INTRODUCTION....... CONTENTS. 13 THE NATURE AND FOUNDATIONS OF ELOQUENCE. CHAP. I. Eloquence in the largest Acceptance defined, its more general Forms exhibited, with their different Objects, Ends, and Characters .................. ......................... SECT. I. Aristotle's Account of the Ridiculous explained SECT. II. Hobbes's Account of Laughter examined CHAP. IV. Of the Relation which Eloquence bears to Logic and to Grammar.. CHAP. V. Of the different Sources of Evidence, and the different Subjects to Part IV. The Superiority of Scientific Evidence re-examined..................................... CHAP. VI. Of the Nature and Use of the scholastic Art of Syllogizing.... CHAP. VII. Of the Consideration which the Speaker ought to have of the Hear- CHAP. IX. Of the Consideration which the Speaker ought to have of himself CHAP. X. The different Kinds of public Speaking in use among the Moderns, SECT. V. In regard to the End in view.. CHAP. XI. Of the Cause of that Pleasure which we receive from Objects or Representations that excite Pity and other painful Feelings SECT. I. The different Solutions hitherto given by Philosophers, examined... THE FOUNDATIONS AND ESSENTIAL PROPERTIES OF ELOCUTION. CHAP. I. The Nature and Characters of the Use which gives Law to Language 162 SECT. I. When is Obscurity apposite, if ever it be apposite, and what kind?. ib. THE DISCRIMINATING PROPERTIES OF ELOCUTION. CHAP I. Of Vivacity as depending on the Choice of Words................ Part I. Preliminary Observations concerning Tropes.... Part II. The different Sorts of Tropes conducive to Vivacity ........................ 321 Part I. What are articulate Sounds capable of imitating, and in what Degree? 339 Part II. In what Esteem ought this Kind of Imitation to be held, and when CHAP. III. Of Vivacity as depending on the Arrangement of the Words...... 372 SECT. I. Of the Nature of Arrangement, and the principal Division of Senten- Part IV. Review of what has been deduced above in regard to Arrangement 403 CHAP. IV. Of the Connectives employed in combining the Parts of a Sentence 404 INTRODUCTION ALL art is founded in science, and the science is of little value which does not serve as a foundation to some beneficial art. On the most sublime of all sciences, theology and ethics, is built the most important of all arts, the art of living. The abstract mathematical sciences serve as a groundwork to the arts of the land-measurer and the accountant; and in conjunction with natural philosophy, including geography and astronomy, to those of the architect, the navigator, the dialist, and many others. Of what consequence anatomy is to surgery, and that part of physiology which teaches the laws of gravitation and of motion, is to the artificer, is a matter too obvious to need illustration. The general remark might, if necessary, be exemplified throughout the whole circle of arts, both useful and elegant. Valuable knowledge, therefore, always leads to some practical skill, and is perfected in it. On the other hand, the practical skill loses much of its beauty and extensive utility which does not originate in knowledge. There is, by consequence, a natural relation between the sciences and the arts, like that which subsists between the parent and the offspring. I acknowledge, indeed, that these are sometimes unnaturally separated; and that by the mere influence of example on the one hand, and imitation on the other, some progress may be made in an art, without the knowledge of the principles from which it sprang. By the help of a few rules, which men are taught to use mechanically, a good practical arithmetician may be formed, who neither knows the reasons on which the rules he works by were first established, nor ever thinks it of any moment to inquire into them. In like manner, we frequently meet with expert artisans, who are ignorant of the six mechanical powers, which, though in the exercise of their profession they daily employ, they do not understand the principles whereby, in any instance, the result of their application is ascertained. The propagation of the arts may therefore be compared more justly to that variety which takes place in the vegetable kingdom, than to the uniformity which obtains universally in the animal world; for, as to the anomalous race of zoophytes, I do not comprehend them in the number. It is not always necessary that the plant spring from the seed, a slip from another plant will often answer the purpose. There is, however, a very considerable difference in the B |