Mile) the computed miles are longer in a barren than in a populous
country i. 161.
Milton) his style much inverted ii. 162. The defect of his verfification
is the want of coincidence betwixt the pauses of the sense and found
ii. 167.
The beauty of Milton's comparisons ii. 195. 196.
Moderation) in our defires contributes the most to happiness i. 198.
Modern manners) make a poor figure in an epic poem ii. 378.
Modification) defined ii. 521.
Modulation) defined ii. 99.
Moloffus ii. 178.
Monofyllables) English, arbitrary as to quantity ii. 12o. 121.
Moral duties. See duties.
Morality) a right and a wrong taste in morals ii. 485. Aberrations
from its true ftandard ii. 491. 492.
Moral fenfe i. 36. Our paffions as well as actions are governed by it
i. 99. too.
Motion) requires the conflant exertion of an operating cause i. 106.
productive of feelings that resemble it i. 167. Its laws agreeable i.
194. Motion and force ch. 5. What motions are the most agrees
able i. 238. 239. Regular motion i. 238. Accelerated motion i.
238. Upward motion i. 238. Undulating motion i. 2:39. Motion
of fluids i. 239. A body moved neither agreeable nor difagreeable
i. 239. 240. The pleasure of motion differs from that of force i. 240.
Grace of motion i. 243. Motions of the human body i. 243. 244.
Motive) defined i. 44. A selfish motive arifing from a focial principle
i. 45. Note.
Movement) applied figuratively to melody ii. 88. explained with re
fpect to melody ii. 101.
Mount) artificial ii. 441.
Mourning Bride) censured) i. 459. 472. 493. ii. 413. 423.
Mufic) Paffions raised by inftrumental mufic have not an object i. 55.
Vocal distinguished from inftrumental i. 128. What fubjects pro-
per for vocal mufic i. 128, &c. Sentimental music i. 128. Note. what
variety proper i. 307. Mufic betwixt the acts of a play, the ada
vantages that may be drawn from it ii. 415.416. Mufic disposes the
heart to various passions ii. 416. 446. Sounds fit to accompany dif
agreeable paflions, cannot be mufical ii. 417. Note. it refines our
nature ii. 476.
Musical instruments) their different effects upon the mind i. 218.
Mufical measure) defined ii. 99.
Narration) it animates a narrative to reprefent things past as prefent i.
go. Narration and description ch. 21.
make it dramatic ii. 347. 348. 366.
It animates a narrative to
Nature) uniform in its operations i. 160. 161.
Note,) a high note and a low note in mufic i. 213.
Novelty) foon degenerates into familiarity i. 113. Novelty and the
unexpected appearance of objects ch. 6. Novelty a pleasant emo-
tion i. 247, &c. diftinguished from variety i. 251. its different de-
grees i. 252, &c. fixes the attention i. 293.
Number) defined ii. 455.
Numerus) defined ii. 99.
Object) of a paffion defined i. 41. distinguished into general and par-
ticular i. 42.
An agreeable, object produceth a pleasant emotion,
and a disagreeable object a painful emotion i. 172. 173. Attractive
object i. 173. Repulfive object i. 173. Objects of fight the most
complex i. 185. Objects that are neither agreeable nor difagreeable
i. 208. 237. 239. Natural objects readily form themselves into
groups i. 317. An object terminating an opening in a wood, ap-
pears doubly distant ii. 435.440. Object defined ii. 499. 527. Ob-
jects of external fenfe in what place perceived ii. 499. 500. Objects
of internal fenfe ii. 500. All objects of fight are complex ii. 509.
522. Objects fimple and complex ii. 522.
Obftacles) to gratification inflame a paffion i. 112.
Old Bachelor) cenfured ii. 403.
Opera) cenfured i. 323.
Opinion) influenced by paffion i. 142, &c. ii. 226. influenced by pro-
penfity i. 154. influenced by affection i. 154. Why differing from
me in opinion is disagreeable ii. 486. Opinion defined ii. 519.
Oration) of Cicero pro Archia poeta cenfured ii. 80.
Order i. 20, &c. 193. ii. 515. Pleafure we have in order i. 23, ne-
ceffary in all compofitions i. 25. Sense of order has an influence up-
on our paflions i. 68. Order and proportion contribute to gran-
deur i. zo. When a lift of many particulars is brought into a pe-
*riod, in what order should they be placed?ii. 73, &c. Order in sta-
ting facts ii. 402.
Organ of fenfe i. r.
Organic pleafure i. 1. 2, &c.
Orlando Furioso) censured ii. 402.
Ornament) ought to be suited to the subject i. 323, &c. Redundant
ornaments ought to be avoided ii. 321. Ornaments in architecture
Allegorical or emblematic ornaments ii. 473.
Offian excels in drawing characters ii. 336.
Othello) cenfured ii. 363.
Ovid) censured i. 308.
Pain) ceffation of pain extremely pleafant i. 2. Pain, voluntary and
involuntary i. 104. 105. Different effects of pain upon the temper
i. 105. Social pain less severe than selfish i. ros. Pain of a train of
perceptions in certain circumstances i. 298, &c. Pain lessens by cu
stom i. 399. ii. 484. Pain of want 401. Some pains felt inter-
nally, fome externally ii. 512.
Painful emotions and paffions i. 96, &t.
Painting) power of painting to move our passions i. 89. Its power to
engage our beliefi. 93.
What degree of variety is requifite i. 307.
In grotefque painting the figures ought to be fmall, in historical
painting as great as the life i. 214. Grandeur of manner in painting
i. 220. A landscape admits not variety of expreffion i. 288. Paint
ing is an imitation of nature ii. 3. In history-painting the principal
figure ought to be in the best light ii. 350. A good picture agreeable
though the subject be disagreeable ii. 357. Objects that strike terror
have a fine effect in painting ii. 360. Objects of horror ought not to
be represented ii. 361. Unity of action in a picture ii. 404. What
emotions can be raised by painting ii. 426. 427.
Panic) cause of it i. 170.
Paradise Loft) the richness of its melody ii. 163. cenfured ii. 379.
Parallelogram) its beauty i. 193.
Parody) defined i. 359. 442. 443. Note:
Particles ii. 136. not capable of an accent ii. 145.
Paffion) no pleasure of external sense denominated a passion except of
feeing and hearing i. 31. Paffion distinguished from emotion i. 38;
c. Objects of paffion i. 41. 42. Paffions diftinguished into in-
stinctive and deliberative i. 44. 72, &c. what are selfish, what focial
i. 44. 45. what diffocial i. 47. Paffion communicated to related ob-
jects i. 59, &c. ii. 66. 84. 112. 144. 230, &c. 298. 299. Ge-
nerated by a complex object i. 67. A paffion paves the way to o
thers of a fimilar tone i. 70. A paffion paves the way to others in
the same tone i. 40. Passion raised by painting i. 88. 89. Paffions
confidered as pleasant or painful, agreeable or disagreeable i. 101, &c.
Our paffions governed by the moral fenfe i. 101. Social paffions
more pleasant and lefs painful than the selfish i. 104. Paffions are
infectious i. ror. are refined or grofs i. 104. Their interrupted ex+
iftence i. 106. c. Their growth and decay i: 108, &c. The iden
tity of a paffion i. 107. The bulk of our paffions are the affections
of love or hatred inflamed into a paffion i. 111. Paffions have a
tendency
tendency to excefs i. 111. Paffions fwell by oppofition i. 111. 11).
A paffion fudden in growth is fudden in decay i. 113. A paffion
founded on an original propenfity endures for life i. 113. founded
on affection or averfion is fubject to decay i. 114. 115. A paffion
ceafes upon attaining its ultimate end i. 114. Coexiftent paffions
i. 115, &c. Paffions fimilar and diffimilar i. 132. Fluctuation of
paffion i. 133, &c. 446. Its influence upon our perceptions, opi-
nions, and beliefi. 142, &c. 157. 166. 167. 273. 277. ii. 226.253.
257.265. Paffions attractive and repulfive i. 173. 423. Prone to
its gratification i. 182. Paffions ranked according to their dignity
i. 339. 340.341. Social paffions of greater dignity than selfish i. 344-
External figns of passions, ch. 15. Our paffions should be governed
by reafon i. 451. Language of paffion ch. 17. A paffion when
immoderate is filent i. 477. 478. Language of passion broken and
interrupted i. 479. What paffions admit of figurative expreffion i.
480. ii. 203. 206. Language proper for impetuous paffion i. 481.
for melancholy i. 482. for calm emotions i. 482. for turbulent paf-
fion i. 482. With regard to paffion man is paffive ii. 5oo. We are
confcious of paffions as in the heart ii. 500.
Paffionate) personification ii. 234.
Paffive fubject) defined ii. 526. 527.
Pathetic tragedy ii. 367.
Pause) pauses necessary for three different purposes ii. 103. Mufical
pauses in an hexameter line ii, 109. Mufical paufes ought to coin
cide with those in the fenfe ii. 111. 114. What mufical pauses are
effential in English heroic verse ii. 124. Rules concerning them
ii. 125. 126. Pause that concludes a couplet ii. 137. Pause and at-
cent have a mutual influence ii. 153.
Pedestal) ought to be sparingly ornamented ii. 466.
Perceptions) more eafily remembered than ideas i. 160.
perceptions i. 15. 290. Unconnected perceptions find not eafy ad-
mittance to the mind i. 293. 299. Pleasure and pain of per
ceptions in a train i. 298, &c. Perception defined ii. 501. Original
and fecondary ii. 504. Simple and complex ii. 509.
Period) has a fine effect when its members proceed in the form of an
increasing feries ii. 16. In the periods of a discourse variety ought
to be studied ii. 18. Different thoughts ought not to be crouded into
one period ii. 18.
The scene ought not to be changed in a period
ii. 39. A period fo arranged as to exprefs the fenfe clearly, feems
more musical than where the fenfe is left doubtful ii. 62. In what
part of the period doth a word make the greatest figure ii. 71. A pe-
riod ought to be closed with that word which makes the greatest f-
gure ii. 73. When there is occafion to mention many particulars, in
what order ought they to be placed ii, 73, &c. A short period is
lively and familiar, a long period grave and folemn ii. 79. A dif
courfe ought not to commence with a long period ii. 79.
Perfonification ii. 226, &c. Paffionate and defcriptive ii. 234.
Perfpicuity) a capital requisite in writing ii. 20.
Pharfalia) cenfured ii. 367.
Phedra) of Racine cenfured i. 407. 486. 487.
Picture) See Painting.
Pilafter) lefs beautiful than a column ii. 467.
Pindar) defective in order and connection i. 25.
Pity) defined i. 40. apt to produce love i. 71. always painful, yet
always agreeable i. 102. refembles its caufe i. 170. What are the
proper fubjects for raifing pity ii. 371, &c.
Plain) a large plain, a beautiful object i. 166.
Planetary fyftem) its beauty i. 238.
Plautus) the liberty he takes as to place and time ii. 421.
Play) is a chain of connected facts, each scene making a link ii. 403.
Play of words) i. 375.496, &c. gone into disrepute i. 376. Compari-
fons that refolve into a play of words ii. 217, &c.
Pleasant emotions and paffions i. 96, &c. Social passions more plea-
fant than the selfish i. 104. Pleasant pain explained i. 118.
Pleasure) pleasures of seeing and hearing diftinguished from those of
the other fenfes i. 1, &c. Pleasure of order i. 23. of connection i.
Pleasures of taste, touch, and fmell, not termed emotions or
paffions i. 31. Pleasure of a reverie i. 85. 300. Pleasures refined and
gross i. 104. Pleasure of a train of perceptions in certain circum-
ftances i. 298, &c. Corporeal pleasure low and sometimes mean
i. 340.
Pleasures of the eye and ear never low or mean i.. 340
Pleasures of the understanding are high in point of dignity i. 341.
Custom augments moderate pleasures, but diminishes those that are
intense i. 399. Some pleasures felt internally, fome externally ii.
512.
Poet) the chief talent of a poet who deals in the pathetic i. 412,
Poetical flights) in what state of mind they are most relished ii, 293.
Poetry) how far variety is proper i. 306. 307. Objects that strike ter-
ror have a fine effect in it ii. 360. Objects of horror ought to be
banished from it ii. 361. Poetry has power over all the human af-
fections ii. 416. The most fuccessful in defcribing objects of fight
it. 510.
Polite behaviour i. 105.
Polygon) regular, its beauty i. 192.
|