Moral tragedy, ii. 331.

Motion requires the constant exertion of an operating
cause, i. 103. productive of feelings that resemble it, i.
160. Its laws agreeable, i. 186. Motion and force,
ch. 5. What motions are the most agreeable, i. 226.
Regular motion, i. 227. Accelerated motion, i. 227.
Upward motion, i. 227. Undulating motion, i. 227.
Motion of fluids, i. 228. A body moved neither agree-
able nor disagreeable, i. 228. The pleasure of motion
differs from that of force, i. 228. Grace of motion, i.
231. Motions of the human body, i. 232.
Motion ex-

plained, ii. 462.

Motive defined, i. 41. A selfish motive arising from a
social principle, i. 43. note..

Movement applied figuratively to melody, ii. 77.
Mount artificial, ii. 398.

Mourning Bride censured, i. 429. 442. 462. ii. 373. 382.
Music, emotions raised by instrumental music have not an
object, i. 56. Music disposes the heart to various pas-
sions, ii. 375. refined pleasures of music, i. 47. Vocal
distinguished from instrumental, i. 124. What subjects
proper for vocal music, i. 126. Sentimental music, i.
124. note. Sounds fit to accompany disagreeable pas-
sions cannot be musical, i. 124. note.
What variety
proper, i. 220. Music betwixt the acts of a play, the
advantages that may be drawn from it, ii. 375. It re-
fines our nature, i. 47.

Musical instruments, their different effects upon the mind,
i. 208.

Musical measure defined, ii. 88.

Narration, it animates a narrative to represent things past
as present, i. 88. Narration and description, ch. 21.

It animates a narrative to make it dramatic, ii. 311.
329.

Nation defined, ii. 479.

Note, a high note and a low note in music, i. 203.
Noun, ii. 38.

Novelty soon degenerates into familiarity, i. 110. Novelty
and the unexpected appearance of objects, ch. 6. No-
velty a pleasant emotion, i. 235. distinguished from
variety, i. 239. its different degrees, i. 240. fixes the
attention, i. 277.

Number defined, ii. 412. explained, ii. 462.
Numerus defined, ii. 88.

Object of a passion defined, i. 39. distinguished into gene-
ral and particular, i. 39. An agreeable object produceth
a pleasant emotion, and a disagreeable object a painful
emotion, i. 165. Attractive object, i. 166. Repulsive
object, i. 166. Objects of sight the most complex, i. 177.
Objects that are neither agreeable nor disagreeable, i.
198. 226. 228. Natural objects readily form themselves
into groups, i. 299. An object terminating an opening in
a wood, appears doubly distant, ii. 393. Object defined,
ii. 451. Objects of external sense in what place perceiv-
ed, ii. 452. Objects of internal sense, ii. 453. All ob-
jects of sight are complex, ii. 461. 474. Objects simple
and complex, ii. 475.

Obstacles to gratification inflame a passion, i. 109.
Old Bachelor censured, ii. 364.

Opera censured, i. 305.

Opinion influenced by passion, i. 138. ii. 202. influenced
by propensity, i. 149. influenced by affection, i. 149.
Why differing from me in opinion is disagreeable, ii.
440. Opinion defined, ii. 471.

Oration of Cicero pro Archia poeta censured, ii. 70.
Orchard, ii. 399.

Order, i. 20. 184. ii. 468. Pleasure we have in order, i.
22. necessary in all compositions, i. 24. Sense of order
has an influence upon our passions, i. 68. Order and
proportion contribute to grandeur, i. 192. When a list
of many particulars is brought into a period, in what
order should they be placed? ii. 64. Örder in stating
facts, ii. 362.

Organ of sense, į. 1.
Organic pleasure, i. 1.

Orlando Furioso censured, ii. 363.

Ornament ought to be suited to the subject, i. 304. Re-
dundant ornaments ought to be avoided, ii. 287. Orna-
ments distinguished into what are merely such, and
what have relation to use, ii. 421. Allegorical or em-
blematic ornaments, ii, 431.

Ossian excels in drawing characters, ii. 301.:
Othello censured, ii. 327.

Ovid censured, i, 291.

Pæon, ii. 160.

Pain, cessation of pain extremely pleasant, i. 53. Pain,
voluntary and involuntary, i. 102. Different effects of
pain upon the temper, i. 102. Social pain less severe
than selfish, i. 102. Pain of a train of perceptions in
certain circumstances, i. 283. Pain lessens by custom,
i. 374. ii. 437. Pain of want, i. 375.
Painful emotions and passions, i. 94.

Painting, power of painting to move our passions, i. 87.
Its power to engage our belief, i. 91. What degree of
variety is requisite, i. 289. A picture ought to be so
simple as to be seen at one view, i. 289. In grotesque
painting the figures ought to be small; in historical
painting as great as the life, i. 203. Grandeur of man-
ner in painting, i. 215. A landscape admits not variety
of expression, i. 272. Painting is an imitation of nature,
ii. 1. In history-painting the principal figure ought to
be in the best light, ii. 314. A good picture agreeable,
though the subject be disagreeable, ii. 321. Objects
that strike terror have a fine effect in painting, ii. 324.
Objects of horror ought not to be represented, ii. 325.
Unity of action in a picture, ii. 365. What emotions
can be raised by painting, ii. 384.

Panic, cause of it, i. 163.

Paradise Lost, the richness of its melody, ii. 145. censured,
ii. 342.

Parallelogram, its beauty, 184.

Parody defined, i. 387. 413. note.

Particles, ii. 121. not capable of an accent, ii. 129.
Passion, no pleasure of external sense denominated a pas-
sion, except of seeing and hearing, i. 29. Passion dis-
tinguished from emotion, i. 36. Objects of passion, i. 39.
Passions distinguished into instinctive and deliberative,
i. 41. 73. what are selfish, what social, i. 42. what dis-
social, i. 44. Passion communicated to related objects,
i. 60. ii. 57. 75. 99. 128. 207. 266. Generated by a
complex object, i. 68. A passion paves the way to others
of a similar tone, i. 70. A passion paves the way to
others in the same tone, i. 71. Passion raised by paint-
ing, i. 87. Passions considered as pleasant or painful,
agreeable or disagreeable, i. 98. Our passions governed
by the moral sense, i. 98. Social passions more plea-
sant and less painful than the selfish, i. 101. Passions

are infectious, i. 98. 163. are refined or gross, i. 101.
Their interrupted existence, i. 103. Their growth and
decay, i. 105. The identity of a passion, i. 104. The
bulk of our passions are the affections of love or hatred
inflamed into a passion, i. 108. Passions have a ten-
dency to excess, i. 108. Passions swell by opposition,
i. 109. A passion sudden in growth is sudden in decay,
i. 110. A passion founded on an original propensity
endures for life, i. 111. founded on affection or aversion
is subject to decay, i. 111. A passion ceases upon attain-
ing its ultimate end, i. 110. Coexistent passions, i. 112.
Passions similar and dissimilar, i. 128. Fluctuation of
passion, i. 129. 416. Its influence upon our perceptions,
opinions, and belief, i. 137. 259. ii. 202. 226. 229. 237.
Passions attractive and repulsive, i. 166. 395. Prone to
their gratification, i. 174. Passions ranked according
to their dignity, i. 319. Social passions of greater dig-
nity than selfish, i. 324. External signs of passions, ch.
15. Our passions should be governed by reason, i. 422.
Language of passion, ch. 17. A passion when immo-
derate is silent, i. 447. Language of passion broken
and interrupted, .i. 448. What passions admit of figu-
rative expression, i. 449. ii. 181. 183. Language pro-
per for impetuous passion, i. 451. for melancholy, i. 451.
for calm emotions, i. 452. for turbulent passion, i. 452.
In certain passions the mind is prone to bestow sensibi-
lity upon things inanimate, ii. 181. 202. With regard
to passion man is passive, ii. 453. We are conscious of
passions as in the heart, ii. 453.

Passionate personification, ii. 209.
Passive subject defined, ii. 480,
Pathetic tragedy, ii. 331.

Pause, pauses necessary for three different purposes, ii. 91.
Musical pauses in an hexameter line, ii. 97. Musical
pauses ought to coincide with those in the sense, ii. 99.
101. What musical pauses are essential in English
heroic verse, ii. 110. Rules concerning them, ii. 111,
112. Pause that includes a couplet, ii. 122. Pause
and accent have a mutual influence, ii. 135.
Pedestal ought to be sparingly ornamented, ii. 423.
Perceptions more easily remembered than ideas, i. 154.
Succession of perceptions, i. 15. 274. Unconnected per-
ceptions find not easy admittance to the mind, i. 277.

281. Pleasure and pain of perceptions in a train, i.
281. Perception defined, ii. 454. described, ii. 477.
Original and secondary, ii. 457. Simple and complex,
ii. 456.

Period has a fine effect when its members proceed in the
form of an increasing series, ii. 13. In the periods of a
discourse variety ought to be studied, ii. 14. Different
thoughts ought not to be crowded into one period, ii. 27.
The scene ought not to be changed in a period, ii. 33.
A period so arranged as to express the sense clearly,
*seems more musical than where the sense is left doubtful,
ii. 54. In what part of the period doth a word make
the greatest figure? ii. 62. A period ought to be closed
with that word which makes the greatest figure, ii. 64.
When there is occasion to mention many particulars,
in what order ought they to be placed? ii. 64. A short
period is lively and familiar, a long period grave and
solemn, ii. 69. A discourse ought not to commence
with a long period, ii. 70.

Personification, ii. 202. Passionate and descriptive, ii.
209.

Perspicuity a capital requisite in writing, ii. 16. Perspi-
cuity in arrangement, ii. 47.

Phantasm, ii. 457. note.

Pharsalia censured, ii. 330.

Phedra of Racine censured, i. 381. 456.

Picture. See Painting.

Pilaster less beautiful than a column, ii. 426.

Pindar defective in order and connexion, i. 24.

Pity defined, i. 37.; apt to produce love, i. 71.; always
painful, yet always agreeable, i. 99.; resembles its cause,
i. 163. What are the proper objects for raising pity,

ii. 334.

Place explained, ii. 476.

Plain, a large plain a beautiful object, i. 159.
Planetary system, its beauty, i. 227. 231.

Plautus, the liberty he takes as to place and time, ii. 380.
Play is a chain of connected facts, each scene making a
link, ii. 363.

words, ii. 194.
Social passions
Pleasant pain

Play of words, i. 352. 465.; gone into disrepute, i. 352.
Comparisons that resolve into a play of
Pleasant emotions and passions, i. 94.
more pleasant than the selfish, i. 101.
explained, i. 115.