which is a word of the same general import with manner, is used as a technical term in grammar, metaphysics, and music. For its import in Grammar, see that article, No. 80.

Metaphysics, seems properly to denote the manner of a thing's existence: but Locke, whole language language in that science is generally adopted, uses the word in a sense somewhat different from its ordinary and proper signification. "Such complex ideas, which, however compounded, contain not in them the supposition of subsisting by themselves, but are considered as dependencies on, or affections of, substances," he calls modes. Of these modes, there are, according to him, two sorts, which deserve distinct consideration. First, there are some "which are only variations, or different combinations of the same simple idea, without the mixture of any other, as a dozen or a score; which are nothing but the ideas of so many distinct units added together;" and these he calls simple modes. Secondly, "There are others compounded of simple ideas of several kinds put together to make one complex one; v.g., beauty, consisting of a certain composition of colour and figure, causing delight in the beholder; theft, which being the concealed change of the possession of anything without the consent of the proprietor, contains, as is visible, a combination of several ideas of several kinds;" and these he calls mixed modes. For the just distinction between ideas and notions, as well as between ideas and the qualities of external objects, which in this account of modes are all confounded together, see Metaphysics.

Music, a regular disposition of the air and accompaniments, relative to certain principal sounds upon which a piece of music is formed, and which are called the essential sounds of the mode.

Our modes are not, like those of the ancients, characterized by any sentiment which they tend to excite, but result from our system of harmony alone. The sounds essential to the mode are in number three, and form together one perfect chord. 1. The tonic or key, which is the fundamental note both of the tone and of the mode. 2. The dominant, which is a fifth from the tonic. 3. The mediant, which properly constitutes the mode, and which is a third from the same tonic. As this third may be of two kinds, there are of consequence two different modes. When the mediant forms a greater third with the tonic, the mode is major; when the third is lesser, it is minor. See Music.