work_id,theme,provenance,created_at,text,reviewed_on,id,comments,metaphor,dictionary,updated_at,context
7033,"",Reading,2011-07-26 03:44:48 UTC,"Another Source of mutual Misapprehension on this Subject hath been 'the Introduction of metaphorical Expressions instead of proper ones.' Nothing is so common among the Writers on Morality, as 'the Harmony of Virtue'—'the Proportion of Virtue.' So the noble Writer frequently expresseth himself. But his favourite Term, borrowed indeed from the Ancients, is 'the Beauty of Virtue.'—Quae si videri posset mirabiles excitaret amores.—Of this our Author and his Followers, especially the most ingenious of them, are so enamoured, that they seem utterly to have forgot they are talking in Metaphor, when they describe the Charms of this sovereign Fair. Insomuch, that an unexperienced Person, who should read their Encomiums, would naturally fall into the Mistake of him, who asked the Philosopher, 'Whether the Virtues were not living Creatures' Now this figurative Manner, so essentially interwoven into philosophical Disquisition, hath been the Occasion of great Error. It tends to mislead us both with regard to the Nature of Virtue, and our Motives to the Practice of it. For first, it induceth a Persuasion, that Virtue is excellent without Regard to any of its Consequences: And secondly, that he must either want Eyes, or common Discernment, who doth not at first Sight fall in Love with this matchless Lady.
(p. 161-2)",,18989,Meta-metaphorical,"""Another Source of mutual Misapprehension on this Subject hath been 'the Introduction of metaphorical Expressions instead of proper ones.' Nothing is so common among the Writers on Morality, as 'the Harmony of Virtue'—'the Proportion of Virtue.'""","",2011-07-26 03:45:07 UTC,"Essay II, section vi"
7033,As it Were,"",2011-07-26 03:51:25 UTC,"There are, besides these, an endless Variety of Characters formed from the various Combinations of these essential Ingredients [sense, imagination, passion]; which are not designed as a full Expression of all the Tempers of Mankind: They are the Materials only, out of which these Characters are formed. They are no more than the several Species of simple Colours laid, as it were, upon the Pallet; which, variously combined and associated by the Hand of an experienced Master, would indeed call forth every striking Resemblance, every changeful Feature of the Heart of Man.
(pp. 185-6)",,18992,"","""They [sense, imagination, and passion] are no more than the several Species of simple Colours laid, as it were, upon the Pallet; which, variously combined and associated by the Hand of an experienced Master, would indeed call forth every striking Resemblance, every changeful Feature of the Heart of Man.""","",2011-07-26 03:51:25 UTC,"Essay II, Section vii"
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,""
8274,"",Reading at The Yale Digital Edition of the Works of Samuel Johnson. ,2018-04-19 20:19:01 UTC,"When a number of distinct images are collected by these erratick and hasty surveys, the fancy is busied in arranging them; and combines them into pleasing pictures with more resemblance to the realities of life as experience advances, and new observations rectify the former. While the judgment is yet uninformed and unable to compare the draughts of fiction with their originals, we are delighted with improbable adventures, impracticable virtues, and inimitable characters: But, in proportion as we have more opportunities of acquainting ourselves with living nature, we are sooner disgusted with copies in which there appears no resemblance. We first discard absurdity and impossibility, then exact greater and greater degrees of probability, but at last become cold and insensible to the charms of falshood, however specious, and from the imitations of truth, which are never perfect, transfer our affection to truth itself.",,25183,"","""When a number of distinct images are collected by these erratick and hasty surveys, the fancy is busied in arranging them; and combines them into pleasing pictures with more resemblance to the realities of life as experience advances, and new observations rectify the former.""","",2018-04-19 20:19:01 UTC,""
8274,"",Reading at The Yale Digital Edition of the Works of Samuel Johnson. ,2018-04-19 20:22:22 UTC,"Now commences the reign of judgment or reason; we begin to find little pleasure, but in comparing arguments, stating propositions, disentangling perplexities, clearing ambiguities, and deducing consequences. The painted vales of imagination are deserted, and our intellectual activity is exercised in winding through the labyrinths of fallacy, and toiling with firm and cautious steps up the narrow tracks of demonstration. Whatever may lull vigilance, or mislead attention, is contemptuously rejected, and every disguise in which error may be concealed, is carefully observed, till by degrees a certain number of incontestable or unsuspected propositions are established, and at last concatenated into arguments, or compacted into systems.",,25184,"","""The painted vales of imagination are deserted, and our intellectual activity is exercised in winding through the labyrinths of fallacy, and toiling with firm and cautious steps up the narrow tracks of demonstration.""","",2018-04-19 20:22:22 UTC,""