Language) power of lan- | Law) defined i. 260.

guage to raise emotions,
whence derived i. 68,73.
Language of paffion ch.
17. i. 371. broken and
interrupted i. 373.ofim-
petuous paffion i. 375.
of languid paffion i. 375.
of calm emotions i. 375.
of turbulent paffion i.
376. Language elevated
above the tone of the
fentiment i. 384. too ar-
tificial or too figurative
i. 385. too light or airy
i. 386. Language how
far imitative of nature ii.
3. its beauty with refpect
to fignification ii. 4. 14.
c. its beauty with re-
fpect to found ii. 5. it
ought to correfpond to
the fubject i. 17. its
ftructure explained ii. 33.
Beauty of language from
a refemblance betwixt
found and fignification.
Hi. 63. c. The force
of language proceeds

Laws of human nature)
neceffary fucceflion of
perceptions i. 13.14. 227.
We never act but thro'
the impulfe of defire i.
33. 133. An object lofes
its relifh by familiarity i
86. Paffions fudden in
their growth are equally
fudden in their decay i.
88. i. 302. Every paf-
fion ceases upon attain-
ing its ultimate end i.
89.
Laws of motion) agreeable
i. 152.
Les Freres ennemies) of Ra-
cine cenfured i. 354.
Lex talionis) upon what
principle founded i. 221.
Line) definition of a regular
line ii. 376.
Littlenefs) is neither plea-
fant nor painful i. 162.
Logic) caufe of its obfcu-
rity and intricacy i. 330.
Logie) improper in this cli-
mate ii. 341.

from raifing complete i-Love) to children account-

mages ii. 249. its power
of producing pleasant e-
motions ii. 271. With-
out language man would
scarce be a rational be-
ing ii. 387.
L'avare) of Moliere cen-
fured i. 368.
Laughter i. 201.
Laugh of derifion or fcorn
i. 256.

ed for i. 49. The love
a man bears to his coun-
try explained i. 49. Love
produced by pity i. 55.
It fignifies more com-
monly affection than
paffion i. 87. To a lo-
ver abfence appears long
i. 121. Love affumes
the qualities of its object
i. 132. confidered with

respect

refpect to dignity and Marvellous) in epic poetry
ii. 294.

meanness i 265.266. fel-

dom conftant when Meannefs i. 262. &c.

founded on exquifite
beauty i. 309. ill repre-
fented in French plays i.
365. when immoderate
is filent i. 373.
Love for love) cenfured ii.
305.
Lownefs) is neither pleafant
nor painful i. 162.
Lucan) too minute in his
defcriptions i. 175. cen-
fured ii. 279.
Ludicrous i. 2c1. may be
introduced into an epic
poem i. 226.
Lutrin) cenfured for incon-
gruity i. 252. characte-
rized i. 270.
Luxury) corrupts our tafte
ii. 365.
Machinery) ought to be
excluded from an epic
poem i. 75. ii. 290. does
well in a burlesk poem

i. 75:
Man) fitted for fociety i.

142. Conformity of the
nature of man to his ex-
ternal circumftances i
185. 333. The diffe-
rent branches of his in-
ternal constitution finely
fuited to each other ii.
344. 362.
Manners) grofs and refined

i. 83. The bad tendency
of rough and blunt man-
ners i. 332. Note.

Means) the means or in-
ftrument conceived to

موع

be the agent ii. 203.
Measure) natural measure
of time i. 121. &c. of
fpace i. 127. &c.
Medea) of Euripides cen-
fured ii. 317.
Melody) or modulation de-
fined ii. 76. distinguished
from harmony ii. 77.
Note.
Members of a period) have
a fine effect placed in an
increafing feries ii. 13.
Memory) and judgment in
perfection feldom united
i. 17. Memory and wit
often united i. 17. Me-
mory ii. 371.
Merry wives of Windfor)
its double plot well con-
trived ii. 298.
Metaphor ii. 209. &c.
Metre ii. 92.

Mile) the computed mites
are longer in a barren
than in a populous coun-
try i. 126.
Milton) his ftyle much in-

verted ii. 126. The de-
fect of his verfification is
the want of coincidence
betwixt the paufes of the
fense and the found ii.
130. the beauty of Mil-
ton's comparifons ii. 150.
Moderation) in our defires
contributes

contributes the most to Mufic) vocal diftinguished

happiness i. 157.
si.
Modern manners) make a
poor figure in an epic
poem ii. 287.
Modification) defined ii.
383.

Modulation) defined ii. 76.
Moloffus ii. 139.
Monofyllables) English, ar-
bitrary as to quantity ii.
93:
Moral Duties) See Duties.
Morality) its foundation ii.
358. Aberrations from its
true ftandard ii. 364.
Moral tragedy ii. 279.
Motion) productive of feel-
ings that refemble it i
130. Its laws agreeable
152. Motion and force,
ch. 5. i. 185. &c. What

i.

motions are the most
agreeable i. 185. Regu-
lar motion i. 186. acce-
lerated motion i. 186.
upward motion i. 186.
undulating motion i.186.
Motion of fluids i. 186.
A body moved neither
agreeable nor difagreea-
ble i. 186. The pleasure
of motion differs from
that of force i. 187.
Grace of motion i. 190.
Motions of the human
body i. 190.
Motive) defined i. 35. 36.
Mount) artificial ii. 332.
Mourning Bride) cenfured

i. 356. 367. ii. 313-320.

from inftrumental i. 99.
What fubjects proper for
vocal music i. 100. &c.
Mufic betwixt the acts
of a play, the advantages
that may be drawn from
it ii. 315. Though it
cannot raife a paffion, it
difpofes the heart to va-
rious paffions ii. 316.
Mufical inftruments) their
different effects upon the
mind i. 169.
Mufical measure) defined
ii. 96.

Narration) it animates a

narrative to reprefent
things paft as prefent i.
71. Narration and de-
fcription, ch. 21. ii. 246.
It animates a narrative,
to make it dramatic ii.
264. 278.
Nation) defined ii. 386.
Note, a high note and a

low note in music i. 166.
Novelty and the unexpect-
ed appearance of objects,
ch. 6. i. 191. Novelty a
pleafant emotion i. 193.
c. diftinguished from
variety i. 197. its differ-
ent degrees i. 197. &c.
Number) defined ii. 343.
Object) of a paffion defin-
ed i. 34. An agreeable
object produceth a plea-
fant emotion, and a dif-
agreeable object a pain-
ful emotion i. 134. at-
tractive