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Since He fuftains, and animates the Whole ;
In all apparent, wife, and good in all;
From feeming Evil fill educes Good,
And better thence again, and better fill,
In infinite Progreffion. -But I lofe
Myfelf in Him, in Light ineffable!
Come then, expressive Silence, mufe bis Praise.

Hymn on the Seasons, ver. 107.

BUT 'tis Time to return to our Critic, who is come now to SECTION XLIV. and the laft. In which, as a Conclufion to this Treatife, LONGINUS inquires Whence it came to pass that in his Day there was fuch a Scarcity of truly excellent and fublime Writers? - And concludes it owing to their not having the fame Liberty and Encouragements to excell, as the Ancients had; and to the different Views of that Age, who ftrove rather to vye with each other in Riches and Luxury than Learning and Virtue.

BUT how much more laudably partial is our Sublime THOMSON towards fome of his Contemporaries and Country-men!

HAPPY BRITANNIA! High is thy Renown
In Sages too, far as the facred Light

Of Science Spreads, and wakes the Muje's Sang.
Thine is a BACON form'd of happy Mold,
When Nature fmil'd, deep, comprehenfive, clear,
Exalt, and elegant; in one rich Soul,



What need I name thy BOYLE, whofe pious Search


Still fought the great Creator in his Works,
By fure Experience led? And why thy LOCKE,
Who made the whole internal World his own?
Let comprehenfive NEWTON fpeak thy Fame,
In all Philofophy. For folemn Song


Is not wild SHAKESPEAR Nature's Boaft and thine?

And every greatly amiable Mufe

Of elder Ages in thy MILTON met?
His was the Treasure of two thousand Years
Seldom indulg'd to Man; a God-like Mind,
Unlimited, and various, as his Theme;
Aftonishing as Chaos; as the Bloom

Of blowing Eden fair; foft as the Talk

Of our Grand Parents, and as Heaven SUBLIME.

Summer, ver. 604.

With This, SIR, I return you your Trea

tife, and am,

Your most humble Servant,

J. H.


the Text of the First Book, being


that Part which is to be committed to Memory.

2. WHAT is Rhetoric?

What is it's Principal End?

What is it's chief Office?

What is the Subject it treats on? How many Parts hath Rhetoric? 2. WHAT is Invention?

On what are all Arguments grounded, and
from whence are they to be fought?
What are Reasons to do?

What are Morals to do? What are Affections to do? 2. WHAT is Difpofition?

How many Parts are there in an Oration, and in what Order should they stand, and how may they eafily be remember'd? How many, and what are the Parts of a Theme, and how may they eafily be remember'd?

2. In what doth Elocution confift? and, What are it's Parts?

What doth Composition regard?

What doth Elegance confift in?

What mean you by Dignity of Language? 2. What is the Difference between Tropes and Figures?

What is a Trope?

How many, and what are the Chief Tropes

in Language?


QUESTIONS to be anfwer'd, &c.

What is a Metaphor? an Allegory? a Metonymy? Synecdoche? an Irony? an Hyperbole? a Catachrefis?

How many,

and what are the Faults of

2. WHAT is a Figure?

How many, and what are the Principal
Figures in Speech?

What is an Ecphonefis? an Aporia? Epa-
northofis? Apofiopefis? Apophafis? Apof-
trophe? Anaftrophe? an Erotefis? Pro-
lepfis? a Synchorefis? Metabafis? Peri-
phrafis? a Climax? Afyndeton? an Oxy-
moron? Enantiofis? Parabole? Hypoty-
pofis? Profopopaia? Epiphonema?

How many, and what are the Faults of

2. WHAT are Repetitions or Turns?
How many, and what are the Principal

What is Anaphora? Epistrophe? Symploce? an Epizeuxis? Anadiplofis? Epanalepfis? Epanados? Ploce? a Polyptoton? Antanaclafis? Paranomafia? Paregmenon? Homoioteleuton? Synonymia?

What is to be obferv'd in the Ufe of Repetitions?

2. WHAT is Pronunciation?

What are the Parts of Pronunciation ?
In the Delivery of an Oration, what is to
be obferv'd as to Voice?

What is to be obferv'd as to Action?

Upon the Whole, What must be done to make ourselves acceptable Orators?






both Books; directing to the Place where they're
explain❜d with Examples.

Note, The Numbers I, II, fhew the Books; and 1, 2, 3, &c.

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