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Writing Landscape
and Setting
in the Anthropocene
Britain and Beyond
Edited by
Philippa Holloway
Craig Jordan-Baker
Foreword by Graeme Harper
Writing Landscape and Setting in the Anthropocene

“This fascinating collection brings Anthropocene theory deep into creative writing
practice. Both are taken in new and exciting directions.”
—Richard Kerridge, Nature writer and Eco-critic, Bath Spa University, UK

“The essays in Writing Landscape and Setting in the Anthropocene, including the
preface and the introduction, stake a robust and comprehensive claim in an emerg-
ing field examining writers interacting with and writing about place against the
backdrop of increasingly threatening environmental crises.”
—Stephanie Vanderslice, Professor of Film, Theatre and Creative Writing,
University of Central Arkansas, USA

“Writers write in time and space, which means they are alert to those contexts.
Over several centuries, writers have been writing reports from the natural world,
describing both beauty and risk and loss. Across the last century, such calls have
becoming increasingly frequent, increasingly loud, canaries down the mine issuing
a desperate warning. This collection of essays shows the canaries muscling their
way out of the cage and flying to surface to tell, vividly and compellingly, what is
going wrong; how writers can illuminate the landscapes in which we live; and how
we might attend to this beautiful damaged planet. Take it with you, a guidebook
to engaging ethically with the world.”
—Jen Webb, University of Canberra, Australia

“Dr. Craig Jordan-Baker and Dr. Philippa Holloway have assembled a group of
fascinating writers and writings which make for a powerful contribution to con-
temporary debates about the Anthropocene holding that humans are not separate
from nature. Focusing upon the entanglements between writing and landscape,
Writing Landscape and Setting in the Anthropocene not only makes a key contribu-
tion to critical thought about the Anthropocene, this important volume raises
stimulating questions for rethinking the craft of writing within environment and
landscape more broadly.”
—Jonathan Pugh, Professor of Island Studies at Newcastle University, UK
Philippa Holloway • Craig Jordan-Baker
Editors

Writing Landscape
and Setting in the
Anthropocene
Britain and Beyond
Editors
Philippa Holloway Craig Jordan-Baker
School of Digital, Technology, School of Humanities and
Innovation and Business Social Science
Staffordshire University University of Brighton
Stoke-on-Trent, Staffordshire, UK Brighton, East Sussex, UK

ISBN 978-3-031-49954-8    ISBN 978-3-031-49955-5 (eBook)

https://doi.org/10.1007/978-3-031-49955-5

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature
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 Foreword

‘Thirty years ago, beside a rural rail line in Algeria, a dead cow righted
itself and, once back upright on its hooves, lamented the conditions of its
kind, there on the rim of a vast desert, and wondered if we, who were pass-
ing by in the train above and had not yet died, might tell the rest of the
world what we had seen.’
So goes the alternative opening passage of Albert Camus’s The Stranger
(1946) whose published opening is in fact this:

My mother died today. Or maybe yesterday, I don’t know. I received a tele-

gram from the old people's home: ‘Mother deceased. Funeral tomorrow.
Very sincerely yours.’ That doesn't mean anything. It might have been yes-
terday. (4)

Followed by these lines in the next paragraph:

The Home for Aged Persons is at Marengo, some fifty miles from Algiers.
With the two o’clock bus I should get there well before nightfall. Then I can
spend the night there, keeping the usual vigil beside the body, and be back
here by tomorrow evening. (4)

We understand place (landscape, setting, location) in both personal and

public terms—much as we understand time and people. Many have
noticed this. I include among these many: Rosalind Franklin, Albert
Einstein, Grazia Deledda, Sigmund Freud, Mogobe Ramose, Martha
Nussbaum and Andrew Ng. These many come from many times and many

v
vi FOREWORD

fields. The self and others, personal and public, place and time. It is one of
the most difficult things to grasp, this idea that self and others are manifest
in such things as place (setting and, more so because of its extent, land-
scape), and that they are so simultaneously and interactively and fluidly.
That is, by being neither relatively fixed like the granite ridge on which we
are standing nor entirely fluid like the wave you can see passing in the
ocean way below this ridge. Nature is like that, both firm and flowing,
material and transcendental, a solid thing informed by our sensations,
emotions, attitudes—and by our actions. Some would say this later impact
is now indelible, and what a concern this could be, what a challenge we
face, because of this.
We create in space and time, and these in turn create us. The editors of
this book know this well.
Thirty years ago, while a student, I traveled by plane, then boat, then
train and then on foot to discover Albert Camus’s former apartment in his
hometown in Algeria. Following my initial arrest, sirens blaring, me in the
backseat of a police car, police cars following (I had accidentally taken a
photo of a military installation while passing on a train) and subsequent
release, by law my camera stripped of its footage, I emerged early-evening
into a street high up in the city of Oran.
It bothered me that I felt so emotionally detached from what had just
happened. I was a stranger in this city and, in that sense, seemed to have
adopted already the more benign character traits of Camus’s unreasoning
Meursault. After all, I thought, my arrest was clearly absurd; and, for those
who know the narrator of The Stranger, Camus’s most famous work, I was
additionally Meursaultian in attempting to manufacture rational order out
of my unusual arrival. I was in this way, and in the flesh, a fictional charac-
ter come to life. Creative writers know how common this phenomenon
can be. We have all met characters from our own books, as well as from
other fictional works we admire, each existing fully alive in the real world!
Hours earlier, I had spotted by the side of the train track a cow that, I
surmised, had been hit by a previous train. Its body had become bloated.
It was enormous now in that hot Algerian sun, tipped over on its right
side, its four legs all pointing stiffly outward, and no sign of anyone any-
where attempting to remove it. Our train passed it by. I wondered if,
perhaps, I wouldn’t get home from this trip at all and, in some sense, had
begun not to care, because this new landscape, these new sights and
sounds, the Algerian people on the train, the destination ahead—all these
were already creating a new me.
 FOREWORD vii

We create in place and we create in time; and we, in turn, are created by
place and time. The editors of this book have carefully constructed this
volume around that idea.
The heightening of our dominance on this planet—if we take domi-
nance to mean impact—I take to have begun at the Western Industrial
Revolution. The arguments for this seem to me strong, with the shift then
to industrial units of labor, economies of production ramped up, a rise in
demand for natural resources to feed new machinery and conditions of
manufacture, a steady increase in demand and distribution of goods,
nationally and (eventually) internationally, and our relationship with
nature so clearly impacted upon by that revolution, as the strength of rural
population migration to urban centers soon revealed. Others suggest our
human ‘dominance’, or what has been called the epoch of the
Anthropocene, began later that the Industrial Revolution—perhaps mid-­
twentieth century, some suggest, around the impact of what had been two
decades of wars and economic upheaval, some say it was around the post-
war suburbanization and shift in global communication and transporta-
tion, which has continued and substantially increased since then. The
International Union of Geological Sciences (IUGS), which officially
names epochs, makes no such commitment: the Anthropocene, at last
consideration, remains an unofficial epoch, one sadly associated more with
our negative impact the planet than with any contributions we might have
made to the planet’s survival. Words like ‘climate’, ‘pollution’, ‘deforesta-
tion’, ‘extinction’ sound off in regular alarm. Humans appear in this unof-
ficial epoch as a problem not a solution.
We create in space and time, and these in turn create us. Our time in
this unofficial epoch of the Anthropocene—the time indeed in which we
creative writers are creating—is also a time of our human destroying.
Nature gave us the mushroom; we humans, in return, have given nature
the mushroom cloud. Writing Landscape and Setting in the Anthropocene:
Britain and Beyond wonderfully explores what the editors have called an
‘ecology of engagement’. This book asks nature back, if not entirely intact
then, at very least, as a force, a form, an influence, a multitude of lives,
nonhuman and human alike. I name this book, for reference, a work of
cohabitation, a community of coexistence and symbiosis, a writerly recog-
nition of an interrelation.
We create in space and we create in time.
One month ago, I went to Paris to stare at the door of Pablo Picasso’s
first studio—in Montmarte, both in and above Paris—49 Rue Gabrielle.
viii FOREWORD

The door, dark-brown, almost black, latticed, paint chipped and gashed.
The street angles. It has always angled. Upward—so that, if you were
emerging from that ordinary dark door some one hundred and twenty or
so years earlier, say, and contemplating the world from there, say, all would
be at abrupt angles upward, to the left and to right. The rest would be
downward, out of sight. So dark. Then overly bright. Dangerous. Always
contrasting. Hidden. Cut across. Sharp. Unfathomable.
Cityscape. Landscape. Location. Setting.
Have you seen a Picasso painting?
My point.
Also, his.
And the point, indeed, of this book.
We create in time and in space.
Graeme Harper
In a forest outside
The motor city of Detroit.
August 20, 2023

Notes
Camus, Albert, The Stranger, Knopf: New York, 1946

Oakland University Graeme Harper

Rochester, MI, USA
 Acknowledgements

First, we’d like to thank one another—when we set out to curate this
book, we agreed to look after one another, and our contributors, as a pri-
ority. We promised to always support, listen, take up slack, encourage, give
space, respond holistically, and be good humoured. We promised to make
it joyful. Somehow, amid the pressures of academia and under the shadow
of climate crisis, we managed that. The love and trust in this venture
together has been a beacon in dark times. Thanks mate.
Our contributors too, have faced similar academic pressures and exis-
tential concerns in this ever more frightening landscape, and we cannot be
more grateful to these amazing scholars, thinkers, practicioners—and now
friends—for their honest, open and incredibly insightful chapters.
Special thanks goes to Graeme Harper, a wonderful mentor for many
years via the Great Writing conference and his work on New Writing, his
support of this book in the foreword was a highlight of the year. Similarly,
to all the good folk of Great Writing and New Writing, we are grateful for
the community, critical feedback, encouragement to push our thinking,
and inspiration.
And perhaps most importantly of all, throughout this all our families
and colleagues have been our foundations: giving us love, coffee, encour-
agement, cake, space to work and think, discussions and inspirations, and
then more coffee. We are who we are because of you—thank you Kerrie,
Simon, Xandr, the good folk of MPC at Staffordshire Uni and the Creative
Writing team at Brighton Uni (you know who you are).

ix
 Contents

1 Introduction  1
Philippa Holloway and Craig Jordan-Baker

Part I Researching and Writing Landscape  29

2 Walking
 and Making: A Collaborative Autoethnography
of Our Creative Recoveries 31
Chris Reading and Jess Moriarty

3 Myth-Making
 and the Urban: Alienation, Folklore and
(Re-) Enchanting the Land 49
Jon Norman-Mason

4 Walking
 with Witches: Place, People and Papercut Comics 71
Barbara Chamberlin

Part II Ecocriticism, Psychogeography and Creative Writing  91

5 Disturbing
 the Weather: How Women Have Been Written
and Viewed in Nature and Place 93
Moy McCrory

xi
xii Contents

6 Psychogeography
 of the Six Towns: Lyric Cartographies
of Stoke on Trent109
Mark Brown and Martin Brown

7 Poetic
 Mycography and Mycelial Dérives in John Cage:
Towards an Ecocentric Creative Practice131
Lisa Mansell

Part III Figures in the Landscape: Character, Place and

Context 153

8 Oneiric
 Places: Diaspora, Ambivalence and the Locus
Amoenus155
Craig Jordan-Baker

9 Radiation,
 Ruins and the Post-Apocalyptic Stories: The
Chornobyl Landscape in S.T.A.L.K.E.R.171
Nick Rush-Cooper

10 Stories
 Along the Life Paths of Beings: Character and
Place in Prose Poetry193
Anne Caldwell

Part IV Writing in the Anthropocene and Beyond 213

11 ‘There
 was weather’: Jon McGregor’s Reservoir 13 and
Climate Realism in the Contemporary British Novel215
Melanie Ebdon

12 From
 Crime and Punishment to Future Archaeologies:
Reimagining Relationships of Waste and Value233
Anna Wilson
 Contents  xiii

13 Then,
 Now, Forever? Researching and Writing Nuclear
Landscapes for The Half-Life of Snails253
Philippa Holloway

14 Naming
 Creatures: We Are all Ecopoets Now275
Katharine Coles

Index293
 Notes on Contributors

Mark Brown is Senior Lecturer in Literature at Staffordshire University.

His specialisms include contemporary British and American literature,
urban literature, community and constructions of place, drawing on the
critical insights of Cultural Geography.
Martin Brown is Senior Lecturer in Architectural History and Theory at
Staffordshire University with a research interest in Stoke-on-Trent,
drawing on a self-collected archive on arts, architecture and regeneration
in the Potteries, c. 2000 to the present.
Anne Caldwell is a Royal Literary Fund Fellow at the University of
Huddersfield and an Associate Lecturer for the Open University. Her
specialisms are prose poetry and eco-poetics. She is the co-editor of Prose
Poetry Theory and Practice (Routledge).
Barbara Chamberlin is a senior lecturer at the University of Brighton
where she teaches on undergraduate and postgraduate modules in creative
writing, English language and is an experienced teacher trainer. Barbara is
also a doctoral student at the University of the Arts, London where she is
pursuing a practice-based PhD that centres on folkloric or historical British
witches and folk horror, using walking and collaboration to create an
anthology of short papercut comics.
Katharine Coles is the author of Ghost Apples, published in June of 2023,
her ninth collection of poems. Her prose books include The Stranger I
Become: on Walking, Looking, and Writing (essays), Look Both Ways

xv
xvi NOTES ON CONTRIBUTORS

(memoir), and two novels; and she has co-created several books and instal-
lations with artists Maureen O’Hara Ure, David Wolke, and others. She
served as the third Poet Laureate of Utah and Poet-in-Residence at the
Natural History Museum of Utah and the Salt Lake City Public Library
for the Poets House FIELD WORK program. She recently became Poet-
in-Residence for Swell, a micro-podcasting app. She has received awards
from the US National Endowment for the Arts, the National Endowment
for the Humanities, the National Science Foundation’s Antarctic Artists
and Writers Program, and the Guggenheim Foundation. She is a
Distinguished Professor at the University of Utah.
Melanie Ebdon is Senior Lecturer in Literary Studies at Staffordshire
University where she leads literary-critical modules on ecocriticism, post-
colonial literatures, magical realism and the Gothic. Her main research
interest is in contemporary British novels which respond to themes such as
climate change, Anthropocene and the posthuman. Her most recent pub-
lication is on the work of British writer, Sarah Hall: ‘Real Nature’ in Sarah
Hall: Critical Essays, Gylphi Press (2023).
Graeme Harper is Professor and Dean of The Honors College at
Oakland University, Michigan, Director of the Midwest Center for
Undergraduate Research (MCUR), Chair of the Creative Writing Studies
Organization, and Chair of the ICCWR International Center for Creative
Writing. His critical works about creative writing include The Desire to
Write, Critical Approaches to Creative Writing, Discovering Creative
Writing, Changing Creative Writing in America, Research Methods in
Creative Writing, with Jeri Kroll and Key Issues in Creative Writing, with
Dianne Donnelly, and many more.
As Brooke Biaz, his works of fiction include Small Maps of the World,
The Invention of Dying, The Japanese Cook, Camera Phone, Moon Dance
and his latest novel Releasing the Animals. He has won awards and held
fellowships from the National Council Award, British Council, Australia
Council, NESTA, Mutter Library, Norton Island Residency, Premier’s
Department and others.
Philippa Holloway is a writer and teaches at Staffordshire University.
Her debut novel, The Half-life of Snails (Parthian Books) was longlisted
for the RSL Ondaatje Prize for ‘a distinguished work evoking the spirit of
place’ and praised on BBC Radio 4s Front Row. It has also been featured
in an international podcast and serialized in a national newspaper. Her
 NOTES ON CONTRIBUTORS xvii

short fiction/non-fiction is published in the United States, Australia,

Africa, Europe and the United Kingdom in various publications including
Ascent, Bukker Tillibul, New Contrast, Litro, Literati, Lunate,
Commonwealth Writers, and as a single authored chapbook with Nightjar
Press. She has also won prizes in literary awards including the Fish
Publishing Prize, The Scythe Prize, and the Writers & Artists Working
Class Writer’s Prize. Her short memoir Energy Crisis was recently pub-
lished by Broken Sleeps Books, and was previously highly commended in
the inaugural New Welsh Writing Awards 2015: People, Place and Planet.
She has undertaken various commissions, including curating a special fea-
ture for the New Welsh Reader on artistic responses to nuclear power sta-
tions and landscapes entitled ‘Power in the Land?’, which drew on
collaborative work undertaken with visual/digital artists and poets; con-
tributing to the Material Cultures of Energy Research Group and the
resultant Energy Communication Toolkit; and contributing to the Cognitive
Sensations Project with an article entitled ‘Entering the City – Embodied
Perception and the Digital World’. Her fieldwork has taken her to
Chernobyl’s Exclusion Zone, Heysham and Wylfa nuclear power stations,
and she was Writer in Residence at Hack Green Nuclear Bunker between
2018 and 2023. She has also taught writing workshops for the mental
Health Charity MIND, has led interactive writing sessions at literary/arts
festivals and was the Hedge Arts Short Fiction Competition Judge in
2018 and the Future U Lockdown Diaries Judge 2020. She is a peer
reviewer for New Writing: The International Journal of Creative Writing
Theory and Practice, a member of Liverpool University’s Literature and
Science Research Hub, and is the co-editor of 100 Words of Solitude –
Global Voices in Lockdown 2020 (published in 2021 by Rare Swan Press)
and co-curator of the 100 Words of Solitude online project.
Craig Jordan-Baker is senior lecturer at the University of Brighton.
He is interested in how creative writing articulates itself as a subject of
academic study and what that means for how writing is taught, as well as
how this relates to questions of creativity, the role of interpretation, the
socio-­cultural view of the artist and the unity of the arts. As well as this
Craig has a diversity of interests that have affected his teaching and writ-
ing. As a keen walker and forager, he is interested in the literary represen-
tation of landscape and teaches the module ‘Reading and Writing
Landscape’, as well as having written on the subject. He is also interested
in Irish literature and history, the relationship between text and image and
xviii NOTES ON CONTRIBUTORS

Medieval English texts, such as Beowulf, which he adapted for the stage
in 2013.
Craig has published peer-reviewed research in publications such as New
Writing: The International Journal of Creative Writing Theory and
Practice, Journal of Creative Writing Studies, Archives and Records and
Journal of Writing in Creative Practice, as well as having given many con-
ference papers. He intends to explore this in depth in a monograph provi-
sionally titled Creative Writing: Imagining, Thinking and Knowing. He is
also a peer reviewer for the journals New Writing: The International
Journal of Creative Writing Theory and Practice, Journal of Creative
Writing Studies and Writing in Practice.
Craig has a background as dramatist and his puppet adaptation of
Beowulf was awarded ACE funding and won an IdeasTap Brighton Fringe
Award. His short fiction has been published widely in places such as New
Writing, Text and Potluck and he holds residency at the Tyrone Guthrie
Centre in Ireland. His first novel, The Nacullians was published in 2020
by époque Press and has been described by the Irish Times as ‘a multi-
layered treatise on memory and the stories we tell ourselves’. His most
recent publication, If the River is Hidden (époque) is a co-authored hybrid
text of prose and poetry tracing a pilgrimage along Northern Ireland’s
longest river, the Bann and featured prominently in Poetry International
events at the Southbank Centre, London.
Lisa Mansell is a poet and independent researcher. She has published
work on interdisciplinary approaches to poetics in Interdisciplinary Science
Reviews, Journal of Writing and Creative Practice, in Journal of American,
British and Canadian Studies. Her formally and linguistically innovative
poetry has been published in several literary magazines, including Nawr,
Long Poem Magazine and Blackbox Manifold. She is currently investigat-
ing tidal ecolinguistics and language identity.
Moy McCrory is a senior lecturer at the University of Derby, and the
author of four books of fiction, two serialized by the BBC and antholo-
gized, and co-editor of a book of articles and literature about Irish identi-
ties (W.G. Press 2019) and Strategies of Silence: Reflections on the Practice
and Pedagogy of Creative Writing (Routledge, 2021).
Jess Moriarty is Principal Lecturer in Creative Writing at the University
of Brighton where she is co-director for the Centre of Arts and Well-
being. She has published on autoethnography, Creative Writing pedagogy
 NOTES ON CONTRIBUTORS xix

and community engagement. Jess lives in Brighton with her family and
continues to walk every day.
Jon Norman-Mason is a professional storyteller with a long-standing
focus on the folklore and history of place, and the role of myth in human-
ity’s understanding of life. He is currently undertaking a Techne-funded
PhD at the University of Brighton entitled ‘Re-storying the city: apply-
ing urban perspectives to eco-storytelling’.
Chris Reading is an independent artist and researcher who works on a
variety of interdisciplinary and collaborative creative research projects
within Higher Education and in the wider community. She has exhibited
her work nationally and internationally. She lives and works in Brighton
with her family and continues to walk, make, and write whenever she can.
Nick Rush-Cooper is Lecturer in Digital Approaches to Media, Heritage
and Cultural Studies, School of Arts & Cultures at Newcastle University.
His research focuses on digital games and landscapes, drawing from eth-
nographic, phenomenological, feminist and practice-based approaches.
His PhD research was based in the Chernobyl Exclusion Zone. This was
an ethnographic project for which he acted as a tour guide for day-trips to
the Zone.
Anna Wilson is Reader in Interdisciplinary Research in the School of
Education at the University of Glasgow. Her teaching and research are
concerned with how we learn to understand, respond to and make choices
within a highly complex world.
 List of Figures

Fig. 2.1 Balcombe Circular No 6 (2020). Oil on linen. 24 cm × 30 cm 36

Fig. 2.2 Balcombe Circular No 2 (2020). Oil on Board. 15 cm × 22 cm 37
Fig. 2.3 Balcombe Circular No 4 (2020). Oil on Aluminium.
24 cm × 18 cm39
Fig. 2.4 Balcombe Circular No 5 (2020). Oil on linen. 24 cm × 30 cm 41
Fig. 4.1 ‘Joan’s arrest and death’ from Joan’s Bones (Marlton and
Chamberlin 2019, part of PhD research) 81
Fig. 4.2 Map inset from Joan’s Bones (Marlton and Chamberlin 2019,
part of PhD research) 83
Fig. 7.1 Detail from plate VII of Mushroom Book, volume two of John
Cage: Mycological Foray showing lithograph by Lois Long of
Agaricus campestris underneath an unfixed, transparent
Japanese-paper overlay containing text consisting of
mycological anecdotes in ‘a collaborative endeavour of John
Cage, Alexander Smith, and Lois Long—a dialogue between
the anecdotal and analytical, art and ecology’. Cage, Pellerin
(ed), 2020. p. 159 144
Fig. 10.1 (a) The exhabitant of the earth and (b) the inhabitant of the
weather world. Tim Ingold, “Bindings Against Boundaries:
Entanglements of Life in an Open World”, Environment and
Planning A, Vol. 40, Sage (2008), 1087 203

xxi
 CHAPTER 1

Introduction

Philippa Holloway and Craig Jordan-Baker

Imagine this: you are sitting in your study, glance flitting like a dragonfly
from the laptop screen to the view of fields and trees beyond the window.
It’s hot, early summer and already the first heatwave has hit, leaving your
skin sticky and head fuzzy. The word Anthropocene is an ever-present
echo in your mind—the syllables rising and falling over and over like a
siren … A word for an epoch in which humanity’s indelible mark has been
left in the geological strata of our planet, and whose exact start is still con-
tested, but whose end feels ever more immanent with reports of ecological

P. Holloway (*)
School of Digital, Technology, Innovation and Business, Staffordshire University,
Stoke-on-Trent, Staffordshire, UK
e-mail: [email protected]
C. Jordan-Baker
School of Humanities and Social Science, University of Brighton,
Brighton, East Sussex, UK
e-mail: [email protected]

© The Author(s), under exclusive license to Springer Nature 1

Switzerland AG 2024
P. Holloway, C. Jordan-Baker (eds.), Writing Landscape and Setting
in the Anthropocene,
https://doi.org/10.1007/978-3-031-49955-5_1
2 P. HOLLOWAY AND C. JORDAN-BAKER

tipping points,1 and targets unmet.2 You’ve recently survived a pandemic

(we do not use these words lightly, you lost people, we all did), and last
year saw record temperatures in the UK3 and parts of Europe and the
Americas consumed by wildfires.4 Already this week, the average global
temperature record has been broken twice, with predictions that it will be
broken again and again over the coming months.5 As children, you sat in
front of small TVs and watched BBC’s Newsround tell you about holes in
the ozone layer, animal extinction, polar ice caps melting, oil-slicked birds.
You caught your parents watching footage of the Chornobyl disaster and
whispering fears to one another, have witnessed the Great Acceleration6
rush forward in your lifetime, and know of vast floating islands of
discarded plastics in the oceans,7 floods covering one-third of Pakistan,8
and now long-terms risk to the Zaporizhzhia nuclear power plant9 as well
as global impact through crop loss after the attacks,10 a few weeks ago, on
the Nova Kakhovka dam in Ukraine.
You are trying to write, you are writing … and not about all of these
issues that spill into your mind, borne on the cadence of that klaxon word:
An-thro-po-cene. No, you are writing about other things. But your writing
is happening somewhere, and your stories take place somewhere. It is all
connected.

1
‘Climate tipping points are conditions beyond which changes in a part of the climate
system become self-perpetuating. These changes may lead to abrupt, irreversible, and dan-
gerous impacts with serious implications for humanity’ (Armstrong McKay, D, et al. 2022).
2
https://unfccc.int/news/climate-plans-remain-insufficient-more-ambitious-action-
needed-now.
3
https://www.bbc.co.uk/news/uk-64173485.
4
https://www.r euters.com/world/eur ope/wildfir es-br eaking-out-acr oss-
world-2022-07-19/.
5
https://www.theguardian.com/environment/2023/jul/05/tuesday-was-worlds-
hottest-day-on-record-breaking-mondays-record.
6
‘Around the mid-twentieth century, human activities—population, economy, resource
use, technologies—underwent a sharp increase that drove correspondingly rapid and, in
many cases, unprecedented changes to the structure and functioning of the Earth System’
(Steffen, W. 2022).
7
https://education.nationalgeographic.org/resource/great-pacific-garbage-patch/.
8
https://www.bbc.co.uk/news/world-europe-62712301.
9
https://www.theguardian.com/world/2023/jun/06/nova-kakhovka-ukraine-
dam-collapse-zaporizhzhia-nuclear-plant-iaea.
10
https://www.theguardian.com/world/2023/jun/08/maps-kakhovka-dam-collapse-
threatens-ukraine-bread-basket.
 1 INTRODUCTION 3

Writers have always been concerned with the relationship between self,
society and place—we are not the first writers and academics to focus on
this, nor will we be the last. Whole literary movements have focussed on
this topic in different ways. The Classical Pastoral tradition used the calm
and cultivated ‘countryside’ to contrast with the corrupt and frenetic city,
and out of the satanic mills of the Industrial Revolution the Romantics
raised Nature to new spiritual heights. The Flaneurs, Situationists and
Psychogeographers centralised the experience of the city, seeking in their
different ways to question the self in relation to place and to explore this
through literature. This book acknowledges that these traditions form a
foundation for thinking, which still influences our creative and critical
practice, but that the world has changed—creativity is responsive, critical
thinking moves on, and Creative Writing as an academic discipline has an
ever-burgeoning canon of theory developing alongside new thinking on
gender, sexuality, race, science, psychology and politics. While previous
literary traditions help us to understand the times in which writers were
operating, as well as helping us understand the relationship between lan-
guage and place, much can be learned by scrutinising what we are doing
now, particularly in the context of the Anthropocene.
Therefore, this book seeks to unpick how writers today consider literary
Settings, through a mixture of personal essays, creative process analysis,
critical analysis and case studies of practical actions undertaken by writers.
We consider a variety of literary modes and forms, including conventional
prose texts, poetry, video games, drama and multi-modal practice. These
are all responsive to the Anthropocene in varied ways, not all focussing
overtly on climate disaster, nuclear isotopes inscribed into our earth or the
post-industrial landscapes now neglected and palimpsestically scarred in
the cities of the Midlands. However, they do all seek out ways in which
individuals, communities and their landscapes interact. Far from being
definitive, we are delighted that the chapters here open up space for fur-
ther consideration of the complex systems of engagement—an ecology of
engagement—with our ever-changing world and methods in literature.
In the writing of our own work and within the context of our own
teaching practice, we have both been confronted with ‘ways of doing writ-
ing’ and ‘ways of researching landscape’ that have encouraged us to ques-
tion standard pedagogies and practices, most noticeably, the concepts of
Settings in literature. Rather than seeing it as a ‘backdrop’ for stories and
poetry to play out before, a long-standing view that sees Setting as merely
a cue for context, we recognise through our own writing that this is far
4 P. HOLLOWAY AND C. JORDAN-BAKER

from the case and there is an ongoing tension between the simplistic terms
of ‘craft’ and ‘process’ playing out in this area. As such, we offer a brief
overview of our reasons for curating this book, and our current thoughts
as part of the community of writers and critics in these uncertain times.

Settings: The ‘Lesser Angel’?

In 1955, author and academic Eudora Welty delivered a lecture at Duke
University (later published as an essay in numerous collections) called
‘Place in Fiction’, a discussion on the role of settings in writing and litera-
ture, that begins with the statement ‘Place is one of the lesser angels that
watch over the racing hand of fiction’ (Welty 2002, p. 39). She claims that
character, plot, symbolism and feeling are the most exalted of the elements
of writing, ‘rightly relegat[ing] place into the shade’ (ibid). The notion of
this hierarchy within craft in academia is not new and is still influential.
The idea that Setting is manifestly subordinate to character, plot and
theme, as stated by Welty, recurs, often subtly, in Creative Writing (CW)
academic literature throughout the evolution of the discipline in UK aca-
demia, generally in terms of technical advice. This attitude is most obvious
when Setting is not discussed at all (Neale 2009; Drabble 1979), or if so,
only minimally, and it is frequently regulated to the status of a tool,
described as a supporting mechanism, and apologetically justified with
statements like: ‘it may be easy to neglect setting in your writing. The
most obvious elements of craft—character, plot, dialogue—tend to be
what writers focus on, but I would argue that setting is almost as impor-
tant. Don’t forget to give it your attention’ (Graham 2017, p. 156 italics
our own). We are told that ‘[s]etting and locational description act as
metaphors for the central theme of the story’ (Singleton 2000, p. 111 ital-
ics our own) and that ‘[i]f narrative is a journey, character being the driver,
and plot the vehicle, then setting is the scenery along the way. [It can]
powerfully amplify theme, show character [and] advance the narrative’
(Newell 2014, p. 123 italics our own). Again: ‘Setting in fiction serves
several purposes’, mainly that it ‘contributes to the solidarity of your fic-
tional world and so makes it more convincing […] It can play a major part
in creating both character and emotional tone. You can use setting to dra-
matise, to generate and enhance the conflict’ (Graham 2017 p. 149 italics
our own).
The language used here contextualises landscape and place, translated
into the text as Setting, as a secondary craft technique the nascent writer
 1 INTRODUCTION 5

should consider, perhaps even after the initial drafts have been started, to
enrich the primary elements of a good piece of writing. This shows how
Setting is sometimes perceived as operating on a surface level within a text,
at a level of good solid craft. It hints at the ways in which place and all
other aspects of narrative are connected but still echoes the notion that it
is a functional exercise, a way it is often perceived (as Graham notes) by
students and nascent writers alike. Lawrence Buell highlights this issue in
The Future of Environmental Criticism (Buell 2005, pp. 3–4) when he says
that he was taught about the basics of storytelling being plot, character,
theme and setting, but that the term ‘setting’ was ‘vaguely defined, and
required nothing more in practice than a few perfunctory sentences about
the locale of the work in question’. Perhaps because of the inherently
anthropocentric nature of literature—written by humans, about humans,
and for humans—it can seem logical for landscape and place to be rele-
gated to a narrative device that supports literature’s ‘better angels’ of char-
acter, tone and theme. This, however, trades on the ancient and powerful
distinction between ‘man’ [sic] and ‘nature’ and the implicit idea that the
one is somehow radically separated from the other. As the Bible states,
God gives humans leave to ‘subdue it [the earth]: and have dominion over
the fish of the sea, and over the fowl air, and over every living thing that
moveth upon the earth’ (Genesis 1:28). Here, humans may utilise and
exploit nature, shape and control it whilst at the same time distancing
themselves from it: nature is beholden to us, we are not beholden to nature.
This ancient figuration of man/nature has plausibly been assisted by
some of the ways in which engaging with the land has changed. We have
seen gardening become a hobby rather than a necessity, seen walking in
the countryside become a pastime as opposed to a non-negotiable slog to
traverse an area. In such contexts, landscape can become, within creative
writing craft, ancillary to the central focus of the text: the human.
When the focus is on the sets of skills and techniques that can be anal-
ysed, emulated, practiced and honed—the ‘craft’ element of writing—this
hierarchy and discussion of Setting as a tool for supporting other more
emotive or organic elements of a narrative is a default. The tension between
the tangible aspects of writing—easily identifiable language and structure
skills, the use of established techniques—that is so often situated at the
centre of arguments about whether CW can be taught, about what else is
needed (enter here myths of talent and genius (May 2007, pp. 7–19)),
leads to craft demanding its place as the focus for teaching, for writing
about writing, and for discussion … and yet …
6 P. HOLLOWAY AND C. JORDAN-BAKER

Writers know there is more to writing than craft, no matter how impor-
tant the tools and knowledge of forms and structures, language and rheto-
ric. Craft, or ‘poesis’ is ‘the skills necessary to enable the writer to “make
meaning” in [a] piece of writing’ (McLoughlin 2008, p. 91) to facilitate
the reader gaining or interpreting meaning in a finished text, but the
search for meaning and understanding in the world that then can be trans-
lated through poesis into writing occurs in other areas of writerly activity,
such as intellectual interest, insight, passion and a desire for exploration of
the world through writing. These intersect and weave with craft—a system
complex and mutative, responsive and fluid—rather than formulaic:

informed by the human imagination and the creative and critical under-
standing of the creative writer, influenced by personal history and by cul-
ture, guided by forms and types of individual knowledge that so often do
not stay within the disciplinary boundaries of learning institutes. (Harper
2015, p. 1)

To focus on elements of craft alone means to dismiss the myriad other

actions, experiences, thoughts and behaviours that contribute towards the
activity of writing, which is why CW scholars also discuss ‘process’ or
‘methodologies’, ‘inspirations’ and ‘practice’. Each of these, of course, is
similarly problematic if viewed alone, siloed and scrutinised as angels,
lesser or otherwise. ‘Process’, the term that might provide a unification of
all aspects of writing, itself is misleading, as it implies elements of mechan-
ics, or something measurable and repeatable, a progression. ‘Praxis’ might
be closer, in that it incorporates reflection on craft, literary theory and
positionality in relation to the contexts of the work (social, commercial,
political, etc.), but as McLoughlin recognises, there are still more areas
that intersect (McLoughlin, 2008, pp. 88–100). According to Harper,
writing,

includes some elements drawn from an instinct, and some drawn from intel-
ligence, fluidly exchanging these, [and] is not merely about internal self-­
consciousness but also about responding to the external world, […] it
occurs by breaking down the barrier between the space of external and
internal and between perception and memory, conception and action.
(Harper 2015, p. 62)
 1 INTRODUCTION 7

It is an ever-evolving and responsive confluence of overt and covert

thoughts, activities, experiences and practices that the terms ‘craft’ and
‘process’ cannot capture. ‘Writing’ can begin long before elements of craft
are considered or praxis is employed; it can begin with a childhood experi-
ence, a certain smell, a feeling, and be developed through daydreaming,
questioning motivations and observations of people in place.
When teaching writing, writing about writing, and thinking about what
writers do (theory), it is vital to consider all aspects of practice and how
they intersect. The books quoted above are academic texts written by writ-
ers and engage with other activities of writing as well as craft, uniting them
where possible, despite the cautious language used to contextualise
Setting. While craft can be seen as ‘what we do’ on the page in simplistic
terms, there is also some insight into ‘how we do’ writing, and place here
is recognised as organically and ecologically connected to the writer, the
writing and the written.
Craft techniques, then, are entwined with case studies and examples of
how experience within, and understanding of the body in relation to,
landscape can be the source for story ideas to develop, with place intrinsi-
cally interwoven throughout. As such, the ‘lesser angel’ is elevated and it
is often revealed as the unifying element for other areas of writing in
action, and the finished text itself.
Singleton, in workshopping a memory of a specific landscape, reveals
that without the initial embodied experience of place and a subsequent
exploration of what the landscape and situation within the landscape
might mean, feel like, invoke or resolve, all of the possibilities for stories
could not be developed, revealing a more holistic and playful approach to
writing that can embrace place as fundamental, even if he does not overtly
advocate its importance (Singleton 2000, pp. 100–128).
Newell tells us that place ‘is the world in which your characters exist;
and in some cases, it is the story itself’. Her understanding of place as
symbiotically connected to the beings that dwell and act within the land-
scape, emplaced and entwined, is similarly woven into her argument for
process to involve a consideration and attention to place as there is ‘an
intrinsic connection between events and setting’ that works like ‘circuits
conveying power’ (Newell 2014, p. 124) to the writing. She encourages
practice and various approaches until the writer, through drafting and
rewrites, learns to ‘[adjust] the balance between aspects of character, plot,
setting, till they seem holistic and inseparable’ (ibid. 128–129). Here we
might see that nature is not simply beholden to us: we are beholden to
8 P. HOLLOWAY AND C. JORDAN-BAKER

nature, too. In fact, they already are holisitic and inseparable, we just need
to practice how to express that!
Even Graham acknowledges the need for looking intensively and read-
ing the world around us, saying ‘[writing] will require research on your
part, often research that takes place on location’ (Graham 2017, p. 150),
highlighting the need for acute observation of how Setting works in other
writers’ texts and of the world in which the writer inhabits as means of
collecting ‘the details of real places with which to build your setting’
(ibid), though this still positions his thinking of Setting as a backdrop for
action and character agency, perhaps, rather than the context in which
character and action are necessarily formed and to which they respond.
There is, in these exploratory discourses, a hint at the interconnectivity of
place to process, to author and to Setting and character/theme/action.
While overt references to Setting are cautious, and generally perpetuate its
role of lesser angel, its beating wings resonate like a heartbeat throughout.
Not always noticed, but vital nonetheless.
When writers are asked about their experiences of writing more gener-
ally, place is discussed differently, without the need to give craft advice.
Jane Rogers’ brief section entitled ‘Setting’ (in Newland and Hershman,
2014, pp. 110–111) starts with a statement we personally relate to more
than anything: ‘I find setting is often the way into writing a story’, going
on to describe how it is seeing new places and observing the details of the
lives lived there that sparks the ideas for a tale to develop. Rogers shares a
case study of a commission she was tasked to write in which placing the
character of Alan Turing within a series of Settings she herself had embod-
ied experience of enabled her to develop the story from a vague idea into
a clearly structured and powerful piece of writing. She explains that situat-
ing Turing in distinct places and seeking out character responses to sen-
sory details of that place, opened up the shaping of character, plot, and so
on. Sadly, the necessary brevity of her contribution leaves just a taste of
how her writing activities engage with place, but while this is a deeply
personal and individual experience of her writing practice, it resonates
with the explanations of practice often related by writers, who might see
this aspect of writing as so obvious that the issues of place and Setting are
taken for granted, as Welty herself acknowledges (Welty 2002 p. 39). An
example of this experience being acknowledged is found in Jenn Ashworth’s
description of her process of writing Fell (Ashworth 2016) as ‘a diary of
looking—of what I paid attention to during that time’ (Ashworth 2017),
 1 INTRODUCTION 9

going on to situate the development of the novel firmly in her observa-

tions and experience of a specific landscape:

I can say that Fell grew from a particular place. The unbiddable, uncanny,
shifting sand of Morecambe Bay intrigued me because I was frightened of it.
I had been taught to be frightened of it, to watch the sands, to never walk
there alone. The bay holds its own dark histories of flux and danger. It is a
place of work and leisure and rest and peril. It demanded its place not as a
mere backdrop for action, but one of the novel’s most shifty characters.
(Ashworth 2017. Italics our own)

Here, Ashworth recognises how the landscape informs feelings, behav-

iours and imaginations, long before even beginning the crafting of her
novel. Attention to place is often key to writing, and if neglected can lead
a project to stall. Once considered, it can flourish: Rogers ends her brief
section by stating that her story then developed with four distinct Settings,
each enabling the character’s responses and experiences to be revealed.
She says ‘focussing on being exact in the physical description of these set-
tings made a space for the difficult idea to unravel itself …[once] the phys-
ical world of the story was in place, the rest of what was needed became
clear’. She concludes by quoting Flannery O’Connor: ‘the first and most
obvious characteristic of fiction is that it deals with reality through what
can be seen, heard, smelt, tasted and touched.’
This is not an exhaustive list of examples, and there is evolution of
thinking and practice in academia, with theory growing at a startling pace
in this field. The above texts, aimed at writers beginning their journey,
may understandably simplify Setting by framing it as merely a device.
However, this can—and has—helped in the underappreciation of an issue
which is far more complex, as it relates to both the writer and the charac-
ters/voices within a text of any type.
What is clear, though, is that focussing on craft as the central concern
of writing can block the understanding of the relationships between
human and landscape, and therefore limit the writer to repeating tropes of
landscape as merely a prop for character, the simplicity of pathetic fallacy,
for example. Writing that does this can be technically very good while
lacking depth and impact. Therefore, the writer must research more
widely, tapping into more than a cerebral or technical consideration of
landscape. Jenn Webb, in Researching Creative Writing, explains this
approach to research through the definition of the word: ‘derived from a
10 P. HOLLOWAY AND C. JORDAN-BAKER

French term, from the late sixteenth century: a compilation of the Old
French prefix re-, which adds intensity to a word, and cerchier, which trans-
lates as “to search”. Re/cerchier can thus be defined as: to look, inten-
sively’ (Webb 2015, p. 7). This ‘looking intensively’ is at the heart of
creative practice, a way of reading described by author and theorist Graeme
Harper in On Creative Writing, as reading the world around us as a
resource for new work: we read the weather, the tides and temperatures,
the behaviour of others, the shape and pattern of the world around us, and
situations. Specifically, he notes that ‘reading’ means ‘examining mean-
ing’, looking intensively does not mean to stare but to consider, question,
connect. Harper suggests that meaning:

relates to receiving and […] comprehending. It can mean to gain knowl-

edge from something, to examine and decide upon intention. It’s about
discerning, attempting to grasp, interpreting. (Harper 2015: 25)

Harper’s definition of reading the world positions it in the writing pro-

cess as an active engagement with external and embodied information and
links creative writing to sociological and phenomenological theories of
creativity, in which the writer recognises their own locale, situatedness and
embodied experience of place as symbiotically connected to their self-
hood, perspectives and artistic practice (Csikszentmihalyi 1999).
In fact, sociological theories of creativity further identify the artist’s
position in society and culture (as defined by their location, class, etc.) as
intrinsic to their practice, as Janet Wolff explains:

The sociology of art enables us to see that artistic practice is situated prac-
tice, the mediation of aesthetic codes, what Bourdieu calls the ‘cultural
unconscious’, and ideological, social and material processes and institutions.
At the same time, it insists that we do not lose sight of the artist as the locus
of this mediation and the facilitator of its expression. (Wolff 1993: 137)

Wolff’s arguments support a holistic view of creativity, focusing on the

many influences affecting the processes of production and recognising the
relationship between external stimuli and internal agency within the artist.
In fact, it has long been argued that ‘an artist becomes what he is in the
course of wrestling with the historically and socially conditioned task he is
trying to interpret and to solve in his own manner’ (Hauser 1982, p. 42).
 1 INTRODUCTION 11

Therefore, the identity of the writer is shaped by their own experiences

of place, engagements with the world, and this identity feeds into interpre-
tation, perception of, and the search for meaning in familiar, new and
changing landscapes through looking closely. It then seems obvious that
characters/voices in fiction/poetry, too, must similarly be situated and act
as a locus for negotiating their own fictional (possibly drawn from real)
settings and landscapes. In this way, the experience of the writer, and by
extension the characters, represented through text, then connects with the
reader, and in fact ‘[s]etting achieves existential significance in literature
and life through events of experiences. It is the latter which converts set-
ting into place, thereby linking environment and person. Place emerges
through experience and in turn symbolizes that experience’ (Pocock
2017). An attention to our own situatedness, and a consideration of oth-
ers, can therefore play a key role in creating believable characters/voices
and authentic narratives/games/poems, as well informing themes, mean-
ing and structure in the creation of a text. When writers ignore this, char-
acters will likely seem ‘dropped in’, incredible and overtly functional. For
example, in F.R Leavis’ seminal essay ‘Two Cultures’, Leavis attacks the
superficial characterisations in C.P. Snow’s novels on the basis that despite
Snow (who was also a practicing scientist) having characters who are sci-
entists, ‘no corresponding intellectual interest comes into the novel; sci-
ence is a mere word, the vocation merely postulated’ (Leavis 1962, p. 14).
The problem here is not only one of character authority but a problem
with how writers see their character as more or less influenced as people by
the places they inhabit and the contexts they are defined by.
It is not the intention of this book to attempt to elevate Setting and
Landscape above any other aspects of writing—either in craft or process—
rather, we are recognising firstly that place and landscape deeply inform
who writers are and how they operate within the world. Secondly, place
and landscape inform who literary characters and their voices are and how
they operate in their worlds, and an understanding of the complexities of
writing cannot be complete without acknowledgement of this. Thirdly,
place and landscape tell us not only about writers and characters but more
broadly about how humanity conceives, perceives and values or underval-
ues the environment around them. And lastly, this book seeks to recognise
and explore how the context of the Anthropocene makes these writerly
conversations about place and landscape all the more complex and relevant.
It is our position that humanity is not ontologically separated from
nature, or any form of landscapes, whether urban, post-industrialised,
12 P. HOLLOWAY AND C. JORDAN-BAKER

rural or ‘wild’. As White states, ‘the human is not—and never has been—a
unified, isolated subject’ (White 2020, p. 15). While conceptually and
culturally we may seem separate and indeed tell ourselves about that separ-
ateness by emphasising our elevated intellectual powers and technical
achievements, we are still part of an ecosystem: ecological beings, con-
nected to the earth in what we eat, how we operate and how we live and
die. While in the age of the Anthropocene we have provided myriad ways
to create material and conceptual barriers between our fragile and organic
bodies and the fragile and organic earth, it also powerfully reminds us that
we are irrepressibly of it and even the most ‘man-made’ of places cannot
divest itself of natural processes and beings.
The environment/s within which the writer exists: spatially, socially,
temporally, culturally, organically, philosophically and academically, and
the mutative and responsive nature of creativity related to place within
this, is an ecological system. Derived from the ancient Greek word Oikos,
meaning ‘home’, the term ‘ecology’ relates to a specific and meaningfully
situated locale, ‘the relationship of living things to their environment and
to each other’ (Cambridge Dictionary, 2023a). This connects both physi-
ological and sociological relationships with the landscapes and places we
inhabit. Our environments, ‘the air, water, and land in or on which peo-
ple, animals, and plants live’ and ‘the conditions that [we] live or work in
and the way that they influence how [we] feel or how effectively you can
work’ (Cambridge Dictionary, 2023b), therefore shape our creativity and
how we express ourselves. MacFarlane reminds us of this, stating: ‘we have
come to forget that our minds are shaped by the bodily experience of
being in the world—its spaces, textures, sounds, smells and habits’
(MacFarlane 2016: 74). As suggested before, part of the reason this hap-
pens is because the Western world has been adept in telling itself that
nature is beholden to us, that we are not beholden to nature. MacFarlane’s
statement builds on the phenomenological approach to perception pos-
ited by Maurice Merleau-Ponty, whose anti-Cartesian stance reunited the
mind and body as the locus for knowledge of the world, arguing that
knowledge is felt within the body in a way that precedes cognition and
informs understanding (Holloway, 2021).
Merleau-Ponty himself recognises that words are gestures of the body,
positioning writing as an expression of existential meaning as experienced
bodily and sensually (Merleau-Ponty 1970: 181–183; Macfarlane 2016:
73–74; Tobin 2012: 29). Language, without context, is meaningless—as
Wittgenstein says, ‘the meaning of a word is its use in the language’ (2009,
Exploring the Variety of Random
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make="" bottom="" wound="" tenens="" sergey.="" accxu=""
procuring="" agslatination.="" rowl="" member="" with=""
agelutinative="" rowler.="" wife="" aggrandize="" wv.="" a.=""
er="" feat="" enlarges="" exalts="" improve="" honour="" or=""
rank="" it="" applied="" perfons="" generally="" fometimes=""
things.="" tf="" king="" fhould="" ufe="" ieno="" better="" than=""
pope="" only="" covetous="" churchmen="" cannot="" be=""
called="" jewel="" his="" crown.="" ajliff="" parergen.=""
furnish="" us="" glorious="" fprings="" mediums="" rife=""
ageranize="" our="" conceptions="" warm="" fouls="" awaken=""
paflions="" elevate="" them="" even="" divine="" pitch="" for=""
devotional="" purpofes="" wats="" jmprev.="" mind.=""
alconanprzemese.n.="" fe.="" flate="" agerandized="" thea=""
aggrandizing.="" aocranpizer:="" mf.="" perfon="" aggrandizes=""
makes="" great="" toacara="" v.a.="" ital="" pleale="" treat=""
civilities="" :="" now="" ule.="" themidft="" thereof="" upon=""
fleor="" lovely="" bevy="" fait="" ladies="" fate="" courted=""
ny="" ajally="" paramour="" dil="" modeftwife="" amt="" each=""
fought="" lady="" to-agerate.="" fairy="" qucons=""
toaggravate="" v.c="" oe="" heavy="" ufed="" ina=""
metaphorical="" fenle="" an="" acculition="" punithment=""
grove="" fprung="" this="" their="" change="" will="" who=""
reigns="" above="" aggravate="" penance="" laden="" fruit=""
like="" grew="" paradite="" bait="" eve="" tempter="" milton=""
pavadife="" lefh="" bx="" ambitious="" turnus="" pref=""
appears="" aggravating="" crimes="" augment="" fears.=""
dryd.="" any="" thing="" worfe="" addition="" fome=""
pariealae="" ircumftance="" efential.="" offence="" itfelf=""
heinous="" yetin="" him="" aggraated="" motive="" malice=""
difcontent="" but="" afpiring="" mind="" papacy:="" bacin=""
henyni.="" acarava="" mf:="" ageravating="" making="" heavy.=""
extrinfecal="" circumilances="" accidents="" encreafe="" guilt=""
crime="" mifery="" calamity="" weigh="" itl="" aegrcvations=""
furcharg="" he="" ts="" ath="" jut="" lowisce="" amen="" i=""
may="" if="" poflible="" thy="" pardon="" find="" eafier=""
towards="" me="" hatred="" leg.="" samp="" fins="" commits=""
hath="" aggradation="" fupet="" added="" committing=""
againft="" knowledge="" againit="" confeifence="" fight=""
contrary="" law.="" hannand="" fudan="" alcanscare.=""
faggregatus="" late="" framed="" collec="tion" particular=""
mals="" fyitem.="" bab="" slong="" time="" produced="" many=""
ates="" cept="" combinations="" aggregate="" forms="" things=""
nonfenfical="" fyftems="" whole="" ray="" creation.=""
alconegare.="" m="" verb.="" complex="" colle="" refit=""
conjunstion="" acervation="" par="" riculars.="" reafon="" far=""
greateft="" mankind="" miftaken="" phantafms="" fenfibley=""
conftant="" delufion="" glaills="" scepis="" sceat=""/>
 AGH ‘A great muniber of fuch living and thinking particles
could tt pofibly, by theirmutusl contact, and prefing, and tr ‘compose
one greater individual animal, with one mind and underftsnding, and
a vital confenfion of the whole body ; any ‘more than a fivarm of
bees, or a croyd of men and women, ‘cin be concsived to mike up
one particular living creature, compounded and conftiuted of the
agerarateof thems al. Bent. To NGGREGATE, we fagsrat Lat) To calle
or hers to heap many particulars into one mats = FE oat Dea, with
bismace petrifick, cold, and dry, ‘As with a trident, fore, Mitoe's
Paradife Left, b,x. Accnsca’tion. x.J- [from aggrepaten] “ 4. The
collestion, of att of colleéting many particulars into one whole. “The
water tefident in the abyts is, in all parte of t, flored swith 2
confiderable quantity of heat, and more efpecially in thofe where
hele nadie diggin hifi happen. eauard?s Nat. Hijtry. 2. The whole
compofed by the coacervation of many particu Jars an aggregate. 3,
Colledtion, of fate of b L ‘Theit individual is 1B great, they are more~
over by their argrecition ; and being erroneous in ‘mumbers, once
huddled together, they will be erit Brown's Vulgar Brreursy ba ix To
AGGRDSS. w. n. [aceratior, azerefiim Lat] ‘To comamit the fir a&t of
violence 5 to bexin the quarrel, ‘Therage difpersd, the glorious pair
advance ‘With mingl'danger, and collested might, ‘Poti the war, and
tell aggrefing France, row Britis fons, and Bits ends can Acone’sstow.
mf: [aggrefis, Lat.] The Gennes by fome at ‘There is no refiting of a
common enemy, without an union for a mutual defences and there
may be allo, on the other hhand, aconfpiracy of common enmity and
agerefien, L'E fir. Acane’ston. n-/ [from aggrifiz] “The petfon that frft
comences hoftiity; the allaultr or invader, oppofed to the di he. Prisrs
EF oF injury 5 iuity. Ply fn nature’s face ? But hoyrs if natute fy in my
face fire? ‘Thett nature’s the aggrefir: Let her look to't. Diyden's
Span Friar. Trica very unlucky circumffance, to be obliged to retaliate
theinjuries of fach authours, whofe works are fo fon forgot~ ten,
that we are in danger already of appearing the firlt aggrefrs. Pape
and Suits Prefice fo Millis Accurlevance. ». f; [See Grievance.) Injury;
hardthip inflided ; wrong endured. i ‘To Aconrsve. @. a. [fromgrauis,
Lat. See To grieve.] 1,, To give forrows to caule grief; to vex. Ie is
not improIbable, that fo grieve was originally neuter, and aggrieve
the active, But while therein T took my chief delight, Tfiw, alas! thé
gaping earth devour The fpring, the place, and all clean out of fight:
‘Which yet grieve sy Hert eve to thishout, Spey, 2. To impole fone
hardihips upon 3 to harrafs; to hurt in one’s ight, ‘Thisis-a kind of
juridical fenfe; and whenever it is Ted now, it bears fone allt to
forme of fa Sewall,archbithop of York, much aggricoed with fome
practices of the pope's colleGtors, took all patiently: Cambden, “The
landed man finds himfelf aggrieved, by the falling: of his rents, and
the flreightening of his fortune; ‘whilft the monied snuan keeps up
his gain, and the merchant thrives and grow: sich by trade, Locke.
OFisjurd fans and mighty wrong recy’ Clot complains, and
wond'roully’s agerieo'd. Granville ‘To Acoro'vr. v.a. [agerapare, tal,]
To bring together into one figure ; to croud together: a term of
painting. Bodies of divers natures, which are aggreuped (or
combined) topsther are agreeable and left tothe Sights sally thoe
things which appear to be performed with eafe, Dry. Dufr. Aona’or.
adj. [either the participle of agate, (fee AcAze.) and then to be
written agazel, or agafi, ot from a and ayes agholt, which the prefent
orthography favours; perhaps they were otiginally different words.)
Struck with horrour, as at the fight of a fpeftres ftupiied with terrour,
Tt is generally applied to the external appearance, ‘Who fighing fore,
as if her heart in twaine ‘Had riven been, and all her heart-frings
braft, ae: ‘With dreary drooping eyne looted up like one aghaft,
Spenf: ‘The aged earth aghu/t, she ‘With terrour of that blaft, ‘Shall
from the furface to the centre fhake, Mil, Chr. Nat. “Aghaft he
waked, and, flarting from his bed, (GAA fread 1H ley ope is nbs
oterfpreci, Diy) Bi: T laugh to think how your unthaken Cato Will
look agha/t, while unforefeen deltrugtion Pours in upon him thus
from every fide, Adidfon, Cato AGL AGILE, aaj. (agile, Fr, agilis, Lat.)
Nimble; ready ; havin; ‘he quali of bring feed iy pat in a sire . ‘With
sha he gave his able horte the ead, ‘And beniling forward ftruck his
agile heels Agsinft the panting fides of his poor jade, Up to the
rowel-head. ‘Shakefp. Heny WV. ‘The immediate and agile
fubfervience of the fpirits to the empire of the mind or foul, Hale's
Origin of Mankind. To wuide its adtions with informing care, Jn
peace to judge, to conquer in the war, Render it agile, witty, valiant,
fage, ‘As fits the various courfe of human age. Prior. Alomexzss. nf;
[from ogilz] The quality of being agile 5 Aimblenels readies for
motions quicknels; abvtysagi~ Katurey. nif [olen Lat. omagil, agile]
Nimblenee; Sean qetheen ce A limb over-ftrained by lifting a weight
above its power, may never recover its former agility and vigour.
Watts. AGILLOCHUM. n. f,_ Alocs-wood. A tree in the EaltIndies,
brought to us in finall bits, of a very fragrant feent, It is hot, drying,
and accounted a ‘Alrenghener of the nervesin general. The belt is of
a blackith purple colour, and fo light 25 to fwim upon water. Quincy.
+ AGIO. x, f. (an Telian word, fgnifying:eate or conveniency.| A
mercantile term, ufed chiefly in Holland and Venice, for the
difference between the value of bank notes, and the current money.
Chambers. ToAGIST, wa, [from gife, Fr. a bed or refting-place, of
from gifter, i.e. flabulari.| ‘To take in ad feed the cattle of ftiangers in
the King’s fotefl, and to gather the money. ‘The officers that do this,
are called agifors, in Englih gue/? or gif-takers, ‘Their fundlion is
termed agiffment ; a5, aciffmwcet upon the fea banks. This word
agit is.alfo ufed, for the taking in of other men’s cattle into any
man’s ground, ata certain rate per week, Blount. Acreraies, mp [See
Acwt.] It is taken by the canon lawyers in another fenfe than is
mentioned under agi/f. They feem to intend by it, a madur or
ompofition, o mean rate, at which fome risht or due may be
reckoned : perhaps it is corrupted from addsueiffament, oF
adJuftment. We eiscen Jf. [ftom agif.} An officer of the king's forett,
See Agist. Alcrrapue. uf. [ftom agitate agitabilis, Lat.] ‘That which
may be agitated, or put in motion perhaps that which may be
difputed, See Acrrare, and Acrration. ToAGITATE, 2.4. [auite, Lat] ¥,
To put in motion; to fhuke3 to move nimblys as the far face of the
waters is agitated by the wind s the veffel was broken. by agitating
the liquour, ‘Tobe the caulé of motion; to a€tuate; to move. ‘Where
dwells this fov'reign arbitrary foul, ‘Which does the human animal
controul, Tnforms each part, ond agitatesthe whole? Blackmore 3
Toaffect with perturbation ; as, themind of man is wpitated by
various paffions. 4. To ftir; to bandy from one to anothers to difeuls
to controvert ; as, ta agitate a queftion. ‘Though this controverty be
revived, and hotly agitated 2mong the moderns; yet I doubt whether
i be not, in-a great part, a nominal difpute. Boyle on Ci Agrra’ri10N.
nf [from agitate, agitatis, Lat: 1 at of rH or ng ty thing, i Putrefaétion
afketh reff; for the fubtle motion which putrefaGlion requireth, is
difturbed by any agivaiz Basen. ‘The ftate of being moved or
agitaicds as, the waters, after a florm, are fometime in a violent
agitation, 3 Difeuion 5 controverfial examination, A Kind of a fehool
queftion is tarted in this fable, upon reafon and inftingt: and whether
this deliberative proceeding of the crow, was not rather a logical
agitaties of the matter. L Efirange’s Fables, 4, Violent motion of the
mind; perturbation; diffurbance of the thoughts. A great
perturbation in nature! to receiveat once the benefit ‘of fleep, and do
the effects of watching. In this Dubey agi~ tation, belides her
walking, and ether aélual performances, what, at any time, have you
heard her fay? Shatkefp. Macbeth. His mother could no longer bear
the agitations of fo many affions as thronged upon her. Tatler, N° 55
5. Deliberation 5 contrivance 5 the ftate of being confileed upon,
‘The project now in agitaticn for repealing of the telt aft, and yet
leaving the name of an eftublithment to national church,
ieinconfiftene Aarralton. m fe [rom agitate.) He that a hhe who
manages affirs: in which fenfe fe agitators of the a Alcurr. ».f- [A
word which fome derive from tary (plendour, but which is apparently
to be deduced from aigwlette, Fr. a tag, and that from aigu, tharp.) 2
A
 AGO Atag of a point curved mal, gencrally of a man. Hle
thereupon gave for the garter a chain worth 2001 and his gown
addrelled with aglets efleemed worth 25 1, Hayward. Why, give him
gold enoush, and marry him to a puppet, cor an aglt baby, or an old
trot, and ne'er a tooth in her head. Shakejp. Taming of the Shrew. 2.
The pendants at the ends of the chieves of flowers, as in tulips.
owiwat, adj (ftom agmen, Lat.) Belonging to troop. Di Noxavt, nj:
[from ange, grieved, and nagle, a nail] ‘A difeafe of the nails
awhitlow ; an inflamimation round thenails, cxa’Tion. nf: [from a; to
fome reptefentation of an ani us Lat.] Defeent from the fame father,
ina direét male line, diftingt From eggnation, or confanuinity, which
includes de(Gendantsfroun females. Agarrion. mf. [from aguitie, Lat.]
Acknowledgment. To Aasr'zk. 2. a. [from agnoie, Lat.] To
acknowledges to ‘owns to.avow. ‘This word is now oblolete, Tdo
aguiee ‘A natural and prompt alacrit Tilt ante ane ae lets ‘This
prefent war againtt the Ottomites. _Shate/p, Otbrll Acxomrnalrion.
n.Jo [agneminatin, Lac.) Allulion of one ‘word to another, by
relemblance of found. ‘The Britifh continyeth yer in Wales, and fome
villages of Cornwall, intermingted with provincial Latin, being very
fiznificative, copious, and pleafantly running upon aguawinatiant,
although harth in afpirstions. Caniden. AG NUS CASTUS. n. f.[Lat.]
The name of the tree commonly called the Gligfle Tree, from an
imaginary virtue of preferving chattty. (Of url ome,of woothine many
inate) And wreathes of agnns caftus athers bore. Dryden. Acol. adv,
[agan, Sax. palt or gone; whence writers formerly ued, and in fome
provinces the people (til ule, agae for ags.] Pafts as, long-ago thats,
long time has patt fince, Reckoning time towards the profent, we
ule/fuces as, itis a year fine it happened: reckoning from the prefént,
we ule ago3 m9, it happened a year age, "This is not, perhaps,
always objerved. Be of good comfort: for the great fupply, ‘That was
expected by the Dauphin here, Arewreck’d three nights age on
Godwin fands. Sb. KJobn. “This both by others and myfelf know, For
Thave ferv'd their fovercign long ago; Ofc havebecn caught within
the winding train. Djyd. Fabs Tfhall fet down an account of a
difeourle T chanced to have ‘with one of them fome time aps.
Mddifn, Prechlder. Aco's. adv. [a word of uncertain etymology 3, the
French have the term a gogo, in low language; as, i vivent @ goge,
they livetotheir with : from this phrafe out word may be, perhaps,
derived] 1, Tn aftate of defire ina ftate of imagination heated with
the notion of fome enjoyment longing. ‘As for the fenfe and reafon
of it, that has little of nothing to do heges only let it found full and
round, and chime right to the humour, which is at prefint agar, (jull
as a big, long, rat~ aling name is fad to command even adoration
from Spaniard) and, no doubt, with thispowerful, fenfelels engine,
the rabble~ river, thall be able to carry all before him. —Seutlfs
Sermons. 2. Teisulfed withthe verbs to be, or te fts as, he is ugags
or you may fet him ager. "The gawdy goffip, when fhe’s fet agig In
jewels dreft, and at each ear a bob, Goes Maunting out, and, in her
trim of pride, ‘"Thinksall the fays or does, is juRify'd, Dry. Juv. Sat.6.
‘This maggot has no fooner fet him agze, buthe gets him a ‘hip,
freights her, builds caftles in the air, and conceits both the Indies in
his coffers, DL Bpirange. . Te has the particles on, of for, before the
objett of defire, Sey orate tee eal itp? And all this for a bear and
dog. Hudibras, cat ‘They generally ftraggle into thele parts about this
cime of the year and fet the hesds of our fervant-miaids fo azeg for
Thufbanils, that we do not expeét to have any bufinefs done as it
fhould be, whilft they are in the country. Addijon, Spectator. Aco'se.
adv. [agan, Sax.] Ago; pall. See Aco. Tshe fuch a princely one, hs
you fom hm long aga | Ben. Yes Pay Prin Atéosisnt. mf. [aruneuds
Gr) Contention fora prize. Diet. AGolInc. poriiipial adj. [from aand
going.) Tn astio ‘Theic fidt movement, and impreffed motions,
demsiled the mpulfe of an almighty hand to fet them firt ageing,
Tatler. Alsontsr. mf: [enri, Gre] A contender for prizes, Dist,
Aaonrstes. mf: [inmen, Cr) A ghters one that contends at aity public
folemnity for a prize. Miltan has fo filed his tragedy, becaufe
Sampfon was called out to divert the Philtines with feats of flvength,
Acosi'srieat, adj. [irom agouijien] Relating to prize-fighting Dist. To
A’costze. vn. [from agenite, low Latin, apoits, Gr fers Fr.]
Tofeelagoniss; to be in excefive pain. Vole dL AGR Doft thou behold
my poor diftrséted heart, ‘Thus rent with agonizing love and rage,
And afl: me what it means? Art thou not falle ?Rowe's.Sh. op Oe os
hs eeblingly alive al oer ‘ofmart and ageniseat ev'ry pore? Pope's
Rifiy on Man. Acowortitrck, wh, [sr and sn, Grd veepoing pubTick
contentions for prizes ; giving prizes; prefding at publick Diet. es.
ONY. m fi [nbs Gr. agen low Lat. agonie, Fr.] 1 The pangs of death
properly the aft contelt between life and death, ‘Never was there
more pity in faving any than in ending me, Decaufe therein my
agotythall end. Sidngy, 6.43, ‘Thou who for me did feel fuch pain,
‘Whote precious blood the erofs did fain, Let notthofe agenies be
vain, Refisnsn. 2. Any violent or exceflive pain of body or mind,
‘Betwixt them both, they have medone to dy, ‘Through wounds and
ftrokes, and flubborn bandeling, ‘That death were better than fuch
agony, Asorief and fury untomedid bring. Fairy Queen, bi, ‘Thee I
have mi6'd, and thought it long, depriv'd Thy prefence, agony of
love! till now. Notelt, nor thallbe twice. Milt's Paradife Left, b. ix. 4 It
is particularly uled in devotions for our Redeemer’s conllict in the
garden, ‘To propofe our defires, which cannot take fuch eff@ as we
Specify, thall, notwithftanding, otherwife procure us his hea ly grace,
even as this very prayer of Chrift obtained angels to be fent him as
comforters in his agen. Heater, bv. Acoloo. adv. [aand geod.) In
earnelt; not fitioully. ‘At that time I made her weep agsed, For did
play a lamentable part. Shaf. Tius Gent. of Fer. Acoluty. nf. An animal
of the Antilles, of the bignels of a sabbet, with bright red hair, and a
litde tail without hair ‘He has but two teeth in each jaw, holds his
meat in his fore paws like a fquirrel, and has a very remarkable cry.
When he fs angry, his hair flandson end, and he ftrikes the earth
with his hindfeet, and, when chafed, he ies to a hollow tree, whence
he is expelled by fmioke. Tren. To Aona’ee, v. a. [from a and grace.]
To grint favours to 5 to confer benefits upon: a word not now in uf
Se grant a tat knight fo much cpr “Phat fhe him taught celeftal
difeipline. Fairy Queens Aoralwoaatisr, mf [ay priv. and yeloua, Gr]
An illite: rate man. Dist. Acna'ntay. adj. [agrarius, Lat.) Relating to
fields or grounds ; Tar! ioe Meneses tory, where thre is mention of
the agrarian lav. “ ‘To Acne’ase, v. a. [from aandgrea/t.] To daub; to
greales to pollute with filth. ‘The waves thereof fo low and Ougeith
were, Engrofi'd with mud, which did them foul aereafe. Fairy 2.
ToAGREE. vm [agreer, Fr. fromré liking or good-will ‘gratia and
gratus, Lat ] 1, Tobe In concord ; to live without contentions not to
differ. "The more you agree together, the lef hurt can your eneies do
you, Pope's Viet of Epic Pectry. 2. To grants to yield to; to admits
with the particles to or ‘And perfuaded them to agrée to all
reafonable conditions. 2 Maccabees, xi 14. ‘We do not prove the
origin of the earth from achags 5 feeing that is agreed on by all that
give it any origin. Burnes Thee, 43. To fettle terms by flipulation to
accor Agree with thine advertiry quickly, wbild: thou art in the ~ way
with him; left at any time the advesfiey deliver thee to the judge,
and the judge deliver thee to the officer, and thou be ‘aft into prifon
Matt. 25. 4. To fercle a price between buyer and feller. Friend, Ido
thee no wrong: didi not thou agree with me for a penny, Matt. xx,
13. § To be of th fame mind eropinon, y He exceedingly provoked, or
underwent the envy, and reproach, and malice of men of all qualities
and conditions, who agreed in nothing ele. Clarendon. Milton is a
noble genius, and the world apreer to confe it. Watts Improvement
of the Mina, 6. To fettle fome point amon g many Strifes and
troubles would be endef except they gaye their common confént all
to be ordered by fome whom they fhould agree upon Hester, b. If
judicious men, led in chymical affairs, hall agrce to write clay, and
keep tan fom being Aun by dk et empty words, itis hoped, they will
be reduced either to wri nothing, ot books that may teach us
fomething, By Yo be confiflent; not to contradigt, “or many bare falfe
witnels againtt him, but their witto(s agreed not together Marks xiv.
56. hey that flood by fad again to Peter, firey thow art one of them:
forthou art a Galilean, and thy fpeech axreeth there 0. Mark, xiv. 0, °
Whie'
 AGR Which teftimony Tthe les feruple toallege, becaute
eryavel with what has bes aime to me by a phy Motor. Basle's Hifiery
of Colours. 8. To fuit with ; to be accommodated to. ‘Thou fecdeft
thine own people with angels food, ani didft fend them from heaven
bread agreeing to every talle, W7fdem. His principles could not be
nrade to agree with that confitution and onter, which God had
feetled in the worlds. and, therefore, mult needs ea with consmon
fee nd experene, 4g. To caule no difturbancein the body. Thave
often thought, that our preferibing alfes mill in fuch fall quantities, is
injudicious; for, undoubtedly, with fuch as i azrces with, it would
perform much greater and quicker effeats, in greater quantities,
Arbnabidt on Coins, To AGREE. va 1, To put anend to a variance, ‘He
fi from far, oF feemed for to fee, Somettoublous uproar, or
contentious fay, Whereto hedrewin bitte it to agree Hairy Queen, bi
2, To make friends ; to reconcile. ‘The mighty rivals, whofe dftrudtive
rage Did tie whole world in civil arms engage, ‘Are now agree.
Aonsleanre. adj. [apreatle, Fr] 1, Suitable tos confiftent with, “Teas
the particle 20, ar with, What you do, is not at all agreeable either
with fo good a chritian, or fo reafenable and fo greata perfon.
‘Temple. ‘Thac which is arrecale fo the nature of one thing is many
‘times contrary to the nature of another. LEfirance. As the pragtice of
all piety and virtue is agreeable ts out rea for, (o ist likewite the
intereft both of private perfons and of jpublick focieties, Tiletfan.
Agreeaile hereto, perhaps ic might not be ami6, to make children, as
foon as they are capable of it, often to tell aory. Locke on Edscation.
2, Plecfing:: that is fuitable to the inclination, faculties, or temer. Tels
ufed in this fenfe both of perfons and And while the face of outward
things we find Pleafing and fair, agvenable and fiveet, “Thete things
tranfport. Sir J, Daves Trecolleét in my mind the diftourfes which
have palled betiveen us, and call to tind athoufand arrseable
remarks, w hehasmade on theleoccafions. Aldon, Speftator, Tehas
alfo the particle 2, ‘The delight which men have in popularity, fame,
fubmifion, and fubjestion of other men’s minds, fecmeth to be a
thing, in itfef, without contemplation of confequence, agreeableand
gratefal tothe nature of ma Bacon's Natural Hip. Aaeleanceness, x. /:
[from agreeable] 4. Conlifteney with, fuitablenefs to; with the
particle ze. Plesfint tnftes depend not on the things themfelves, but
their cagreeableve to this or that particular palate, wherein there is
‘preacvar Licke, 2. ‘The quality of pleafing. Tes wed in an inferiour
fenfe, to ‘mark the produdtion of fitisfsétion, calm and lafting, but
beTove rapture or admiration, ‘There will be ceafion for largonels of
mind and agree adletefs of teraper. Gli of Friendpbip. Teis very much
an image of that author’s writing, who has an agreeallenef that
charm: us, without correétnels ikea mif Refionsnen. ‘refs, whofe
faults we fee, but love her with them all. Pope. 3 Refemblances
likenels ; fometimes with the particle dettcen, "Phia relotionis
likewile feen in the agrecahlee/s between man and the other parts of
the univerlé and that in fundry repeal, Grra’s Cofoalara Sera,
‘Agnefeanty, ado. [ftom agreeable] ¥. Confiftently with ; ina manner
fattable to. ‘They may look into the affairs of Judes and Jerufalem,
‘ecroeably o that whichis in the law of the Lord. 1 Ejixvil.2. 2.
Phafingly, Tid never imagine, that fo many excellent rules could be
profuced fo advantageoully and agrecaby. Swift. Ant!tp. porticipial
adj. [from agree.) Settled by confent, When they had gorknown and
agreed names, to fignify thofe internal operations of their own
minds, they were fulliciently hed to make known by words all their id
Lecke, Aane/eroness. fe [from agree] Confiflence; fuitablenels.
Acuelenenr. nf: [aivenent, Fr. in law Latin agreamentun, ‘whiich Coke
woild willingly derive from aggregatia mentiva. ] 1, Concord, Wohat
agreement is there between the hyenaand the dog ? and what
peace between the rich and the poor? evr xili, 18. 2, Refemblance of
one thing to another. “Expanion and duration have this futher
agreements that though they are both confidered by us. baying
parts, yet (ese Mopleastutl wie Fromatealn, eee. 3. Compaét;
barztins conclufion of controyerfys ftipulation. And your covenant
with deash thall be difasnulled, and your ‘acverinent with hell fhall
not ftand; when the overflowing fcourge fhall pals through, then ye
thall be trodden down by it Moiah, 18. AGU Make an agreement with
me bya prefent, and come out to rey and then eat ye every man of
his own vine, and every one of his figetrey and drink ye very oncthe
waters of hiseiiern, 2 Kings, xviii. gr, Frog had given bis word, that
he would mect the abote: mentioned company at the Salutation, to
talk of this acreement. Arhuthnats Hiffory of Fobn Ball Aone'sriex, or
AGre’stican. adj. [from arretit, Lat] Hayinzrelation tothe country ;
rude; rullick, Di, Aoricona’rion. mf [from agricola, Lat.) Culture of th
ground, Diet. AlGarcun tune. mf: [agricaltura, Lat] ‘The art of
cultivating the around 5 tillage ; hnfbanry. He frilly advifeth not to
begin to fow before the fetting of the flare; which notwithflanding,
without injury to agriculre, cannot be obferved in England. Brown's
Fulgar Erraurs, “That there was tillage beltowed upon the ground,
Mofes does indeed intimate in general ; as allo, what fore of tillage
that was, fe not expreled 1 hope ta thew, that their agrcatire ‘was
nothing, near fo laborious and troublefome, nor did it take upfomuch
timeasoursdoth, Weedward’s Net, Hiflory. ‘The difpolition of Ulyfies
inclined him to war, rather than the more lucrative, but more fecure,
method of life, by agrieultre and buftandey. Pope's Odyfiys notes.
Alcuimony. .m.fi [agrimonia, Lat.) The name of a plant. “The leaves
are rough, hairy, pennated, and grow alternately con the branches ;
the fower-cup confifts of one leaf, which is divided into five
fegmients;, the flowers have five or fx leaves, and are formed into a
long fpike, which expand in form of rofe3 the fruit is oblong, dry, and
prickly, like the burdock; in each of which are contained two kernels.
‘The fpeties are; 1. The common or medicinal agrimoy, 2, The fireet-
finelling agrimmy. 3, Leller agrinteny, with a white Rower, ‘The fir is
common in the hedges, in many parts, and is the fort commonly
ufedin medicine, Te will row in almoit iy fl or fiations and is incresed
by paring the roou in autumn, or by fowing the feeds foon after they
are ripe, Mill. AGKo'UND. ady, [from a and greunde] x. Stranded ;
hindered by the ground from paffing farther. ‘With our great thips we
durft not approach the coat, we having been all of us agreund. Sir,
Raleigh's Bifiys. Say what you feck, and whether were you bound ?
‘Were you, by frets of weather, catt acrawid ? Dryden's En. 2. Tris
likewife figuratively ufed, for being hindered in the proagrels of
affairs; as, the negotiators were aground at that objec tion. GUE, fi
Depts Br. acto] Am intermiting fever, with ‘cold fits fucceeded by hot.
The cold fit is, in popular Tangvagey more pavielly elle the apis aid
the hot the fever. ir caftle’s ftrength ‘Will taugh a fiege to feorn, Here
let them lie, ‘Till famine andthe ague eat them up. Shats/p. Macbeth,
; Though He feels the heats of youth, and colds of age, “Yet neither
tempers nor correéts the other ; SAsif there were an ague in his
nature, ‘That fill inclines to one extreme. Denkion’s Sep. Aleven. ad).
[from ague.] Struck with an agues, fhiverings chill; cold: @ word
inditele ufe, ‘All hurt behind, backs red, and faces pale, With fight
and agued fear! mind and charge home, : oa ay vi eee seen. Alcove
xv, vf [from azie and ft.] The paraxyim of the ague. ikea po Reactors
‘An eafy tafk it is to win our own. Shuts/p, Richard TI. Alous rRoor.
adj. [from azueand praof.] Proof againtt agues 5 able to refit the
caufes which produce acues, without being af ested. ‘When therain
came to wet me once, and the wind to make me chatter; when the
thunder would not peace at my biddina there I found ’em, there
Tfimelt em out. Go to, they are riot men o' their words; they told
meT was every thing: ‘tis alics Tam not ague proof. Shaksfpeare’s
King Leare Nove-rRee. n. fe [ftom ague and tree] A name fometimes
given to fallafras. Dif. To AGu'tse. wa. [froma and guife, See Guise.)
To drels; to adorn; to deck : a word now not in ufe At other whiles
the would devife, As her fantaftick wit did moft delight ; Sometimes
her head the fondly would azei/e With paudy garlands or fete overs
dighe Abouther neck, or rings of ruthes plight. Fairy Queen. Alaviatt
adj. [from ague.} Having the qualities of an ague, id fo ferene, but
now, ans this change on Myra’s brow ? ove now glows and burns,
‘Then chills and fhakes, and the cold fit returns, Gramill. af [from
agi} Thequality of resembling 4 An,
 ‘Ath, interjection, x. A word noting fometimes diflike and
cenfure, Ah! Sinful nation, people laden with iniquity, a feed of evil
dacts, children that are cortupters, they have forfiken the Lord. Tia,
4u 2. Sometimes contempt and exultation. Leet them not fay in their
hearts, 4 / fo we would hav Tet them not fay, we have fivallowed
him up. P/alim xxxv. 3 Sometimes, and mott frequently, compaffion
and complaint. Tn youth lone, unhappy mortals lives But, ah! the
mighty biG is fugitive Difcolour'd ficknels, ansious labour come, ‘And
age and deatl’s inexorable doom, Diya. Virg. Geers. ah me! the
blooming pride of May, ‘And that of beauty, are but one: ‘At morn
both flourith bright and gay, . Both fade at evening, pale, and gone.
Pritrs 4. When itis followed by that, it exprefles vehement defire ‘In
goodnefs, as in greatnels, they excell Ah that! we loved ourfelyes but
half fo well. Dry. Firven. Anal, anal! interjection. A word intimating
triumph ad con tempt. i ‘They opened their mouth wide againft me,
and faid, ay abi our eye hath feon it. Pfalin xxv. 21. Auglap. ade.
[ftom a and brad.) 1, Farther onward than another ! a fea term. ‘And
now the mighty Centaur feems to lead,» And now the fpeedy
dolphin gets ahead. Dryden's Bm 2 Headlong ; precipitant: ufed of
men, eis mightily the fault of parents, guardians, tutors, and
governours, that fo many men milearry. ‘They fufer them at firitto
nun ahead, and, when perverte inclinations are advanced into
babits, there is no dealing with them, °E/Prange's Fab. Ang'rone.
adv. [from aand beight.] Aloft; on high. Buthave fan or no? — —
From the dread fummit of this chalky bourne! Look up abvirbt, the
thrill-gorg'd lark fo far ‘Cannot be feen or heard. Shakspeare's King
Lear. AHOUAT. nf. The name of a plant. Te hath furnnel-fhaped
flowers of one leaf divided into feve~ ral parts at the top the pointal,
which sifes from the cup, is fixed, likea nail, to the inner part of the
Rower, and becomes a pear-fhaped flefhy fruit, inclofing a three-
comered nut. ‘Thereare two Species of this plant abounding on the
continent of South America: the fitt groves to the height of our
common cherry-trce; its leaves are three or four inches and almoft
two inches broad; the wood of it ftinks moft abominably, and the
kernel of the nut isa moftdeadly poifon ; to ‘expel which, the Indians
know no antidote, nor will they ufe the wood for fuel. The fecond
fort, with an oleander leaf, anda yellow flower, does not grow higher
than ten or twelve feet; its fruit is of a beautiful red colour when
ripe, and eually poifonous with the former. Both plants abound in
every part with a milky juice. Millar. To AID. v. a, [aider, Fr. from
adjutaré, Lat] To help; to Fupport 5 to faccour, Into the lake he
leapt, his lord to aid (So love the dread of danger doth defpife) And
of him catching hold, him flrongly aid From drowning. Fairy Qteet,
b.Fie 6,6. ‘Neither fhall they give any thing unto them that make war
poate, oe aid thest Wit Vichals weapons, sioney) or hips, Maccabees,
vii, 26. By the loud trumpet, which our courage ai, ‘Wee lear that
found as well as fente petluades, Reféemmen. Arb. fi [ftom To aid.]
1. Helps fhipport. ‘The memory of wfful things may receive
confiderable wi, it they are thrown into verte. Watts: Inprovement
ofthe Mind ‘Your patrimonial ftores in peace poles Undoubted all
your fifal aim conte Your pate nah fhxldipiosoaiye tava The peety of
Ithaca would arm in aid Pope's Odyfey, bi. 24 ‘The perfon that gives
help or fapposts a helper. ae ‘Thou halt fuid, it is not good that man
thould he alone 5 Jets make unto him an aid, like unto himfelf, Tobit,
viii, 6. 3, In law, A fublidy. id is alfo particularly ufed in matter of
plead= ing, for a petition made in court, for the calling in of help
from another, chat hath an interelt in the caufe: in quefti and is
likewife both to give ffrength to the party that prays i aid of him, and
alfo to avoid'a prejudice aceriing toward his ‘own right, exceptit be
prevented: as, when a tenant for term, of life, courtefy, &. being
impleaded touching. his eftate, he may pray in aid of himin the
reverlion that is, entreat the court, that he may be called in by writ,
to allege what he thinks good for the maintenance both of his sight
and his own, Covell Alance, mf. [ftom aid] Help; fupport: aword little
wed. Ofchave Tfeen a timely parted gholl, Of athy Gemblance,
meagre, pale, and bloodle6, Being all defcended to the labring heart,
AIM ‘Who, inthe confit hat it hols with death, Auaradts the fime for
cidance eainf the enemy. Sp. Hee: VL Alwawr. adj [aitart, Fe)
Helpings haptel) a All you unpublifh’d virtues of the earth, Spring
with my tears be aidawe and remediate In the good man’s diftrefs,
Shakefi. King Lear: “Aten, 9. J: [fom aid) He that brings aid or lp 5a
heper an ally. All along as he went, were puinithed the adherents
and a ersof the late rebels. Heicaits Henry VAL, Alwenss. adj. [ftom
aid and ff, an infeparable particle] Helplets; unfupported ;
undefended. ‘Alone he enter’d ‘The mortal gate othe city, which he
painted Wit iunleedeliny: lupameci And, with a fudden re-
enforcement, truck Corioli, like a planet. ‘Shakef. Cortetanis, Had
met Already, ere my belt {peed could prevent, ‘The aids innocent
lady, his wifl’d prey. Mil, Comuss Atourer. nf. [oigulet, Fr] A point
with tages points of gold at the end of fringes, Which all above
befprinkled was throughout With golden aigulets that glifer'd bright,
Like twinkling ftars, and all the fkire about ‘Was hemm'd with golden
fringes. Fairy Queen, b. To ATL, va. [eglany Sax. to be troublefome.)
1, To pains to troubles to give pain, ‘And the angel of God called to
Hagar out of heaven, and faid unto her, what aileth thee, Hagar?
fear not: for God hath heard the voice of the lad where he i Gon xsi
17 2, Teis ufed, ima fen lel determinate, for a affte? in any marinner
; as, famething ails me that Tcamuct fit fil what ils the man that he
laughs without reafin 2 Love fnil'd, and thus fad, Want join’ to
defireis unhap But if henought do delice, what can Heraclitus ail?
Sidney. ‘What ails me, that I cannot lofe thy thought! Command the
emprefs hither to be brought, J, in her death, thall fome diverfion
find ‘And rid my thoughts at once of woman-kind, Diyée's Tyramick
Live: 3+ To feel pains tobe incommoded. 4 Tt is remarkable, that
this word is never ufed but with fome in= definite term, or the word
nothing s as, Phat ails him? What does he ail?” He ails fametbings be
ails nothing, Something ails him s nothing ails Winns Thus we never
fay, a fever aid him, orhe ail: a fever, or ule definite terms with this
verb. Ants nf (fam the verb] A diate heal, O Narfes, thy obfeener aif
Pepe, Alumenr. nsf. [from ail.] Pain; difeate: itl ailments oft attend
the fair, Not decent for a hufband’s eye or ear. Gracie Tam never ill,
but I think of your ailments, and sepine that they mutually hinder
ourbeing together. Seif Letters. Alina. participial aj, [from To ail.]
Sickly ; full of complaints. ToAIM., v. a. [lt isderived by Skinner from
efter, to point ats ‘a. word which Ihave not found.) x. To endeavour
to ftrike with a miffive weapons to direét cowards with the particle at
Ainift thou at princes, all amaz'd they (aid, The lalt of games? Pope's
Odyfiy. 2, To pointthe view, or direét the fleps towards any thing ; to
tend towards; to endeavour to reach or obtains with ta form= erly,
mow only with af. Lo, here the world is blifi; fo here the end Fe sine
do oa a ae, a Such grace now to be happy is before thee laid. Fairy
noi Rnd ee whic although we defire for ielf, ax health, and virtue,
and knowledge, neverthele they are not the laff mark wherea? we
aim, buthave their further end where unto they are eeferred. Hecker,
bi. Swvoln with appliule, and anti ill of moro, He now provokes the
fea gods from the hore Dryden’ En, Religion tends to the eaft and
pleaflire the peace and quillity of oar minds, which all the wifdom of
the world did always aim af, as the utmol felicity of this lie. Tiles 43
Todirest the miffle weapons more particulaily taken for the a of
pointing the weapon by the eye, before its difiifiion fiom the hand.
And prowl Ldeus, Priam’ charioteer, Who thakes his empty reins, and
ains his aity Spear. Dinde 4. To gueli, ‘Atv mf. [ftom the verb. 1. The
diredtion of a mifile weapon: Afeanius, young and eager of his ‘Soon
bent his bow, uncertain of his ira 5 But the dire fiend the faral arrow
guides, Which picre’d his bowels through his parting fides, Dryer, Bo
vits 691s 4, The point fo which the thing thrown is divested:
 AIR ‘Thatarrows Red not filter toward theie aim, ‘Phan did
our folliers, aiming at their ftery, Fly from the field. Shinkefp: Henry
Wp. iis 3: In a figurative (ente, a purpofe; a fehoms; an intention;
defign. He trufted to have equall'd the moft High, Tehe oppos'd :
and, with ambitious aim galt the hroney and monarchy of God, Raid
impious war file's Parad. Loft, bis 1 4x. But fee, how off ambitious
aime are croft, Andichiefs contend tll all the prize is lo. Pope. 4. The
objedt of adefign 5 the thing after which anyone endea‘Thee way ito
fapotey tht te epi has ut one wim, till, by a frequent perulil of it, you
are forced to fee there are diflinst independent parts, Lacke's Efay
on St. Paul's Epifles. 5. Conjeétures guels Te is impoilible, hy aim, to
tell its and, for experience weteol, I do not think’ that chere was
ever any Spenfer on Ireland, y in all mens ives, ing the nature of the
times deceas'd 5 “Thewhich obferv’d, aman may prophely, With a
near aint, of the main chance of things, Assyet not come to life,
which, in their feeds ‘And weak beginning d, Shatelp. Hemy IV. AIR.
mf. [alr, Fr. air, Lat. 1. Theelement encompafing the terraqueous
globe. Tf L were to tell what I mean by the word wir, Emay fay, it iat
fine matter which we breathe in and breathe out contisiually or it is
that thin Auid body, in which the birds fy, Jitele above the earth ; or
itis that invifile matter, which fils all places near thecarth, or which
immediately encompaffes the globe of earth and water, Watts’s
Logic. 23» Ths fate of the air the aie confdered with rexard to heh
‘There be many good and healthfil airs, that do appear b
babitalamand other pron that difer not tn fmell fiom othr i Bactn's
Natural Hiftory, N° 904. motion 5 a finall gentle wind. « Frefh gales,
and gentle airs, Whifperd it to the woods, and fiom their wings lung
rte, ung odour fom the fpcy thru a Dilporti Milos Paradife Lop, . vii
505. Ce ie (in 2 ‘Dowolls here, and a dumb quiet next to death.
Dryden ‘Tet vernal ais through trembling ofes play, ‘And Albion's elif
cefound he rural lay, Pop's Paftoraln 4, Blatt, All the flord
vengeancies of heaven fall On her ingrateful top! ftike her young
bones, ‘You taking airs, with lamenets. Shakafp. King Lear, 5. Any
thing light of uncertain 5 that is as lighe as ir, O momentary grace of
mortal men, Which we more hunt for than the grace of God! ‘Who
builds his hope in air of your fairlooks, Lives like a drunken failor on
& maft, Ready, with ev'ry nod, to tumble down Into the fatal bowels
of the deep, 6. The open weather; air unconfined, “The garden was
inch in the fquare, Where young Emilia took the morning air.” Dryd.
Fables, 7- Vent; utterance; emifion into the air. T would have afk'd
you, if I dur for fhame, FFAIII youlov'd? you gave it air before me.
Bur ahi! why were we not both of a fex ? For then we might have
lov’d without a crime, Dryd.D.Seb. 8, Publication; expoture to the
publick view and knowledge. Taam forry to find it has taken air, that
have fome hand in thefe papers. Pae’s Letters. 19, Intelligence
information, : Te grew alfo from the airs, which the princes and
ftates a broad received from theirambaffadors and agents here;
which ding the court in great number. Bacon's Henry VIL. 40 Poetty;
a fong. And the repeated air Of fad Elefira’s poet, had the pow'r To
fave th’ dthenion walls From ruin bare. 11. Malick whether light or
ferious. This mufick crept by me upon the waters, Allaying both their
fury and my paffion, ‘With its fweet air. Shakefjeare's Tempept. Call
in fome mufick ; Thave heard, foft airs n charm our fenfes, and
expel our cares, Den. Sophy. ‘The fame airs, which fome entertain
with moft delightful tranfports;to others are importunc, — Glavvill’s
Sepfis Scint. Since we have fuch a treafury of words, fo proper for
the «airs of mulick, I wonder that perfons should give fo litee
attention. Ail. Spectator, N° 40, Born on the felling notes, our fouls
afpire, While folemn airs improve the fucred fire; ‘And angels lean
from heav'n tohear! — Pape's St, Gavia, — When the foul is funk
with cares, Enals her in enlivning airs. Shatelp. Ric, WL, Parad.
Regain, Pope's Cacia, AIR 12, The mien, or manner, of the Her
graceful innocence, her ev'ry air, Of getture, or leaft adtion, over-
aw'd Hismalice, Milton's Paradife Loft, tix, For the air of youth
Hopeful and cheasful, in thy blood fhall reign ‘A melancholy dump of
cold snd dry, To weigh thy fpiritsdown; and lat confume ‘The balm of
life, Mitt. Par, Lofty by But, having the life before us, befides the
experience of all they knew, it isno wonder to hit fome airs and
features, which they have miffed. Dryilen on Dramatic Pastry. ‘There
is fomething wonderfully divine in the airs of this ure. Adiifen on
Italy. ‘Yet thould the Graces all thy figures place, ‘And breathe an air
divine on ev'ry face. Pope. 33. An affeéted or laboured manner or
geltures 25, a lofty air, SWhiom Aneus fellows, with a fawning airs
But vain within, and proudly popular. Dry Bn. vie There ate of thefe
fort of Beauties, which laff but for a moment; 2s, the different airs of
an aifémbly, upon the fight Of an unexpected and uncommon
objeét, fonie particularity of violent paion, fome gracefil aétion, 2
file, a glance of an eye, a difdainful look, 2 look of gravity, and a
thoufand other fuch like things. Diyier’s Difrefy. ‘Their whole lives
were employed in intrigues of flate, and they naturally give
themlelves airs of kings and princes, of which the minillers of other
nations are only the reprelentatives Adaifo’s Remarks on Iealy. ‘To
curl their waving hairs, ‘Asift thei bluthes, and infpire their airs He
alfumes and affects an entire fet of very diffe the conceives himfelf a
being of a fuperiour nature, 34. Appearance. ‘As it was
communicated with the air of a fecret, it fooi found its way into the
world, Pepe's Ded, to Rapéof the Leck. 45, [In horfemanthip.] irs
denote the artificial or prattifed:motions of a managed horfe,
Chanters. ToAm. v. a. [irom the noun air.) 1. To expofe to the air.
Fleas breed principally of ftraw or mats, where there hath ‘been 2
little moifture, or the chamber ahd bed-firaw kept clofe, and not
aired. Bacst’s Natural Hiftery, N° 690. We have had, in our time,
experience twice or thrice, when both the judges that fat upon the
jail, and mumbers of thofe that attended the bufineli, or were
prefent, fickened upon it, and died, “Therefore, it were good wildom,
that, in duch ‘cafes, the jail were aired, before they were brought
forth, Bacen's Natural Hiflery, N° gt. ‘As the ants were airing their
provifions one winter, up cconies a hungry grafhopper to them, and
begs a charity. ‘Bjtrange’s Fables. (Or wicker-bakets weave, or air the
corn, Orgrinded grain, betwixt two marbles turn. Dry. Figil. 2, Torake
the wir, or enjoy the open air, with the reciprocal pronoun, Nay, ftay
a litle Were you but riding forth to air yourelf, Such parting were too
petty. Shakefp-Cypiteline. TJ afcended the higheft hills of Bagdat, in
order to’ pals the teft of the day in meditation and prayer. As I was
bere aiy~ ing myfelf on the tops of the mountains, T fell into a
profeund ‘contemplation on the vanity of human life. Addon. Spuct.
3 To.open to the air 2s, clothes, ‘The others make it a matter of ivall
commendation in itSelf, iFthey, who wear it, do nothing elfe but air
the robes, which their place requireth, Hecker, b.v.§ 29. 4- To air
liquors; to warm them by the fire: a term wed in converfat 5,
Tomake nelts, In this fenfe, it is derived from ary, s neft. Tkis now
out of ufe. ‘You may add their bufy, dangerous, diftourteous, yes,
and fometimes defpiteful ftealing, one from another, of the eggs and
young ones; who, if they were allowed to air naturally and ‘quietly,
there would be ftore fulfciens, to kill npt only the partridges, but
even all the good houfewives chickens in a cout try. Carew's Survey
of Cornwall. Aiuntanpen. nf [stom gir and Hedda) 1. Any cuticle or
vficle filled with ai. ‘The pulmonary artery and vein pats along the
Surfaces of thele airbladders, nan infinite number of ramifications,
Arbutlnet on Aliment. 2 ‘he bladder in filbes, by the contradtion ant
dieation of which, they vary the properties of their weight to that of
their bully and reer fale r Though the airMadder in fithes feems
neceffiry for Swim ming, yet fome are fo formed as to (wim
withoutit. Gusuorth. Aliguuicr, adj. [from air and build.) Buile in the
air, with out any folid foundation. Hence the fools paradife, the
flatefinan’s fekeme, ‘The airduilt caltle, and the golden dream, + The
Pope.
 Am ‘The maid's romantick with, the chymifts flame, And
poet's vifion of eternal fame. Pepe's Dinnidd, Beit Arm-pRawn. adj.
[ftom air and drawn] Drawn or painted in air. ‘This is the very
painting of your fear, ‘Thinisthe diate dapues wich, ye el Led you to
Duncan Shakefp: Macbeth. Almer. inf: [from To air.) He that expofes
to the air, Almnone. m fo [from wir and bale.) A hole to admit the air.
Almiwess. nfo (from airy] 1. Openinels; expofure to the air. 2,
Lightnels gaicty; | ‘The French have indeed taken worthy pains to
make claffick learning fpeak theirlanguage; if they have not
fucceeded, it muft be imputed to a certain talkativenels and airing/t
repre= ented in theit tongue, which will never agree with the
fedatenef of the Romans, or the folemnity of the Greeks. Felon.
Algine. 1 f [ftom air.) A fhort journey or ramble to enjoy the free air.
"This litle let ferves only to fetch them wine and corn, and to give
their ladies an airing in the fummer-feafon. Aldon Tt Aininss, adj.
[from air.] Without communication with the the free air. ‘Nor flony
tower, nor walls of beaten bral, Nor airiefs dungeon, nor ftrong links
of iron, Can be retentive to the ftrength of fpirit. Shate/p. 7. Geer.
Niwaine. m f- [ftom air for gayety.) A young, light, thought Je gay
vston, jome morethere be, fight airlings, willbe won. With dogs, and
horfes, and perhaps a whore, B.7oln. Ceti. Almpume. nf. [from
airand pimp] Armachine by whofe means the air is exhaufted out of
proper Yellels. The principle on which itis buile is che elafticity of the
airs as that on which the waterpump is founded, is on the wity of
the air. ‘The invention of this curious inftrument is afesibed to Otto
de Guerick, confi of Mazdebourg, who exited his frft publicke
experiments before the emperour and the fiates of Germany, in
1654. But his machine laboured under feveral defects, in the force
necelfary to work it, which was very great, and the progres very
flows belides, it was to be kept under water, and allowed of ho
change of fubjes for ‘experiments. However, Mr. Boyle, with the
afiftance of Dr. Hooke, remove feveral of thefe inconveniencies;
though, till, the working of this pump was laborious, by reafon of the
pref= fure of the stmofphere at every exfuction, after a vacuum was
nearly obtained. ‘This labour has been fince removed by Mr.
Hawkibee; who, by alding a fecond barrel and piffon, to rife as the
other fell, and fall as it rofe, made the preflure of the at‘mofphere on
the defcending, one, of as much fervice as it was of differvice in the
afeending one. Vream made 2 furtherimprovement in Hawkfbee’s
air-puimp, by reducing the alternate motion of the hand and winch
to acircular one, Chaniters. For the air that, in exhaulted receivers of
airpumpr is exhaled from minerals, and fleth, and fruits, and
liquours, is as ‘rue and genuine as to elaiticity and denfity, or
rarefaétion, as that we refpire in; ahd yet this fa@itious air is fo far
from be~ ing fit to be breathed in that it kills animals ina moment,
even fooner than the very abfence of all aif, or a vacuum ite.
Bentleys Sermens. Almsnarr. mf. [from air and fhoft.] A pallage for
the air into mines and fubterraneous places. By the finking of an
ain/baft, the air hath liberty to circus Tate, and carry out the fteams
both of the miners breath and the damps, which would otherwife
flagnate there, Ruy. Aimy. adje [from airs airens, Late] 1. Compoted
of air ‘The fire isthe tranfiniffion, or emiffion, of the thiriner and
more airy parts of bodies; as, in odours and infeétions: anid thisis, of
all the reft, the moft corporeal, Bacsn, 2. Relating to the airs
belonging to the air. ‘Phere are fies that have wings, that are no
frangersto the airy region. Boyle 3 High in air. ‘Whole rivers here
forfake the fields below And, wond'ring at their height, through airy
channels Row. Méifo, 4, Lightas air; thins unfubftantial ; without
folidi hold ambition of fo airy and light a quality, that i¢ ie but a
fhadow's thadow. ‘Shakefp. Himlet. Still may the dog the wand'ring
troops conftrain OF airy ghofts, and vex the guiley train ; ‘And, with
her grifly lord, his lovely queen retain, Dr. din. 5+ Without reality ;
without any fteady foundation in truth or natures vain 5 trifing. Nor
think with wind OF airy threats to awe whom yet with deeds ‘Thou
ean'ft not, Milton's Paraiife Laft, b. vi. Nor (to avoid fch meannefi)
foaring high, With empty found, and wiry notions fly. Rofiemmon,
Thave found a complaint concerning the fearcity of money, which
occafioned many airy propofitions for the remedy of it Temple's
Mifellanies. Vou. T ALA 6, Fluttering; loofe as if to catch the a But
the epick poem istoo fately to ments, ‘The fe thofe litle orn rs draw
their nymphs in thin, and airy bit~ bits 5 but the weight of gold and
of embroilssies is referved for queens and goddelés, Diy. Bnei, Ds By
this name of ladies, Hemeans all young peslons fl finely thaped airy,
and delicate: flch as are nymphs and Nainds. Diyalen's Diffie 7- Gays
prightlys full of mirth; vivacious; lively; spirited ; light of heart, He
that is memry and airy at thore, when he (es a fad and Joud tempeft
on the fea, or dances brifkly when God thunders from heaven,
tegards not when God {peaks to all the world, ayey's Rule of Using
boy. Aue. w/t [Thusthe word is written by Addifon, but perhaps
improperly; fince it feems deducible only from either alle, a swing, or
alr, a path ; and is therefore to be written ale.) ‘The walks in a
church, orwings of a quire ‘The abbey is by no means { magnificent
a5 oné woull ex pest from itsendowments. ‘The church is one huge
nef, with double aiflto its, and, ateach end, iy a large quire. Addons
Arr, orEvonr. mf. [fuppoled, by Shiner, wo be corrupted from ijl] A fall
illand in a river. AMFUTAGE, nef. (ajitoge, Fr] An additional pipe to.
water Works. Diz. To-Axe. 0. m [from 3x0, Gr. and therefore more
grammati= cally written aie. See AcHE.] x. To feel a luting pain,
generally of the internal pains; diftinithed from fmart, which is
commonly ufed of uncafinets in the extemal parts; butthisf no
accurate account. ‘Tofue, and be deny’d, fuch commen grace, ‘My
wounds afe at you ! Shakifp. Th Let our finger ate, and it endues
‘Our other healthful members with a fenfe OF pain, Shekefp. thie,
‘Were the pleafire of drinking accompanied, the very moment, with
that fick flomach and aking head, which, in forme men, are fure to
follow, I think, no body would ever let wine touch his lips. Lake. ibs
muft aie, with daily toils oppreft, Erelong-wifhtd night brings
névellary ret Prior. 2, Tris frequently applied, in an improper fenfe,
tathe heart; as, the beart agers to imply grief or fear. Shae)feare has
uled it, {ill more licentioufly, of the foul. Hire fhame diffuades him,
there his fear prevail, And each, by turns, his aking heare alliils. —
Addlif, Ov. Met ‘My foul wkes ‘To know when two authorities are ups
Neither fupreme, how foon confufiow May enter. uN. adj. [from a
and fin] 1, Related t05 allied to by blood ; ufed of perfons. Tdo.not
envy thee, dear Pamedas only I eould with that, being thy fifter in
nature, Twere not fo far off aéln in fortune, Sidnaysb. ii 2. Allied toby
nature partiking of the fame properties} ued of thing ‘Shakifp.
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