Page:On the Sublime 1890.djvu/14

x (ii.) Power of moving the Passions (omitted here, because dealt with in a separate work).

(iii.) Figures of Speech (cc. xvi-xxix).

a. The Figure of Adjuration (c. xvi). The Art to conceal Art (c. xvii).

b. Rhetorical Question (c. xviii).

c. Asyndeton (c. xix-xxi).

d. Hyperbaton (c. xxii).

e. Changes of Number, Person, Tense, etc. (cc. xxiii-xxvii).

f. Periphrasis (cc. xxviii, xxix).

(iv.) Graceful Expression (cc. xxx-xxxii and xxxvii, xxxviii).

a. Choice of Words (c. xxx).

b. Ornaments of Style (cc. xxxi, xxxii and xxxvii, xxxviii).

(α) On the use of Familiar Words (c. xxxi).

(β) Metaphors; accumulated; extract from the Timaeus; abuse of Metaphors; certain tasteless conceits blamed in Plato (c. xxxii).

[Hence arises a digression (cc. xxxiii-xxxvi) on the spirit in which we should judge of the faults of great authors. Demosthenes compared with Hyperides, Lysias with Plato. Sublimity, however far from faultless, to be always preferred to a tame correctness.]

(γ) Comparisons and Similes [lost] (c. xxxvii).

(δ) Hyperbole (c. xxxviii).

(v.) Dignity and Elevation of Structure (cc. xxxix, xl).

a. Modulation of Syllables (c. xxxix).

b. Composition (c. xl).