A like order necessary to be observed
in all assertions of propositions, 130.
Sentence ought not to conclude with a
feeble word, ibid. Fundamental rule in
the construction of, 133. Sound not to
be disregarded, 134. Two circumstan-
ces to be attended to, for producing har-
mony in, 134, 139. Rules of the ancient
rhetoricians for this purpose, 135. Why
harmony much less studied now than
formerly, 136. English words cannot
be so exactly measured by metrical feet,
as those of Greek and Latin, 139. What
required for the musical close of a sen-
tence, 141. Unmeaning words introduc-
ed merely to round a sentence, a great
blemish, ibid. Sounds ought to be adapt-
ed to sense, 142.

Sermons, English compared with French,
281. Unity an indispensable requisite
in, 316. The subject ought to be precise
and particular, 317. The subject ought
not to be exhausted, ibid. Cautions
against dryness, 318. And against con-
forming to fashionable modes of preach-
ing, 319. Style, 320. Quaint expres-
sions, 321. Whether best written or
delivered extempore, ibid. Delivery,
322. Remarks on French sermons, ibid.
Cause of the dry argumentative style
of English sermons, 325. General ob..
servations, ibid. Remarks on the pro-
per division of, 347. Conclusion, 364.
Delivery, 365.

Sevigné, Madame de, character of her let-
ters, 416.

Shaftesbury, Lord, observations on his
style, 106, 113, 120, 127, 129, 142, 166.
His general character as a writer, 209.
Shakspeare, the merit of his plays exam-
ined, 28. Was not possessed of refined
taste, 29. Instance of his improper use
of metaphors, 161, 164, 165. Exhibits
passions in the language of nature, 524.
His character as a tragic poet, 530. As
a comic poet, 541.

Shenstone, his pastoral ballad, 441.
Shepherd, the proper character of, in pas-
toral description, 437.

Sheridan, his distinction between ideas and
emotions, 373, note.

Sherlock, Bishop, fine instance of personi-

fication cited from his sermons, 174. A
happy allusion cited from his sermons,
320. note.

Silius Italicus, his sublime representation
of Hannibal, 36, note.

Simile, distinguished from metaphor, 158,

182. Sources of the pleasure they afford,
ibid. Two kinds of, ibid. Requisites
in, 183. Rules for, 185. Local proprie-
ty to be adhered to in, 213.
Simplicity applied to style, different senses
of the term, 382.
Smollett, improper use of figurative style,
cited from him, 126, note.

Solomon's song, descriptive beauties of, 456.
Songs, Runic, the origin of Gothic history
ibid.

Sophists of Greece, rise and character of,

269.

Sophocles, the plots of his tragedies re-
markably simple, 512. Excelled in the
pathetic, 524.
His character as a tra-
gic poet, 526.
Sorrow, why the emotions of, excited by
tragedy, communicate pleasure, 515.
Sounds, of an awful nature, affect us with
sublimity, 32. Influence of, in the for-
mation of words, 61.

Speaker, public, must be directed more by
his ear than by rules, 138.
Spectator, general character of that publi-
cation, 216. Critical examination of
those papers that treat of the pleasures
of the imagination, 217.
Speech, the power of, the distinguishing
privilege of mankind, 9. The grammati-
cal division of, into eight parts, not lo-
gical, 79. Of the ancients, regulated
by musical rules, 136.

Strada, his character as an historian, 406.
Style, in language, defined, 101. The dif-

ference of, in different countries, ibid.
The qualities of a good style, 102. Per-
spicuity, ibid. Obscurity, owing to in-
distinct conceptions, 102. Three requi-
site qualities in perspicuity, ibid. Pre-
cision, 104. A loose style, from what
it proceeds, 105. Too great an atten-
tion to precision, renders a style dry and
barren, 111. French distinction of
style, 113. The characters of, flow from
Dif-
peculiar modes of thinking, 195.
ferent subjects require a different style,
ibid. Ancient distinctions of, 196. The
different kinds of, ibid. Concise and
diffusive, on what occasions proper, 196.
Nervous and feeble, 199. A harsh style,
from what it proceeds, ibid. Era of the
formation of our present style, 200.
Dry manner described, 201.
style, ibid. Neat style, 202. Elegant
style, 203. Florid style, 203. Natural
style, 205. Different senses of the term
simplicity, ibid. The Greek writers dis-
tinguished for simplicity, 207. Vehe-
ment style, 211. General directions
how to attain a good style, 212. Imita-
tion dangerous, 214. Style not to be
studied to the neglect of thoughts, 215.
Critical examination of those papers in
the Spectator that treat of the pleasures
of imagination, 217. Critical examina-
tion of a passage in Swift's writings, 250.
General observations, 259. See Elo.

quence.

A plain

Sublimity of external objects, and sublimi-
Its im-
ty in writing distinguished, 32.
pressions, ibid. Of space, ib. Of sounds,
Violence of the elements, 32. So-
lemnity, bordering on the terrible, ibid

32.

Obscurity, not unfavourable to, 34. In
buildings, 35. Heroism, ibid. Great
virtue, 36. Whether there is any one
fundamental quality in the sources of
sublime, ibid.

Sublimity in writing, 310.

ginus pointed out, ibid.

Errors in Lon

The most an-
cient writers afford the most striking in-
stances of sublimity, 311. Sublime re-
presentation of the Deity in Psalm xviii.
39. And in the prophet Habakkuk, 40.
In Moses and Isaiah, ibid. Instances of
sublimity in Homer, ibid. In Ossian,
42. Amplification injurious to sublimi-
ty, ibid. Rhyme in English verse unfa-
vourable to, 43. Strength essential to
sublime writing, 44. A proper choice

of circumstances essential to sublime
description, 45. Strictures on Virgil's
description of Mount Etna, 46.

The
proper sources of the sublime, 47. Sub-
limity consists in the thought, not in the
words, 48. The faults opposed to the
sublime, ibid.

Sully, Duke de, character of his memoirs,
408.

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

Swift, observations on his style, 104, 111,
120, 131, 142. General character of his
style, 202. Critical examination of the
beginning of his proposals for correct-
ing, &c. the English tongue, 250. Con-
cluding observations, 259. His lan-
guage, 383.
Character of his epistola-

ry writing, 416.
Syllables, English, cannot be exactly mea-
sured by metrical feet, as those of Greek
and Latin, 139.

Synecdoche, in figurative style, explained,
157.

Synonymous words, observations on, 108.
T.

Tacitus, character of his style, 197.

His

character as an historian, 402. His hap-
py manner of introducing incidental ob-
servations, ibid. Instance of his success-
ful talent in historical painting, 406
His defects as a writer, 408.
Tasso, a passage from his Gierusalemme
distinguished by the harmony of num-
bers, 145.
Strained sentiments in his
pastorals, 443. Character of his Amin-
ta, 487. Critical examination of his
poem, 496.

Taste, true, the uses of in common life, 14.
Definition of, 16. Is more or less com-
mon to all men, 17. Is an improvable
faculty, 18 How to be refined, 19. Is
assisted by reason, 19. A good heart
requisite to a just taste, 20. Delicacy
and correctness the characters of perfect
taste, ibid. Whether there be any stan-
dard of taste, 22. The diversity of, in
different men, no evidence of their tastes

being corrupted, ibid. The test of, re
ferred to the concurring voice of the pol
ished part of mankind, 25. Distinguish-
ed from genius, 29. The sources of
pleasure in, 30. The powers of, enlarge
the sphere of our pleasures, 31. Imi-
tations as a source of pleasure, 55. Mu-
sic, ibid. To what class the pleasures
received from eloquence, poetry, and
fine writing, are to be referred, 56.
Telemachus. See Fenelon.
Temple, Sir William, observations of his
style, 106. Specimens, 113, 120, 122,
125, 139.
His general character as a
writer, 208.
Terence, beautiful instance of simplicity
from, 209. His character as a dramatic
writer, 538.

Terminations of words, the variation of,
in the Greek and Latin languages, fa-
vourable to the liberty of transposition,

70.

Theocritus, the earliest known writer of
pastorals, 434. His talents in painting
rural scenery, 435. Character of his
pastorals, 439.

Thomson, fine passage from, where he
animates all nature, 176. Character of
his Seasons, 453. His eulogium by Dr.
Johnson, ibid, note.

Thuanus, his character as an historian, 398.
Thucydides, his character as an historian,
396. Was the first who introduced ora-
tions in historical narration, 405.
Tillotson, Archbishop, observations on his
style, 106, 118, 139, 161. General cha-
racter of as a writer, 208.

Tones, the due management of, in public
speaking, 373.

Topics, among the ancient rhetoricians,
explained, 353.

Tragedy, how distinguished from comedy,
506. More particular definition of, 507.
Subject and conduct of, 508. Rise and
progress of, 509. The three dramatic
unities, 511.
Division of the represen-
tation into acts, 513. The catastrophe,
514. Why the sorrow excited by tra-
gedy communicates pleasures, ibid.
Proper iden of scenes, and how to be
conducted, 516. Characters, 520. High-
er degrees of morality inculcated by mo-
dern than by ancient tragedy, 521. Too
great use made of the passion of love
on the modern stages, ibid. All trage-
dies expected to be pathetic, 522. The
proper use of moral reflections in, 524.
The proper style and versification, 525.
Brief view of the Greek stage, 526.
French tragedy, 528. English tragedy,
530. Concluding observations, 532.
Tropes, a definition of, 148. Origin of, 150.
The rhetorical distinctions among frivo-
lous, 156.

Turnus, the character of, not favourably
treated in the Æneid, 491.

Vanburgh, his character as a dramatic
writer, 542.

Verbs, their nature and office explained,
89. No sentence complete without a
verb, expressed or implied, 90. The
tenses, ibid. The advantage of English
over the Latin, in the variety of tenses,
91. Active and passive, ibid. Are the
most artificial and complex of all the
parts of speech, 92.

Verse, blank, more favourable to sublimity
than rhyme, 43. Instructions for the
reading of, 371. Construction of, 431.
Virgil, instances of sublimity in, 33, 45,
46. Of harmony, 145, 146. Simplicity
of language, 149. Figurative language,
157, 174, 179. Specimens of his pasto-
ral descriptions, 435, note, 438. Charac-
ter of his pastorals, 439. His Georgics,
a perfect model of didactic poetry, 447.
Beautiful descriptions in his Æneid, 456.
Critical examination of that poem, 489.
Compared with Homer, 491.

Virtue, high degrees of, a source of the
sublime, 36. A necessary ingredient to
form an eloquent orator, 378.

Vision, the figure of speech so termed, in
what it consists, 190.

Unilies, dramatic, the advantages of ad-
hering to, 511. Why the moderns are
less restricted to the unities of time and
place than the ancients, 518.

Voice, the powers of, to be studied in pub-
lic speaking, 366.

Voiture, character of his epistolary wri-
tings, 416.

Voltaire, his character as an historian, 409.
Critical examination of his Henriade,
502. His argument for the use of rhyme
in dramatic composition, 525. His cha-
racter as a tragic poet, 529.
Vossius, Joannes Gerardus, character of
his writings on eloquence, 385.

W.

Waller, the first English poet who brought
couplets into vogue, 432.

Wit, is to be very sparingly used at the
bar, 304.

Words, obsolete, and new coined, incon-
gruous with purity of style, 103. Bad
consequences of their being ill chosen,
104. Observations on those ter med sy-
nonymous, 108. Considered with refer-
ence to sound, 134.

Words, and things, instances of the ana-
logy between, 61.

Writers of genius, why they have been
more numerous in one age than another,
387. Four happy ages of, pointed out,
388.

Writing, two kinds of, distinguished, 72.
Pictures, the first essay in, ibid. Hiero-
glyphic, the second, 73. Chinese cha-
racters, 74.
Arithmetical figures, 75.

The considerations which led to the in-
vention of an alphabet, ibid. Cadmus's
alphabet the origin of that now used, 76.
Historical account of the materials used
to receive writing, 77. General remarks,
ibid. See Grammar.

Y.

Young, Dr. his poetical character, 167.
Too fond of antithesis, 188. The merit
of his works examined, 451. His cha
racter as a tragic poet, 532.