Billeder på siden


in, 71. Is remarkable for the use of personification, 381.
Story of the Iliad, iii. 217. Remarks on, 218. His inven-
tion and judgment in the conduct of the poem, 220.
vantages and defects arising from his narrative speeches, 223.
His characters, ib. His machinery, 225. His style, 228.
His skill in narrative description, 229. His similes, 230.
General character of his Odyssey, 282. Defects of the

Odyssey, 233. Compared with Virgil, 240.
Hooker, a specimen of his style, ii. 18.

Horace, figurative passages cited from, i. 332.

Instance of
mixed metaphor in, 359. Crowded metaphor, 361. His
character as a poet, iii. 15. 134. Was the reformer of
satire, 144.

Humour, why the English possess this quality more eminent-
ly than other nations, ii. 348.

Hyperbole, an explanation of that figure, i. 368. Cautions
for the use of, 369. Two kinds of, 370.

Ideas, abstract, entered into the first formation of language,
i. 163.

Jeremiah, his poetical character, iii. 186. See Lamentations.
Iliad, story of the, iii. 217. Remarks on, 218. The principal
characters, 223. Machinery of, 225.

Imagination, the pleasures of, as specified by Mr Addison, i.
50. The powers of, to enlarge the sphere of our pleasures,
a striking instance of Divine benevolence, 51. Is the source
of figurative language, 318. 326.

Imitation, considered as a source of pleasure to taste, i. 105.
And description distinguished, 108.

Inferences from a sermon, the proper management of, ii. 394.
Infinity of space, numbers, or duration, affect the mind with
sublime ideas, i. 54.

Interjections the first elements of speech, i. 116.

Interrogations, instances of the happy use and effect of, i. 412.
Mode of their operation, 414. Rule for using, ib.

Job, exemplification of the sublimity of obscurity in the book
of, i. 58. Remarks on the style of, iii. 167. The subject
and poetry of, 187. Fine passage from, 188.
Johnson, his character of Dryden's prose style,
His remarks on the style of Swift, 135, note.
of Thomson, iii. 152, note. His character of Dryden's
comedies, 351, note. His character of Congreve, 353,


ii. 20, note.
His character

Jonson, Ben, his character as a dramatic poet, iii. 349.
Isæus, the rhetorician, his character, ii. 179.

Isaiah, sublime representation of the Deity in, i. 71. His des-

cription of the fall of the Assyrian empire, 393. His meta-
phors suited to the climate of Judæa, iii. 175. 177, 178.
His character as a poet, 186.

Isocrates, the rhetorician, his character, ii. 177.

Judæa, remarks on the climate and natural circumstances of
that country, iii. 174.

Judicial orations, what, ii. 212.

Juvenal, character of his satires, iii. 144.

Kaimes, Lord, his severe censure of English comedies, iii. 356.
Knight-errantry, foundation of the romances concerning, iii.

Knowledge an essential requisite for eloquence, ii. 432. The
progress of, in favour of the moderns, upon a comparison
with the ancients, iii. 8. The acquisition of, difficult in for-
mer ages, 11.

Lamentations of Jeremiah, the most perfect elegiac compo-
sition in the sacred Scriptures, iii. 183.

Landscape considered as an assemblage of beautiful objects,
i. 99.
Language, the improvement of, studied even by rude nations,
i. 2. In what the true improvement of language consists, 3.
Importance of the study of language, 4. Defined, 112.
The present refinements of, 113. Origin and progress of,
115. The first elements of, 117. Analogy between words
and things, 118. The great assistance afforded by gestures,
122. The Chinese language, 124. The Greek and Roman
languages, 125. Action much used by ancient orators and
players, 126. Roman pantomimes, 127. Great difference
between ancient and modern pronunciation, 128. Figures
of speech, the origin of, 129. Figurative style of American
languages, 131. Cause of the decline of figurative lan-
guage, 134. The natural and original arrangement of words
in speech, 136. The arrangement of words in modern lan-
guages, different from that of the ancients, 138. An ex-
emplification, ib. Summary of the foregoing observations,
143. Its wonderful powers, 335. All language strongly
tinctured with metaphor, 343. In modern productions,
often better than the subjects of them, ii. 157. Written
and oral, distinction between, 437. See Grammar, Style,
and Writing.

Latin language, the pronunciation of, musical and gesticu-
lating, i. 125. 294. The natural arrangement of words in,
137. The want of articles a defect in, 165. Remarks on
the words deemed synonymous in, 227.

Learning, an essential requisite for eloquence, ii. 432.
Lebanon, metaphorical allusions to, in Hebrew poetry, iii.


Lee, extravagant hyperbole quoted from, i. 371. His cha-
racter as a tragic poet, iii. 329.

Liberty the nurse of true genius, ii. 167.

Literary composition, importance of the study of language
preparatory to, i. 6. The beauties of, indefinite, 103. To
what class the pleasures received from eloquence, poetry,
and fine writing, are to be referred, 106. The beauties of,
not dependent on tropes and figures, ii. 2. The different
kinds of, distinguished, iii. 17. See History, Poetry, &c.
Livy, his character as an historian, iii. 29. 37.

Locke, general character of his style, ii. 23. The style of his
Treatise on Human Understanding, compared with the
writings of Lord Shaftesbury, iii. 57.

Longinus, strictures on his Treatise on the Sublime, i. 67.
His account of the consequences of liberty, ii. 167. His
sententious opinion of Homer's Odyssey, iii. 231.

Lopez de Vega, his character as a dramatic poet, iii. 343.
Love, too much importance and frequency allowed to, on the
modern stage, iii. 306.

Louth's English Grammar recommended, i. 211, note. 266,
note. His character of the prophet Ezekiel, iii. 186.
Lucan, instance of his destroying a sublime expression of
Cæsar, by amplification, i. 76. Extravagant hyperbole
from, 373. Critical examination of his Pharsalia, iii. 242.
The subject, 243. Characters and conduct of the story,

Lucian, character of his dialogues, iii. 67.

Lucretius, his sublime representation of the dominion of su-
perstition over mankind, i. 58, note.

The most admired

passages in his Treatise De Rerum Natura, iii. 141.
Lusiad. See Camoens.

Lyric poetry, the peculiar character of, iii. 128. Four classes
of odes, 130. Characters of the most eminent lyric poets,


Lysias, the rhetorician, his character, ii. 179.

Machiavel, his character as an historian, iii. 45.

Machinery, the great use of, in epic poetry, iii. 210. Cau-
tions for the use of, 212. 225.

Mackenzie, Sir George, instance of regular climax in his
pleadings, i. 419.

Man, by nature both a poet and musician, iii. 84.
Marivaux, a character of his novels, iii, 76.

Marmontel, his comparative remarks on French, English,
and Italian poetry, iii. 102, note.

Marsy, Fr. his contrast between the characters of Corneille
and Racine, iii. 323, note.

Massillon, extract from a celebrated sermon of his, ii. 300,
note. Encomium on, by Louis XIV. 307. His artful di-
vision of a text, 362.
Memoirs, their class in historical composition assigned, iii.
49. Why the French are fond of this kind of writing, 50.
Metalepsis, in figurative language, explained, i. 340.
Metaphor, in figurative style, explained, i. 341, 342. All
language strongly tinctured with, 343. Approaches the
nearest to painting of all the figures of speech, 345. Rules
to be observed in the conduct of, 347. See Allegory.
Metastasio, his character as a dramatic writer, iii. 325.
Metonymy, in figurative style, explained, i. 344.

Mexico, historical pictures the records of that empire, i. 145.
Milo, narrative of the rencounter between him and Clodius,
by Cicero, ii. 365.

Milton, instances of sublimity in, i. 56. 79. 82. Of harmony,
291. 311. Hyperbolical sentiments of Satan in, 371. Strik-
ing instances of personification in, 382, 383. 385. Excel-
lence of his descriptive poetry, iii. 154.
Who the proper
hero of his Paradise Lost, 209. Critical examination of
this poem, 265. His sublimity characterized, 269. His
language and versification, 270.

Moderns. See Ancients.

Moliere, his character as a dramatic poet, iii. 346.

Monboddo, Lord, his observations on English and Latin
verse, iii. 98, note.

Monotony in language, often the result of too great atten-
tion to musical arrangement, i. 304.

Montague, Lady Mary Wortley, a character of her epistolary
style, iii. 69.

Montesquieu, character of his style, ii. 12.

Monumental inscriptions, the numbers suited to the style,
i. 316.

Moralt, M. his severe censure of English comedy, iii. 354.
More, Dr Henry, character of his Divine Dialogues, iii. 61.
Motion, considered as a source of beauty, i. 97.

Motte, M. de la, his observations on lyric poetry, iii. 132,
note. Remarks on his criticism on Homer, 231, note.
Music, its influence on the passions, iii. 84. Its union with
poetry, 85. Their separation injurious to each, 93.

Naïveté, import of that French term, ii. 33.

Narration, an important point in pleadings at the bar, ii. 363.
Night scenes, commonly sublime, i. 56.

Nomic melody of the Athenians, what, i. 295.

Novels, a species of writing not so insignificant as may be
imagined, iii. 70. Might be employed for very useful pur-
poses, ib. Rise and progress of fictitious history, 72.
Characters of the most celebrated romances and novels, 74.
Novelty considered as a source of beauty, i. 105.

Nouns, substantive, the foundation of all grammar, i. 161.
Number, gender, and cases of, 166, 167.

Obscurity, not unfavourable to sublimity, i. 57. Of style,
owing to indistinct conceptions, 215.

Ode, the nature of, defined, iii. 128. Four distinctions of,
150. Obscurity and irregularity the great faults in, 131.
Odyssey, general character of, iii. 232. Defects of, 233.
Edipus, an improper character for the stage, iii. 305.
Orators, ancient, declaimed in recitative, i. 126.
Orations, the three kinds of, distinguished by the ancients,
ii. 212. The present distinctions of, 213. Those in popu-
lar assemblies considered, 214. Prepared speeches not to
be trusted to, 218. Necessary degrees of premeditation,
219. Method, 220. Style and expression, 221. Impetu-
osity, 223. Attention to decorums, 226. Delivery, 228.
397. The several parts of a regular oration, 343. Intro-
duction, ib. Introduction to replies, 355. Introduction to
sermons, 356. Division of a discourse, 358. Rules for
dividing it, 360. Explication, 363. The argumentative
part, 369. The pathetic, 380. The peroration, 393. Vir-
tue necessary to the perfection of eloquence, 427. Des-
cription of a true orator, 430. Qualifications for, 432.
The best ancient writers on oratory, 443. iii. 14.
made of orations by the ancient historians, 42. See Elo-
Oriental poetry, more characteristical of an age than of a
country, iii. 88.

style of Scripture language, i. 132.

Orlando Furioso. See Ariosto.

The use

Ossian, instances of sublimity in his works, i. 74. Correct
metaphors, 356. Confused mixture of metaphorical and
plain language in, 357. Fine apostrophe in, 391. Delicate
simile, 400. Lively descriptions in, iii. 160.

Otway, his character as a tragic poet, iii. 329.

Pantomime, an entertainment of Roman origin, i. 127.

« ForrigeFortsæt »