Clearness and obscurity, 62 33-63 16. Use of hyperbole, 63 16-32. Use and misuse of metaphor, 63 32–64 14. In general, 64 15–22. With respect to structure, 64 23-65 13. As to "figure and feature," 65 14-18. As to "composition," i.e. construction, 65 19-24. Further comparison of style to the human frame, 65 24–66 9. Observations of Bacon on the distempers of learning in: 1. The study of words. 2. Vain matter. 3. Deceit, 66 10-16. Danger of undue regard for authority applied to the question of style, 66 16-67 11. Of the able writer, 67 12-68 13. Necessity of a correspondence of matter and manner, 68 13. Of epistolary style, 68 14-72 4. 1. Invention, 68 14-30. 67 17 2. Ordering: a. According to the understanding of the recipient. b. In logical sequence, 68 30-69 9. 3. Style: a. Brevity, determined by the estate of him to whom you write; obtained by avoiding idle words, 69 10-70 21. b. Perspicuity, attained by avoidance of undue brevity or circumlocution, 70 22-71 26. c. Vigor, obtained by proper use of figure, allusion, 71 27-32. d. Discretion, in what fits the writer, and the recipient, 71 32-72 4. Of poetry, 72 5-87 19. The "peccant humors" of poetry, 72 5-18. Satire justified, 72 19-73 26. The poet and his art defined, 73 27–36. Length not determinative of the word poem, the varieties of poems, 74 1-18. Poesie, the poet's art or craft, 74 19-75 13. 1. Of divine origin, 74 28. 2. The rule and pattern of living well, 74 32-75 6. 3. "The nearest kin to virtue," 75 8. 4. "A dulcet and gentle philosophy," 75 11-13. Nature and requisites of the poet, 75 13–21. 2. Divine inspiration, 75 24-76 13. 3. Exercise of his talents and diligent labor, 76 14–77 12. poet to his own use," 77 13-28. 5. "Study and multiplicity of reading," 77 29-78 2. 6. Art, the crown of the rest. To be attained by study of Horace and Aristotle, and the adaptation of study to his own talents, 78 2-32. 7. Civil prudence and eloquence, 78 32–79 3. The poet nearest to the orator, 79 3–6. Especially the writer of comedy, 79 6–29. The freedom of the poet in his art affirmed, 79 30-80 6. The poet alone can judge of poets, 80 18. The nature of critics, 80 20-30. Horace's and other critical opinions of Latin poets, 80 30-81 26. V Parts of the drama, 81 29–83 13. Its end to teach by moving, 81 29–33. The mere causing of laughter unworthy, 81 33-83 13. Of the magnitude and compass of the fable, 83 14–87 19. The fable (μulos) defined, 83 18-30. Its magnitude varies with the nature of the work, 83 30-84 10. Unity of action differs in dramatic and epic form, 84 11-25. The measure of the fable must not be too great or too small, 84 25-85 3. The compass of the fable, 85 4-20. Necessity of proportion, involves : 1. Unity of time. 2. Scope for episode. Unity considered with reference to its parts, 85 21–34. A single hero not sufficient to connect disjointed adventures, 85 34-86 17. Instances of correct usage and of violation of unity, 86 18-87 6. A necessary part such that its removal will destroy unity, 87 7-13. An episode defined, 87 13–19. Misplaced note on roughness of style, 87 20-24. TIMBER: OR, DISCOVERIES MADE UPON MEN AND MATTER, AS THEY HAVE FLOWED OUT OF HIS DAILY READINGS; OR HAD THEIR REFLUX TO HIS PECULIAR NOTIONS OF THE TIMES, BY BEN JONSON. Tecum habita, ut noris quam sit tibi curta supellex. PERSIUS, Satire iv, 52. SYLVA Rerum et sententiarum quasi "ɣλŋ dicta a multiplici materia et varietate in iis contenta. Quemadmodum enim vulgo solemus infinitam arborum nascentium indiscriminatim multitudinem Sylvam dicere: ita etiam libros suos in quibus varia et diversa materiæ opuscula temere congesta erant, Sylvas appellabant antiqui: Timber trees. |