16 Matching Annotations
  1. Dec 2018
    1. having her distress

      Camilla (1796) by Frances Burney, a popular romanticist novel. In Camilla, the titular character has many misadventures concerning love and relationships. This reference could either be a funny nod or light foreshadowing. Source).

    2. Lovelaces

      Possible reference to Richard Lovelace (1617 - 1657), a cavalier poet. He was born into a family of soldiers and politicians and was described as “much admired and adored by the female sex.” He also wrote heavily on relationships, love, and the military. Source.

    3. Richardson's

      Specifically Samuel Richardson, the author of epistolary novels Pamela and Clarissa. Pamela was the really weird novel in which landowner Mr. B makes several unwanted advances towards 15-year-old Pamela, who marries him at the end. This is an unfortunate influence. Source.

    4. Links to common words/themes throughout the annotations

  2. Oct 2015
  3. Feb 2014
    1. You're as bad as that character in Moliere who didn't know he was talking prose! You've b een committing philosophical nonsense with your \rigorous pro ofs of existence". Don't you know that what exists has to b e observed, or at least observable?
  4. Nov 2013
    1. A painter without hands who wished to express in song the picture before his mind would, by means of this substitution of spheres, still reveal more about the essence of things than does the empirical world.
  5. Oct 2013
    1. Good riddles do, in general, provide us with satisfactory metaphors: for metaphors imply riddles, and therefore a good riddle can furnish a good metaphor. Further, the materials of metaphors must be beautiful; and the beauty, like the ugliness, of all words may, as Licymnius says, lie in their sound or in their meaning. Further, there is a third consideration -- one that upsets the fallacious argument of the sophist Bryson, that there is no such thing as foul language, because in whatever words you put a given thing your meaning is the same.

      Types of metaphors

    2. Prose-writers must, however, pay specially careful attention to metaphor, because their other resources are scantier than those of poets. Metaphor, moreover, gives style clearness, charm, and distinction as nothing else can: and it is not a thing whose use can be taught by one man to another. Metaphors, like epithets, must be fitting, which means that they must fairly correspond to the thing signified: failing this, their inappropriateness will be conspicuous: the want of harmony between two things is emphasized by their being placed side by side

      Metaphors are a powerful tool in prose, they connect ideas for the reader.

    1. Even now most uneducated people think that poetical language makes the finest discourses. That is not true: the language of prose is distinct from that of poetry. This is shown by the state of things to-day, when even the language of tragedy has altered its character.

      Poetry does not equal intelligence. Distinct difference between poetry and prose.

    2. the language of prose is distinct from that of poetry.
    1. The simile is a full-blown metaphor. Similes are useful in prose as well as in verse; but they must not be used often, since they are of the nature of poetry.

      Simile=poetic devise

    2. Rare, compound, and invented words must be used sparingly in prose; in which, over and above the regular and proper terms for things, metaphorical terms only can be used with advantage, and even these need care.

      Use common terminology

    3. Upon the subject of delivery (which presents itself here) no systematic treatise has been composed, though this art has much to do with oratory (as with poetry).

      Style; differentiating prose from poetry

    4. Four faults of prose style, with illustrative examples: (1) misuse of compound words; (2) employment of strange words; (3) long, unseasonable, or frequent epithets; (4) inappropriate metaphors.
    1. Prose, then, is to be rhythmical, but not metrical, or it will become not prose but verse.

      Prose vs. verse.