
Originally from Stuart Chase
Misattributed
No. 40 (January 20, 1759)
The Idler (1758–1760)
Context: Advertisements are now so numerous that they are very negligently perused, and it is, therefore, become necessary to gain attention by magnificence of promises, and by eloquence sometimes sublime and sometimes pathetick. Promise, large promise, is the soul of an advertisement.
Originally from Stuart Chase
Misattributed
Gravity's Rainbow (1973)
Context: This ascent will be betrayed to Gravity. But the Rocket engine, the deep cry of combustion that jars the soul, promises escape. The victim, in bondage to falling, rises on a promise, a prophecy, of Escape....
Moving now toward the kind of light where at last the apple is apple-colored. The knife cuts through the apple like a knife cutting an apple. Everything is where it is, no clearer than usual, but certainly more present. So much has to be left behind now, so quickly.
Lipstick Traces : A Secret History of the 20th Century (1989), pp. 147–148.
Context: Complete freedom meant — no one knew. It was most readily defined in the negative: not this gap between the heaven promised in the new advertisements and the everyday satisfactions I can buy. Not the sense that when I leave my work for my family, and bring my family to a Sunday in the park, my leisure feels like work. Not this mad conviction that I’m a stranger in my own home town, that at work I feel like a machine, that in the park I feel like an advertisement, that at home I feel like a tourist.
“I shall pray for your soul,' promised Nessarose.
I shall wait for your shoes,' Elphie answered.”
Source: Wicked: The Life and Times of the Wicked Witch of the West