Life quotes — Page 6

Toilers of the Sea, Preface, represented by Project Gutenberg #32338 in W. Moy Thomas's English translation. 'Religion, Society, and Nature! these are the three struggles of man' opens Hugo's triadic framing of Notre-Dame de Paris, Les Misérables and Toilers of the Sea. It is translated authorial/literary framing, not a social-scientific taxonomy of every human struggle.

Candide, Chapter XXX, Project Gutenberg #19942, uncredited public-domain English translation. Candide says “that we must cultivate our garden” to Pangloss and Martin near the tale’s close after reflecting on the old Turk’s life of work. This is translated fictional dialogue and literary resolution, not Voltaire autobiography or a literal guarantee that work resolves every hardship.

Song of Myself, in the passage describing the road each person must travel for themselves.

Leaves of Grass (1855), untitled first-edition poem later known as “Song of Myself,” printed page 56 (Wikisource scan page 62). The line belongs to the poem’s final movement, later numbered section 52; the 1855 record remains tied to the unnumbered first edition rather than inheriting later section structure.

Leaves of Grass (1855), untitled first-edition poem later known as “Song of Myself,” printed page 14 (Wikisource scan page 20). The sentence follows Whitman’s warning against taking things at second or third hand and against looking only through another person’s eyes; the reviewed locator is edition-specific.

Song of Myself, in Whitman’s catalogue of equal wonders.

Leaves of Grass (1882), “Song of the Broad-Axe,” section 4; Wikisource 1882 transcription. The line appears after “And the dead advance as much as the living advance” and before Whitman turns from institutions and structures toward the personal qualities he says endure.

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 41 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. Pater says that the contrast between Wordsworth’s higher and lower poetic moods “makes the reading of Wordsworth an excellent sort of training towards the things of art and poetry.” This remains Pater’s critical judgment about aesthetic training, not an experimentally established educational outcome.

Appreciations, with an Essay on Style, essay “Wordsworth,” printed page 42 in the Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. The reading-between-the-lines passage follows Pater’s claim that Wordsworth-reading can train aesthetic discrimination; he attributes to receptive readers a habit of inference plus faith in concentration and collectedness of mind. This remains nineteenth-century literary criticism rather than cognitive-science evidence.

Appreciations, with an Essay on Style, essay “Style,” printed page 5 in the standard Macmillan 1910 Library Edition pagination reproduced by Project Gutenberg #4037. “all progress of mind consists for the most part in differentiation...” opens Pater’s argument by distinguishing prose, verse and poetry. This is literary-aesthetic criticism, not a modern experimental claim about cognition or learning.

The Renaissance, Conclusion; Project Gutenberg #2398. This is an aesthetic-philosophical thesis, not a universal empirical rule for how everyone ought to live.

The Renaissance, Conclusion; Project Gutenberg #2398. The metaphor belongs to Pater’s aesthetic philosophy and should not be reduced to generic productivity advice.

The Renaissance, Conclusion; Project Gutenberg #2398. The statement belongs to Pater’s aesthetic account of how art affects lived moments.

The Renaissance, Conclusion; Project Gutenberg #2398. The line follows an explicit meditation on life’s brevity and precedes Pater’s claims for art and passionate activity.

The Renaissance, Preface; Project Gutenberg #2398. “These impressions” refers to responses produced by art, landscape, personality and other aesthetic objects.

The Renaissance, Conclusion; Project Gutenberg #2398. The line belongs to Pater’s historically controversial conclusion on experience and culture.

The Renaissance, Conclusion; Project Gutenberg #2398. The sentence names Comte, Hegel and one’s own orthodoxy in its immediate continuation.

No Name, Project Gutenberg #1438. Mr Pendril speaks after the Vanstone sisters lose their legal and financial position; the surrounding dialogue immediately qualifies the hope as uncertain and dependent on future events.

My Ántonia, Book V, Chapter III, Project Gutenberg #242. Jim Burden returns to the old road that first carried him and Ántonia into Nebraska and concludes that whatever they missed, they still possess “the precious, the incommunicable past.” The sentence is retrospective fictional narration about shared memory, belonging and time, not a psychological law.

O Pioneers!, Part II, Chapter IV, Project Gutenberg #24. Carl Linstrum says that there are ‘only two or three human stories’ while he and Alexandra discuss recurring patterns around the old homestead and their younger neighbors. The line is fictional dialogue and literary reflection on repetition in human life, not an empirical taxonomy of all human experience.

The Song of the Lark, Part VI, Chapter X, Project Gutenberg #44. ‘Artistic growth is... a refining of the sense of truthfulness’ is narrator reflection immediately after Harsanyi calls passion the artist's ‘open secret’ and as Thea Kronborg comes into fuller command of her mature performance. It belongs to Cather's fictional account of artistic formation and performance, not an empirical measurement of artistic development or a guarantee that all artists mature in the same way.

Short poem commonly titled “Eternity”; Blake contrasts grasping with the passing movement of joy.

The Marriage of Heaven and Hell, “Proverbs of Hell”; Blake presents the line as a deliberately paradoxical aphorism about experience and limits.

The Diverting History of John Gilpin, closing stanza, represented by Project Gutenberg #23753. This is comic narrator voice at the end of Cowper’s ballad, not a serious political statement despite the conventional “long live the king” flourish.

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.

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.

‘On the Feeling of Immortality in Youth,’ opening of the essay first published unsigned in The Monthly Magazine, March 1827, represented in The Collected Works of William Hazlitt, Volume XII, Project Gutenberg #72206. ‘No young man believes he shall ever die’ opens Hazlitt's rhetorical account of youth's felt distance from mortality; it is historical essay reflection, not a literal claim about every young person.

The Round Table, No. 1, “On the Love of Life,” January 15, 1815. The phrase occurs inside Hazlitt’s broader argument that passions and projects strengthen attachment to life.

Table-Talk, Volume I, Essay III, “On the Past and Future,” Project Gutenberg #3020. “I have some desire to enjoy the present good, and some fondness for the past” appears in the opening paragraph, where Hazlitt states his own lack of sanguine expectation before developing the essay’s argument. This is first-person literary-philosophical reflection, not an empirical claim about how people should value past, present or future.

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.

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.

“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.

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.

Signs of Change, lecture “Useful Work versus Useless Toil”; Project Gutenberg #3053. “Thus” refers to creative work engaging mind, memory, imagination and bodily effort.

Signs of Change, lecture “Dawn of a New Epoch”; Project Gutenberg #3053. The sentence occurs inside Morris’s proposed organization of socially useful labor.

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.

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.

No Cross, No Crown, Preface, Project Gutenberg #44895. Penn opens by saying that the great business of life is to answer the end for which one lives, immediately defining that end as glorifying God and saving one’s soul. The frozen catalog retains only the opening clause. This is explicitly Quaker Christian devotional exhortation, not a neutral or universal factual definition of life’s purpose.

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.

All’s Well That Ends Well, Act IV, Scene 3; the First Lord reflects that human life is woven from good and ill together while discussing Bertram and Parolles. Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio (folio spelling “The webbe of our life, is of a mingled yarne”); direct evidence resolves to the reviewed Act IV transcription.

As You Like It, Act II, Scene 1, Duke Senior; 1919 Yale Shakespeare edition edited by Jack R. Crawford, printed page 24 / Wikisource scan leaf 36. “Sweet are the uses of adversity” occurs in Duke Senior’s Forest of Arden reflection on exile, winter and the lessons he claims to find outside court life. It remains fictional dramatic speech rather than Shakespeare’s autobiographical advice or a modern psychological claim about hardship.

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.

Act 5, Scene 2.

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

Act 1, Scene 3; Polonius advises Laertes before his departure.

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.

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.

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.

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.

Act 2, Scene 3; Friar Laurence urges Romeo to move with greater care.

The Merry Wives of Windsor; a comic line about timing and punctuality.

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.

Poem “My Heart Leaps Up.”

The Tables Turned; two adjacent lines are joined into one sentence.