the
standards of, 351. Definition of poetry,
S 6. Is addressed to the imagination and
the passions, 377. Its origin, bid. In
what sense older than prose, ibid. Its
union with music, 378. Ancient history
and instruction first conveyed in poetry,
379. Oriental, more characteristical of an
age than of a country, ibid Gothic, Cel
tic. and Grecian, 380. Origin of the dif
ferent kinds of 381. Was more vigorous
in its first rude essays than under refine-
ment, ibid. Was injured by the separa
tion of music from it 382 Metrical feet,
invention of 383. These measures not
applicable to English poetry. ibid. Eng.
lish heroic verse, the structure of, $34.
French poetry ibid. Rhyme and blank
verse compared. 386. Progress of Eng
lish versification, 387. Pastorals. id.
Lyrics 396. Didactic poetry, 399. De-
scriptive poetry, 404.
Hebrew poetry,
410. Epic poetry, 420. Poetic charac
ters, two kinds of, 427. Dramatic poetry,
4.52.

Pointing cannot correct a confused sentence,

109

Politics, the science of, why ill understood
among the ancients, 356.

Polybius, his character as an historian, 357.
Pope, criticism on a passage in his Homer,
40. Prose specimen from, consisting of
short sentences, 102. Other specimens
of his style, 114. 119. Confused mixtures
of metaphorical and plain language, in,
146. Mixed metaphor in, 149. Confused
personification. 160. Instance of his fond-
ness for antithesis, 169. Character of his
epistolary writings, 372. Criticism on,
ibid. Construction of his verse. 385. Pe-
culiar character of his versification, 387.
His pastorals, 392. 394. His ethic epistles,
403. The merits of his various poems ex-
amined ibid. Character of his translation
of Homer, 435.

Precision in language, in what it consists,

Re-

94. The importance of, ibid. 103.
quisities to, 100.
Prepositions, whether more ancient than the
declension of nouns by cases, 77. Whe.
ther more useful and beautiful, 78. Dr.
Campbell's observations on, 79, note.
Their great use in speech, 84.
Prior, allegory cited from, 151.
Pronouns, their use varieties, and cases, 79.
Relative instances illustrating the impor
tance of their proper position in a sen-
tence, 104.
Pronunciation, distinctness of, necessary in
public speaking, 328. Tones of, 333.
Proverbs, book of, a didactic poem, 417.
Psalm xviii, sublime representation of the
Deity in, 36. lxxxth, a fine allegory from,
151. Remarks on the poetic construc-
tion of the Psalms, 412. 415.
Pulpit, eloquence of the, defined, 236. Eng.
lish and French sermons compared,_252.
The practice of reading sermons in Eng.
land, disadvantageous to oratory, 254.
The art of persuasion resigned to the Pu-
ritans, ibid. Advantages and disadvanta-
ges of pulpit eloquence, 280. Rules for
preaching 281. The chief characteris-
tics of pulpit eloquence, 283. Whether
it is best to read sermons, or deliver them

extempore. 288. Pronunciation, ibid. Re-
marks on French sermons, ibid. Cause
of the dry argumentative style of Eng-
lish sermons, 290. General observations,
291.

Pisistratus, the first who cultivated the arts
of speech, 239.

Q.

Quintilian, his ideas of taste, 16, note. His
account of the ancient division of the
several parts of speech, 72, note. His re-
marks on the importance of the study of
grammar, 85. On perspicuity of style. 92.
97. On climax, 116. On the structure
of sentences, 118. Which ought not to of
fend the ear, 120. 125. His caution a-
gainst too great an attention to harmony,
127. His caution against mixed metaphor,
147. His fine apostrophe on the death of
his son 161. His rule for the use of simi-
lies '167. His direction for the use of fig.
ures of style 174. His distinctions of
style, 176. 182. His instructions for good
writing, 191. His character of Cicero's
oratory, 247. His instructions to public
speakers for preserving decorums, 260.
His instructions to judical pleaders, 270.
His observations on exordiums to replies
in debate, 310. On the proper division of
an oration, 312. His mole of addressing
the passions, 323. His lively representa-
tion of the effects of depravity, 339. Is
the best ancient writer on oratory, 346.

Rhetoricians, Gretian, rise and character of,
240. 1

Rhyme, in English verse, unfavourable to
esublimity, 39. And blank verse compar-
ed, 386. The former, why improper in
the Greek and Latin languages, ibid.
The first introduction of complets in Eng-
lish poetry, $87.

Richardson, a character of his novels. 376
Ridicule, an instrument often misapplied,
477.

Robinson Crusoe, a character of that novel,
375.

Romance, derivation of the term, 374. See
Novels.

Romans,derived their learning from Greece,
245. Comparison between them and the
Greeks ibid. Historical view of their
eloquence ibid. Oratorical character of Ci-
cero, 246. Era of the decline of elo-
quence among, 249.

Rosseau, Jean Baptiste, his character as a
lyric poet, 399.

Rowe, his character as a tragic poet, 475.

S.

Sallust, his character as an historian, 357.
Sanazarius, his piscatory eclogues, 393.
Satan, examination of his character in Mil-
ton's Paradise Løst, 450.

Satire, poetical, general remarks on the
style of, 402.

Saxon language, how established in En-
gland, 86.

Scenes, dramatic, what, and the proper con-
duct of, 462.

Scriptures, sacred, the figurative style of,
remarked, 61.
The translators of, happy
in suiting their numbers to the subject,
128. Fine apostrophe in, 162. Present
us with the most ancient monuments of
poetry extant, 410. The diversity of style
in the several books of, 411. The Psalms
of David, 412. No other writings abound
with such bold and animated figures. 414.
Parables, 416. Bold and sublime instances
of personification in, ibid Book of Pro-
verbs, 417. Lamentations of Jeremiah,
ibid.

Scuderi, Madam, her romances, 375.
Seneca, his frequent antithesis censured, 168,
Character of his general style, 178. His
epistolary writings, 370.

Sentence, in language, definition of, 101.
Distinguished into long and short, ibid. A
variety in, to be studied. 102. The proper-
perties essential to a perfect sentence, 103.
A principal rule for arranging the mem-
bers of, ibid. Position of adverbs, ibid.
And relative pronouns, 104. Unity of a
sentence, rules for preserving, 107. Point-
ing, 109. Parenthesis, ibid. Should al-
ways be brought to a perfect close, ibid.
Strength, 110. Should be cleared of redun-
dancies, 111. Due attention to particles
recommended, ibid. The omission of
particles sometimes connects objects closer
together, 113. Directions for placing the
important words, 114. Climax, 116. A
like order necessary to be observed in all
assertions of propositions, ibid. Sentence

ought not to conclude with a feeble word,
117. Fundamental rule in the construe-
tion of, 120. Sound not to be disregarded,
ibid. Two circumstances to be attended
to. for producing harmony in, 121. 125.
Rules of the ancient rhetoricians for this
purpose, 122. Why harmony much less
studied now than formerly ibid. English
words cannot be so exactly measured by
metrical feet, as those of Greek and Latin,
124. What required for the musical close
of a sentence, 126. Unmeaning words in
troduced merely to round a sentence, a
great blemish, 127. Sounds ought to be
adapted to sense, 128.
Sermons. English compared with French,
252. Unity an indispensible requisite in,
283. The subject ought to be precise and
particular, 28 The subject ought not to
be exhausted, ibid. Cautions against dry-
ness, 285. And against conforming to
A fashionable modes of preaching, 286.
Style, ibid. Quaint expressions, 287.
Whether best written or delivered ex-
tempore, 288. Delivery, ibid. Remarks
on French Sermons, ibid. Cause of the
dry argumentative style of English ser.
mons, 290. General observations, 291.
Remarks on the proper division of, 311.
Conclusion, 325. Delivery, 326.
Sevigne, Madam de, character of her let-
ters, 372.

Shaftesbury, lord, observations on his style,
96. 103. 108 115. 127. 150. His general
character as a writer, 188.
Shakspeare, the merit of his plays examined,
26 Was not possessed of refined taste,28.
Instance of his improper use of metaphors,
145. 148. Exhibits passions in the lan-
guage of nature. 468. His character as a
tragic poet, 474. As a comic poet, 483.
Shenstone, his pastoral ballad, 594.
Shepherd, the proper character of, in pasto-
ral description, 391.

Sheridan, his distinction between ideas and
emotions, 333, note.

A

Sherlock, bishop. fine instance of personifi-
cation cited from his sermons, 156.
happy allusion cited from his sermons,
287, note.
Silius Italicus, his sublime representation of
Hannibal, 33 note.

Simile, distinguished from metaphor, 141.
163. Sources of the pleasure they af-
ford, ibid. Two kinds of, 164. Requisites
in, 165. Rules for, 166. Local propriety
to be adhered to in, 167.
Simplicity applied to style,different senses of
the term, 184.

Smollett, improper use of figurative style,
cited from him, 144, note.

Solomon's song, descriptive beauties of. 407.
Songs, Runic, the origin of Gothic history,
379.

Sophists of Greece, rise and character of,

240.

Sophocles, the plots of his tragedies remark-
ably simple, 458. Excelled in the pathet-
ic, 468. His character as a tragic poet,
470:

Sorrow, why the emotions of, excited by
tragedy, communicate pleasure, 461.
Sounds of an awful nature, affect us with
sublimity, 30 Influence of, in the forms-
tion of words, 55.

Speaker, public, must be directed more by
his ear than by rules, 124.
Spectator, general character of that publica-
tion, 195. Critical examination of those
papers that treat of the pleasures of the
imagination, 194.

Speech the power of, the distinguishing
privilege of mankind, 9. The grammat
ical division of. into eight parts, not logi
cul, 72. Of the ancients, regulated by mu
sical rules. 122.

Strada, his character as an historian, 364.
Style, in language defined, 91. The differ-
ence of, in different countries, 92. The
qualities of a good style. ibid perspicui-
ty, ibid. Obscurity, owing to indistinct
conceptions, 93. Three requisite quali
ties in perspicuity, ibid. Precision, 94.
A loose style, from what it proceeds. 95.
Too great an attention to precision ren-
ders a style dry and barren, 100. French
distinction of style, 102. The characters
of, flow from peculiar modes of thinking,
175. Different subjects require a different
style. ibid. Ancient distinctions of. 176.
The different kinds of, ibid. Concise and
diffusive, on what occasions proper, 177.
Nervous and feeble, 178. A harsh style,
from what it proceeds, 179. Era of the
formation of our present style, 180. Dry
manner described, ibid. A plain style,
ibid.

182.

Neat style, 181 Elegant style,
Florid style. ibid. Natural style,
184. Different senses of the term simpli-
city, ibid. The Greek writers distinguish-
ed for simplicity, 185. Vehement style,
189. General directions how to attain a
good style, 190. Imitation dangerous,
192. Style not to be studied to the ne-
glect of thoughts, 193. Critical examina
tion of those papers in the Spectator that
treat of the pleasures of imagination, 194.
Critical examination of a passage in Swift's
writings, 224. General observations, 233.
See Eloquence.

Sublimity of external objects, and sublimity
in writing distinguished. 29. Its impres
sions, ibid. Of space, 30. Of sounds, ibid.
Violence of the elements, ibid. Solemnity,
bordering on the terrible, ibid. Obscuri
ty, not unfavourable to, 31. In buildings,
32. Heroism, ind. Great virtue, $3.
Whether there is any one fundamental
quality in the sources of sublime, ibid.
Sublimity in writing, 34. Errors in Longin-
us pointed out, ibid. The most ancient
writers afford the most striking instances
of sublimity, 36. Sublime representation
of the Deity in Psalm xviii, ibid. And in
the prophet Habakkuk, ibid. In Moses,
ibid. And in Isaiah, 57. Instances of sub-
limity in Homer, ibid. In Ossian, 38.
Amplification injurious to sublimity, 39.
Rhyme in English verse unfavourable to,
ibid. Strength essential to sublime wri-

i

ting, 41. A proper choice of circumstan-
這 ces essential to sublime description, ibid.
Strictures on Virgil's description of Mount
Etna, 42. The proper sources of the
sublime, 43. Sublimity consists in the
thought, not in the words. ibid. The
faults opposed to the sublime, 44.
*Sully, Duke de, character of his memoirs,
365.

Superstition, sublime representation of its
dominion over mankind, from Lucretius,
232, note.

Swift, observations on his style, 94. 100.
108. 118. 128. General character of his
style, 181. Critical examination of the be-
ginning of his proposal for correcting, &c.
the English tongue, 224. Concluding
observations, 233. His language, 343.
Character of his epistolary writing, 372.
Syllables, English, cannot be exactly meas
ured by metrical feet, as those of Greek
and Latin, 124

Synedoche, in figurative style, explained, 141.
Synonymous words, observations on, 97.
T.

Tacitus, character of his style, 177. His
character as an historian, 357. His happy
manner of introducing incidental observa-
tions, 358. Instance of his successful ta-
lent in historical painting, 561. His de-
fects as a writer, 362.

Tasso, a passage from his Gierusalemme dis-
tinguished by the harmony of numbers,
129. Strained sentiments in his pastorals,
391 Character of his Aminta, 394. Cri-
tical examination of his poem 443.
Taste, true, the uses of, in common life,
13. Definition of, 15. Is more or less
common to all men, 16. Is an improva-
ble faculty, 17. How to be refined, 18. Is
assisted by reason, ibid. A good heart re-
qusite to a just taste, 19. Delicacy and
correctness the characters of perfect taste,
ibid. Whether there be any standard of
taste, 20. The diversity of, in different
men, no evidence of their tastes being
corrupted, 21. The test of, referred to
the concurring voice of the polished part
of mankind, 23. Distinguished from ge-
nius, 27. The sources of pleasure in,
28. The powers of, enlarge the sphere
of our pleasures, 29. Imitation, as a
source of pleasure, 51. Music, ibid. To
what class the pleasures received from
eloquence, poetry, and fine writing, are
to be referred ibid.
Telemachus. See Fenelon.

Temple, sir William, observations on his

style, 95. Specimens, 102. 108. 110. 112.
125. His general character as a writer,
187.

Terence, beautiful instance of simplicity
from, 186. His character as a dramatic
writer, 481.

Terminations of words, the variation of,
in the Greek and Latin languages, favour-
able to the liberty of transposition, 64.
Theocritus, the earliest known writer of
pastorals, 388. His talents in painting

rural scenery, 389. Character of his pas-
torals, $93.

Thomson, fine passage from, where he ani-
mates all nature, 158. Character of his
seasons, 405. His eulogium by Dr. John-
son, ibid. note,

Thuanus, his character as an historian, 356.
Thucydides, his character as an historian,
$55. Was the first who introduced ora-
tions in historical narration, 362.
Tillotson, archbishop, observations on his
style, 95. 106. 125. 145. General charac-
ter of, as a writer, 186

Tones, the due management of, in public
speaking, 333.

Topics, among the ancient rhetoricians, ex-
plained, $16.

Tragedy, how distinguished from comedy,
452 More particular definition of, 453.
Subject and conduct of, 454. Rise and
progress of, 455. The three dramatic;
unities, 457. Division of the representa-
tion into acts, 458. The catastrophe, 460.
Why the sorrow excited by tragedy com-
municates pleasure, 467 The proper
idea of scenes, and how to be conducted,
462. Characters, 464. Higher degrees of
morality inculcated by modern than by
ancient tragedy, 465. Too great use made
of the passion of love on the modern
stages, 466. All tragedies expected to be
pathetic, ibid. The proper use of moral
reflections in, 469. The proper style and
versification, ibid. Brief view of the
Greek stage, 470. French tragedy, 472.
English tragedy, 474. Concluding obser-
vations, 476.

Tropes, a definition of 132. Origin of 154.
The rhetorical distinctions among, frivo.
lous, 140.

Turnus, the character of,not favourably treat-
ed in the neid, 439.
Turpin, archbishop of Rheims, a romance
writer, 374.
Typographical figures of speech, what, 170.
V.

Vanburgh, his character as a dramatic wri.
ter, 484.

Verbs, their nature and office explained, 81.
No sentence complete without a verb, ex-
pressed or implied, ibid. The tenses, 82.
The advantage of English over the Latin,
in the variety of tenses, ibid. Active and
passive, ibid. Are the most artificial and
complex of all the parts of speech, 83.
Verse, blank, more favourable to sublimity
than rhynie, 39. Instructions for the read-
ing of, 332. Construction of, 385.
Virgil, instances of sublimity in, 31. 41, 42.
Of harmony, 130, 131. Simplicity of lan-
guage, 134. Figurative language, 141. 156.
161. Specimens of his pastoral descrip-
tions, 389, note. 391. Character of his
pastorals. 393. His Georgies, a perfect
model of didactic poetry, 400. Beautiful
descriptions in his Eneid, 407. Critical
examination of that poem, 437. Compar-
ed with Homer, 440.

Virtue, high degrees of, a source of the sub-

ous with purity of style, 93. Bad conse
quences of their being ill chosen, ibid.
Observations on those termed synonymous,
97. Considered with reference to sound,
121.

Words, and things, instances of the analogy
between, 55.

Writers of genius, why they have been more
numerous in one age than another $47.
Four happy ages of pointed out, ibid.
Writing, two kinds of, distinguished. 65.
Pictures, the first essay in. 66. Hierogly.
phic, the second, ibid. Chinese charac
ters, 67. Arithmetical figures. 68. The
considerations which led to the invention
of an alphabet, ibid. Cadmus's alphabet
the origin of that now used. 69. Historical
account of the materials used to receive
writing, 70, General remarks, ibid. See
Grammar,

Y.

Young, Dr., his poetical character, 150. Tee
fond of antithesis, 168. The merit of his
works examined, 403. His character a
a tragic poet, 475.