Adapted from An Enquiry Concerning Human Understanding by David Hume (1748)

Everyone will readily allow that there is a considerable difference between the perceptions of the mind, when a man feels the pain of excessive heat, or the pleasure of moderate warmth, and when he afterwards recalls to his memory this sensation, or anticipates it by his imagination. These faculties may mimic or copy the perceptions of the senses, but they never can entirely reach the force and vivacity of the original sentiment. The utmost we say of them, even when they operate with greatest vigor, is, that they represent their object in so lively a manner that we could almost say we feel or see it. But, except the mind be disordered by disease or madness, they never can arrive at such a pitch of vivacity as to render these perceptions altogether undistinguishable. All the colors of poetry, however splendid, can never paint natural objects in such a manner as to make the description be taken for a real landscape. The most lively thought is still inferior to the dullest sensation.

We may observe a like distinction to run through all the other perceptions of the mind. A man in a fit of anger is actuated in a very different manner from one who only thinks of that emotion. If you tell me that any person is in love I easily understand your meaning, and form a just conception of his situation, but never can mistake that conception for the real disorders and agitations of the passion. When we reflect on our past sentiments and affections, our thought is a faithful mirror and copies its objects truly, but the colors which it employs are faint and dull in comparison of those in which our original perceptions were clothed. It requires no nice discernment or metaphysical head to mark the distinction between them.

Here, therefore, we may divide all the perceptions of the mind into two classes or species, which are distinguished by their different degrees of force and vivacity. The less forcible and lively are commonly denominated "thoughts" or "ideas." The other species want a name in our language, and in most others; I suppose because it was not requisite for any but philosophical purposes to rank them under a general term or appellation. Let us, therefore, use a little freedom, and call them "impressions," employing that word in a sense somewhat different from the usual. By the term "impression," then, I mean all our more lively perceptions, when we hear, or see, or feel, or love, or hate, or desire, or will. And impressions are distinguished from ideas, which are the less lively perceptions, of which we are conscious when we reflect on any of those sensations or movements above mentioned.

Adapted from "Mr. Coleridge" from The Spirit of the Age by William Hazlitt (1825)

The present is an age of talkers, and not of doers, and the reason is, that the world is growing old. We are so far advanced in the Arts and Sciences, that we live in retrospect, and dote on past achievements. The accumulation of knowledge has been so great that we are lost in wonder at the height it has reached, instead of attempting to climb or add to it, while the variety of objects distracts and dazzles the looker-on. What niche remains unoccupied? What path untried? What is the use of doing anything, unless we could do better than all those who have gone before us? What hope is there of this? We are like those who have been to see some noble monument of art, who are content to admire without thinking of rivaling it; or like guests after a feast, who praise the hospitality of the donor "and thank the bounteous Pan"—perhaps carrying away some trifling fragments; or like the spectators of a mighty battle, who still hear its sound afar off, and the clashing of armor and the neighing of the war-horse and the shout of victory is in their ears, like the rushing of innumerable waters!

Mr. Coleridge has "a mind reflecting ages past”; his voice is like the echo of the congregated roar of the "dark rearward and abyss" of thought. He who has seen a mouldering tower by the side of a crystal lake, hid by the mist, but glittering in the wave below, may conceive the dim, gleaming, uncertain intelligence of his eye; he who has marked the evening clouds up rolled (a world of vapors), has seen the picture of his mind: unearthly, unsubstantial, with gorgeous tints and ever-varying forms.

Our author's mind is (as he himself might express it) tangential. There is no subject on which he has not touched, none on which he has rested. With an understanding fertile, subtle, expansive, "quick, forgetive, apprehensive," beyond all living precedent, few traces of it will perhaps remain. He lends himself to all impressions alike; he gives up his mind and liberty of thought to none. He is a general lover of art and science, and wedded to no one in particular. He pursues knowledge as a mistress, with outstretched hands and winged speed; but as he is about to embrace her, his Daphne turns—alas! not to a laurel! Hardly a speculation has been left on record from the earliest time, but it is loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat tattered piece of tapestry; we might add (with more seeming than real extravagance), that scarce a thought can pass through the mind of man, but its sound has at some time or other passed over his head with rustling pinions. On whatever question or author you speak, he is prepared to take up the theme with advantage—from Peter Abelard down to Thomas Moore, from the subtlest metaphysics to the politics of the Courier. There is no man of genius, in whose praise he descants, but the critic seems to stand above the author, and "what in him is weak, to strengthen, what is low, to raise and support”; nor is there any work of genius that does not come out of his hands like an Illuminated Missal, sparkling even in its defects. If Mr. Coleridge had not been the most impressive talker of his age, he would probably have been the finest writer; but he lays down his pen to make sure of an auditor, and mortgages the admiration of posterity for the stare of an idler. If he had not been a poet, he would have been a powerful logician; if he had not dipped his wing in the Unitarian controversy, he might have soared to the very summit of fancy. But in writing verse, he is trying to subject the Muse to transcendental theories: in his abstract reasoning, he misses his way by strewing it with flowers. All that he has done of moment, he had done twenty years ago: since then, he may be said to have lived on the sound of his own voice. Mr. Coleridge is too rich in intellectual wealth to need to task himself to any drudgery: he has only to draw the sliders of his imagination, and a thousand subjects expand before him, startling him with their brilliancy, or losing themselves in endless obscurity.