Dip the pouncing implement, a thing like a small drum-stick, stuffed and covered with cloth, into the powder and rub it lightly over the whole surface of the pricked pattern, so that the powder penetrates through the pin-holes to the stuff. — from Encyclopedia of Needlework by Thérèse de Dillmont
pece a rimpalmare i legni
Quale ne l'arzana` de' Viniziani bolle l'inverno la tenace pece a rimpalmare i legni lor non sani, che' navicar non ponno - in quella vece chi fa suo legno novo e chi ristoppa le coste a quel che piu` viaggi fece; chi ribatte da proda e chi da poppa; altri fa remi e altri volge sarte; chi terzeruolo e artimon rintoppa -; tal, non per foco, ma per divin'arte, bollia la` giuso una pegola spessa, — from Divina Commedia di Dante: Inferno by Dante Alighieri
psychology and realism in logic
Pages 44 - 67 CHAPTER V SPEECH AND SIGNIFICATION Sounds well fitted to be symbols.—Language has a structure independent of things.—Words, remaining identical, serve to identify things that change.—Language the dialectical garment of facts.—Words are wise men's counters.—Nominalism right in psychology and realism in logic.—Literature moves between the extremes of music and denotation.—Sound and object, in their sensuous presence, may have affinity.—Syntax positively representative.—Yet it vitiates what it represents.—Difficulty in subduing a living medium.—Language foreshortens experience.—It is a perpetual mythology.—It may be apt or inapt, with equal richness.—Absolute language a possible but foolish art Pages 68 - 86 CHAPTER VI POETRY AND PROSE Force of primary expressions.—Its exclusiveness and narrowness.—Rudimentary poetry an incantation or charm.—Inspiration irresponsible.—Plato's discriminating view.—Explosive and pregnant — from The Life of Reason: The Phases of Human Progress by George Santayana
Pages 44 - 67 CHAPTER V SPEECH AND SIGNIFICATION Sounds well fitted to be symbols.—Language has a structure independent of things.—Words, remaining identical, serve to identify things that change.—Language the dialectical garment of facts.—Words are wise men's counters.—Nominalism right in psychology and realism in logic.—Literature moves between the extremes of music and denotation.—Sound and object, in their sensuous presence, may have affinity.—Syntax positively representative.—Yet it vitiates what it represents.—Difficulty in subduing a living medium.—Language foreshortens experience.—It is a perpetual mythology.—It may be apt or inapt, with equal richness.—Absolute language a possible but foolish art Pages 68 - 86 CHAPTER VI POETRY AND PROSE Force of primary expressions.—Its exclusiveness and narrowness.—Rudimentary poetry an incantation or charm.—Inspiration irresponsible.—Plato's discriminating view.—Explosive and pregnant expression.—Natural history of inspiration.—Expressions to be understood must be recreated, and so changed.—Expressions may be recast perversely, humourously, or sublimely.—The nature of prose.—It is more advanced and responsible than poetry.—Maturity brings love of practical truth.—Pure prose would tend to efface itself.—Form alone, or substance alone, may be poetical.—Poetry has its place in the medium.—It is the best medium possible.—Might it not convey what it is best to know?—A rational poetry would exclude much now thought poetical.—All apperception modifies its object.—Reason has its own bias and method.—Rational poetry would envelop exact knowledge in ultimate emotions.—An illustration.—Volume can be found in scope better than in suggestion Pages 87 - 115 — from The Life of Reason: The Phases of Human Progress by George Santayana
psychology and realism in logic
Nominalism right in psychology and realism in logic The psychology of nominalism is undoubtedly right where it insists that every image is particular and every term, in its existential aspect, a flatum vocis ; but nominalists should have recognised that images may have any degree of vagueness and generality when measured by a conceptual standard. — from The Life of Reason: The Phases of Human Progress by George Santayana
Those who have the lower part of the body too prominent anteriorly, render it less apparent by shortening the waist, by a corresponding projection behind, and by increasing the bosom above. — from Sketches of the Fair Sex, in All Parts of the World by Anonymous
phantom and reason is lost
But when the reader lays down this "Strange Story," perhaps he will detect, through all the haze of romance, the outlines of these images suggested to his reason: Firstly, the image of sensuous, soulless Nature, such as the Materialist had conceived it; secondly, the image of Intellect, obstinately separating all its inquiries from the belief in the spiritual essence and destiny of man, and incurring all kinds of perplexity and resorting to all kinds of visionary speculation before it settles at last into the simple faith which unites the philosopher and the infant; and thirdly, the image of the erring but pure-thoughted visionary, seeking over-much on this earth to separate soul from mind, till innocence itself is led astray by a phantom, and reason is lost in the space between earth and the stars. — from A Strange Story — Volume 01 by Lytton, Edward Bulwer Lytton, Baron
purpose and read in loud
Friend Hopper drew from his pocket a small Bible, which he had brought into court for the express purpose, and read in loud distinct tones the following verses: "Thou shalt not deliver unto his master the servant which is escaped from his master unto thee: He shall dwell with thee, even among you, in that place which he shall choose, in one of thy gates, where it liketh him best: thou shalt not oppress him." — from Isaac T. Hopper: A True Life by Lydia Maria Child
Of the rest of the nations, and of other ports and rivers, I leave to speak here, being impertinent to my purpose, and mean to describe them as they are situate in the particular plot and description of the island, three parts whereof I coasted with my barge, that I might the better describe it. — from The Discovery of Guiana by Walter Raleigh
places and revelling in luxury
Oh, if the rich and powerful—those who are living in high places, and revelling in luxury—did but know how delightful to the bruised heart but a few simple words of common courtesy are, they would themselves feel a pleasure in speaking them, such as all the adulation of their flatterers—all the glitter of their homes—all the gaudy insignia of their rank can never bestow upon them. — from Ada, the Betrayed; Or, The Murder at the Old Smithy. A Romance of Passion by James Malcolm Rymer
Pamphlet and Rigadoon in Love
His principal characters were, Syringe, in the Relapse; Roger, in Æsop; Sparkish, in the Country Wife; Lord Plausible, in the Plain Dealer; Pamphlet and Rigadoon, in Love and a Bottle; Tom Errand, in the Constant Couple; Mad Parson, in the Pilgrim; Benito, in the Assignation; Noll Bluff, in the Old Bachelor; Rumour, in A Plot and No Plot, (to which, in 1697, he spoke the prologue); and Jamy, in Sawney the Scot. — from Merrie England in the Olden Time, Vol. 1 by George Daniel
This tab, called Hiding in Plain Sight,
shows you passages from notable books where your word is accidentally (or perhaps deliberately?)
spelled out by the first letters of consecutive words.
Why would you care to know such a thing? It's not entirely clear to us, either, but
it's fun to explore! What's the longest hidden word you can find? Where is your name hiding?