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For some years I, Bedell Gruncher, have consecrated my poor talents to the guidance and education of public taste in questions of art and literature. To do this effectively I have laboured at the cost of some personal inconvenience to acquire a critical style of light and playful badinage. My lash has ever been wreathed in ribbons of rare texture and daintiest hues; I have thrown cold water in abundance over the nascent flames of young ambition but such water was systematically tinctured with attar of roses. And in time the articles appearing in various periodicals above the signature of 'Vitriol' became, I may acknowledge without false modesty, so many literary events of the first magnitude. I attribute this to my early recognition of the true function of a critic. It is not for him to set up sign-posts, or even warning-boards, for those who run and read. To attain true distinction he should erect a pillory upon his study table, and start the fun himself with a choice selection of the literary analogues of the superannuated eggs and futile kittens which served as projectiles in the past. The public may be trusted to keep it going, and also to retain a grateful recollection of the original promoter of the sport. My little weekly and monthly pillories became instantly popular, for all my kittens were well aimed, and my eggs broke and stuck in a highly entertaining fashion. We are so constituted that even the worst of us is capable of a kindly feeling towards the benefactor who makes others imperishably ridiculous in our eyes; and to do this was my métier
Its analogues, in the physical order of things, are the architectural productions of Mansard, Le Notre, and their successors, from the structures and gardens of Versailles down to and embracing the Madeleine and the Rue de Rivoli.
Great Britain not only failed to show by "evident and incontestable proof" that the German ships carried actual contraband, but she failed to show that there were on board what have been called "analogues" of contraband.
And they will do so no more or, if you like to speak loosely, only a little more than words will express the meaning of the Dresden Madonna. Something a little like it they may indeed express. And we may find analogues of the meaning of poetry outside it, which may help us to appropriate it.
Still it answers to positive facts; for example, in perception, to the phenomena of contrast and their analogues; juxtaposition or rapid succession of two different colors, two different sounds, of tactile, olfactory, gustatory impressions different in quality, produces a particular state of consciousness, similar to a combination.
Here Jurgen groaned with nicely modulated ardor; and he continued: "If she avow such constant hate of love as would ignore my great and constant love, plead thou no more! With listless lore of love woo Death resistlessly, resistless Love, in place of her that saith such scorn of love as lends to Death the lure and grace I love." Since custom compelled him to deal in analogues, he dealt wholesale.
But the arts which assist in and facilitate that tremendous all-absorbing concentration of will on which the exertion of those powers depends, are far more fully developed in the Zveltic science than in its Earthly analogues. A desperate effort, aided by those arts, at last controlled my thoughts, and turned them from the sick-room to that distant chamber in which I had so lately stood.
It is well known that mountain chains are but ridges or foldings in the crust upheaved as the interior cools and shrinks. This is proved by reason and by experiments with viscous clay or other material placed upon a sheet of stretched rubber, which is afterwards allowed to contract, whereupon the analogues of mountain ridges are thrown up.
Little would be gained by giving any detailed analysis of the plot developed through the leisurely amplitude of its 10,000 lines, while any attempt to deal, however slightly, with the sources and literary analogues of the work would lead us far beyond the scope of the present chapter . With regard to the latter, it must suffice to note that among the works to which incidents can be directly traced are Tasso's Gerusalemme, Montemayor's Diana, and Fletcher's Faithful Shepherdess, while a more general indebtedness may in particular be observed to Chaucer, Piers Plowman, and the Faery Queen.
The Amphibia and Pisces tell the same story. There is not a single class of vertebrated animals which, when it first appears, is represented by analogues of the lowest known members of the same class. Therefore, if there is any truth in the doctrine of evolution, every class must be vastly older than the first record of its appearance upon the surface of the globe.
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