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Lutrin) censured for incongruity i. 268. characterised i. 291.
Luxury) corrupts our taste ii. 391.
Machinery) ought to be excluded from an epic poem i. 86. ii. 304.

does well in a burlesque poem i. 87.
Malice) how generated i. 98. Why it is perpetual i. 101.
Man) a benevolent as well as a selfish being i. 149. fitted for society

i. 154. Conforniity of the nature of man to his external circum-
stances i. 176. 201. 206. 263. 351. Man intended to be more ac.
tive than contemplative i. 283. The different branches of his in.
ternal constitution finely suited to each other ii. 363. 388.
Manners) gross and refined i. 94. The bad tendency of rough and
Motion of fluids i. 202.. A body moved neither agreeable nor
disagreeable i. 203. The pleasure of motion differs from that of
force i, 203. Grace of motion i, 206. Motions of the human
body i, 206. Motion explained ii. 402.
Motive defined i. 45. A felfish motive arising from a social princi.

blunt manners i. 350. note. Modern manners make a poor figure

in an epic poem ii. 301.
Manufactures) the effe&t of their productions with respect to moral-

ity ii. 355. note.
Marvellous) in epic poetry ii. 309.
Means) the means or instrument conceived to be the agent ii. 211,&c.
Measure) natural measure of time i. 134, &c. of space i. 140, &c.
Meaux) Bishop of, censured i. 239.
Medea) of Euripides censured ii. 333.
Melody or modulation defined ii. 80. distinguished from harmony ii.
81. note.

In English heroic verse are four different sorts of mel.
ody ii. 99. 119, Melody of blank verse superior to that of rhyme,

and even to that of hexameter ii. 130.
Members of a period) have a fine effect placed in an increasing series

ii. 13, 14,
Memory) and judgment in perfection seldom united i. 29. Memory

and wit often united i. 29. greater with respe&t to perceptions
than ideas i, 138, Memory ii. 398,
Merry wives of Windsor) its double plot well contrived ii, 314,
Metaphor ii, 217, &c. In early compofitions of nations we find met.
aphors much strained ži,

224
Metre ii. 95
Mile) the computed miles are longer in a barren than in a populous

country i. 139.
Milton) his style much inverted ii, 130, The defect of his versifica-

tion is the want of coincidence betwixt the pauses of the sense
and found ii, 133. The beauty of Milton's comparisons ii. 156.
Moderation in our desires contributes the inost to happiness i, 168,
Modern manners) make a poor figure in an epic poem ii, 302,
Modification) defined ii. 411,
Modulation defined ii. 80.
Molossus ii. 142.
Monofyllables) English, arbitrary as to quantity ii. 96,
Moral duties. See Duties.
Morality) a right and a wrong taste in morals ii. 385, Aberrations

from its true standard ii, 389.
Moral sense i. 39. Our pallions as well as actions are governed by
Moral tragedy ii. 294.
Motion) requires the constant exertion of an operating cause i. 95.

productive of feelings that resemble it i. 144. Its laws agreeable
i. 165. Motion and force, ch. 5. What motions are the mothy
agreeable i, 201, 202. Regular motion i, 202, Accelerated mo-
fiori, 202, Upward motion i, 202, Undulating motion i, 202,

it i, 190.

ple i. 46. note,
Movement) applied figuratively to melody ii. 71,
Mount) artiticial ii. 350,
Mourning Bride) centured i. 375. 386. 403. ii. 329. 337.
Music) emotions raised by instrumental music liave not an object i.

57. Music disposes the heart to various paffions ii, 331, refined
pleasures of music i. 50, Vocal distinguished from instrumental
i, 113. What fubjects proper for vocal musici. 113, &c. Sen-
timental music i. 113. note. Sounds fit to accompany disagreea-
ble paffions cannot be musical i. 113. note. What variety proper
i. 257. Mafic betwixt the acts of a play, the advantages that

may be drawn from it ii. 331. It refines our nature i. 50,51.
Mufical instruments) their different effects upon the mind i. 184.
Musical measure) defined ii. 80.
Narration) it animates a narrative to represent things past as present

i. 83. Narration and description, ch. 21. It animates a narra.

tive to make it dramatic it. 277, 278. 292, 293.
Nation) defined ii. 416.
Note) a high note and a low note in music i. 180,
Noun ii. 36.
Novelty) foon degenerates into familiarity i. 101. Novelty and the

unexpected appearance of objects, ch. 6. Novelty a pleasant
einotion i. 209,6c. distinguished from variety i. 213. its different
degrees i. 213, c. fixes the attention i. 245.
Number) defined ii. 362. explained ii. 402,
Numerous) defined iij. 80,
Obje&t) of a passion defined i. 43. distinguished into general and par.

ficular 1. 43. An agreeable object produceth a pleasant emotion,
and a disagreeable object a painful emotion i. 148. Attractive
object i. 148. Repulsive object i. 149. Objects of light the most
complex. i. 158. Objects that are neither agreeable nor disagree-
able i. 176. 201, 202. Natural objects readily form themselves
into groups i. 264. An object terminating an opening in a wood,
appears doubly distant ii. 346. Object defined ii. 394. Objects
of external sense in what place perceived ii. 394, 395. Objects
of internal sense ii. 395. All objects of light are complex ii. 412,

413. Objets fimple and complex ii. 412, 413.
Obstacles) to gratification infiame a pallion i. 100.
Old Pachelor) censured č. 322.
Opera) cenfured i. 266.
Opinion) influenced by paflion i. 184, &c. ii. 181. influenced by pro-

pensity i. 133. influenced by affection i. 134. Why differing from
me in opinion is disagreeable ii. 385. 'Opinion defined ii. 408.
Oration) of Cicero pro Archia poeta censured ii. 65.
Orchard ji. 351.
Order i. 29, &c. 164. ii. 407. Pleasure we have in order i. 31. nec

essary in all compositions i. 32. Sense of order has an influence
upon our pallions i. 66. Order and proportion contribute to
grandeur is 171. Whep a list of many particulars is brought in,

to a period, in what order should they be placed ? ii. 59, &c. Or.

der in ftating facts ii. 390.
Organ of sense i. 9.
Organic pleafurei. 9, 10, &c.
Orlando Furioso) cenfured ii. 321.
Ornament) ought to be suited to the subje& i. 269, &c. Redun-

dant ornaments ought to be avoided ii. 256. Ornaments distin.
guished into what are merely fuch, and what have relation to use
ii. 370. Allegorical or emblematic ornaments ii. 378.
Ollian) excels in drawing characters ii. 268.
Othello) censured ii. 290.
Ovid) cenfured i. 257.
Pæon ii. 143, 144..
Pain) ceffation of pain extremely pleasant i. 55. Pain, voluntary

and involuntary i. 93, 94. Different effects of pain upon the
temper i. 94. Social pain less fevere than selfish i. 94. Pain of a
train of perceptions in certain circumstances i. 215. Pain leffens

by custom i. 328. Pain of want i. 329.
Painful emotions and passions i. 88, &c.
Painting) power of painting to move our pallions i. 82. Its power

to engage our beliefi. 85. What degree of variety is requisite
i. 255, 256. A picture ought to be fo limple as to be seen at one
view i. 356. In grotesque painting the figures ought to be small,
in historical painting as great as the life i. 181. Grandeur of
manner in painting i. 191. A landscape admits not variety of ex-
presfion i. 241. Painting is an imitation of nature ii. 3. In hif-
tory-painting the principal figure ought to be in the best light ii.
279. A good picture agreeable, though the subject be disagree-
able ii. 286. Objects that strike terror have a fine effect in paint-
ing ii. 288. Objects of horror ought not to be represented ii.
289. Unity of a tion in a pi&ture ii. 322. What emotions can be

raised by painting ii. 339.
Panic) cause of it i. 146.
Paridise Loft) the riclmess of its melody ii. 130. Censured ii. 302, 303.
Parallelogram) its beauty i. 164.
Parody) defined i. 297. 362. note.
Particies ii. 109. not capable of an accent ii. 116.
Pallion) no pleasure of external sense denominated a passion, except

of seeing and hearing i. 36. Paffion distinguished from emotion
i. 42, &c. Objects of pallion i. 43. Pallions distinguish into
instinctive and deliberative i, 45.70, &c. what are relish, what
social i. 45. what diffocial i. 46. Paslion communicated to
related objects i. 60, &c. ii. 53.68. 115. 185. 238. Generated
by a complex object i. 66. A passion paves the way to others of
a similar tone i. 68. A paflion paves the vay to others in the
fame tone i. 68. Paffion raised by painting i. 81. Passions con-
fidered as pleafant or painful, agreeable or disagreeable i. 91, &c.
Our pasions governed by the moral sense i. gi. Social passions
more pleasant and less painful than the selfish i. 94. Pallions are
infe&ious i. 91. 146. are refined or gross i. 24. Their interrupt.
ed existence i. 95, &c. Their growth and decay i. 97, &c. The
identity of a passion i. 96. The bulk of our passions are the
fe&tions of love or hatred inflamed into a pasion i. 99. Pallions
have a tendency to excess i. 99. Paffions swell by opposition i.
100. A pulion sidden in growth is sudden in decay i. 101.,

passion founded on an original propensity endures for life 1. 109,
founded on affection or aversion is subject to decay i, 102. A
pallion ceases upon attaining its ultimate end i. 101, 102. Coex.
iftent paffions i. 102, &c. Pallions similar and dissimilar i. 116.
Fluctuation of pallion i. 117, &c. 364. Its influence upon our
perceptions, opinions and belief i. 124, &c. 136. 142, 143. 230.

232. ii. 180. 202. 204. 211, &c. Paffions attractive and repal.
five i. 149. 346. Prone to their gratification i. 155. Paffions
ranked according to their dignity i. 281, 282, 283. Social paf-
fions of greater dignity than selfish i, 285. External signs of paf-
fions, ch. 15. Our pallions hould be governed by reason i. 369.
Language of pailion, ch. 17. A pallion when immoderate is fi-
lent i. 390, 391. Language of pallion broken and interrupted i.
391. What passions admit of figurative expression i. 392. ii. 162.
164. Language proper for impetuous paifion i. 393. for melan-
choly i. 394. for calm emotions i, 394. for turbulent passion i.
394. In certain paffions the mind is prone to bestow sensibility
upon things inanimate ii. 162. 180. With regard to paifion man
is pailive ii. 395. We are conscious of passions as in the lieart ii.

396.
Pallionate) personification ii. 188.
Passive subject) defined ii. 416.-
Pathetic tragedy ij. 293.
Pause) pauses necessary for three different purposes ii. 82. Musical
pauses in an hexameter line ii. 87. Musical pauses ought to coin-
cide with those in the sense ii. 89.91. What musical pauses are
essential in English heroic verse ii.99. Rules concerning them ii.
100, 101. Pause that concludes a couplet ii. 110. Pause and ac-

cent have a mutual influence ii. 122.
Pedestal) ought to be sparingly ornamented ii. 371.
Perceptions) more easily remembered than ideas i. 139. Succession
of perceptions i. 25. 243. Unconnected perceptions find not easy
admittance to the mind i. 245. 250. Pleasure and pain of per-
ceptions in a train i. 249, &c. Perception defined ii. 396. describ-
ed ii. 414. Original and secondary ii. 398, &c. Simple and com-

plex ii, 397.
Period) has a fine effect when its members proceed in the form of

an increasing series ii. 13. In the periods of a discourse variety
ought to be Itudied ii. 14. Different thoughts ought not to be
crowded into one period ij. 25. The scené ought not to be changed
in a period ii. 31. A period so arranged as to express the fenfe
clearly, seems more musical than where the sense is left doubtful
ii. 50. In what part of the period doth a word make the great.
est figure ii. 58. A period ought to be closed with that word
which nrakes the greatest figure ii. 59. When there is occafion to.r:
mention many particulars, in what order ought they to be plac-
ed i. 60, &c. A short period is lively and familiar, a long peri-
od grave

and folemn ii. 64. A discourse ought not to commence
with a long period ii. 64.
Personification ii. 180, &c. Passionate and descriptive ii. 187,
Perfpicuity) a capital requisite in writing ii. 15. Perspicuity in ar-

rangement ii. 43.
Phantasm ii. 399. note.
Pharfalia) censured ii. 293.
Phedra) of Racine censured i. 334: 397.
Plsture) See Painting,

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Pilaster) less beautiful than a column ii.

374.
Pindar) defective in order and connection i. 32.
Pity) defined i. 42. apt to produce love i. 68. always painful,

yet always agreeable i. 92. resembles its cause i. 146. What are

the proper objects for raising pity ii. 296, &c.
Place) explained ii. 413.
Plain) a large plain, a beautiful objecti. 143.
Planetary system) its beauty i. 205.
Plautus) the liberty he takes as to place and time ii. 335.
Play) is a chain of connected facts, each scene making a link ii. 321.
-Play of words) i, 309, 405, &c. gone into diffepute i. 310.

parisons that resolve into a play of words ii. 218, &e.
Pleåfant emotions and passions i. 88, &c. Social paflions more pleaf-

ant than the selfish i. 93. Pleasant pain explained i: 105:
Pleasure) pleasures of seeing and hearing diftinguished from those of

the otller senses i. 9, &c. pleasure of order i. 25. of connectioni.
30. Pleasures of taste, touchi, and smell, not termed emotions or
pallions i. 36. Pleasure of a reverie i.99.251. Pleasures refined
and grossi, 93. Pleasure of a train of perceptions in certain cir-

cumstancesj. 249, &c. Corporeal pleafure low; and, fonetimes
mean i. 282. Pleasures of the eye and ear never low or mean ia
282. "Pleasures of the under ftanding are high in point of dignity
i. 283. Custom augments moderate pleafures, but diminifiesthole
that are intense'i. 329. Some plealures felt internally, fome ex-

ternally ii. 404?
Poet) the chiet talent of a poet who deals in the pathetici. 337.
Poetical flights) in what state of mind they are most relished iis 16123
Poetry grandeur of manner in poetry i. 186, & &. "How far variety

is proper i. 256. Objects that strike terror bave a fine effect in
it ii. 288. Objects of horror ought to be banished from it in 289.
Poetry has power over all the human affections ii. 339. The

moft fuccefstal in describing objects of fight ii. 403.
Polite behaviour i. 94,
Polygon) regular its beauty. i. 163.
Polyfyllables) how far agreeablet to the ear ii. 7,8. feldom liave place

in the construction of English verse ii. 99. 119.
Pompey) of Corneille censured i: 372. 382.384, 385.
Poor) habit puts them on a level with the richi, 331.
Pope) excels in the variety of his melody ii. 112. censured ii. 198.

201, 273. His Nyle compared with that of Swift ii. 278.
Polture) constrained posture disagreeable to the spectatori. 145.
Power of abstraction ii. 412, 413. its use ii. 414, 415.
Prepositions explained ii. 39.
Pride) how generated i. 98. why it is perpetual i. 101. incites us to

ridicule the blunders and absurdities of others i. 274. a plenfant,
"pallion i. 274. 345. confidered with respect to dignity and neao-

ness i. 283. Its external expressions or figns disagreeable i. 345.
Primary and secondary qualities of matter i. 166. Primary and lec-

ondary relations i. 267. notes
Principle) of order i. 29. of morality i. 39.57.275, &c. of self-pref-

ervation i. 70. of felbfhness i. 149. of benevolencei. 149, &c. of
punifhment i, 151. 277. Principle that makes us fond of esteem
i. 155. 185. of curiosity i, 207, 203. 222. of habit ja 328, 329.-
Priuciple that makes us with others to be of our opinion ii. 385,
386. Principle defined ii. 408. sometimes fo enlivened as to become
an emotion i, 58. See Propensity.
VOL. II,

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