work_id,theme,provenance,created_at,text,reviewed_on,id,comments,metaphor,dictionary,updated_at,context
5318,"","Searching ""breast"" and ""impression"" in HDIS (Poetry); confirmed in 1757 edition",2005-05-20 00:00:00 UTC,"He said, and seizing lifts them both on high,
With hands and feet extended in the sky:
Then dash'd them thrice against the rocky shore;
Gnaw'd their warm flesh, and drank their streaming gore.
Oft have I seen the havoc of the plain,
The rage of tempests and the stormy main;
But fate, in such a form, ne'er met my eyes,
And, while I speak, afresh its horrors rise
To chill my veins: nor can the vary'd state
Of sprightly youth, and middle age sedate,
Or life's last stage with all its griefs opprest,
Banish the dire impression from my breast.
For still I see the monster, as he stood,
His hairy visage dy'd in human blood:
As the grim lion leaves the wasted plains,
Red from the ravage of the flocks and swains.
(Cf. pp. 93-4 in 1757 ed.)",,14282,"","""Banish the dire impression from my breast. / For still I see the monster, as he stood.""",Impression,2014-02-23 21:22:39 UTC,""
6997,"","Searching ""heart"" and ""impression"" in HDIS (Poetry)
",2011-07-14 21:17:39 UTC,"What time your poppy-crowned God
Sends his truth-telling scouts abroad,
Ere yet the cock to matins rings,
And the lark with mounting wings,
The simple village swain has warn'd
To shake off sleep by labour earn'd;
Or on the rose's silken hem,
Aurora weeps her earliest gem;
Or beneath the opening dawn,
Smiles the fair-extended lawn.
When in the soft encircled shade
Ye find reclined the gentle maid,
Each busy motion laid to rest,
And all compos'd her peaceful breast:
Swift paint the fair internal scene,
The phantom labours of your reign;
The living imag'ry adorn
With all the limnings of the morn,
With all the treasures nature keeps
Conceal'd below the forming deeps;
Or dress'd in the rich waving pride,
That covers the green mountain's side,
Or blooms beneath the am'rous gale
In the wide embosom'd vale.
Let pow'rful Music too essay
The magic of her hidden lay:
While each harsh thought away shall fly
Down the full stream of harmony,
Compassion mild shall fill their place,
Each gentle minister of grace,
Pity, that often melts to Love,
Let weeping Pity, kind improve,
The soften'd heart, prepar'd to take
Whate'er impressions Love shall make.
Oh! in that kind, that sacred hour,
When Hate, when Anger have no pow'r;
When sighing Love, mild simple boy,
Courtship sweet, and tender joy,
Alone possess the fair one's heart;
Let me then, Fancy, bear my part.
(p. 378)",,18875,Found this entry mistitled (it also had a strange act/scene ascription?). Googling pulled it up in Google Books. ,"""The softenâd heart, prepar'd to take / Whate'er impressions Love shall make.""",Impressions,2011-07-14 21:19:35 UTC,""
7492,"",C-H Lion,2013-06-28 16:22:36 UTC,"LORD RANDOLPH.
When was it pure of sadness! These black weeds
Express the wonted colour of thy mind,
For ever dark and dismal. Seven long years
Are pass'd, since we were join'd by sacred ties:
Clouds, all the while have hung upon thy brow,
Nor broke, nor parted by one gleam of joy.
Time, that wears out the trace of deepest anguish,
As the sea smooths the prints made in the sand,
Has past o'er thee in vain.
(Act I, p. 8)",,21270,"","""Time, that wears out the trace of deepest anguish, / As the sea smooths the prints made in the sand, / Has past o'er thee in vain.""",Impressions,2013-06-28 16:22:36 UTC,Act I
7498,"",C-H Lion,2013-07-01 16:49:41 UTC,"Let us suppose two persons, the one possessed of a comprehensive and penetrating judgment, without any refinement or delicacy of taste; the other endued with the most exquisite sensibility of taste, without any extraordinary proportion of the reasoning talent, both set to work in examining the merit of some masterly production of art, that admired piece of history-painting, for instance, of the Crucifixion, by Michael Angelo, and observe their different procedure, and the very different remarks they will make. The former measures with his eye the exact proportion of every figure in the piece; he considers how far the rules of art are observed in the design and ordonance; whether the group of subordinate figures naturally lead the eye to the capital one, and fix the attention principally upon it and whether the artist has given a proper variety of expression to the countenances of the several spectators. Upon discovering that the painter had exactly conformed to the rules of his art in all these particulars, he would not only applaud his judgment, but would also give testimony to his mastery and skill; without, however, having any true feeling of those uncommon beauties which constitute real merit in the art of painting. Such would be the procedure and remarks of the man of mere judgment. Consider now, on the other hand, in what a different manner the man of taste will proceed, and in what manner he will be affected. Instead of attending, in the first place, to the just proportions of the various figures exhibited in the draught, however necessary to be observed; instead of remarking, with approbation, the judgment and ingenuity displayed by the artist in the uniformity of design, and in the regularity and justness that appear in the disposition of the several figures of the piece; he fixes his eye upon the principal one, in which he observes the various contorsions of the countenance, the natural expressions of agonising pain, mixed however with an air of divine benignity and compassion. Then he passes on to the contemplation of the inferior and subordinate figures, in which he perceives a variety of opposite passions, of rage and terror, of admiration and pity, strongly marked in their different countenances; and feels the corresponding emotions in their utmost strength which those several passions are calculated to inspire. In a word, the man of judgment approves of and admires what is merely mechanical in the piece; the man of taste is struck with what could only be effected by the power of Genius. Wherever nature is justly represented, wherever the features of any one passion are forcibly expressed, to those features his attention is attracted, and he dwells on the contemplation of them with intense and exquisite pleasure. The sensations of the former are cool, weak, and unaffecting throughout; those of the latter are warm, vivid, and deeply interesting; or, to speak more properly, the one reasons, the other feels. But as no reasoning can enable a man to form an idea of what is really an object of sensation, the most penetrating judgment can never supply the want of an exquisite sensibility of taste. In order therefore to relish and to judge of the production of Genius and to Art, there must be an internal perceptive power, exquisitely sensible to all the impressions which such productions are capable of making on a susceptible mind.
(pp. 13-16)",,21357,"","""In order therefore to relish and to judge of the production of Genius and to Art, there must be an internal perceptive power, exquisitely sensible to all the impressions which such productions are capable of making on a susceptible mind.""",Impressions,2013-07-01 16:49:41 UTC,""
7498,"",C-H Lion,2013-07-01 16:53:09 UTC,"The same VIVACITY and ARDOR of Imagination which indicates the Poet, characterises likewise and distinguishes the Painter; the signs only being different by which it is expressed. The former endeavours to impart his sentiments and ideas to us by verbal description; the latter sets before our eyes a striking resemblance of the objects of which he intends to convey an idea, by the ingenious contrivance of various colours delicately blended, and by the proper union of light and shade. In order to effect his purpose, he must have his imagination possessed with very vivid conceptions of the objects he would thus exhibit; otherwise it is impossible he should delineate the transcript of them upon canvas. The Imagination must guide the hand in the design and execution of the whole. A Painter therefore of true Genius, having his fancy strongly impressed and wholly occupied by the most lively conceptions of the objects of which he intends to express the resemblance, has immediate recourse to his pencil, and attempts, by the dexterous use of colours, to sketch out those perfect and living figures which exist in his own mind. He will be frequently observed to employ his talents in this manner; and the eminence and extent of his Genius is indicated by the degree of his success.
(pp. 39-41)",,21361,"","""A Painter therefore of true Genius, having his fancy strongly impressed and wholly occupied by the most lively conceptions of the objects of which he intends to express the resemblance, has immediate recourse to his pencil, and attempts, by the dexterous use of colours, to sketch out those perfect and living figures which exist in his own mind.""",Impressions,2013-07-01 16:53:09 UTC,""
7498,"",C-H Lion,2013-07-01 17:00:31 UTC,"Philosophers have distinguished two general sources of our ideas, from which we draw all our knowledge, SENSATION and REFLECTION. Very different ideas however are excited in the minds of some, from those excited in the minds of others, even by the first of these, which may be said to be the original fountain of our knowledge, though the ideas produced by it are conveyed by organs common to human nature; and still more different ideas are excited in the minds of different persons by the other faculty, that of REFLECTION. Some persons indeed have few ideas except such as are derived from sensation; they seldom ruminate upon, revolve, and compare the impressions made upon their minds, unless at the time they are made, or while they are recent in their remembrance: hence they become incapable of tracing those relations and analogies which exist in nature, but which can only be traced by men of a comprehensive Imagination and penetrating Judgment. Others, endued with these qualities, are rendered thereby capable of associating and disjoining, of comparing and transforming their ideas in such a manner, as to perceive almost all their possible relations; by which means they are qualified to discover the latent truths of science, and to produce the noblest monuments of human ingenuity in the several arts. In other words, they by these means become original Geniuses in that particular art or science, to which they have received the most remarkable bias from the hand of Nature.
(pp. 87-9)",,21370,"","""Some persons indeed have few ideas except such as are derived from sensation; they seldom ruminate upon, revolve, and compare the impressions made upon their minds, unless at the time they are made, or while they are recent in their remembrance: hence they become incapable of tracing those relations and analogies which exist in nature, but which can only be traced by men of a comprehensive Imagination and penetrating Judgment.""",Impressions,2013-07-01 17:00:31 UTC,""
7546,"",Google Books,2013-07-16 15:29:38 UTC,"I believe I need not here remark, that the Mind only is that Part of, the human Constitution, which is the proper or the only Seat of Pleasure and Pain, no sort of Matter, however modified, being at all capable of any Sort of Perceptions. 'Tis however to be observ'd that whatever Pleasures or Pains we may happen to be sensible of, these do not spring up in the Mind of their own Accord, but are deriv'd to us, either from the Impressions of some Objects that are external to the human Soul, or from some Thoughts and Reflections, about which the Mind is immediatly employ'd. These are the two great, and the only Sources of agreeable, or uneasy Perceptions, that I know, or can form any Notion of.
(p. 177)",,21785,"","""'Tis however to be observ'd that whatever Pleasures or Pains we may happen to be sensible of, these do not spring up in the Mind of their own Accord, but are deriv'd to us, either from the Impressions of some Objects that are external to the human Soul, or from some Thoughts and Reflections, about which the Mind is immediatly employ'd.""",Impressions,2013-07-16 15:29:38 UTC,""
7546,"",Google Books,2013-07-16 15:30:26 UTC,"In the first Place, I say, our Pleasures or Pains are derived to us from the Impressions of some Objects that are external to the Mind. And the first of this Sort that occurs or our Observation, is the human Body it self, in which, for a Reason, I shall give by and by, we all reckon ourselves to be deeply concern'd. There is, I know not how, in the present state of our Existence, so close and intimate a Connection of Soul and Body together, that according as this happens to be affected, so does that receive either pleasing or painful Sensations. If the several Members, and the constituent Parts of this curious Machine, which the Mind always carries about her, have a brisk uniform Motion, and be so ballanc'd and adjusted as easily to perform all the Animal Functions, this gives a Briskness and Vivacity to the Mind, and entertains her with many agreeable Perceptions, which make her approve her present Situation, while she feels every Thing about her healthful and vigorous: But when the Blood and Spirits flag, or when the inward Motions of this human Machine happen to be disturbed, this affects the Mind with Pain, and gives her the uneasy Sensations of Trouble, Sickness, or Anguish, so that she is now discontented with her present Condition. And thus far does the Mind depend immediatly upon her Body for her Pleasures or Pains, without having Regard to other external Objects.
(pp. 177-8)",,21786,"","""In the first Place, I say, our Pleasures or Pains are derived to us from the Impressions of some Objects that are external to the Mind.""",Impressions,2013-07-16 15:30:26 UTC,""
7546,"",Google Books,2013-07-16 15:31:52 UTC,"But when we consider how the human Body stands connected with the Rest of the visible Creation, and depends, as to its Motions that immediatly affect the Mind, upon the Impressions which from thence it receiveth; 'tis very obvious, that the Mind derives her Pleasures or Pains, by means of her Body, from numberless other Objects. Those common Powers of every human Body (or rather of the Mind awaken'd by some Particular Motions in the Body, after a Manner we do not now understand) that go by the general Name of the Senses, are the great Instruments which convey to the Mind either Pleasure or Pain from every Object we here converse with. And tho' these Senses be counted only five in Number, yet with what an infinite Variety of pleasing Ideas, and painful Sensations, is every one of 'em capable to entertain us? There is no Man, I am sure, who has reflected on his own Experience of Things, or who has attended to what passes into his Mind by his Senses, but must be sensible of thus much, and stand amazed at the wonderful Frame of human Nature, and the surprizing Effects, which the whole, and the several Parts of this visible World, as they fall under our Cognizance, have upon us.
(p. 178-9)",,21788,"","""But when we consider how the human Body stands connected with the Rest of the visible Creation, and depends, as to its Motions that immediatly affect the Mind, upon the Impressions which from thence it receiveth; 'tis very obvious, that the Mind derives her Pleasures or Pains, by means of her Body, from numberless other Objects.""",Impressions,2013-07-16 15:31:52 UTC,""
7546,"",Google Book,2013-07-16 15:34:09 UTC,"Thus we see how the Mind necessarily depends, immediatly upon her own Body, and by Means thereof, upon other external Objects, for her Pleasures or Pains. Now,'tis this Dependence, which the Mind Is always conscious she has upon the Body, that engageth her in so very deep a Concern for it. For if the Mind suffer'd no Alteration in her State, from whatever Impressions might be made on it by external Objects, we have no Reason to believe, but that she would as easily part with a Limb, or any other Member whatsoever, as we now do with our Hair, and other Excrescences. But when the Mind sensibly feels, that the Body is the great Organ whereby, she receives so many of her agreeable and painful Sensations, and that these Things always happen, to her, according to the Condition the Body is in, and the Impressions it derives from external Objects, this makes her to interest her self in the State of the Body, as much as she does in her own Perceptions, and to employ as tender a Concernment about its Situation, as about the Manner of her own Existence. By which Means she always bears a mighty Liking and Good-will to the Body; which is very much encreased from considering its Usefulness, and that it serves as a very commodious Engine to carry her about in her Diversions and Amusements, and to procure other Objects which she feels as necessary to her Happiness.
(pp. 183-4)",,21790,"","""Now,'tis this Dependence, which the Mind Is always conscious she has upon the Body, that engageth her in so very deep a Concern for it. For if the Mind suffer'd no Alteration in her State, from whatever Impressions might be made on it by external Objects, we have no Reason to believe, but that she would as easily part with a Limb, or any other Member whatsoever, as we now do with our Hair, and other Excrescences.""",Impressions,2013-07-16 15:34:09 UTC,""