work_id,theme,provenance,created_at,text,reviewed_on,id,comments,metaphor,dictionary,updated_at,context
5452,"","Searching ""imagination"" in PGDP",2013-06-21 20:04:50 UTC,"The penetration of princes seldom goes deeper than the surface. It is the exterior that always engages their hearts; and I would never advise you to give yourself much trouble about their understanding. Princes in general (I mean those Porphyrogenets who are born and bred in purple) are about the pitch of women; bred up like them, and are to be addressed and gained in the same manner. They always see, they seldom weigh. Your lustre, not your solidity, must take them; your inside will afterward support and secure what your outside has acquired. With weak people (and they undoubtedly are three parts in four of mankind) good-breeding, address, and manners are everything; they can go no deeper; but let me assure you that they are a great deal even with people of the best understandings. Where the eyes are not pleased, and the heart is not flattered, the mind will be apt to stand out. Be this right or wrong, I confess I am so made myself. Awkwardness and ill-breeding shock me to that degree, that where I meet with them, I cannot find in my heart to inquire into the intrinsic merit of that person--I hastily decide in myself that he can have none; and am not sure that I should not even be sorry to know that he had any. I often paint you in my imagination, in your present lontananza, and, while I view you in the light of ancient and modern learning, useful and ornamental knowledge, I am charmed with the prospect; but when I view you in another light, and represent you awkward, ungraceful, ill-bred, with vulgar air and manners, shambling toward me with inattention and distractions, I shall not pretend to describe to you what I feel; but will do as a skillful painter did formerly--draw a veil before the countenance of the father.
(II.clxx [n.d.], p. 257)",,21122,"","""I often paint you in my imagination, in your present lontananza, and, while I view you in the light of ancient and modern learning, useful and ornamental knowledge, I am charmed with the prospect; but when I view you in another light, and represent you awkward, ungraceful, ill-bred, with vulgar air and manners, shambling toward me with inattention and distractions, I shall not pretend to describe to you what I feel; but will do as a skillful painter did formerly--draw a veil before the countenance of the father.""","",2013-06-21 20:04:50 UTC,""
7583,"",Reading,2013-08-15 04:44:58 UTC,"If society be formed, by the communication of ideas and sentiments, speech, is, undoubtedly, its most essential and most graceful band, being, at once, the pencil of the mind, the image of its operations, and, the interpreter of the heart. The more, we go abroad, among men, the more, we perceive, that language, is the true seasoning of every delight. When all things else fail, or, when, through age, we have no other enjoyment, that of conversation, will furnish amusement in our latter hours, and, will, at that time, grow more and more satisfactory; as it will, in some measure, make up for the want of those pleasures, we are incapable of receiving. In all times, and, on all occasions, speech is delightful: there can be no true happiness, without the joys of the mind; no good fortune, that we do not long to make known; no secret, we do not wish to communicate; no tender sentiment, we are not anxious to declare; no system, we do not thirst to unfold; no evil, we are not eager to complain of; no comfort, without the sympathetic breathings of friendship; no reputation, without the voice of renown; in a word, nothing, without the aid of language, at least, nothing, which can satisfy our understandings, or, flatter our inclinations. Who then would be so indolent, as, to pay no attention to the graces, or, so wanting, as, to disregard the power of one faculty, which gives lustre to every other?
(I, pp. 7-9)",,22144,"Preface translated from Abbé Girard (1677-1748), La Justesse de la langue françoise, ou les différentes significations des mots qui passent pour synonymes (1718)","""If society be formed, by the communication of ideas and sentiments, speech, is, undoubtedly, its most essential and most graceful band, being, at once, the pencil of the mind, the image of its operations, and, the interpreter of the heart.""","",2013-08-15 04:44:58 UTC,Preface
7583,"",Reading,2013-08-15 04:46:00 UTC,"31. Happiness, Felicity, Bliss.
These three words denote, equally, an advantageous state, and agreeable situation; but that of happiness, marks, properly, the state of fortune, capable of dispensing pleasures, and placing them within our reach; that of felicity, expresses, particularly, the state of the heart; disposed to taste pleasure, which it finds, in whatsoever it possesses; that of bliss, which conveys a mystic idea, paints a state of imagination, which we anticipate, as it were, from a thorough conviction that we shall inherit it hereafter.
Our happiness glares in the eyes of the world, and exposes us, often, to envy. Our felicity is known only to ourselves, and gives us continual satisfaction. The idea of bliss, extends itself beyond a life temporal.
We are sometimes in a state of happiness, without being in a state of felicity. Happiness consists in the possession of wealth, honours, friends and health; but 'tis the satisfaction of the mind, and the enjoyment of those things, that constitutes felicity. As to bliss, it is the portion of the godly, and depends in each religion, on the persuasion of the mind.
Satisfaction without, forms the happiness of man; satisfaction within, his felicity: bliss must be asked of God. The first, is within the reach of riches, the second, of wisdom, but, the third, is reserved for those, whom the scripture calls, the poor in spirit.
(I, pp. 42-3)",,22145,"","""These three words denote, equally, an advantageous state, and agreeable situation; but that of happiness, marks, properly, the state of fortune, capable of dispensing pleasures, and placing them within our reach; that of felicity, expresses, particularly, the state of the heart; disposed to taste pleasure, which it finds, in whatsoever it possesses; that of bliss, which conveys a mystic idea, paints a state of imagination, which we anticipate, as it were, from a thorough conviction that we shall inherit it hereafter.""","",2013-08-15 04:46:19 UTC,""
7583,"",Reading,2013-08-15 05:19:05 UTC,"281. Love, Gallantry.
As different as these words may appear, they have, nevertheless, been, and, are still, frequently, used, as synonymous, when intended to imply courtship. It may not be then unnecessary, to point out their peculiar ideas.
Love, is more sanguine, than gallantry; having for its object, the person, whom we are studious to please, through a view of possessing; and, whom we love as much, on her account, as our own: it takes possession of the heart, suddenly, and, owes its birth, to a certain something, which enchains the sentiments, and, draws the esteem, without any examination, or, information. Gallantry, is more sensual, than love; having for its object, the sex; we enter into intrigues, in hopes of enjoying it, and, love, more on our own account, than on that, of our mistress. It acts upon the senses, much more than upon the heart, and, is more, owing to constitution, and, complexion, than, to the force of beauty.
The one, has a power of making those persons agreeable in our eyes, who study to please the object of our love, provided, they in no respect raise our jealousy. The other, engages us to keep an eye upon all those, who are capable, either, of forwarding, or, hurting our designs; and, to watch them, as we would a rival, taking every advantage within our reach.
The first, leaves us not the liberty of choice; it commands in the beginning, as a master, and, reigns, afterwards, as a tyrant, till we are accustomed to its chains, by length of time; or, till they are broken by the efforts of powerful reason, or, the caprice of continued vexation. The second, suffers, sometimes, another passion to get before it; reason and interest, often, hold the bridle, and, make it give way to our situation, and, affairs.
Love, attaches us, solely, to one person, and, delivers up our heart, without reserve, so as to engage it, wholly, and, make every other object, of what beauty or merit soever, indifferent to us. Gallantry, rivets us, generally, to all persons, who are either beautiful or agreeable, and, unites us to those, who make the least returns to our eagerness and desire; in such a manner, however, as leaves us no liking for others.
It appears to me, that love, delights in difficulties; so far from being weakened by obstacles, they, generally, increase it; and, we make it one of our most serious engagements. As for gallantry, it banishes formality, is less accustomed to difficulty, and, is often entered into, merely, for amusement. It is for this reason, we observe more spirit of gallantry in men, than love: for, it is rare to find a first love, followed by a second; and, I doubt, whether ever it can be said, by a third: but, gallantries are, sometimes, without number, and, succeed each other, till that age arrives, when their source is dried up.
There is, always, honesty in love; but, it is troublesome and capricious; we consider it, now-a-days, as a distemper, or, as a weakness of mind. In gallantry, there is a degree of knavery, but, it is free and good humoured; and, is become the taste of the age.
Love, designs on the imagination, the flattering idea of eternal happiness, in the entire and constant possession of the object we love. Gallantry, fails not to paint there the agreeable image of a singular pleasure, in the enjoyment of the object we pursue; but, neither the one, nor, the other, copies after nature; experience shewing us, that their colours, however agreeable, are, equally, deceitful. All the difference we find, is, that love, being more serious, the unfaithfulness of its pencil, gives greater offence; and, the recollection of the pain it has given, in seeing it so ill rewarded, creates our disgust; whereas, gallantry, being more wanton, we are less sensible of the fallacy of its colouring, and, the vain notions we have of being arrived at the end of its designs, reconcile any disappointments, we may have met with.
In love, it is the heart, which, principally, tastes the pleasure; the mind, making itself a slave, without any regard; and, the satisfaction of the senses, contributing less to the sweet enjoyment, than a certain contentedness of soul, which produces the charming idea, of being in the possession of what we love, and, receiving the most sensible proofs of a tender return. In gallantry, the heart, is less affected with the object; the mind, being more free, to indulge itself, and the senses, more attentive to their own satisfaction, partake the pleasure with greater equality; voluptuousness, contributing more to its enjoyment, than the delicacy of sentiments.
When we are too much tormented by the caprices of love, we endeavour to disentangle ourselves, and, become indifferent. When we are too fatigued by the exercises of gallantry, we take a resolution to desist, and, become sober.
Excess makes love degenerate into jealousy; and, gallantry, into libertinism. In the first case, we are subject, to trouble of mind; in the second, we are in danger, of destroying our health.
Upon the whole, love, is, generally, justifiable; gallantry, always, blameable.
(II, pp. 82-86)",,22158,"","""'Love', designs on the imagination, the flattering idea of eternal happiness, in the entire and constant possession of the object we 'love'. 'Gallantry', fails not to paint there the agreeable image of a singular pleasure, in the enjoyment of the object we pursue; but, neither the one, nor, the other, copies after nature; experience shewing us, that their colours, however agreeable, are, equally, deceitful.""","",2013-08-15 05:19:05 UTC,""
7946,"",Reading (in the British Library),2014-06-22 03:44:39 UTC,"When the outward object hath made its impression, and stamped the idea, the passive organ hath then done its part, and the rest is accomplished by the presiding mind. Which, like a skilful artist, goes to work upon the materials furnished by the senses; comparing selecting, analysing, and abstracting; till by placing them in different points of view their fitness, relations, and dependencies are seen. Then the first rays of truth break in upon the mind; the principles of knowledge are established; and the powers of reason are employed. Led by the light of truths already known, new truths are daily discovered; the bounds of knowledge are gradually englarged; and the mind is all enlightened.
(pp. 54-5)",,24099,"","""Which, like a skilful artist, goes to work upon the materials furnished by the senses; comparing selecting, analysing, and abstracting; till by placing them in different points of view their fitness, relations, and dependencies are seen.""","",2014-06-22 03:44:39 UTC,""
7946,"",Reading (in the British Library),2014-06-22 03:46:02 UTC,"A block of marble is hewn from the quarry, and brought to PHIDIAS a rude and shapeless mass. He works upon it, reduces it into shape, gives it form and proportion, and a beautiful statue is produced. Is PHIDIAS himself who performed the work, a fragment from a rock? and is the idea of beauty after which he worked no more than a marble image within him?
But the difference is much greater between the ideas of sense, the materials upon which the mind first begins its work, and the truths produced by its operations, than between the rough marble, and the statue formed by the skill of PHIDIAS.
Let matter then be allowed to furnish the first materials; the enlightened mind, which by its operations upon these discovers truth, and pursues it through all its distant connections, must have powers as far superiour to that which gave the first impression, as PHIDIAS is superiour to the marble.
(pp. 55-6)",,24100,"","""But the difference is much greater between the ideas of sense, the materials upon which the mind first begins its work, and the truths produced by its operations, than between the rough marble, and the statue formed by the skill of PHIDIAS.""","",2014-06-22 03:46:02 UTC,""
7984,"",Reading,2014-07-25 18:20:09 UTC,"Whoever thinks must see that man was made
To face the storm, not languish in the shade;
Action's his sphere, and,for that sphere design'd,
Eternal pleasures open on his mind.
For this, fair hope leads on the' impassion'd soul
Through life's wild labyrinths to her distant goal;
Paints in each dream, to fan the genial flame,
The pomp of riches, and the pride of fame,
Or fondly gives reflection's cooler eye
A glance, an image, of a future sky.
Yet, though kind Heaven points out the' unerring road
That leads through nature up to bliss and God;
Spite of that God, and all his voice divine
Speaks in the heart, or teaches from the shrine,
Man, feebly vain, and impotently wise,
Disdains the manna sent him from the skies;
Tasteless of all that virtue gives to please,
For thought too active, and too mad for ease,
From wish to wish in life's mad vortex toss'd,
For ever struggling, and for ever lost;
He scorns religion, though her seraphs call,
And lives in rapture, or not lives at all.
(pp. 154-155)",,24302,"","""For this, fair hope leads on the' impassion'd soul / Through life's wild labyrinths to her distant goal; / Paints in each dream, to fan the genial flame, / The pomp of riches, and the pride of fame, / Or fondly gives reflection's cooler eye / A glance, an image, of a future sky.""","",2014-07-25 18:20:09 UTC,""
7984,"","Reading Marjorie Nicholson's Newton Demands the Muse (Princeton: Princeton UP, 1946), 108.",2014-07-25 18:22:41 UTC,"Passions, like colours, have their strength and ease,
Those too insipid, and too gaudy these:
Some on the heart, like Spagnoletti's, throw
Fictitious horrors and a weight of woe;
Some, like Albano's, catch from every ray
Too strong a sunshine, and too rich a day;
Others, with Carlo's Magdalens, require
A quicker spirit, and a touch of fire;
Or want, perhaps, though of celestial race,
Corregio's softness, and a Guido's grace.
(p. 158)",,24304,"","""Passions, like colours, have their strength and ease, / Those too insipid, and too gaudy these.""","",2014-07-25 18:22:41 UTC,""
7984,"","Reading Marjorie Nicholson's Newton Demands the Muse (Princeton: Princeton UP, 1946), 108.",2014-07-25 18:23:59 UTC,"Wouldst thou then reach what Rembrandt's genius knew,
And live the model that his pencil drew,
Form all thy life with all his warmth divine,
Great as his plan, and faultless as his line;
Let all thy passions, like his colours, play,
Strong without harshness, without glaring gay:
Contrast them, curb them, spread them, or confine,
Ennoble these, and those forbid to shine;
With cooler shades ambition's fire allay,
And mildly melt the pomp of pride away;
Her rainbow robe from vanity remove,
Each pulse congenial with the' informing mind,
Each action station'd in its proper place,
Each virtue blooming with its native grace,
Each passion vigorous to its just degree,
And the fair whole a perfect symmetry.
(pp. 158-159)",,24305,"","""Contrast them, curb them, spread them, or confine, / Ennoble these, and those forbid to shine; / With cooler shades ambition's fire allay, / And mildly melt the pomp of pride away; / Her rainbow robe from vanity remove, / Each pulse congenial with the' informing mind, / Each action station'd in its proper place, / Each virtue blooming with its native grace, / Each passion vigorous to its just degree, / And the fair whole a perfect symmetry.""","",2014-07-25 18:24:14 UTC,""
5598,"","Reading Marjorie Nicholson's Newton Demands the Muse (Princeton: Princeton UP, 1946), 152-153. Found again in Earl Wasserman, ""The English Romantics: The Grounds of Knowledge""
4:1 Studies in Romanticism (Autumn, 1964): 17-34, 19.",2014-07-25 18:59:07 UTC,"Requires there aught of learning's pompous aid
To prove that all this outward frame of things
Is what it seems, not unsubstantial air,
Ideal vision, or a waking dream,
Without existence, save what Fancy gives?
Shall we, because we strive in vain to tell
How Matter acts on incorporeal Mind,
Or how, when sleep has lock'd up ev'ry sense,
Or fevers rage, Imagination paints
Unreal scenes, reject what sober sense,
And calmest thought attest? Shall we confound
States wholly diff'rent? Sleep with wakeful life?
Disease with health? This were to quit the day,
And seek our path at midnight. To renounce
Man's surest evidence, and idolize
Imagination. Hence then banish we
These metaphysic subtleties, and mark
The curious structure of these visual orbs,
The windows of the mind; substance how clear,
Aqueous, or crystalline! through which the soul,
As thro' a glass, all outward things surveys.",,24306,"","""Shall we, because we strive in vain to tell / How Matter acts on incorporeal Mind, / Or how, when sleep has lock'd up ev'ry sense, / Or fevers rage, Imagination paints / Unreal scenes, reject what sober sense, / And calmest thought attest?""","",2017-01-18 14:52:41 UTC,""