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On the Nature and Structure of Sentences, the General Principles
of Perspicuity, and the Harmony of Periods.~
CHAPTER I.-Of the Nature of Sentences and Periods
Simple Sentences
81
83
Complex Sentences
Short Sentences
The full Period.
84
85
CHAPTER II.-Of the Errors to be avoided in the Structure of
Sentences, and the Arrangement of Single Words.....
The Arrangement of the Agent, the Action, and the Subject
Of the Arrangement of the other Parts of Speech, Pronouns,
Participles, Prepositions, and Conjunctions
CHAPTER III.-On the Structure of Sentences
The Distinction of Long and Short ones.....
86
88
90
The Properties most essential to a perfect Sentence
Clearness and Precision
In the Position of Adverbs
91
92
In Circumstances in the Middle of a Sentence
In the proper Disposition of the relative Pronouns, who, which,
what, whose
Redundant Words, redundant Members, new Ideas, new Thoughts
The Copulative Particle
97
Disposition of the capital Word or Words..
100
The Members of Sentences rising and growing in their Impor-
tance above one another
Page
CHAPTER VII.-Of the Unintelligible
116
The Unintelligible from Confusion of Thought
The Unintelligible from Affectation of Excellence
117
CHAPTER VIII.-The various Species of the Unintelligible.... 118
The Unintelligible from want of Meaning in the Writer
118
Inversion
The Puerile
The learned Nonsense
The Profound
The Marvellous
CHAPTER IX.-Of the Harmony of Periods
How a melodious Structure is formed
The Distribution of the several Members
The Close or Cadence of the whole Sentence
A falling off at the End always injurious
Vivacity and Strength of Composition
Measures
All Appearances affecting Harmony are disagreeable
The Current of Sound adapted to the Tenor of a Discourse.
CHAPTER X.-Resemblance between Sound and Sense-In-
version
The Inversions of Modern Languages
BOOK IV.
Of Figures.
CHAPTER I.-Of the Character and Advantage of Figures
Table of Figures, which, among related Objects, extend the
Properties one to another
All Metaphor imports Comparison, and is, in that Respect,
Figure of Thought
a
143
Of all the Figures of Speech, none comes so near to Painting as
Metaphor
144
Metaphors must be suited to the Nature of the Subject of which
we treat
The Choice of Objects from whence Metaphors and other Figures
are to be drawn
145
Metaphors drawn from Objects of Resemblance, which is the
Foundation of the Metaphors, be clear and perspicuous, not far-
fetched, nor difficult to discover...
146
In the Conduct of Metaphors, we are never to jumble metaphori-
cal and plain Language together
147
Never make two different Metaphors meet on one Object
Addison's Rule for examining the Propriety of Metaphors
Metaphors must not be too far pursued
Comparisons employed to elevate or depress the principal Object. 155
Comparisons should not be instituted between Objects, the Resem-
blance of which is either obscure, faint or remote
156
Comparisons should not be deduced from Objects which rise much
above the primary Object.
Comparisons destitute of Dignity, transfer Insignificance to the
principal Object
Comparisons are censurable when they prompt Feelings discordant
with the Aim of the principal Object, or when they suggest
Sentiments painful or disagreeable
Comparisons should never be founded on Resemblances which are
too obvious and familiar, nor on those which are imaginary
Extended Similes may be introduced with Advantage on various
Occasions
157
158
159
Improper Occasions on which circumstantial Similes make their
Appearance.
160
Short Similes appear in the most passionate Scenes
CHAPTER IV.-Personification
161
162
Descriptive Personification
Passionate Personification..
164
The English Language possesses a singular Advantage in marking
Personification
166
A capital Error in Personification, is to deck the Figure with fan-
tastic and trifling Circumstances
Apostrophes class the Offspring of deep Agitation
175
A principal Error in the Use of Apostrophe, is to deck the Object
addressed with affected Ornaments
Another frequent Error is, to extend this Figure to too great
Length
Hyperboles are not properly introduced till the Mind of the
Reader is prepared to relish them
180
Hyperboles improper when they may be turned against the Argu-
ment of the Author who uses them
181
CHAPTER VIII.-Climax, or Amplification
The Effect of this Figure
182
Climax appears with Grace in the calmer Parts of Oratory
It is consistent with moderate Agitation
CHAPTER IX.-The Antithesis
183
Antithesis makes the most brilliant Appearance in the Delineation
of Characters, particularly in History
184
Unsuccessful Attempts have been made to acquire it
185
A Climax and Antithesis conjoined and carried on through several
Sentences
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
....
Exclamations and Irony are sometimes united
.187
187
188
189
190
BOOK V.
On the Nature of Taste, and the Sources of its Pleasures.
CHAPTER I.-Taste
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
Delicacy and Correctness the Characters of Taste, when brought
to its most improved State
Correctness of Taste
Delicacy and Correctness of Taste mutually imply each other 195
The Diversity of Tastes which prevails among Mankind
Standard of Taste
........
Uniformity of Taste and Sentiment resulting from our Conviction
of a common Standard
CHAPTER II.-Criticism
Transgressions of the Laws of Criticism
CHAPTER III.-Of Genius
This Talent improved by Art and Study
A Genius for any of the fine Arts always supposes Taste
...
196
197
199
CHAPTER IV.-The Sources of the Pleasures of Taste
204
The terribly Sublime, Darkness, Solitude, and Silence
The moral or sentimental Sublime
206
208
High Virtue the most natural and fertile Source of this moral
Sublimity
CHAPTER V.-The Sublime in Writing
209
The sacred Scriptures afford us the highest Instances of the
Sublime
2.10
Homer greatly admired for Sublimity
211
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 Sub-
lime
.....
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
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
212
213
214
215
216
217
Beauty arising from the Perception of Means being adapted to an
End.
221
This Sense of Beauty, in Fitness and Design, has an extensive
Influence over many of our Ideas
222
Of Beauty, as it is applied to Writing or Discourse
Wit, Humour, and Ridicule, open a Variety of Pleasures to
The Nervous and the Feeble of the same Import with the Concise
and the Diffuse
230
CHAPTER II.-Of the Dry, Plain, Neat, and Flowery Style.... 232
A dry Manner
232