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But I must explain to you how all this mistaken idea of reprobating pleasure and extolling pain arose. To do so, I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the master-builder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure them some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a person who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure?

On the other hand, we denounce with righteous indignation and dislike people who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that are bound to ensue; and equal blame belongs to those who fail in their duty through weakness of will, which is the same as saying through shrinking from toil and pain. These cases are perfectly simple and easy to distinguish. In a free hour, when our power of choice is untrammeled and when nothing prevents our being able to do what we like best, every pleasure is to be welcomed and every pain avoided. But in certain emergencies and owing to the claims of duty or the obligations of business it will frequently occur that pleasures have to be repudiated and annoyances accepted. The wise person therefore always holds in these matters to this principle of selection: they reject pleasures to secure other greater pleasures, or else they endure pains to avoid worse pains.

Marionette was inspired by sketches from W.A. Dwiggins that illustrate his M-formula (M for marionette), ‘a method to trick the eye (in viewing objects much reduced) into seeing curves that aren’t there’. Specifically, this digital typeface expands on a handful of preliminary glyph sketches from 1937 for Experimental 223, a newspaper typeface project that evolved over several years before finally being released as Hingham in 1949. Marionette bears little resemblance to the final design of Hingham though, instead embracing the exaggerated angularity of the earlier abandoned sketches.