Suppose that in the extended object, or composition of colour’d points, from which we first receiv’d the idea of extension, the points were of a purple colour; it follows, that in every repetition of that idea we wou’d not only place the points in the same order with respect to each other, but also bestow on them that precise colour, with which alone we are acquainted. But afterwards having experience of the other colours of violet, green, red, white, black, and of all the different compositions of these, and finding a resemblance in the disposition of colour’d points, of which they are compos’d, we omit the peculiarities of colour, as far as possible, and found an abstract idea merely on that disposition of points, or manner of appearance, in which they agree.
Je les vois, dans les beaux jours d’été, s’avancer le long de la muraille blanche, à mesure que le soleil s’élève : les ormes qui sont devant ma fenêtre les divisent de mille manières, et les font balancer sur mon lit, couleur de rose et blanc, qui répand de tous côtés une teinte charmante par leur réflexion.
(Xavier de Maistre, Voyage autour de ma chambre)
Hence the young profligate in Terence, when he sees on the wall a fresco representing the fabled descent of Jupiter into the lap of Danaë in the form of a golden shower, accepts this as authoritative precedent for his own licentiousness, and boasts that he is an imitator of God.
It is said that Jean-Paul Sartre turned white-faced with excitement when a colleague arrived hotfoot from Germany with the news that one could make philosophy out of the ashtray.
(Terry Eagleton, ‘Terry Eagleton reviews Trouble in Paradise and Absolute Recoil by Slavoj Žižek’, The Guardian, 12 Nov. 2014)
Gone the patriotic noise in the streets, the chase after the gold-colored automobile, one false telegram after another, the wells poisoned by cholera, the Russian students heaving bombs over every railway bridge in Berlin, the French airplanes over Nuremberg, the spy hunting public running amok in the streets, the swaying crowds in the coffee shops with ear-deafening patriotic songs surging ever higher, whole city neighborhoods transformed into mobs ready to denounce, to mistreat women, to shout hurrah and to induce delirium in themselves by means of wild rumors.
(Rosa Luxemburg, ‘The Junius pamphlet’)
Thus when a globe of white marble is presented, we receive only the impression of a white colour dispos’d in a certain form, nor are we able to separate and distinguish the colour from the form. But observing afterwards a globe of black marble and a cube of white, and comparing them with our former object, we find two separate resemblances, in what formerly seem’d, and really is, perfectly inseparable. After a little more practice of this kind, we begin to distinguish the figure from the colour by a distinction of reason; that is, we consider the figure and colour together, since they are in effect the same and undistinguishable; but still view them in different aspects, according to the resemblances, of which they are susceptible. When we wou’d consider only the figure of the globe of white marble, we form in reality an idea both of the figure and colour, but tacitly carry our eye to its resemblance with the globe of black marble: And in the same manner, when we wou’d consider its colour only, we turn our view to its resemblance with the cube of white marble. By this means we accompany our ideas with a kind of reflexion, of which custom renders us, in a great measure, insensible. A person, who desires us to consider the figure of a globe of white marble without thinking on its colour, desires an impossibility; but his meaning is, that we shou’d consider the colour and figure together, but still keep in our eye the resemblance to the globe of black marble, or that to any other globe of whatever colour or substance.