A.
ACROSTIC, Or Alphabetical Poetry, still
prevails amongst the Syrians, Per-
sians, and Arabs, 251. This art
too minute to be generally consistent
with true genius, ib.
Eschylus a Pythagorean, 7.
Alcæus, a spirited assertor of liberty
both by his sword and his lyre, 11.
Allegorical, one of the first modes
of composition adopted by nations
emerging from barbarity, 104.
Allusion, Comparison, and Simile, dis-
tinctions observed by critics in the
use of these words, 121.
Amafanius, works of, 5.
Amos, his excellence as a prophet, 234.
Anomalies, instances of, in the He-
brew language, 31.
Apollo, Pythian, a very indifferent poet,
236.
Apothegms used by the Orientals when
they would reprove pride and arro-
gance, 385.
Argillas, subterraneous caverns inha-
bited by the Cimmerians, 78.
Aristotle's definition of Poetry com-
pared with History, 7. 9.
Ascensions, Odes of the, 286.
sung, ib.
Azarias, a Jewish Rabbi, his opinion
of the conformation of the Hebrew
sentences, 214.
Balaam, character of his prophecies,
221.
Bildad, the friend of Job, who, 354.
Brevity and Obscurity of the ancient
proverbs, to what cause they may be
ascribed, 268.
Buz, country of, where situated, 354.
Caab, an Arabic poet, curious simile
of, 68.
Callistratus, his ode, and its great cele-
brity, 11.
Carmel, Mount, a common image of
fertility, wealth, and beauty, in the
Hebrew poetry, 65.
Catius, Cato, Columella, writings of, 5.
Cicero a very indifferent poet, 16.
Cimmerian Caves of Campania gave
rise to the opinions of Homer and
Virgil concerning the infernal re-
gions, 77.
Commentators, errors into which they
have been betrayed by their igno-
rance of the Hebrew, 303.
Comparison, the first and most natural
of all rhetorical figures, 52.
Comparison, Simile, and Allusion, dis-
tinctions observed by critics in the
use of these words, 121.
Comparison, two capital imperfections
to which this figure is liable, 130.
Cretans, laws of the, accompanied with
music, 41.
Critic, duty of, 68. 75.
Descriptions, not easy in some to de-
cide whether they are to be assigned
to the Sublime or Beautiful. In-
stances of this, 147.
Description, to judge rightly of, it is)
necessary to have as distinct and
clear ideas of the thing itself as the
author, 389.
Divine Spirit never takes such entire
possession of the mind of the pro-
phet, as to subdue or extinguish the
character and genius of the man,
168.
Dramatic exhibitions, their commence-
ment and progress, 326.
Edom, why particularly marked as an
object of divine vengeance, 223.
H.
Habakkuk, character of his style, 235.
Haggai, the Prophet, his style altoge-
ther prosaic, 235.
Happiness, human, consists in action,
390.
Hebrews, opinion of M. Michaelis, that
they as well as the Greeks and Ro-
mans borrowed their poetical ima-
gery from the Egyptians, 99. This
hypothesis ingenious but fanciful,
103.
Hebrew Metre, a considerable part of
it probably consisted in the parallel-
ism of the sentences, 213.
Elegance not inconsistent with brevity | Hebrew Poets, their peculiar commen-
and obscurity, 270.
Elegy, the ancient, 13.
Not only the
Lamentations of Jeremiah, but parts
of the prophecy of Ezekiel, of the
book of Job, and of the Psalms, are
elegiac, 255, 256.
Elihu, his character, 386.
Eliphaz, who he was, and where he Hebrew versification, little knowledge
Enallage of the tenses ought never to
be introduced but when the mind is
sufficiently heated not to perceive
the illusion, 164.
Enthusiasm, poetical, 39.
Epic Poetry, its character and effects, 9.
Euripides known amongst his friends
by the appellation of the Dramatic
Philosopher, 9.
Ezekiel inferior in elegance to Isaiah,
230. His character as a prophet,
ib. Not excelled by Isaiah in sub-
limity, ib.
Figures, congenial, of Metaphor, Alle-
gory, and Comparison, used by the
Hebrew poets in a peculiar manner,
105.
of it now to be attained, 26. 33.
Hebrew word expressive of the poetic
style admits of three significations,
38. The same used to denote a
Prophet, a Poet, and a Musician,
194.
Heroic Poetry, its character, 6.
History inferior to Poetry as a means
of instruction, 8.
Homer, his excellence, 6.
Hosea, characteristics of his style, 233.
Horace, the 3d ode of the 4th book
commended, 291.
Hyperbole requires passion to give it
force or propriety, 53.
Idumæans eminent for wisdom, 355.
Jeremiah probably the author of the
139th Psalm, 219.
Firmicus, Julius, an astronomical wri- Jews, futility of their opinions respect-
ter, 5.
Images, sensible, reason why, amongst
such as are applied to the Deity,
those principally which seem most
remote from the object, and most
unworthy of the Divine Majesty,
are, when used metaphorically, the
most sublime, 175.
Images of Light and Darkness com-
monly used in all languages to de-
note Prosperity and Adversity, 62.
Imagination and Judgment, their dif- |
ferent constituent principles, 128.
Isaiah, consideration of the 34th and
35th chapters, 222. Character of
Isaiah as a prophet, 228. Superior
in elegance and sublimity to Jere-
miah, 229.
Job, the book of, manifestly written in
Arabia, 354. Style of it materially
different from the poetical style of
Moses, 356. More ancient than
any of the sacred books, ib. No
vestige of an allegorical meaning
throughout the poem, 357. Divine
authority of this book not affected
by the doubt of its being founded
in fact, 358. Some arguments in
favour of this poem's being written
by Moses, 361. Investigation of,
and objections to, this opinion, ib.
Wonderful regularity in the struc-
ture of this poem, 378.
Joel, characteristics of his style, 233.
Judgment strengthened by researches
after objects of taste, 3.
Language of the Passions, and Lan-
guage of Reason, remarkable diffe-
rence between them, 150.
Lamentation of David for Saul and
Jonathan, a beautiful poem of the
elegiac kind, 259. Paraphrased,
263.
Lamentations, Book of, superior to any
other poem in splendid, and at the
same time concentrated imagery,
253.
Laws originally written in verse, 42.
Those of some nations accompanied
with music, ib.
Lebanon, Mount, an usual image in
Hebrew poetry for whatever is con-
spicuous, august, and sublime, 65.
Lions very commonly make their dens
among the reeds upon the banks of
the rivers, 66.
Longinus, the most accomplished au-
thor on Sublimity, 149.
Lyric Poetry, its effects, 10.
Malachi, Book of, written in a kind of
middle style, 235.
Manilius, a writer of the Augustan age,
5. An indifferent poet, ib.
Metaphor, its principal advantage over
the Simile or Comparison, 52.
Metaphors not unnatural in extremes
of passion though Comparisons are,
why, 53.
Metonymy, what, 53.
Micah, characteristics of his style,
234.
Mind, human, can dwell only on one
object at a time, 372.
Morality the only branch of discipline
which can be successfully treated of
in verse, why, 273.
Mystical Allegory, its origin, 114.
Nahum, characteristics of his style,
234.
Natural objects supply the principal
ornaments of all poetry, 67.
Numa, his Salian poems of higher an-
tiquity than any other Latin poetry,
279.
Obadiah, greatest part of his prophecy
contained in one of the prophecies of
Jeremiah, 235.
Ode, characteristics of, 9. 281. Its ef-
fects, 10.
Odes of the Ascensions, 286.
Edipus Tyrannus of Sophocles, 375.
Might have been so constructed as
to form a poem similar to that of
Job, 376.
Edipus Coloneus of Sophocles, story
of, 377. Cannot properly be brought
into comparison with the book of
Job, 378.
Oratory of more recent origin than
Poetry, 111.
Orientals stain the hair and complexion
with henna, in order to give it a yel-
low or golden cast, 350.
Ossian, foundation of the poems attri-
buted to him, 42.
Parable, necessary that the literal should
never be confounded with the figu-
rative sense, 111.
Parallelism, use and definition of, 215.
Mandrake, opinion of the orientals re- Periphrasis, a species of Metonymy,
Persius, the satirist, the difficulty of
understanding him arises principally
from his use of metaphors, which
are obscure, and but slightly related,
60.
Pherecydes, contemporary with Cyrus,
the first Greek who published a prose
oration, 41.
Philosophy necessary to poetical emi-
nence, 7. Philosopher and Poet
seem principally to differ in pur-
suing the same ends by different
means, ib.
What these are, ib.
Pindar, his excellence, 294.
Poetry, its origin, 177. Useful prin-
cipally from its being agreeable, and
of more utility than philosophy from
this circumstance, 4. Proofs of this
position, 5. Its effects, 17. Pro-
priety of assigning it a place amongst
the other liberal arts, 2. By whom
the Professorship at Oxford was in-
stituted, 3.
Poetry, lighter kinds of, their utility,
15.
Poetry, sacred, its superior excellence,
18. Its character, ib. From it we
are to learn both the origin of the
art, and how to estimate its excel-
lence, 19. Its connexion with Pro-
phecy, 196.
Poetry, prophetic, its character, 220.
Poets, perusal and imitation of them
exercises and improves the under-
standing, and gives a grace to the
manner of expression, 16. Opinion
of the Greeks respecting them, 25.
Prophecies, scriptural, many of them
conspicuous as poems, 197. In-
stances, 46. 197.
Prophecy, its end, and the means em-
ployed for producing this end, 219.
Its connexion with Poetry, 196.
Prophesying accompanied with music,
194.
Prophets, their office, 193.
Prosopopæia, 53. Nearly allied to the
Metaphor, and still nearer to the
Metonymy, 136.
Psalmody, Hebrew, though usually re-
stricted to two alternate choruses,
sometimes extended to more, 200.
Psalm 23d, when probably composed,
284. Paraphrase of the 24th: On
what occasion this Psalm was com-
posed, 301. Paraphrase of the 133d,
126.
Rabbinical notions concerning inspira-
tion, 218.
Religion the source of poetry, 18. The
soil on which she flourishes most, 19.
Sacred Writings, why it is not possible
for any translation to do perfect jus-
tice to them, 88.
Sepulchres, Hebrew, described, 77.
Some very magnificent ones, sup-
posed to have belonged to their
kings, still remaining in Judea, ib.
Socrates applied to music in conse-
quence of a dream, 21.
Solomon, his wife alluded to in the
Canticles could not be the daugh-
ter of Pharaoh, 345.
Solon had recourse to poetry when any
difficulty occurred in the adminis-
tration of public affairs, 13. The
astonishing effect produced by his
verses, 14.
Song of Solomon, an allegorical poem,
337. This opinion controverted,
342. Again supported, 343. One
circumstance in it which bears a
near affinity to the Greek drama,
334.
What qualities are necessary
in a critic who attempts an explana-
tion of this poem, 350.
Stesichorus, a writer of considerable
eminence, 11.
Style in the historical and metrical parts
of the book of Job remarkably dissi-
milar, 152.
Sublime connected with the pathetic,
means of exciting it, 180.
Sublimity, there is none where no pas-
sion is excited, 181.
Tense, speaking of the present in the
future not peculiar to the Hebrews,
but still common in our own coun-
try, 166.
Theocritus supposed to have been ac-
quainted with the Song of Solomon,
334.
Threshing, four different methods of
performing it described, 108. Na-
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