[16]. See his Essay on Vanity.
[17]. Early Spring in Massachusetts, p. 232.
[18]. The First Three Years of Childhood, p. 77.
[19]. See his Biographical Sketch of an Infant, Mind, vol. ii., p. 289.
[20]. A good way to interpret a man’s face is to ask oneself how he would look saying “I” in an emphatic manner. This seems to help the imagination in grasping what is most essential and characteristic in him.
[21]. Only four words—“heart,” “love,” “man,” “world”—take up more space in the index of “Familiar Quotations” than “eye.”
[22]. On the fear of (imaginary) eyes see G. Stanley Hall’s study of Fear in The American Journal of Psychology, vol. 8, p. 147.
[23]. Two apparently opposite views are current as to what style is. One regards it as the distinctive or characteristic in expression, that which marks off a writer or other artist from all the rest; according to the other, style is mastery over the common medium of expression, as language or the technique of painting or sculpture. These are not so inconsistent as they seem. Good style is both; that is, a significant personality expressed in a workmanlike manner.
[24]. P. 493.
[25]. With me, at least, this is the case. Some whom I have consulted find that certain sentiments—for instance, pity—may be directly suggested by the word, without the mediation of a personal symbol. This hardly affects the argument, as it will not be doubted that the sentiment was in its inception associated with a personal symbol.