text,updated_at,metaphor,created_at,context,theme,reviewed_on,dictionary,comments,provenance,id,work_id
"Hitherto I had strolled along the path at a lingering pace. Time enough, methought, to reach your threshold between sun-rise and moonlight, if my way had been three times longer than it was. Yon were the pleasing phantoms that hovered before me, and beckoned me forward. What a total revolution had occurred in the course of a few seconds, for thus long did my reasonings with regard to Clemenza and the Villars require to pass through my understanding, and escape, in half muttered soliloquy, from my lips. My muscles trembled with eagerness, and I bounded forward with impetuousity. I saw nothing but a visto of catalpas, leafless, loaded with icicles, and terminating in four chimneys and a painted roof. My fancy outstripped my footsteps, and was busy in picturing faces and rehearsing dialogues. Presently I reached this new object of my pursuit, darted through the avenue, noticed that some windows of the house were unclosed, drew thence an hasty inference that the house was not without inhabitants, and knocked, quickly and loudly, for admission.
(Part II, chapter 11, p. 514)",2009-09-14 19:44:50 UTC,The fancy may outstrip one's footsteps and be busy picturing and rehearsing,2003-07-21 00:00:00 UTC,Mervyn is about to visit the Mrs. Villars,"",,"","•Rich passage. Phantoms, revolution, understanding, soliloquy, and fancy.
•I've only included ""fancy"" in the database. I am not confident that the other references are metaphorically rich enough. REVISIT.",Reading,15836,5960
"My chief occupation, however, related to the scenes into which I was about to enter. My imaginations were, of course, crude and inadequate; and I found an uncommon gratification in comparing realities, as they successively occurred, with the pictures which my wayward fancy had depicted.
(Part II, chapter 17, p. 566)",2009-09-14 19:44:51 UTC,The fancy depicts pictures,2003-07-21 00:00:00 UTC,Mervyn on his way to Baltimore,"",,"","•Previous paragraphs on the pleasures of the imagination. Racialized omparisons of a monkey, the Congolese, and the Creole-Gaul. See a younger Mervyn doing the same with features of nature (539).",Reading,15843,5960
"THOSE are the features, those the smiles,
That first engaged my virgin heart:
I feel the pencilled image true,
I feel the mimic power of art.
For ever on my soul engraved
His glowing cheek, his manly mien;
I need not thee, thou painted shade,
To tell me what my Love has been.
O dearer now, though bent with age,
Than in the pride of blooming youth!
I knew not then his constant heart,
I knew not then his matchless truth.
(ll. 1-12, pp. 503-4)",2011-11-24 19:53:05 UTC,"""For ever on my soul engraved / His glowing cheek, his manly mien.""",2003-07-29 00:00:00 UTC,"","",2011-11-24,"","",Reading,15878,5969
"When the shadows of twilight steal over the plain,
And the Nightingale pours its lorn plaint in the grove;
Ah! will not the fondness that thrills thro' the strain,
Then recall to my mind his dear accents of Love!
Then spare, thou sweet Urchin, thou soother of pain,
Oh! spare the soft picture engrav'd on my heart;
As a record of Love let it ever remain;
My bosom thy tablet--thy pencil a dart.",2011-11-24 19:57:42 UTC,"""Then spare, thou sweet Urchin, thou soother of pain, / Oh! spare the soft picture engrav'd on my heart; / As a record of Love let it ever remain; / My bosom thy tablet--thy pencil a dart.""",2005-03-08 00:00:00 UTC,Final Stanzas.,"",2011-11-24,"","The ""sweet Urchin"" is Love.
•There are category issues here. Engraving may belong to both Writing and the Visual Arts. Here is seems (at the mention of the picture) that the engraving belongs to the category of Visual Arts.
This was two entries: I combined them (11/24/2011).",Searching in HDIS (Poetry),16049,6055
"Ruddy is now the dawning as in June,
And clear and blue the vault of noon-tide sky:
Nor is the slanting orb of day unfelt.
From sunward rocks, the icicle's faint drop,
By lonely river-side, is heard at times
To break the silence deep; for now the stream
Is mute, or faintly gurgles far below
Its frozen ceiling: silent stands the mill,
The wheel immoveable, and shod with ice.
The babbling rivulet, at each little slope,
Flows scantily beneath a lucid veil,
And seems a pearly current liquified;
While, at the shelvy side, in thousand shapes
Fantastical, the frostwork domes uprear
Their tiny fabrics, gorgeously superb
With ornaments beyond the reach of art:
Here vestibules of state, and colonnades;
There Gothic castles, grottos, heathen fanes,
Rise in review, and quickly disappear;
Or through some fairy palace fancy roves,
And studs, with ruby lamps, the fretted roof;
Or paints with every colour of the bow
Spotless parterres, all freakt with snow-white flowers,
Flowers that no archetype in nature own;
Or spreads the spiky crystals into fields
Of bearded grain, rustling in autumn breeze.",2013-06-04 17:05:05 UTC,"""Or through some fairy palace fancy roves, / And studs, with ruby lamps, the fretted roof / Or paints with every colour of the bow / Spotless parterres, all freakt with snow-white flowers, /
Flowers that no archetype in nature own.""",2006-01-20 00:00:00 UTC,"","",,"",•Another of these difficult wandering metaphors. Fancy personified.,Searching in HDIS (Poetry),16119,6093
"But when the form, there shrin'd, too oft survey'd,[1]
Beneath the ardent beam of Thought shall fade,
For the mark'd lines that Memory's tints display
In contemplation's fire will melt away,
Then, Romney[2], nor till then, my soul shall own
Thy perfect skill, and each regret atone,
For more than mortal art no longer pine,
And cease to boast superior power to thine.
Notes.
1. Perhaps the generality of people have not sufficiently attended to the operation of their minds, respecting the personal idea they retain of the long absent, or the dead, so as clearly to comprehend the eight ensuing lines.
No picture, be it ever so well painted, can vie with the memory in that exactness, with which she presents, early in absence, the image of that form and face, whose lineaments are dear to us. Therefore, actual pictures of beloved friends would not be so eagerly coveted, but that we render this darling, internal image indistinct, by recalling it too frequently; as that strength of line, which gives sharpness and spirit to a copper-plate, becomes injured after a certain number of impressions have been taken off. By repeated use, the plate, if not retouched, will produce only a dim and shadowy mass, in which the features and countenance cannot be very distinctly discerned.
So it is with the memory, after continual recurrence, and pressure of the affections upon the image she presents, which, for a considerable period, she had presented with that perfect precision, to which no powers of the pencil can attain;--but, in time, the image becomes indistinct, not from any decay in the powers of memory; not from the affections growing cold, but merely from intense and incessant recurrence. Yes, it is beneath the constant glow of ardent imagination, that the impression, given by memory, has faded. Then it is that a good, nay even an indifferent picture, or a paper-profile of a dear lost friend, strengthens our recollection, in the same manner that retouching a copper-plate restores its power of giving animated impressions.
The author wishes that all who peruse these remarks, and have dispositions sufficiently affectionate to contemplate fervently, and often, in their own minds the image of one, fondly beloved, whom they have, for a length of years, or for ever lost, would recollect if, after a time, they were able to recall that image with equal precision, as they could remember the features, and air, of other deceased, or absent persons, with whom they had been well acquainted, but of whom, being less interesting to their affections, they had only casually thought. The superior distinctness with which the less beloved image comes back to the mind, upon its summons, proves the philosophic truth of these remarks, and is the cause why we so fondly desire the penciled remembrance of those we love, to refresh that ideal image which intense and perpetual contemplation had rendered evanescent. Locke says--""The pictures drawn in our minds of our absent friends, are laid in fading colours, which, if not sometimes refreshed, will vanish and disappear."" It might have been expected that a philosopher so accurate and discriminating, would have pursued the observation, and reminded us, that there are two causes, exactly opposite to each other, which produce this vanishing; viz. the mind not having dwelt upon the originals of those its pictures often enough to make their image strong and vivid after long absence; --and, its too frequently casting upon such inshrined resemblances, the dazzling light of fervent meditation. It is not meant that fervent meditation will produce forgetfulness of the general idea of the persons of those we fondly regret, but that it will, in time, make us unable to recall them with that precision we desire, without the help of the pencil.
2. The celebrated painter.",2009-09-14 19:45:52 UTC,"""For the mark'd lines that Memory's tints display / In contemplation's fire will melt away,""",2005-05-20 00:00:00 UTC,"",Lockean Philosophy,,"",•I've included the notes below the poem. The first note appears on its own as an entry.,Searching in HDIS (Poetry),16148,6113
"1. Perhaps the generality of people have not sufficiently attended to the operation of their minds, respecting the personal idea they retain of the long absent, or the dead, so as clearly to comprehend the eight ensuing lines.
No picture, be it ever so well painted, can vie with the memory in that exactness, with which she presents, early in absence, the image of that form and face, whose lineaments are dear to us. Therefore, actual pictures of beloved friends would not be so eagerly coveted, but that we render this darling, internal image indistinct, by recalling it too frequently; as that strength of line, which gives sharpness and spirit to a copper-plate, becomes injured after a certain number of impressions have been taken off. By repeated use, the plate, if not retouched, will produce only a dim and shadowy mass, in which the features and countenance cannot be very distinctly discerned.
So it is with the memory, after continual recurrence, and pressure of the affections upon the image she presents, which, for a considerable period, she had presented with that perfect precision, to which no powers of the pencil can attain;--but, in time, the image becomes indistinct, not from any decay in the powers of memory; not from the affections growing cold, but merely from intense and incessant recurrence. Yes, it is beneath the constant glow of ardent imagination, that the impression, given by memory, has faded. Then it is that a good, nay even an indifferent picture, or a paper-profile of a dear lost friend, strengthens our recollection, in the same manner that retouching a copper-plate restores its power of giving animated impressions.
The author wishes that all who peruse these remarks, and have dispositions sufficiently affectionate to contemplate fervently, and often, in their own minds the image of one, fondly beloved, whom they have, for a length of years, or for ever lost, would recollect if, after a time, they were able to recall that image with equal precision, as they could remember the features, and air, of other deceased, or absent persons, with whom they had been well acquainted, but of whom, being less interesting to their affections, they had only casually thought. The superior distinctness with which the less beloved image comes back to the mind, upon its summons, proves the philosophic truth of these remarks, and is the cause why we so fondly desire the penciled remembrance of those we love, to refresh that ideal image which intense and perpetual contemplation had rendered evanescent. Locke says--""The pictures drawn in our minds of our absent friends, are laid in fading colours, which, if not sometimes refreshed, will vanish and disappear."" It might have been expected that a philosopher so accurate and discriminating, would have pursued the observation, and reminded us, that there are two causes, exactly opposite to each other, which produce this vanishing; viz. the mind not having dwelt upon the originals of those its pictures often enough to make their image strong and vivid after long absence; --and, its too frequently casting upon such inshrined resemblances, the dazzling light of fervent meditation. It is not meant that fervent meditation will produce forgetfulness of the general idea of the persons of those we fondly regret, but that it will, in time, make us unable to recall them with that precision we desire, without the help of the pencil.
2. The celebrated painter.",2009-09-14 19:45:52 UTC,"""No picture, be it ever so well painted, can vie with the memory in that exactness, with which she presents, early in absence, the image of that form and face, whose lineaments are dear to us""",2005-05-20 00:00:00 UTC,"",Lockean Philosophy,,"","•Note attached to the following lines: ""But when the form, there shrin'd, too oft survey'd,[1] / Beneath the ardent beam of Thought shall fade""","Searching ""imagination"" and ""impression"" in HDIS (Poetry)",16149,6113
"1. Perhaps the generality of people have not sufficiently attended to the operation of their minds, respecting the personal idea they retain of the long absent, or the dead, so as clearly to comprehend the eight ensuing lines.
No picture, be it ever so well painted, can vie with the memory in that exactness, with which she presents, early in absence, the image of that form and face, whose lineaments are dear to us. Therefore, actual pictures of beloved friends would not be so eagerly coveted, but that we render this darling, internal image indistinct, by recalling it too frequently; as that strength of line, which gives sharpness and spirit to a copper-plate, becomes injured after a certain number of impressions have been taken off. By repeated use, the plate, if not retouched, will produce only a dim and shadowy mass, in which the features and countenance cannot be very distinctly discerned.
So it is with the memory, after continual recurrence, and pressure of the affections upon the image she presents, which, for a considerable period, she had presented with that perfect precision, to which no powers of the pencil can attain;--but, in time, the image becomes indistinct, not from any decay in the powers of memory; not from the affections growing cold, but merely from intense and incessant recurrence. Yes, it is beneath the constant glow of ardent imagination, that the impression, given by memory, has faded. Then it is that a good, nay even an indifferent picture, or a paper-profile of a dear lost friend, strengthens our recollection, in the same manner that retouching a copper-plate restores its power of giving animated impressions.
The author wishes that all who peruse these remarks, and have dispositions sufficiently affectionate to contemplate fervently, and often, in their own minds the image of one, fondly beloved, whom they have, for a length of years, or for ever lost, would recollect if, after a time, they were able to recall that image with equal precision, as they could remember the features, and air, of other deceased, or absent persons, with whom they had been well acquainted, but of whom, being less interesting to their affections, they had only casually thought. The superior distinctness with which the less beloved image comes back to the mind, upon its summons, proves the philosophic truth of these remarks, and is the cause why we so fondly desire the penciled remembrance of those we love, to refresh that ideal image which intense and perpetual contemplation had rendered evanescent. Locke says--""The pictures drawn in our minds of our absent friends, are laid in fading colours, which, if not sometimes refreshed, will vanish and disappear."" It might have been expected that a philosopher so accurate and discriminating, would have pursued the observation, and reminded us, that there are two causes, exactly opposite to each other, which produce this vanishing; viz. the mind not having dwelt upon the originals of those its pictures often enough to make their image strong and vivid after long absence; --and, its too frequently casting upon such inshrined resemblances, the dazzling light of fervent meditation. It is not meant that fervent meditation will produce forgetfulness of the general idea of the persons of those we fondly regret, but that it will, in time, make us unable to recall them with that precision we desire, without the help of the pencil.
2. The celebrated painter.",2011-06-06 03:34:48 UTC,"""Therefore, actual pictures of beloved friends would not be so eagerly coveted, but that we render this darling, internal image indistinct, by recalling it too frequently; as that strength of line, which gives sharpness and spirit to a copper-plate, becomes injured after a certain number of impressions have been taken off.""",2005-05-20 00:00:00 UTC,"",Lockean Philosophy,2011-06-05,Impressions,"•INTEREST. USE in entry on Engraving
•I've included twice: Engraving and Impression
•Note attached to the following lines: ""But when the form, there shrin'd, too oft survey'd,[1] / Beneath the ardent beam of Thought shall fade""",Searching in HDIS (Poetry),16150,6113
"1. Perhaps the generality of people have not sufficiently attended to the operation of their minds, respecting the personal idea they retain of the long absent, or the dead, so as clearly to comprehend the eight ensuing lines.
No picture, be it ever so well painted, can vie with the memory in that exactness, with which she presents, early in absence, the image of that form and face, whose lineaments are dear to us. Therefore, actual pictures of beloved friends would not be so eagerly coveted, but that we render this darling, internal image indistinct, by recalling it too frequently; as that strength of line, which gives sharpness and spirit to a copper-plate, becomes injured after a certain number of impressions have been taken off. By repeated use, the plate, if not retouched, will produce only a dim and shadowy mass, in which the features and countenance cannot be very distinctly discerned.
So it is with the memory, after continual recurrence, and pressure of the affections upon the image she presents, which, for a considerable period, she had presented with that perfect precision, to which no powers of the pencil can attain;--but, in time, the image becomes indistinct, not from any decay in the powers of memory; not from the affections growing cold, but merely from intense and incessant recurrence. Yes, it is beneath the constant glow of ardent imagination, that the impression, given by memory, has faded. Then it is that a good, nay even an indifferent picture, or a paper-profile of a dear lost friend, strengthens our recollection, in the same manner that retouching a copper-plate restores its power of giving animated impressions.
The author wishes that all who peruse these remarks, and have dispositions sufficiently affectionate to contemplate fervently, and often, in their own minds the image of one, fondly beloved, whom they have, for a length of years, or for ever lost, would recollect if, after a time, they were able to recall that image with equal precision, as they could remember the features, and air, of other deceased, or absent persons, with whom they had been well acquainted, but of whom, being less interesting to their affections, they had only casually thought. The superior distinctness with which the less beloved image comes back to the mind, upon its summons, proves the philosophic truth of these remarks, and is the cause why we so fondly desire the penciled remembrance of those we love, to refresh that ideal image which intense and perpetual contemplation had rendered evanescent. Locke says--""The pictures drawn in our minds of our absent friends, are laid in fading colours, which, if not sometimes refreshed, will vanish and disappear."" It might have been expected that a philosopher so accurate and discriminating, would have pursued the observation, and reminded us, that there are two causes, exactly opposite to each other, which produce this vanishing; viz. the mind not having dwelt upon the originals of those its pictures often enough to make their image strong and vivid after long absence; --and, its too frequently casting upon such inshrined resemblances, the dazzling light of fervent meditation. It is not meant that fervent meditation will produce forgetfulness of the general idea of the persons of those we fondly regret, but that it will, in time, make us unable to recall them with that precision we desire, without the help of the pencil.
2. The celebrated painter.",2013-11-01 21:46:31 UTC,"An internal image is like a copper plate: ""By repeated use, the plate, if not retouched, will produce only a dim and shadowy mass, in which the features and countenance cannot be very distinctly discerned.""",2005-05-20 00:00:00 UTC,"",Lockean Philosophy,,"","•INTEREST. USE in entry on Engraving
•Note attached to the following lines: ""But when the form, there shrin'd, too oft survey'd,[1] / Beneath the ardent beam of Thought shall fade""",Searching in HDIS (Poetry),16152,6113
"So the foundations of his mind were laid.
In such communion, not from terror free,
While yet a child, and long before his time,
He had perceived the presence and the power
Of greatness, and deep feelings had impressed
Great objects on his mind with portraiture
And colour so distinct that on his mind
They lay like substances, and almost seemed
To haunt the bodily sense. He had received
A precious gift, for as he grew in years
With these impressions would he still compare
All his ideal stores, his shapes and forms,
And, being still unsatisfied with aught
Of dimmer character, he thence attained
An active power to fasten images
Upon his brain, and on their pictured lines
Intensely brooded, even till they acquired
The liveliness of dreams. Nor did he fail,
While yet a child, with a child's eagerness
Incessantly to turn his ear and eye
On all things which the rolling seasons brought
To feed such appetite. Nor this alone
Appeased his yearning--in the after day
Of boyhood, many an hour in caves forlorn
And in the hollow depths of naked crags
He sate, and even in their fixed lineaments,
Or from the power of a peculiar eye,
Or by creative feeling overborne,
Or by predominance of thought oppressed,
Even in their fixed and steady lineaments
He traced an ebbing and a flowing mind,
Expression ever varying.
(pp. 20-1, ll. 26-57)",2013-08-26 14:16:28 UTC,"""He had perceived the presence and the power / Of greatness, and deep feelings had impressed / Great objects on his mind with portraiture / And colour so distinct that on his mind / They lay like substances, and almost seemed / To haunt the bodily sense.""",2013-08-26 14:16:28 UTC,"","",,"","","Reading Jonathan Wordsworth's ""As with the Silence of Thought"" in High Romantic Argument (Cornell UP), p. 44.",22610,7658