INTRODUCTION, CONTENTS. CHAP. I. Elegance in the largest acceptation defined, its more general forms exhibited, with their different Objects, Ends, and Characters, CHAP. III. The Doctrine of the preceding Chapter defended, SECT. I. Aristotle's account of the ridiculous explained, SECT. II. Hobbe's account of laughter examined, CHAP. IV. Of the Relation which Eloquence bears to Logic and to Gram- the Hearers, as such Men in particular, CHAP. IX. Of the consideration which the Speaker ought to have of himself, 138 CHAP. X. The different kinds of public speaking in use among the mo- derns, compared, with a view to their different advantages in respect 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, ex- ed, both by the Writer and by the Reader, SECT. I. The nature and power of Signs, both in Speaking and in Think- CHAP. VIII. The extensive usefulness of Perspicuity, SECT. I. When its obscurity apposite, if ever it be apposite, and what kind ? ib Part I. Preliminary Observations concerning Tropes, Part II. The different sorts of Tropes conducive to Vivacity, 1. The less for the more general, 2. The most interesting circumstance distinguished, Part III. The use of those Tropes which are obstructive to Vivacity, Part I. Subdivision of these into Periods and Loose Sentences, Part II. Observations on Periods, and on the Use of Antithesis in the 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 ground-work to the arts of the land-measurer a 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 sprung. 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 |