This continuation page contains additional source-backed quotations not shown in the initial 70-quotation overview. Return to the topic guide and browse collection.
“I am the master of my fate: I am the captain of my soul.”
The closing declaration emphasizes agency over one’s response and character even when external circumstances remain harsh or uncontrollable.
Closing lines of Invictus; Henley ends a poem about hardship with a statement of inner command.
“Failure is often the turning-point, the pivot of circumstance that swings us to higher levels.”
A setback can force reassessment and redirect effort, so Jordan treats some failures as transitions rather than final verdicts.
Self-Control, Its Kingship and Majesty, Chapter XIV, “Failure as a Success,” Project Gutenberg #51469. “Failure is often the turning-point...” follows Jordan’s account of a failed log-rafting experiment that nevertheless generated useful hydrographic observations. The word “often” is retained: this is conduct-of-life rhetoric about possible redirection after failure, not a guarantee that failure produces improvement.
“What, to our eyes, may seem hopeless failure is often but the dawning of a greater success.”
Immediate appearances can mislead: a failure may reveal another direction or become part of later success, so present defeat need not define the whole trajectory.
The Majesty of Calmness, “Failure as a Success.” The passage is motivational interpretation, not a promise that every loss will produce a better outcome.
“Let us live up to the fulness of our possibilities each day. Man has only one day of life—to-day.”
Jordan makes development immediate: today is the only day in which ability, responsibility and intention can actually be converted into conduct.
The Power of Truth, “People Who Live in Air-Castles.” The line is a present-action argument within conduct-of-life writing, not a literal denial of memory, planning or future obligations.
“If we would make our lives worthy of us, grand and noble, solid and impregnable, we must forsake air-castles of dreaming for strongholds of doing.”
Aspiration has to become action before it can shape a life; Jordan contrasts imagined achievement with concrete work toward a chosen purpose.
The Power of Truth, “People Who Live in Air-Castles.” The military imagery is metaphorical and belongs to a critique of substituting fantasy for execution.
“We make the coming age our own.”
Youth is portrayed as imaginatively possessing the future before experience has imposed clear limits, turning coming time into a field of possibility rather than scarcity.
On the Feeling of Immortality in Youth, first published March 1827. The sentence belongs to Hazlitt’s account of expansive youthful expectation and should not be treated as a literal claim of control over the future.
“The love of life is, in general, the effect not of our enjoyments, but of our passions.”
Hazlitt argues that attachment to continued life is driven less by a simple calculation of pleasure than by active desires, interests and passions that keep a person engaged with what may happen next.
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.
“Seize the very first possible opportunity to act on every resolution you make.”
The advice links resolution with prompt action, arguing that intentions shape habit more effectively when they are converted into behavior at the first available opportunity.
Talks To Teachers, chapter on Habit; Project Gutenberg #16287. This is the opening clause of James’s third habit-forming maxim; the longer sentence also refers to emotional promptings toward desired habits.
“Our errors are surely not such awfully solemn things.”
James resists treating every possible intellectual mistake as catastrophic, because an excessive fear of error can itself prevent inquiry, experience and the possibility of gaining truth.
The Will to Believe, essay “The Will to Believe”; Project Gutenberg #26659. James is contrasting the risk of being mistaken with the cost of refusing every uncertain intellectual venture.
“Be not afraid of life. Believe that life is worth living, and your belief will help create the fact.”
James treats belief as an active stance toward uncertain possibilities: confidence does not prove that life will go well, but it can influence whether a person engages with life as something capable of being made worthwhile.
“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.
“what is an artist but a workman who is determined that, whatever else happens, his work shall be excellent?”
Morris defines artistic practice through workmanship and a deliberate standard of excellence, joining creative identity to sustained attention to the quality of the work itself.
Hopes and Fears for Art, lecture “Making the Best of It”; Project Gutenberg #3773. The sentence addresses artistic workmanship rather than claiming every form of labor is art.
“grudge no expense of trouble, patience, or courage, in the striving to accomplish the hard thing you have set yourselves to do.”
Addressing art students, Morris emphasizes the persistence, patience and courage needed to carry difficult creative work toward the standard the maker has chosen.
Hopes and Fears for Art, lecture “The Art of the People”; Project Gutenberg #3773. The counsel is explicitly directed to people studying or practicing art.
“Thus at last and by slow degrees we got pleasure into our work; then we became conscious of that pleasure, and cultivated it”
The fictional speaker describes improvement as gradual: better workmanship leads to recognized pleasure, which is then deliberately cultivated rather than appearing instantly or automatically.
News from Nowhere, Old Hammond’s historical explanation of the utopian society; Project Gutenberg #3261. This is fictional dialogue, not a direct autobiographical maxim by Morris.
“the freedom for every man to do what he can do best, joined to the knowledge of what productions of labour we really wanted. I must admit that this knowledge we reached slowly and painfully.”
Old Hammond connects useful work with discovering strengths and social needs, while explicitly describing that knowledge as something learned gradually through difficulty.
News from Nowhere, Chapter XV, ‘On the Lack of Incentive to Labour in a Communist Society,’ Project Gutenberg #3261. Old Hammond says the society gained happiness through the absence of artificial coercion, ‘the freedom for every man to do what he can do best,’ and slowly learned knowledge of what labour was wanted. It is fictional utopian dialogue and historical-social argument, not Morris autobiography or settled economic science.
“If we work thus we shall be men, and our days will be happy and eventful.”
After describing work that engages mind, memory, imagination and the will to create, Morris presents such activity as a way of making daily life active and meaningful.
Signs of Change, lecture “Useful Work versus Useless Toil”; Project Gutenberg #3053. “Thus” refers to creative work engaging mind, memory, imagination and bodily effort.
“the main pleasure of life is the exercise of energy in the development of our special capacities.”
The line makes development itself a source of satisfaction: people flourish, in Morris’s account, when their abilities are actively exercised instead of left unused.
Signs of Change, lecture “Dawn of a New Epoch”; Project Gutenberg #3053. The sentence occurs inside Morris’s proposed organization of socially useful labor.
“the true secret of happiness lies in the taking a genuine interest in all the details of daily life, in elevating them by art”
Morris locates happiness in engaged attention to ordinary life and in making daily activity more meaningful through art, rather than treating aesthetic life as separate from routine experience.
Signs of Change, lecture “The Aims of Art”; Project Gutenberg #3053. The passage belongs to Morris’s socialist argument about labor, leisure and art in daily life.
“worthy work carries with it the hope of pleasure in rest, the hope of the pleasure in our using what it makes, and the hope of pleasure in our daily creative skill.”
Morris evaluates work by whether it leaves room for rest, produces something worth using and gives the worker some creative satisfaction during the process itself.
Signs of Change, lecture “Useful Work versus Useless Toil,” beginning on printed page 141, Project Gutenberg #3053. Morris defines the hope that makes work worth doing as hope of rest, useful product and pleasure in the work itself, then summarizes those three elements in the retained sentence. It remains socialist moral and economic argument about labor, not a universal workplace-satisfaction metric.
“The master-word is Work”
Osler makes sustained work the organizing principle of his address to medical students, emphasizing disciplined practice over brilliance without application.
The Master-Word in Medicine, address delivered October 1, 1903 at the opening of the new buildings of the University of Toronto Medical Faculty; reviewed against the represented 1903 John Murphy pamphlet, Internet Archive identifier b28060805. ‘The master-word is Work’ is Osler’s organizing refrain and is followed by his appeal to write the word on the heart and forehead. This remains historical professional rhetoric rather than an endorsement of unsafe working hours or workaholism.
“It is the open sesame to every portal”
The metaphor presents work as a means of opening opportunities that remain inaccessible to intention alone, within Osler’s larger argument for disciplined professional effort.
The Master-Word in Medicine, 1903. “It” refers to the master-word Work in the immediately preceding passage; the source page preserves that antecedent so the excerpt is not detached from its meaning.
“the paramount importance of the work-habit”
The address stresses that useful work becomes more dependable when it is habitual, making consistency part of professional formation rather than something left to occasional motivation.
The Master-Word in Medicine, 1903. Osler immediately acknowledges that acquiring the work-habit can be a hard battle; the context therefore supports persistence without turning the passage into a modern workaholism prescription.
“Time is what we want most, but what, alas! we use worst;”
Penn argues that time is indispensable yet commonly spent carelessly, making attention to its use a central responsibility in the conduct of life.
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.
“Our remedies oft in ourselves do lie.”
Before assuming rescue must come from outside, the line asks what capacity, choice, or effort is already available within.
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.
“The readiness is all.”
The emphasis is not on controlling every outcome but on meeting what comes with preparedness and acceptance.
Act 5, Scene 2.
“The better part of valour is discretion.”
Courage is balanced with judgment here: avoiding a needless danger can sometimes be wiser than performing bravery for appearance.
Henry IV, Part 1, Act V Scene 4; reviewed against the 1917 Yale Shakespeare edition edited by Samuel B. Hemingway, printed page 110 / scan leaf 124. Falstaff says 'The better part of valour is discretion' after counterfeiting death during the battle and immediately boasts that this discretion saved his life. It remains comic fictional self-justification rather than a universal rule for courage or risk.
“Men at some time are masters of their fates.”
Circumstances matter, but people also have moments when their own decisions meaningfully shape what follows.
Julius Caesar, Act I, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Cassius says ‘Men at some time are masters of their fates’ immediately before the fuller stars/underlings argument; the retained short record is part of the same local persuasion scene.
“There is a tide in the affairs of men which, taken at the flood, leads on to fortune.”
Brutus uses the tide metaphor to argue that judgment includes timing: opportunities can require action before circumstances change.
Julius Caesar, Act IV, Scene 3, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Brutus argues for marching to Philippi and compares opportunity to a tide that must be taken at the flood; the metaphor belongs to a disputed military decision inside the play rather than a context-free guarantee of success.
“The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.”
The line rejects passive fatalism and places responsibility for circumstances more directly on human decisions, ambition, and action.
Julius Caesar, Act I, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Cassius tells Brutus that men can be masters of their fates and immediately continues, ‘The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings.’ This is Cassius’s political persuasion inside the drama, not neutral historical evidence or Shakespeare speaking directly.
“The miserable have no other medicine but only hope.”
When circumstances offer little immediate relief, hope can preserve the possibility of endurance without pretending the pain is gone.
Measure for Measure, Act III, Scene I, Claudio to the disguised Duke. The scan-backed 1910 Methuen facsimile transcription of the 1623 First Folio reads “The miserable haue no other medicine / But onely hope” as Claudio awaits possible execution. The line remains fictional speech under threat of death, not medical treatment guidance or a guarantee that hope resolves suffering.
“True hope is swift, and flies with swallow's wings: Kings it makes gods, and meaner creatures kings.”
Richmond pictures hope as something that moves faster than fear and gives people the courage to act. His comparison of kings with gods is a dramatic assertion of what confidence can do to status and resolve, not a literal transformation.
Richard III, Act V, Scene 2: Henry, Earl of Richmond, speaking to his allies immediately before marching toward Richard’s army. The passage follows his hope for peace after battle. Wording and punctuation follow the MIT public-domain play text; Folger’s modern-edition punctuation differs. This is a military-political exhortation from a character, not a guarantee of success.
“Wisely and slow; they stumble that run fast.”
Speed without judgment can undermine the very goal a person is pursuing, so patience becomes part of effective action.
Act 2, Scene 3; Friar Laurence urges Romeo to move with greater care.
“What’s past is prologue.”
The past is framed as context rather than the whole story, leaving the future open to further action.
The Tempest, Act 2, Scene 1; Antonio says this while urging Sebastian toward a conspiracy against Alonso. The phrase is therefore embedded in morally compromised dramatic persuasion rather than neutral advice.
“Hope is a lover's staff; walk hence with that And manage it against despairing thoughts.”
Proteus describes hope as a walking staff for a lover who has been forced away from the person he loves: it offers something to lean on while facing separation. His advice is complicated by his own disloyalty to Valentine.
The Two Gentlemen of Verona, Act III, Scene 1: Proteus speaks to Valentine after the Duke banishes him. Although the words sound encouraging in isolation, Proteus has secretly betrayed Valentine’s plan. The MIT play transcription supplies the displayed public-domain wording and scene; this is fictional dialogue rather than Shakespeare’s personal confession.
“Things won are done; joy’s soul lies in the doing.”
Anticipation and active pursuit can carry more energy than possession itself, making the process part of the reward.
Troilus and Cressida, Act I, Scene 2, Project Gutenberg #1528; Cressida speaks privately after Pandarus leaves. ‘Things won are done; joy’s soul lies in the doing’ occurs in her reflection that people prize what is still ungained and that love can seem sweetest while desire is still suing; she then resolves to conceal her own love. It remains fictional dramatic psychology inside the play’s courtship plot, not a universal motivational or happiness law.
“Come forth into the light of things, Let Nature be your teacher.”
Direct attention to the natural world is offered as a form of learning that complements books and abstract study.
Poem “The Tables Turned.”
