text,updated_at,metaphor,created_at,context,theme,reviewed_on,dictionary,comments,provenance,id,work_id
"The third species of Invention, by which we observed original Genius will be distinguished, is that of IMAGERY. The stile of an original Author in Poetry is for the most Part FIGURATIVE and METAPHORICAL. The ordinary modes of speech being unable to express the grandeur or the strength of his conceptions, appear FLAT and LANGUID to his ardent Imagination. In order therefore to supply the poverty of common language, he has recourse to METAPHORS and IMAGES; which, though they may sometimes occasion the want of precision, will always elevate his stile, as well as give a peculiar dignity and energy to his sentiments. An original Author indeed will frequently be apt to exceed in the use of this ornament, by pouring forth such a blaze of imagery, as to dazzle and overpower the mental sight; the effect of which is, that his Writings become obscure, if not unintelligible to common Readers; just as the eye is for some time rendered incapable of distinguishing the objects that are presented to it, after having stedfastly contemplated the Sun. Well chosen images, happily adapted to the purpose for which they are adduced, if not too frequently employed, produce a fine effect in Poetry. They impart a pleasing gratification to the mind, arising from the discovery of the resemblance betwixt the similitude and the object to which it is compared; they remarkably enliven description, at the same time that they embellish it with additional graces; they give force as well as grandeur to the stile of Poetry, and are a principal source of those exquisite sensations, which it is calculated to inspire. On the other hand, the too liberal use of IMAGERY even in Poetry (besides that obscurity which it occasions to the ordinary class of Readers, as well as that fatigue which the Imagination experiences from its excessive glare) so disgusts the mind with the perpetual labour of tracing relations and resemblances, which cannot always be immediately perceived, that the tide of passion is by this means diverted, if it doth not subside, and the pleasure arising from poetic imitation is greatly diminished, if not utterly destroyed. A Writer however, who is only possessed of a moderate degree of Genius, is in very little hazard of falling into this extreme. His imagination is not extensive enough to comprehend those remote analogies which subsist betwixt different objects in nature, nor does it possess force sufficient to throw off a bold and glowing image founded upon such analogies: the performances of such an Author therefore will either be intirely destitute of the images of Poetry, excepting such as arise from the most obvious relations of ideas; of else those which he adopts will be borrowed from Authors of superior Genius. Hence it is, that the images of Homer have been so often copied by modern Poets, who either possessed not fertility of Invention enough to strike out new similitudes for themselves, or dared not to exert it. A Poet endued with a truly original Genius, will however be under no necessity of drawing any of the materials of his composition from the Works of preceding Bards; since he has an unfailing resource in the exuberance of his own Imagination, which will furnish him with a redundance of all those materials, and particularly with an inexhaustible variety of new and splendid imagery, which must be regarded as one distinguishing mark of original poetic Genius.
(pp. 143-8)",2013-07-01 18:16:44 UTC,"""On the other hand, the too liberal use of IMAGERY even in Poetry (besides that obscurity which it occasions to the ordinary class of Readers, as well as that fatigue which the Imagination experiences from its excessive glare) so disgusts the mind with the perpetual labour of tracing relations and resemblances, which cannot always be immediately perceived, that the tide of passion is by this means diverted, if it doth not subside, and the pleasure arising from poetic imitation is greatly diminished, if not utterly destroyed.""",2013-07-01 18:16:44 UTC,"","",,"","",C-H Lion,21379,7498
"This universal benevolence, how noble and generous soever, can be the source of no solid happiness to any man who is not thoroughly convinced that all the inhabitants of the universe, the meanest as well as the greatest, are under the immediate care and protection of that great, benevolent, and all-wise Being, who directs all the movements of nature; and who is determined, by his own unalterable perfections, to maintain in it, at all times, the greatest possible quantity of happiness. To this universal benevolence, on the contrary, the very suspicion of a fatherless world, must be the most melancholy of all reflections; from the thought that all the unknown regions of infinite and incomprehensible space may be filled with nothing but endless misery and wretchedness. All the splendour of the highest prosperity can never enlighten the gloom with which so dreadful an idea must necessarily over-shadow the imagination; nor, in a wise and virtuous man, can all the sorrow of the most afflicting adversity ever dry up the joy which necessarily springs from the habitual and thorough conviction of the truth of the contrary system.
(text from http://www.econlib.org, VI.ii.45; cf. p. 235 in Liberty Fund ed.)",2014-06-19 19:32:25 UTC,"""All the splendour of the highest prosperity can never enlighten the gloom with which so dreadful an idea must necessarily over-shadow the imagination; nor, in a wise and virtuous man, can all the sorrow of the most afflicting adversity ever dry up the joy which necessarily springs from the habitual and thorough conviction of the truth of the contrary system.""",2014-06-19 19:32:25 UTC,"","",,"","",Reading,24029,7934