Diderot, M. his character of English com-
edy, 543.

Dido, her character in the Eneid examined,
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 between Lysias and Isocrates, 242,
note. His criticism on Thucydides, 355.
Discourse. See 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, 387. His character of Shak-
speare, 474, note. His own character as a
dramatic writer, 475. 484.

- Du Bos, Abbé, his remark on the theatri-
cal compositions of the ancients, 123.

E.

Education, liberal and essential requisite for
eloquence, 340.

Egypt, the style of the hieroglyphical writ-
ing 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 speaking,
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 persua-
sion, ibid. Three kinds of eloquence dis-
tinguished, 235. Oratory, the highest de-
gree of, the offspring of passion, 236. Re-
quisites for eloquence, 237. French elo-
quence, ibid. Grecian, 238. 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 cloquence, 251.
Parliament, 253. The bar and pulpit, ibid.
254. The three kinds of orations distin-
guished by the ancients, 255. These dis-
tinctions how far correspondent with those
made at present, ibid. Eloquence of po-
pular assemblies considered, ibid. The
foundation of eloquence, 266. 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 decorums, 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 ancient lan-
guages, 64. But more limited, ibid. The
principles 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. Compar
ed with the French language, ibid. Its
style characterised, 88. Its flexibility, ibid.
Is more harmonious than is generally al-
lowed, 89. Is rather strong than graceful,
ibid. Accent thrown farther back in Eng-
lish words, than in those of any other
language, ibid. General properties of the
English tongue, ibid. Why so loosely and
inaccurately written, 90. The fundamen
tal rules of syntax, common both to the
English and Latin, ibid. No author can
gain esteem if he does not write with puri-
ty, 91. Grammatical authors recommend.
ed, ibid, note.

Epic poetry, the standards of, 351. 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 tendency, 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 manag-
ed, 426. The intrigue, ibid. The ques-
tion considered whether it ought to end
successfully, ibid. Duration for the ac-
tion, 427. Characters of the personages,
ibid. The principal hero, ibid. The
machinery, 428. Narration, 429. Loose
observations, 430.

Episode, defined with reference to epic poe-
try, 424. Rules for 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-
servation on, 315.

F

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

er, 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-
tures 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 describ-
ed by rhetoricians, ibid. Will not render
a cold or empty composition interesting,
134. The pathetic and sublime reject
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 profuse-
ly used, ibid. The talent of using deriv-
ed from nature, and not to be created,
174. If improperly introduced, are a de-
formity, ibid, note. See Metaphor.
Figure considered as a source of beauty,

Gay, a character of his pastorals, 394.
Gender of nouns, foundation of, 74.
Genius distinguished from taste, 27. Its im-
port, 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 writ-
ing 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 conjunctions,
ibid. Importance of the study of gram-
mar, 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 flex-
ibility, 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 Hiad examined,
433.

Hell, the various descents into, given by epic

poets, shew the gradual improvement
of notions concerning a future state, 448.
Henriade. See Voltaire.
Herodotus, his character as an historian,

356.

Heroism, sublime instances of pointed out,

32.

Harvey, 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. Charac-
ter 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 histo-
ry 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 person-
ification, 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 similies, 436. General character of
his Odyssey, ibid. Defects of the Odyssey,
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 charac-
ter as a poet, 351. 398. Was the reform-
er of satire, 402.

Humour, why the English possess this qual-
ity more eminently than other nations,
483.

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

Imagination, the pleasures of, as specified

by Mr. Addison, 28. The powers of, to
enlarge the sphere of our pleasure, a strik-
ing 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 man-
agement 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.

Lamentations of Jeremiah, the most perfect
elegiac composition in the sacred scrip-
tures, 417.

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. The
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. Fi-
gurative style of American languages, ibid.
Cause of the decline of figurative language,
61. The natural and original arrange-
ment of words in speech, 62. The arrange-
ment of words in modern languages, dif-
ferent from that of the ancients, 63. An
exemplification, ibid. Summary of the
foregoing observations, 65. Its wonderful
powers, 139. All language strongly tinc-
tured with metaphor, 142. In modern
productions, often better than the subjects
of them, 233. Written and oral, distinc-
tion 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

on words deemed synonymous in, 97.
Learning, an essential requisite for elo-
quence, 340.

Lebanon, metaphorical illusions to, in He-
brew poetry, 415.

Lee, extravagant hyperbole quoted from,
153. His character as a tragic poet, 475.
Liberty, the nurse of true genius, 237.
Literary composition, importance of the
study of language, preparatory to, 11.
The beauties of, Indefinite, 50 To what
class the pleasures received from elo-
quence, poetry, and fine writing, are to
be referred, 51. The beauties of, not de-
pendant on tropes and figures, 173. The
different kinds of, distinguished, 352. See
History, Poetry, &c.

Livy, his character as an historian, 357. 360.
Locke, general character of his style, 181.

The style of his Treatise on human Un-
derstanding, compared with the writings
of Lord Shaftesbury, 367.

Longinus, strictures on his Treatise on the
Sublime, 35. His account of the conse-
quences of liberty, 237. His sententious
opinion of Homer's Odyssey, 436.
Lopez de la Vega, his character as a drama-
tic poet, 481.

Love, too much importance and frequency

allowed to, on the modern stage, 466.
Lowth's English Grammar recommended,
91, note, 112, note. His character of the
prophet Ezekiel, 419.

Lucan, instance of his destroying a sublime
expression of Cæsar, by amplification,
39. Extravagant hyperbole from, 154.
Critical examination of his Pharsalia,
440. The subject, 441. Characters and
conduct of the story, ibid.
Lucian, character of his dialogues, 369.
Lucretius, his sublime representation of the
dominion of superstition over mankind,
32, note. The most admired passages in
his Treatise De Rerum Natura, 401.
Lusiad. See Camoens.

Lyric poetry, the peculiar character of, 396.
Four classes of odes, 397. Characters of
the most eminent lyric poets, 398.
Lysias, the rhetorician, his character, 242.

M.

Machiavel, his character as an historian, 363.
Machinery, the great use of, in epic poetry,
428. Cautions for the use of, 429. 434.
Mackensie, sir George, instance of regular
climax in his pleadings, 172.

Man, by nature both a poet and musician,

378.

Marivaux, a character of his novels, 375.
Marmontel, his comparative remarks on
French, English and Italian poetry, 385,

note.

Marsy, Fr. his contrast between the char-

acters of Corneille and Racine, 473, note.
Masilion, extracts from a celebrated ser-
mon of his, 289, note. Encomium on,
by Louis XIV. 292. His artful division
of a text, 313.

Memoirs, their class in historical composi-
tion assigned, 365. Why the French are
fond of this kind of writing, ibid.
Metalepsis, in figurative language explain-
ed, 141.

Melaphor, in figurative style, explained,
141, 142. All language strongly tiuctu-
ed with, ibid. Approaches the nearest
to painting of all the figures of speech,
ibid. Rules to be observed in the con-
duct of, 143. See Allegory.
Metastasio, his character as a dramatic
writer, 473.

Metonomy, in figurative style, explained,
142.

Mexico, historical pictures the records of
that empire, 66.

Milo, narrative of the rencounter between
him and Clodius, by Cicero, 314.
Millon, instances of sublimity in, 31. 40. 42.
Of harmony, 121. 129. Hyperbolical
sentiments of Satan in, 153. Striking in-
stances of personification in, 157, 158,
159. Excellence of his descriptive poe-
try, 403. Who the proper hero of his
Paradise Lost, 428. Critical examination
of this poem, 450. His sublimity char-
acterised, 451. His language and versifi-
cation, 452.

Moderns, See Ancients.

Moliere, his character as a dramatic poet,

482.

Monboddo, lord, his observations on Eng-
lish and Latin verse, 384, note.
Monolomy, in language, often the result of
too great attention to musical arrange-
ment, 126.

Montague, Lady Mary Wortley, a character
of her epistolary style, 373.
Montesquieu, character of his style, 177.
Monumental incriptions, the numbers suit-
ed to the style, 130.

Moralt, M. his severe censure of English
comedy, 485.

More, Dr. Henry, character of his divine
dialogues, 369.

Motion, considered as a source of beauty,

47.

Molte, M. de la, his observations on lyric
poetry, 397, note. Remarks on his cri-
ticism on Homer, 436, note.

Music, its influence on the passions, 378.
Its union with poetry, ibid. Their sepa-
ration injurious to each, 382.

N.

Naivele, import of that French term, 185.
Narration, an important point in pleadings
at the bar, 313.

Night scenes commonly sublime, 30.
Nomic melody of the Athenians, what, 123.
Novels, a species of writing, not so insignifi-
cant as may be imagined, 373. Might be
employed for very useful purposes, ibid.
Rise and progress of fictitious history,
ibid. Characters of the most celebrated
romances and novels, 374.

Novelty, considered as a source of beauty,50.

496
Nouns, susbtantive, the foundation of all
grammar, 72. Number, gender, and
cases of, 74.

0.

Obscurity, not unfavourable to sublimity, 31.
Of style, owing to indistinct conceptions,

93-
Ode, the nature of defined, 396. Four
distinctions of, 397. Obscurity and ir-
regularity, the great faults in, ibid.
Odyssey, general character of, 436. De-
fects of, 437.

Edipus, an improper character for the
stage, 465.

Oralors ancient, declaimed in recitative,

59.

Orations, the three kinds of, distinguished
by the ancients, 255. The present dis-
tinctions of, ibid. Those in popular as-
semblies considered, ibid. Prepared
speeches not to be trusted to, 257. Ne-
cessary degrees of premeditation, ibid.
Method, 258. Style and expression, ibid.
Impetuosity, 259. Attention to decorums,
260. Delivery, 261, 326. The several
parts of a regular oration, 305. Introduc-
tion, 306. Introduction to replies, 310.
Introduction to sermons, 311. Division
of a discourse, ibid. Rules for dividing
it, 312. Explication, 313. The argu-
mentative part, 316. The pathetic, 320.
The peroration, 325. Virtue necessary
to the perfection of eloquence, 338. De-
scription of a true orator, 340. Qualifi-
cations for, ibid. The best ancient wri-
ters on oratory, 345.351. The use made
of orations by the ancient historiaus, 362.
See Eloquence.

Oriental, poetry, more characteristical of
an age than of a country, 379. Style of
scripture language, 61.

Orlando Furioso. See Ariosto.
Ossian, instances of sublimity in his works,
38. Correct metaphors, 147. Confused
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.

331.

Pauses, the due uses of, in public speaking,
In poetry, 332, 384.
Pericles, the first who brought eloquence
to any degree of perfection, 239. His
general 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, ibid. Three degrees of this fi-
gure, 166. 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.

Pherecydes of Sycros, the first prose writer,

61.

Philips, character of his pastorals, 394.
Philosophers, modern, their superiority over
the ancient, unquestionable, 349.
Philosophy, the proper style of writing
adapted to, 367. Proper embellishment
for, ibid.

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

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

Pleaders at the bar, instructions to, 269, 313.
Pliny's Letters, general character of, 371.
Plutarch, his character as a biographer, 366.
Poetry, in what sense descriptive, and in

what imitative, 52, Is more ancient than