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i. 1520

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

guage to raise emotions. Laws of human nature)
whence derived i. 68,73.

necessary fucceflion of
Language of paifon ch. perceptions i. 13.14. 227.
!7. i. 371. broken and We neve's act but thro'
interrupted i. 373.of im the impelle of desire i.
petuous passion i. 375.

33. 133. An object loses
of languid paflion i. 375. its relish by amiliarity i.
of calm emotions i.


86. Paflios sudden in
of turbulent paffica i. their growth are equally
376. Language elevated sudden in the decay i.
above the tone of the 88. i. 302. Every par-
fentiment i. 384. too ar fior ceales upon attain-
tificial or tou figurative ing iis ultimate end i.
i. 385. too light or airy 89.
i. 386. Language how Laws of motion) agreeable
far imitative of nature ii.
3. its beauty with respect Les Freres ennemies) of Ra-
to fignification ii. 4. 14.

cine censured i. 354.
&c. its beauty with re Lex talionis) upon what
spect to found ii.


it principle founded i. 221.
ought to correspond to Line) definition of a regular
the subject ii. 17. its line ii. 376.
structure explained ii. 33. Littleness) is neither plea-
Beauty of language from sant nor painful i. 162.
a resemblance betwixt Logic) cause of its obscu-
found and fignification. rity and intricacy i. 330.
ii. 63. &c. The force Logio) improper in this cli-
of language proceeds

mate ii. 341.
from raising complete i- Love) to children account-
mages ii. 249 its power ed for i. 49. The love
of producing pleasant e. a inan bears to his coun-
motions ü. 271. With try explained i. 49. Love
out language man would produced by pity i. 55.
scarce be a rational be It signifies more
ing ii. 387

monly affection ihan
L'avare) of Moliere cen paffion i. 87. To a lo-
fured i. 368.

ver absence appears long
Laughter i. 201.

i. 121

Love assumes
Laugh of derision or fcorn the qualities of its object
i. 256.

132. considered with



ii. 294

is filent i. 373.

sured ii. 317.

sured ii. 279.

respect to dignity and Marvellous) in epic poetry
meanness i 265.266. sel-
dom constant when Meannessi. 262. &c.
founded on exquisite Means) the means or in-
beauty i. 309. ill repre ftrument conceived 10
sented in French plays i. be the agent ii. 203. & c.
365. when immoderate Measure) natural measure

of time i. 121. Coc. of
Love for love) censured ii. space i. 127. & C.

Medea) of Euripides cen-
Lowness) is neither.pleasant

nor painful i, 162. Melody) or modulation de-
Lucan) too minute in his fined ii. 76. distinguished
descriptions i. 175. cen from harmony ii. 77.

Ludicrous i. 201. may be! Members of a period) have

introduced into an epic a fine effect placed in an
poem i. 226.

increasing series ii. 13.
Lutrin) censured for incon- Memory) and judgment in
gruity i. 252. characte perfection feldom united

i. 17. Memory and wit
Luxury) corrupts our tafte often united i. 17. Me-

mory ii. 371.
Machinery) ought to be Merry wives of Windsor)

excluded from an epic its double plot well con-
poem i. 75.

290. does

trived ii. 298.
well in a burlesk poem Metaphor ii. 209. &c.
Man) fitted for society i. Mile) the computed miles

142. Conformity of the are longer in a barren:
nature of man to his ex than in a populous coun
ternal circumstances i.

try i. 126.
185. 333. The diffe- Milton) his style much in
rent branches of his in verted ii. 126. The de-
ternal constitution finely fect of his versification is-
suited to each other ii. the want of coincidence
344. 362.

betwixt the pauses of the
Manners) gross and refined sense and the found ii.
i. 83. The bad tendency

130. the beauty of Mil
of rough and blunt man ton's comparisons ii. 150.
ners i.

Moderation) in our desires


rized i. 270.

ii. 365.

i. 75;

Metre ii. 92.

332. Note.

contributes the most to Music) vocal distinguished
happiness i. 157

from inftrumental i. 99.
Modern manners) make a What subjects proper for

poor figure in an epic vocal music i. 100. &c.
poem ii. 287.

Music betwixt the acts
Modification) 'defined ii. of a play, the advantages

that may be drawn from
Modulation) defined ii. 76. it ii. 315. Though it
Molossus ii. 139.

cannot raise a passion, it
Monofyllables) English, ar disposes the heart to va.

bitrary as to quantity ii. rious passions ii. 316.

Musical instruments) their
Moral Duties) See Duties. different effects upon

Morality) its foundation ii.

mind i. 169.
358. Aberrations from its Musical measure) defined

true standard ii. 364. ii. 96.
Moral tragedy ii. 279.

Narration) it animates a
Motion) productive of feel narrative to represent

ings that resemble it i. things paft as present i.
130. Its laws agreeable 71.

Narration and de-
i. 152. Motion and force, scription, ch. 21. ii. 246.
ch. 5. i. 185. &c. What It animates a narrative,
motions are the most to make it dramatic ii.
agreeable i. 185. Regu 264. 278.
lar motion i. 186. acce- Nation) defined ii. 386.
lerated motion i. 186. Note, a high note and a
upward motion i. 186. low note in music i, 166,
undulating motion 1.186. Novelty and the unexpect-
Motion of fluids i. 186.

ed appearance of objects,
Abody moved neither ch. 6. i. 191. Novelty a
agreeable nor disagreea-

pleasant emotion i. 193.
ble i. 186. The pleasure

&c. diftinguished from
of motion differs from

variety i. 197. its differ-
that of force i. 187.

ent degrees i. 197. &c.
Grace of motion i. 190. Number) defined ii. 343:
Motions of the human Object) of a pafsion defin-

ed i. 34. An agreeable
Motive) defined i. 35. 36. object produceth a plea-
Mount) artificial ü.

332. fant emotion, and a dif-
Mourning Bride) censured agreeable object a pain-
i. 356. 367. ii. 313-320.

ful emotion i. 134. ata


body i. 190.

ii. 304.

tractive object i. 135. re- Organ of sense i. 1. pulfive object i. 135. Ob- Organic pleasure i. 1. 2. 3. jects of light the most Orlando Furioso) censured complex i. 145. Objects that are neither pleasant Ornament) redundant orpor painful i. 185. 162. naments ought to be a186. Objects of external voided ii. 246. Ornasense in what place they ments in architecture ii. are perceived ii. 368. 350. Allegorical or emObje&ts of internal fenfe blematic ornaments ii. ii. 369. Alll objects of 353. fight are complex ii. Othollo censured ii. 276. 383. Objects simple and Pæon ii. 140. complex ii. 384. 'Object Pain) ceffation of pain exdefined ii. 387.

tremely pleasant i. 41. Old Batchelor) cenfured ii. Pain leffens by custom i. 305.

309. ii. 357. Some pains Opera) censured i. 252. felt internally fome exOpinion) influenced by pal ternally ii. 375 fion i. 111. &c. ii. 175. Painful emotions and pallje influenced by propensity ons i. &c. 76. 1. 120. influenced by af- Painting) in grotesquepaintfection i. 120. why dis ing the figures ought to fering from me in opini be small, in historical on is disagreeable ii

. 359. painting as great as the Opinion defined ii. 381. life i. 166. Grandeur of Oration) pro Arcbia poeta manner in painting i.175. censured ii. 60.

Painting is an imitation

of nature ii. 3. In histoOrder) i. 17. &c. ii. 378. Ty-painting the principal pleasure we have in order

figure ought to be in the i. 19. necessary in all best light ji. 266. A compositions i. 21. Sense

good picture agreeable, of order has an influence though the fubject be upon our passions i. 53. disagreeable ij. 271. Obwhen a list of many par

jects that strike terror ticulars is brought into a have a fine effect in paintperiod, in what order ing ii. 273. Objects of fhould they be placed ? horror ought not to be ii. 55. Order in ftating represented ii. 274. What

emotions can be raised


Orchard ii. 334.

facts ii. 304.

Note. 343.

by painting ii. 323.

ceases upon attaining its Panic i. 132.

ultimate end i. 89. CoParallelogram) its beauty i. existent passions i. 9o 190.

&c. Passions similar and Parody) defined i. 277.

dissimilar i. 102. Fluc

tuation of passion i. 106. Particles ii. 105. not capa

&c. Its influence upon ble of an accenc ii. 106. our opinions and belief 112.

i. 122. &C.110.213.214. Passion) no pleafure of ex Its influence upon our

ternal sense denominated perceptions i. 129. 130. a passion except of seeing Prone to its gratification and hearing i. 25. Palli i. 143. has an influence on distinguished from e even upon our eye-light motion i. .31. 32. 33.

i. 216. 217. Passions rankPassions distinguished in ed according to their digto instinctive and delibe nity i. 265. No disagreerative i. 35. 57. &c. able passion is attended What are selfish, what with dignity i. 266. Sosocial i. 36. What dis cial passions of greater sociali.


Pallion foun dignity tban felfish i. ded on relations i. 45. 268. External signs of &c. A paffion paves the passion ch. 15: i. 317. way to others in the same Passion generally fluctu


Passions ates, swelling and sub. sidered as pleasant or Alding by turns i. 346. painful, agreeable or dis Language of passion ch. agreeable i. 76. &c. as 17. 1. 371. &c. A pafrefined or gross i. 82. fion when immoderate is Their interrupted exift silent i. 371. Language ence i. 83. &c. Their of passion broken and ingrowth and decay i. 83. terrupted i. 373. What &c. The identity of a passions admit figurative passion i. 84. The bulk expression i. 374. Lanof our passions are the

guage proper for impeaffections of love or ha tuous passion i. 375. for ired inflamed into a pal melancholy i. 375. for fion i. 87. Paffions swell calm emotions i. 375. for by opposition i. 88. A

turbulent paffion. i. 376. passion sudden in growth

Passions expanded upon is sudden in decay i. 88. related objects i. 45. c.

tone i.


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