HEADS Of the LECTURES on RHETORICK, AND BELLES LETTRES, In the Univerſity of Edinburgh, 1771.
HEADS Of the LECTURES on RHETORICK, AND BELLES LETTRES, In the Univerſity of Edinburgh,
By HUGH BLAIR, D. D.
1771.
EDINBURGH: Sold by A. KINCAID & W. CREECH. Price Sixpence.
I.
[]1.
TASTE is the power of recei⯑ving pleaſure from the beau⯑ties of Nature and of Art.
It is an internal ſenſe, in many of its exertions directed and aſſiſted by reaſon.
It is common, in ſome degree, to all men; and is an improveable faculty.
It derives its improvement from ex⯑erciſe, and from the application of rea⯑ſon and good ſenſe to the objects of taſte.
Delicacy and correctneſs are the cha⯑racters of taſte in its moſt perfect ſtate.
The general ſenſe and feelings of mankind form the Standard of Taſte.
2.
CRITICISM is the application of im⯑proved taſte to the ſeveral fine arts.
[6] The rules of criticiſm are founded on experience; or on the obſervation of ſuch beauties as give the higheſt and moſt general pleaſure to mankind.
3.
GENIUS is a higher power of the mind than Taſte. Taſte feels and jud⯑ges; Genius invents and executes.
Genius is more limited in its ſphere than Taſte. Genius may in ſome caſes be ſtrong, where Taſte is incorrect.
4.
The PLEASURES OF TASTE ariſe from various ſources; chiefly from Grandeur, and from Beauty.
5.
The ſenſation of GRANDEUR, or SUBLIMITY, is produced, either by the view of certain external objects, or by the deſcription of them.
6.
[7]In external objects, Grandeur ariſes from vaſtneſs, or amplitude; from loudneſs of ſounds; from the violence of the elements; in general, from all appearances of extraordinary force and might.
The awful aſſiſts the impreſſion of the grand or ſublime. Darkneſs, ſoli⯑tude, and ſilence promote it. Super⯑natural ſcenes are always ſublime.
The Moral Sublime ariſes from ſenti⯑ments of uncommon magnanimity or heroiſm.
7.
The deſcription of grand or ſublime objects in their proper colours, or the repreſentation of ſublime ſentiments, conſtitutes Sublime Writing. This term has been often uſed in too looſe a ſenſe.
[8] Simplicity, as oppoſed to a profuſion of ornament, is an eſſential requiſite to ſublime writing.
Conciſeneſs, as oppoſed to ſuperfluous expreſſion, is another requiſite.
The proper ſelection circumſtances is particularly neceſſary in ſublime de⯑ſcription. One mean or trifling cir⯑cumſtance deſtroys the emotion which was intended to be raiſed.
What is called a Sublime Style is com⯑monly a very bad one. To be ſublime is to expreſs great conceptions in few and plain words.
The Frigid and the Bombaſt are the two oppoſites of the ſublime.
8.
BEAUTY extends to a much greater variety of objects than grandeur.
It is aſcribed to colour; to figure; to motion; to certain moral qualities; to the human countenance; to fitneſs and deſign in works of art; to certain kinds of writing.
9.
[9]Novelty, Variety, Imitation, Harmo⯑ny, Wit and Humour, are alſo ſources of pleaſure to Taſte.
10.
Language poſſeſſes the moſt extenſive power of exhibiting the objects which give pleaſure to Taſte.
II.
[10]1.
LANGUAGE is the expreſſion of our ideas by certain articulate ſounds which are uſed as the ſigns of thoſe ideas.
2.
Language in its early ſtate was aided by expreſſive tones and geſtures. Pro⯑nunciation among the ancients was more vehement than among the moderns.
Language in its early ſtate was figura⯑tive and metaphorical, and advanced gradually to ſimplicity.
The arrangement of words in ancient languages followed moſt commonly the order of the imagination. Arrange⯑ment, in modern languages, follows the order of the underſtanding.
3.
[11]Written characters are of two kinds: either repreſenting objects, or repre⯑ſenting words.
Pictures, Hieroglyphicks, and the Chineſe characters, are of the former kind; and were the moſt ancient me⯑thod of writing.
Alphabetical characters are of the lat⯑ter kind; and were an improvement on the ancient method.
Written Language is more extenſive and permanent than ſpeech. Spoken Language has more force and energy than writing.
4.
The parts of language or ſpeech may be divided into Subſtantives, Attribu⯑tives, and Connectives.
5.
[12]Subſtantives are general names of ob⯑jects; and are particulariſed by the Ar⯑ticle.
The moſt common affections of Sub⯑ſtantives are Number and Gender.
Varieties in the uſe of gender occur in different languages. The Engliſh tongue poſſeſſes a conſiderable advan⯑tage in this reſpect.
Declenſion or Caſes of ſubſtantives expreſs relations which objects bear to one another.
The ancient tongues employed de⯑clenſion more than the modern.
6.
Attributives expreſs the attribute, quality, or action, of ſome ſubſtance.
The Adjective is the ſimpleſt form of attributive words; the Verb, the moſt complex.
[13] Every verb expreſſes an attribute, an affirmation, and time.
Conjugation is the manner of expreſſ⯑ing the diverſity of circumſtances in⯑cluded in the verb, by a variation of ſyllables in the word. Conjugation is more regular and complete in ancient than in modern languages.
7.
Connectives join words and ſentences together; and expreſs the relations, connections, and dependencies of ob⯑jects.
8.
The Engliſh Language is a derived and compounded language.
It is irregular in its ſtructure.
It is a copious and expreſſive lan⯑guage, eſpecially on the graver ſubjects.
It is flexible, or pſſeſſes a conſider⯑able power of accommodation to differ⯑ent ſtyles and manners.
It is not unharmonious
III.
[14]1.
STYLE is the peculiar manner in which different men employ lan⯑guage for expreſſing their conceptions.
2.
Perſpicuity is the firſt virtue of ſtyle.
Perſpicuity, in the choice of words, requires Purity, Propriety, and Preci⯑ſion.
Purity is the uſe of ſuch words and phrasſes as belong to the idiom of the language which we employ.
Propriety is the ſelection of ſuch words, belonging to the language, as the moſt authoriſed uſage has appropri⯑ated to the ideas which we mean to exp⯑reſs by them.
Preciſion is the expreſſion of thoſe i⯑deas which we intend to convey, with⯑out [15] any foreign or ſuperfluous circum⯑ſtance added to them.
The looſe uſe of words reputed ſy⯑nonymous, is one great cauſe of want of preciſion.
There are few words in any language that are ſtrictly ſynonymous.
3.
A SENTENCE is one complete pro⯑poſition of enunciation of thought.
4.
Variety is to be preſerved with regard to long and ſhort ſentences.
5.
In the Structure of a ſentence, the principal things to be ſtudied are, Clearneſs, Unity, Strength, and Har⯑mony.
6.
[16]Clearneſs conſiſts in ſuch a colloca⯑tion of the words and members of a ſentence as ſhall mark the relation of the ſeveral parts to each other without am⯑biguity.
This requires particular attention to the poſition of adverbs, of interpoſed circumſtances, and of relative pronouns and particles.
7.
The Unity of a ſentence requires the principal object not to be changed; the ſentence not to be crouded with things ſlightly related to each other; parentheſes to be ſeldom interpoſed; and no adjections to be brought in after the natural cloſe of the period.
8.
The Strength of a ſentence ariſes from [17] ſuch a diſpoſition of the ſeveral words and members of it, as ſhall render the impreſſion which the ſentence is deſign⯑ed to make, moſt full and complete.
This requires all redundant words and members to be rejected; particular attention to be given to copulative and relative particles; the capital words to be diſpoſed of in the moſt proper place, and to be kept clear from circumſtances that would clog them; the members of the ſentence to be made to grow in their importance; the ſentence not to be ter⯑minated by particles, prepoſitions, or inconſiderable words; and objects com⯑pared or contraſted, to be expreſſed in reſembling terms.
9.
The Harmony of a ſentence conſiſts either in agreeable ſound being ſo or⯑dered as to become expreſſive of the ſenſe.
Agreeableneſs of ſound depends, firſt, [18] on the choice of words, and next on the arrangement of them.
The Greeks and Romans, for ſeveral reaſons, attended to muſical arrange⯑ment more than the moderns.
Muſical arrangement is ſenſible chief⯑ly in the diſtribution of the members, and reſts, of a period; and in the cloſe or cadence of it.
Monotony is always to be avoided. Senſe is never to be ſacrificed to ſound.
Sounds may be rendered expreſſive of the ſenſe, either by adapting it to the general tenor of the diſcourſe; or by accompliſhing a particular analogy be⯑tween the ſounds, the motions, and the ſenſations, which are deſcribed, and the words employed in deſcribing them.
10.
FIGURES OF SPEECH convey our ideas to others in a particular dreſs, and with ſome circumſtance added, which is deſigned to render the idea more ſtrong and vivid.
[19] They are a natural mode of language, prompted by the imagination and paſ⯑ſions.
They take their riſe partly from the barrenneſs of language, but more from the influence of imagination over the uſe of language.
They ſerve for the embelliſhment of ſtyle, by rendering it more copious, more dignified, more expreſſive, and more pictureſque.
All the relations which objects bear to one another may be ſources of fi⯑gures. The moſt copious ſource of them is the relation of ſimilitude or re⯑ſemblance.
11.
Metaphor is the moſt frequent of all figures. It is an abridged compariſon; and conſiſts in ſubſtituting one object in place of another, on account of the cloſe reſemblance which is ſuppoſed be⯑twixt them.
[20] Metaphors ought to be ſuited to the ſtrain of the ſubject. They ought to be taken from objects of ſome dignity. They ought to be founded on a reſem⯑blance which is clear, and not intricate or far-fetched. The metaphorical and the literal ſenſe muſt not be confound⯑ed. Metaphors muſt not be mixed; nor crouded; nor too far purſued.
12.
Allegory is of the nature of meta⯑phor, and ſubject to the ſame rules.
13.
Hyperbole is the effect of paſſion and heated imagination, which are always prone to exaggerate their objects.
Paſſionate hyperboles are more natu⯑ral and proper than deſcriptive ones.
Frequent or ſtrained hyperboles weak⯑en ſtyle in place of ſtrengthening it.
14.
[21]Perſonification ſprings from a ten⯑dency in human nature to animate all objects when the mind is warmed. It is a figure of extenſive uſe.
The loweſt degree of it conſiſts in a⯑ſcribing to inanimate beings the quali⯑ties of ſuch as have life; the next, in a⯑ſcribing to them the actions of living creatures; the higheſt, in addreſſing ourſelves to them as ſuch, or repreſent⯑ing them as ſpeaking to us,
In this laſt degree, it is the boldeſt of all figures of ſpeech; and is natural on⯑ly when the mind is highly elevated, or much moved.
15.
Apoſtrophe is a direct addreſs to per⯑ſons who are abſent or dead; and is much allied to perſonification.
16.
[22]Compariſon, or Smile, is ſuggeſted by imagination, not by paſſion.
All compariſons are intended, either to explain, or to embelliſh.
Embelliſhing compariſon ſhould ſerve to produce a ſtrong impreſſion of the primary object; ſhould be founded on ſome likeneſs or analogy, neither too near and obvious, not too faint and re⯑mote; and trite and beaten ſubjects of compariſon ſhould be avoided.
17.
Antitheſis is founded on the contraſt and oppoſition of two objects.
The frequent uſe of antitheſis renders ſtyle quaint and diſagreeable.
18.
Interrogation, Exclamation, Viſion, and Repetition, are figures of the paſ⯑ſionate [23] kind; and operate by means of ſympathy.
19.
Improper and unſucceſsful attempts towards high and paſſionate figures ren⯑der a writer ridiculous.
20.
Amplification conſiſts in the ſkilful employment of ſeveral figures; parti⯑cularly of the Climax.
21.
Figurative Language does not con⯑ſtitute the principal beauty of compoſi⯑tion.
Figures, unleſs they riſe naturally from the ſubject, are blemiſhes, not or⯑naments.
They ſhould not be employed too frequently.
[24] They ſhould never be attempted by a writer whoſe genius does not lead to them.
22.
Style and thought are intimately con⯑nected. Every man's peculiarity of thought imprints on his ſtyle a certain general character, which may be deno⯑minated his MANNER.
23.
The Diffuſe and the Conciſe manner poſſeſs each their ſeveral advantages; are proper on different occaſions; and each are faulty when carried to an ex⯑treme.
24.
The Feeble manner is always faulty; and the Nervous beautiful. But at⯑tention to ſtrength alone may lead to a Harſh manner.
25.
[25]The Dry, the Plain, the Neat, the Elegant, the Florid manner, expreſs the ſeveral gradations of ſtyle with re⯑ſpect to ornament.
26.
Simplicity of manner denotes an eaſy and natural ſtyle, in oppoſition to Stiff⯑neſs and Affectation.
A high degree of ornament is conſiſt⯑ent with ſimplicity of manner. Sim⯑plicity is one of the greateſt perfections of ſtyle.
27.
The Vehement and Bold manner be⯑longs to the higher kinds of oratory.
28.
[26]The Pert and Conceited manner is of all others the worſt.
29.
Style is to be improved, by ſtudying to acquire clear ideas on the ſubjects concerning which we write; by the frequent practice of tranſlating, compo⯑ſing, correcting; by attentive peruſal of the beſt authors.
Servile imitation is to be guarded a⯑gainſt.
Attention to ſtyle muſt not be allow⯑ed to detract from a higher attention to thought: Curam verborum, rerum vo⯑lo eſſe Solicitudinem. QUINCTIL.
IV.
[27]1.
ELOQUENCE in general is the art of ſpeaking in ſuch a manner as to attain the end for which we ſpeak.
2.
Eloquence employed with reference to human action and conduct, is the art of perſuaſion.
3.
Perſuaſive eloquence will flouriſh moſt in free ſtates, where reaſon and diſcourſe are the inſtruments by which man acquires power over man.
4.
[28]The Grecian republicks afforded the firſt and moſt remarkable field to elo⯑quence.
The period of Grecian eloquence ex⯑tended from the time of Pericles to the time of Alexander the Great.
The Rhetoricians and Sophiſts were the firſt corrupters of Grecian elo⯑quence.
5.
DEMOSTHENES and CICERO.
6.
The period of Roman eloquence was of ſhort duration; and during the middle ages corrupted taſte prevailed.
7.
[29]In modern times, eloquence, from a concurrence of cauſes, has not made ſo diſtinguiſhed a figure as it did in the ancient republicks.
Ancient eloquence was vehement and pathetick; modern eloquence is temperate and cool.
8.
POPULAR ASSEMBLIES, the BAR, and the PULPIT, form the three prin⯑cipal diviſions of publick ſpeaking in modern times. Each of theſe have their diſtinct character and ſpirit.
9.
In Popular Aſſemblies, perſuaſion ought to be the object, and ſound ar⯑gument and reaſoning the baſis, of the diſcourſe.
[30] The ſpeaker ought to be in earneſt on the ſide which he eſpouſes. One who does not utter his own ſentiments, is ſeldom truly eloquent.
The matter and ſubject ought to be premeditated, rather than a ſet ſpeech prepared.
The warmth and vehemence which publick debate admits, are to be ſub⯑jected to proper reſtraints.
The ſtyle ought to be free and eaſy; the delivery determined and firm.
10.
At the Bar conviction is the object; and the underſtanding is chiefly to be addreſſed.
The ſtate of the bar among the Greeks and Romans allowed more po⯑pular eloquence than the bar allows in Modern times.
Profound knowledge of the law, and diligent attention to the cauſe which is to be pleaded, are the moſt eſſential requiſites.
[31] Purity and neatneſs of ſtyle are to be ſtudied. Verboſity is to be guarded a⯑gainſt. Diſtinctneſs and order are of the higheſt importance.
Dignity of character is carefully to be ſupported.
11.
Gravity and warmth are the two chief characteriſticks of the eloquence of the Pulpit.
A ſermon ought to be a perſuaſive popular oration.
In a ſermon, unity of ſubject ſhould be preſerved; tedious fullneſs avoided; an intereſting manner ſtudied: the ſtyle plain, expreſſive, animated.
No man can be a good preacher with⯑out being an uſeful one. The great end of preaching muſt in every ſermon be kept in view.
12.
[32]The parts that compoſe a regular formal oration are, the Introduction, the Diviſion, the Narration or Expli⯑cation, the Arguments, the Pathetick part, and the Concluſion.
13.
The Introduction ought to be eaſy and natural; plain, but correct; mo⯑deſt; for moſt part calm and tempe⯑rate; proportioned to the diſcourſe.
14.
The Diviſion ought to be clear and ſimple. The partitions ſhould exhauſt the ſubject; ſhould not be multiplied unneceſſarily; ſhould be expreſſed in the moſt conciſe terms.
15.
[33]Narration ought to be perſpicuous, probable, pictureſque: Explication, profound, and diſtinct.
Arguments of a ſeparate nature muſt not be blended together; they muſt be ſo arranged as mutually to ſupport each other; they muſt, for moſt part, a⯑ſcend from the weaker to the ſtronger; they ought to be ſtated without the ap⯑pearance of art.
17.
The Pathetick is confined to no par⯑ticular part of a diſcourſe; and ought not to be introduced by any formal warning.
Paſſions are excited, not by ſhowing the hearers that they ought to be mo⯑ved, but by ſetting before them the [34] circumſtances which are proper for mo⯑ving them.
The ſpeaker muſt feel the paſſion which he endeavours to excite.
The language of paſſion is ſimple, unadorned, fervent, and broken.
An attempt to be pathetick beyond what is proper, extinguiſhes paſſion.
18.
The Concluſion or Peroration is de⯑ſigned to diſmiſs the hearers with a ſtrong impreſſion of the ſubject; and requires to be executed with ſpirit and dignity.
19.
PRONUNCIATION or DELIVERY is one of the moſt important parts of eloquence.
The firſt object in delivery is, to ſpeak ſo as to be fully and eaſily underſtood; the next is, to ſpeak with grace and force.
[35] In order to be eaſily and fully under⯑ſtood, the voice muſt be pitched on a proper key; pronunciation muſt not be rapid and hurried; it muſt be diſ⯑tinct and articulate; it muſt be proper and correct in the ſound given to words.
In order to ſpeak with grace and force, the principal things to be at⯑tended to are, the Emphaſes, the Pauſes, the Tones, and the Geſtures, which belong to diſcourſe.
Theſe, in publick ſpeaking, are to be founded on the manner in which na⯑ture leads us to expreſs ourſelves in a⯑nimated converſation.
An artificial and affected delivery is of all others the worſt. A manner that is natural is always forcible and perſuaſive
20.
Virtue is a qualification eſſential to an orator.
[36] Extenſive knowledge and learning are requiſite, joined with the habits of induſtry.
Attention to the beſt models, and frequent exerciſe of compoſing, and of ſpeaking in publick, are neceſſary means of improvement.
V.
[37]1.
THE reputation of the ANCIENT CLASSICKS is juſtly eſtabliſhed on the approbation which they have re⯑ceived from the general taſte of man⯑kind, throughout many ages, and a⯑mong many nations.
The progreſs of knowledge has given the moderns an advantage in matters of learning and philoſophy.
The ſtudy of the ancient claſſicks is highly favourable to good taſte in every kind of writing.
2.
HISTORY is the record of paſt tranſ⯑actions, intended for the improvement of wiſdom.
[38] Fidelity, impartiality, and accuracy, are the fundamental qualities of a hi⯑ſtorian.
Unity of object ſhould be preſerved as much as poſſible in hiſtorical wri⯑ting.
The moſt complete information ſhould be given concerning every thing that relates to the ſubject of the hiſtory.
Hiſtorical narration ſhould be per⯑ſpicuous, dignified, deſcriptive, and intereſting.
Annals, Memoirs, and Lives, are the ſubordinate parts of hiſtory.
3.
The principal requiſite of Philoſo⯑phical writing is to be clear and pre⯑ciſe. It admits alſo of elegance and ornament.
4.
Dialogue writing ought to be form⯑ed on real animated converſation, and enlivened with a diſplay of characters.
5.
[39]Epiſtolary writing ought to be eaſy natural, and lively. Epiſtles compoſed with a view to publication are general⯑ly ſtiff and over-laboured.
6.
Fictitious hiſtory, if properly con⯑ducted, is both an improving and en⯑tertaining ſpecies of compoſition.
7.
POETRY is the language of enliven⯑ed imagination, formed, moſt com⯑monly, into regular numbers.
Poetry and muſick were at firſt al⯑ways united; and are found in the ear⯑lieſt periods of ſociety, amongſt all nations.
The firſt compoſitions that were re⯑corded by letters, or tranſmitted by [40] tradition, in every country, are poeti⯑cal compoſitions.
The moſt ancient poetical produc⯑tions of all countries, though rude and artleſs, abound with fire and ſpirit.
The art of verſification varies with the genius of different languages.
8.
Paſtoral poetry is founded on the ideas of tranquillity and innocence which are aſcribed to rural life.
In ſhould diſplay what is agreeable in rural life, but conceal what is mean or diſpleaſing.
It requires ſimplicity of thought, and excludes all ſtudied refinements.
Dramatick paſtoral is the higheſt form of this ſpecies of poetry.
9.
Lyrick poetry, or the Ode, derives its peculiar character from its being de⯑ſigned [41] to be ſung, or to be accompa⯑nied with muſick.
Hence the enthuſiaſm, fervour, ab⯑rupt tranſition, and neglect of method, which this ſpecies of poetry admits, of excuſes, more than any other.
Obſcurity and diſorder are to be guarded againſt, as frequent faults in Lyrick poetry.
10.
Didactick poetry profeſſes its inten⯑tion of conveying inſtruction in a di⯑rect manner.
It may be carried on either in the form of a regular treatiſe on ſome uſe⯑ful ſubject; or in the more familiar ſtyle of Satire and Epiſtle.
11.
Deſcriptive poetry is not confined to any one kind, but runs through ma⯑ny different kinds of poetical compoſi⯑tion.
[42] Deſcription is the great teſt of a poet's imagination.
Deſcription is rendered lively by a proper choice of circumſtances.
The circumſtances ſelected for de⯑ſcription muſt not be common and trite ones; but ſuch as are new, ſtri⯑king, and convey a ſtrong impreſſion of the object.
A conciſe comprehenſive ſtyle is more favourable to lively deſcription than a diffuſe one.
The choice of Epithets is of great importance in deſcription.
12.
The SACRED POETRY of the He⯑brews poſſeſſes ſome characters pecu⯑liar to itſelf.
It is formed into periods, each of which conſiſts of two correſpondent verſicles, or members.
It is remarkably ſtrong, conciſe, and figurative in the ſtyle.
The figures are derived from the na⯑tural objects of their own country; [43] from the arts and employments of their common life; from the rites of their worſhip; and the noted incidents of their hiſtory.
The poetical compoſers of the ſacred books are diſtinguiſhed by a difference in their ſtyle and manner.
13.
An EPICK POEM is the recital of ſome great enterpriſe in a poetical form.
The end of Epick poetry is, to excite admiration of heroick actions and cha⯑racters.
The Epick action muſt be one; muſt be great; muſt be intereſting.
An Epiſode is a leſſer action or inci⯑dent ſubordinate to the principal one, and connected with it.
The ſubjects of Epick poetry ought not to be of a recent date.
The Marvellous, or Machinery, is not eſſential to the conſtitution of an [44] Epick poem, but forms a proper orna⯑ment of it.
An Epick poem requires more ſtrength and majeſty in the compoſi⯑tion than any other ſpecies of poetry.
14.
HOMER and VIRGIL.
Simplicity and fire are the character⯑riſticks of Homer; elegance and ten⯑derneſs of Virgil.
15.
Lucan's Pharſalia; Taſſo's Jeruſa⯑lem; Camoens's Luſiad; Fenelon's Telemachus; Voltaire's Henriade; Mil⯑ton's Paradiſe Loſt.
16.
TRAGEDY is an imitation of the manners and actions of men placed in thoſe intereſting ſituations which in⯑ſpire pity or terror.
[45] The end of tragedy is, to improve virtuous ſenſibility.
It is eſſential to tragedy, that the na⯑tural and the probable ſhould reign in it.
For this end the conduct of the plot, and the due connection of the ſeveral parts, muſt be attended to with care.
The unity of Action is more import⯑ant and neceſſary, than the unities, ei⯑ther of Time, or of Place.
Mixed characters are the moſt proper to be repreſented in tragedy; exhibit⯑ing the diſtreſſes which are brought upon men in conſequence of their frail⯑ties and paſſions.
The natural language of paſſion is very different from the deſcription of paſſion.
The ſtyle and verſification of tragedy ought to be free, eaſy, and varied.
17.
The Greek Theatre.
The French Theatre.
The Engliſh Theatre.
18.
[46]Comedy is a ſatirical exhibition of the improprieties and follies of man⯑kind.
Its end ought to be, to render vice and folly ridiculous.
The ſubjects of comedy ſhould be taken from living manners, and the preſent times.
Comedies of character are preferable to comedies of mere intrigue.
Ancient Comedy; French Come⯑dy; Engliſh Comedy; Serious Co⯑medy.
Though the deſign of comedy be uſeful and laudable, yet the execution is often licentious and immoral. It is groſsly ſo among the Engliſh writers.
- Zitationsvorschlag für dieses Objekt
- TextGrid Repository (2020). TEI. 3460 Heads of the lectures on rhetorick and belles lettres in the University of Edinburgh by Hugh Blair D D 1771. University of Oxford Text Archive. . https://hdl.handle.net/21.T11991/0000-001A-5E75-8