Integrity quotes

The Simple Life, Chapter V, “Simple Duty,” Mary Louise Hendee translation, Project Gutenberg #23092; the sentence appears in Wagner’s discussion of everyday obligations.

Phaedo, approximately Stephanus 91b–c, Socrates speaking to Simmias and Cebes after their objections to the arguments about the soul’s survival. He specifically asks them to contradict him if they think his reasoning is wrong. This is a complete sentence from Benjamin Jowett’s English translation, Project Gutenberg #1658, in the dialogue after the translator’s separate introduction. Socrates is a character and local speaker; do not attribute the sentence as a direct personal remark by Plato.

Lectures on Art, Lecture VII, Project Gutenberg #19164. Ruskin is warning students against both conceit and servile imitation.

A Vindication of the Rights of Woman; the passage rejects a separate moral standard built around sex rather than shared human duties.

Modern Painters, Volume III, Part IV, Chapter III, “Of the Real Nature of Greatness of Style,” section 3, printed page 26, Project Gutenberg #38923. Ruskin contrasts pursuing art to become a “great man” or attract admiration with honest reverence for art and self-respect in its practice, which he says can rescue art from dilettantism and fit it for service. This is nineteenth-century art-critical / vocational argument, not a modern organizational or occupational-health rule.

Up from Slavery, Chapter XI, “Making Their Beds Before They Could Lie On Them,” Project Gutenberg #2376. Washington says he learned from General Armstrong to reject racial hatred and applies that lesson specifically to hostility and wrongs inflicted on Black Americans; the historical context remains explicit rather than becoming generic advice to ignore mistreatment.

The Crown of Wild Olive, lecture on Work; Project Gutenberg #26716. The passage belongs to Ruskin’s Victorian moral and religious argument about labor and professional motives, not to a modern compensation model.

Optimism: An Essay (1903), Project Gutenberg #31622. The sentence belongs to Keller’s personal moral and religious account of optimism.

The Power of Truth, opening chapter, Project Gutenberg #56020; the “pure gold” comparison belongs to Jordan’s description of sincere speech.

“The Battlefield,” represented in Project Gutenberg #29700. The line belongs to a civic-religious meditation on conflict, sacrifice and moral endurance; its resurrection imagery expresses poetic conviction rather than a literal law of history.

Character Building, “Have You Done Your Best?”, Project Gutenberg #60484. The question is addressed to Tuskegee students reflecting on family sacrifice and their school work.

Crito, Socrates questioning Crito during the prison discussion after establishing a rule against retaliation; Benjamin Jowett English translation, Project Gutenberg #1657. The sentence begins after Socrates says he will put the next point as a question. The question is not an unqualified defense of obedience to every law; the dialogue stages an argument about obligations to the city.

Character Building, “The Virtue of Simplicity,” Project Gutenberg #60484. The sentence refers specifically to students doing building work at Tuskegee.

How to Succeed, “Hold Up Your Head”; Marden follows a Lincoln anecdote by arguing that self-respect depends on deserving one’s own approval.

Dhammapada 165, Chapter XII “Self,” Max Müller translation; “purity” is religious-ethical language from the source, not a claim about personal worth or bodily purity.

Character Building, “The Importance of Being Reliable,” Project Gutenberg #60484. The race language belongs to Washington’s historical response to discriminatory judgments and employment conditions.

Proverbs 10:9 in the King James Version; the opening clause is quoted here.

Closing defense argument in the Boston Massacre soldiers’ trial, December 1770, preserved by Founders Online. The line belongs to courtroom advocacy about evidence and due process in a specific criminal proceeding.

Optimism: An Essay (1903), Project Gutenberg #31622. The field and harvest are metaphors for putting an optimistic creed into practice.

Inaugural Address, March 4, 1797, represented by Founders Online / National Archives. The clause appears in Adams’s warning about party artifice, corruption and foreign interference in elections; it remains historical presidential rhetoric rather than current election-law advice.

Thrift, Chapter XIV, “Riches and Charity,” Project Gutenberg #14418. Smiles argues that money alone cannot reform conduct and says change from intemperance, improvidence and irreligion requires earnest purpose, self-devotion and hard work; that nineteenth-century reform context is preserved.

The Power of Truth, opening chapter, Project Gutenberg #56020; Jordan distinguishes sincere error from deliberate untruthfulness.

Adam Bede, Book Second, Chapter XVII, “In Which the Story Pauses a Little,” Project Gutenberg #507. “Falsehood is so easy, truth so difficult” appears in Eliot’s narrator-level defence of realistic representation and the difficulty of saying the exact truth about people and feelings. It is literary-aesthetic argument inside the novel, not an empirical psychology result.

A Vindication of the Rights of Men, opening letter to Edmund Burke, second edition (1790); this sentence follows Wollstonecraft’s refusal to disguise her sentiments behind courtly politeness.

Project Gutenberg #2680, correspondence appendix, Ad M. Caes. iii. 5. Marcus replies after Fronto agrees to moderate his prosecution in the Herodes Atticus dispute. The sentence concerns forensic restraint and personal feeling in that historical exchange.

Character Building, “Growth,” Project Gutenberg #60484. Washington is speaking specifically about students preparing lessons and cultivating disciplined study habits.

The Power of Truth, opening chapter, Project Gutenberg #56020; Jordan introduces truth as the foundation of character.

The Theory of Moral Sentiments, Part III discussion of the general rules of morality; Smith contrasts exact rules of justice with more flexible rules of prudence and generosity.

Lectures on Art, Lecture IV “The Relation of Art to Use,” Project Gutenberg #19164. This is Ruskin’s aesthetic criterion, not an empirical definition accepted by all art theory.

Plato, Crito, approximately 48b, Socrates speaking with Crito in prison; Benjamin Jowett public-domain English, Gutenberg #1657. The conditional question occurs in the dramatic text after a discussion of justice, public opinion and fear of execution. Socrates is the dramatic speaker; it is not a recorded autobiographical quotation by Plato.

Lectures on Art, Lecture III, Project Gutenberg #19164. Ruskin makes a normative Victorian claim about workmanship and morality; this collection does not universalize it beyond that context.

Pride and Prejudice, Chapter XI, Project Gutenberg #1342. Fitzwilliam Darcy says this to Elizabeth Bennet during their discussion of faults; Elizabeth immediately identifies the position as implacable resentment, so the novel itself does not leave the maxim unchallenged.

The Crown of Wild Olive, lecture on Work; Project Gutenberg #26716. This is explicitly Christian moral rhetoric in Ruskin’s text and is not secularized into a universal economic proposition.

The Power of Truth, opening chapter, Project Gutenberg #56020; the dash is retained from the represented public-domain text.

Matthew 23:12 in the King James Version.

The novel contrasts outside pressure with the value of attending to one’s own judgment.

Character Building, “What Is To Be Our Future?”, Project Gutenberg #60484. Washington asks whether Tuskegee will remain worthy of public confidence and answers by requiring each student and worker to put conscience and full effort into every kind of work.

Little Men; Alcott contrasts durable goodness with forms of success that can disappear, treating moral character as a lasting foundation for life’s work.

Nicomachean Ethics, Book II, Chapter VI; the public-domain English translation defines virtue through deliberate choice and the relative mean.

Lectures on Art, inaugural lecture, Project Gutenberg #19164. This is Ruskin’s Victorian aesthetic theory about national art, not a measurable law of artistic development.