159.

Mexico, historical pictures the records of
that empire, 78.

Milo, narrative of the encounter between
him and Clodius, by Cicero, $51.
Milton, instances of sublimity in, 33, 44,
46. Of harmony, 135, 144. Hyperboli-
cal sentiments of Satin in, 170. Striking
instances of personification in, 175, 176.
Excellence of his descriptive poetry, 454.
Who the proper hero of his Paradise
Lost, 478. Critical examination of this
poem, 503. His sublimity characterised,
595. His language and versification,
ibid.

Moderns. See Ancients.

Moliere, his character as a dramatic poet,
539.

Monboddo, lord, his observations on English

and Latin verse, 429, note

Monotony in language, often the result of
too great attention to musical arrange-
ment, 141,

Montague, Lady Mary Wortley, a charac-
ter of her epistolary style, 417.
Montesquieu, character of his style, 154.
Monumental inscriptions, the numbers sui-
ted to the style, 145.

Moralt, M. his severe censure of English
comedy, 543.

More, Dr. Henry, character of his divine
dialogues, 413.

Motion, considered as a source of beauty,
52.

Motte, M. de la, his observations on lyric
poetry, 445, note. Remarks on his cri-
ticism on Homer, 488.

Music, its influence on the passions, 423.
Its union with poetry, ibid. Their se-
paration injurious to each, 427.

N.

Obscurity, not unfavourable to sublimity,
34. Of style, owing to distinct concep-
tions, 102.

Ode, the nature of defined, 443.

Four
distinctions of, 444. Obscurity and ir-
regularity, the great faults in, ibid.
Odyssey, general character of, 488. De-
fects of, ibid.

Edipus, an improper character for the
stage, 521.

Orators ancient, declaimed in recitative, 64.
Orations, the three kinds of, distinguished
by the ancients, 284. The present dis-
tinctions of, 285. Those in popular
assemblies considered, ibid. Prepared
speeches not to be trusted to, 287. Ne-
cessary degrees of premeditation, ibid.
Method, 288. Style and expression,
ibid. Impetuosity, 289. Attention to
decorums, 290. Delivery, 292, S65.
The several parts of a regular oration,
341. Introduction, 342. Introduction
to replies, S47. Introduction to sermons,
ibid. Division of a discourse, 348.
Rules for dividing it, 349. Explication,
$50. The argumentative part, 353. The
pathetic, 358. The peroration, $64. Vir-
tue necessary to the perfection of elo-
quence, $78. Description of a true ora-
tor, 380. Qualifications for, ibid. The
best ancient writers on oratory, $65,
393. The use made of orations by the
ancient historians, 405. See Eloquence.
Oriental, poetry, more characteristical of
an age than of a country, 424. Style
of scripture language, 67.
Orlando Furioso. See Ariosto.
Ossian, instances of sublimity in his works,
42. Correct metaphors, 164. Confu-
sed mixture of metaphorical and plain
language in, ibid. Fine apostrophe, 180.
Delicate simile, 183. Lively descrip-
tions in, ibid.

Otway, his character as a tragic poet, 513.

Passion, the source of oratory, 264.
Passions, when and how to be addressed
by orators, 358. The orator must feel
emotions before he can communicate
them to others, 360. The language of,
361. Poets address themselves to the
passions, 423.

Pastoral poetry, inquiry into its origin,
433. A threefold view of pastoral life,
484. Rules for pastoral writing, ibid.
Its scenery, 455. Characters, 437. Sub-
jects, 433. Comparative merit of ancient
pastoral writers, 439. And of moderns,
440.

Pathetic, the proper management of, in a
discourse, 358. Fine instance of from
Cicero, 362.

Pauses, the due uses of, in public speak-
ing, 370. In poetry, 871, 430.
Pericles, the first who brought eloquence

to any degree of perfection, 268. His
general character, ibid.

Period. See Sentence.

Personification, the peculiar advantages of
the English language in, 83. Limitations
of gender in, 84. Objections against
the practice of, answered, 172. The dis-
position to aninate the objects about us,
natural to mankind, 173. This dispo-
sition may account for the number of
heathen divinities, ibid. Three degrees
of this figure, 174. Rules for the man-
agement of the highest degree of, 177.
Cautions for the use of in prose compo-
sitions, 178. See Apostrophe.
Persius, a character of his satires, 450.
Perspicuity, essential to a good style, 102.

Not merely a negative virtue, 103. The
three qualities of, ibid.

Persuasion, distinguished from conviction,
262. Objection brought from the abuse
of this art, answered, ibid. Rules for,

286.

Philips, character of his pastorals, 441.
Philosophers, modern, their superiority over
the ancient, unquestionable, 390.
Philosophy, the proper style of writing
adapted to, 410. Proper embellishment
for, ibid.

Pictures, the first essay toward writing, 72.
Pindar, his character as a lyric poet, 445.
Pitcairn, Dr. extravagant hyperbole cited
from, 172.

Plato, character of his dialogues, 412.
Plautus, his character as a dramatic poet,
538.

Pleaders at the bar, instruction te, 301,
$50.

ΤΟ

Pliny's Letters, general character of, 415.
Plutarch, his character as a biographer,
409.

Poetry, in what sense descriptive, and in
what imitative, 57. Is more ancient
than prose, 67. Source of the pleasure
we receive from the figurative style of,
176. Test of the merit of, 185. Whence
the difficulty of reading poetry arises,
371. Compared with oratory, 377. Epic,
the standards of, 393. Definition of poe-
try, 421. Is addressed to the imagina-
tion and the passions, 422. Its origin,
ibid. In what sense older than prose,
422. Its union with music, 423. An-
cient history and instruction first con-
veyed in poetry, 424. Oriental, more
characteristical of an age than of a coun-
try, ibid. Gothic, Celtic, and. Gre-
cian, 425. Origin of the different kinds
of, 426. Was more vigorous in its first
rude essays than under refinement, 427.
Was injured by the separation of music
from it, ibid. Metrical feet, invention of,
428. These measures not applicable to
English poetry, 429. English heroic
verse, the structure of, 480. French
poetry, ibid. Rhyme and blank verse
compared, 431. Progress of English
versification, 432. Pastorals, 433.
Lyrics, 443. Didactic poetry, 447.
Descriptive poetry, 452. Hebrew poe-
try, 459. Epic poetry, 470. Poetic
characters, two kinds of, 478. Dramat-
ic poetry, 507.

Pointing cannot correct a confused sen-
tence, 121.

Politics, the science, of, why ill understood
among the ancients, 398.

Polybius, his character as an historian,
$96.

Pope, criticism on a passage in his Homer,
43. Prose specimen from, consisting of
short sentences, 113. Other specimens
of his style, 127, 132. Confused mix-
tures of metaphorical and plain lan-
guage, in, 163. Mixed metaphor in, 166.
Confused personification, 178. Instance
of his fondness for antithesis, 188.
Character of his epistolary writings, 416.
Criticism on, ibid. Construction of his
verse, 430. Peculiar character of his
versification, 432. His pastorals, 438,
440. His ethic epistles, 451. The mer-
its of his various poems examined, ibid.
Character of his translation of Homer,
486.

Precision in language, in what it consists,
104. The importance of, ibid, 114. Re-
quisites to, 111.

Prepositions, whether more ancient than
the declension of nouns by cases, 85.
Whether more useful and beautiful,
86. Dr. Campbell's observations on,87.
Their great use in speech, 94.

renthesis, ibid. Should always be brought
to a perfect close, 122. Strength, 123.
Should be cleared of redundancies, ibid.
Due attention to particles recommended,
124. The omission of particles some-
times connects objects closer together,
126. Directions for placing the impor
tant words, ibid. Climax, 129. A like
order necessary to be observed in all
assertions of propositions, 130. Sen-
tence ought not to conclude with a fee-
ble word, ib. Fundamental rule in
the construction of, 138. Sound not to
be disregarded, 134. Two circum-
stances to be attended to, for produ-
cing harmony in, 134, 139. Rules of
the ancient rhetoricians for this purpose,
135. Why harmony much less studied
now than formerly, 136. English words
connot be so exactly measured by met-
rical feet, as those of Greek and Latin,
139. What required for the musical
close of a sentence, 141. Unmeaning
words introduced merely to round a
sentence, a great blemish, ib. Sounds
ought to be adapted to sense, 142.
Sermons, English compared with French,
281. Unity an indispensable requisite
in, 316. The subject ought to be pre-
cise and particular, 317. The subject
ought not to be exhausted, ibid. Cau-
tions against dryness, 318. And against
conforming to fashionable modes of
preaching, 319. Style, 320. Quaint
expressions, 321. Whether best writ-
ten or delivered extempore, ibid. Deli-
very, S22,
Remarks on French ser-
mons, ibid. Cause of the dry argumen-
tative style, of English sermons, 325.
General observations, ibid. Remarks
on the proper division of, 347. Conclu-
sion, 364. Delivery, 365.
Sevigne, Madam 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.
Shakespeare, 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 pasto-
ral description, 437.

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

Sherlock, bishop, fine instance of personifi-
cation cited from his sermons, 174. A
happy allusion cited from his sermons,
$20, note.

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

Simile, distinguished from metaphor, 158,
182. Sources of the pleasure they af
ford, ib. Two kinds of, ib. Requisites
in, 183. Rules for 185. Local proprie-
ty to be adhered to in, 213.
Simplicity applied to style, different senses
of the term, S82.

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
ib.

Sophists of Greece, rise and character of,

269.

Sophocles, the plots of his tragedies remark.
ably simple, 512. Excelled in the pa-
thetic, 524. His character as a tragic
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, 158.
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 grammat-
ical 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, 103. 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 peculiar modes of thinking, 195.
Different 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.
Æra of the formation of our present
style 200. Dry manner described, 201.
A plain style, ibid. Neat style, 202.
Elegant style, 293. Florid style, 203.
Natural style, 205. Different senses of
the term simplicity, ibid. The Greek
writers distinguished for simplicity, 207.
Vehement style, 211, General direc
tions how to attain a good style, 212.

Imitation dangerous, 214. Style not to
be studied to the neglect of thoughts,
215. Critical examination of those pa-
pers in the Spectator that treat of the
pleasures of imagination, 217. Critical
examination of a passage in Swift's writ-
ings. 250. General observations, 259.
See Eloquence.

Sublimity of external objects, and sublimity
in writing distinguished, 32. Its im-
pressions, ibid. Of space, ibid. Of sounds,
$2. Violence of the elements, 32. So-
lemnity, bordering on the terrible, ibid.
Obscurity, not unfavourable to, 34. In
buildings, 35. Heroism, ib. Great vir-
tue, 36. Whether there is any one fun-
,damental quality in the sources of sub-
lime, ib.

Sublimity in writing, 310. Errors in Lon-
ginus pointed out, ib. The most ancient
writers afford the most striking instances
of sublimity, 311. Sublime representa-
tion of the Deity in Psalm xviii. 39.
And in the prophet Habakkuk, 40. In
Moses and Isaiah, ib. Instances of sub-
limity in Homer, ib. In Ossian, 42.
Amplification injurious to sublimity, ib.
Rhyme in English verse unfavourable to,
43. Strength essential to sublime writ-
ing, 44. A proper choice of circumstan-
ces essential to sublime description, 45.
Strictures on Virgil's description of
Mount Etna, 46. The proper sources
of the sublime, 47. Sublimity consists in
the thought, not in the words, 48. The
faults opposed to the sublime, ib.
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 proposal for correcting,
&c. the English tongue, 250. Conclud-
ing observations, 259. His language,
383. Character of his epistolary writ-
ing, 416.

Syllables, English, cannot be exactly meas-
ured by metrical feet, as those of Greek
and Latin, 159.

Synedoche, in figurative style, explained,

157.

tinguished by the harmony of numbers,
145. Strained sentiments in his paste-
rals, 443. Character of his Aminta,
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 re-
quisite to a just taste, 20. Delicacy and
correctness the characters of perfect taste,
ib. Whether there be any standard of
taste, 22. The diversity of, in different
men, no evidence of their tastes being
corrupted, ib. The test of, referred to
the concurring voice of the polished part
of mankind, 25. Distinguished from
genius, 29. The sources of pleasure in,
30. The powers of, enlarge the sphere
of our pleasures, S1. Imitations as a
source of pleasure, 55. Music, ib.
what class the pleasures received from
eloquence, poetry, and fine writing, are
to be referred, 56.
Telemachus. See Fenelon.

To

Temple, Sir William, observations of his
style, 106. Specimens, 115, 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, ib. 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, $53.

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.