Modulation defined, 273.
Molossus, 308.

OBJECT of a passion defined, 28. Dis.

to quantity, 282.

Moral duties. See Duties.
Morality, a right and a wrong taste in
morals, 441. Aberrations from its true
standard, 444.

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 bo-
dy, ib. Motion explained, 452.

Motive defined, 29. A selfish motive
arising from a social principle, 30, note.
Movement applied figuratively to me-
lody, 268.

Mount, artificial, 421.

Mourning Bride censured, 213. 220.
230. 410. 414.

Music, emotions raised by instrument
al music have not an object, 37. Music
disposes the heart to various passions, 411.
Refined pleasures of music, 32. Vocal
distinguished from instrumental,69. What
subjects proper for vocal music, 70, &c.
Sentimental music, 69, note. Sounds fit
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.

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 rea-
dily 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.

Obstacles to gratification inflame a
passion, 1.

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)
censured, 265,

Orchard, 422.

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

ed into one period, 245. The scene ought
not to 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
occasion to mention many particulars, in
what order ought they to be placed? ib.
&c. A short period is lively and familiar,
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. Perspicuity 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 connex-
ion, 21.

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

Plain, a large plain a beautiful object,
86.

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. Plea-
sure of a train of perceptions in certain
circumstances, 145, &c. Corporeal plea-
sure 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.

189.

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 bave 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.

Polygon, regular, its beauty, 98.

Polysyllables, how far agreeable to the
ear, 235, 236. seldom have place in the
construction of English verse, 283. 295.
Pompey of Corneille censured, 212.
217. 219.

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

Pope excels in the variety of his melo-
dy, 291. censured, 339. 341. 379. His
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.

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
disagreeable, 197.

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 cu-
riosity, 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-
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.

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,
154, note.

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, 159.
As to quantity, coincides with congruity,
ib. examined as applied to architecture,
159. Proportion defined, 455, 456.

Prose distinguished from verse, 273,
&c.

Prospect, an abundant prospect disa-
greeable, 137, note. By what means a
prospect may be improved, 419, 420.

Provoked Husband censured, 401.
Pun defined, 179.

Punishment in the place where the
crime was committed, 138. Punishment
of impropriety, 158, &c. 160.

Public games of the Greeks, 120.
Pyrrhichius, 308.

opinion are always at hand, and much
relished, 77.

Recitative, 274.

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. Regular line defined,
454. Regular figure defined, ib. Re-
gularity proper and figurative, ib.

Relations, 17. Have an influence in
generating emotions and passions, 38,
&c. Are the foundation of congruity and
propriety, 154. Primary and secondary
relations, ib. note. In what manner are
relations expressed in words, 251, &c.
The effect that even the slighter relations
have on the mind, 422.

Relative beauty, 96. 422.

Remorse, anguish of remorse, 88. its
gratification, 92. is not mean, 163.
Repartee, 180.

Repetitions, 383.

Representation, its perfection lies in
hiding itself and producing an impression
of reality, 409, 410.

Repulsive object, 90. Repulsive pas-
sions, 198.

Resemblance and dissimilitude, ch.
viii. 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.
Restbling causes may produce effects
that have no resemblance, and causes
that have no resemblance may produce
resembling effects, ib. &c. The fail test
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,
223.

Rest neither agreeable nor disagreea-
ble, 118. 230.

Revenge animates,but doth not elevate
the mind, 110. Has no dignity in it, 163.
When immoderate is silent, 223.

Reverie, cause of the pleasure we have
in it, 59. 145.

Rhyme, for what subject it is proper,
302, &c. Melody of rhyme, 303.
Rhythmus defined, 273.

Rich and poor put upon a level by ha-
bit, 189.

Riches (love of) corrupts the taste, 444-