Chapter XI · Chapter 11

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used before a singular noun to mean one of a group, when it is not a particular one

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

possessing life

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

(quantifier) used with either mass or count nouns to indicate the whole number or amount of or every one of a class

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

(of actions or states) slightly short of or not quite accomplished; all but

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

prior to a specified or implied time

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

to a complete degree or to the full or entire extent (“whole” is often used informally for “wholly”)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a cherished desire

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the form of “a” used before a word that begins with a vowel sound

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to join words or parts of a sentence that go together

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

an old form of “are”, used with “thou”

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

relating to or characteristic of art or artists

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

at the same time that; because; in the way that

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

marked by assurance; exhibiting confidence

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

in or near a particular place or position

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

from a particular thing or place or position (“forth” is obsolete)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

third-person singular of “bate” — moderate or restrain; lessen the force of

From this reading PROFESSOR BATES' THEORY.

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

the past participle of “be”

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

the supreme effort one can make

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

in the space, time, or range separating two things

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the people of Great Britain

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a structure that has a roof and walls and stands more or less permanently in one place

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

in a busy manner

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

showing who or what does the action

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the particular occupation for which you are trained

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

marked by lack of attention or consideration or forethought or thoroughness; not careful

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

plural of “cause” — events that provide the generative force that is the origin of something

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

to make a rush at or sudden attack upon, as in battle

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

come or bring to a finish or an end

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

with confidence; in a confident manner

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

deem to be

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

carefully weighed

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

satisfied or showing satisfaction with things as they are

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

without stop or interruption

From this reading _GEORGE CRUIKSHANK_ (_Continued_).

plural of “creature” — a living organism characterized by voluntary movement

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a person who is professionally engaged in the analysis and interpretation of works of art

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading _GEORGE CRUIKSHANK_ (_Continued_).

time for Earth to make a complete rotation on its axis

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the state of being degenerate in mental or moral qualities

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

with intention; in an intentional manner

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

represented in words especially with sharpness and detail

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

have supper; eat dinner

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

separated into parts or pieces

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

-ing form of “do” — engage in

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

all through a period, or at some point within it

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

past form of “embrace” — include in scope; include as part of something broader; have as one's sphere or territory

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

having ones attention or mind or energy engaged

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the pleasure felt when having a good time

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

come upon, as if by accident; meet with

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

preceding all others in time or space or degree

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

following the third position; number four in a countable series

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

containing as much or as many as is possible or normal

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

someone who has exceptional intellectual ability and originality

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Christian martyr; patron saint of England; hero of the legend of Saint George and the Dragon in which he slew a dragon and saved a princess (?-303)

From this reading _GEORGE CRUIKSHANK_ (_Continued_).

the past form of “have”, used to form the past perfect

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used with a past participle to form the perfect tenses

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the -ing form of “have”

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the vertical dimension of extension; distance from the base of something to the top

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the male already mentioned, as the object of a verb or preposition

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used when the man or boy doing the action is also its object

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

belonging to a man, boy, or male animal already mentioned

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the aggregate of past events

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

used in negative statement to describe a situation that has existed up to this point or up to the present time

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

sharpen with a hone

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

in an imperfect or faulty way

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

inside something, or within a place, period, or state

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

the state of being inactive

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

the people or companies engaged in a particular kind of commercial enterprise

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

moving to the inside of something

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a thing, animal, or idea already mentioned

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

and nothing more

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

show to be right by providing justification or proof

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

immediately past

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

limited or below average in number or quantity or magnitude or extent

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

an adult person who is male (as opposed to a woman)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to say something is possible, or to give permission

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

involving the mind or an intellectual process

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

inflected form of “meet” — come together

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

the location of something surrounded by other things

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to say something is possible but not certain

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the next day

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to form the superlative

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

not any; not one

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

in the historical present; at this point in the narration of a series of past events

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

belonging to, or connected with, somebody or something

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

from a particular thing or place or position (“forth” is obsolete)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to mean any person in general, including the speaker

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

plural of “opportunity” — a possibility due to a favorable combination of circumstances

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to join alternatives or possibilities

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

an amount of time

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

have the will and intention to carry out some action

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

plural of “portion” — something determined in relation to something that includes it

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

past form of “predict” — make a prediction about; tell in advance

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

plural of “present” — the period of time that is happening now; any continuous stretch of time including the moment of speech

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

with considerable certainty; without much doubt

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

plural of “problem” — a state of difficulty that needs to be resolved

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

the income or profit arising from such transactions as the sale of land or other property

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

someone who is a member of the faculty at a college or university

From this reading PROFESSOR BATES' THEORY.

make a proposal, declare a plan for something

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

to a degree (not used with a negative)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

third-person singular of “represent” — take the place of or be parallel or equivalent to

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the state of being held in high esteem and honor

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

tear or be torn violently

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

being the one previously mentioned or spoken of

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

exposing human folly to ridicule

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

1/60 of a minute; the basic unit of time adopted under the Systeme International d'Unites

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a self-contained part of a larger composition (written or musical)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

give a certain impression or have a certain outward aspect

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

inflected form of “see” — perceive by sight or have the power to perceive by sight

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

plural of “show” — the act of publicly exhibiting or entertaining

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

unusual or striking

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

a natural and periodic state of rest during which consciousness of the world is suspended

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

a natural and periodic state of rest during which consciousness of the world is suspended

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

for that reason; with the result that

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

being definitely out of the ordinary and unexpected; slightly odd or even a bit weird

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

superlative of “strange” — being definitely out of the ordinary and unexpected; slightly odd or even a bit weird

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

an event that accomplishes its intended purpose

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

past form of “suggest” — make a proposal, declare a plan for something

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

definitely or positively (“sure” is sometimes used informally for “surely”)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

-ing form of “term” — name formally or designate with a term

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to introduce what somebody said, thought, or felt

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

a well-substantiated explanation of some aspect of the natural world; an organized system of accepted knowledge that applies in a variety of circumstances to explain a specific set of phenomena

From this reading PROFESSOR BATES' THEORY.

one of three equal parts of a divisible whole

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the cardinal number that is the product of ten and three

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

used for a person or thing that is near, or that has just been mentioned

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the plural of “that”: the people or things further away, or already known

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the cardinal number that is the sum of one and one and one

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

-ing form of “throw” — propel through the air

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

caused to fall to the ground

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used before the base form of a verb to make the infinitive

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

in accordance with truth or fact or reality

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the cardinal number that is the sum of one and one or a numeral representing this number

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

fully apprehended as to purport or meaning or explanation

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

having no previous example or precedent or parallel

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

being or moving higher in position or greater in some value; being above a former position or level

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the speaker and others, as the object of a verb or preposition

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

any creative group active in the innovation and application of new concepts and techniques in a given field (especially in the arts)

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

precisely as stated

From this reading The causes of this strange decadence, this singular mental inactivity, which seem to us to have been hitherto very little or at best very imperfectly understood, we now propose to consider.

forceful exertion

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the past form of “be” used with I, he, she, it, or a singular noun

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

how something is done or how it happens

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

the speaker together with one or more other people

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to ask for information about something

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

used to introduce a clause giving more about a thing just mentioned

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

emit or reflect light in a flickering manner

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

in the company of; together with

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.

not having, not using, or not accompanied by

From this reading It may be divided into three portions, two of which we have already considered: the first represents that section wherein we have seen him described by Lockhart as "one of the most careless creatures alive," having "no plan, almost no ambition," doing "just what was suggested or thrown in his way," "quite contented to dine off the proceeds of a 'George the Fourth' to day, and those of a 'Hone' or a 'Cobbett' to morrow!" the second may be said to be embraced between the years 1822 and 1848, during which period we find this man without plan, ambition, or industry (to complete the charge of Lockhart), busily engaged in building up the reputation which the critic had so confidently and so truly predicted of him; the third and last section, the strangest surely of all, shows us this man of genius--in the full enjoyment of an assured and well-merited reputation, in the midst of his artistic vigour, at the height of a success altogether unexampled--deliberately throwing away his opportunities, and consigning himself to a slumber of thirty years, which might almost justify us in terming him the "Rip Van Winkle" of British art.

a late time of life

From this reading _THE SLEEP OF THIRTY YEARS._ The artistic career of George Cruikshank presents probably one of the most singular problems to be met with in the history of satirical art.