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Shakespeare, the merit of his plays
not possessed of a refined taste, 49.
proper use of metaphor, 351. 358.
the language of nature, iii. 313. His
poet, 326. As a comic poet, 349.
Shenstone, his pastoral ballad, iii. 124.
Shepherd, the proper character of, in pastoral description,
Sheridan, his distinction between ideas and emotions, ii. 414,
Sherlock, Bishop, fine instance of personification cited from
his sermons, i. 380. A happy allusion cited from his ser-
mons, ii. 295, note.
Silius Italicus, his sublime representation of Hannibal, i. 62.
examined, i. 45. Was
Instance of his im-
Exhibits passions in
character as a tragic
Simile distinguished from metaphor, i. 342. 397. Sources
of the pleasure they afford, ib. Two kinds of, 398. Re-
quisites in, 401. Rules for, 403. Local propriety to be
adhered to in, 406.
Simplicity applied to style, different senses of the term, ii. 30.
Smollett, improper use of figurative style, cited from, i. 349,
Solomon's Song, descriptive beauties of, iii. 158.
Songs, Runic, the origin of Gothic history, iii. 86.
Sophists of Greece, rise and character of, ii. 175.
Sophocles, the plots of his tragedies remarkably simple, iii.
286. Excelled in the pathetic, 312. His character as a
tragic poet, 318.
Sorrow, why the emotions of, excited by tragedy, communi-
cate pleasure, iii. 292.
Sounds of an awful nature affect us with sublimity, i. 54.
Influence of, in the formation of words, 117.
Speaker, public, must be directed more by his ear than by
rules, i. 299.
Spectator, general character of that publication, ii. 54. Cri-
tical examination of those papers that treat of the pleasures
of imagination, 56.
Speech, the powers of, the distinguishing privilege of mankind,
i. 1. The grammatical division of, into eight parts, not logi-
cal, 160. Of the ancients, regulated by musical rules, 294.
Strada, his character as an historian, iii. 46.
Style in language defined, i. 212. The difference of, in differ-
ent countries, 213. The qualities of a good style, ib. Per-
spicuity, 214. Obscurity owing to indistinct conceptions,
215. Three requisite qualities in perspicuity, 216. Preci-
A loose style, from what it proceeds, 221. Too
great an attention to precision renders a style dry and bar-
French distinction of style, 239. The characters
of, flow from peculiar modes of thinking, ii. 7. Different
subjects require a different style, 8. Ancient distinctions
of, 9. The different kinds of, 10. Concise and diffusive,
on what occasions proper, 11. Nervous and feeble, 16. A
harsh style, from what it proceeds, 18. Era of the forma-
tion of our present style, ib. Dry manner described, 21.
A plain style, ib. Neat style, 24. Elegant style, 25.
Florid style, 26. Natural style, 29. Different senses of
the term simplicity, 30. The Greek writers distinguished
for simplicity, 34. Vehement style, 42. General direc-
tions how to attain a good style, 46. Imitation dangerous,
50. Style not to be studied to the neglect of thoughts, 51.
Critical examination of those papers in the Spectator that
treat of the pleasures of imagination, 56. Critical examina-
tion of a passage in Swift's writings, 136. General obser-
vations, 157. See Eloquence.
Sublimity of external objects, and sublimity in writing, dis-
tinguished, i. 52. Its impressions, 53. Of space, 54. Of
sounds, ib. Violence of the elements, 55. Solemnity bor-
dering on the terrible, ib. Obscurity not unfavourable to,
57. In building, 59. Heroism, 60. Great virtue, 61.
Whether there is any one fundamental quality in the sources
of, sublime, 63.
in writing defined, i. 66. Errors in Longinus point-
ed out, 67. The most ancient writers afford the most
striking instances of sublimity, 69. Sublime representa-
tion of the Deity in Psalm xviii. 70. And in the prophet
Habakkuk, ib. In Moses and Isaiah, 71. Instances of sub-
limity in Homer, 72. In Ossian, 74. Amplification inju-
rious to sublimity, 75. Rhyme in English verse unfavoura-
ble to, 76. Strength essential to sublime writing, 80. A
proper choice of circumstances essential to sublime descrip-
tion, 82. Strictures on Virgil's description of mount Etna,
83. The proper sources of the sublime, 85. Sublimity
consists in the thought, not in the words, 87. The faults
opposed to the sublime, 89.
Sully, Duke de, character of his Memoirs, iii. 50.
Superstition, sublime representation of its dominion over man-
kind, from Lucretius, i. 58, note.
Swift, observations on his style, i. 218. 234. 257. 283. 307.
General character of his style, ii. 22. Critical examination
of the beginning of his Proposal for Correcting, &c. the
English Tongue, 136. Concluding observations, 157. His
language, 438. Character of his epistolary writing, iii. 61.
Syllables, English, cannot be so exactly measured by metrical
feet, as those of Greek and Latin, i. 298.
Synecdoche, in figurative style, explained, i. 340.
Synonymous words, observations on, i. 226.
Tacitus, character of his style, iii. 12. His character as an
historian, 30. His happy manner of introducing incidental
observations, 32. Instance of his successful talent in his-
torical painting, 40. His defects as a writer, 42.
Tasso, a passage from his Gierusalemme distinguished by the
harmony of numbers, i. 312. Strained sentiments in his
pastorals, iii. 117. Character of his Aminta, 125. Critical
examination of this poem, 249.
Taste, true, the uses of, in common life, i. 13. Definition of,
18. Is more or less common to all men, 19. Is an impro-
vable faculty, 21. How to be refined, 23. Is assisted by
reason, 25. A good heart requisite to a just taste, 26.
Delicacy and correctness the characters of perfect taste,
27. Whether there be any standard of taste, 30. The
diversity of, in different men, no evidence of their tastes
being corrupted, 31. The test of, referred to the concur-
ring voice of the polished part of mankind, 37. Distin-
guished from genius, 46. The sources of pleasure in, 50.
The powers of, enlarge the sphere of our pleasures, 51.
Imitation, as a source of pleasure, 105. Music, ib. To
what class the pleasures received from eloquence, poetry,
and fine writing, are to be referred, 106.
Telemachus. See Fenelon.
Temple, Sir William, observations on his style, i. 222. Spe-
cimens, 239. 255. 260. 267. 300. His general character as
a writer, ii. 36.
Terence, beautiful instance of simplicity from, ii. 34. His
character as a dramatic writer, iii. 343.
Terminations of words, the variations of, in the Greek and
Latin languages, favourable to the liberty of transposition,
Theocritus, the earliest known writer of pastorals, iii. 109.
His talent in painting rural scenery, 113. Character of his
Thomson, fine passage from, where he animates all nature, i.
383. Character of his Seasons, iii. 151. His eulogium,
by Dr Johnson, 152, note.
Thuanus, his character as an historian, iii. 25.
Thucydides, his character as an historian, iii. 23. Was the
first who introduced orations in historical narration, 42.
Tillotson, Archbishop, observations on his style, i. 222. 250.
300. 351. General character of, as a writer, ii. 35.
Tones, the due management of, in public speaking, ii. 414.
Topics, among the ancient rhetoricians, explained, ii. 370.
Tragedy, how distinguished from comedy, iii. 272. More
particular definition of, 273. Subject and conduct of, 275.
Rise and progress of, 278. The three dramatic unities,
283. Division of the representation into acts, 287. The
catastrophe, 291. Why the sorrow excited by tragedy
communicates pleasure, 293. The proper idea of scenes,
and how to be conducted, 295. Characters, 302. Higher
degrees of morality inculcated by modern than by ancient
tragedy, 306. Too great use made of the passion of love
on the modern stages, ib. All tragedies expected to be
pathetic, 307. The proper use of moral reflections in, 313.
The proper style and versification of, 315. Brief view of
the Greek stage, 316. French tragedy, 321. English tra-
gedy, 326. Concluding observations, 330.
Tropes, a definition of, i. 319. Origin of, 324.
cal distinctions among, frivolous, 337.
Turnus, the character of, not favourably treated in the Æneid,
Turpin, archbishop of Rheims, a romance writer, iii. 74.
Typographical figures of speech, what, i. 416.
Vanburgh, his character as a dramatic writer, iii. 352.
Verbs, their nature and office explained, i. 184. No sentence
complete without a verb expressed or implied, 185. The
tenses, 186. The advantage of English over the Latin, in
the variety of tenses, 187. Active and passive, 188. Are
the most artificial and complex of all the parts of speech,
Verse, blank, more favourable to sublimity than rhyme, i. 78.
Instructions for the reading of, ii. 411. Construction of,
Virgil, instances of sublimity in, i. 56. 81. 83. Of harmony,
313. 315. Simplicity of language, 322. Figurative lan-
guage, 339. 378. 391. Specimens of his pastoral descrip-
tions, iii. 111, note, 118. Character of his pastoral, 121.
His Georgics a perfect model of didactic poetry, 139.
The principal beauties in the Georgics, 141. Beautiful
descriptions in his Eneid, 159. Critical examination of
that poem, 233. Compared with Homer, 240.
Virtue, high degrees of, a source of the sublime, i. 61. A
necessary ingredient to form an eloquent orator, ii. 427.
Vision, the figure of speech so termed, in what it consists, i.
Unities, dramatic, the advantages of adhering to, iii. 283.
Why the moderns are less restricted to the unities of time
and place than the ancients, 297.
Voice, the powers of, to be studied in public speaking, ii. 400.
Voiture, character of his epistolary writings, iii. 69.
Voltaire, his character as an historian, iii 52. Critical exa-
mination of his Henriade, 261. His argument for the use
of rhyme in dramatic compositions, 316. His character as
a tragic poet, 324.
Vossius, Joannes Gerardus, character of his writings on elo-
quence, ii. 443.
Waller, the first English poet who brought couplets into
vogue, iii. 106.
Wit is to be very sparingly used at the Bar, ii. 257.
Words, obsolete, and new coined, incongruous with purity of
style, i. 216. Bad consequences of their being ill chosen,
219. Observations on those termed synonymous, 226.
Considered with reference to sound, 290.
Words and things, instances of the analogy between, i. 118.
Writers of genius, why they have been more numerous in one
age than in another, iii. 3. Four happy ages of, pointed
Writing, two kinds of, distinguished, i. 144. Pictures, the
first essay in, 145. Hieroglyphics the second, ib. Chinese
characters, 149. Arithmetical figures, 150. The consider-
ations which led to the invention of an alphabet, 151.
Cadmus's alphabet, the origin of that now used, 154.
Historical account of the materials used to receive writing,
155. General remarks, 156. See Grammar.
Young, Dr, his poetical character, i. 363. Too fond of anti-
thesis, 410. The merit of his works examined, iii. 147.
His character as a tragic poet, 330.