Healing quotes — Page 2

Second Inaugural Address, March 4, 1865.

In Memoriam A.H.H., Canto XXVII, closing stanza; represented by the Wikisource canto transcription and independently visible on printed page 44 / scan leaf 64 of a public-domain edition. Tennyson's 'loved and lost' conclusion belongs to the elegy's grief for Arthur Hallam and its argument that love remains valuable despite bereavement; it is poetry, not a clinical grief prescription.

Counsels and Maxims, T. Bailey Saunders translation, in a discussion of fortune and apparent stability.

The Consolation of Philosophy, Book II, Chapter IV, H. R. James translation (Elliot Stock, 1897), printed page 60 in Project Gutenberg #14328. The retained catalog wording ‘Nothing is wretched, but thinking makes it so.’ is a frozen clause extract from James’s longer sentence beginning ‘So true is it that...’ in Lady Philosophy’s argument about Fortune, judgment and the instability of external circumstances. It remains late-antique philosophical consolation mediated by translation, not modern cognitive-science or clinical mental-health evidence.

Great Expectations (1861), global Chapter XIX / Volume I Chapter XIX in the Chapman & Hall three-volume first book edition. As Pip leaves the village and breaks into tears, the retrospective narrator says that “we need never be ashamed of our tears” before reflecting on ingratitude toward Joe. Verified against the scan-backed Wikisource Chapter XIX transcription and cross-checked with Project Gutenberg #1400. The passage remains literary reflection on Pip’s remorse rather than modern clinical or grief-treatment evidence.

Jane Eyre, Project Gutenberg #1260. Rochester says this to Jane while recounting his own decline. Jane replies that repentance is said to cure remorse; Rochester answers that reformation may be its cure. This is fictional character dialogue, not Charlotte Brontë’s direct psychological advice.

“A Better Resurrection,” in Goblin Market and Other Poems (1862 first edition), Devotional Pieces, printed page 137 / scan leaf 153. “My life is in the falling leaf: O Jesus, quicken me” closes the first stanza as a direct Christian prayer for renewed life; the address to Jesus and resurrection frame are essential context and are not secularized into generic recovery advice.

Ecclesiastes 3:1 in the King James Version, opening the sequence of contrasting times and seasons.

“A Child’s Grave at Florence,” stanza XXIX; Project Gutenberg #31015. The surrounding stanza contrasts the family’s earthly grave and silence with the child’s imagined heavenly life.

Sonnets from the Portuguese, Sonnet XXXV, Project Gutenberg #2002. “For grief indeed is love and grief beside” occurs as the lyric speaker asks whether a new beloved can fill a place still occupied by family memory and bereavement. It remains intimate Victorian love poetry, not a clinical model or universal definition of grief.

“Remembrance,” Project Gutenberg #1019. The speaker is negotiating loyalty to a lost beloved rather than announcing a universal timetable for moving on.

“Remembrance,” in Poems by Currer, Ellis, and Acton Bell (1846); Project Gutenberg #1019. The line belongs to a dramatic lyric voice and is not biographical evidence by itself.

Opening lines.

Bacon, “Of Revenge”; the sentence continues by contrasting revenge with wounds that would otherwise heal.

Narrative, Chapter VII; Douglass immediately explains that reading opened his eyes to the pit of slavery without yet showing a ladder out.

Notes from Underground, Part I, Chapter IX, Constance Garnett translation. The Underground Man claims that suffering is the sole origin of consciousness while attacking the imagined rational “Palace of Crystal.” Verified against Project Gutenberg #600 and the 1918 Heinemann White Nights and Other Stories Wikisource text; this remains the fictional narrator’s extreme proposition, not current psychological evidence.

Silas Marner; Eliot describes the social and emotional change produced by Eppie after Silas had withdrawn from other people and organized life around his gold.

Lilith: A Romance; Project Gutenberg #1640. Spoken by Mara to Lilith in a theological fantasy scene; it is not presented as empirical evidence about death or an afterlife.

Hebrews 8:12 in the King James Version; concluding clause of the new-covenant promise.

A Psalm of Life, in the stanza beginning “Trust no Future.”

Isaiah 43:25 in the King James Version; excerpt from the verse about blotting out transgressions.

Isaiah 53:3, King James Version; the line belongs to the suffering-servant passage and combines social rejection with sorrow and grief.

Pride and Prejudice, Chapter 58.

Jeremiah 31:34, King James Version; the promise appears in the description of a new covenant and includes forgiveness and no further remembrance of sin.

Luke 23:34 in the King James Version.

Meditation XVII; modernized capitalization.

Paradise Lost (1667), Book I, line 254; retained legacy short extract from the fuller Satan sentence beginning ‘The mind is its own place’ and continuing into line 255. It is the same underlying passage as the longer catalog record, not a separate fifth passage.

Paradise Lost (1667), Book II, lines 432–433; Satan addresses the infernal council before undertaking the journey out of Hell. The line describes the epic’s literal route from Hell toward light and remains character speech, not a general promise of recovery.

Our National Parks; the sentence occurs in Muir’s invitation to enter the mountains and receive their restorative influence.

The Prophet, “On Joy and Sorrow.”

The Prophet, “On Love.”

Ecclesiastes 3:4 in the King James Version.

Matthew 5:4 in the King James Version; one of the Beatitudes, addressing those who mourn.

Psalm 147:3 in the King James Version; the verse describes care for people whose hearts have been broken.

Psalm 23:3 in the King James Version; restoration follows the psalm’s images of rest and still waters.

Psalm 34:18 in the King James Version; the verse speaks of divine nearness to the brokenhearted.

Psalm 56:3 in the King James Version.

My Confession, Leo Wiener translation; Tolstoy describes how closer attention to living and departed people increased his affection for them and altered his ability to live.

Jo's Boys; the reassurance follows a setback and reframes a difficult year as experience that may later prove unusually helpful rather than simply wasted time.

Little Men; Jo reflects on the responsibility of guiding a difficult boy and measures success by the person he may become rather than by convenience.

Little Men; the narration explains why Jo responds to the boy’s condition through inclusion and sustained home care rather than treating him as a temporary problem.

Meditations, Book IV, in George Long’s translation; this is the central clause of the retreat passage.

Meditations, Book IV, in George Long’s translation.

De Profundis, public-domain 1913 Methuen text; the sentence appears in Wilde’s description of prison time and the apparent sameness of suffering.

De Profundis; Wilde reflects on suffering as a source of seriousness, humility, and transformed perception.

De Profundis, public-domain 1913 Methuen text; Wilde writes from prison about suffering, memory, humiliation, and the changed experience of time.

1 Thessalonians 5:11 in the King James Version.

2 Corinthians 2:10, King James Version; Paul continues instructions about forgiving and receiving a person who had caused sorrow.

2 Corinthians 2:7 in the King James Version; excerpt from Paul’s instruction about receiving and comforting a repentant member.

Final line of Ode to the West Wind; the changing seasons become a metaphor for historical and personal renewal.

Apology, final paragraph in Jowett’s translation; Socrates closes after the jury has sentenced him to death.

Proverbs 17:22 in the King James Version; opening clause.

Psalm 103:12 in the King James Version.

Psalm 126:5 in the King James Version.

Psalm 42:11, King James Version; the psalm repeatedly addresses a downcast and disquieted soul while directing attention toward hope.

Psalm 55:22, King James Version; the verse turns from conflict and betrayal toward entrusting one’s burden to God for sustaining help.

The Moral Sayings of Publius Syrus, saying 37, D. Lyman Jr. translation (1856).

The Gardener, poem 27; Project Gutenberg #6686. This is dialogue within a lyric sequence, and the surrounding exchange explicitly pairs love with tears and enduring sorrow.

Moral Letters to Lucilius, Letter 101.

Moral Letters to Lucilius, Letter 4.

Letter 63 urges remembrance of a lost friend while continuing to participate in friendship and life.

Letter 63, on grief for lost friends, argues against both emotional numbness and endless mourning.

All’s Well That Ends Well, Act I, Scene 1; Helena resolves to act rather than ascribe every possibility to fate. Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio (folio spelling “Our remedies oft in our selues do lye”); direct evidence resolves to the reviewed Act I transcription.

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

King Lear, Act I, Scene IV, reviewed against the scan-backed First Folio facsimile. Lear's serpent's-tooth line occurs inside his curse against Goneril after the reduction of his retinue; it is angry dramatic speech, not a neutral rule about children or family relationships.

Othello, Act I, Scene III, reviewed against the scan-backed 1910 First Folio facsimile on Wikisource. The Duke's 'To mourne a Mischeefe that is past and gon' sentence is part of the same attempt to redirect Brabantio after Desdemona's marriage; this collection preserves modernized spelling and punctuation rather than Folio orthography.

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.

Romeo and Juliet, Act 2, Scene 2; Juliet speaks as the lovers part for the night.

Act 4, Scene 1.