updated_at,id,text,theme,metaphor,work_id,reviewed_on,provenance,created_at,comments,context,dictionary
2013-11-18 19:24:19 UTC,23259,"I WILL not go so far as to say that the improvement of taste and of virtue is the same; or that they may always be expected to coexist in an equal degree. More powerful correctives than taste can apply, are necessary for reforming the corrupt propensities which too frequently prevail among mankind. Elegant speculations are sometimes found to float on the surface of the mind, while bad passions possess the interior regions of the heart. At the same time this cannot but be admitted, that the exercise of taste is, in its native tendency, moral and purifying. From reading the most admired productions of genius, whether in poetry or prose, almost every one rises with some good impressions left on his mind; and though these may not always be durable, they are at least to be ranked among the means of disposing the heart to virtue. One thing is certain, and I shall hereafter have occasion to illustrate it more fully, that without possessing the virtuous affections in a strong degree, no man can attain eminence in the sublime parts of eloquence. He must feel what a good man feels, if he expects greatly to move or to interest mankind. They are the ardent sentiments of honour, virtue, magnanimity, and publick spirit, that only can kindle that fire of genius, and call up into the mind those high ideas, which attract the admiration of ages; and if this spirit be necessary to produce the most distinguished efforts of eloquence, it must be necessary also to our relishing them with proper taste and feeling.
(Vol. I, Lecture I, pp. 15-16)","","""From reading the most admired productions of genius, whether in poetry or prose, almost every one rises with some good impressions left on his mind; and though these may not always be durable, they are at least to be ranked among the means of disposing the heart to virtue.""",5583,,ECCO-TCP,2013-11-18 19:24:19 UTC,"","",Impressions
2013-11-18 19:29:28 UTC,23263,"IN the feeble attempts, which human art can make towards producing grand objects (feeble, I mean, in comparison with the powers of nature), greatness of dimensions always constitutes a principal part. No pile of building can convey any idea of Sublimity, unless it be ample and lofty. There is, too, in architecture, what is called Greatness of manner; which seems chiefly to arise, from presenting the object to us in one full point of view; so that it shall make its impression whole, entire, and undivided, upon the mind. A Gothic cathedral raises ideas of grandeur in our minds, by its size, its height, its awful obscurity, its strength, its antiquity, and its durability.
(Vol. I, Lecture III, p. 62)","","""There is, too, in architecture, what is called Greatness of manner; which seems chiefly to arise, from presenting the object to us in one full point of view; so that it shall make its impression whole, entire, and undivided, upon the mind.""",5583,,ECCO-TCP,2013-11-18 19:29:28 UTC,"","",Impressions
2013-11-18 19:34:08 UTC,23268,"NOVELTY, for instance, has been mentioned by Mr. Addison, and by every writer on this subject. An object which has no merit to recommend it, except its being uncommon or new, by means of this quality alone, produces in the mind a vivid and an agreeable emotion. Hence that passion of curiosity, which prevails so generally among mankind. Objects and ideas which have been long familiar, make too faint an impression to give an agreeable exercise to our faculties. New and strange objects rouse the mind from its dormant state, by giving it a quick and pleasing impulse. Hence, in a great measure, the entertainment afforded us by fiction and romance. The emotion raised by Novelty is of a more lively and pungent nature, than that produced by Beauty; but much shorter in its continuance. For if the object have in itself no charms to hold our attention, the shining gloss thrown upon it by Novelty soon wears off.
(Vol. I, Lecture V, p. 108)","","""Objects and ideas which have been long familiar, make too faint an impression to give an agreeable exercise to our faculties. New and strange objects rouse the mind from its dormant state, by giving it a quick and pleasing impulse.""",5583,,ECCO-TCP,2013-11-18 19:34:08 UTC,"","",Impressions
2013-11-18 19:34:54 UTC,23269,"AS far, indeed, as a poet or a historian introduces into his work persons actually speaking; and by the words which he puts into their mouths, represents the discourse which they might be supposed to hold; so far his art may more accurately be called Imitative: and this is the case in all dramatic composition. But in Narrative or Descriptive works, it can with no propriety be called so. Who, for instance, would call Virgil's Description of a tempest, in the first Aeneid, an Imitation of a storm? If we heard of the Imitation of a battle, we might naturally think of some mock fight, or representation of a battle on the stage, but would never apprehend, that it meant one of Homer's Descriptions in the Iliad. I admit, at the same time, that Imitation and Description agree in their principal effect, of recalling by external signs, the ideas of things which we do not see. But though in this they coincide, yet it should not be forgotten, that the terms themselves are not synonymous; that they import different means of effecting the same end; and of course make different impressions on the mind*.
(Vol. I, Lecture V, pp. 111-2)","","""I admit, at the same time, that Imitation and Description agree in their principal effect, of recalling by external signs, the ideas of things which we do not see. But though in this they coincide, yet it should not be forgotten, that the terms themselves are not synonymous; that they import different means of effecting the same end; and of course make different impressions on the mind.""",5583,,ECCO-TCP,2013-11-18 19:34:54 UTC,"","",Impressions
2013-11-18 19:35:57 UTC,23270,"I HAD occasion to observe before, that though all subjects of writing or discourse demand Perspicuity, yet all do not require the same degree of that exact Precision, which I have endeavoured to explain. It is, indeed, in every sort of writing, a great beauty to have, at least, some measure of Precision, in distinction from that loose profusion of words which imprints no clear idea on the reader's mind. But we must, at the same time, be on our guard, lest too great a study of Precision, especially in subjects where it is not strictly requisite, betray us into a dry and barren Style; lest, from the desire of pruning too closely, we retrench all copiousness and ornament. Some degree of this failing may, perhaps, be remarked in Dean Swift's serious works. Attentive only to exhibit his ideas clear and exact, resting wholly on his sense and distinctness, he appears to reject, disdainfully, all embellishment which, on some occasions, may be thought to render his manner somewhat hard and dry. To unite together Copiousness and Precision, to be flowing and graceful, and, at the same time, correct and exact in the choice of every word, is, no doubt, one of the highest and most difficult attainments in writing. Some kinds of composition may require more of Copiousness and Ornament; others, more of Precision and Accuracy; nay, in the same composition, the different parts of it may demand a proper variation of manner. But we must study never to sacrifice, totally, any one of these qualities to the other; and, by a proper management, both of them may be made fully consistent, if our own ideas be precise, and our knowledge and stock of words be, at the same time, extensive.
(Vol. I, Lecture X, pp. 240-1)","","""It is, indeed, in every sort of writing, a great beauty to have, at least, some measure of Precision, in distinction from that loose profusion of words which imprints no clear idea on the reader's mind.""",5583,,ECCO-TCP,2013-11-18 19:35:57 UTC,"","",Impressions
2013-11-18 19:36:57 UTC,23271,"I PROCEED now to the second quality of a well-arranged sentence, which I termed its Unity. This is a capital property. In every composition, of whatever kind, some degree of unity is required, in order to render it beautiful. There must be always some connecting principle among the parts. Some one object must reign and be predominant. This, as I shall hereafter shew, holds in History, in Epic and Dramatic Poetry, and in all orations. But most of all, in a single sentence, is required the strictest unity. For the very nature of a sentence implies one proposition to be expressed. It may consist of parts, indeed; but these parts must be so closely bound together, as to make the impression upon the mind, of one object, not of many. Now, in order to preserve this unity of a sentence, the following rules must be observed:
(Vol. I, Lecture XI, pp. 257)","","""It may consist of parts, indeed; but these parts must be so closely bound together, as to make the impression upon the mind, of one object, not of many.""",5583,,ECCO-TCP,2013-11-18 19:36:57 UTC,"","",Impressions
2013-11-18 19:38:35 UTC,23273,"FOR, though many of those attentions, which I have been recommending, may appear minute, yet their effect, upon writing and style, is much greater than might, at first, be imagined. A sentiment which is expressed in a period, clearly, neatly, and happily arranged, makes always a stronger impression on the mind, than one that is any how feeble or embarrassed. Every one feels this upon a comparison: and if the effect be sensible in one sentence, how much more in a whole discourse, or composition, that is made up of such Sentences?
(Vol. I, Lecture XII, p. 292)","","""A sentiment which is expressed in a period, clearly, neatly, and happily arranged, makes always a stronger impression on the mind, than one that is any how feeble or embarrassed.""",5583,,ECCO-TCP,2013-11-18 19:38:35 UTC,"","",Impressions
2013-11-18 19:39:10 UTC,23274,"EVERY object which makes any impression on the human mind, is constantly accompanied with certain circumstances and relations, that strike us at the same time. It never presents itself to our view, isolé, as the French express it; that is, independent on, and separated from, every other thing; but always occurs as somehow related to other objects; going before them, or following after them; their effect or their cause; resembling them, or opposed to them; distinguished by certain qualities, or surrounded with certain circumstances. By this means, every idea or object carries in its train some other ideas, which may be considered as its accessories. These accessories often strike the imagination more than the principal idea itself. They are, perhaps, more agreeable ideas; or they are more familiar to our conceptions; or they recal to our memory a greater variety of important circumstances. The imagination is more disposed to rest upon some of them; and therefore, instead of using the proper name of the principal idea which it means to express, it employs, in its place, the name of the accessory or correspondent idea; although the principal have a proper and wellknown name of its own. Hence a vast variety of tropical or figurative words obtain currency in all languages, through choice, not necessity; and men of lively imaginations are every day adding to their number.
(Vol. I, Lecture XIV, pp. 333-4)","","""EVERY object which makes any impression on the human mind, is constantly accompanied with certain circumstances and relations, that strike us at the same time.""",5583,,ECCO-TCP,2013-11-18 19:39:10 UTC,"","",Impressions
2013-11-18 19:40:19 UTC,23275,"THE pleasure we take in comparisons is just and natural. We may remark three different sources whence it arises. First, from the pleasure which nature has annexed to that act of the mind by which we compare any two objects together, trace resemblances among those that are different, and differences among those that resemble each other; a pleasure, the final cause of which is, to prompt us to remark and observe, and thereby to make us advance in useful knowledge. This operation of the mind is naturally and universally agreeable; as appears from the delight which even children have in comparing things together, as soon as they are capable of attending to the objects that surround them. Secondly, The pleasure of Comparison arises from the illustration which the simile employed gives to the principal object; from the clearer view of it which it presents; or the more strong impression of it which it stamps upon the mind: and, thirdly, It arises from the introduction of a new, and commonly a splendid object, associated to the principal one of which we treat; and from the agreeable picture which that object presents to the fancy; new scenes being thereby brought into view, which, without the assistance of this figure, we could not have enjoyed.
(Vol. I, Lecture XVII, pp. 405-6)","","""Secondly, The pleasure of Comparison arises from the illustration which the simile employed gives to the principal object; from the clearer view of it which it presents; or the more strong impression of it which it stamps upon the mind: and, thirdly, It arises from the introduction of a new, and commonly a splendid object, associated to the principal one of which we treat; and from the agreeable picture which that object presents to the fancy; new scenes being thereby brought into view, which, without the assistance of this figure, we could not have enjoyed.""",5583,,ECCO-TCP,2013-11-18 19:40:19 UTC,"","",Impressions
2013-11-18 19:42:36 UTC,23277,"A maxim, or moral saying, properly enough receives this form; both because it is supposed to be the fruit of meditation, and because it is designed to be engraven on the memory, which recalls it more easily by the help of such contrasted expressions. But where a string of such sentences succeed each other; where this becomes an author's favourite and prevailing manner of expressing himself, his style is faulty; and it is upon this account Seneca has been often, and justly, censured. Such a style appears too studied and laboured; it gives us the impression of an author attending more to his manner of saying things, than to the things themselves which he says. Dr. Young, though a writer of real genius, was too fond of Antitheses. In his Estimate of Human Life, we find whole pages that run in such a strain as this:
""The peasant complains aloud; the courtier in secret repines. In want, what distress? in affluence, what satiety? The great are under as much difficulty to expend with pleasure, as the mean to labour with success. The ignorant, through illgrounded hope, are disappointed; the knowing, through knowledge, despond. Ignorance, occasions mistake; mistake, disappointment; and disappointment is misery. Knowledge, on the other hand, gives true judgment; and true judgment of human things, gives a demonstration of their insufficiency to our peace.""