classes ::: grammer,
children :::
branches ::: preposition

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object:preposition
class:grammer

with
of
to
up
at
toward
within
in

see also :::

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now begins generated list of local instances, definitions, quotes, instances in chapters, wordnet info if available and instances among weblinks


OBJECT INSTANCES [21] - TOPICS - AUTHORS - BOOKS - CHAPTERS - CLASSES - SEE ALSO - SIMILAR TITLES

TOPICS
At
before
Behind
Beneath
between
beyond
down
For
From
inside
Near
Of
of
On
Onto
Since
To
Toward
Until
up.
With
within
SEE ALSO


AUTH

BOOKS
My_Burning_Heart
Process_and_Reality
The_Categories
The_Seals_of_Wisdom

IN CHAPTERS TITLE

IN CHAPTERS CLASSNAME

IN CHAPTERS TEXT
0.00_-_The_Book_of_Lies_Text
05.10_-_Knowledge_by_Identity
1.03_-_The_House_Of_The_Lord
1.201_-_Socrates
1.28_-_Need_to_Define_God,_Self,_etc.
1.jk_-_To_.......
2.04_-_Agni,_the_Illumined_Will
3_-_Commentaries_and_Annotated_Translations
BOOK_I._--_PART_II._THE_EVOLUTION_OF_SYMBOLISM_IN_ITS_APPROXIMATE_ORDER
BOOK_XVII._-_The_history_of_the_city_of_God_from_the_times_of_the_prophets_to_Christ
The_Dwellings_of_the_Philosophers

PRIMARY CLASS

grammer
SIMILAR TITLES
preposition

DEFINITIONS

abhidharma. (P. abhidhamma; T. chos mngon pa; C. apidamo/duifa; J. abidatsuma/taiho; K. abidalma/taebop 阿毘達磨/對法). In Sanskrit, abhidharma is a prepositional compound composed of abhi- + dharma. The compound is typically glossed with abhi being interpreted as equivalent to uttama and meaning "highest" or "advanced" DHARMA (viz., doctrines or teachings), or abhi meaning "pertaining to" the dharma. The SARVASTIVADA Sanskrit tradition typically follows the latter etymology, while the THERAVADA PAli tradition prefers the former, as in BUDDHAGHOSA's gloss of the term meaning either "special dharma" or "supplementary dharma." These definitions suggest that abhidharma was conceived as a precise (P. nippariyAya), definitive (PARAMARTHA) assessment of the dharma that was presented in its discursive (P. sappariyAya), conventional (SAMVṚTI) form in the SuTRAS. Where the sutras offered more subjective presentations of the dharma, drawing on worldly parlance, simile, metaphor, and personal anecdote in order to appeal to their specific audiences, the abhidharma provided an objective, impersonal, and highly technical description of the specific characteristics of reality and the causal processes governing production and cessation. There are two divergent theories for the emergence of the abhidharma as a separate genre of Buddhist literature. In one theory, accepted by most Western scholars, the abhidharma is thought to have evolved out of the "matrices" (S. MATṚKA; P. mAtikA), or numerical lists of dharmas, that were used as mnemonic devices for organizing the teachings of the Buddha systematically. Such treatments of dharma are found even in the sutra literature and are probably an inevitable by-product of the oral quality of early Buddhist textual transmission. A second theory, favored by Japanese scholars, is that abhidharma evolved from catechistic discussions (abhidharmakathA) in which a dialogic format was used to clarify problematic issues in doctrine. The dialogic style also appears prominently in the sutras where, for example, the Buddha might give a brief statement of doctrine (uddesa; P. uddesa) whose meaning had to be drawn out through exegesis (NIRDEsA; P. niddesa); indeed, MAHAKATYAYANA, one of the ten major disciples of the Buddha, was noted for his skill in such explications. This same style was prominent enough in the sutras even to be listed as one of the nine or twelve genres of Buddhist literature (specifically, VYAKARAnA; P. veyyAkarana). According to tradition, the Buddha first taught the abhidharma to his mother MAHAMAYA, who had died shortly after his birth and been reborn as a god in TUsITA heaven. He met her in the heaven of the thirty-three (TRAYASTRIMsA), where he expounded the abhidharma to her and the other divinities there, repeating those teachings to sARIPUTRA when he descended each day to go on his alms-round. sAriputra was renowned as a master of the abhidharma. Abhidharma primarily sets forth the training in higher wisdom (ADHIPRAJNAsIKsA) and involves both analytical and synthetic modes of doctrinal exegesis. The body of scholastic literature that developed from this exegetical style was compiled into the ABHIDHARMAPItAKA, one of the three principal sections of the Buddhist canon, or TRIPItAKA, along with sutra and VINAYA, and is concerned primarily with scholastic discussions on epistemology, cosmology, psychology, KARMAN, rebirth, and the constituents of the process of enlightenment and the path (MARGA) to salvation. (In the MAHAYANA tradition, this abhidharmapitaka is sometimes redefined as a broader "treatise basket," or *sASTRAPItAKA.)

accusative ::: a. --> Producing accusations; accusatory.
Applied to the case (as the fourth case of Latin and Greek nouns) which expresses the immediate object on which the action or influence of a transitive verb terminates, or the immediate object of motion or tendency to, expressed by a preposition. It corresponds to the objective case in English. ::: n.


ante- ::: --> A Latin preposition and prefix; akin to Gr. &

apo ::: --> A prefix from a Greek preposition. It usually signifies from, away from, off, or asunder, separate; as, in apocope (a cutting off), apostate, apostle (one sent away), apocarpous.

Avatara(Sanskrit) ::: The noun-form derived from a compound of two words: ava, prepositional prefix meaning"down," and tri, verb-root meaning to "cross over," to "pass"; thus, avatri -- to "pass down," or to"descend." Hence the word signifies the passing down of a celestial energy or of an individualizedcomplex of celestial energies, which is equivalent to saying a celestial being, in order to overshadow andilluminate some human being -- but a human being who, at the time of such connection of "heaven withearth," of divinity with matter, possesses no karmically intermediate or connecting link between theovershadowing entity and the physical body: in other words, no human soul karmically destined to be theinner master of the body thus born.The intermediate link necessary, so that the human being-to-be may have the human intermediate orpsychological apparatus fit to express the invisible splendor of this celestial descent, is supplied by thedeliberate and voluntary entrance into the unborn child -- and coincidently with the overshadowing of thecelestial power -- of the psychological or intermediate principle of one of the Greater Ones, who thus"completes" what is to be the pure and lofty human channel through which the "descending" divinitymay manifest, this divinity finding in this high psychological principle a sufficiently evolved linkenabling it to express itself in human form upon earth.Hence an avatara is one who has a combination of three elements in his being: an inspiring divinity; ahighly evolved intermediate nature or soul, which is loaned to him and is the channel of that inspiringdivinity; and a pure, clean, physical body.

prepositional ::: a. --> Of or pertaining to a preposition; of the nature of a preposition.

preposition ::: n. --> A word employed to connect a noun or a pronoun, in an adjectival or adverbial sense, with some other word; a particle used with a noun or pronoun (in English always in the objective case) to make a phrase limiting some other word; -- so called because usually placed before the word with which it is phrased; as, a bridge of iron; he comes from town; it is good for food; he escaped by running.
A proposition; an exposition; a discourse.


cata ::: --> The Latin and English form of a Greek preposition, used as a prefix to signify down, downward, under, against, contrary or opposed to, wholly, completely; as in cataclysm, catarrh. It sometimes drops the final vowel, as in catoptric; and is sometimes changed to cath, as in cathartic, catholic.

circum- ::: --> A Latin preposition, used as a prefix in many English words, and signifying around or about.

cis- ::: --> A Latin preposition, sometimes used as a prefix in English words, and signifying on this side.

com- ::: --> A prefix from the Latin preposition cum, signifying with, together, in conjunction, very, etc. It is used in the form com- before b, m, p, and sometimes f, and by assimilation becomes col- before l, cor- before r, and con- before any consonant except b, h, l, m, p, r, and w. Before a vowel com- becomes co-; also before h, w, and sometimes before other consonants.

commercial at ::: (character) @. ASCII code 64. Common names: at sign, at, strudel. Rare: each, vortex, whorl, INTERCAL: whirlpool, cyclone, snail, ape, cat, rose, cabbage, amphora. ITU-T: commercial at.The @ sign is used in an electronic mail address to separate the local part from the hostname. This dates back to July 1972 when Ray Tomlinson was designing the first[?] e-mail program.It is ironic that @ has become a trendy mark of Internet awareness since it is a very old symbol, derived from the latin preposition ad (at).Giorgio Stabile, a professor of history in Rome, has traced the symbol back to the Italian Renaissance in a Roman mercantile document signed by Francesco Lapi on 1536-05-04.In Dutch it is called apestaartje (little ape-tail), in German affenschwanz (ape tail). The French name is arobase. In Spain and Portugal it denotes a weight of about 25 pounds, the weight and the symbol are called arroba. Italians call it chiocciola (snail).See @-party.(2003-04-28)

commercial at "character" "@". {ASCII} code 64. Common names: at sign, at, strudel. Rare: each, vortex, whorl, {INTERCAL}: whirlpool, cyclone, snail, ape, cat, rose, cabbage, amphora. {ITU-T}: commercial at. The @ sign is used in an {electronic mail address} to separate the local part from the {hostname}. This dates back to July 1972 when {Ray Tomlinson} was designing the first[?] {e-mail} program. It is ironic that @ has become a trendy mark of Internet awareness since it is a very old symbol, derived from the latin preposition "ad" (at). Giorgio Stabile, a professor of history in Rome, has traced the symbol back to the Italian Renaissance in a Roman mercantile document signed by Francesco Lapi on 1536-05-04. In Dutch it is called "apestaartje" (little ape-tail), in German "affenschwanz" (ape tail). The French name is "arobase". In Spain and Portugal it denotes a weight of about 25 pounds, the weight and the symbol are called "arroba". Italians call it "chiocciola" (snail). See {@-party}. (2003-04-28)

connective ::: a. --> Connecting, or adapted to connect; involving connection. ::: n. --> That which connects
A word that connect words or sentences; a conjunction or preposition.


contra ::: --> A Latin adverb and preposition, signifying against, contrary, in opposition, etc., entering as a prefix into the composition of many English words. Cf. Counter, adv. & pref.

ex- ::: --> A prefix from the latin preposition, ex, akin to Gr. &

extra- ::: --> A Latin preposition, denoting beyond, outside of; -- often used in composition as a prefix signifying outside of, beyond, besides, or in addition to what is denoted by the word to which it is prefixed.

In Mahayana Buddhism, alaya-vijnana has acquired a somewhat larger and higher significance: alaya (an abode, in the sense of focus of activity), the prepositional prefix a (meaning position or limitation) with the verb li (to dissolve) signifies solution or coalescence in unity. Used much as the term human monad is in theosophy, equivalent to the higher manas or even buddhi-manas, it therefore signifies the focus or interior organ of consciousness into which is collected at the end of each incarnation the aroma of the higher experiences during that lifetime, thus forming a kind of treasury.

intensive ::: a. --> Stretched; admitting of intension, or increase of degree; that can be intensified.
Characterized by persistence; intent; unremitted; assiduous; intense.
Serving to give force or emphasis; as, an intensive verb or preposition. ::: n.


look ::: v. i. --> To direct the eyes for the purpose of seeing something; to direct the eyes toward an object; to observe with the eyes while keeping them directed; -- with various prepositions, often in a special or figurative sense. See Phrases below.
To direct the attention (to something); to consider; to examine; as, to look at an action.
To seem; to appear; to have a particular appearance; as, the patient looks better; the clouds look rainy.


Manvantara(Sanskrit) ::: This word is a compound, and means nothing more than "between two manus"; more literally,"manu-within or -between." A manu, as said, is the entities collectively which appear first at thebeginning of manifestation; the spiritual tree of life of any planetary chain of manifested being. Thesecond verbal element of "manvantara," or antara, is a prepositional suffix signifying "within" or"between"; hence the compound paraphrased means "within a manu," or "between manus." Amanvantara is the period of activity between any two manus, on any plane, since in any such period thereis a root-manu at the beginning of evolution, and a seed-manu at its close, preceding a pralaya.There are many kinds of manvantaras: prakritika manvantara -- universal manvantara; sauryamanvantara -- the manvantara of the solar system; bhaumika manvantara -- the terrestrial manvantara, ormanvantara of earth; paurusha manvantara -- the manvantara, or period of activity, of man.A round-manvantara is the time required for one round: that is, the cycle from globe A to the last globeof the seven, and starting from the root-manu or collective "humanity" of globe A and ending with theseed-manu or collective "humanity" of Globe G.A planetary manvantara -- also called a maha-manvantara or a kalpa -- is the period of the lifetime of aplanet during its seven rounds. It is also called a Day of Brahma, and its length is 4,320,000,000 years.

mason ::: n. --> One whose occupation is to build with stone or brick; also, one who prepares stone for building purposes.
A member of the fraternity of Freemasons. See Freemason. ::: v. t. --> To build stonework or brickwork about, under, in, over, etc.; to construct by masons; -- with a prepositional suffix; as, to


Note on the Indian Sign-Language. Certain general principles concerning gesture speech may be established, by considering the sign-language of the North American Indian which seems to be the most developed. A sign-language is established when equally powerful tribes of different tongues come into contact. Better gestures are composed and undesirable ones are weeded out, partly as a result of tribal federations and partly through the development of technical skills and crafts. Signs come into being, grow and die, according to the needs of the time and to the changes in practical processes. Stimulus of outside intercourse is necessary to keep alive the interest required for the maintenance and growth of a gesture speech; without it, the weaker tribe is absorbed in the stronger, and the vocal language most easily acquired prevails. Sign-languages involve a basic syntax destined to convey the fundamental meanings without refinement and in abbreviated form. Articles, prepositions and conjunctions are omitted; adjectives follow nouns; verbs are used in the present tense; nouns and verbs are used in the singular, while the idea of plurality is expressed in some other way. The use of signals with the smoke, the pony, the mirror, the blanket and the drum (as is also the case with the African tam-tams) may be considered as an extension of the sign-language, though they are related more directly to the general art of signalling. -- T.G.

objective ::: a. --> Of or pertaining to an object.
Of or pertaining to an object; contained in, or having the nature or position of, an object; outward; external; extrinsic; -- an epithet applied to whatever ir exterior to the mind, or which is simply an object of thought or feeling, and opposed to subjective.
Pertaining to, or designating, the case which follows a transitive verb or a preposition, being that case in which the direct object of the verb is placed. See Accusative, n.


parts of speech: A traditional classifying system for words in terms of their function. The main catagories are: Nouns, pronouns, Verbs, Adjectives, Adverbs, Articles, Prepositions, Conjunctions.

postposition ::: n. --> The act of placing after, or the state of being placed after.
A word or particle placed after, or at the end of, another word; -- distinguished from preposition.


Prakriti(Sanskrit) ::: A compound consisting of the prepositional prefix pra, meaning "forwards" or "progression,"and kriti, a noun-form from the verbal root kri, "to make" or "to do." Therefore prakriti means literally"production" or "bringing forth," "originating," and by an extension of meaning it also signifies theprimordial or original state or condition or form of anything: primary, original substance. The root orparent of prakriti is mula-prakriti or root of prakriti. Prakriti is to be considered with vikriti -- vikritisignifying change or an alteration of some kind, or a production or evolution from the prakriti whichprecedes it.As an illustration, the chemical elements hydrogen and oxygen combine in the proportion H2O,producing thus a substance known in its most common form as water; but this same H2O can appear asice as well as vapor-gas; hence the vapor, the water, and the ice may be called the vikritis of the originalprakriti which is the originating hydrogen and oxygen. The illustration is perhaps not a very good one butis suggestive.In common usage prakriti may be called nature in general, as the great producer of entities or things, andthrough this nature acts the ever-active Brahma or Purusha. Purusha, therefore, is spirit, and prakriti is itsproductive veil or sheath. Essentially or fundamentally the two are one, and whatever prakriti throughand by the influence of Purusha produces is the multitudinous and multiform vikritis which make theimmense variety and diversity in the universe around us.In one or more of the Hindu philosophies, prakriti is the same as sakti, and therefore prakriti and sakti arevirtually interchangeable with maya or maha-maya or so-called illusion. Prakriti is often spoken of asmatter, but this is inexact although a very common usage; matter is rather the "productions" or phasesthat prakriti brings about, the vikritis. In the Indian Sankhya philosophy pradhana is virtually identicalwith prakriti, and both are often used to signify the producing element from and out of which all illusorymaterial manifestations or appearances are evolved.

Prana(Sanskrit) ::: The word is derived from pra, prepositional prefix meaning "before"; and an, verb meaning"to breathe," "to blow," "to live." Usually translated "life," but rather the psychoelectrical veil orpsychoelectrical field manifesting in the individual as vitality. Commonly called "life principle." ThisSanskrit word is used by modern theosophists in a general sense, although in the Sanskrit it has a ratherspecific and restricted meaning, because there are, as a matter of fact, a number of life currents, vitalfluids. They have each one its own name. One system gives the number as three; another as five, which isthe commonly accepted number; another enumeration is seven; another again is twelve, as is found insome Upanishads; and one old writer even gives them as thirteen.The life-atoms of the prana, or psychoelectrical field, fly instantly back at the moment of physicaldissolution to the natural pranic reservoirs of the planet.

Pratyeka Buddha(Sanskrit) ::: Pratyeka is a compound of two words: prati, prepositional prefix meaning "towards" or "for";eka, the numeral "one"; thus we can translate the compound by the paraphrase "each one for himself."The Pratyeka Buddha, he who achieves buddhahood for himself, instead of feeling the call of almightylove to return and help those who have gone less far, goes ahead into the supernal light -- passes onwardsand enters the unspeakable bliss of nirvana -- and leaves mankind behind. Though exalted, neverthelesshe does not rank with the unutterable sublimity of the Buddha of Compassion.The Pratyeka Buddha concentrates his energies on the one objective -- spiritual self-advancement: heraises himself to the spiritual realm of his own inner being, enwraps himself therein and, so to speak,goes to sleep. The Buddha of Compassion raises himself, as does the Pratyeka Buddha, to the spiritualrealms of his own inner being, but does not stop there, because he expands continuously, becomes onewith All, or tries to, and in fact does so in time. When the Pratyeka Buddha in due course emerges fromthe nirvanic state in order to take up his evolutionary journey again, he will find himself far in the rear ofthe Buddha of Compassion.

pro ::: a. --> A Latin preposition signifying for, before, forth. ::: adv. --> For, on, or in behalf of, the affirmative side; -- in contrast with con.

Re’shith (Hebrew) Rē’shīth [from rosh head, chief, principal, first, beginning] Beginning, headship, the most excellent or highest of a series; wisdom. The first word in the Bible (prefixed by the prepositional letter B, meaning in, through, or by means of). “The fathers . . . dreaded above all to have the esoteric and true meaning of the word Rasit [re’shith] unveiled to the multitudes; for if once the true sense of this sentence, as well as that of the Hebrew word asdt . . . were understood rightly, the mystery of the Christian trinity would have crumbled, carrying in its downfall the new religion into the same heap of ruins with the ancient Mysteries”; “Origen, Clemens Alexandrinus, Chalcidius, Methodius, and Maimonides, on the authority of the Targum of Jerusalem, the orthodox and greatest authority of the Jews, held that the first two words in the book of Genesis — b-rasit, mean Wisdom, or the Principle. And that the idea of these words meaning “in the beginning” was never shared but by the profane, who were not allowed to penetrate any deeper into the esoteric sense of the sentence” (IU 2:34, 35). The beginning of Genesis is quite correctly translated “by wisdom,” or “by means of wisdom,” (cf Fund 98-102). See also BERE’SHITH

revenge ::: v. t. --> To inflict harm in return for, as an injury, insult, etc.; to exact satisfaction for, under a sense of injury; to avenge; -- followed either by the wrong received, or by the person or thing wronged, as the object, or by the reciprocal pronoun as direct object, and a preposition before the wrong done or the wrongdoer.
To inflict injury for, in a spiteful, wrong, or malignant spirit; to wreak vengeance for maliciously.


tathāgata. (T. de bzhin gshegs pa; C. rulai; J. nyorai; K. yorae 如來). In Sanskrit and Pāli, lit., "one who has thus come/gone," and generally translated into English as the "thus gone one." Tathāgata is, along with BHAGAVAT, one of the most common epithets of the Buddha and a term the Buddha commonly uses in the SuTRAs to refer both to himself and to the buddhas of the past. The Sanskrit compound may be parsed to mean either "one who is thus gone" (tathā + gata), or "one who has thus come" (tathā + āgata), and for this reason the translations of the Sanskrit vary across languages. The Sanskrit root √gam is also used with prepositions in words that mean "understand," so a secondary denotation of the term is to "understand" things "as they are" (tathā). The Chinese settled on the translation "thus come one" (rulai). The Tibetan translation de bzhin gshegs pa reflects the ambiguity of the Sanskrit and can mean either "one who has thus gone" or "one who has thus come." The Pāli commentaries typically provide eight (and sometimes as many as sixteen) denotations of tathāgata, some of which may be of pre- or non-Buddhist origin, perhaps deriving from the JAINA tradition. In the early Pāli scriptures, the term seems to evoke the infinite knowledge of the Buddha, with little attempt to provide a clear etymology. Later commentators would offer a number of interpretations, among the most common of which are that the Buddha has "thus come" into the world like the other buddhas of the past, or that he has "thus gone" on to achieve NIRVĀnA like the other buddhas of the past. Other explanations equate it with the word TATHATĀ.

than ::: conj. --> A particle expressing comparison, used after certain adjectives and adverbs which express comparison or diversity, as more, better, other, otherwise, and the like. It is usually followed by the object compared in the nominative case. Sometimes, however, the object compared is placed in the objective case, and than is then considered by some grammarians as a preposition. Sometimes the object is expressed in a sentence, usually introduced by that; as, I would rather suffer than that you should want.

to ::: prep. --> The preposition to primarily indicates approach and arrival, motion made in the direction of a place or thing and attaining it, access; and also, motion or tendency without arrival; movement toward; -- opposed to from.
Hence, it indicates motion, course, or tendency toward a time, a state or condition, an aim, or anything capable of being regarded as a limit to a tendency, movement, or action; as, he is going to a trade; he is rising to wealth and honor.




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   2 Winston S Churchill
   2 Winston Churchill
   2 Jasper Fforde

1:Ending a sentence with a preposition is something up with which I will not put. ~ winston-churchill, @wisdomtrove

*** NEWFULLDB 2.4M ***

1:If is a very big preposition. ~ John Major,
2:A preposition is a terrible thing to end a sentence with. ~ Winston S Churchill,
3:I think a sentence is a fine thing to put a preposition at the end of. ~ William Zinsser,
4:It is natural and harmless in English to use a preposition to end a sentence with. ~ Kingsley Amis,
5:No preposition at the end of a sentence? That is a rule up with which I will not put! ~ Winston Churchill,
6:Afternoon. I’m Rick. What can I do you for today?” “Put the preposition in the right place. ~ Alex Berenson,
7:You are all at once the subject, object, predicate, preposition, and period of my thoughts. ~ Daria Snadowsky,
8:From now on, ending a sentence with a preposition is something up with which I will not put. ~ Winston S Churchill,
9:If you let me teach you not to end a sentence with a preposition, Edgar thought, I will save your life. ~ Don DeLillo,
10:teacher once told them that a preposition is a bad thing to end a sentence with.  (See what I did there?) ~ Johnny B Truant,
11:Preposition: An enormously versatile part of grammar, as in 'What made you pick this book I didn't want to be read to out of up for?' ~ Winston Churchill,
12:This is where we get the absurd rule that one must never, ever, end a sentence with a preposition. As Winston Churchill put it, “That’s the sort of nonsense up with which we shall not put. ~ Douglas Wilson,
13:Who are you going swimming with?” Kinsley asked again.

“You’re not supposed to end a sentence with a preposition,” I replied.

“Stop changing the subject! With whom do you plan to swim?! ~ R S Grey,
14:Amy Curry," I could still hear him intoning, "never end a sentence with a preposition!" Irked that after six years he was still mentally correcting me, I told the Mr. Collins in my head to off fuck. ~ Morgan Matson,
15:I'm checking my pockets for spare words and sentences but I'm finding none, not an adverb, not a preposition or even a dangling participle because there doesn't exist a single response to such an outlandish request. ~ Tahereh Mafi,
16:And he despised pedants. A junior civil servant had tortuously re-worded a sentence to avoid ending with a preposition. The Prime Minister scrawled across the page, "This is nonsense up with which I will not put. ~ William Manchester,
17:It’s not dissimilar to the reality-TV-show contestant’s ungrammatical attempt to appear grammatical, a quirk of using the subject pronoun after a preposition, instead of the correct object version. So: You have to choose between Brad or I. ~ Sloane Crosley,
18:First was the fewer, not less. Now it was the care in avoiding a preposition at the end of a sentence. An educated man, presumably. Precise. Apparently fussy about small-minded rules, perhaps to compensate for a willingness to ignore large ones. ~ Barry Eisler,
19:It was good of you to look for Quentin.” “Good!” she exclaimed. “Good! O Anthony!” “Well, so it was,” he answered. “Or good in you. How accurate one has to be with one’s prepositions! Perhaps it was a preposition wrong that set the whole world awry.” CHARLES WILLIAMS The Place of the Lion ~ John Piper,
20:Once when the Yankee's Lou Pinella was batting he questioned a Palermo strike call. Pinella demanded, "Where was that pitch at?" Palermo told him that a man wearing Yankee pinstripes in front of 30,000 people should not end a sentence with a preposition. So Pinella, no dummy, said, "OK, where was that pitch at, asshole?" ~ George Will,
21:The importance of English word order is also the reason that the idea that you can't end a sentence with a preposition is utter hogwash. In fact, it would be utter hogwash anyway, and anyone who claims that you can't end a sentence with up, should be told to shut. It is, as Shakespeare put it, such stuff as dreams are made on, but it's one of those silly English beliefs that flesh is heir to. ~ Mark Forsyth,
22:The word 'Paris' was derived from 'Persia' linking both Aryan heritages in the East and the West through that notion of the mythical horse (soos). The evidence lies in the Semitic root whence this word were taken, P-RS; a two syllabled expression with the preposition 'in' as a prefix followed by the word 'head' to distinguish this creature with a 'crane, horn, soos' from the Semitic -yet real- horse. ~ Ibrahim Ibrahim,
23:Or we reference Winston Churchill, who was famously reported to have written “This is the kind of tedious/arrant nonsense up with which I will not put,” in response to an overweening staffer having removed a preposition from some of his writing. (However, as with many quotes that are purported to have originated with the former prime minister of Great Britain, the author was someone other than Churchill).* ~ Ammon Shea,
24:The human understanding, when any preposition has been once laid down... forces everything else to add fresh support and confirmation; and although more cogent and abundant instances may exist to the contrary, yet it either does not observe them or it despises them, or it gets rid of and rejects them by some distinction, with violent and injurious prejudice, rather than sacrifice the authority of its first conclusions. ~ Francis Bacon,
25:themselves: “Give back (apodidomi) to Caesar the property that belongs to Caesar …” The verb apodidomi, often translated as “render unto,” is actually a compound word: apo is a preposition that in this case means “back again”; didomi is a verb meaning “to give.” Apodidomi is used specifically when paying someone back property to which he is entitled; the word implies that the person receiving payment is the rightful owner of the thing being paid. ~ Reza Aslan,
26:The Lord's Prayer On A Coin
Upon this quarter-eagle's leveled face,
The Lord's Prayer, legibly inscribed, I trace.
'Our Father which'-the pronoun there is funny,
And shows the scribe to have addressed the money
'Which art in Heaven'-an error this, no doubt:
The preposition should be stricken out.
Needless to quote; I only have designed
To praise the frankness of the pious mind
Which thought it natural and right to join,
With rare significancy, prayer and coin.
~ Ambrose Bierce,
27:All I could determine was that it must have been a nice thing to see if it was a house you were thinking about moving into. But not so nice if it was the house you were moving out from. I could practically hear Mr Collins, who had taught my fifth-grade English class and was still the most intimidating teacher I'd ever had, yelling at me. "Amy Curry," I could still hear him intoning, "never end a sentence with a preposition!" Irked that after six hears he was still mentally correcting me, I told the Mr. Collins in my head to off fuck. ~ Morgan Matson,
28:together with, along with. With in both expressions is a preposition, not a conjunction, and therefore does not govern the verb. This sentence is wrong: ‘They said the man, a motor mechanic, together with a 22-year-old arrested a day earlier, were being questioned’ (The Times). Make it ‘was being questioned’. A separate danger with such expressions is seen here: ‘Barbara Tuchman, the historian, gave $20,000 to the Democrats, along with her husband, Lester’ (The New York Times). How Lester felt about being given to the Democrats wasn’t recorded. ~ Bill Bryson,
29:Do you need someone to talk to?" she said gently.
"Oh. Thank you. No, no, I'm fine."
He touched his face – he'd been crying harder than he'd realized.
"You sure? You don't look fine."
"No, really. I've just . . . I've just had a very intense emotional experience." He held out one of his iPod headphones, as if that would explain it. "On here."
"You're crying about music?"
The woman looked at him as if he were some kind of pervert.
"Well," said Duncan. "I'm not crying about it. I'm not sure that's the right preposition."
She shook her head and walked off. ~ Nick Hornby,
30:We know that the lotus and Upper Egypt are linked together, and so are the papyrus flower and Lower Egypt. I have also demonstrated the proof that the lotus flower symbolizes the abandoning of the water in the well (by draining the jug on the Nebamun Stela) in the New Kingdom. What is most intriguing here is to recognize what the Papyrus resembles in the Lower Kingdom for that it originally referred to Mecca and more specifically to the water inside the well as it is literally indicating to us. I therefore validly assert here that the word Papyrus is derived from the Semitic root of (br) plus the preposition (f) which has constructed the two syllables of (Pa+Pyr) and this in turn means: inside the well. Another proof on that could even be spotted on the phonetics of the Papyrus hieroglyph M13 (w3d, wd) which literally means: valley; in other words, the Tawy (of Mecca). And the lotus flower itself is called water-lily because it floats on the water surface as if it were amazingly resembling the function of the BenBen, and so does its phonetics M12 (h3) which means: on top of. ~ Ibrahim Ibrahim,
31:Having said that the unliterary reader attends to the words too little to make anything like a full use of them, I must notice that there is another sort of reader who attends to them far too much and in the wrong way. I am thinking of what I call Stylemongers. On taking up a book, these people concentrate on what they call its ‘style’ or its ‘English’. They judge this neither by its sound nor by its power to communicate but by its conformity to certain arbitrary rules. Their reading is a perpetual witch hunt for Americanisms, Gallicisms, split infinitives, and sentences that end with a preposition. They do not inquire whether the Americanism or Gallicism in question increases or impoverishes the expressiveness of our language. It is nothing to them that the best English speakers and writers have been ending sentences with prepositions for over a thousand years. They are full of arbitrary dislikes for particular words. One is ‘a word they’ve always hated’; another ‘always makes them think of so-and-so’. This is too common, and that too rare. Such people are of all men least qualified to have any opinion about a style at all; for the only two tests that are really relevant—the degree in which it is (as Dryden would say) ‘sounding and significant’—are the two they never apply. They judge the instrument by anything rather than its power to do the work it was made for; treat language as something that ‘is’ but does not ‘mean’; criticise the lens after looking at it instead of through it. ~ C S Lewis,
32:1.
Think not of it, sweet one, so;--
   Give it not a tear;
Sigh thou mayst, and bid it go
   Any, any where.

2.
Do not look so sad, sweet one,--
   Sad and fadingly;
Shed one drop then, it is gone,
   O 'twas born to die!

3.
Still so pale? then, dearest, weep;
   Weep, I'll count the tears,
And each one shall be a bliss
   For thee in after years.

4.
Brighter has it left thine eyes
   Than a sunny rill;
And thy whispering melodies
   Are tenderer still.

5.
Yet -- as all things mourn awhile
   At fleeting blisses,
E'en let us too! but be our dirge
   A dirge of kisses.
'Given by Lord Houghton among the Literary Remains in Volume II of the Life, Letters &c. (1848), with the date 1817. Hitherto this poem has been headed "On. . . ."; but it is so distinctly an address that 'To' seems to be the right preposition. It is not stated to whom the verses are addressed. In Woodhouse's interleaved copy of Endymion is a transcript evidently made from a working draft. Woodhouse has copied in his careful and minute way the whole manuscript with its erasures, the first of which is a cancelled opening quatrain: --

"Think not of it gentle sweet
It is not worth a tear
Will thine heart less warmly beat
Thy voice less clear?"

Stanza 2 appears to have been originally written with the two final lines,

"Shed one drop then only one
Sweetly did it die,"

which are cancelled in favour of those of the text.'
~ Poetical Works of John Keats, ed. H. Buxton Forman, Crowell publ. 1895. by owner. provided at no charge for educational purposes
~ John Keats, To .......
,
33:Logogriph
For man's support I came at first from earth,
But man perverts the purpose of my birth;
Beneath his plastic hand new forms I take,
And either sex my services partake;
The flowing lawn in stricter folds I hold,
And bind in chains unseen each swelling fold;
The band beneath the double chin I grace,
And formal plaits that edge the Quaker's face:
By me great Bess, who used her maids to cuff,
Shone in the dignity of full-quilled ruff.—
Such is my whole;—but, parted and disjoined,
New wonders in my varying form you'll find.
What makes the cit look big with conscious worth;
What bursts from pale surprise or boisterous mirth;
The sweep Rialto forms, or your fair brow—
The fault to youthful valour we allow;
A word by which possession we denote,
A letter high in place and first in note;
What guards the beauty from the scorching ray;
What little master first is taught to say;
Great Nature's rival, handmaid, sometimes foe;
The most pathetic counterpart of “Oh!”
The whiskered pilferer and her foe demure;
The lamps unbought which light the houseless poor;
What bore famed heroes through the ranks of war;
What's heard when falls from high the ponderous jar;
What holy Paul did at Gamaliel's feet—
What Bavius writes, what schoolboys love to eat;
Of eager gamesters what decides the fate;
The homely rough support of Britain's state;
What, joined to “been,” is fatal to a toast;
What guards the sailor from the shelving coast;
The stage whence villains make their last harangue;
What in your head and bones gives many a pang;
What introduces long-tailed similes;
A preposition that to place agrees;
A stately animal in forests bred,
A tree that lifts on high its lofty head;
What best unbinds the weary student's mind
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A beauteous fish in northern lakes we find;
A grateful blemish on a soldier's breast:—
All these are in my single name exprest.
~ Anna Laetitia Barbauld,
34:The Grammarians Funeral
Eight Parts of Speech this Day wear Mourning Gowns
Declin'd Verbs, Pronouns, Participles, Nouns.
And not declined, Adverbs and Conjunctions,
In Lillies Porch they stand to do their functions.
With Preposition; but the most affection
Was still observed in the Interjection.
The Substantive seeming the limbed best,
Would set an hand to bear him to his Rest.
The Adjective with very grief did say,
Hold me by strength, or I shall faint away.
The Clouds of Tears did over-cast their faces,
Yea all were in most lamentable Cases.
The five Declensions did the Work decline,
And Told the Pronoun Tu, The work is thine:
But in this case those have no call to go
That want the Vocative, and can't say O!
The Pronouns said that if the Nouns were there,
There was no need of them, they might them spare:
But for the sake of Emphasis they would,
In their Discretion do what ere they could.
Great honour was confer'd on Conjugations,
They were to follow next to the Relations.
Amo did love him best, and Doceo might
Alledge he was his Glory and Delight.
But Lego said by me he got his skill,
And therefore next the Herse I follow will.
Audio said little, hearing them so hot,
Yet knew by him much Learning he had got.
O Verbs the Active were, Or Passive sure,
Sum to be Neuter could not well endure.
But this was common to them all to Moan
Their load of grief they could not soon Depone.
A doleful Day for Verbs, they look so moody,
They drove Spectators to a Mournful Study.
The Verbs irregular, 'twas thought by some,
Would break no rule, if they were pleas'd to come.
Gaudeo could not be found; fearing disgrace
He had with-drawn, sent Maereo in his Place.
Possum did to the utmost he was able,
17
And bore as Stout as if he'd been A Table.
Volo was willing, Nolo some-what stout,
But Malo rather chose, not to stand out.
Possum and Volo wish'd all might afford
Their help, but had not an Imperative Word.
Edo from Service would by no means Swerve,
Rather than fail, he thought the Cakes to Serve.
Fio was taken in a fit, and said,
By him a Mournful POEM should be made.
Fero was willing for to bear a part,
Altho' he did it with an aking heart.
Feror excus'd, with grief he was so Torn,
He could not bear, he needed to be born.
Such Nouns and Verbs as we defective find,
No Grammar Rule did their attendance bind.
They were excepted, and exempted hence,
But Supines, all did blame for negligence.
Verbs Offspring, Participles hand-in-hand,
Follow, and by the same direction stand:
The rest Promiscuously did croud and cumber,
Such Multitudes of each, they wanted Number.
Next to the Corpse to make th' attendance even,
Jove, Mercury, Apollo came from heaven.
And Virgil, Cato, gods, men, Rivers, Winds,
With Elegies, Tears, Sighs, came in their kinds.
Ovid from Pontus hast's Apparrell'd thus,
In Exile-weeds bringing De Tristibus:
And Homer sure had been among the Rout,
But that the Stories say his Eyes were out.
Queens, Cities, Countries, Islands, Come
All Trees, Birds, Fishes, and each Word in Um.
What Syntax here can you expect to find?
Where each one bears such discomposed mind.
Figures of Diction and Construction,
Do little: Yet stand sadly looking on.
That such a Train may in their motion chord,
Prosodia gives the measure Word for Word.
18
~ Benjamin Tompson,
35:Jubilate Agno: Fragment B, Part 4
For God has given us a language of monosyllables to prevent our clipping.
For a toad enjoys a finer prospect than another creature to compensate his lack.
Tho' toad I am the object of man's hate.
Yet better am I than a reprobate. who has the worst of prospects.
For there are stones, whose constituent particles are little toads.
For the spiritual musick is as follows.
For there is the thunder-stop, which is the voice of God direct.
For the rest of the stops are by their rhimes.
For the trumpet rhimes are sound bound, soar more and the like.
For the Shawm rhimes are lawn fawn moon boon and the like.
For the harp rhimes are sing ring string and the like.
For the cymbal rhimes are bell well toll soul and the like.
For the flute rhimes are tooth youth suit mute and the like.
For the dulcimer rhimes are grace place beat heat and the like.
For the Clarinet rhimes are clean seen and the like.
For the Bassoon rhimes are pass, class and the like. God be gracious to
Baumgarden.
For the dulcimer are rather van fan and the like and grace place &c are of the
bassoon.
For beat heat, weep peep &c are of the pipe.
For every word has its marrow in the English tongue for order and for delight.
For the dissyllables such as able table &c are the fiddle rhimes.
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For all dissyllables and some trissyllables are fiddle rhimes.
For the relations of words are in pairs first.
For the relations of words are sometimes in oppositions.
For the relations of words are according to their distances from the pair.
For there be twelve cardinal virtues the gifts of the twelve sons of Jacob.
For Reuben is Great. God be gracious to Lord Falmouth.
For Simeon is Valiant. God be gracious to the Duke of Somerset.
For Levi is Pious. God be gracious to the Bishop of London.
For Judah is Good. God be gracious to Lord Granville.
For Dan is Clean -- neat, dextrous, apt, active, compact. God be gracious to
Draper.
For Naphtali is sublime -- God be gracious to Chesterfield.
For Gad is Contemplative -- God be gracious to Lord Northampton.
For Ashur is Happy -- God be gracious to George Bowes.
For Issachar is strong -- God be gracious to the Duke of Dorsett.
For Zabulon is Constant -- God be gracious to Lord Bath.
For Joseph is Pleasant -- God be gracious to Lord Bolingbroke.
For Benjamin is Wise -- God be gracious to Honeywood.
For all Foundation is from God depending.
For the two Universities are the Eyes of England.
For Cambridge is the right and the brightest.
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For Pembroke Hall was founded more in the Lord than any College in Cambridge.
For mustard is the proper food of birds and men are bound to cultivate it for their
use.
For they that study the works of God are peculiarly assisted by his Spirit.
For all the creatures mentiond by Pliny are somewhere or other extant to the
glory of God.
For Rye is food rather for fowls than men.
For Rye-bread is not taken with thankfulness.
For the lack of Rye may be supplied by Spelt.
For languages work into one another by their bearings.
For the power of some animal is predominant in every language.
For the power and spirit of a CAT is in the Greek.
For the sound of a cat is in the most useful preposition êáô' åõ÷çí .
For the pleasantry of a cat at pranks is in the language ten thousand times over.
For JACK UPON PRANCK is in the performance of gåñé together or seperate.
For Clapperclaw is in the grappling of the words upon one another in all the
modes of versification.
For the sleekness of a Cat is in his áãëáéçöé .
For the Greek is thrown from heaven and falls upon its feet.
For the Greek when distracted from the line is sooner restored to rank and rallied
into some form than any other.
For the purring of a Cat is his ôñõæåé .
For his cry is in ïõáé , which I am sorry for.
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For the Mouse (Mus) prevails in the Latin.
For Edi-mus, bibi-mus, vivi-mus -- ore-mus.
For the Mouse is a creature of great personal valour.
For -- this is a true case -- Cat takes female mouse from the company of male -male mouse will not depart, but stands threatning and daring.
For this is as much as to challenge, if you will let her go, I will engage you, as
prodigious a creature as you are.
For the Mouse is of an hospitable disposition.
For bravery and hospitality were said and done by the Romans rather than
others.
For two creatures the Bull and the Dog prevail in the English.
For all the words ending in ble are in the creature. Invisi-ble, Incomprehensi-ble,
ineffa-ble, A-ble.
For the Greek and Latin are not dead languages, but taken up and accepted for
the sake of him that spake them.
For can is (canis) is cause and effect a dog.
For the English is concise and strong. Dog and Bull again.
For Newton's notion of colours is áëïãïò unphilosophical.
For the colours are spiritual.
For WHITE is the first and the best.
For there are many intermediate colours, before you come to SILVER.
For the next colour is a lively GREY.
For the next colour is BLUE.
For the next is GREEN of which there are ten thousand distinct sorts.
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For the next is YELLOW which is more excellent than red, tho Newton makes red
the prime. God be gracious to John Delap.
For RED is the next working round the Orange.
For Red is of sundry sorts till it deepens to BLACK.
For black blooms and it is PURPLE.
For purple works off to BROWN which is of ten thousand acceptable shades.
For the next is PALE. God be gracious to William Whitehead.
For pale works about to White again.
NOW that colour is spiritual appears inasmuch as the blessing of God upon all
things descends in colour.
For the blessing of health upon the human face is in colour.
For the blessing of God upon purity is in the Virgin's blushes.
For the blessing of God in colour is on him that keeps his virgin.
For I saw a blush in Staindrop Church, which was of God's own colouring.
For it was the benevolence of a virgin shewn to me before the whole
congregation.
For the blessing of God upon the grass is in shades of Green visible to a nice
observer as they light upon the surface of the earth.
For the blessing of God unto perfection in all bloom and fruit is by colouring.
For from hence something in the spirit may be taken off by painters.
For Painting is a species of idolatry, tho' not so gross as statuary.
For it is not good to look with earning upon any dead work.
For by so doing something is lost in the spirit and given from life to death.
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For BULL in the first place is the word of Almighty God.
For he is a creature of infinite magnitude in the height.
For there is the model of every beast of the field in the height.
For they are blessed intelligences and all angels of the living God.
For there are many words under Bull.
For Bul the Month is under it.
For Sea is under Bull.
For Brook is under Bull. God be gracious to Lord Bolingbroke.
For Rock is under Bull.
For Bullfinch is under Bull. God be gracious to the Duke of Cleveland.
For God, which always keeps his work in view has paited a Bullfinch in the heart
of a stone. God be gracious to Gosling and Canterbury.
For the Bluecap is under Bull.
For the Humming Bird is under Bull.
For Beetle is under Bull.
For Toad is under bull.
For Frog is under Bull, which he has a delight to look at.
For the Pheasant-eyed Pink is under Bull. Blessed Jesus R4NK EL.
For Bugloss is under Bull.
For Bugle is under Bull.
For Oxeye is under Bull.
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For Fire is under Bull.
For I will consider my Cat Jeoffry.
For he is the servant of the Living God duly and daily serving him.
For at the first glance of the glory of God in the East he worships in his way.
For is this done by wreathing his body seven times round with elegant quickness.
For then he leaps up to catch the musk, which is the blessing of God upon his
prayer.
For he rolls upon prank to work it in.
For having done duty and received blessing he begins to consider himself.
For this he performs in ten degrees.
For first he looks upon his fore-paws to see if they are clean.
For secondly he kicks up behind to clear away there.
For thirdly he works it upon stretch with the fore paws extended.
For fourthly he sharpens his paws by wood.
For fifthly he washes himself.
For Sixthly he rolls upon wash.
For Seventhly he fleas himself, that he may not be interrupted upon the beat.
For Eighthly he rubs himself against a post.
For Ninthly he looks up for his instructions.
For Tenthly he goes in quest of food.
For having consider'd God and himself he will consider his neighbour.
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For if he meets another cat he will kiss her in kindness.
For when he takes his prey he plays with it to give it chance.
For one mouse in seven escapes by his dallying.
For when his day's work is done his business more properly begins.
For he keeps the Lord's watch in the night against the adversary.
For he counteracts the powers of darkness by his electrical skin and glaring eyes.
For he counteracts the Devil, who is death, by brisking about the life
For in his morning orisons he loves the sun and the sun loves him.
For he is of the tribe of Tiger.
For the Cherub Cat is a term of the Angel Tiger.
For he has the subtlety and hissing of a serpent, which in goodness he
suppresses.
For he will not do destruction, if he is well-fed, neither will he spit without
provocation.
For he purrs in thankfulness, when God tells him he's a good Cat.
For he is an instrument for the children to learn benevolence upon.
For every house is incompleat without him and a blessing is lacking in the spirit.
For the Lord commanded Moses concerning the cats at the departure of the
Children of Israel from Egypt.
For every family had one cat at least in the bag.
For the English Cats are the best in Europe.
For he is the cleanest in the use of his fore-paws of any quadrupede.
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For the dexterity of his defence is an instance of the love of God to him
exceedingly.
For he is the quickest to his mark of any creature.
For he is tenacious of his point.
For he is a mixture of gravity and waggery.
For he knows that God is his Saviour.
For there is nothing sweeter than his peace when at rest.
For there is nothing brisker than his life when in motion.
For he is of the Lord's poor and so indeed is he called by benevolence perpetually
-- Poor Jeoffry! poor Jeoffry! the rat has bit thy throat.
For I bless the name of the Lord Jesus that Jeoffry is better.
For the divine spirit comes about his body to sustain it in compleat cat.
For his tongue is exceeding pure so that it has in purity what it wants in musick.
For he is docile and can learn certain things.
For he can set up with gravity which is patience upon approbation.
For he can fetch and carry, which is patience in employment.
For he can jump over a stick which is patience upon proof positive.
For he can spraggle upon waggle at the word of command.
For he can jump from an eminence into his master's bosom.
For he can catch the cork and toss it again.
For he is hated by the hypocrite and miser.
For the former is affraid of detection.
102
For the latter refuses the charge.
For he camels his back to bear the first notion of business.
For he is good to think on, if a man would express himself neatly.
For he made a great figure in Egypt for his signal services.
For he killed the Icneumon-rat very pernicious by land.
For his ears are so acute that they sting again.
For from this proceeds the passing quickness of his attention.
For by stroaking of him I have found out electricity.
For I perceived God's light about him both wax and fire.
For the Electrical fire is the spiritual substance, which God sends from heaven to
sustain the bodies both of man and beast.
For God has blessed him in the variety of his movements.
For, tho he cannot fly, he is an excellent clamberer.
For his motions upon the face of the earth are more than any other quadrupede.
For he can tread to all the measures upon the musick.
For he can swim for life.
For he can creep.
~ Christopher Smart,
36:The Rosciad
Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.
Roscius deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume;
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage;
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive do more,
Though for each million he had brought home four?
Shuter keeps open house at Southwark fair,
And hopes the friends of humour will be there;
In Smithfield, Yates prepares the rival treat
For those who laughter love, instead of meat;
Foote, at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
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Which Wilkinson at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair,
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,
Palmer! oh! Palmer tops the jaunty part.
Seated in pit, the dwarf with aching eyes,
Looks up, and vows that Barry's out of size;
Whilst to six feet the vigorous stripling grown,
Declares that Garrick is another Coan.
When place of judgment is by whim supplied,
And our opinions have their rise in pride;
When, in discoursing on each mimic elf,
We praise and censure with an eye to self;
All must meet friends, and Ackman bids as fair,
In such a court, as Garrick, for the chair.
At length agreed, all squabbles to decide,
By some one judge the cause was to be tried;
But this their squabbles did afresh renew,
Who should be judge in such a trial:--who?
For Johnson some; but Johnson, it was fear'd,
Would be too grave; and Sterne too gay appear'd;
Others for Franklin voted; but 'twas known,
He sicken'd at all triumphs but his own:
For Colman many, but the peevish tongue
Of prudent Age found out that he was young:
For Murphy some few pilfering wits declared,
Whilst Folly clapp'd her hands, and Wisdom stared.
To mischief train'd, e'en from his mother's womb,
Grown old in fraud, though yet in manhood's bloom,
Adopting arts by which gay villains rise,
And reach the heights which honest men despise;
Mute at the bar, and in the senate loud,
Dull 'mongst the dullest, proudest of the proud;
A pert, prim, prater of the northern race,
Guilt in his heart, and famine in his face,
260
Stood forth,--and thrice he waved his lily hand,
And thrice he twirled his tye, thrice stroked his band:-At Friendship's call (thus oft, with traitorous aim,
Men void of faith usurp Faith's sacred name)
At Friendship's call I come, by Murphy sent,
Who thus by me develops his intent:
But lest, transfused, the spirit should be lost,
That spirit which, in storms of rhetoric toss'd,
Bounces about, and flies like bottled beer,
In his own words his own intentions hear.
Thanks to my friends; but to vile fortunes born,
No robes of fur these shoulders must adorn.
Vain your applause, no aid from thence I draw;
Vain all my wit, for what is wit in law?
Twice, (cursed remembrance!) twice I strove to gain
Admittance 'mongst the law-instructed train,
Who, in the Temple and Gray's Inn, prepare
For clients' wretched feet the legal snare;
Dead to those arts which polish and refine,
Deaf to all worth, because that worth was mine,
Twice did those blockheads startle at my name,
And foul rejection gave me up to shame.
To laws and lawyers then I bade adieu,
And plans of far more liberal note pursue.
Who will may be a judge--my kindling breast
Burns for that chair which Roscius once possess'd.
Here give your votes, your interest here exert,
And let success for once attend desert.
With sleek appearance, and with ambling pace,
And, type of vacant head, with vacant face,
The Proteus Hill put in his modest plea,-Let Favour speak for others, Worth for me.-For who, like him, his various powers could call
Into so many shapes, and shine in all?
Who could so nobly grace the motley list,
Actor, Inspector, Doctor, Botanist?
Knows any one so well--sure no one knows-At once to play, prescribe, compound, compose?
Who can--but Woodward came,--Hill slipp'd away,
Melting, like ghosts, before the rising day.
With that low cunning, which in fools supplies,
And amply too, the place of being wise,
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Which Nature, kind, indulgent parent, gave
To qualify the blockhead for a knave;
With that smooth falsehood, whose appearance charms,
And Reason of each wholesome doubt disarms,
Which to the lowest depths of guile descends,
By vilest means pursues the vilest ends;
Wears Friendship's mask for purposes of spite,
Pawns in the day, and butchers in the night;
With that malignant envy which turns pale,
And sickens, even if a friend prevail,
Which merit and success pursues with hate,
And damns the worth it cannot imitate;
With the cold caution of a coward's spleen,
Which fears not guilt, but always seeks a screen,
Which keeps this maxim ever in her view-What's basely done, should be done safely too;
With that dull, rooted, callous impudence,
Which, dead to shame and every nicer sense,
Ne'er blush'd, unless, in spreading Vice's snares,
She blunder'd on some virtue unawares;
With all these blessings, which we seldom find
Lavish'd by Nature on one happy mind,
A motley figure, of the Fribble tribe,
Which heart can scarce conceive, or pen describe,
Came simpering on--to ascertain whose sex
Twelve sage impannell'd matrons would perplex.
Nor male, nor female; neither, and yet both;
Of neuter gender, though of Irish growth;
A six-foot suckling, mincing in Its gait;
Affected, peevish, prim, and delicate;
Fearful It seem'd, though of athletic make,
Lest brutal breezes should too roughly shake
Its tender form, and savage motion spread,
O'er Its pale cheeks, the horrid manly red.
Much did It talk, in Its own pretty phrase,
Of genius and of taste, of players and of plays;
Much too of writings, which Itself had wrote,
Of special merit, though of little note;
For Fate, in a strange humour, had decreed
That what It wrote, none but Itself should read;
Much, too, It chatter'd of dramatic laws,
Misjudging critics, and misplaced applause;
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Then, with a self-complacent, jutting air,
It smiled, It smirk'd, It wriggled to the chair;
And, with an awkward briskness not Its own,
Looking around, and perking on the throne,
Triumphant seem'd; when that strange savage dame,
Known but to few, or only known by name,
Plain Common-Sense appear'd, by Nature there
Appointed, with plain Truth, to guard the chair,
The pageant saw, and, blasted with her frown,
To Its first state of nothing melted down.
Nor shall the Muse, (for even there the pride
Of this vain nothing shall be mortified)
Nor shall the Muse (should Fate ordain her rhymes,
Fond, pleasing thought! to live in after-times)
With such a trifler's name her pages blot;
Known be the character, the thing forgot:
Let It, to disappoint each future aim,
Live without sex, and die without a name!
Cold-blooded critics, by enervate sires
Scarce hammer'd out, when Nature's feeble fires
Glimmer'd their last; whose sluggish blood, half froze,
Creeps labouring through the veins; whose heart ne'er glows
With fancy-kindled heat;--a servile race,
Who, in mere want of fault, all merit place;
Who blind obedience pay to ancient schools,
Bigots to Greece, and slaves to musty rules;
With solemn consequence declared that none
Could judge that cause but Sophocles alone.
Dupes to their fancied excellence, the crowd,
Obsequious to the sacred dictate, bow'd.
When, from amidst the throng, a youth stood forth,
Unknown his person, not unknown his worth;
His look bespoke applause; alone he stood,
Alone he stemm'd the mighty critic flood.
He talk'd of ancients, as the man became
Who prized our own, but envied not their fame;
With noble reverence spoke of Greece and Rome,
And scorn'd to tear the laurel from the tomb.
But, more than just to other countries grown,
Must we turn base apostates to our own?
Where do these words of Greece and Rome excel,
That England may not please the ear as well?
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What mighty magic's in the place or air,
That all perfection needs must centre there?
In states, let strangers blindly be preferr'd;
In state of letters, merit should be heard.
Genius is of no country; her pure ray
Spreads all abroad, as general as the day;
Foe to restraint, from place to place she flies,
And may hereafter e'en in Holland rise.
May not, (to give a pleasing fancy scope,
And cheer a patriot heart with patriot hope)
May not some great extensive genius raise
The name of Britain 'bove Athenian praise;
And, whilst brave thirst of fame his bosom warms,
Make England great in letters as in arms?
There may--there hath,--and Shakspeare's Muse aspires
Beyond the reach of Greece; with native fires
Mounting aloft, he wings his daring flight,
Whilst Sophocles below stands trembling at his height.
Why should we then abroad for judges roam,
When abler judges we may find at home?
Happy in tragic and in comic powers,
Have we not Shakspeare?--Is not Jonson ours?
For them, your natural judges, Britons, vote;
They'll judge like Britons, who like Britons wrote.
He said, and conquer'd--Sense resumed her sway,
And disappointed pedants stalk'd away.
Shakspeare and Jonson, with deserved applause,
Joint-judges were ordain'd to try the cause.
Meantime the stranger every voice employ'd,
To ask or tell his name. Who is it? Lloyd.
Thus, when the aged friends of Job stood mute,
And, tamely prudent, gave up the dispute,
Elihu, with the decent warmth of youth,
Boldly stood forth the advocate of Truth;
Confuted Falsehood, and disabled Pride,
Whilst baffled Age stood snarling at his side.
The day of trial's fix'd, nor any fear
Lest day of trial should be put off here.
Causes but seldom for delay can call
In courts where forms are few, fees none at all.
The morning came, nor find I that the Sun,
As he on other great events hath done,
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Put on a brighter robe than what he wore
To go his journey in, the day before.
Full in the centre of a spacious plain,
On plan entirely new, where nothing vain,
Nothing magnificent appear'd, but Art
With decent modesty perform'd her part,
Rose a tribunal: from no other court
It borrow'd ornament, or sought support:
No juries here were pack'd to kill or clear,
No bribes were taken, nor oaths broken here;
No gownsmen, partial to a client's cause,
To their own purpose turn'd the pliant laws;
Each judge was true and steady to his trust,
As Mansfield wise, and as old Foster just.
In the first seat, in robe of various dyes,
A noble wildness flashing from his eyes,
Sat Shakspeare: in one hand a wand he bore,
For mighty wonders famed in days of yore;
The other held a globe, which to his will
Obedient turn'd, and own'd the master's skill:
Things of the noblest kind his genius drew,
And look'd through Nature at a single view:
A loose he gave to his unbounded soul,
And taught new lands to rise, new seas to roll;
Call'd into being scenes unknown before,
And passing Nature's bounds, was something more.
Next Jonson sat, in ancient learning train'd,
His rigid judgment Fancy's flights restrain'd;
Correctly pruned each wild luxuriant thought,
Mark'd out her course, nor spared a glorious fault.
The book of man he read with nicest art,
And ransack'd all the secrets of the heart;
Exerted penetration's utmost force,
And traced each passion to its proper source;
Then, strongly mark'd, in liveliest colours drew,
And brought each foible forth to public view:
The coxcomb felt a lash in every word,
And fools, hung out, their brother fools deterr'd.
His comic humour kept the world in awe,
And Laughter frighten'd Folly more than Law.
But, hark! the trumpet sounds, the crowd gives way,
And the procession comes in just array.
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Now should I, in some sweet poetic line,
Offer up incense at Apollo's shrine,
Invoke the Muse to quit her calm abode,
And waken Memory with a sleeping Ode.
For how shall mortal man, in mortal verse,
Their titles, merits, or their names rehearse?
But give, kind Dulness! memory and rhyme,
We 'll put off Genius till another time.
First, Order came,--with solemn step, and slow,
In measured time his feet were taught to go.
Behind, from time to time, he cast his eye,
Lest this should quit his place, that step awry.
Appearances to save his only care;
So things seem right, no matter what they are.
In him his parents saw themselves renew'd,
Begotten by Sir Critic on Saint Prude.
Then came drum, trumpet, hautboy, fiddle, flute;
Next snuffer, sweeper, shifter, soldier, mute:
Legions of angels all in white advance;
Furies, all fire, come forward in a dance;
Pantomime figures then are brought to view,
Fools, hand in hand with fools, go two by two.
Next came the treasurer of either house;
One with full purse, t'other with not a sous.
Behind, a group of figures awe create,
Set off with all the impertinence of state;
By lace and feather consecrate to fame,
Expletive kings, and queens without a name.
Here Havard, all serene, in the same strains,
Loves, hates, and rages, triumphs and complains;
His easy vacant face proclaim'd a heart
Which could not feel emotions, nor impart.
With him came mighty Davies: on my life,
That Davies hath a very pretty wife!
Statesman all over, in plots famous grown,
He mouths a sentence, as curs mouth a bone.
Next Holland came: with truly tragic stalk,
He creeps, he flies,--a hero should not walk.
As if with Heaven he warr'd, his eager eyes
Planted their batteries against the skies;
Attitude, action, air, pause, start, sigh, groan,
He borrow'd, and made use of as his own.
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By fortune thrown on any other stage,
He might, perhaps, have pleased an easy age;
But now appears a copy, and no more,
Of something better we have seen before.
The actor who would build a solid fame,
Must Imitation's servile arts disclaim;
Act from himself, on his own bottom stand;
I hate e'en Garrick thus at second-hand.
Behind came King.--Bred up in modest lore,
Bashful and young, he sought Hibernia's shore;
Hibernia, famed, 'bove every other grace,
For matchless intrepidity of face.
From her his features caught the generous flame,
And bid defiance to all sense of shame.
Tutor'd by her all rivals to surpass,
'Mongst Drury's sons he comes, and shines in Brass.
Lo, Yates! Without the least finesse of art
He gets applause--I wish he'd get his part.
When hot Impatience is in full career,
How vilely 'Hark ye! hark ye!' grates the ear;
When active fancy from the brain is sent,
And stands on tip-toe for some wish'd event,
I hate those careless blunders, which recall
Suspended sense, and prove it fiction all.
In characters of low and vulgar mould,
Where Nature's coarsest features we behold;
Where, destitute of every decent grace,
Unmanner'd jests are blurted in your face,
There Yates with justice strict attention draws,
Acts truly from himself, and gains applause.
But when, to please himself or charm his wife,
He aims at something in politer life,
When, blindly thwarting Nature's stubborn plan,
He treads the stage by way of gentleman,
The clown, who no one touch of breeding knows,
Looks like Tom Errand dress'd in Clincher's clothes.
Fond of his dress, fond of his person grown,
Laugh'd at by all, and to himself unknown,
Prom side to side he struts, he smiles, he prates,
And seems to wonder what's become of Yates.
Woodward, endow'd with various tricks of face,
Great master in the science of grimace,
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From Ireland ventures, favourite of the town,
Lured by the pleasing prospect of renown;
A speaking harlequin, made up of whim,
He twists, he twines, he tortures every limb;
Plays to the eye with a mere monkey's art,
And leaves to sense the conquest of the heart.
We laugh indeed, but, on reflection's birth,
We wonder at ourselves, and curse our mirth.
His walk of parts he fatally misplaced,
And inclination fondly took for taste;
Hence hath the town so often seen display'd
Beau in burlesque, high life in masquerade.
But when bold wits,--not such as patch up plays,
Cold and correct, in these insipid days,-Some comic character, strong featured, urge
To probability's extremest verge;
Where modest Judgment her decree suspends,
And, for a time, nor censures, nor commends;
Where critics can't determine on the spot
Whether it is in nature found or not,
There Woodward safely shall his powers exert,
Nor fail of favour where he shows desert;
Hence he in Bobadil such praises bore,
Such worthy praises, Kitely scarce had more.
By turns transform'd into all kind of shapes,
Constant to none, Foote laughs, cries, struts, and scrapes:
Now in the centre, now in van or rear,
The Proteus shifts, bawd, parson, auctioneer.
His strokes of humour, and his bursts of sport,
Are all contain'd in this one word--distort.
Doth a man stutter, look a-squint, or halt?
Mimics draw humour out of Nature's fault,
With personal defects their mirth adorn,
And bang misfortunes out to public scorn.
E'en I, whom Nature cast in hideous mould,
Whom, having made, she trembled to behold,
Beneath the load of mimicry may groan,
And find that Nature's errors are my own.
Shadows behind of Foote and Woodward came;
Wilkinson this, Obrien was that name.
Strange to relate, but wonderfully true,
That even shadows have their shadows too!
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With not a single comic power endued,
The first a mere, mere mimic's mimic stood;
The last, by Nature form'd to please, who shows,
In Johnson's Stephen, which way genius grows,
Self quite put off, affects with too much art
To put on Woodward in each mangled part;
Adopts his shrug, his wink, his stare; nay, more,
His voice, and croaks; for Woodward croak'd before.
When a dull copier simple grace neglects,
And rests his imitation in defects,
We readily forgive; but such vile arts
Are double guilt in men of real parts.
By Nature form'd in her perversest mood,
With no one requisite of art endued,
Next Jackson came--Observe that settled glare,
Which better speaks a puppet than a player;
List to that voice--did ever Discord hear
Sounds so well fitted to her untuned ear?
When to enforce some very tender part,
The right hand slips by instinct on the heart,
His soul, of every other thought bereft,
Is anxious only where to place the left;
He sobs and pants to soothe his weeping spouse;
To soothe his weeping mother, turns and bows:
Awkward, embarrass'd, stiff, without the skill
Of moving gracefully, or standing still,
One leg, as if suspicious of his brother,
Desirous seems to run away from t'other.
Some errors, handed down from age to age,
Plead custom's force, and still possess the stage.
That's vile: should we a parent's faults adore,
And err, because our fathers err'd before?
If, inattentive to the author's mind,
Some actors made the jest they could not find;
If by low tricks they marr'd fair Nature's mien,
And blurr'd the graces of the simple scene,
Shall we, if reason rightly is employ'd,
Not see their faults, or seeing, not avoid?
When Falstaff stands detected in a lie,
Why, without meaning, rolls Love's glassy eye?
Why? There's no cause--at least no cause we know-It was the fashion twenty years ago.
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Fashion!--a word which knaves and fools may use,
Their knavery and folly to excuse.
To copy beauties, forfeits all pretence
To fame--to copy faults, is want of sense.
Yet (though in some particulars he fails,
Some few particulars, where mode prevails)
If in these hallow'd times, when, sober, sad,
All gentlemen are melancholy mad;
When 'tis not deem'd so great a crime by half
To violate a vestal as to laugh,
Rude mirth may hope, presumptuous, to engage
An act of toleration for the stage;
And courtiers will, like reasonable creatures,
Suspend vain fashion, and unscrew their features;
Old Falstaff, play'd by Love, shall please once more,
And humour set the audience in a roar.
Actors I've seen, and of no vulgar name,
Who, being from one part possess'd of fame,
Whether they are to laugh, cry, whine, or bawl,
Still introduce that favourite part in all.
Here, Love, be cautious--ne'er be thou betray'd
To call in that wag Falstaff's dangerous aid;
Like Goths of old, howe'er he seems a friend,
He'll seize that throne you wish him to defend.
In a peculiar mould by Humour cast,
For Falstaff framed--himself the first and last-He stands aloof from all--maintains his state,
And scorns, like Scotsmen, to assimilate.
Vain all disguise--too plain we see the trick,
Though the knight wears the weeds of Dominic;
And Boniface disgraced, betrays the smack,
In _anno Domini_, of Falstaff sack.
Arms cross'd, brows bent, eyes fix'd, feet marching slow,
A band of malcontents with spleen o'erflow;
Wrapt in Conceit's impenetrable fog,
Which Pride, like Phoebus, draws from every bog,
They curse the managers, and curse the town
Whose partial favour keeps such merit down.
But if some man, more hardy than the rest,
Should dare attack these gnatlings in their nest,
At once they rise with impotence of rage,
Whet their small stings, and buzz about the stage:
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'Tis breach of privilege! Shall any dare
To arm satiric truth against a player?
Prescriptive rights we plead, time out of mind;
Actors, unlash'd themselves, may lash mankind.
What! shall Opinion then, of nature free,
And liberal as the vagrant air, agree
To rust in chains like these, imposed by things,
Which, less than nothing, ape the pride of kings?
No--though half-poets with half-players join
To curse the freedom of each honest line;
Though rage and malice dim their faded cheek,
What the Muse freely thinks, she'll freely speak;
With just disdain of every paltry sneer,
Stranger alike to flattery and fear,
In purpose fix'd, and to herself a rule,
Public contempt shall wait the public fool.
Austin would always glisten in French silks;
Ackman would Norris be, and Packer, Wilkes:
For who, like Ackman, can with humour please;
Who can, like Packer, charm with sprightly ease?
Higher than all the rest, see Bransby strut:
A mighty Gulliver in Lilliput!
Ludicrous Nature! which at once could show
A man so very high, so very low!
If I forget thee, Blakes, or if I say
Aught hurtful, may I never see thee play.
Let critics, with a supercilious air,
Decry thy various merit, and declare
Frenchman is still at top; but scorn that rage
Which, in attacking thee, attacks the age.
French follies, universally embraced,
At once provoke our mirth, and form our taste.
Long, from a nation ever hardly used,
At random censured, wantonly abused,
Have Britons drawn their sport; with partial view
Form'd general notions from the rascal few;
Condemn'd a people, as for vices known,
Which from their country banish'd, seek our own.
At length, howe'er, the slavish chain is broke,
And Sense, awaken'd, scorns her ancient yoke:
Taught by thee, Moody, we now learn to raise
Mirth from their foibles; from their virtues, praise.
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Next came the legion which our summer Bayes,
From alleys, here and there, contrived to raise,
Flush'd with vast hopes, and certain to succeed,
With wits who cannot write, and scarce can read.
Veterans no more support the rotten cause,
No more from Elliot's worth they reap applause;
Each on himself determines to rely;
Be Yates disbanded, and let Elliot fly.
Never did players so well an author fit,
To Nature dead, and foes declared to wit.
So loud each tongue, so empty was each head,
So much they talk'd, so very little said,
So wondrous dull, and yet so wondrous vain,
At once so willing, and unfit to reign,
That Reason swore, nor would the oath recall,
Their mighty master's soul inform'd them all.
As one with various disappointments sad,
Whom dulness only kept from being mad,
Apart from all the rest great Murphy came-Common to fools and wits, the rage of fame.
What though the sons of Nonsense hail him Sire,
Auditor, Author, Manager, and Squire,
His restless soul's ambition stops not there;
To make his triumphs perfect, dub him Player.
In person tall, a figure form'd to please,
If symmetry could charm deprived of ease;
When motionless he stands, we all approve;
What pity 'tis the thing was made to move.
His voice, in one dull, deep, unvaried sound,
Seems to break forth from caverns under ground;
From hollow chest the low sepulchral note
Unwilling heaves, and struggles in his throat.
Could authors butcher'd give an actor grace,
All must to him resign the foremost place.
When he attempts, in some one favourite part,
To ape the feelings of a manly heart,
His honest features the disguise defy,
And his face loudly gives his tongue the lie.
Still in extremes, he knows no happy mean,
Or raving mad, or stupidly serene.
In cold-wrought scenes, the lifeless actor flags;
In passion, tears the passion into rags.
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Can none remember? Yes--I know all must-When in the Moor he ground his teeth to dust,
When o'er the stage he Folly's standard bore,
Whilst Common-Sense stood trembling at the door.
How few are found with real talents blest!
Fewer with Nature's gifts contented rest.
Man from his sphere eccentric starts astray:
All hunt for fame, but most mistake the way.
Bred at St Omer's to the shuffling trade,
The hopeful youth a Jesuit might have made;
With various readings stored his empty skull,
Learn'd without sense, and venerably dull;
Or, at some banker's desk, like many more,
Content to tell that two and two make four;
His name had stood in City annals fair,
And prudent Dulness mark'd him for a mayor.
What, then, could tempt thee, in a critic age,
Such blooming hopes to forfeit on a stage?
Could it be worth thy wondrous waste of pains
To publish to the world thy lack of brains?
Or might not Reason e'en to thee have shown,
Thy greatest praise had been to live unknown?
Yet let not vanity like thine despair:
Fortune makes Folly her peculiar care.
A vacant throne, high-placed in Smithfield, view.
To sacred Dulness and her first-born due,
Thither with haste in happy hour repair,
Thy birthright claim, nor fear a rival there.
Shuter himself shall own thy juster claim,
And venal Ledgers puff their Murphy's name;
Whilst Vaughan, or Dapper, call him which you will,
Shall blow the trumpet, and give out the bill.
There rule, secure from critics and from sense,
Nor once shall Genius rise to give offence;
Eternal peace shall bless the happy shore,
And little factions break thy rest no more.
From Covent Garden crowds promiscuous go,
Whom the Muse knows not, nor desires to know;
Veterans they seem'd, but knew of arms no more
Than if, till that time, arms they never bore:
Like Westminster militia train'd to fight,
They scarcely knew the left hand from the right.
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Ashamed among such troops to show the head,
Their chiefs were scatter'd, and their heroes fled.
Sparks at his glass sat comfortably down
To separate frown from smile, and smile from frown.
Smith, the genteel, the airy, and the smart,
Smith was just gone to school to say his part.
Ross (a misfortune which we often meet)
Was fast asleep at dear Statira's feet;
Statira, with her hero to agree,
Stood on her feet as fast asleep as he.
Macklin, who largely deals in half-form'd sounds,
Who wantonly transgresses Nature's bounds,
Whose acting's hard, affected, and constrain'd,
Whose features, as each other they disdain'd,
At variance set, inflexible and coarse,
Ne'er know the workings of united force,
Ne'er kindly soften to each other's aid,
Nor show the mingled powers of light and shade;
No longer for a thankless stage concern'd,
To worthier thoughts his mighty genius turn'd,
Harangued, gave lectures, made each simple elf
Almost as good a speaker as himself;
Whilst the whole town, mad with mistaken zeal,
An awkward rage for elocution feel;
Dull cits and grave divines his praise proclaim,
And join with Sheridan's their Macklin's name.
Shuter, who never cared a single pin
Whether he left out nonsense, or put in,
Who aim'd at wit, though, levell'd in the dark,
The random arrow seldom hit the mark,
At Islington, all by the placid stream
Where city swains in lap of Dulness dream,
Where quiet as her strains their strains do flow,
That all the patron by the bards may know,
Secret as night, with Rolt's experienced aid,
The plan of future operations laid,
Projected schemes the summer months to cheer,
And spin out happy folly through the year.
But think not, though these dastard chiefs are fled,
That Covent Garden troops shall want a head:
Harlequin comes their chief! See from afar
The hero seated in fantastic car!
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Wedded to Novelty, his only arms
Are wooden swords, wands, talismans, and charms;
On one side Folly sits, by some call'd Fun,
And on the other his arch-patron, Lun;
Behind, for liberty athirst in vain,
Sense, helpless captive, drags the galling chain:
Six rude misshapen beasts the chariot draw,
Whom Reason loathes, and Nature never saw,
Monsters with tails of ice, and heads of fire;
'Gorgons, and Hydras, and Chimeras dire.'
Each was bestrode by full as monstrous wight,
Giant, dwarf, genius, elf, hermaphrodite.
The Town, as usual, met him in full cry;
The Town, as usual, knew no reason why:
But Fashion so directs, and Moderns raise
On Fashion's mouldering base their transient praise.
Next, to the field a band of females draw
Their force, for Britain owns no Salique law:
Just to their worth, we female rights admit,
Nor bar their claim to empire or to wit.
First giggling, plotting chambermaids arrive,
Hoydens and romps, led on by General Clive.
In spite of outward blemishes, she shone,
For humour famed, and humour all her own:
Easy, as if at home, the stage she trod,
Nor sought the critic's praise, nor fear'd his rod:
Original in spirit and in ease,
She pleased by hiding all attempts to please:
No comic actress ever yet could raise,
On Humour's base, more merit or more praise.
With all the native vigour of sixteen,
Among the merry troop conspicuous seen,
See lively Pope advance, in jig, and trip
Corinna, Cherry, Honeycomb, and Snip:
Not without art, but yet to nature true,
She charms the town with humour just, yet new:
Cheer'd by her promise, we the less deplore
The fatal time when Olive shall be no more.
Lo! Vincent comes! With simple grace array'd,
She laughs at paltry arts, and scorns parade:
Nature through her is by reflection shown,
Whilst Gay once more knows Polly for his own.
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Talk not to me of diffidence and fear-I see it all, but must forgive it here;
Defects like these, which modest terrors cause,
From Impudence itself extort applause.
Candour and Reason still take Virtue's part;
We love e'en foibles in so good a heart.
Let Tommy Arne,--with usual pomp of style,
Whose chief, whose only merit's to compile;
Who, meanly pilfering here and there a bit,
Deals music out as Murphy deals out wit,-Publish proposals, laws for taste prescribe,
And chaunt the praise of an Italian tribe;
Let him reverse kind Nature's first decrees,
And teach e'en Brent a method not to please;
But never shall a truly British age
Bear a vile race of eunuchs on the stage;
The boasted work's call'd national in vain,
If one Italian voice pollutes the strain.
Where tyrants rule, and slaves with joy obey,
Let slavish minstrels pour the enervate lay;
To Britons far more noble pleasures spring,
In native notes whilst Beard and Vincent sing.
Might figure give a title unto fame,
What rival should with Yates dispute her claim?
But justice may not partial trophies raise,
Nor sink the actress' in the woman's praise.
Still hand in hand her words and actions go,
And the heart feels more than the features show;
For, through the regions of that beauteous face
We no variety of passions trace;
Dead to the soft emotions of the heart,
No kindred softness can those eyes impart:
The brow, still fix'd in sorrow's sullen frame,
Void of distinction, marks all parts the same.
What's a fine person, or a beauteous face,
Unless deportment gives them decent grace?
Bless'd with all other requisites to please,
Some want the striking elegance of ease;
The curious eye their awkward movement tires;
They seem like puppets led about by wires.
Others, like statues, in one posture still,
Give great ideas of the workman's skill;
276
Wond'ring, his art we praise the more we view,
And only grieve he gave not motion too.
Weak of themselves are what we beauties call,
It is the manner which gives strength to all;
This teaches every beauty to unite,
And brings them forward in the noblest light;
Happy in this, behold, amidst the throng,
With transient gleam of grace, Hart sweeps along.
If all the wonders of external grace,
A person finely turn'd, a mould of face,
Where--union rare--expression's lively force
With beauty's softest magic holds discourse,
Attract the eye; if feelings, void of art,
Rouse the quick passions, and inflame the heart;
If music, sweetly breathing from the tongue,
Captives the ear, Bride must not pass unsung.
When fear, which rank ill-nature terms conceit,
By time and custom conquer'd, shall retreat;
When judgment, tutor'd by experience sage,
Shall shoot abroad, and gather strength from age;
When Heaven, in mercy, shall the stage release
From the dull slumbers of a still-life piece;
When some stale flower, disgraceful to the walk,
Which long hath hung, though wither'd, on the stalk,
Shall kindly drop, then Bride shall make her way,
And merit find a passage to the day;
Brought into action, she at once shall raise
Her own renown, and justify our praise.
Form'd for the tragic scene, to grace the stage
With rival excellence of love and rage;
Mistress of each soft art, with matchless skill
To turn and wind the passions as she will;
To melt the heart with sympathetic woe,
Awake the sigh, and teach the tear to flow;
To put on frenzy's wild, distracted glare,
And freeze the soul with horror and despair;
With just desert enroll'd in endless fame,
Conscious of worth superior, Cibber came.
When poor Alicia's madd'ning brains are rack'd,
And strongly imaged griefs her mind distract,
Struck with her grief, I catch the madness too,
My brain turns round, the headless trunk I view!
277
The roof cracks, shakes, and falls--new horrors rise,
And Reason buried in the ruin lies!
Nobly disdainful of each slavish art,
She makes her first attack upon the heart;
Pleased with the summons, it receives her laws,
And all is silence, sympathy, applause.
But when, by fond ambition drawn aside,
Giddy with praise, and puff'd with female pride,
She quits the tragic scene, and, in pretence
To comic merit, breaks down nature's fence,
I scarcely can believe my ears or eyes,
Or find out Cibber through the dark disguise.
Pritchard, by Nature for the stage design'd,
In person graceful, and in sense refined;
Her art as much as Nature's friend became,
Her voice as free from blemish as her fame,
Who knows so well in majesty to please,
Attemper'd with the graceful charms of ease?
When, Congreve's favoured pantomime to grace,
She comes a captive queen, of Moorish race;
When love, hate, jealousy, despair, and rage
With wildest tumults in her breast engage,
Still equal to herself is Zara seen;
Her passions are the passions of a queen.
When she to murder whets the timorous Thane,
I feel ambition rush through every vein;
Persuasion hangs upon her daring tongue,
My heart grows flint, and every nerve's new strung.
In comedy--Nay, there, cries Critic, hold;
Pritchard's for comedy too fat and old:
Who can, with patience, bear the gray coquette,
Or force a laugh with over-grown Julett?
Her speech, look, action, humour, all are just,
But then, her age and figure give disgust.
Are foibles, then, and graces of the mind,
In real life, to size or age confined?
Do spirits flow, and is good-breeding placed
In any set circumference of waist?
As we grow old, doth affectation cease,
Or gives not age new vigour to caprice?
If in originals these things appear,
Why should we bar them in the copy here?
278
The nice punctilio-mongers of this age,
The grand minute reformers of the stage,
Slaves to propriety of every kind,
Some standard measure for each part should find,
Which, when the best of actors shall exceed,
Let it devolve to one of smaller breed.
All actors, too, upon the back should bear
Certificate of birth; time, when; place, where;
For how can critics rightly fix their worth,
Unless they know the minute of their birth?
An audience, too, deceived, may find, too late,
That they have clapp'd an actor out of date.
Figure, I own, at first may give offence,
And harshly strike the eye's too curious sense;
But when perfections of the mind break forth,
Humour's chaste sallies, judgment's solid worth;
When the pure genuine flame by Nature taught,
Springs into sense and every action's thought;
Before such merit all objections fly-Pritchard's genteel, and Garrick's six feet high.
Oft have I, Pritchard, seen thy wondrous skill,
Confess'd thee great, but find thee greater still;
That worth, which shone in scatter'd rays before,
Collected now, breaks forth with double power.
The 'Jealous Wife!' on that thy trophies raise,
Inferior only to the author's praise.
From Dublin, famed in legends of romance
For mighty magic of enchanted lance,
With which her heroes arm'd, victorious prove,
And, like a flood, rush o'er the land of Love,
Mossop and Barry came--names ne'er design'd
By Fate in the same sentence to be join'd.
Raised by the breath of popular acclaim,
They mounted to the pinnacle of fame;
There the weak brain, made giddy with the height,
Spurr'd on the rival chiefs to mortal fight.
Thus sportive boys, around some basin's brim,
Behold the pipe-drawn bladders circling swim;
But if, from lungs more potent, there arise
Two bubbles of a more than common size,
Eager for honour, they for fight prepare,
Bubble meets bubble, and both sink to air.
279
Mossop attach'd to military plan,
Still kept his eye fix'd on his right-hand man;
Whilst the mouth measures words with seeming skill,
The right hand labours, and the left lies still;
For he, resolved on Scripture grounds to go,
What the right doth, the left-hand shall not know,
With studied impropriety of speech,
He soars beyond the hackney critic's reach;
To epithets allots emphatic state,
Whilst principals, ungraced, like lackeys wait;
In ways first trodden by himself excels,
And stands alone in indeclinables;
Conjunction, preposition, adverb join
To stamp new vigour on the nervous line;
In monosyllables his thunders roll,
He, she, it, and we, ye, they, fright the soul.
In person taller than the common size,
Behold where Barry draws admiring eyes!
When labouring passions, in his bosom pent,
Convulsive rage, and struggling heave for vent;
Spectators, with imagined terrors warm,
Anxious expect the bursting of the storm:
But, all unfit in such a pile to dwell,
His voice comes forth, like Echo from her cell,
To swell the tempest needful aid denies,
And all adown the stage in feeble murmurs dies.
What man, like Barry, with such pains, can err
In elocution, action, character?
What man could give, if Barry was not here,
Such well applauded tenderness to Lear?
Who else can speak so very, very fine,
That sense may kindly end with every line?
Some dozen lines before the ghost is there,
Behold him for the solemn scene prepare:
See how he frames his eyes, poises each limb,
Puts the whole body into proper trim:-From whence we learn, with no great stretch of art,
Five lines hence comes a ghost, and, ha! a start.
When he appears most perfect, still we find
Something which jars upon and hurts the mind:
Whatever lights upon a part are thrown,
We see too plainly they are not his own:
280
No flame from Nature ever yet he caught,
Nor knew a feeling which he was not taught:
He raised his trophies on the base of art,
And conn'd his passions, as he conn'd his part.
Quin, from afar, lured by the scent of fame,
A stage leviathan, put in his claim,
Pupil of Betterton and Booth. Alone,
Sullen he walk'd, and deem'd the chair his own:
For how should moderns, mushrooms of the day,
Who ne'er those masters knew, know how to play?
Gray-bearded veterans, who, with partial tongue,
Extol the times when they themselves were young,
Who, having lost all relish for the stage,
See not their own defects, but lash the age,
Received, with joyful murmurs of applause,
Their darling chief, and lined his favourite cause.
Far be it from the candid Muse to tread
Insulting o'er the ashes of the dead:
But, just to living merit, she maintains,
And dares the test, whilst Garrick's genius reigns,
Ancients in vain endeavour to excel,
Happily praised, if they could act as well.
But, though prescription's force we disallow,
Nor to antiquity submissive bow;
Though we deny imaginary grace,
Founded on accidents of time and place,
Yet real worth of every growth shall bear
Due praise; nor must we, Quin, forget thee there.
His words bore sterling weight; nervous and strong,
In manly tides of sense they roll'd along:
Happy in art, he chiefly had pretence
To keep up numbers, yet not forfeit sense;
No actor ever greater heights could reach
In all the labour'd artifice of speech.
Speech! is that all? And shall an actor found
An universal fame on partial ground?
Parrots themselves speak properly by rote,
And, in six months, my dog shall howl by note.
I laugh at those who, when the stage they tread,
Neglect the heart, to compliment the head;
With strict propriety their cares confined
To weigh out words, while passion halts behind:
281
To syllable-dissectors they appeal,
Allow them accent, cadence,--fools may feel;
But, spite of all the criticising elves,
Those who would make us feel, must feel themselves.
His eyes, in gloomy socket taught to roll,
Proclaim'd the sullen 'habit of his soul:'
Heavy and phlegmatic he trod the stage,
Too proud for tenderness, too dull for rage.
When Hector's lovely widow shines in tears,
Or Rowe's gay rake dependent virtue jeers,
With the same cast of features he is seen
To chide the libertine, and court the queen.
From the tame scene, which without passion flows,
With just desert his reputation rose;
Nor less he pleased, when, on some surly plan,
He was, at once, the actor and the man.
In Brute he shone unequall'd: all agree
Garrick's not half so great a Brute as he.
When Cato's labour'd scenes are brought to view,
With equal praise the actor labour'd too;
For still you'll find, trace passions to their root,
Small difference 'twixt the Stoic and the Brute.
In fancied scenes, as in life's real plan,
He could not, for a moment, sink the man.
In whate'er cast his character was laid,
Self still, like oil, upon the surface play'd.
Nature, in spite of all his skill, crept in:
Horatio, Dorax, Falstaff,--still 'twas Quin.
Next follows Sheridan. A doubtful name,
As yet unsettled in the rank of fame:
This, fondly lavish in his praises grown,
Gives him all merit; that allows him none;
Between them both, we'll steer the middle course,
Nor, loving praise, rob Judgment of her force.
Just his conceptions, natural and great,
His feelings strong, his words enforced with weight.
Was speech-famed Quin himself to hear him speak,
Envy would drive the colour from his cheek;
But step-dame Nature, niggard of her grace,
Denied the social powers of voice and face.
Fix'd in one frame of features, glare of eye,
Passions, like chaos, in confusion lie;
282
In vain the wonders of his skill are tried
To form distinctions Nature hath denied.
His voice no touch of harmony admits,
Irregularly deep, and shrill by fits.
The two extremes appear like man and wife,
Coupled together for the sake of strife.
His action's always strong, but sometimes such,
That candour must declare he acts too much.
Why must impatience fall three paces back?
Why paces three return to the attack?
Why is the right leg, too, forbid to stir,
Unless in motion semicircular?
Why must the hero with the Nailor vie,
And hurl the close-clench'd fist at nose or eye?
In Royal John, with Philip angry grown,
I thought he would have knock'd poor Davies down.
Inhuman tyrant! was it not a shame
To fright a king so harmless and so tame?
But, spite of all defects, his glories rise,
And art, by judgment form'd, with nature vies.
Behold him sound the depth of Hubert's soul,
Whilst in his own contending passions roll;
View the whole scene, with critic judgment scan,
And then deny him merit, if you can.
Where he falls short, 'tis Nature's fault alone;
Where he succeeds, the merit's all his own.
Last Garrick came. Behind him throng a train
Of snarling critics, ignorant as vain.
One finds out--He's of stature somewhat low-Your hero always should be tall, you know;
True natural greatness all consists in height.
Produce your voucher, Critic.--Serjeant Kite.
Another can't forgive the paltry arts
By which he makes his way to shallow hearts;
Mere pieces of finesse, traps for applause-'Avaunt! unnatural start, affected pause!'
For me, by Nature form'd to judge with phlegm,
I can't acquit by wholesale, nor condemn.
The best things carried to excess are wrong;
The start may be too frequent, pause too long:
But, only used in proper time and place,
Severest judgment must allow them grace.
283
If bunglers, form'd on Imitation's plan,
Just in the way that monkeys mimic man,
Their copied scene with mangled arts disgrace,
And pause and start with the same vacant face,
We join the critic laugh; those tricks we scorn
Which spoil the scenes they mean them to adorn.
But when, from Nature's pure and genuine source,
These strokes of acting flow with generous force,
When in the features all the soul's portray'd,
And passions, such as Garrick's, are display'd,
To me they seem from quickest feelings caught-Each start is nature, and each pause is thought.
When reason yields to passion's wild alarms,
And the whole state of man is up in arms,
What but a critic could condemn the player
For pausing here, when cool sense pauses there?
Whilst, working from the heart, the fire I trace,
And mark it strongly flaming to the face;
Whilst in each sound I hear the very man,
I can't catch words, and pity those who can.
Let wits, like spiders, from the tortured brain
Fine-draw the critic-web with curious pain;
The gods,--a kindness I with thanks must pay,-Have form'd me of a coarser kind of clay;
Not stung with envy, nor with spleen diseased,
A poor dull creature, still with Nature pleased:
Hence to thy praises, Garrick, I agree,
And, pleased with Nature, must be pleased with thee.
Now might I tell how silence reign'd throughout,
And deep attention hush'd the rabble rout;
How every claimant, tortured with desire,
Was pale as ashes, or as red as fire;
But loose to fame, the Muse more simply acts,
Rejects all flourish, and relates mere facts.
The judges, as the several parties came,
With temper heard, with judgment weigh'd each claim;
And, in their sentence happily agreed,
In name of both, great Shakspeare thus decreed:-If manly sense, if Nature link'd with Art;
If thorough knowledge of the human heart;
If powers of acting vast and unconfined;
If fewest faults with greatest beauties join'd;
284
If strong expression, and strange powers which lie
Within the magic circle of the eye;
If feelings which few hearts like his can know,
And which no face so well as his can show,
Deserve the preference--Garrick! take the chair;
Nor quit it--till thou place an equal there.
~ Charles Churchill,

IN CHAPTERS [11/11]



   2 Occultism
   2 Integral Yoga
   1 Thelema
   1 Poetry
   1 Philosophy
   1 Christianity
   1 Alchemy


   3 Sri Aurobindo
   2 Aleister Crowley




0.00 - The Book of Lies Text, #The Book of Lies, #Aleister Crowley, #Philosophy
    The Conditioned is Father of the preposition.
    The Article also marketh Division; but the Inter-

05.10 - Knowledge by Identity, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
   In seeking to disvalue the principle of identity as a fundamental element in knowing, Prof. Das brings in to witness on his side the logical copula. Some logicians, of course, assert a parallelism if not identity between the laws of thought and the laws of language, language being conceived as the very imagea photographof thought, but the truth of the matter is that it is and it is not so, as in many other things. However, here when it is stated that the copula disjoining the subject and the predicate is the very pattern of all process of knowledge, one mistakes, we are afraid, a scheme or a formula, for the thing itself, a way of understanding a fact for the fact itself. Such a formula for understanding, however it may be valid for more or less analytical languages, those of later growth, need not and did not have the same propriety in respect of other older languages. We know the evolution of language has been in the direction of more and more disjunction of its component limbs even like the progression of the human mind and intellect. The modern analytical languages with their army of independent prepositions have taken the place of the classical languages which were predominantly inflexional. The Greek and Latin started the independent prepositional forms in the form of a fundamentally inflexional structure. Still further back, in Sanskrit for example, the inflexional form reigns supreme. Prefixes and affixes served the role of prepositions. And if we move further backward, the synthetic movement is so complete that the logical components (the subject, the copula, the predicate) are fused together into one symbol (the Chinese ideogram). We are here nearer to the original nature and pattern of knowledgea single homogeneous movement of apperception. There is no sanctity or absoluteness in the logical disposition of thought structure; the Aristotelian makes it a triplicity, the Indian Nyaya would extend the dissection to five or seven limbs. But whatever the logical presentation, the original psychological movement is a single indivisible lan and the Vedantic fusion of the knower, the knowledge and the known in identity remains the fundamental fact.
   Calcutta Review, 1948 August-September.

1.03 - The House Of The Lord, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
  There were occasions, though rare, when we had to intrude upon his strict privacy. An urgent call from the Ashram Press about some proof corrections of his book demanded his immediate attention. I cautiously approached from behind and stood near him. He asked without turning my way, in an impersonal tone, "What is it?" A moment's ripple in the vast even ocean of silence. The Mother always felt that pervasive silence whenever she entered the room. I informed him of the queries from the Press. There were some proof-readers who had the Johnsonian mind; they could not accept Sri Aurobindo's flexible use of prepositions or some new turns of phrases. Either they thought these were due to oversight or was it their grammarian pedantry that made them wiser than he? At last he had to remark, "Let them not interfere with my English!" His admonitions were always gentle. When the Mother heard about it, she observed, "How do they dare correct his English? Sri Aurobindo is a gentleman; he won't say anything that might hurt I am not a gentleman." We understood very well what the Mother meant. A few anecdotes to illustrate the point. When Sri Aurobindo was living with his family in Calcutta, Sarojini, his younger sister, made frequent complaints about the rudeness and impertinence of their cook. Sri Aurobindo simply listened and forgot all about it. Sarojini at last lost her patience and urged upon him a drastic step. Sri Aurobindo called the cook in a grave voice and asked, "I hear you have behaved rudely. Don't do it again!" Everybody was disappointed at this anticlimax and realised that no further strictness could be expected of him. So too when the Mother once brought a complaint to him against a sadhak who, in a fit of temper, had beaten somebody, "This is the third time! What should be done? I want your sanction, Lord," she said. Sri Aurobindo calmly replied, "Let him be given a final warning." We knew very well that this "final warning" could not be really final.
  The long stretch of silence ceased only with the arrival of his first and principal meal of the day. Still we hardly ever heard him express that his "stomach was getting unsteady". The day's second meal, supper, had to be quite light. Let me stress one thing at the very outset: in his whole tenor of life, he followed the rule laid down by the Gita, moderation in everything. This was his teaching as well as his practice. To look at the outward commonplaceness of his life, eating, sleeping, joking, etc., and to make a leaping statement that here was another man like oneself, would be logical, but not true. Similarly in Sri Aurobindo's Yoga, even a high experience must not disturb the normal rhythm of life. Naturally, I was extremely curious, and so were the others, I believe, to see what kind of food he took; had he any preference for a particular dish and how much had he in common with our taste? We had to wait a long time before he regained his health, and could sit up and "enjoy" a proper meal. As soon as people learnt about it, dishes from various sadhikas began to pour in as for the Deity in the temple. And just as the Deity does, so did he, or rather the Mother did on his behalf: only a little from a dish was offered to him and all the rest was sent back as prasd. For his regular meal, there were a few devotees like Amiya, Nolina and Mridu selected by the Mother for their good cooking, which Sri Aurobindo specially liked. Mridu was a simple Bengali village widow. She, like other ladies here, called Sri Aurobindo her father, and took great pride in cooking for him. Her "father" liked her luchis very much, she would boast, and these creations of hers have been immortalised by him in one of his letters to her. She was given to maniacal fits of threatening suicide, and Sri Aurobindo would console her with, "If you commit suicide, who will cook luchis for me?" Her cooking got such wide publicity that the house she lived in was named Prasd. Food from the devotees, though tasty, was sometimes too greasy or spicy, and once it did not agree with him. So a separate kitchen, known as the Mother's Kitchen, was started for preparing only the Mother's and Sri Aurobindo's food. It was done under the most perfect hygienic conditions following the Mother's own special instructions. Her insistence is always on cleanliness. (She said in a recent message: Cleanliness is the first indispensable step towards the supramental manifestation...) I questioned Sri Aurobindo about this: "I wonder why the Divine is so particular about contagion, infection, etc. Is he vulnerable to the virus and the microbe?" He replied, "And why on earth should you expect the Divine to feed himself on germs and bacilli and poisons of all kinds? Singular theology, yours!"

1.201 - Socrates, #Symposium, #Plato, #Philosophy
  Here and at 204b in the same phrase Diotima expresses love of beauty by, unusually, the preposition peri, which more properly means love in the matter of the beautiful. At 206e she is going to claim that Love is not simply of beauty or of the beautiful but of procreating and giving birth in the beautiful, thus refining what she had said at 203c and 204b. It would appear that in these two places Diotima uses peri rather than the simple of so as not to commit herself. phronesis. 161 Lover of wisdom from philosophein. 162 sophistes. 163 kalos kagathos. phronimos.
  40

1.28 - Need to Define God, Self, etc., #Magick Without Tears, #Aleister Crowley, #Philosophy
  2. "Within." If you don't mind, we'll tackle this now, while "higher" is fresh in our minds; for it is also a preposition. First you want to go up; then you want to go in. Why?
  As "higher" gave the idea of aggression, of conquest, "within" usually implies safety. Always we get back to that stage of history when the social unit, based on the family, was little less than condition No. 1 of survival. The house, the castle, the fortified camp, the city wall; the "gens," the clan, the tribe, the "patrie," to be outside means danger from cold, hunger and thirst, raiding parties, highway robbers, bears, wolves, and tigers. To go out was to take a risk; and, your labour and courage being assets to your kinsmen, you were also a bad man; in fact, a "bounder" or "outsider." "Debauch" is simply "to go out of doors!" St. John says: "without are dogs and sorcerers and whoremongers and adulterers and idolaters and..." so on.[52]

1.jk - To ......., #Keats - Poems, #John Keats, #Poetry
  'Given by Lord Houghton among the Literary Remains in Volume II of the Life, Letters &c. (1848), with the date 1817. Hitherto this poem has been headed "On. . . ."; but it is so distinctly an address that 'To' seems to be the right preposition. It is not stated to whom the verses are addressed. In Woodhouse's interleaved copy of Endymion is a transcript evidently made from a working draft. Woodhouse has copied in his careful and minute way the whole manuscript with its erasures, the first of which is a cancelled opening quatrain: --
  "Think not of it gentle sweet

2.04 - Agni, the Illumined Will, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
  The Sanskrit expression is here a kr.n.udhvam. The preposition gives the idea of a drawing upon oneself of something outside and the working or shaping it out in our own consciousness. A kr. corresponds to the converse expression, a bhu, used of the gods when they approach the mortal with the contact of Immortality and, divine form of godhead falling on form of humanity, "become", take shape, as it were, in him. The
  282

3 - Commentaries and Annotated Translations, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
  language pEr as preposition governs the second case even when
  it is part of a compound verb, adjective or noun; it had not
  --
  finality or intended or accomplished arrival. The preposition aA
  originally conveyed the idea of general relation; in this compound the sense of approach and arrival predominates. The
  --
  only as emphatic adverbs, prepositions or conjunctions. We find
  similarly a, i, u used by themselves as emphatic particles, or
  --
  up. The preposition expresses relation or subjection.
  doqAvs^. doqA is twilight or darkness; av,, protector.
  --
  by him into aEB and the second preposition is not Et; the
  verse speaks of -TAn not EtSA. Sayana quite missed the Vedic
  --
  aA c .. En c, gives importance to the prepositions; there
  are two immediately successive actions, the motion of the Rishi

BOOK I. -- PART II. THE EVOLUTION OF SYMBOLISM IN ITS APPROXIMATE ORDER, #The Secret Doctrine, #H P Blavatsky, #Theosophy
  , or the first word of Genesis, with its prepositional prefix, signifying the same
  concreted general form

BOOK XVII. - The history of the city of God from the times of the prophets to Christ, #City of God, #Saint Augustine of Hippo, #Christianity
  In this way, too, the kingdom of Saul himself, who certainly was reprobated and rejected, was the shadow of a kingdom yet to come which should remain to eternity. For, indeed, the oil with which he was anointed, and from that chrism he is called Christ, is to be taken in a mystical sense, and is to be understood as a great mystery; which David himself venerated so much in him, that he trembled with smitten heart when, being hid in a dark cave, which Saul also entered when pressed by the necessity of nature, he had come secretly behind him and cut off a small piece of his robe, that he might be able to prove how he had spared him when he could have killed him, and might thus remove from his mind the suspicion through which he had vehemently persecuted the holy David, thinking him his enemy. Therefore he was much afraid lest he should be accused of violating so great a mystery in Saul, because he had thus meddled even his clothes. For thus it is written: "And David's heart smote him because he had taken away the skirt of his[Pg 185] cloak."[391] But to the men with him, who advised him to destroy Saul thus delivered up into his hands, he saith, "The Lord forbid that I should do this thing to my lord, the Lord's christ, to lay my hand upon him, because he is the Lord's christ." Therefore he showed so great reverence to this shadow of what was to come, not for its own sake, but for the sake of what it prefigured. Whence also that which Samuel says to Saul, "Since thou hast not kept my commandment which the Lord commanded thee, whereas now the Lord would have prepared thy kingdom over Israel for ever, yet now thy kingdom shall not continue for thee; and the Lord will seek Him a man after His own heart, and the Lord will comm and him to be prince over His people, because thou hast not kept that which the Lord commanded thee,"[392] is not to be taken as if God had settled that Saul himself should reign for ever, and afterwards, on his sinning, would not keep this promise; nor was He ignorant that he would sin, but He had established his kingdom that it might be a figure of the eternal kingdom. Therefore he added, "Yet now thy kingdom shall not continue for thee." Therefore what it signified has stood and shall stand; but it shall not stand for this man, because he himself was not to reign for ever, nor his offspring; so that at least that word "for ever" might seem to be fulfilled through his posterity one to another. "And the Lord," he saith, "will seek Him a man," meaning either David or the Mediator of the New Testament,[393] who was figured in the chrism with which David also and his offspring was anointed. But it is not as if He knew not where he was that God thus seeks Him a man, but, speaking through a man, He speaks as a man, and in this sense seeks us. For not only to God the Father, but also to His Only-begotten, who came to seek what was lost,[394] we had been known already even so far as to be chosen in Him before the foundation of the world.[395] "He will seek him" therefore means, He will have His own (just as if He had said, Whom He already has known to be His own He will show to others to be His friend). Whence in Latin this word (qurit) receives a preposition and becomes acquirit (acquires),[Pg 186] the meaning of which is plain enough; although even without the addition of the preposition qurere is understood as acquirere, whence gains are called qustus.
  7. Of the disruption of the kingdom of Israel, by which the perpetual division of the spiritual from the carnal Israel was prefigured.

The Dwellings of the Philosophers, #unset, #Arthur C Clarke, #Fiction
  preface to his Morals, "without caring about style or the use of prepositions or endings, since
  it is not worthy of a Christian to subject the words of the Scriptures to the rules of grammar".

WORDNET



--- Overview of noun preposition

The noun preposition has 2 senses (first 1 from tagged texts)
                  
1. (2) preposition ::: (a function word that combines with a noun or pronoun or noun phrase to form a prepositional phrase that can have an adverbial or adjectival relation to some other word)
2. preposition ::: ((linguistics) the placing of one linguistic element before another (as placing a modifier before the word it modifies in a sentence or placing an affix before the base to which it is attached))


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun preposition

2 senses of preposition                        

Sense 1
preposition
   => function word, closed-class word
     => word
       => language unit, linguistic unit
         => part, portion, component part, component, constituent
           => relation
             => abstraction, abstract entity
               => entity

Sense 2
preposition
   => place, position
     => item, point
       => part, portion, component part, component, constituent
         => relation
           => abstraction, abstract entity
             => entity


--- Hyponyms of noun preposition
                                    


--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun preposition

2 senses of preposition                        

Sense 1
preposition
   => function word, closed-class word

Sense 2
preposition
   => place, position




--- Coordinate Terms (sisters) of noun preposition

2 senses of preposition                        

Sense 1
preposition
  -> function word, closed-class word
   => determiner, determinative
   => preposition
   => pronoun
   => conjunction, conjunctive, connective, continuative
   => particle

Sense 2
preposition
  -> place, position
   => postposition
   => preposition




--- Grep of noun preposition
object of a preposition
preposition
prepositional object
prepositional phrase



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Wikipedia - Casally modulated preposition
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Wikipedia - List of English prepositions -- Wikimedia list article
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Wikipedia - Prepositional pronoun
Wikipedia - Preposition and postposition -- Preposition, postposition or circumposition (in linguistics)
Wikipedia - Preposition stranding
Wikipedia - Prepositions
Wikipedia - Preposition
Wikipedia - Van (Dutch) -- Preposition used in Dutch surnames
Wikipedia - Von -- German preposition, nobiliary particle
https://www.goodreads.com/book/show/13537971-the-preposition-series
https://tvtropes.org/pmwiki/pmwiki.php/Main/PrepositionalPhraseEqualsCoolness
https://tvtropes.org/pmwiki/pmwiki.php/Main/PrepositionsAreNotToEndSentencesWith
Casally modulated preposition
Inflected preposition
List of English prepositions
Marine Corps Prepositioning Program-Norway
Prepositional adverb
Prepositional case
Prepositional pronoun
Preposition and postposition
Preposition stranding
Spanish prepositions



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