Novelty soon degenerates into fami-
liarity, 6. Novelty and the unexpected
appearance of objects ch. vi. Novelty
a pleasant emotion, 122, &c. Distin-
guished from variety, 125. Its different

Modern manners make a poor figure degrees, ib., &c. Fixes the attention, 142.

Monosyllables (English) arbitrary as tinguished into general and particular, ib.

distinguished into what are merely such,
and what have relation to use, 380. Al-
legorical or emblematic ornaments, 384.
Össian excels in drawing characters,376.
Othello censured, 387.
Ovid censured, 149.

PEON, 308.

Pain, cessation of pain extremely plea-
sant, 35. Pain, voluntary and involun-
tary, 58. Different effects of pain upon
the temper, ib. Social pain less severe
than selfish, ib. Pain of a train of per-
ceptions in certain circumstances, 145.
Pain lessens by custom, 188. 440. Pain
of want. 188.

Painful emotions and passions. 55, &c.
Painting, power of painting to move
our passions, 51. Its power to engage
our belief, 53. What degree of variety is
requisite, 148. A picture ought to be so
simple as to be seen at one view, ib. In
grotesque painting the figures ought to be
small, in historical painting as great as
the life, 108. Grandeur of manner in
painting, 113.
A landscape admits not
variety of expression, 140. Painting is
an imitation of nature, 33. In history-
painting the principal figure ought to be
in the best fight, 382. good picture
agreeable though the subject be disagree-
able, 385. Objects that strike terror have
a fine effect in painting, 387 Objects of
horror ought not to be represented, ib.
Unity of action in a picture, 406. What
emotions can be raised by painting, 415.
Panic, cause of it, 88.

Paradise Lost, the richness of its me-
lody, 301. Censured, 305.
Parallelogram, its beauty, 98.
Parody defined, 171. 206, note.
Particles, 289. not capable of an ac-
cent, 293.

Passion, no pleasure of external sense
denominated a passion, except of seeing
and hearing, 24. Passion distinguished
from emotion, 27, &c. Objects of pas-
sion, 28, 29. Passions distinguished in-
to instinctive and deliberative, 29, 44,
&c. what are selfish, what social, 30. what
dissocial, 31. Passions communicated to
related objects, 39, &c. 359. 267. 278.
293. 331. 360. Generated by a complex
object, 42.
A passion paves the way to
others of a similar tone, 43, 44. A pas-
sion paves the way to others in the same
tone, 43. Passion raised by painting, 51.
Passions considered as pleasant or pain.
ful, agreeable or disagreeable, 56, &c.
Our passions governed by the moral sense,
ib.

Social passions more pleasant and
'ess painful than the selfish, 58. Passions
are infectious, 57. 88, 89. are refined or
gross, 58. Their interrupted existence,

59, &c. Their growth and decay, 60,
&c. The identity of a passion, 59.
The bulk of our passions are the affec-
tions of love or hatred inflamed into a
passion, 61. Passions have a tendency
to excess, ib Passion swell by opposi
tion, 62. A passion sudden in growth is
sudden in decay, ib. A passion founded
on an original propensity endures for life,
63 founded on affection or aversion is
subject to decay, ib. A passion ceases
upon attaining its ultimate end, 62, 63.
Coexistent passions, 63, &c. Passions
similar and dissimilar, 71. Fluctuation
of passion, ib. &c. 207. Its influence
upon our perceptions, opinions, and be-
lief, 76, &c. 83. 87, 134. 135. 329. 341.
343. 346, &c. Passions attractive and
repulsive, 90 198. Prone to their grati-
fication, 94 Passions ranked according
to their dignity, 162, 163. Social pas-
sions of greater dignity than selfish, 165.
Our
External signs of passion, ch. xv.
passions should be governed by reason,
210. Language of passion, ch. xvii. A
passion when immoderate is silent, 222,
223. Language of passion broken and
interrupted, 223. What passions admit
of figurative expression, 224. 318. 320.
Language proper for impetuous passion,
224. for melancholy, ib. for calm emo-
tions, ib. for turbulent passion, ib. In
certain passions the mind is prone to be-
stow sensibility upon things inanimate,
319. 329. With regard to passion man is
passive, 448. We are conscious of pas-
sions as in the heart, ib

Passionate personification, 333.
Passive subject defined, 460.
Pathetic tragedy, 390

Pause, pauses necessary for three dif-
ferent purposes, 275. Musical pauses in
a hexameter line, 277 Musical pauses
ought to coincide with those in the sense,
278, 279. What musical pauses are
essential in English heroic verse, 284.
Rules concerning them, 284, 285. Pause
that concludes a couplet, 290. Pause
and accent have a mutual influence, 297.
Pedestal ought to be sparingly orna-
mented, 433

Perceptions more easily remembered
than ideas, 84. Succession of percep-
tions, 17. 141. Uuconnected perceptions
find not easy admittance to the mind.
142. 145

Pleasure and pain of percep-
tions in a train, 145, &c. Perception de-
fined, 448. described, 449. Original and se-
condary ib. &c. Simple and complex, ib.

Period has a fine effect when its mem-
bers proceed in the form of an increasing
series, 238, 239. In the periods of a dis-
course variety ought to be studied, 239.
Different thoughts ought not to be crowd

ed into one period, 245. The scene ought
not to be changed in a period, 248. A pe-
riod so arranged as to express the sense
clearly, seems more musical than where
the sense is left doubtful, 257. In what
part of a period doth the word make the
greatest figure? 261. A period ought to
be closed with that word which makes
the greatest figure, ib. When there is oc-
casion to mention many particulars, in
what order ought they to be placed? ib.
&c. A short period is lively and fami-
liar, a long period grave and solemn, 264.
A discourse ought not to commence with
a long period, 265.

Personification, 329, &c. Passionate
and descriptive, 333.

Perspicuity a capital requisite in writ-
ing, 240. Pespicuity in arrangement,

254.

Phantasm, 450, note.
Pharsalia censured, 390.

Phedra of Racine censured, 191. 226.
Picture. See Painting.

Pilaster less beautiful than a column,
435.

Pindar defective in order and con-
nexion, 21.

Pity defined, 28. apt to produce love,
44. always painful, yet always agreeable,
57. resembles it cause, 88. What are the
proper objects for raising pity, 392, &c.
Place explained, 458.

86.

Plain, a large plain a beautiful object,

Planetary system, its beauty, 119. 121.
Plautus, the liberty he takes as to place
and time, 413.

Play is a chain of connected facts,
each scene making a link, 405.

Play of words, 177. 231, &c. gone in-
to disrepute, 232. Comparisons that re-
solve into a play of words, 325, &c.

Pleasant emotions and passions, 55,
&c. Social passions more pleasant than
the selfish, 58. Pleasant pain explained,
64, 65.

Pleasure, pleasures of seeing and hear
ing distinguished from those of the other
senses, 9, &c. pleasure of order, 20. of
connexion, ib. Pleasures of taste, touch.
and smell, not termed emotions or pas-
sions, 24. Pleasure of a reverie, 50.
145 Pleasures refined and gross, 58.
Pleasure of a train of perceptions in cer-
tain circumstances, 145, &c. Corporeal
pleasure low, and sometimes mean, 163.
Pleasures of the eye and ear never low
or mean, ib. Pleasures of the under-
standing are high in point of dignity, ib.
Custom augments moderate pleasures,but
diminishes those that are intense, 188.
189. Some pleasures felt internally,
some externally, 453.

471

deals in the pathetic, 193.
Poet, the chief talent of a poet who

they are most relished, 318, 319.
Poetical flights, in what state of mind

111, &c. How far variety is proper, 148.
Poetry, grandeur of manner in poetry,
Objects that strike terror have a fine ef-
fect in it, 387. Objects of horror ought
power over all the human affections, 415.
to be banished from it, ib. Poetry has
The most successful in describing objects
of sight, 458.

Polite behaviour, 58.

Polygon, regular, its beauty, 98.

ear, 235, 236. seldom have place in the
Polysyllables, how far agreeable to the
construction of English verse, 283, 925.
Pompey of Corneille censured, 212.

217.219.

Poor, habit puts them on a level with
the rich, 189.

lody, 291. censured, 339 341. 379 His
Pope excels in the variety of his me-
style compared with that of Swift, 381.

Posture. constrained posture disagree-
able to the spectator, 88.

Power of abstraction, 458, 459. its use,
458, 459.

Prepositions explained, 252.

perpetual, 62. incites us to ridicule the
Pride, how generated, 61. why it is
blunders and absurdities of others, 158.
with respect to dignity and meanness,
a pleasant passion, 158. 197. considered
disagreeable, 197.
163. Its external expressions or signs

Primary and secondary qualities of
lations, 154, note.
matter, 100. Primary and secondary re-

26. 37. 156, &c. of self-preservation, 45.
Principle of order, 19, 20. of morality,
of selfishness, 90. of benevolence, ib. &c.
makes us fond of esteem, 93, 110. of
of punishment, 91 160. Principle that
curiosity 122. 130. of habit, 188. 189.
Principle that makes us wish others to be
fined, 455, 456. sometimes so enlivened
of our opinion, 441, 442. Principle de-
as to become an emotion, 37. See Pro-
pensity.

Principle of the fine arts, 11.
Proceleusmaticus, 308.

Prodigies find ready credit with the

vulgar, 81.

Prologue of the ancient tragedy, 407.
Pronoun defined, 259.

&c. distinguished from singing, 271.
Pronunciation, rules for it, 267. 271,
Singing and pronouncing compared, 272.

to become an emotion, 37. 60 opposed
Propensity sometimes so enlivened as
to affection, 63. Opinion and belief in-
fluenced by it, 81. Propensity to justify
our passions and actions, 77. Propensity

Sense of order, 19, &c. contributes to
generate emotions,40,note.and passions,
42. Sense of right and wrong, 26. The
veracity of our senses, 48. 450, note.
Sense of congruity or propriety, 153. of
the dignity of human nature, 162. 442.
Sense of ridicule, 172. Sense by which
we discover a passion from its external
signs, 199. Sense of a common nature
in every species of beings, 56. 440.
Sense internal and external, 447. In
touching, tasting, and smelling, we feel
the impression at the organ of sense, not
in seeing and hearing, 9. 449.