work_id,theme,provenance,created_at,text,reviewed_on,id,comments,metaphor,dictionary,updated_at,context
5112,Reverie,"Searching ""predominant passion"" in HDIS",2004-06-07 00:00:00 UTC,"In the mean time Sir Launcelot, having ordered supper, retired into his own chamber, and gave a loose to the most tender emotions of his heart. He recollected all the fond ideas which had been excited in the course of his correspondence with the charming Aurelia. He remembered, with horror, the cruel letter he had received from that young lady, containing a formal renunciation of his attachment, so unsuitable to the whole tenour of her character and conduct. He revolved the late adventure of the coach, and the declaration of Mr. Clarke, with equal eagerness and astonishment; and was seized with the most ardent desire of unravelling a mystery so interesting to the predominant passion of his heart. --All these mingled considerations produced a kind of ferment in the oeconomy of his mind, which subsided into a profound reverie, compounded of hope and perplexity.
(II. xiii)",,13810,•I've included twice: once in Uncategorized: Economy and once in Liquid: Ferment.
,"""Mingled considerations"" may produce a ""ferment in the oeconomy"" of the mind","",2009-09-14 19:39:16 UTC,""
5206,"",Reading,2011-03-06 19:43:53 UTC,"In the arts and sciences which have least connection with the mind, its faculties are the engines which we must employ; and the better we understand their nature and use, their defects and disorders, the more skilfully we shall apply them, and with the greater success. But in the noblest arts, the mind is also the subject upon which we operate. The painter, the poet, the actor, the orator, the moralist, and the statesman, attempt to operate upon the mind in different ways, and for different ends; and they succeed, according as they touch properly the strings of the human frame. Nor can their several arts ever, stand on a solid foundation, or rise to the dignity of science, until they are built on the principles of the human constitution.
(I.i, p. 11)",,18207,"","""The painter, the poet, the actor, the orator, the moralist, and the statesman, attempt to operate upon the mind in different ways, and for different ends; and they succeed, according as they touch properly the strings of the human frame.""","",2011-03-06 19:43:53 UTC,Chapter I. Section 1.
5107,"",ECCO-TCP,2013-11-18 20:58:09 UTC,"Whether surprise be in itself pleasant or painful, is a question not less intricate than the former. It is certain, that surprise inflames our joy when unexpectedly we meet with an old friend: and not less our terror, when we stumble upon any thing noxious. To clear this point, we must trace it step by step. And the first thing to be remarked is, that in some instances an unexpected object overpowers the mind so as to produce a momentary stupefaction. An unexpected object, not less than one that is new, is apt to sound an alarm and to raise terror. Man, naturally a defenceless being, is happily so constituted as to apprehend danger in all doubtful cases. Accordingly, where the object is dangerous, or appears so, the sudden alarm it gives, without preparation, is apt totally to unhinge the mind, and for a moment to suspend all the faculties, even thought itself*. In this state a man is quite helpless; and if he move at all, is as likely to run upon the danger as from it. Surprise carried to this height, cannot be either pleasant or painful; because the mind, during such momentary stupefaction, is in a good measure, if not totally, insensible.
(I.vi, pp. 326-7)",,23293,"","""Accordingly, where the object is dangerous, or appears so, the sudden alarm it gives, without preparation, is apt totally to unhinge the mind, and for a moment to suspend all the faculties, even thought itself.""","",2013-11-18 20:58:09 UTC,""
5107,"",ECCO-TCP,2013-11-18 21:45:29 UTC,"SUCH is the nature of man, that his powers and faculties are soon blunted by exercise. The returns of sleep, suspending all activity, are not alone sufficient to preserve him in vigor. During his waking hours, amusement by intervals is requisite to unbend his mind from serious occupation. The imagination, of all our faculties the most active, and not always at rest even in sleep, contributes more than any other cause to recruit the mind and restore its vigor, by amusing us with gay and ludicrous images; and when relaxation is necessary, such amusement is much relished. But there are other sources of amusement beside the imagination. Many objects, natural as well as artificial, may be distinguished by the epithet of risible, because they raise in us a peculiar emotion expressed externally by laughter. This is a pleasant emotion; and being also mirthful, it most successfully unbends the mind and recruits the spirits.
(I.vii, pp. 337-8)",,23296,"","""During his waking hours, amusement by intervals is requisite to unbend his mind from serious occupation.""","",2013-11-18 21:45:29 UTC,""
5107,"",ECCO-TCP,2013-11-18 21:46:14 UTC,"It would however be too austere, to banish altogether ludicrous images from an epic poem. This poem doth not always soar above the clouds. It admits great variety; and upon occasions can descend even to the ground without sinking. In its more familiar tones, a ludicrous scene may be introduced without impropriety. This is done by Virgil* in describing a foot-race; the circumstances of which, not excepting the ludicrous part, are copied from Homer†. After a fit of merryment, we are, it is true, the less disposed to the serious and sublime: but then, a ludicrous scene, by unbending the mind from severe application to more interesting subjects, may prevent fatigue, and preserve our relish entire.
(I.viii, pp. 378-9)",,23297,"","""After a fit of merryment, we are, it is true, the less disposed to the serious and sublime: but then, a ludicrous scene, by unbending the mind from severe application to more interesting subjects, may prevent fatigue, and preserve our relish entire.""","",2013-11-18 21:46:14 UTC,""
5107,"",ECCO-TCP,2013-11-18 21:48:24 UTC,"The necessary succession of perceptions, is a subject formerly handled, so far as it depends on the relations of objects and their mutual connections*. But that subject is not exhausted; and I take the liberty to introduce it a second time, in order to explain in what manner we are affected by uniformity and variety. The world we inhabit is replete with things not less remarkable for their variety than their number. These, unfolded by the wonderful mechanism of external sense, furnish the mind with many perceptions, which, joined with ideas of memory, of imagination, and of reflection, form a complete train that has not a gap or interval. This tide of objects, in a continual flux, is in a good measure independent of will. The mind, as has been observed†, is so constituted,
""That it can by no effort break off the succession of its ideas, nor keep its attention long fixt upon the same object.""
(I.ix, pp. 380-1)",,23298,"","""The world we inhabit is replete with things not less remarkable for their variety than their number. These, unfolded by the wonderful mechanism of external sense, furnish the mind with many perceptions, which, joined with ideas of memory, of imagination, and of reflection, form a complete train that has not a gap or interval. This tide of objects, in a continual flux, is in a good measure independent of will.""","",2013-11-18 21:48:24 UTC,""
5107,"",Text from ECCO-TCP,2013-11-18 21:50:21 UTC,"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)",,23300,"","""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.""",Impressions,2014-07-03 15:24:26 UTC,""
5107,"",ECCO-TCP,2013-11-18 21:51:19 UTC,"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)",,23301,"","""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.""",Impressions,2013-11-18 21:51:19 UTC,""
5107,"",ECCO-TCP,2013-11-18 21:53:01 UTC,"But the mind is not satisfied with a moderate course alone: its perceptions must also be sufficiently diversified. Number without variety constitutes not an agreeable train. In comparing a few objects, uniformity is agreeable: but the frequent reiteration of uniform objects becomes unpleasant. One tires of a scene that is not diversified; and soon feels a sort of unnatural restraint when confined within a narrow range, whether occasioned by a retarded succession or by too great uniformity. An excess in variety is, on the other hand, fatiguing. This is even perceptible in a train composed of related objects: much more where the objects are unrelated; for an object, unconnected with the former train, gains not admittance without effort; and this effort, though scarce perceptible in a single instance, becomes by frequent reiteration exceeding painful. Whatever be the cause, the fact is certain, that a man never finds himself more at ease, than when his perceptions succeed each other with a certain degree, not only of velocity, but also of variety. Hence it proceeds, that a train consisting entirely of ideas of memory, is never painful by too great variety; because such ideas are not introduced otherwise than according to their natural connections*. The pleasure of a train of ideas, is the most remarkable in a reverie; especially where the imagination interposes, and is active in coining new ideas, which is done with wonderful facility. One must be sensible, that the serenity and ease of the mind in this state, makes a great part of the enjoyment. The case is different where external objects enter into the train; for these, making their appearance without any order, and without any connection save that of contiguity, form a train of perceptions that may be extremely uniform or extremely diversified; which, for opposite reasons, are both of them painful.
(I.ix, pp. 392-4)",,23303,"","""The pleasure of a train of ideas, is the most remarkable in a reverie; especially where the imagination interposes, and is active in coining new ideas, which is done with wonderful facility.""",Coinage,2013-11-18 21:53:01 UTC,""
8132,"","Reading Sean Silver, The Mind is a Collection: Case Studies in Eighteenth-Century Thought (Philadelphia: Penn Press, 2015), 275n.",2016-03-11 17:30:00 UTC,"[March 20, 1768] We went at night to the inn on Barnby Moor. We were now jumbled into old acquaintance. I felt myself quite strong, and exulted when I compared my present mind with my mind some years ago. Formerly my mind was quite a lodging-house for all ideas who chose to put up there, so that it was at the mercy of accident, for I had no fixed mind of my own. Now my mind is a house where, though the street rooms and the upper floors are open to strangers, yet there is always a settled family in the back parlour and sleeping-closet behind it; and this family can judge of the ideas which come to lodge. This family! this landlord, let me say, or this landlady, as the mind and the soul are both she. I shall confuse myself with metaphor. Let me then have done with it. Only this more. The ideas--my lodgers--are of all sorts. Some, gentlemen of the law, who pay me a great deal more than others. Divines of all sorts have been with me, and have ever disturbed me. When I first took up house, Presbyterian ministers used to make me melancholy with dreary tones. Methodists next shook my passions. Romish clergy filled me with solemn ideas, and, although their statues and many movable ornaments are gone, yet they drew some pictures upon my walls with such deep strokes that they still remain. They are, indeed, only agreeable ones. I had Deists for a very short while. But they, being sceptics, were perpetually alarming me with thoughts that my walls were made of clay and could not last, so I was glad to get rid of them. I am forced to own that my rooms have been occupied by women of the town, and by some ladies of abandoned manners. But I am resolved that by degrees there shall be only decent people and innocent, gay lodgers.
(pp. 137-8)",,24874,"","""Only this more. The ideas--my lodgers--are of all sorts. Some, gentlemen of the law, who pay me a great deal more than others. Divines of all sorts have been with me, and have ever disturbed me. When I first took up house, Presbyterian ministers used to make me melancholy with dreary tones. Methodists next shook my passions. Romish clergy filled me with solemn ideas, and, although their statues and many movable ornaments are gone, yet they drew some pictures upon my walls with such deep strokes that they still remain. They are, indeed, only agreeable ones. I had Deists for a very short while. But they, being sceptics, were perpetually alarming me with thoughts that my walls were made of clay and could not last, so I was glad to get rid of them. I am forced to own that my rooms have been occupied by women of the town, and by some ladies of abandoned manners. But I am resolved that by degrees there shall be only decent people and innocent, gay lodgers.""",Inhabitants,2016-03-11 17:30:00 UTC,""