Frame of reference

“ Is not that your doctrine? What, then, becomes of the distinction between presentation and representation, between perception and imagination, if in both cases both a near and a remote object are or may be involved? ”

“ Of any simple object which can be grasped in a single act of perception, such as a knife or a book, an egg or an orange, a circle or a triangle, you can frame a conception which almost or quite exactly represents the object. ”

“ But in each of these lines the mind takes in a wide horizon, comprising a multitude of objects at once, as the eye takes in a picture, with scene, and action, and figures, fore-ground and background, all at once. ”

“ The belief must be of that sort that constitutes objective reference, past or present. An image, together with a belief of this sort concerning it, constitutes, according to our definition, consciousness of the prototype of the image. ”

“ Perhaps in the first line of a scene, while the reader has not yet warmed to his duty, simplicity should be especially observed—a single image, without any repeated reflection, so to speak, in a second mirror, should suffice. ”

“ It is, however, necessary that the sphere in which the personages of our story are about to act should be in some measure indicated, in order to facilitate the comprehension of their respective movements. ”

“ Spread on a canvas, with other paints around it, it represents, on the contrary, a feature in a picture and performs a spiritual function. Just so, I maintain, does a given undivided portion of experience, taken in one context of associates, play the part of a knower, of a state of mind, of ‘consciousness’; while in a different context the same undivided bit of experience plays the part of a thing known, of [Pg 10] an objective ‘content.’ In a word, in one group it figures as a thought, in another group as a thing. ”

“ Can it be true to nature to make one character give a description, over a hundred pages long, repeating at length, word for word, long conversations which he has never heard, marking the changes of colour which he has not seen—and all this with a minuteness which even the firmest memory and the most loquacious tongue could not recall? ”

“ The fact that we divide a work of art into parts, as a poem into scenes, episodes, similes, sentences, or a picture into single figures and objects, background, foreground, etc., may seem to be an objection to this affirmation. ”

“ But one way of learning the value of emphasis is to draw from a photograph, and it will soon be discovered what a difference in expression is produced by dwelling a little more here, or a little less there. ”

“ Some character in the book you are reading.
(Which sentence gives the general impression and which sentences give the details? Are the details arranged with reference to their real space order? Should others be added? Can any be omitted? Will the reader form the mental image you wish him to form?)
+48. Development by Comparison.+—In Section 29 we found that comparison, whether literal or figurative, aided us in forming mental images of objects. In a similar way events and general principles may be explained by making suitable comparisons. We are continually comparing one thing with another. ”

“ But every attentive perception truly involves a reflexion, in the etymological sense of the word, that is to say the projection, outside ourselves, of an actively created image, identical with, or similar to, the object on which it comes to mould itself. ”

“ Once he gives up the naïve assumption that his own frame is the one and only right frame the question arises, Which then of the innumerable other frames is right? There is no answer, and so far as we can see no possibility of an answer. ”

“ To judge the image as a picture is judged, would, as we have seen, be absurd; and what is sought in poetry by those painters and others whose interest in the world is primarily visual is not pictures but records of observation, or stimuli of emotion. ”

“ When the presentation of a picture is our central purpose, we attempt to present it as it appears to us, and select details that will enable others to form the desired image; but if we desire to set forth how a scene affected us, we must choose details that will make our reader feel as we felt.
+137. Necessity of Observing our Impressions.+—In order to write a description which shall give our impression of an object or scene, we must know definitely what that impression is. ”

“ If the Ground, on which the Shadow is cast, be not broken and uneven, nor the Surface, from which the Image is reflected, disturb'd and confus'd, a just Figure is immediately presented, without any Art or Attention. ”

“ Probably when we are thinking or talking of a person, we recall some visual image of that person. I have thought what an instructive thing it would be, if under some magic influence—like that, for example, which would construct a ‘palace of truth’—it were arranged that as we gave out our comments on the character or conduct of any person, this image on the retina of memory should change according to the truth, or rather the want of it, in our remarks. ”

“ The principle that the proper place for what is to be made most prominent is the end applies equally to the words of a sentence, to the sentences of a paragraph, and to the paragraphs of a composition. ”

“ One must really choose, in other words, between the benefits of the perception of surface—a perception, when fine, perhaps none of the most frequent—and those of the perception of very complex underlying matters. ”

“ Just in the same way, then, as a beautiful whole made up of parts, or a beautiful living creature, must be of some size, a size to be taken in by the eye, so a story or Plot must be of some length, but of a length to be taken in by the memory. ”

“ It is our object to make this background as rich and full and orderly as possible, so that whatever is brought to the focus of consciousness shall be set in a relational background, which shall give it meaning ”

“ But in order to give full satisfaction to some weak minds, I will subjoin two evidential arguments for this mystery to show that it is possible—arguments which derive their force from analogy. Take, therefore, the following demonstration, drawn from a physical analogy—from the eye and a mirror. For both a looking-glass and a small eye receive into themselves the whole quantity of the very greatest things, not only men, but houses, temples, trees, mountains, &c., and clearly reproduce and represent them whole. ”

“ Such grumblers, however, do not duly consider that the imaginative faculty invariably depicts the objects it would represent as grand and impressive, with a few striking touches rather than in fulness of detail, and that thereby it lends to the image more of character, solemnity, and dignity. A thousand times have I heard the complaint that the objects for a knowledge of which we are originally indebted to description, invariably disappoint us when we see them with our own eyes. ”

“ In the first place, the distinguishing features of an object may be presented; and in this case exposition partakes of the nature of description. In the second place, an object or idea may be explained by pointing out its effects; and in this case exposition partakes of the character of narration. In the third place, we may explain or define an object or conception by indicating its resemblance or its unlikeness to something else that is known. But whatever method of exposition is adopted, it should be full and definite enough to impart a clear idea of the thing explained. ”

“ The way one expresses himself in pictures or writing, and the way one interprets illustration or text, thus reflects the level of organization which the mind itself has reached. The single figure, the composition, the pictorial series and the textual description mark successive stages in the evolution of representative functions in the individual human mind. ”

“ The details which give significance, and which by us are seen vaguely as through a vanishing mist, are by them seen in sharp outlines. The image which to us is a mere suggestion, is to them almost as vivid as the object. And it is because they see vividly that they can paint effectively. ”

“ In reality we assign a particular shape, complection, and manner to the creatures of imagination, by the same rule which leads us to ascribe a certain assemblage of features to a person whom we have never seen, upon seeing his character particularly displayed, or upon listening to a minute detail of his actions. ”

“ And hence we may expect that the vividness with which images are realized will, in many cases, depend on the order of their presentation: even when one order is as convenient to the understanding as the other. ”

“ Others, on the contrary, utter the word realistic before a picture strongly felt representing a scene of ordinary life, while they apply that of symbolic to another picture that is but a cold allegory. ”

“ The difference may concern at most the ideas, or the sense but not the reference, or, finally, the reference as well. With respect to the first level, it is to be noted that, on account of the uncertain connexion of ideas with words, a difference may hold for one person, which another does not find. ”

“ I have said that the first and principal part of art is Composition, or placing things together appropriately; the situation, motion, and expression of the figures; their shapes, and lights, and shadows, according. A perfect outline is of most consequence, and can only be acquired by study. ”

“ An idea comes to me, or I to it', she says, airily, 'a scene—a situation—a young man, a young woman, and on that mental hint I begin to build', but the question naturally arises, she must make a beginning? ”

“ With the consummate literary artists the picture, whether it be of a real scene, an imagined scene, or a feeling, is given in few but effective strokes. And it is so given simply because they see it all so distinctly. ”

“ Unless this demand for sensorially, intellectually and empathically desirable shapes be complied with a work of art may be interesting as a diagram, a record or an illustration, but once the facts have been conveyed and assimilated with the rest of our knowledge, there will remain a shape which we shall never want to lay eyes upon. ”

“ The particulars for our purpose have thus their identity much rather in certain features of the twenty faces—either of one or of another of these—that the structure turns to the outer day and that we can, as it were, sit down before and consider at our comparative ease. ”

“ They are, for instance, the visible forms, colours, and shades of the parts, understood according to the maxims of perspective; (for of perspective every one has a practical knowledge, as every one has of grammar;) the effort by which we fix both our eyes on the same object, and adjust each eye to distinct vision ”

“ In other words, looked at from one point of view, such a consciousness regards the wide expanse of reality according to that association of cause and effect, object and means, and all other categories of the mode of reflection which deals with finite conditions and the objective world generally, that is, the limited categories of science or the understanding. ”

“ They were altogether free from that vulgar habit of comparing scene with scene which so poisons the eye to all true perception of natural beauty,—as though the one great end were to graduate all the various scenes of nature in the list of a competitive examination. ”

“ A complete picture, as I understand it, is only possible by the concatenation of several separate ideas, and of several separate feelings, which are connected together as cause and effect, and which, in their sum total, form one single whole for our cognitive faculty. All these ideas, in order to affect us closely, must make an immediate impression on our senses; and, as the narrative form always weakens this impression, they must be produced by a present action. ”

“ To expound is to set forth the nature, the significance, the characteristics, and the bearing of an idea or a group of ideas. Exposition therefore differs from Description in that it deals directly with the meaning or intent of its subject instead of with its appearance. A good deal which we are accustomed inexactly to call description is really exposition. ”

“ In this way the abstract demonstrations should form but a small part of the instruction, and should be given when, by familiarity with concrete illustrations, they have come to be felt as the natural embodiment of visible fact. ”

“ Finally, in the field of vision which we construct or reconstruct, the objects are seen to stand in relationship to each other, and the scene as a whole is perceived to be part of an orderly sequence of events. ”

“ Beginners will find that they can best cause their readers to form the desired images by stating a point of view. When the point of view is stated it must of necessity come early in the paragraph. We have already learned that the beginning of a description should present the fundamental image. For this reason the first sentence of a description frequently includes both the point of view and the fundamental image. ”

“ The system of our direct knowledge consists entirely in the passive and mechanical accumulation of the particulars it comprehends; an accumulation which belongs exclusively to the province of Memory. Reflection is of two kinds, according as it is employed in reasoning on the objects of our direct ideas, or in studying them as models for imitation. ”

“ Just as description of characters or of scene and setting is one method of beginning short stories and novels, so also it constitutes a form of introduction for an article. In both cases the aim is to create immediate interest by vivid portrayal of definite persons and places. The concrete word picture, like the concrete instance in a narrative beginning, makes a quick and strong appeal. An element of suspense or mystery may be introduced into the description, if a person, a place, or an object is described without being identified by name until the end of the portrayal. ”