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Demetrius, Phalerus, the rhetorician, his the term, 262, 377. Fundamental max-
ims of the art, 262. Defended against
Demonstrative orations, what, 284.
the objection of the abuse of the art of
Demosthenes, his eloquence characterized, persuasion, ibid. Three kinds of elo-
267. His expedients to surn;ount the quence distinguished, 263. Oratory, the
disadvantages of his person and address, highest degree of, the ofispring of pas.
271. His opposition to Philip of Ma. sion, 264. Requisites for eloquence, ibid.
cedon, ibid. His rivalship with Æs. French eloquence, 265. Grecian, 266.
chines, 272. His style and action, ibid. Rise and character of the rhetoricians of
Compared with Cicero, 276. Why his Greece, 268. Roman, 274. The attici
orations still please in perusal, 286. and asiani, 276. Comparison between
Extracts from his Philippics, 293. His Cicero and Demosthenes, ibid. The
definition of the several points of orato schools of the declaimers, 279. The
eloquence of the primitive fathers of the
Description, the great test of a poet's ima church, 280. General remarks on mod-
gination, 452. Selection of circuin ern eloquence, ibid. Parliament, 283.
stances, ibid. Inanimate objects should The bar and pulpit, ibid. The three kinds
be enlivened, 455. Choice of epithets, of orations distinguished by the ancients,
284. These distinctions how far corres-
Description and imitation, the distinction pondent with those made at present,
285. Eloquence of popular assemblies
Des Brosses, his speculations on the ex considered, ibid. The foundation of elo.
pressive power or radical letters and quence, 286. The danger of trusting to
syllables, 61, note.
prepared speeches at public meetings,
Dialogue writirg, the properties of, 411. 287. Necessary premeditation pointed
Is very difficult to execute, 412. Mo out, ibid. Method, 288. Style and ex-
dern dialogues characterized, ibid. pression, ibid. Impetuosity, 289. At-
Didactic poetry, its nature explained, 447. tention to decorums, 290. Delivery,
The most celebrated productions in this 292, 366. Summary, 292. See Cicero,
class specified, ibid. Rules for composi Demosthenes, Oration, and Pulpit.
tions of this kind, 448. Proper embel- English language, the arrangement of
lishments of, ibid.
words in, more refined than that of an-
Diderot, M. his character of English co cient languages, 70. But more limited,
ibid. The principles of general grammar
Dido, her character in the Æneid examin seldom applied to it, 78. The important
use of articles in, 81. All substantive
Dionysius of Halicarnassus, his ideas of nouns of inanimate objects of the neuter
excellency in a sentence, 136 His dis gender, S2. The place of declension in,
tinction of style, 196. Character of his supplied by prepositions, 85. The va-
treatise on Grecian oratory, 269. His rious tenses of English verbs, 91. His-
comparison between Lysias and Iso torical view of the English language,
crates, 270, note. His criticism on Thu 95. The Celtic the primitive language of
Britain, ibid. The Teutonic tongue the
Discourse. See Oralion.
basis of our present speech, 96. Its ir.
Dramatic poetry, the origin of, 425. Dis. regularities accounted for, ibid. Its
tinguished by its objects, 505. See Tra copiousness, ibid. Compared with the
gedy and Comedy.
French language, 97. Its style charac.
Dryden, one of the first reformers of our terized, ibid. Its flexibility, 98. Is more
style, 200. Johnson's character of his harmonious than is generally allowed,
prose style, ibid, note. His character as ibid. Is rather strong than graceful, 99.
a poet, 432. His character of Shak Accent thrown farther back in English
speare, 530, note. His own character as words, than in those of any other lan-
a dramatic writer, 531, 541.
guage, ibid. General properties of the
Du Bos, Abbé, his remark on the theatri English tongue, ibid. Why so loosely
cal compositions of the ancients, 137. and inaccurately written, 100. The
fundamental rules of syntax, common
Education, liberal and essential requisite both to the English and Latin, ibid.
for eloquence, 380.
No author can gain estcem if he does
Egypt, the style of the hieroglyphical writ. not write with purity, 101. Grammati-
ing of, 73. This an early stage of the cal authors recommended, ibid, nole,
art of writing, ibid. The alphabet pro. Epic poetry, the standards of, 393. Is the
bably invented in that country, 76. highest effort of poctical genius, 470.
Emphasis, its importance in public speak. The characters of, obscured by critics,
ing, 369. Rule for, ibid.
ibid. Examination of Bossu's account
Eloquence, the several objects of considera of the formation of the Iliad, ibid. Epic
tion under this head, 261. Definition of poetry considered as to its moral tenden
cy, 472. Predominant character of, 473. Figures of thought among rhetoricians, de-
Action of, ibid. Episodes, 474. The fined, 148.
subject should be of remote date, 475. Fitness and design, considered as sources
Modern history more proper for dramatic of beauty, 54.
writing than for epic poetry, ibid. The Fleece, a poem, harmonious passage from,
story must be interesting and skilfully 146.
managed, 476. The intrigue, 477. The Fontenelle, character of his dialogues, 413.
question considered whether it ought French, Norman, when introduced into
to end successfully, ibid. Duration for England, 95.
the action, ibid. Characters of the French writers, general remarks on their
personages, 478. The principal hero, style, 198. Eloquence, 265, 280. French
ibid. The machinery, 479. Narration, and English oratory compared, 282.
480. Loose observations, 481.
Frigidity in writing characterized, 48.
Episode, defined with reference to epic
poetry, 474. Rules for conduct of, 475. Gay, a character of his pastorals, 441.
Epistolary writing, general remarks on, Gender of nouns, foundation of, 82.
Genius distinguished from taste, 29. Its
Eve, her character in Milton's Paradise import, ibid. Includes taste, 30. The
pleasures of the imagination, a striking
Euripides, instance of his excellence in the testimony of Divine benevolence, 31.
pathetic, 524, note. His character as a True, is nursed by liberty, 265. In arts
tragic writer, 527,
and writing, why displayed more in one
Exclamations, the proper use of, 189. age than another, 291. Was more vi.
Mode of their operation, ibid. Rule for gorous in the ancients than in the mod.
the employment of, 190.
erns, 391. A general mediocrity of,
Erercise improves both bodily and mental how diffused, ibid.
Gesner, a character of his Idyls, 440.
Exordium of a discourse, the objects of, Gestures in public oratory. See Action.
342. Rules for the composition of, 343. Gil Blas of Le Sage, character of that no-
Explicalion of the subject of a sermon, ob vel, 419.
servation on, 352.
Girard, abbé, character of his Synonymes
Face, human, the beauty of, complex, 53. Gordon, instances of his unnatural disposi.
Farquhar, his character as a dramatic writ- tion of words, 56.
Gorgius of Leontium, the rhetorician, his
Fathers, Latin, character of their style of character, 268.
Gothic poetry, its character, 424.
Fenelon, archbishop, his parallel between Gracchus, C. his declamations regulated by
Demosthenes and Cicero, 277. His re- musical rules, 137.
marks on the composition of a sermon, Grammar, general, the principles of, titles
347. Critical examination of his Ad attended to by writers, 78. The divi.
ventures of Telemachus, 500.
sion of the several parts of speech, 79.
Fielding, a character of his novels, 420. Nouns substantive, 80. Articles, 81.
Figurative style of language defined, 146. Number, gender, and case of nouns, 82.
Is not a scholastic invention, but a natu Prepositions, 85. Pronouns, 88. Ad-
ral effusion of imagination, 147. How j ectives, ibid. Verbs, 90. Verbs the
described by rhetoricians, 148. Will not most artificial complex of all the parts
render a cold or empty composition in of speech, 92. Adverbs, 93. Prepo-
teresting, 149. The pathetic and sub sitions and conjunctions, ibid. Impor-
line reject figures of speech, ibid. Ori tance of the study of grammar, 94.
gin of, 150. How they contribute to Grandeur. See Sublimity.
the beauty of style, 153. Illustrative des. Greece, short account of the ancient repub-
cription, 154. Heightened emotion, ibid. lics of, 266. Eloquence carefully stu-
The rhetorical names and classes of fig. died there, 287. Characters of the dis-
ures frivolous, 156. The beauties of tinguished orators of, ibid. Rise and
composition not dependant on tropes and character of the rhetoricians, 268.
figures, 192. Figures must always rise Greek, a musical language, 64, 136. Its
naturally from the subject, 193. Are not flexibility, 98. Writers distinguished
to be profusely used, 194. The talent for simplicity, 207.
of using derived from nature, and not to Guarini, character of his Pastor Fido, 441.
be created, ibid. If improperly intro- Guicciardini, his character as an historian,
duced, are a deformity, ibid, note. See 406.
Figure, considered as a source of beauty, Habakkuk, sublime representation of the
Deity in, 40.
Figures of speech, the origin of, 66. Harris, explanatory simile cited from, 183
Hebrew poetry, in what points of view les, ibid. General character of his
to be considered, 459. The ancient pro Odyssey, 488. Defects of the Odyssey,
nunciation of lost, 460. Music and poe- ibid. Compared with Virgil, 489.
try, early cultivated among the He Hooker, a specimen of his style, 200.
brews, ibid. Construction of Hebrew Horace, figurative passages cited from, 153.
poetry, ibid. Is distinguished by a con- Instance of mixed metaphor in, 165.
cise strong figurative expression, 463. Crowded metaphors, 166. His charac-
The metaphors employed in, suggested ter as a poet, 393, 445. Was the refor-
by the climate and nature of the land mer of satire, 450.
of Judea, 463, 465. Bold and sublime Humour, why the English possess their
instances of personification in, 466. quality more eminently than other na-
Book of proverbs, 467. Lamentations tions, 540.
of Jeremiah, ibid.' Book of Job, 468. Hyperbole, an explanation of that figure,
Helen, her character in the Iliad examin- 169. Cautions for the use of, 170. Two
kinds of, ibid.
Hell, the various descents into, given by
epic poets, show the gradual improve Ideas, abstract, entered into the first for:
ment of actions concerning a future mation of language, 80.
Jeremiah, his poetical character, 468. See
Henriade. See Voltaire.
Herodotus, his character as an historian, Iliad, story of, 482. Remarks on, ibid.
The principal characters, 484. Machi-
Heroisin, sublime instances of pointed out, nery of, 485.
Imagination, the pleasures of, as specified
Harvey, character of his style, 204.
by Mr. Addison, 31. The powers of,
Hieroglyphics, the second stage of writing, to enlarge the sphere of our pleasure, a
73. Of Egypt, ibid.
striking instance of divine benevolence,
Historians, modern, their advantages over ibid. Is the source of figurative lan-
the ancient, 390. Ancient models of, guage 147, 151.
393. The objects of their duty, 394. Imitation, considered as a source of plea-
Character of Polybius, 396. Or Thucy- sure to taste, 55. And description dis-
dides, ibid. Or Herodotus and Thuanus, tinguished, 57.
397. Primary qualities necessary in an Inferences from a sermon, the proper man-
storian, 398. Character of Livy and agement of, 364.
Sallust, 399. Or Tacitus, ibid. Instruc- Infinily of space, numbers, or duration af-
tions and cautions to historians, 400. fect the mind with sublime ideas, 32.
How to preserve the dignity of narra. Interjections, the first elements of speech,
tion, 401. How to render it interesting, 60.
402. Danger of refining too much in Interrogation, instances of the happy use
drawing characters, 404. Character of and effect of, 189. Mode of their ope-
the Italian historians, 406. The French ration, ibid. Rule for using, 190.
and English, 407.
Job, exemplification of the sublimity of
listory, the proper object and end of, 394. obscurity in the book of, 34. Remarks
True, the characters of, ibid. The dif on the style of, 460. The subject and
ferent classes of, 395. General history, poetry of, 468. Fine passage from,
the proper conduct of, ibid. The ne 469.
cessary qualities of historical narration, Johnson, his character of Dryden's prose
401. The propriety of introducing ora style, 200, note. His remarks on the
tions in history, examined, 405. And style of Swift, 250, note. His character
characters, ibid. The Italians the best of Thompson, 454, note. His character of
modern historians, 406. See Annals, Dryden's comedies, 541, note. His char-
Biography, Memoirs, and Novels.
acter of Congreve, 542.
Hogarth, his analysis of beauty consider- Jonson, Ben, his character as a dramatic
Homer, not acquainted with poetry as a Isæus, the rhetorician, his character, '270.
systematic art, 27. Did not possess a Isaiah, sublime representation of the Deity
refined taste, 30. Instances of sublimi in, 40. His description of the fall of the
ty in, 41. Is remarkable for the use of Assyrian empire, 180. His metaphors
personification, 175. Story of the Iliad, suited to the climate of Judea, 463, 464.
482. Remarks on, ibid. His inven. His character as a poet, 468.
tion and judgment' in the conduct of Isocrates, the rhetorician, his character,
the poem, 483. Advantages and de- 269.
fects arising from his narrative speeches, Judea, remarks on the climate and natural
ibid. His character, 484. His machi circumstances of that country, 463.
nery, 485. His style, 48€. His skill Judicial orations, what, 284.
in narrative description, 487. His simi. Juvenal, a character of his satires, 450.
be referred, 56. The beauties of, not
Kaimes, Lord, his severe censures of English dependant on tropes and figures, 192.
The different kinds of distinguished, 394.
Knight errantry, foundation of the roman See History, Poetry, &c.
ces concerning, 418.
Livy, his character as an bistorian, 399,
Knowledge an essential requisite for elo 402.
quence, 380. The progress of, in favour Locke, general character of his style, 202.
of the moderns, upon a comparison with The style of his Treatise on Human Un-
the ancients, 391. The acquisition of, derstanding, compared 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
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, 538.
Language, the improvement of, studied Love, too much importance and frequency
even by rude nations, 9. In what the allowed to, on the modern stage, 521.
true improvement of language consists, Louth's English Grammar recommended,
10. Importance of the study of language 101, nole, 124, nole. 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 t ers 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, 60. Figurative style of Ame his Treatise De Rerum Natura, 449.
rican languages, 67. Cause of the de. Lusiad. See Camoens.
cline of figurative 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 arrangement 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,
dern productions, often better than the 478. Cautions for the use of, 479, 485.
subjects of them, 260. Written and oral, Mackenzie, Sir George, instance of regular
distinction between, 383. See Grammar, climax in his proceedings, 191.
Style, and Wriling.
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 poerry,
Remarks on words deemed synonymous 431, note.
Marsy, 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, note. Encomiim 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 are fond of this kind of writing, ibid.
study of language, preparatory to, 11. Melalepsis, in figurative language explain-
The beauties of, indefinite, 54. To what ed, 156.
class the pleasures received from elo- Metaphor, in figurative style, explained,
quence, poetry and fine writing, are to 157, 158. All language strongly tinct
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.
Mclastasió, his character as a dramatic Ode, the pature of defined, 443. Four
distinctions of, 444, Obscurity and ir.
Melonomy, 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, by Cicero, 351. Oralors, ancient, declaimed in recitative, 64.
Millon, instances of sublimity in, 33, 44, Orations, the threc 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 10
605. 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 sei mons,
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
Monolony 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-
quence, 379. 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 Eloquenre.
ed to the style, 145.
Oriental poetry, more characteristical of
Morall, M. his severe censure of English an age than of a country, 424. Style
of scripture language, 67.
More, Dr. Henry, character of his divine Orlando Furioso. "See Ariosło.
Ossian, instances of sublimity in his works,
Motion, considered as a source of beauty, 42. Correct metaphors, 164. Consu-
sed mixture of metaphorical and plaio
Motle, M. de la, his observations on lyric language in, ibid. Fine apostrophe, 180.
poetry, 445, note. 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, 513.
Its uniun with poetry, ibid. Their se-
paration injurious to each, 427. Pantomime, an entertainment of Roman
Natreté, 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. Subliinity of, 505. Language and ver-
Nomic melody of the Atheuians, what, sification, ibid.
Parenthesis, cautions for the use of them,
Norels, a species of writing,not so insignifi. 121.
cant as may be imagined, 416. Might Paris, his character in the Iliad, exam-
be employed for very kiseful 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.