fæus, the rhetorician, his character, i. 364.

Ifaiah, fublime reprefentation of the Deity in, i. 44. His defcription of the fall
of the Affyrian empire, 239. His metaphors fuited to the climate of Judea,
ii. 253,254, 255. His character as a poet, 259.

Ifocrates, the rhetorician, his character, i. 363.

Judea, remarks on the climate and natural circumstances of that country, ii.

Kaims, lord, his fevere cenfures of English comedies, ii. 364.

Knight errantry, foundation of the romances concerning, ii. 192.

Knowledge an effential requifite for eloquence, ii. 139. The progrefs of, in fa-
vour of the moderns, upon a comparison with the ancients, 154. The acquifi-
tion of, difficult in former ages, 156.

L

Lamentations of Jeremiah, the most perfect elegiac compofition in the facred
fcriptures, ii. 258.

Landscape, confidered as an affemblage of beautiful objects, i. 61.

Lauguage, the improvement of, ftudied even by rude nations, i. 2.

In what the true improvement of language confifts, ibid. Importance of the
ftudy of language, 3. Defined, 70. The prefent refinements of, ibid. Origin
and progrefs of, 72. The firft elements of, ibid. Analogy between words and
things, 73. The great affiftance afforded by geftures, 75. The Chinese lan-
guage, 77. The Greek and Roman languages, ibid. Action much used by an-
cient orators and players, 78. Roman pantomimes, ibid. Great difference be-
tween ancient and modern pronunciation, 79. Figures of speech, the origin of,
ibid. Figurative style of American languages, 81. Cause of the decline of fi-
gurative language, 82. The natural and original arrangement of words in
Ipeech, 84. The arrangement of words in modern languages, different from
that of the ancients, 85. An exemplification, 86. Summary of the foregoing
obfervations, 88. Its wonderful powers, 204. All language ftrongly tinatur.
ed with metaphor, 209. In modern productions, often better than the subjects
of them, 350. Written and oral, diftinction between, ii. 143. See Grammar,
Style, and Writing.

Latin language, the pronunciation of, musical and gesticulating, i. 77, 178. The
natural arrangement of words in, 84. The want of articles a defect in, 101.
Remarks on words deemed fynonymous in, 139.

Learning, an effential requifite for eloquence, ii. 140.

Lebanon, metaphorical allufions to, in Hebrew poetry, ii. 253.

Lee, extravagant hyperbole quoted from, i. 226. His character as a tragic po
et, ii. 347.

Liberty, the nurfe of true genius, i. 357.

Literary compofition, importance of the ftudy of language, preparatory to, i. 4.
The beauties of, indefinite, 64. To what clafs the pleasures received from
eloquence, poetry and fine writing, are to be referred, 66. The beauties of,
not dependent on tropes and figures, 256. The different kinds of, diftin-
guished, ii, 158. See Hiftory, Poetry, &c.

Livy, his character as an hiftorian, ii. 166, 171.

Locke, general character of his style, i. 269. The Ayle of his Treatife on Hus
man Understanding, compared with the writings of Lord Shaftesbury, ii. 182.
Longinus, ftrictures on his Treatife on the Sublime, i. 42, His account of the

confequences of liberty. 357. His fententious opinion of Homer's Odyssey,
ii. 288.

Lopez de la Vega, his character as a dramatic poet, ii. 358.

Love, too much importance and frequency allowed to, on, the modern stage, ii.

333.

Louth's English Grammar recommended, i, 129, note. 162, note. His charaЯer
of the prophet Ezekiel, ii. 260.

Lucan, inftance of his deftroying a fublime expreffion of Caefar, by amplifica-
tion, i. 48. Extravagant hyperbole from, 227. Critical examination of his
Pharfalia, ii. 295. The fubject, ibid. Characters and conduct of the flory, 296.
Lucian, character of his dialogues, ii. 185.

Lucretius, his fublime reprefentation of the dominion of fuperftition over man-
kind, i. 36, wote. The most admired passages in his Treatife De Rerum Natu-
ra, ii. 233.

Lufiad. See Camoens.

Lyric poetry, the peculiar character of, ii. 1225. Four claffes of odes, 226.
Characters of the most eminent lyric poets, 228.
Lyfias, the rhetorician, his character, i. 364.

M

Machiavel, his character as an hiftorian, ii. 176.
Machinery, the great ufe of, in epic poetry, ii. 275.
277,285.

Cautions for the ufc of,

Mackenzie, Sir George, inftance of regular climax in his pleadings, i. 254.
Man, by nature both a poet and musician, ii. 199.

Marivaux, a character of his novels, ii. 194.

Marmontel, his comparative remarks on French, English, and Italian poetry, ii.

210, note.

Marfy, Fr. his contrast between the characters of Corneille and Racine, ii. 344,

note.

Maillon, extracts from a celebratad fermon of his, ii. 60, note. Encomiam on,
by Louis XIV. 64. His artful divifion of a text, 98.

Memoirs, their class in hiftorical compofition affigned, ii. 178. Why the French
are fond of this kind of writing, ibid.

Metalepfis, in figurative language, explained, i. 206.

Metaphor, in figurative ftyle, explained i. 207, 208. All language ftrongly
tinctured with, 209. Approaches the nearest to painting of all the figures of
fpeech, 210. Rules to be observed in the conduct of, 211. See Allegory.
Metaftafio, his character 28 a dramatic writer, ii. 345.

Metonomy, in figurative ftyle, explained, i, 209.

Mexico, hiftorical pictures the records of that empire, i. 89.

Milo, narrative of the encounter between him and Clodius, by Cicero, ii. 100.
Milton, inftances of sublimity in, i. 35, 49, 52. Of harmony, 177, 189. Hy.
perbolical fentiments of fatan in, 225. Striking inftances of perfonification
in, 232, 234. Excellence of his defcriptive poetry, ii. 241. Who the proper
hero of his Paradife Loft, 274. Critical examination of this poem, 309.
His fublimity characterised, 311. His language and verfification, 312.
Moderns. See Ancients.

Moliere, his character as a dramatic poet, ii. 359.

Monboddo, lord, his obfervations on English and Latin verse, ii. 207, note.

Monotony in language, often the result of too great attention to musical arrange.
ment, i. 184.

Montague, Lady Mary Wortley, a character of her epistolary style, ii. 190.

Montefquieu, character of his style, i. 202.

Monumental infcriptions, the numbers fuited to the style, i. 188.

Moralt, M. his fevere cenfure of English comedy, ii. 364.

More, Dr. Henry, character of his divine dialogues, ii. 185.

Motion, confidered as a fource of beauty, i. 60.

Motte, M. de la, his obfervations on lyric poetry, ii. 228, note. Remarks on his
criticism on Homer, 288, note

Music, its influence on the paffions, ii. 199. Its union with poetry, ibid. Their
feparation injurious to cach, 204.

N

Naïveté, import of that French term, i. 276.

Narration, an important point in pleadings at the bar, ii. 98,

Night fcenes commonly fublime, i. 35,

Nomie melody of the Athenians, what, i. 179.

Novels, a fpecies of writing, not fo infignificant as may be imagined, ii. 190.
Might be employed for very useful purposes, 191, Rife and progrefs of fic-
titious history, 192. Characters of the most celebrated romances and novels
193.

Novelty confidered as a fource of beauty, i. 65:

Nouns, fubftantives, the foundation of all grammar, i, 99. Number, gender,
and cafes of, 102.

0.

Obfcurity, not unfavourable to sublimity, i. 36. Of fyle, owing to diftinct con-
ceptions, 132.

Ode, the nature of, defined, ii, 225. Four diftinctions of, 226. Obscurity and
irregularity, the great faults in, 227.

Odysey, general character of, ii. 288. Defects of, 289.

Oepidus, an improper character for the stage, ii. 333.
Oraters, ancient, declaimed in recitative, i. 77.

Orations, the three kinds of, diftinguifhed by the ancients, ii. 5. The present
diftinctions of, 6. Thofe in popular affemblies confidered, ibid. Prepared.
Speeches not to be trufted to, 9. Neceffary degrees of premeditation. ibid.
Method, 10. Style and expreffion, 11. Impetuolity, 12. Attention to de-
corums, 13. Delivery, 15, 119. The feveral parts of a regular oration, 86.
Introduction, 87. Introduction to replies, 94. Introduction to sermons, ibid.
Divifion of a discourse, 95. Rules for dividing it, 97. Explication, 98. The
argumentative part, 102. The pathetic, 109. The peroration, 17. Vir-
tue neceffary to the perfection of eloquence, 137. Defcription of a true ora-
tor, 139. Qualifications for, ibid. The best ancient writers on oratory, 146,
157. The ufe made of orations by the ancient hiftorians, 174. See Elo-
quence.

Oriental poetry, more characteristical of an age than of a country, ii. 201.
.........flyle of fcripture language, i. 81.

Orlando Furiofo. See Arifto.

Offian, inftances of fublimity in his work, i. 46, Correct metaphors, 217. Con-
fufed mixture of metaphorical and plain language, in, ibid. Fine apostrophe
in, 238. Delicate fimile, 243. Lively defcriptions in, ii. 244.

Otway, his character as a tragic poet, ii. 347.

P

Pantomime, an entertainment of Roman origin, i. 78.

Parables, Eastern, their general vehicle for the conveyance of truth, ii. 255.
Paradife Loft, critical review of that poem, ii. 309. The characters in, 310, Su-
blimity of 311. Language and verfification, 312.

Parenthefis, cautions for the ufe of them, i. 158.

Paris, his character in the Iliad, examined, ii. 284.

Z z

Parliament of Great Britain, why eloquence has never been fo powerful an in-
frument in, as in the ancient popular affemblies of Greece and Rome, i. 382.
Parnel, his cha: acter as a defcriptive poet, ii. 240.

Particles, cautions for the use of them, i. 162. Ought never to close sentences,

170.

Paffion, the fource of oratory, i. 356.

Paffions, when and how to be addreffed by orators, ii. 109. The orator muft

feel emotions before he can communicate them to others, 112. The language
of. 13. Poets addrefs themselves to the paffions, 197.

Paftoral poetry, inquiry into its origin, ii. 213. A threefold view of pastoral
life, 214. Ru'es for paftoral writing, 215. Its scenery, 216. Characters,
218. Subjects, 220. Comparitive merits of ancient paftoral writers, 221.
And of moderns, 222.

Pathetic, the proper management of, in a discourse, ii. 109. Fine inftance of, from
Cicero, 114.

Paufes, the due ufes of, in public fpeaking, ii. 126. In poetry, 127, 208.

Pericles, the first who brought eloquence to any degree of perfection, i. 361.
His general character, ibid.

Period.

Sec Sentence.

Perfonification, the peculiar advantages of the English language in, i, 104, Limi-
tations of gender in, ibid. Obje&ions against the practice of, answered, 228.
The difpofition to animate the objects about us, natural to mankind, 229.
This difpofition may account for the number of heathen divinities, ibid. Three
degrees of this figure, 230. Rules for the management of the highest degree
of, 235. Caution for the ufe of, in profe compofitions, 237. See Apoftrople.
Perfius, a character of his fatires, ii. 235.

Perfpicuity, effential to a good style, i. 131. Not merely a negative virtue, 132.
The three qualities of, ibid.

Perfuafion, diftinguished from conviction, i. 354. Objection brought from the
abuse of this art, answered, ibid. Rules for, ii. 7.

Peruvians, their method of tranfmitting their thoughts to each other, i. 9t.
Petronius Arbiter, his address to the declaimers of his time, i. 377.

Pharfalia. See Lucan.

Pherecydes of Scyros, the first profe writer, i. 86.

Philips, character of his paftorals, ii. 222.

Philofophers, modern, their fuperiority over the ancient, unquestionable, ii. 154.

Philofophy, the proper ftyle of writing adapted to, ii, 181.

ments for, 182.

Pictures, the first effay toward writing, i. 89.

Pindar, his character as a lyric poet, ii. 228.

Pitcairn, Dr. extravagant hyperbole cited from, i. 228.

Plato, character of his dialogues, ii. 184.

Plautus, his character as a dramatic poet, ii. 357.

Pleaders at the bar, instruction to, ii. 29, 98.

Pliny's Letters, general character of, ii. 188.

Plutarch; his character as a biographer, ii, 179.

Proper embellish-

Poetry, in what fenfe defcriptive, and in what imitative, i. 68. Is more ancient
than profe, 82. Source of the pleasure we receive from the figurative flyle
of, 233. Teft of the merit of, 246. Whence the difficulty of reading poetry
arifes, ii. 127. Compared with oratory, 136. Epic, the fandards of, 157.
Definition of poetry, 196. Is addreffed to the imagination and the paffions,
197. Its origın, ibid. In what fenfe older than profe, 198. Its union with
mufic, 199. Ancient history and inftruction firft conveyed in poetry, 200.
Oriental, more characteristical of an age than of a country, 201. Gothic,
Celtic and Grecian, ibid. Origin of the different kinds of, 203. Was more
vigorous in its firft rude effays than under refinement, 204. Was injured by
the feparation of music from it, ibid, Metrical feet, invention of, 206. Thefe

macafures not applicable to English poetry, 207. English heroic verse, the
ftructure of, 209. French poetry, ibid. Rhime and blank verfe compared,
208. Progress of English verfification, 211. Paftorals, 213. Lyrics, 225.
Didactic poetry, 231. Defcriptive poetry, 237. Hebrew poetry, 247. Epic
poetry, 263. Poetic characters, two kinds of, 274. Dramatic poetry, 314.
Pointing, cannot correct a confused sentence, i. 157.

Politics, the science of, why ill understood among the ancients, ii 165.
Polybius, his character as an historian, ii. 161.

Con.

Pope, criticifm on a paffage in his Homer, i. 49. Profe fpecimen from, consisl-
ing of fhort fentences, 147. Other fpecimens of his style, 166, 173.
fufed mixtures of metaphorical and plain language in, 215. Mixed metaphor
in, 219. Confused personification, 236. Inftance of his fondness for antithe..
fes, 250. Character of his epiftolary writings, ii. 189 Criticism on, ibid.
Conftruction of his verfe. 209. Peculiar character of his verfification, 212.
His paftorals, 219 222- His ethic epiftles, 236. The merits of his various
poems examined, ibid. Character of his tranflation of Homer, 286.
Precision in language, in what it confifts, i. 134. The importance of, ibid, 148.
Requifites to, 143,

Prepofitions, whether more ancient than the declension of nouns by cafes, i. 1c6.
Whether more useful and beautiful, 108. Dr. Campbell's obfervations on,
109, note. Their great use in speech, 119.

Prior, allegory cited from, i. 222.

Pronouns, their use, varieties, and cafes, i. 109. Relative, inftances illuftrating
the importance of their proper pofition in a sentence, 150.

Pronunciation, diftin&nefs of, neceffary in public fpeaking, ii, 123. Tones of, 129.
Proverbs, book of, a didactic poem, ii. 258.

Pfalm xviii, fublime reprefentation of the Deity in, i. 44. lxxxth, a fine allegory
from, 222. Remarks on the poetic conftruction of the Pfalms, ii. 249, 253.
Pulpit, eloquence of the, defined, i. 355. English and French fermons compar-
ed. 380. The practice of reading fermons in England difadvantageous to
oratory, 383. The art of perfuafion refigned to the Puritans, ibid. Advan-
tages and difadvantages of pulpit eloquence, ii. 46. Rules for preaching, 48:
The chief characteristics of pulpit-eloquence, 50. Whether it is best to read
fermons, or deliver them extempore, 58. Pronunciation, ibid. Remarks on
French fermons, 59. Caufe of the dry argumentative ftyle of English fer-
mons, 61. Generai obfervations, 63.

Pyfiftratus, the first who cultivated the arts of speech, i. 361.

Quintilian, his ideas of taste, i. 13, note. His account of the ancient divifion
of the feveral parts of speech, 98, note. His remarks on the importance of the
ftudy of grammar, 119. On perfpicuity of style, 131, 138. On climax, 168.
On the ftructure of fentences, 172. Which ought not to offend the car, 175,
183. His caution against too great an attention to harmony, 185. His cau-
tion against mixed metaphor, 217. His fine apoftrophe on the death of his
fon, 239. His rule for the ufe of fimiles, 247. His direction for the ufe of
figures of ftyle, 258. His diftiactions of ftyle, 261, 271. His inftructions
for good writing, 284. His character of Cicero's oratory, 272. His inftruc-
tions to public fpeakers for preferving decorums, ii. 14. His inftructions to
judicial pleaders, 30. His obfervations on exordiums to replies in debate,
94. On the proper divifion of an oration, 96. His mode of addreffing the
paffions, 112. His lively reprefentations of the effects of depravity, 138. Is
the best ancient writer on oratory, 148.

R

Racine, his character as a tragic poet, ii. 343.

Ramfay, Allan, charader of his Gentle Shepherd, ii. 225.