Deep quotes — Page 6

The Task, Book I, represented by Project Gutenberg #3698. “God made the country, and man made the town” appears in Cowper’s didactic contrast between urban fashion and rural life immediately before claims about health and virtue in fields and groves. It remains eighteenth-century poetic and Christian-inflected judgment rather than empirical evidence that country living is healthier or more virtuous.

“Thanatopsis,” represented in Project Gutenberg #29700. These lines begin the poem’s closing counsel after its extended description of death and nature; the language is poetic and spiritual rather than clinical end-of-life guidance.

“To a Waterfowl,” represented in Project Gutenberg #29700. The closing lines explicitly infer providential guidance from the bird’s flight; the claim remains Christian-inflected lyric reflection, not evidence about supernatural intervention.

The Round Table, No. 1, ‘On the Love of Life,’ dated 15 January 1815 in the represented collected text, Project Gutenberg #55932. The sentence opens Hazlitt's argument that attachment to life is driven more by active passions than by present enjoyment and is immediately followed by ‘Without life there can be no action.’ It is philosophical-psychological essay argument, not modern clinical evidence.

Table-Talk, Volume I, Essay III, “On the Past and Future,” Project Gutenberg #3020. “The future is yet to come” occurs in Hazlitt’s comparison of the already-existing past with the not-yet-existing future: the full sentence continues that the future “has never been anything.” The retained short excerpt is therefore part of a philosophical contrast, not a prediction, forecasting rule or scientific proposition.

Pragmatism, Lecture VI, “Pragmatism’s Conception of Truth”; Project Gutenberg #5116. Capitalization has been normalized from “Truth HAPPENS to an idea”; the surrounding passage explains verification and validation.

Pragmatism, Lecture II, “What Pragmatism Means”; Project Gutenberg #5116. Capitalization has been normalized from the represented all-caps sentence while the wording is otherwise preserved.

Pragmatism, Lecture II, “What Pragmatism Means”; Project Gutenberg #5116. The sentence follows James’s claim that theories become instruments rather than final answers.

The Will to Believe, essay “The Will to Believe”; Project Gutenberg #26659. James immediately argues that truth-seeking and error-avoidance are distinct laws rather than two phrasings of one command.

“Is Life Worth Living?” in The Will to Believe, and Other Essays in Popular Philosophy, Project Gutenberg #26659. James explicitly says the “scientific proof” may remain unclear; the passage is philosophical encouragement about action under uncertainty, not empirical proof that belief guarantees outcomes.

Hopes and Fears for Art, lecture “The Beauty of Life”; Project Gutenberg #3773. This is Morris’s aesthetic-social position, not an empirical necessity claim.

Some Fruits of Solitude, Preface, reviewed against the Oxford Text Archive transcription of the licensed 1693 edition. Penn says time is what people want most but use worst and immediately frames stewardship of time in explicitly religious accountability to God, neighbour and self; it remains Quaker conduct-of-life reflection rather than productivity research.

A Midsummer Night’s Dream, Act I, Scene 1; Lysander says this to Hermia while describing the obstacles that repeatedly frustrate lovers. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act I transcription.

A Midsummer Night’s Dream, Act V, Scene 1; Theseus continues the same speech with the poet’s eye moving between heaven and earth. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act V transcription.

All’s Well That Ends Well, Act III, Scene 5; Mariana warns Diana about Bertram and says that no legacy is so rich as honesty. Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio; direct evidence resolves to the reviewed Act III transcription.

As You Like It, Act II, Scene 7, Jaques; 1919 Yale Shakespeare edition edited by Jack R. Crawford, printed page 42 / Wikisource scan leaf 54. “All the world’s a stage, and all the men and women merely players” opens Jaques’s seven-ages speech after Duke Senior compares human suffering with theatrical pageants. The metaphor remains dramatic character speech about roles and aging, not Shakespeare speaking autobiographically.

As You Like It, Act V, Scene 1, Touchstone; 1919 Yale Shakespeare edition edited by Jack R. Crawford, printed page 89 / Wikisource scan leaf 101. Touchstone says, “The fool doth think he is wise, but the wise man knows himself to be a fool,” while verbally outmaneuvering William in a comic exchange over Audrey. The maxim remains fictional comic dialogue rather than a direct Shakespearean self-help proposition.

Hamlet, Act 1, Scene 3; Polonius gives Laertes this advice before Laertes leaves for France.

Act 3, Scene 1; Hamlet weighs existence against suffering and uncertainty.

Hamlet, Act 4, Scene 5; Ophelia speaks during her disrupted state, so the line remains dramatic dialogue rather than Shakespearean autobiography.

Hamlet, Act 2, Scene 2; Hamlet says this to Rosencrantz and Guildenstern while explaining that Denmark feels like a prison to him. The line is dramatic dialogue, not a detached psychological proposition by Shakespeare.

Hamlet, Act 4, Scene 5; Claudius describes multiple troubles arriving together after Polonius’s death.

Hamlet, Act 1, Scene 5.

Henry IV, Part 2, Act III Scene 1; reviewed against the 1921 Yale Shakespeare edition edited by Samuel B. Hemingway. King Henry speaks the crown line at the close of his sleepless midnight monologue after contrasting his wakefulness with the sleep of poor subjects and the storm-tossed ship-boy. It remains dramatic kingship rhetoric rather than clinical evidence about leadership stress.

Julius Caesar, Act II, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Caesar tells Calpurnia, ‘Cowards die many times before their deaths; / The valiant never taste of death but once,’ while rejecting her fear and deciding to go out. The line remains Caesar’s dramatic reasoning, not Shakespeare’s direct personal counsel.

King Lear, Act V, Scene III, reviewed against the scan-backed First Folio facsimile. Edmund says 'The Wheele is come full circle, I am heere' after Edgar identifies himself and describes their father's suffering; the retained quote modernizes spelling and trims the following clause.

Macbeth, Act IV, Scene III, reviewed against the scan-backed 1918 Yale text. Malcolm tells Macduff 'Give sorrow words; the grief that does not speak / Whispers the o'er-fraught heart and bids it break.' The frozen catalog row instead reads 'knits up the o'er-wrought heart'; that substantive inherited wording variation is disclosed rather than silently rewritten. The passage remains dramatic grief counsel, not clinical guidance.

Othello, commonly numbered Act II, Scene III in modern editions. In the represented 1910 First Folio facsimile the continuous Cyprus scene is routed as Act II, Scene II; Iago says 'How poore are they that haue not Patience? / What wound did euer heale but by degrees?' while manipulating Roderigo. The edition-specific scene-number difference is preserved explicitly.

Richard II, Act V, Scene V in the represented 1921 Yale edition. Richard's 'I wasted time, and now doth time waste me' occurs in the prison soliloquy as he compares broken musical time with his ruined political life. The First Folio facsimile numbers the corresponding prison scene differently, so the Yale route is used to preserve this collection's modern scene numbering.

Romeo and Juliet, Act 1, Scene 5.

Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.

Act 2, Scene 7; the inscription warns against judging by outward appearance.

The Merchant of Venice, Act 1, Scene 3.

The Merchant of Venice, Act 2, Scene 2; Launcelot uses the phrase while revealing his identity to his father.

The Merchant of Venice, Act 5, Scene 1; Lorenzo describes the stars above Belmont.

Act 1, Scene 2; Ferdinand describes the terror surrounding the shipwreck.

The Tempest, Act 3, Scene 2; Caliban reassures Stephano and Trinculo about the mysterious music of the island.

Act 4, Scene 1.

Poem “My Heart Leaps Up.”

“She Dwelt among the Untrodden Ways,” second stanza.