work_id,theme,provenance,created_at,text,reviewed_on,id,comments,metaphor,dictionary,updated_at,context
5583,Meta-metaphorical,Gale's Eighteenth Century Collections Online (ECCO).,2004-01-26 00:00:00 UTC,"Dr. Young also often trespasses in the same way. The merit, however, of this writer, in figurative Language, is great, and deserves to be remarked. No writer, antient or modern, had a stronger imagination than Dr. Young, or one more fertile in figures of every kind. His Metaphors are often new, and often natural and beautiful. But as his imagination was strong and rich, rather than delicate and correct, he sometimes gives it too loose reins. Hence, in his Night Thoughts, there prevails an obscurity, and a hardness in his style. The Metaphors are frequently too bold, and frequently too far pursued; the reader is dazzled rather than enlightened; and kept constantly on the stretch to comprehend, and keep pace with the author. We may observe, for instance, how the following metaphor is spun out:
Thy Thoughts are vagabonds; all outward-bound,
Mid sands, and rocks, and storms, to cruise for pleasure;
If gain'd, dear-bought; and better miss'd than gain'd.
Much pain must expiate what much pain procured.
Fancy and Sense from an infected shore,
Thy cargo bring; and pestilence the prize.
Then, such thy thirst, (insatiable thirst!
By fond indulgence but inflamed the more!)
Fancy still cruises when poor Sense is tired.
(Lecture XV, p. 372)",2012-06-29,14904,"•Blair is warning us against mixed and strained metaphor. But isn't this a mixed metaphor? (from soil too horse?) Meta-metaphorical.
•Cross-reference: Edward Young.","""But as his imagination was strong and rich, rather than delicate and correct, he sometimes gives it too loose reins.""",Beasts,2012-06-29 15:01:01 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:24:19 UTC,"I WILL not go so far as to say that the improvement of taste and of virtue is the same; or that they may always be expected to coexist in an equal degree. More powerful correctives than taste can apply, are necessary for reforming the corrupt propensities which too frequently prevail among mankind. Elegant speculations are sometimes found to float on the surface of the mind, while bad passions possess the interior regions of the heart. At the same time this cannot but be admitted, that the exercise of taste is, in its native tendency, moral and purifying. From reading the most admired productions of genius, whether in poetry or prose, almost every one rises with some good impressions left on his mind; and though these may not always be durable, they are at least to be ranked among the means of disposing the heart to virtue. One thing is certain, and I shall hereafter have occasion to illustrate it more fully, that without possessing the virtuous affections in a strong degree, no man can attain eminence in the sublime parts of eloquence. He must feel what a good man feels, if he expects greatly to move or to interest mankind. They are the ardent sentiments of honour, virtue, magnanimity, and publick spirit, that only can kindle that fire of genius, and call up into the mind those high ideas, which attract the admiration of ages; and if this spirit be necessary to produce the most distinguished efforts of eloquence, it must be necessary also to our relishing them with proper taste and feeling.
(Vol. I, Lecture I, pp. 15-16)",,23259,"","""From reading the most admired productions of genius, whether in poetry or prose, almost every one rises with some good impressions left on his mind; and though these may not always be durable, they are at least to be ranked among the means of disposing the heart to virtue.""",Impressions,2013-11-18 19:24:19 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:25:36 UTC,"THE conclusion, which it is sufficient for us to rest upon, is, that Taste is far from being an arbitrary principle, which is subject to the fancy of every individual, and which admits of no criterion for determining whether it be false or true. Its foundation is the same in all human minds. It is built upon sentiments and perceptions which belong to our nature; and which, in general, operate with the same uniformity as our other intellectual principles. When these sentiments are perverted by ignorance and prejudice, they are capable of being rectified by reason. Their sound and natural state is ultimately determined, by comparing them with the general Taste of mankind. Let men declaim as much as they please, concerning the caprice and the uncertainty of Taste, it is found, by experience, that there are beauties, which, if they be displayed in a proper light, have power to command lasting and general admiration. In every composition, what interests the imagination, and touches the heart, pleases all ages and all nations. There is a certain string, which, being properly struck, the human heart is so made as to answer to it.
(Vol. I, Lecture II, pp. 41-2; p. 19 in SIUP ed.)",,23260,"","""There is a certain string, which, being properly struck, the human heart is so made as to answer to it.""","",2013-11-18 19:25:36 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:26:59 UTC,"THIS talent or aptitude for excelling in some one particular, is, I have said, what we receive from nature. By art and study, no doubt, it may be greatly improved; but by them alone it cannot be acquired. As Genius is a higher faculty than Taste, it is ever, according to the usual frugality of nature, more limited in the sphere of its operations. It is not uncommon to meet with persons who have an excellent Taste in several of the polite arts, such as music, poetry, painting, and eloquence, altogether: But, to find one who is an excellent performer in all these arts, is much more rare; or rather, indeed, such an one is not to be looked for. A sort of Universal Genius, or one who is equally and indifferently turned towards several different professions and arts, is not likely to excel in any. Although there may be some few exceptions, yet in general it holds, that when the bent of the mind is wholly directed towards some one object, exclusive, in a manner, of others, there is the fairest prospect of eminence in that, whatever it be. The rays must converge to a point, in order to glow intensely. This remark I here chuse to make, on account of its great importance to young people; in leading them to examine with care, and to pursue with ardour, the current and pointing of nature towards those exertions of Genius in which they are most likely to excel.
(Vol. I, Lecture III, pp. 49-50; pp. 23-4 in SIUP ed.)",,23261,"","""Although there may be some few exceptions, yet in general it holds, that when the bent of the mind is wholly directed towards some one object, exclusive, in a manner, of others, there is the fairest prospect of eminence in that, whatever it be. The rays must converge to a point, in order to glow intensely.""","",2013-11-18 19:26:59 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:28:34 UTC,"IT is not easy to describe, in words, the precise impression which great and sublime objects make upon us, when we behold them; but every one has a conception of it. It consists in a kind of admiration and expansion of the mind; it raises the mind much above its ordinary state; and fills it with a degree of wonder and astonishment, which it cannot well express. The emotion is certainly delightful; but it is altogether of the serious kind: a degree of awfulness and solemnity, even approaching to severity, commonly attends it when at its height; very distinguishable from the more gay and brisk emotion raised by beautiful objects.
THE simplest form of external Grandeur appears in the vast and boundless prospects presented to us by nature; such as wide extended plains, to which the eye can see no limits; the firmament of Heaven; or the boundless expanse of the Ocean. All vastness produces the impression of Sublimity. It is to be remarked, however, that space, extended in length, makes not so strong an impression as height or depth. Though a boundless plain be a grand object, yet a high mountain, to which we look up, or an awful precipice or tower whence we look down on the objects which lie below, is still more so. The excessive Grandeur of the firmament arises from its height, joined to its boundless extent; and that of the ocean, not from its extent alone, but from the perpetual motion and irresistible force of that mass of waters. Wherever space is concerned, it is clear, that amplitude or greatness of extent, in one dimension or other, is necessary to Grandeur. Remove all bounds from any object, and you presently render it sublime. Hence infinite space, endless numbers, and eternal duration, fill the mind with great ideas.
(Vol. I, Lecture III, pp. 55-6)",,23262,"","""Hence infinite space, endless numbers, and eternal duration, fill the mind with great ideas.""","",2013-11-18 19:28:34 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:29:28 UTC,"IN the feeble attempts, which human art can make towards producing grand objects (feeble, I mean, in comparison with the powers of nature), greatness of dimensions always constitutes a principal part. No pile of building can convey any idea of Sublimity, unless it be ample and lofty. There is, too, in architecture, what is called Greatness of manner; which seems chiefly to arise, from presenting the object to us in one full point of view; so that it shall make its impression whole, entire, and undivided, upon the mind. A Gothic cathedral raises ideas of grandeur in our minds, by its size, its height, its awful obscurity, its strength, its antiquity, and its durability.
(Vol. I, Lecture III, p. 62)",,23263,"","""There is, too, in architecture, what is called Greatness of manner; which seems chiefly to arise, from presenting the object to us in one full point of view; so that it shall make its impression whole, entire, and undivided, upon the mind.""",Impressions,2013-11-18 19:29:28 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:30:23 UTC,"I HAVE produced these instances, in order to demonstrate how essential conciseness and simplicity are to Sublime Writing. Simplicity, I place in opposition to studied and profuse ornament; and conciseness, to superfluous expression. The reason why a defect, either in conciseness or simplicity, is hurtful in a peculiar manner to the Sublime, I shall endeavour to explain. The emotion occasioned in the mind by some great or noble object, raises it considerably above its ordinary pitch. A sort of enthusiasm is produced, extremely agreeable while it lasts; but from which the mind is tending every moment to fall down into its ordinary situation. Now, when an author has brought us, or is attempting to bring us, into this state; if he multiplies words unnecessarily, if he decks the Sublime object which he presents to us, round and round, with glittering ornaments; nay, if he throws in any one decoration that sinks in the least below the capital image, that moment he alters the key; he relaxes the tension of the mind; the strength of the feeling is emasculated; the Beautiful may remain, but the Sublime is gone.—When Julius Caesar said to the Pilot who was afraid to put to sea with him in a storm,
""Quid times? Caesarem vehis;""
we are struck with the daring magnanimity of one relying with such confidence on his cause and his fortune. These few words convey every thing necessary to give us the impression full. Lucan resolved to amplify and adorn the thought. Observe how every time he twists it round, it departs farther from the Sublime, till it end at last in tumid declamation.
(Vol. I, Lecture IV, pp. 78-9)",,23264,"","""Now, when an author has brought us, or is attempting to bring us, into this state; if he multiplies words unnecessarily, if he decks the Sublime object which he presents to us, round and round, with glittering ornaments; nay, if he throws in any one decoration that sinks in the least below the capital image, that moment he alters the key; he relaxes the tension of the mind; the strength of the feeling is emasculated; the Beautiful may remain, but the Sublime is gone.""","",2013-11-18 19:30:23 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:31:13 UTC,"A STORM or tempest, for instance, is a Sublime object in nature. But, to render it Sublime in description, it is not enough, either to give us mere general expressions concerning the violence of the tempest, or to describe its common, vulgar effects, in overthrowing trees and houses. It must be painted with such circumstances as fill the mind with great and awful ideas. This is very happily done by Virgil, in the following passage:
Ipse Pater, media nimborum in nocte, coruscâ
Fulmina molitur dextrâ; quo maxima motu
Terra tremit; fugere ferae; & mortalia corda,
Per gentes humilis stravit pavor: Ille, flagranti
Aut Atho, aut Rhodopen, aut alta Ceraunia telo
Dejicit*.—
GEORG. I.
(Vol. I, Lecture IV, pp. 83-4)",,23265,"","""It must be painted with such circumstances as fill the mind with great and awful ideas.""","",2013-11-18 19:31:13 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:31:53 UTC,"FROM the account which I have given of the nature of the Sublime, it clearly follows, that it is an emotion which can never be long protracted. The mind, by no force of genius, can be kept, for any considerable time, so far raised above its common tone; but will, of course, relax into its ordinary situation. Neither are the abilities of any human writer sufficient to supply a continued run of unmixed Sublime conceptions. The utmost we can expect is, that this fire of imagination should sometimes flash upon us like lightning from heaven, and then disappear. In Homer and Milton, this effulgence of genius breaks forth more frequently, and with greater lustre than in most authors. Shakespeare also rises often into the true Sublime. But no author whatever is Sublime throughout. Some, indeed, there are, who, by a strength and dignity in their conceptions, and a current of high ideas that runs through their whole composition, preserve the reader's mind always in a tone nearly allied to the Sublime; for which reason they may, in a limited sense, merit the name of continued Sublime writers; and, in this class, we may justly place Demosthenes and Plato.
(Vol. I, Lecture IV, pp. 89-90)",,23266,"","""The utmost we can expect is, that this fire of imagination should sometimes flash upon us like lightning from heaven, and then disappear.""","",2013-11-18 19:31:53 UTC,""
5583,"",ECCO-TCP,2013-11-18 19:32:51 UTC,"FROM the account which I have given of the nature of the Sublime, it clearly follows, that it is an emotion which can never be long protracted. The mind, by no force of genius, can be kept, for any considerable time, so far raised above its common tone; but will, of course, relax into its ordinary situation. Neither are the abilities of any human writer sufficient to supply a continued run of unmixed Sublime conceptions. The utmost we can expect is, that this fire of imagination should sometimes flash upon us like lightning from heaven, and then disappear. In Homer and Milton, this effulgence of genius breaks forth more frequently, and with greater lustre than in most authors. Shakespeare also rises often into the true Sublime. But no author whatever is Sublime throughout. Some, indeed, there are, who, by a strength and dignity in their conceptions, and a current of high ideas that runs through their whole composition, preserve the reader's mind always in a tone nearly allied to the Sublime; for which reason they may, in a limited sense, merit the name of continued Sublime writers; and, in this class, we may justly place Demosthenes and Plato.
(Vol. I, Lecture IV, pp. 89-90)",,23267,"","""Some, indeed, there are, who, by a strength and dignity in their conceptions, and a current of high ideas that runs through their whole composition, preserve the reader's mind always in a tone nearly allied to the Sublime; for which reason they may, in a limited sense, merit the name of continued Sublime writers; and, in this class, we may justly place Demosthenes and Plato.""","",2013-11-18 19:32:51 UTC,""