omatos, askhematistos, anaphes.
Translation: "the colorless, utterly formless, intangible essence."
Phaedrus 247C.

80. +The two passages are not indented in the original; they are in
smaller typeface that makes for difficult reading.

86. +Transliteration: aei en sphodra orexei. Translation: "always
greatly yearning."

104. +Transliteration: tryphes, habrotetos, khlides, khariton, himerou,
pothou pater. Translation: "Of daintiness, delicacy, luxury, graces,
father of desire."

CHARLES LAMB

[105] THOSE English critics who at the beginning of the present century
introduced from Germany, together with some other subtleties of thought
transplanted hither not without advantage, the distinction between the
Fancy and the Imagination, made much also of the cognate distinction
between Wit and Humour, between that unreal and transitory mirth, which
is as the crackling of thorns under the pot, and the laughter which
blends with tears and even with the sublimities of the imagination, and
which, in its most exquisite motives, is one with pity--the laughter of
the comedies of Shakespeare, hardly less expressive than his moods of
seriousness or solemnity, of that deeply stirred soul of sympathy in
him, as flowing from which both tears and laughter are alike genuine
and contagious.

This distinction between wit and humour, Coleridge and other kindred
critics applied, with much effect, in their studies of some of our
older English writers. And as the distinction between imagination and
fancy, made popular by Wordsworth, [106] found its best justification
in certain essential differences of stuff in Wordsworth's own writings,
so this other critical distinction, between wit and humour, finds a
sort of visible interpretation and instance in the character and
writings of Charles Lamb;--one who lived more consistently than most
writers among subtle literary theories, and whose remains are still
full of curious interest for the student of literature as a fine art.

The author of the English Humourists of the Eighteenth Century, coming
to the humourists of the nineteenth, would have found, as is true
preeminently of Thackeray himself, the springs of pity in them deepened
by the deeper subjectivity, the intenser and closer living with itself,
which is characteristic of the temper of the later generation; and
therewith, the mirth also, from the amalgam of which with pity humour
proceeds, has become, in Charles Dickens, for exa