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Milton, his style much inverted, 301.
The defect of his versification is the want
of coincidence betwixt the pauses of the
sense and sound, 301. The beauty of
Milton's comparisons, 315, 316.
Moderation in our desires contributes
the most to happiness, 101.
Modern manners make a poor figure
in an epic poem, 394.
Modification defined, 457.
Modulation defined, 273.
Morality, a right and a wrong taste in
morals, 441. Aberrations from its true
Moral sense, 26. Our passions as well
as actions are governed by it, 56.
Moral tragedy, 390.
Motion requires the constant exertion
of an operating cause. 59. Productive of
feelings that resemble it, 87. Its laws
agreeable, 99. Motion and force, ch. v.
What motions are the most agreeable,
118. 119. Regular motion, 119. Acce-
lerated motion, ib Upward motion, ib.
Undulating motion, ib Motion of fluids,
ib. A body moved neither agreeable nor
disagreeable, ib. The pleasure of motion
differs from that of force. 120. Grace of
motion, 121. Motions of the human
body, ib. Motion explained, 452
Motive defined, 29. A selfish motive
arising from a social principle, 30, note.
Movement applied figuratively to me-
Mount artificial 421.
Mourning Bride censured, 213 220.
230. 410. 414.
OBJECT of a passion defined, 28. Dis-
Monosyllables (English) arbitrary as tinguished into general and particular, ib.
to quantity, 282.
An agreeable object produces a pleasant
emotion, and a disagreeable object a
painful emotion, 89, 90. Attractive ob-
ject, 90 Repulsive object, ib. Objects
of sight the most complex, 95. Objects
that are neither agreeable nor disagree-
able, 105. 118, 119. Natural objects
readily form themselves into groups, 153.
An object terminating an opening in a
wood appears doubly distant, 419. Ob-
ject defined 447. Objects of external
sense in what place perceived, 447 Ob-
jects of internal sense 448. All objects
of sight are complex, 451. 458. Objects
simple and complex, 458.
Music, emotions raised by instrumen-
tal music have not an object, 37. Music
dis oses the heart 10 various passions, 411.
Refined pleasures of music. 32 Vocal
distinguished from instrumental 69 What
subjects proper for vocal music, 70, &c.
Sentimental music, 69 "Ote
to accompany disagreeable passions can
not be musical, ib. What variety proper,
149. Music betwixt the acts of a play,
the advantages that may be drawn from
it, 411. It refines our nature, 32, 33.
Musical instruments, their different ef-
fects upon the mind, 110.
Musical measure defined, 273.
NARRATION, it animates a narrative to
represent things past as present, 52. Nar-
ration and description, ch. xxi. It ani-
mates a narrative to make it dramatic,
381, 382 389. 390.
Nation defined, 460.
Note a high note and a low note in
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
degrees, ib., &c. Fixes the attention, 142.
Number defined, 428. Explained, 452.
Numerus defined, 273.
Obstacles to gratification inflame a pas-
Old Bachelor censured, 405.
Opera censured, 156.
Opinion influenced by passion, 76, &c.
329. Influenced by propensity, 81. In-
fluenced by affection, ib. Why differing
from me in opinion is disagreeable, 441.
Opinion defined, 456.
Oration of Cicero (Pro Archia Poeta)
Order, 19, &c. 98. 418. Pleasure we
have in order, 20. Necessary in all com-
positions. 21 Sense of order has an in-
fluence upon our passions, 42. Order
and proportion contribute to grandeur,
102. When a list of many particulars is
brought into a period, in what order
should they be placed? 262, &c. Order
in stating facts 404.
Organ of sense, 9
Organic pleasure, 9, 10, &c.
Orlando Furioso censured, 405.
Ornament ought to be suited to the
subject, 156, &c. Redundant ornaments
ought to be avoided, 370. Ornaments
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.
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
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 light, 382. A 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-
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.
External signs of passion, ch. xv.
passions should be governed by reason,
210. Language of passion, ch. xvii.
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-
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,
Planetary system, its beauty, 119. 121.
Plautus, the liberty he takes as to place
and time, 413.
Poet, the chief talent of a poet who
deals in the pathetic, 193.
Poetical flights, in what state of mind
they are most relished, 318, 319.
Poetry, grandeur of manner in poetry,
111, &c. How far variety is proper, 148.
Objects that strike terror have a fine ef-
fect in it, 387. Objects of horror ought
to be banished from it, ib. Poetry has
power over all the human affections, 415.
The most successful in describing objects
of sight, 458.
Polite behaviour, 58.
Phantasm, 450, note.
Pharsalia censured, 390.
Phedra of Racine censured, 191. 226. lody, 291. censured, 339 341. 379
Picture. See Painting.
style compared with that of Swift, 381.
Posture. constrained posture disagree.
able to the spectator, 88.
Pilaster less beautiful than a column,
Pindar defective in order and con-
Power of abstraction, 458, 459. its use,
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.
Plain, a large plain a beautiful object,
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,
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.
Some pleasures felt internally,
some externally, 453.
Polygon, regular, its beauty, 98.
Polysyllables, how far agreeable to the
ear, 235, 236. seldom have place in the
construction of English verse, 283, 925.
Pompey of Corneille censured, 212.
Poor, habit puts them on a level with
the rich, 189.
Pope excels in the variety of his me-
Prepositions explained, 252.
Pride, how generated, 61. why it is
perpetual, 62. incites us to ridicule the
blunders and absurdities of others, 158.
a pleasant passion, 158. 197. considered
with respect to dignity and meanness,
163. Its external expressions or signs
Primary and secondary qualities of
matter, 100. Primary and secondary re-
lations, 154, note.
Principle of order, 19, 20. of morality,
26. 37. 156, &c. of self-preservation, 45.
of selfishness, 90. of benevolence, ib. &c.
of punishment, 91 160. Principle that
makes us fond of esteem, 93, 110. of
curiosity 122. 130. of habit, 188. 189.
Principle that makes us wish others to be
of our opinion, 441, 442. Principle de-
fined, 455, 456. sometimes so enlivened
as to become an emotion, 37. See Pro-
Principle of the fine arts, 11.
Prodigies find ready credit with the
Prologue of the ancient tragedy, 407.
Pronoun defined, 259.
Pronunciation, rules for it, 267. 271,
&c. distinguished from singing, 271.
Singing and pronouncing compared, 272.
Propensity sometimes so enlivened as
to become an emotion, 37. 60 opposed
to affection, 63. Opinion and belief in-
fluenced by it, 81. Propensity to justify
our passions and actions, 77. Propensity
to punish guilt and reward virtue,91, &c.
Propensity to carry along the good or bad
properties of one subject to another, 38.
86. 87.96. 233. 258, 259, 267. 278. 293.
347. 360. Propensity to complete every
work that is begun, and to carry things
to perfection, 136. 435. Propensity to
communicate to others every thing that
affects us, 222. Propensity to place to
gether things mutually connected, 258.
Propensity defined, 456. See Principle.
Properties transferred from one subject
to another, 38 86, 87. 96. 233. 258, 259.
267. 278. 293. 347. 360.
Property, the affection man bears to
his property, 40. A secondary relation,
Prophecy, those who believe in pro-
phecies wish the accomplishment, 94.
Propriety, ch. x. a secondary relation,
154. note. distinguished from congruity,
155. distinguished from proportion, 159.
Propriety in buildings, 207, 208.
Proportion contributes to grandeur,
102. distinguished from propriety
As to quantity, coincides with congruity,
ib. examined as applied to architecture,
159. Proportion defined, 455, 156.
Prose distinguished from verse, 273,
opinion are always at hand, and musi
Refined pleasure, 57.
Regularity not so essential in great ob-
jects as in small, 103. not in a small work
so much as in one that is extensive, ib.
How far to be studied in architecture,
417. 425. 427. How far to be studied
in a garden, 418. Regnlar line defined,
454 Regular figure defined, ib. Re-
gularity proper and figurative, ib.
Relations, 17. Have an infinence in
generating emotions and passions. 38,
&c. Are the foundation of congruity and
propriety. 154. Primary and secondary
ralations, ib. note. in what manner are
relations expressed in words, 251, &c.
The effect that even the slighter relations
have on the mind, 422.
Resemblance and dissimilitude, ch.
Resemblance in a series of objects,
238. The members of a sentence, signi
fying a resemblance betwixt objects,
ought to resemble each other, 246 &c.
Resemblance betwixt sound and signifi.
cation, 266, 267 268 No resemblance
betwixt objects of different senses, 267.
Resembling causes may produce effects
that have no resemblance, and causes
that have no resemblance may pr duce
resembling effects, ib. &c. The faintest
resemblance betwixt sound and significa-
tion gives the greatest pleasure. 270, &c.
Resemblance carried too far in some gar-
dens, 418, note.
Resentment explained, 45 &c. Disa-
greeable in excess, 57. Extended against
relations of the offender, 78. Its gratifi-
cation, 91. When immoderate is silent,
Secchia Rapita characterised, 167.
Secondary qualities of matter, 100.
Secondary relations, 154, note.
Seeing, in seeing we feel no impression,
449. Objects of sight are all of them
Self-deceit, 77. 217.
Selfish passions, 30. Are pleasant, 57.
Less refined and less pleasant than the
social, 58. The pain of selfish passions
more severe than of social passions, ib.
Inferior in dignity to the social, 165. A
selfish emotion arising from a social
principle, 30. A selfish motive arising
from a social principle, ib. note.
Selfishness promoted by luxury, 444.
and also by love of riches, ib.
Self-love, its prevalence accounted for,
31. In excess disagreeable, 57. Not
inconsistent with benevolence, 90.
Semipauses in an hexameter line, 277.
What semipauses are found in an
English heroic line, 285.
Sensation defined, 448. described,
Senses, whether active or passive, 460.
Sentence, it detracts from neatness to
vary the scene in the same sentence, 248.
A sentence so arranged as to express the
sense clearly, seems always more musi-
cal than where the sense is left in any
degree doubtful, 258.
Sentiment, elevated, low, 107. Sen-
timents, ch. xvi. ought to be suited to the
passion, 202. Sentiments expressing the
swelling of passion, 207. expressing the
different stages of passion, 208. dictated
by coexistent passions, 209. Sentiments
of strong passions are hid or dissembled,
210. Sentiments above the tone of the
passion, 212. below the tone of the pas-
sion, ib. Sentiments too gay for a se-
rious passion, 213. too artificial for a se-
rious passion, ib. fanciful or finical, 214.
discordant with character, 216. mispla-
ced, 217. Immoral sentiments expressed
without disguise,ib.unnatural,219. Sen-
timents both in dramatic and epic com-
positions ought to be subservient to the
action, 172. Sentiment defined, 456.
Sentimental music, 69, note.
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.
Series from small to great agreeable,
105. Ascending series, 106. Descend-
ing series, ib. The effect of a number of
objects placed in an increasing or de-
creasing series, 238.
Serpentine river, its beauty, 119, 423.
Sertorius of Corneille censured, 207.
Shaft of a column, 435.
Shakspeare, his sentiments just repre-
sentations of nature, 205. is superior to
all other writers in delineating passions
and sentiments, 225, 226. excels in the
knowledge of human nature, 226, note.
deals little in inversion, 301. excels in
drawing characters, 375. his style in
what respect excellent,381. his dialogue
finely conducted, 402. deals not in bar-
ren scenes, 405.
Shame arising from affection or aver-
sion, 61. is not mean, 163.
Sight influenced by passion, 86, 87.
Similar emotions, 64. their effects
when coexistent, 65. 207.
Similar passions, 71. Effects of coex-
istent similar passions, ib.
Simple perception, 45.
Simplicity, taste for simplicity has
produced many Utopian systems of hu-
man nature, 24. Beauty of simplicity,
97. abandoned in the fine arts, 99. a
great beauty in tragedy, 400. ought to
be the governing taste in gardening and
Singing distinguished from pronounc-
ing or reading, 271. Singing and pro-
nouncing compared, 272.
Situation, different situations suited
to different buildings, 431.