text,updated_at,metaphor,created_at,context,theme,reviewed_on,dictionary,comments,provenance,id,work_id
"[...] they exhibited a most violent and dratic purgative to him, which brought on him this morning to the manifest periclitation of his life, a most terrible hypercatharsis, which Apollo himself, the God of physicians, with all his medical powers, has hardly been able to stop. His existence is now at last in no danger of comminution, but then his powers are absolutely gone and quite evaporated. In a word, he is as dry and empty as a beer barrel after it has been [end page 58] some time set a-broach to a drunken mob at a general election.
(pp. 58-9)",2009-09-14 19:40:20 UTC,"His existence is now at last in no danger of comminution, but then his powers are absolutely gone and quite evaporated. In a word, he is as dry and empty as a beer barrel after it has been some time set a-broach to a drunken mob at a general election.""",2006-10-13 00:00:00 UTC,"","",,"",•See previous. Doctor vomits up his powers. Is this a reference to Curll?
•I've included twice: Liquid and Beer Barrel,Searching in ECCO,14229,5300
"I then went to president Gemmingen's, where I heard music and danced and was gay. I have a weakness of mind which is scarcely credible. Here amidst music and dancing I am as cheerful as if nothing had ever vexed me. My mind is like an air-pump which receives and ejects ideas with wonderful facility. Munzesheim went home with me a little. I told him in confidence my proceedings with his sovereign as to the Order. He told me I would obtain it when I returned. I bid him speak plain. He assured me that I might depend upon having it. I supped at the Marshal's table, where I am much liked. It has been observed that the Grand Écuyer has spoken more to me than to any stranger. He is silent and backward. I have put him at his ease, led him to talk of horses, of which I am, by the by, completely ignorant. But I had address enough to make that conversation go well on.",2011-10-26 04:45:48 UTC,"""My mind is like an air-pump which receives and ejects ideas with wonderful facility.""",2011-10-26 04:45:48 UTC,"Friday, November 16, 1764","",,"","","Reading Travel Writing: 1700-1830, eds. Elizabeth A. Bohls and Ian Duncan (Oxford: Oxford UP, 2005), 23-4.
",19301,7122
"Imagination is that faculty whereby the mind not only reflects on its own operations, but which assembles the various ideas conveyed to the understanding by the canal of sensation, and treasured up in the repository of the memory, compounding or disjoining them at pleasure; and which, by its plastic power of inventing new associations of ideas, and of combining them with infinite variety, is enabled to present a creation of its own, and to exhibit scenes and objects which never existed in nature. So indispensibly necessary is this faculty in the composition of Genius, that all the discoveries in science, and all the inventions and improvements in art, if we except such as have arisen from mere accident, derive their origin from its vigorous exertion. At the same time it must be confessed, that all the false and fallacious systems of the former, and all the irregular and illegitimate performances in the latter, which have ever been obtruded upon mankind, may be justly imputed to the unbounded extravagance of the same faculty: such effects are the natural consequences of an exuberant imagination, without any proportionable share of the reasoning talent. It is evidently necessary therefore, in order to render the productions of Genius regular and just, as well as elegant and ingenious, that the discerning and coercive power of judgment should mark and restrain the excursions of a wanton imagination; in other words, that the austerity of reason should blend itself with the gaiety of the graces. Here then we have another ingredient of Genius; an ingredient essential to its constitution, and without which it cannot possibly be exhibited to full advantage, even an accurate and penetrating JUDGMENT.
(pp. 6-8)",2016-03-11 18:17:29 UTC,"""Imagination is that faculty whereby the mind not only reflects on its own operations, but which assembles the various ideas conveyed to the understanding by the canal of sensation, and treasured up in the repository of the memory, compounding or disjoining them at pleasure; and which, by its plastic power of inventing new associations of ideas, and of combining them with infinite variety, is enabled to present a creation of its own, and to exhibit scenes and objects which never existed in nature.""",2013-07-01 16:45:42 UTC,"","",,"","","Searching in C-H Lion. Found again reading Sean Silver, The Mind is a Collection: Case Studies in Eighteenth-Century Thought (Philadelphia: Penn Press, 2015), 3.",21354,7498
"With regard to the first of these points: though Genius discovers itself in a vast variety of forms, we have already observed, that those forms are distinguished and characterised by one quality common to them all, possessed indeed in very different degrees, and exerted in very different capacities; this quality, it will be understood, is Imagination. The mental powers unfold themselves in exact proportion to our necessities and occasions for exercising them. Imagination therefore being that faculty which lays the foundation of all our knowledge, by collecting and treasuring up in the repository of the memory those materials on which Judgment is afterwards to work, and being peculiarly adapted to the gay, delightful, vacant season of childhood and youth, appears in those early periods in all its puerile brilliance and simplicity, long before the reasoning faculty discovers itself in any considerable degree. Imagination however, in general, exercises itself for some time indiscriminately on the various objects presented to it by the senses, without taking any particular or determinate direction; and sometimes the peculiar bent and conformation of Genius is discernible only in the advanced period of youth. The mind, as soon as it becomes capable of attending to the representation it receives of outward objects by the ministry of the senses, views such a representation with the curiosity of a stranger, who is presented with the prospect of an agreeable and uncommon scene. The novelty of the objects at first only affects it with pleasure and surprise. It afterwards surveys, revolves, and reviews them successively one after another; and, at last, after having been long conversant with them selects one distinguished and favourite object from the rest, which it pursues with its whole bent and vigour. There are some persons, it is true, in whom a certain bias or talent for one particular art or science, rather than another, appears in very early life; and in so great a degree as would incline us to imagine, that such a disposition and talent must have been congenial and innate. While persons are yet children, we discover in their infantile pursuits the opening buds of Genius; we discern the rudiments of the Philosopher, the poet, the Painter, and the Architect.
(pp. 28-30)",2013-07-01 16:52:28 UTC,"""Imagination therefore being that faculty which lays the foundation of all our knowledge, by collecting and treasuring up in the repository of the memory those materials on which Judgment is afterwards to work, and being peculiarly adapted to the gay, delightful, vacant season of childhood and youth, appears in those early periods in all its puerile brilliance and simplicity, long before the reasoning faculty discovers itself in any considerable degree.""",2013-07-01 16:52:28 UTC,"","",,"","",C-H Lion,21360,7498
"First, in the invention of INCIDENTS. Some incidents are so obvious, that by a natural association of ideas, they instantly occur to the mind of every one possessed of ordinary abilities, and are very easily conceived. Others however are more remote, and lie far beyond the reach of ordinary faculties; coming only within the verge of those few persons, whose minds are capacious enough to contain that prodigious croud of ideas, which an extensive observation and experience supply; whose understandings are penetrating enough to discover the most distant connections of those ideas, and whose imaginations are sufficiently quick, in combining them at pleasure. It is this kind of incidents which original Genius delights to invent; incidents which are in themselves great as well as uncommon. Let it not however be supposed, that the invention even of these is a laborious employment to a Writer of this stamp; for it is the prerogative of a great Genius to think and to write with ease, very rarely, if ever, experiencing a barrenness of Imagination. He has nothing to do but to give scope to the excursions of this faculty, which, by its active and creative power, exploring every recess of thought, will supply an inexhaustible variety of striking incidents. A facility, therefore, of inventing and combining such incidents in composition, may be regarded as one characteristical indication of a Genius truly Original.
(pp. 127-9)",2013-07-01 17:08:23 UTC,"""Others however are more remote, and lie far beyond the reach of ordinary faculties; coming only within the verge of those few persons, whose minds are capacious enough to contain that prodigious croud of ideas, which an extensive observation and experience supply; whose understandings are penetrating enough to discover the most distant connections of those ideas, and whose imaginations are sufficiently quick, in combining them at pleasure.""",2013-07-01 17:08:23 UTC,"","",,"","",C-H Lion,21373,7498
"A person who is destitute of Genius, discovers nothing new or discriminating in the objects which he surveys. He takes only a general and superficial view of them, and is incapable of discerning those minute properties, or of relishing those particular and distinguishing beauties, which a lively Imagination, united with an exquisite Taste, can alone enable a man to conceive and admire. The descriptions of such a person (if he attempts to describe) must necessarily be unanimated, undistinguishing, and uninteresting; for as his imagination hath presented to him no distinct or vivid idea of the scenes or objects he has contemplated, it is impossible he should be able to give a particular and picturesque representation of it to others. A Poet, on the other hand, who is possessed of original Genius, feels in the strongest manner every impression made upon the mind, by the influence of external objects on the senses, or by reflection on those ideas which are treasured up in the repository of the memory, and is consequently qualified to express the vivacity and strength of his own feelings. If we suppose a person endued with this quality to describe real objects and scenes, such as are either immediately present to his senses, or recent in his remembrance; he will paint them in such vivid colours, and with so many picturesque circumstances, as to convey the same lively and fervid ideas to the mind of the Reader, which possessed and filled the imagination of the Author. If we suppose him to describe unreal objects or scenes, such as exist not in nature, but may be supposed to exist, he will present to us a succession of these equally various and wonderful, the mere creation of his own fancy; and by the strength of his representation, will give to an illusion all the force and efficacy of a reality. As all his descriptions will be vivid, so all his scenery will be rich and luxuriant in the highest degree, so as to evidence the extent, the copiousness, and the fertility of his imagination.
(pp. 158-60)",2013-07-01 18:17:56 UTC,"""A Poet, on the other hand, who is possessed of original Genius, feels in the strongest manner every impression made upon the mind, by the influence of external objects on the senses, or by reflection on those ideas which are treasured up in the repository of the memory, and is consequently qualified to express the vivacity and strength of his own feelings.""",2013-07-01 18:17:56 UTC,"","",,Architecture,"",C-H Lion,21380,7498
"The talents of a PERFORMER, and a MASTER and COMPOSER of Music, are very different. To constitute the first, a nice musical ear, and a dexterity of performance acquired by habit, are the sole requisites. To constitute the last, not only a nice musical ear, but an exquisite sensibility of passion, together with a peculiar CONFORMATION of Genius to this particular art, are indispensibly necessary. Though all the liberal Arts are indebted to Imagination in common, a talent for each of them respectively depends upon the peculiar MODIFICATION and ADAPTATION of this faculty to the several RESPECTIVE Arts. Thus the Poet, having by the force of Imagination formed lively images of the objects he proposes to describe, thinks only of expressing his ideas in smooth and harmonious numbers; the Painter, having the same vivid conception of every object, is wholly intent on exhibiting a representation of them in colours, as if he had no other method of conveying his ideas; and the Musician, having his head filled with crotchets and concords, airs and sonatas, employs his Imagination intirely in combining a variety of sounds, and trying their power, in order to constitute harmony. A musical Genius naturally exerts itself in exercises of this kind, and is indicated by them. In this art likewise it must be confessed, that considerable scope is afforded for the exertions even of ORIGINAL Genius. Every masterly Composer of Music must feel, in the most intense and exquisite degree, the various emotions, which, by his compositions, he attempts to excite in the minds of others. Even before he begins to compose a piece of music, he must work himself up to that transport of passion, which he desires to express and to communicate in his piece. In effectuating this purpose, Imagination operates very powerfully, by awakening in his own mind those particular affections, that are correspondent to the airs he is meditating; and by raising each of these to that tone of sensibility, and that fervor of passion, which is most favourable to composition. This fervor and enthusiasm of passion, may be termed the inspiration of Music; and is the principal quality which gives it such an irresistible empire over the human heart.
(pp. 248-50)",2013-07-01 18:25:44 UTC,"""Thus the Poet, having by the force of Imagination formed lively images of the objects he proposes to describe, thinks only of expressing his ideas in smooth and harmonious numbers; the Painter, having the same vivid conception of every object, is wholly intent on exhibiting a representation of them in colours, as if he had no other method of conveying his ideas; and the Musician, having his head filled with crotchets and concords, airs and sonatas, employs his Imagination intirely in combining a variety of sounds, and trying their power, in order to constitute harmony.""",2013-07-01 18:25:44 UTC,"","",,"","",C-H Lion,21387,7498
"In the latter passage, the most striking circumstances are selected to fill the mind with the grand and terrible. The former is a collection of minute and low circumstances, which scatter the thought and make no impression. The passage at the same time is full of verbal antitheses and low conceit, extremely improper in a scene of distress. But this last observation is made occasionally only, as it belongs not to the present subject.
(I.iv, p. 290)",2013-11-18 20:56:16 UTC,"""In the latter passage, the most striking circumstances are selected to fill the mind with the grand and terrible. The former is a collection of minute and low circumstances, which scatter the thought and make no impression.""",2013-11-18 20:56:16 UTC,"","",,Impressions,"",ECCO-TCP,23290,5107
"The natural rate of succession, depends also in some degree upon the particular perceptions that compose the train. An agreeable object, taking a strong hold of the mind, occasions a slower succession than when the objects are indifferent. Grandeur and novelty fix the attention for a considerable time, excluding all other ideas; and the mind thus occupied feels no vacuity. Some emotions, by hurrying the mind from object to object, accelerate the succession. Where the train is composed of connected objects, the succession is quick. For it is so ordered by nature, that the mind goes easily and sweetly along connected objects*. On the other hand, the succession must be slow where the train is composed of unconnected objects. An unconnected object, finding no ready access to the mind, requires time to make an impression. And that it is not admitted without a struggle, appears from the unsettled state of the mind for some moments after it is presented, wavering betwixt it and the former train. During this short period, one or other of the former objects will intrude, perhaps oftener than once, till the attention be fixt entirely upon the new object. The same observations are applicable to ideas suggested by language. The mind can bear a quick succession of related ideas. But an unrelated idea, for which the mind is not prepared, takes time to make a distinct impression; and therefore a train composed of such ideas, ought to proceed with a slow pace. Hence an epic poem, a play, or any story connected in all its parts, may be perused in a shorter time, than a book of maxims or apothegms, of which a quick succession creates both confusion and fatigue.
(I.ix, pp. 383-5)",2013-11-18 21:49:10 UTC,"""Grandeur and novelty fix the attention for a considerable time, excluding all other ideas; and the mind thus occupied feels no vacuity.""",2013-11-18 21:49:10 UTC,"","",,"","",ECCO-TCP,23299,5107
"Such latitude hath nature indulged in the rate of succession. What latitude it indulges with respect to uniformity we proceed to examine. The uniformity or variety of a train, so far as composed of external objects, depends on the particular objects that surround the percipient at the time. The present occupation must also have an influence; one is sometimes engaged in a multiplicity of affairs, sometimes altogether vacant. A natural train of ideas of memory is more circumscribed, each object being linked, by some connection, to what precedes and to what follows it. These connections, which are many and of different kinds, afford scope for a sufficient degree of variety; and at the same time prevent any excess that is unpleasant. Temper and constitution also have an influence here, as well as upon the rate of succession. A man of a calm and sedate temper, admits not willingly any idea but what is regularly introduced by a proper connection. One of a roving disposition embraces with avidity every new idea, however slender its relation be to those that go before it. Neither must we overlook the nature of the perceptions that compose the train; for their influence is not less with respect to uniformity and variety, than with respect to the rate of succession. The mind ingrossed by any passion, love or hatred, hope or fear, broods over its object, and can bear no interruption. In such a state, the train of perceptions must not only be slow, but extremely uniform. Anger newly inflamed eagerly grasps its object, and leaves not a cranny in the mind for another thought than of revenge. In the character of Hotspur, this state of mind is represented to the life; a picture remarkable for high colouring as well as for strictness of imitation: [...]
(I.ix, pp. 385-7; II, 218-9 in Liberty Fund ed.)",2013-11-18 21:52:12 UTC,"""In such a state, the train of perceptions must not only be slow, but extremely uniform. Anger newly inflamed eagerly grasps its object, and leaves not a cranny in the mind for another thought than of revenge.""",2013-11-18 21:52:12 UTC,"","",,"","",ECCO-TCP,23302,5107