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Lutrin) cenfured 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 burlefque 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 fociety
i. 154. Conformity of the nature of man to his external circum-
ftances i. 176. 201. 206. 263. 351. Man intended to be more ac-
tive than contemplative i. 283. The different branches of his in-
ternal conftitution finely fuited to each other ii. 363. 388.
Manners) grofs and refined i. 94. The bad tendency of rough and
blunt manners i. 350. note. Modern manners make a poor figure
in an epic poem ii. 301.

Manufactures) the effect of their productions with respect to moral-
ity ii. 355. note.

Marvellous) in epic poetry ii. 309.

Means) the means or inftrument conceived to be the agent ii. 211, &c.
Measure) natural measure of time i. 134, &c. of space i. 140, &c.
Meaux) Bifhop of, cenfured i. 239.

Medea) of Euripides cenfured ii. 333.

Melody or modulation defined ii. 80. diftinguished from harmony ii.
81. note. In English heroic verfe are four different forts of mel-
ody ii. 99. 119. Melody of blank verfe fuperior to that of rhyme,
and even to that of hexameter ii. 130.

Members of a period) have a fine effect placed in an increasing feries
ii. 13, 14,

Memory) and judgment in perfection feldom united i. 29. Memory
and wit often united i. 29. greater with respect to perceptions
than ideas i. 138. Memory ii. 398.

Merry wives of Windfor) its double plot well contrived ii, 314.
Metaphor ii, 217, &c. In early compofitions of nations we find met.
aphors much trained ii, 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 verfifica-
tion is the want of coincidence betwixt the paufes of the fense
and found ii, 133. The beauty of Milton's comparisons ii. 156.
Moderation in our defires contributes the moft to happiness i. 168,
Modern manners) make a poor figure in an epic poem ii, 302,
Modification) defined ii. 411,

Modulation defined ii. 8o.

Moloflus ii. 142.

Monofyllables) English, arbitrary as to quantity ii. 96,

Moral duties. See Duties.

Morality) a right and a wrong tafte in morals ii. 385, Aberrations

from its true ftandard ii, 389.

Moral fenfe i. 39. Our pallions as well as actions are governed by
it i. 190.

Moral tragedy ii. 294.

Motion) requires the constant exertion of an operating cause i. 95.
productive of feelings that refemble it i. 144. Its laws agreeable
i. 165. Motion and force, ch. 5. What motions are the mo
agreeable i, 201, 202. Regular motion i, 202. Accelerated mo-
tion i, 202, Upward motion i, 202. Undulating motion ì, 202,

Motion of fluids i. 202. A body moved neither agreeable nor
difagreeable i. 203. The pleafure 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 arifing from a focial princi-
ple i. 46. note.

Movement) applied figuratively to melody ii. 71.

Mount) artificial ii. 350.

Mourning Bride) cenfured i. 375. 386, 403. ii. 329- 337.

Mufic) emotions raifed by inftrumental mufic have not an object i.
57. Mufic difpofes the heart to various paffions ii, 331. refined
pleasures of mufic i. 50. Vocal diftinguished from inftrumental
i. 113. What fubjects proper for vocal music i. 113, &c. Sen-
timental mufic i. 113. note. Sounds fit to accompany disagreea-
ble paffions cannot be mufical 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 inftruments) their different effects upon the mind i. 184.
Mufical measure) defined ii. 80.

Narration) it animates a narrative to reprefent things paft as present
i. 83. Narration and description, ch. 21. It animates a narra
tive to make it dramatic ii. 277, 278. 292, 293.

Nation) defined ii. 416.

Note) a high note and a low note in mufic i. 180,
Noun ii. 36.

Novelty) foon degenerates into familiarity i. 101. Novelty and the
unexpected appearance of objects, ch. 6. Novelty a pleasant
emotion i. 209, &c. diftinguished from variety i. 213. its different
degrees i. &c. fixes the attention i. 245.
213,
Number) defined ii. 362. explained ii. 402.
Numerous) defined ii. 80,

Object) of a paffion defined i. 43. diftinguished into general and par.
ticular i. 43. An agreeable object produceth a pleasant emotion,
and a difagreeable object a painful emotion i. 148. Attractive
object i. 148. Repulfive object i. 149. Objects of fight the most
complex. i. 158. Objects that are neither agreeable nor difagree-
able i. 176. 201, 202. Natural objects readily form themselves
into groups i. 264. An object terminating an opening in a wood,
appears doubly diftant ii. 346. Object defined ii. 394. Objects
of external fenfe in what place perceived ii. 394, 395. Objects
of internal fenfe ii. 395. All objects of fight are complex ii. 412,
413. Objets fimple and complex ii. 412, 413.

Obftacles) to gratification inflame a paffion i. 100.
Old Bachelor) cenfured ii. 322.

Opera) cenfured i. 266.

Opinion) influenced by paffion i. 194, &c. ii. 181. influenced by pro-
penfity i. 133. influenced by affection i. 134. Why differing from
me in opinion is difagreeable ii. 385. Opinion defined ii. 408.
Oration) of Cicero pro Archia poeta cenfured ii. 65.

Orchard ii, 35*.

Order i. 29, &c. 164. ii. 407. Pleafure we have in order i. 31. nec-
effary in all compofitions i. g. Seufe of order has an influence
upon our paffions i. 66. Order and proportion contribute to
grandeur i 171. When a lift 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 fenfe i. 9.

Organic pleafurei. 9, 10, &c.

Orlando Furiofo) cenfured ii. 321.

Ornament) ought to be fuited to the fubje&t i. 269, &c. Redun-
dant ornaments ought to be avoided ii. 256. Ornaments diftin-
guifhed into what are merely fuch, and what have relation to use
ii. 370. Allegorical or emblematic ornaments ii. 378.
Offian) excels in drawing chara&ers ii. 268.

Othello) cenfured ii. 290.

Ovid) cenfured i. 257.

Pæon ii. 143, 1T44.

Pain) ceffation of pain extremely pleafant i. 55. Pain, voluntary
and involuntary i. 93, 94. Different effects of pain upon the
temper i. 94. Social pain lefs fevere than selfish i. 94. Pain of a
train of perceptions in certain circumstances i. 215. Pain leffens
by cuftom i. 328. Pain of want i. 329.

Painful emotions and paffions i. 88, &c.

Painting) power of painting to move our paffions i. 82. Its power
to engage our belief i. 85. What degree of variety is requifite
i. 255, 256. A picture ought to be fo fimple as to be feen at one
view i. 356. In grotefque painting the figures ought to be fmall,
in hiftorical painting as great as the life i. 181. Grandeur of
manner in painting i. 191. A landscape admits not variety of ex-
preffion i. 241. Painting is an imitation of nature ii. 3. In hif
tory-painting the principal figure ought to be in the beft light ii.
279. A good picture agreeable, though the fubject be difagree-
able ii. 286. Objects that ftrike terror have a fine effect in paint-
ing ii. 288. Objects of horror ought not to be reprefented ii.
289. Unity of action in a picture ii. 322. What emotions can be
raised by painting ii. 339.

Panic) caufe of it i. 146.

Paridife Loft) the richmefs of its melody ii. 130. Cenfured ii. 302, 303.
Parallelogram) its beauty i. 164.

Parody) defined i. 297. 362. note.

Particles ii. 109. not capable of an accent ii. 116.

Paffion) no pleasure of external fenfe denominated a passion, except
of feeing and hearing i. 36. Paffion diftinguifhed from emotion
i. 42, &c. Objects of paffion i. 43. Paffions distinguished into
inftinctive and deliberative i. 45. 70, &c. what are feliifh, what
focial i. 45. what diffocial i. 46. Paflion communicated to
related objects i. 60, &c. ii. 53. 68. 115. 185. 238. Generated
by a complex object i. 66. A paffion paves the way to others of
a fimilar tone i. 68. A paffion paves the way to others in the
fame tone i. 68. Paffion raifed by painting i. 81. Paflions con-
fidered as pleasant or painful, agreeable or difagreeable i. 91, &c.
Our paffions governed by the moral fenfe i. 91. Social paffions
more pleafant and lefs painful than the felfifh i. 94. Pallions are
infectious i. 91. 146. are refined or grofs i. 94. Their interrupt-
ed existence í. 95, &c. Their growth and decay i. 97, &c. The
identity of a paffion i. 96. The bulk of our paffions are the af.
fections of love or hatred inflamed into a paffion i. 99. Paffions
have a tendency to excels i. 99. Paflions fwell by oppofition i.
100. A palion fudden in growth is fudden in decay i. 191. ̧ A.

paffion founded on an original propenfity endures for life 1. 109,
founded on affection or averfion is fubject to decay i. 102. A
pallion ceases upon attaining its ultimate end i. 101, 102. Coex.
iftent paffions i. 102, &c. Paffions fimilar and diffimilar 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 repul-
five i. 149. 346. Prone to their gratification i. 155. Paffions
ranked according to their dignity i. 281, 282, 283. Social paf-
fious of greater dignity than felfish i, 285. External figns of paf-
fions, ch. 15. Our paffions fhould be governed by reafon i. 369.
Language of paffion, ch. 17. A paflion when immoderate is fi-
lent i. 390, 391. Language of paffion broken and interrupted i.
391. What paffions admit of figurative expreffion i. 392. ii. 162.
164. Language proper for impetuous pailion i. 393. for melan-
choly i. 394. for calm emotions i, 394. for turbulent paffion i.
394. In certain paffions the mind is prone to beftow fenfibility
upon things inanimate ii. 162. 180. With regard to paffion man
is patlive ii. 395. We are confcious of paffions as in the heart ii.
395.

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Palionate) perfonification ii. 188..

Pallive fubject) defined ii. 416.-

Pathetic tragedy ii. 293.

Paufe) paufes neceffary for three different purposes ii. 83. Mufical
paufes in an hexameter line ii. 87. Mufical paufes ought to coin-
cide with thofe in the fenfe ii. 89. 91. What musical paufes are
effential in English heroic verfe ii. 99. Rules concerning them ii.
100, 101. Paufe that concludes a couplet iis 110. Paule and ac-
cent have a mutual influence ii. 122.

Pedestal) ought to be fparingly ornamented ii. 371.
Perceptions) more easily remembered than ideas i. 139. Succeffion
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. defcrib-
ed ii, 414. Original and fecondary ii. 398, &c. Simple and com-
plex ii, 397.

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Period) has a fine effect when its members proceed in the form of
an increafing feries ii. 13. In the periods of a difcourfe variety
ought to be studied ii. 14. Different thoughts ought not to be
crowded into one period ii. 25. The scene ought not to be changed
in a period ii. 31. A period fo arranged as to exprefs the fenfe
clearly, feems more mufical than where the fenfe is left doubtful
ii. 50. In what part of the period doth a word make the great-
eft figure ii. 58. A period ought to be closed with that word
which makes the greatest figure ii. 59. When there is occafion to.
mention many particulars, in what order ought they to be plac-
ed ii. 60, &c. A fhort period is lively and familiar, a long peri-
od grave and folemn ii. 64. A difcourfe ought not to commence
with a long period ii. 64.

Perfonification ii. 180, &c. Paffionate and defcriptive ii. 187.
Perfpicuity) a capital requifite in writing ii. 15. Perfpicuity in ar-
rangement ii. 43.

-Phantafm ii. 399. note.

Pharfalia) cenfured ii. 293.

Phedra) of Racine cenfured i. 334. 397.

Picture) See Painting,

Pilafter) lefs beautiful than a column ii. 374.

Pindar) defective in order and connection i. 32.

+33

Pity) defined i. 42. apt to produce love i. 68. always painful,
yet always agreeable i. 92. resembles its caufe i. 146. What are
the proper objects for raifing pity ii. 296, &c.

Place) explained ii. 413.

Plain) a large plain, a beautiful objecti. 143.

Planetary fyftem) its beauty i. 205.

Plautus) the liberty he takes as to place and time ii. 335.

Com-

Play) is a chain of connected facts, each fcene making a link ii. 321.1
Play of words) i, 309. 405, &c. gone into diffepute i. 310.
parisons that refolve into a play of words ii. 218, &e.
Pleafant emotions and paffions . 88, &c. Social pallions more pleaf-
ant than the selfish i. 93. Pleafant pain explained i. 105.
Pleasure) pleasures of feeing and hearing diftinguished from thofe of
the other fenfes i. 9, &c. pleasure of order is 25. of connection i.
30. Pleafures of tafte, touch, and fmell, not termed emotions or
pallions i. 36. Pleasure of a reveriei. 79. 251. Pleafures refined.
and grofs 1,93.. Pleasure of a train of perceptions in certain cir-
cumstances i. 249, &c. Corporeal pleafure low, and fometimes.
mean i. 282. Pleafures of the eye and ear never low or mean ia
282.Pleafures of the understanding are high in point of dignity
i283. Cuftom augments moderate pleafures, but diminifies thofe
that are intenfe i. 329. Some pleatures felt internally, fome ex-
ternally ii. 404.

Poet) the chief talent of a poet who deals in the pathetic i. 337
Poetical flights) in what state of mind they are most relished in 1612
Poetry) grandeur of n manner in
is proper i. 256. Objects that frike terror have a fine eflect in
1 poetry i. 186, &c. How far variety
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 defcribing objects of fight ii. 403.

Polite behaviour i. 94.

Polygon) regular its beauty i. 163.

Polyfyllables) how far agreeable to the ear ii. 7, 8. feldom have place
in the conftruction of English verfe ii. 99. 119.

Pompey) of Corneille cenfured is 372. 382. 384, 385.
Poor) habit puts them on a level with the rich i, 331.

Pope) excels in the variety of his melody ii. 112. cenfured ii. 198.
201. 273. His ftyle compared with that of Swift ii. 278.
Posture) conftrained pofture difagreeable to the fpectatori. 145.
Power of abftraction ii. 412, 413. its ufe ii. 414, 415.
Prepofitions explained ii. 39.,

Pride) how generated i. 98. why it is perpetual i. 101. incites us to
ridicule the blunders and abfurdities of others i. 274. a pleasant,
paffion i. 274 345 confidered with respect to dignity and mean-
nefs i. 283. Its external expreffions or figns difagreeable i. 345.
Primary and fecondary qualities of matter i. 166. Primary and lec-
ondary relations i. 267. Hote

Principle) of order i. 29. of morality i. 39. 57. 275, &c. of felf-pref
ervation i. 70. of felfishness i. 149. of benevolence i. 149, &c. of
punishment i, 151. 277. Principle that makes us fond of efteem
1. 155. 185. of curiofity i, 207, 203. 222. of habit is 328, 329-
Principle that makes us with others to be of our opinion ii. 385,
386. Principle defined ii. 408. fometimes fo enlivened as to become
an emotion i, 58. See Propenfity.

VOL. II,

Ee

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