Browse quotations by Frances Hodgson Burnett with named works, context notes, meanings and recurring themes.
Focused collections bring together quotations from this author around one recurring idea.
“If I am a princess in rags and tatters, I can be a princess inside.”
Dignity is separated from possessions and appearance, locating self-worth in conduct and inner standards when external status has been stripped away.
Source note: A Little Princess; Sara uses an imagined inner identity to preserve dignity during poverty and mistreatment.
“But still night after night the game was played.”
The brief sentence makes repetition itself visible: improvement continues after early success because practice is maintained night after night.
Source note: The Lost Prince; Project Gutenberg #384. 'The game' is the boys’ repeated training exercise in memory, recognition and recall.
“The more you draw, the better. Draw everything you can.”
Repeated drawing is treated as the route to improvement, making practice and quantity of attempts part of developing a useful skill.
Source note: The Lost Prince; Project Gutenberg #384. Loristan encourages Marco to strengthen a sketching ability useful to the story’s secret mission.
“I learned well because I never forgot it. And I learned. Did I not?”
Marco looks back on deliberate training and judges himself by whether he actually learned and retained what repeated instruction required.
Source note: The Lost Prince; Project Gutenberg #384. Marco says this while explaining that his father had long been preparing him for responsibility within the fictional plot.
“I am not afraid. I shall not be afraid. In some way I shall get out.”
Faced with immediate confinement and uncertainty, Marco turns fear into a commitment to keep looking for a way out rather than surrendering to panic.
Source note: The Lost Prince; Project Gutenberg #384. Marco is trapped during the fictional mission; the line describes literary courage and does not advise ignoring real-world danger.
“To make each one many times was the best way to imbed it in his memory.”
The narration connects repeated practice with stronger recall, showing Marco deliberately using repetition to make a learned association more durable.
Source note: The Lost Prince; Project Gutenberg #384. The exercise involves repeatedly sketching faces connected with places for the novel’s secret mission.
“After a third day's concentration they knew by heart everything given to them to learn.”
The narration connects sustained concentration across several days with mastery of the assigned material rather than portraying learning as instantaneous.
Source note: The Lost Prince; Project Gutenberg #384. The material being memorized is fictional mission information, while the quoted sentence simply describes the learning process.
“It is well to observe everything and to train one's self to remember faces and circumstances.”
Observation and memory are presented as trainable abilities strengthened by deliberate attention rather than fixed talents that either appear or do not.
Source note: The Lost Prince; Project Gutenberg #384. Loristan is training Marco for a fictional diplomatic and political mission, so the advice belongs to that narrative setting.
“Another part was The Rat's training of his memory, and bringing home his proofs of advance at night when he returned from his walk.”
The Rat tracks improvement through repeated memory exercises and concrete evidence of progress, making development something practiced and demonstrated over time.
Source note: The Lost Prince; Project Gutenberg #384. The exercise is part of the boys’ fictional preparation; 'proofs of advance' refers to remembered and described observations.
“They concentrated all their powers upon it. They wrote and re-wrote—they repeated to each other what they committed to memory as if it were a lesson.”
The boys improve through concentrated rehearsal, rewriting and mutual repetition, giving the learning process visible effort rather than effortless talent.
Source note: The Lost Prince; Project Gutenberg #384. The material being memorized belongs to a fictional covert political mission, so the record focuses on the described study process rather than the mission itself.
“The game he had amused himself with so long—the game of trying to remember pictures and people and places clearly and in detail—had been a wonderful training.”
A game repeatedly practiced for pleasure becomes useful preparation, showing skill growing out of accumulated attention rather than appearing only when the stakes become serious.
Source note: The Lost Prince; Project Gutenberg #384. The narration refers to Marco’s long-running memory game, which later becomes useful inside the novel’s fictional secret mission.
“You can do it! You can do it!”
The repeated encouragement is paired in the scene with Colin’s own attempt, making confidence a support for action rather than a substitute for trying.
Source note: The Secret Garden; Project Gutenberg #113. Colin recalls Mary repeating this while he was trying to stand; the source does not justify using the line as medical treatment advice.
“I had to try myself at the same time, of course.”
Colin explicitly adds his own effort to the encouragement he received, keeping agency and practice inside the novel’s language of 'Magic.'
Source note: The Secret Garden; Project Gutenberg #113. The sentence immediately follows Colin’s memory of being encouraged while attempting to stand; it remains fictional context, not rehabilitation guidance.
“Being alive is the Magic—being strong is the Magic.”
Colin’s chant celebrates life and increasing strength as something wondrous after a long period in which he expected decline and death.
Source note: The Secret Garden; Project Gutenberg #113. This is a fictional child’s 'Magic' rhetoric and not evidence that illness can be cured by belief or positive thinking.
“Where you tend a rose, my lad, A thistle cannot grow.”
The gardening proverb connects what is repeatedly tended with what has less room to take over, giving cultivation both a literal and character-forming role in the novel.
Source note: The Secret Garden, near the novel’s close; Project Gutenberg #113. The line is a gardening metaphor inside children’s fiction, not a scientific rule about thoughts or mental health.
“I’m the only one in the world who wants it to be alive.”
Mary’s desire to revive the neglected garden turns care into a purpose: she values the possibility of life before she knows whether the plants can recover.
Source note: The Secret Garden; Project Gutenberg #113. Mary is speaking about the locked garden she has discovered, so the sentence remains tied to the novel’s literal plot.
“The flowers are growing—the roots are stirring. That is the Magic.”
The children treat ordinary signs of spring growth as evidence of renewal, finding wonder in processes that begin below the visible surface.
Source note: The Secret Garden; Project Gutenberg #113. Colin’s 'Magic' language is part of the novel’s imaginative framework and is not presented as a medical mechanism.
“At first people refuse to believe that a strange new thing can be done, then they begin to hope it can be done.”
New possibilities often move through stages from disbelief to curiosity and finally hope, especially when evidence begins to challenge settled expectations.
Source note: The Secret Garden, Chapter XXVII; the narrator describes how unfamiliar possibilities gradually become believable.