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INDEX.

A

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ACCENTS, thrown further back from the termination in the English than in
any other language, 112. Seldom more than one in English words, 445.
vern the measure of English verse, 521.

Achilles, his character in the Iliad, examined, 590.

Action, much used to assist language in an imperfect state, 68. And by ancient
orators and players, 70. Fundamental rule of propriety in, 454. Cautions
with respect to, 455. In epic poetry, the requisites of, 575.

Acts, the division of a play into five, an arbitrary limitation, 624. These pauses
in representation ought to fall properly, 625.

Adam, his character in Milton's Paradise Lost, 614.

Addison, general view of his Essay on the Pleasures of the Imagination, 28. His
invocation of the muse in his Campaign, censured, 50. Blemishes in his style,
132, 133, 143. Ease and perspicuity of, 147, 148, 151. His beautiful descrip
tion of light and colours, 182. Instance of his use of mixed metaphor, 194.
Improper use of similes, 217. His general character as a writer, 247. Cha-
racter of his Spectator, 256. Critical examination of some of those papers,
257. Remarks on his criticism of Tasso's Aminta, 536, note. His tragedy of
Cato critically examined, 623, 631, 636, 639.

Adjectives, common to all languages, 99. How they came to be classed with
nouns, ib.

Adverbs, their nature and use defined, 105. Importance of their position in a
sentence illustrated, 132.

The descent

Eneid of Virgil, critical examination of that poem, 594. The subject, 595.
Action, ib. Is deficient in characters, 596. Distribution and management
of the subject, 597. Abounds with awful and tender scenes, 597.
of Æneas into hell, ib. The poem left unfinished by Virgil, 599.
Bechines, a comparison between him and Demosthenes, 327.
Eschylus, his character as a tragic writer, 640.

Etna, remarks on Virgil's description of that mountain, 47. And on that by
Sir Richard Blackmore, 48.

Affectation, the disadvantages of, in public speaking, 455.

Ages, four peculiarly fruitful in learned men, pointed out, 470.

Akenside, his comparison between sublimity in natural and moral objects, 34,
note. Instance of his happy allusion to figures, 181. Character of his Plea
sures of the Imagination, 545.

Alphabet of letters, the considerations which led to the invention of, 83. Remote
obscurity of this invention, 84. The alphabets of different nations derived
from one common source, 85.

Allegory, explained, 196. Anciently a favourite method of conveying instruc
tions, 198. Allegorical personages improper agents in epic poetry, 583, 611.
Ambiguity in style, whence it proceeds, 132.

Amplification in speech, what, 225. Its principal instrument, 226.

American languages, the figurative style of, 72, 178.

Anagnorisis, in ancient tragedy, explained, 626.

Annals, and history, the distinction between, 494.

Ancients and moderns distinguished, 472. The merits of ancient writers are now
finally ascertained, 472. The progress of knowledge favourable to the mo-
derns in forming a comparison between them, 473. In philosophy and history,
473. The efforts of genius greater among the ancients, 476. A mediocrity
of genius now more diffused, 475.

Antithesis in language explained, 220. The too frequent use of, censured, 221.

Apostrophe, the nature of this figure explained, 211. Fine one from Cicero,
550, note.

Arabian Nights' Entertainments, a character of those tales, 507.

Arabian poetry, its character, 516.

Aruthnot, character of his epistolary writing, 504.

Architecture, sublimity in, whence it arises, 33. The sources of beauty in, 57.
Arguments, the proper management of, in a discourse, 429. Analytic and syn-
thetic methods, ib. Arrangement of, 430. Are not to be too much multi-
plied, 432.

Ariosto, character of his Orlando Furioso, 508, 606.

Aristotle, his rules for dramatic and epic compositions, whence derived, 24. His
definition of a sentence, 129. His extended sense of the term metaphor, 185.
Character of his style, 233, 238. His institutions of rhetoric, 365. His defi-
nition of tragedy considered, 617. His observations on tragic characters, 633.
Aristophanes, character of his comedies, 653.

Arithmetical figures, universal characters, 82.

Ark of the covenant, choral service performed in the procession of bringing it
back to Mount Sion, 563.

Armstrong, character of his Art of preserving Health, 545.

Art, works of, considered as a source of beauty, 56.

Articles, in language, the use of, 90. Their importance in the English Language
illustrated, ib.

Articulation, clearness of, necessary in public speaking, 445.

Associations academical, recommended, 466. Instructions for the regulation
of, 466.

Athenians, ancient, character of, 321. Eloquence of, 322.

Atterbury, a more harmonious writer than Tillotson, 165. Critical examination
of one of his sermons, 394. His exordium to a 30th of January sermon, 418.
Attici and Asiani, parties at Rome, account of, 332.

Authors, petty, why no friends to criticism, 24. Why the most ancient afford
the most striking instances of sublimity, 39. Must write with purity, to gain
esteem, 114.

B

Bacon, his observations on romances, 506.

Ballads, have great influence over the manners of a people, 506. Were the first
vehicles of historical knowledge and instruction, 514.

Bar, the eloquence of, defined, 360. Why more confined than the pleadings
before ancient tribunals, 362. Distinction between the motives of pleading at
the bar, and speaking in popular assemblies, 360. In what respects ancient
pleadings differ from those of modern times, 361. Instructions for pleaders,
363, 424.

Bards, ancient, the first founders of law and civilization, 514.

Barrow, Dr., character of his style, 235. Character of his sermons, 392.
Beaumont and Fletcher, their characters as dramatic poets, 658.
Beauty, the emotion raised by, distinguished from that of sublimity, 51. Is a
term of vague application, 52. Colours, ib. Figure, 53. Hogarth's line of
beauty, and line of grace, considered, 54. Motion, ib. A landscape the
most complete assemblage of beautiful objects, 55. The human countenance,
ib. Works of art, 56. The influence of fitness and design in our ideas of
beauty, ib. Beauty in literary composition, 57. Novelty, 58. Imita-
tion, 59.

Bergerus, a German critic, writes a treatise on the sublimity of Cæsar's Com.
mentaries, 37.

Berkeley, bishop, character of his Dialogues on the Existence of Matter, 501.
Biography, as a class of historical composition, characterized, 495.
Blackmore, Sir Richard, remarks on his description of Mount Etna, 48.
Blackwall, his character as a writer, 249.

Boileau, his character as a didactic poet, 548.

Bolingbroke, instances of inaccuracy in his style, 140, 152. A beautiful climax
from 150. A beautiful metaphor from, 186. His general character as a poli-
tician and philosopher, 187. His general character as a writer, 250, 464.
Bombast in writing, described, 50.

Bossu, his definition of an epic poem, 571. His account of the composition of
the Iliad, ib.

Bossuet, M. instances of apostrophes to personified objects, in his Funeral

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, 308. 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-
ma ks, 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, 603.
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.

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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.

Whether cases or

Declamation, unsupported by sound reasoning, false eloquence, 344.
Declension of nouns considered, in various languages, 94.
prepositions were most anciently used, 95.

and beautiful, 27.

Which of them are most useful

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-
Pronunciation,
sites in, 443. The powers of voice, ib. Articulation, 444.

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 Æschlies, 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.

Description and imitation, the distinction between, 60.

Selection of circum-
Choice of epithets,

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 Æneid 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, 617, 659.
Du Bos, Abbé, his remark on the theatrical compositions of the ancients, 159.

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