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Apostrophes class the offspring of deep Agitation
ibid
A principal Error in the Use of Apostrophe, is to deck the
Object addressed with affected Ornaments
187
Another frequent Error is, to extend this Figure to too great
length
CHAPTER VII.-Hyperbole
Ali Discourse and Writing admit Hyperbole
Apostrophe frequently appeared in the Oratory of Antiquity
Apostrophe in modern Oratory
This Figure Peculiarly graceful and pleasant
Errors in the Use of Hyperbole
Hyperboles are not properly introduced till the Mind of the
Reader
prepared to relish them
Hyperboles improper, when they may be turned against the
Argument of the Author who uses them
188
190
192
194
Climax appears with grace in the calmer parts of Oratory
196
It is consistent with moderate Agitation
CHAPTER IX. The Antithesis
197
Unsuccessful Attempts have been made to acquire it
Antithesis makes the most brilliant Appearance in the Delinea-
tion of Characters, particularly in History
198
199
A Climax and Antithesis conjoined and carried on through
several Sentences
200
CHAPTER X.-Interrogation, Repetition, Exclamation, Irony,
Interrogation denotes plaintive Passion
Exclamations the Effect of strong Emotions of the Mind
Vision proper only in animated and warm Compositions
Vision in Tragedy
Irony
Exclamations and Irony are sometimes united
202
203
204
205
BOOK V.
ON THE NATURE OF TASTE, AND THE SOURCES OF
ITS PLEASURES.
CHAPTER I.-Taste
PAGE
208
Taste is possessed in different Degrees by different Men
Taste, an improvable Faculty, and refined by Education
Exercise is the Source of Improvement in all our Faculties, in
our bodily, in our mental Powers, and even in our external
Senses
The Improvement of Taste, from the Application of Reason
and good Sense, to Works of Composition, and Productions
of Genius
209
210
Delicacy and Correctness the Characters of Taste, when
brought to its most improved State
Correctness of Taste
211
212
Delicacy and Correctness of Taste, mutually imply each other ibid
The diversity of Tastes, which prevails among Mankind
Standard of Taste
Uniformity of Taste and Sentiment resulting from our Convic-
214
tion of a common Standard
216
CHAPTER II.-Criticism
217
Transgressions of the Laws of Criticism
220
CHAPTER III.-Of Genius
This talent improved by Art and Study
221
A Genius for any of the fine Arts, always supposes Taste
CHAPTER IV.-The Sources of the Pleasures of Taste
The Pleasures of the Imagination
222
The Pleasure which arises from sublimity or grandeur
Of external Grandeur
223
The terribly Sublime, Darkness, Solitude, and Silence
225
The moral, or sentimental Sublime
226
High Virtue the most natural and fertile Source of this moral
Sublimity
Homer greatly admired for Sublimity
The Works of Ossian abound with Examples of the Sublime
Conciseness and Simplicity essential to sublime Writing
Milton, an Author, whose Genius led him eminently to the
Sublime
Strength is another necessary requisite in sublime Writing
The Sublime depends upon a just Selection of Circumstances
The Faults opposite to the Sublime, are chiefly two; first, the
frigid; and, secondly, the bombast
CHAPTER VI.-Beauty, and other Pleasures of Taste
The sacred Scriptures afford us the highest Instances of the
230
231
233
234
235
237
238
Colour, the simplest Instance of Beauty
Figure opens to us Forms of Beauty complex and diversified
Regularity a Source of Beauty
Hogarth's Analysis of Beauty
239
240
Motion, another Source of Beauty
241
The Beauty of the human Countenace
242
Beauty arising from the Perception of Means being adapted to
an End
This Sense of Beauty, in fitness and design, has an extensive
Influence over many of our Ideas
Of Beauty as it is applied to Writing or Discourse
244
Novelty
Imitation is another source
The Pleasures of Melody and Harmony
Wit, Humour, and Ridicule, open a variety of Pleasures to
245
246
THE GENERAL CHARACTERS OF STYLE.
CHAPTER I.-The Diffuse and Concise styles
A diffuse Style generally abounds in long Periods.
The Nervous and the Feeble of the same Import with the
Concise and the Diffuse
CHAPTER II.- Of the Dry, Plain, Neat, and Flowry Style
CHAPTER III.-The Simple, Affected, and Vehement Styles 259
Simplicity, the great Beauty of Archbishop Tillotson's Manner ibid
Sir William Temple another remarkable Writer in the Style
of Simplicity
Addison the most perfect Example of this Style
An Author may write simply, and yet not beautifully
Of the Vehement
Lord Bolingbroke's Style
263
265
266
B
CHAPTER IV.-Directions for forming Style
The Foundation of all good Style, is good Sense, accompanied
with a lively Imagination
267
With respect to the Assistance that is to be gained from the
Writings of others
in order to form a good Style, the frequent Practice of Com-
posing indispensably necessary
268
270
Danger of a servile Imitation of any Author
Style must be adapted to the Subject, and to the Capacity of
one's Readers
-
271
The Introduction should be easy and natural
The Division
CHAPTER V.-Conduct of a Discourse in all its Parts-Intro-
duction, Division, Narration, and Explicaton
The Exordium, or Introduction, common to all Kinds of public
Speaking
First, to conciliate the Good-will of the Hearers
Secondly, to raise the Attention of the Hearers
Introductions should not be planned, till after one has meditated
in his own Mind the Substance of his Discourse
Correctness should be carefully studied in the Expression
Modesty is another Character which it must carry
An Introduction should usually be carried on without Vehe-
mence and Passion
Introductions must not anticipate any material Part of the
Subject
The Introduction ought to be proportioned, both in length, and
in kind, to the Discourse that is to follow
The Proposition or Enunciation
First, the several Parts into which the Subject is divided must
be really distinct from one another
Secondly, in Division, we must take care to follow the Order of
Nature
277
Fourthly, the Terms in which our Partitions are expressed
should be as concise as possible
Thirdly, the several Members of a Division ought to exhaust
the subject
Fifthly, avoid an unnecessary Multiplication of Heads
Narration, or Explication
To be clear and distinct, to be probable, and to be concise,
are the Qualities which Critics chiefly require in Narration
Of the argumentative or reasoning Part of a Discourse
The analytic, and the synthetic Methods of Reasoning
Avoid blending Arguments confusedly together, that are of a
separate Nature
The three great Subjects of Discussion among Mankind are,
Truth, Duty, and Interest
With regard to the different Degrees of Strength in Arguments,
the general Rule is, to advance in the Way of Climax
Observe not to extend Arguments too far, and multiply them
The Pathetic, in which, if any where, Eloquence reigns
Consider carefully, whether the Subject admit the Pathetic, and
render it proper; and if it does, what part of the Discourse is
the fittest for attempting it
Never to set apart a Head of a Discourse in form, for raising
any Passion
282
283
The difference between showing the Hearers that they ought to
be moved, and actually moving them
The only effectual Method is, to be moved yourself
Attention to the proper Language of the Passions
284
Avoid interweaving any Thing of a foreign Nature with the pa-
thetic Part of a Discourse
Never attempt prolonging the Pathetic too much
Concerning the Peroration or Conclusion
CHAPTER VI.-Historical Writing
Historical Composition comprehends Annals, Memoirs, Lives
In order to fulfil the end of History, the Author must study to
trace to their Springs the Actions and Events which he re-
cords
285
286
287
288
The first Virtues of historical Narration, are Clearness, Order,
and due Connection
Gravity must always be maintained in the Narration
289
The Embellishment of Orations
290
The drawing of Characters one of the most splendid, and at the
same time, one of the most difficult Ornaments of historical
Composition
CHAPTER VII.-Philosophical Writing, Dialogue, and Episto- lary Correspondence
Epistolary Writing.
295
BOOK VII.
POETRY.
CHAPTER I.-The origin and Progress of Poetry
CHAPTER II.-Versification