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XVI. The Knowledge of the Heart of Man, ne-

cesary to a Preacher.

XVII. In what this Knowledge of Man's Heart

confifs.

XVIII. The pathetick Stile, the true Character for

the Pulpit.

XIX. This Stile described.
XX. Men do not take Care to distinguish between

false Passion and true.
XXI. To seek to please and entertain, rather than

to move, quite wrong in Preaching.

XXII. The Preacher’s Piety, gives Success to his

Sermon.

XXIII. He that would succeed in the Pulpit, must

have no Interest or Aim but the Salvation of his

Hearers.

XXIV. He must renounce the Suggestions of Vanity.

XXV. And even the Charm of Reputation.

XXVI. Of the Choice of Subjects, for a Preacher.

XXVII. Too nice Divisions in a Sermon, to be ao

voided, as all Manner of Affectation of playing the

Wit.

XXVIII. The Success of the Apostles in Preaching

the Gospel was oming to their Strictness in pra&is-

ing it.

XXIX. A Pretence and Shew of greater Severity

than we really have, very inconvenient.
XXX. Nothing more dangerous in a Preacher, than

extravagant and enthusiastick Zeal.
XXXI. A Preacher very unfit to reprove the Faults

of others, if he does not correct his own.
XXXII. Sacred Eloquence ought to support it self by

Simplicity and good Sense, without too much

studied Artifice.

XXXIII. The true Eloquence of the Pulpit is to in-

fmuate the same Thought by different Turns of Ex-

pression.

XXXIV. No Reflections to be made upon particu-
lar Persons.

XXXV.

A 4

Xull Nature and Genius do more than Art or Rules.
XIV. A Man must be well acquainted with his

oton Genius, if he would righely follow it.
XV. He must follow it, if be toould bring it to

Perfection.
XVI. The Poet's Genius must be governed.
XVII. The Way of governing it is by the Precepts of

Art, such as are delivered by Aristotle, Horace

and others.
XVIII. Art is but the Instrument of Nature.
XIX. The first Work of Art in de Poem, is the De-

siga.
XX. 'Tis this that Aristotle calls the Constitution

of the Parts of the Fable ; it must be compos'd

of Truth and Fiction.
XXÍ. Two Sorts of Fables, fimple and compound,

the firft having no Change of Fortune, as the
second hath.
XXII. The Fable must be wonderful, and yet pro-

bable ; with the Reason of both.
XXIII. What Sort of Temperament to be made of the

Marvellous and the Probable.
XXIV. Why Poesie comports better with Probability

than with Truth.
XXV. The Manners are, as it were, the Principle

of A&ion, and must represent each Person in
his
proper

Character. A Censure of the Genera-
lity of Poets upon this Article.
XXVI. The Sentiments express the Manners.
XXVII. The Diction has its proper Graces by which

It arises to the Marvellous Character.
XXVIII. Homer and Virgil the most accomplish'd

Models, both for. Diction and Versification.
XXIX. The Grandour of Exprellion, must arise

from well-plac'd Figures.
XXX. The Grand Stile cannot succeed, unless it be

supported by Great Thoughts.
XXXI. The French weaken their Poetry, by studying
too nice a Purity of Language:

XXXII.

XXXII. Few Examples of Great and Sublime Poe-

try among the Moderns.

XXXIII. Poetry rendred fine by the Choice of great
Subjects, and of natural Beauties.
xxxiv. There is a Sort of Rhetorick peculiar to

Poetry, and in what it confifts.
XXXV. The Beauty of this Art much owing to the
ist Order that it preserves.
XXXVI. Next to the Order and Disposition, the

greatest Charms of Poetry arise from its Manners

and Passions: bowo these are to be treated.
XXXVII. Number and Harmony, a Grace of Po-
Tietry, known to "fero.
XXXVIII. Everii Language bas its poetical Beau-

ties.

XXXIX. The chief poetical Beauty is the Decorum.

XL. A View of orber Beauties, and other Defaults

of Poetry.

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Chap.VnEpick

Refle&ions upon Poesie in Particular.
Chap. I. THree Species of perfe& Poems, the

Epick, Tragedy and Comedy ;
the other Species are imperfect.

11. The Epick Poem is the greatest Work of the

Mind of Man.

III. A Genius too vast and irregular, not proper far

this Undertaking.

IV. The End of this poem is the Instruction of Prin-

ces and Great Men.

V. It's Matter is an heroical Aqion: the Quali-

ties of this Action.

VI. The Action must neither be too vast, nor too much

confin'd.

VII. The Unity of A&tion ought to have some Sort

of Diversity.

VIII. * It

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