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              <text>Working transcription: difficult it is to manage prejudice, jealousy, and delicacy and to overcome all that friction which the world opposes to speculation. Therefore, the fair practical rule seems to be, to compare any exertion, by all similar exertions which have preceded it, and to allow merit to any one who has improved, or, at least, who has not deteriorated the standard of excellence, in his own department of knowledge.</text>
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              <text>Working transcription: has lost so much time in consulting first cousins and particular friends, that he has no more time left to follow their advice. There is such little time for over-squeamishness at present the opportunity so easily slips away, the very period of life at which a man chooses to venture, if ever, is so confined, that it is no bad rule to preach up the necessity, in such instances, of a little violence done to the feelings, and of efforts made in defiance of strict and sober calculation. With respect to that fastidiousness which disturbs the right conduct of the understanding it must be observed that there are two modes of judging of anything: one, by the test of what has actually been done in the same way before; the other, by what we can conceive may be done in that way. Now this latter method of mere imaginary excellence can hardly be a just criterion, because it may be in fact impossible to reduce practice what it is perfectly easy to conceive: no man, before he has tried, can tell how</text>
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              <text>Working transcription: A great deal of talent is lost to the world for the want of a little courage. Every day sends to their graves a number of obscure men who have only remained obscure because their timidity has prevented them from making a first effort; and who if they could only have been induced to begin would in all probability have gone great lengths in the career of fame. The fact is, that in order to do anything in this world worth doing, we must not stand shivering on the bank and thinking of the cold and the danger, but jump in and scramble through as well as we can. It will not do to be perpetually [calculating] risk and adjusting nice chances it did all very well before the Flood when a man could consult his friends upon an intended publication for 150 years, and then live to see its success for six or seven centuries afterwards but at present a man waits and doubts and hesitates and consults his brother and his uncle and his first cousins, and his particular friends till one fine day he finds that he is sixty-five years of age that he</text>
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                <text>Courtesy of the Free Library of Philadelphia. Please seek further permission from the Free Library to reuse this image.</text>
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                    <text>Sixteen lines of Brachygraphy shorthand characters written in pencil fill the page of a notebook. At the top is a longhand title, which reads 'Sunday Night Fifth February 1860', with the word 'Fifth' partially crossed through. In the top right corner is the number one, indicating a page number. In the middle of the page, a vertical line runs from top to bottom. The symbols are not arranged in relation to this line, perhaps suggesting that it was added later. </text>
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                  <text>Material from the newly digitised shorthand notebooks of Charles Dickens and Arthur P. Stone, from the archives of the Free Library of Philadelphia.</text>
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                  <text>Courtesy of the Free Library of Philadelphia. Please seek further permission from the Free Library to reuse these images.</text>
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              <text>Working transcription: All the objects which are exhibited to our view by Nature, says Reynolds, [on/upon] close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms and which, by a long habit of observing what every set of objects of the same kind have in common, has acquired the power of discerning what each wants in particular. This long, laborious comparison should be the first study of the painter who aims at the greatest style. By this means he acquires a just idea of the beautiful forms. He corrects Nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original</text>
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                <text>Sunday Night Fifth February 1860 Part 1</text>
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                <text>A shorthand dictation exercise based upon 'Lecture XIV, On the Beautiful – Part II', by the philosopher Sydney Smith. Smith's lecture begins with a quotation from another lecture by Sir Joshua Reynolds entitled &lt;em&gt;Seven Discourses Delivered in the Royal Academy by the President&lt;/em&gt;, or &lt;em&gt;Seven Discourses on Art&lt;/em&gt;, by Joshua Reynolds (14 December 1770).</text>
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                <text>Free Library of Philadelphia [cdc5890011_03]</text>
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                <text>Courtesy of the Free Library of Philadelphia. Please seek further permission from the Free Library to reuse this image.</text>
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