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Passon, the source of oratory, 264. Plutarch, his character as a biographer,
Passions, when and how to be adaressed 409.

ky orators, 358. The orator must feel Poetry, 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. Prets address themselves to the we receive from the figurative style of,
passions, 4:23.

176. Test of the merit of, 185. Whence
Pusloral 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.
Parhelic, 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 duc 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 Senlence.

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 of,
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.

Pointing cannot correct a confused sen-
Perseus, a character of his satires, 450. tence, 121.
Perspicuity, essential to a good stylc, 102. Polilics, 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 Popo, criticism on a. passage in his Homer,
of this art, answered, ibid. Rules for, 43. Prose specimen from, consisting of
286.

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 in, 163. Mixed metaphor in, 166.
claimers of his time, 279.

Confused personification, 178. Instance
Pharsalia. See Lucan.

of his fondness for antithesis, 188.
Pherecydes of Sycros, the first prose wri. Character of his epistolary writings,416.
ter, 68.

Criticism on, ibid. Construction of his
Philips, character of his pastorals, 441. verse, 430. Peculiar character of his
Philosophers, modern, their superiority v ersification, 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.

adapied to, 410. Proper embellishment Character of his translation of Homer,
for, ibid.

486.
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
Plaulus, his character as a dramatic poet, Whether more useful and beautiful, 86.
539.

Dr. Campbell's observations on, 87,
Plenders at the bar, instruction to, 301, Their great use in speech, 94.
350.

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

Q.

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 thé, 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.

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

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

Satire, 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, roid. 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
386.

the members of, 115. Position of ad.
R.

verbs, ibid. And relative pronouns,
Racine, his character as a tragic poet, 528. 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.
Relę, 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. Climax, 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, 524. His character as a tra.
rhetoricians for this purpose, 135. Why g ic 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.
tence, 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-
not to be exhausted, rbid. Cautions cal division of, into eight parts, not lo.
against dryness, 318. And against con- gical, 79. Of 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, 32). 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, 103. 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
ters, 416.

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

siyle, 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 different 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 harsh 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.
a comic poet, 541.

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

style, ibid. Neat style, 202. Elegant
Shepheril, 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, note.

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

fication cited from his sermons, 174. A how to attain a good style, 212. Jiníta-
hanpy 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 representation Critical examination of those papers in
of Hannibal, 36, nole.

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.
ibid. 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-
Simplicity applied to style, different senses ty in writing distinguished, 32. Its im.
of the term, 382.

pressions, ibid. Of space, ib. Of sounds,
Smollett, improper use of figurative style, 32. Violence of the elements, 32. So-
cited from him, 126, note.

lemnity, bordering on the terrible, ibid

408.

Obscurity, not unfavourable to, 34. in being corrupted, ibid. The test of, re
buildings, 35. Heroism, ibid. Great ferred to the concurring voice of the pol
virtue, 36. Whether there is any one ished part of mankind, 25. Distinguish-
fundamental quality in the sources of ed from genius, 29. The sources of
sublime, ibid.

pleasure in, 30. The powers of, enlarge
Sublimity in writing, 310. Errors in Lon the sphere of our pleasures, 31. Imi-

ginus pointed out, ibid. The most an tations as a source of pleasure, 55. Mu-
cient writers afford the most striking in sic, ibid. To what class the pleasures
stances of sublimity, 311. Sublime re received from eloquence, poetry, and
presentation of the Deity in Psalm xviii. fine writing, are to be referred, 56.
39. And in the prophet Habakkuk, 40. Telemachus. See Fenelon.
In Moses and Isaiah, ibid. Instances of Temple, Sir William, observations of his
sublimity in Homer, ibid. In Ossian, style, 106. Specimens, 113, 120, 122,
42. Amplification injurions to sublimi- 125, 139. His general character as a
ty, ibid. Rhyme in English verse unfa. writer, 208.
vourable to, 43. Strength essential to Terence, beautiful instance of simplicity
sublime writing, 44. A proper choice from, 209. His character as a dramatic
of circumstances essential to sublime writer, 538.
description, 45. Strictures on Virgil's Terminations of words, the variation of,
description of Mount Ætna, 46. The in the Greek and Latin languages, fa
proper sources of the sublime, 47. Sub vourable to the liberty of transposition,
limity consists in the thought, not in the 70.
words, 48. The faults opposed to the Theocrilus, the earliest known writer of
sublime, ibid.

pastorals, 434. His talents in painting
Sully, Duke de, character of his memoirs, rurai scenery, 435. Character of his

pastorals, 439.
Superstition, sublime representation of its Thomson, fine passage from, where he

dominion over mankind, from Lucretius, animates all nature, 176. Character of
34, note.

his Seasons, 453. His eulogium by Dr.
Swift, observations on his style, 104, 111, Johnson, ibid, note.

120, 131, 142. General character of his Thuanus, his character as an historian, 398.
style, 202. Critical examination of the Thucydides, his character as an historian,
beginning of his proposals for correct- 396. Was the first who introduced ora-
ing, &c, the English tongue, 250. Con t ions in historical narration, 405.
cluding observations, 259. His lan. Tillotson, Archbishop, observations on his
guage, 383. Character of his epistola- style, 106,!18, 139, 161. General cha-
ry writing, 416.

racter of as a writer, 208.
Syllables, English, cannot be exactly mea. Tones, the due management of, in public

sured by metrical feet, as those of Greek speaking, 373.
and Latin, 139.

Topics, among the ancient rhetoricians,
Synecdoche, in figurative style, explained, explained, 353.
157.

Tragedy, how distinguished from comedy,
Synonymous words, observations on, 108. 506. More particular definition of, 507.
T.

Subject and conduct of, 508. Rise and
Tacilus, character of his style, 197. His progress of, 509. The three dramatic

character as an historian, 402. His hap unities, 511. Division of the represen-
py marner of introducing incidental ob tation into acts, 513. The catastrophe,
servations, ibid. Instance of his success. 514. Why the sorrow excited by tra.
ful talent in historical painting, 406 gedy communicates pleasures, ibid.
His defects as a writer, 408.

Proper iden of scenes, and how to be
Tasso, a passage from his Gierusalemme conducted, 516. Characters, 520. High-

distinguished by the harmony of num er degrees of morality inculcated by mo-
bers, 145. Strained sentiments in his dern than by ancient tragedy, 521. Too
pastorals, 443. Character of his Amin great use made of the passion of love
ta, 487. Critical examination of his on the modern stages, ibid. All trage-
poem, 496.

dies expected to be pathetic, 522. The
Taste, true, the uses of in common life, 14. proper use of moral reflections in, 524.

Definition of, 16. Is more or less com The proper style and versification, 525.
mon to all meu, 17. Is an improvable Brief view of the Greek stage, 526.
faculty, 18 How to be refined, 19. Is French tragedy, 528. English tragedy,
assisted by reason, 19. A good heart 530. Concluding observations, 532.
requisite to a just taste, 20. Delicacy Tropes, a definition of, 148. Origin of, 150.
and correctness the characters of perfect The rhetorical distinctions among frivo-
taste, ibid. Whether there be any stan louis, 156.
dard of taste, 22. The diversity of, in Turnus, the character of, not favourably
different men, no evidence of their tastes treated in the Æneid, 491.

V.

Terpin, archbishop of Rheims, a romance Voltaire, his character as an historian, 409.
writer, 419.

Critical examination of his Henriade,
Typographical figures of speech, what, 189. 502. His argument for the use of rhyme

in dramatic composition, 626. His cha-
Vanburgh, his character as a dramatic racter as a tragic poet, 529.
writer, 542.

Vossius, Joannes Gerardus, chara.ter og
Verbs, their nature and office explained, his writings on eloquence, 385.
89. No sentence complete without a

W.
verb, expressed or implied, 90. Tie Waller, the first English poet who brought
tenses, ibid. The advantage of English couplets into vogue, 432.
over the Latin, in the variety of tenses, Wit, is to be very sparingly used at the
91. Active and passive, ibid. Are the bar, 304.
most artificial and complex of all the Words, obsulete, and new coined, incon.
parts of speech, 92.

gruous with purity of style, 103. Bad
Verse, blank, more favourable to sublimity consequences of their being ill chosen,

than rhyme, 43. Instructions for the 104. Observations on those ter med sy-
reading of, 371. Construction of, 431. nonymous, 108. Considered with reser.
Virgil, instances of sublimity in. 33. 45. ence to sound. 134

46. or harmony, 145, 146. Simplicity Words, and things, instances of the ana.
of language, 149. Figurative language, logy between, 61.
157, 174, 179. Specimens of his pasto- Wrilers of genius, why thcy have been
ral descriptions, 435, note, 438. Charac more numerous in one age than another,
ter of his pastorals, 439. His Georgics, 387. Four happy ages of, pointed oui,
a perfect model of didactic poetry, 447. 388.
Beautiful descriptions in his Æneid, 456. Writing, two kinds of, distinguished, 72.
Critical examination of that poein, 489. Pictures, the first essay in, ibid. Hiero-
Compared with Homer, 491.

glyphic, the second, 73. Chinese cha-
Virtue, high degrees of, a source of the racters, 74, Arithmetical figures, 75.
sublime, 36. A necessary ingredient to The considerations which led to the in-
forin an eloquent orator, 378.

vention of an alphabet, ibid. Cadınus's
Vision, the figure of speech so termed, in alphabet the origin of that now used, 76.
what it consists, 190.

Historical account of the materials used
Unilies, dramatic, the advantages of ad to receive writing, 77. General remarks,

hering to, 511. Why the moderns are ibid. See Grammar.
less restricted to the unities of time and

Y.
place than the ancients, 518.

Young, Dr. his poetical character, 167.
Voice, the powers of, to be studied in pub. Tov fond of antithesis, 188. The merit
lic speaking, 366.

of his works examined, 451. His cha.
Voiture, character of his epistolary wri- racter as a tragic poet, 532.

tings, 416.

THE END

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