Never give up quotes — Page 2

The Rape of the Lock, Canto V, lines 29–30 in Pope’s 1717 revision; spoken by Clarissa. Her speech was added in 1717, so the inherited 1714 source year is corrected to 1717. Clarissa’s counsel is immediately followed by the poem’s return to comic battle, preserving the satirical frame.

Ulysses, near the close of the poem.

Poem “Ulysses,” final line.

An Autobiography, Chapter VII, Project Gutenberg #5978. Trollope describes his self-imposed quota and record-keeping system before saying that a genuinely daily small task can beat spasmodic heroic labour. It is autobiographical reflection on his own working method, not a universal productivity or health prescription.

How to Live on 24 Hours a Day, discussion of beginning a programme of self-directed use of spare time. The sentence is practical encouragement within Bennett’s period self-improvement argument.

Poor Richard’s Almanack; a compact maxim about cumulative effort.

Poor Richard’s Almanack; the maxim appears in Franklin’s collected Poor Richard material.

Poor Richard’s Almanack.

Political Ideals, discussion of what social institutions should make possible for individuals. Russell immediately connects self-respect with courage, hope and living by the best within oneself despite obstacles.

Up from Slavery, Chapter II, “Boyhood Days,” Project Gutenberg #2376. Washington reflects on the disadvantages surrounding Black childhood after slavery and says achievement should be measured by the obstacles overcome rather than by final position alone.

Working With the Hands, Chapter I; Project Gutenberg #64504. This is an autobiographical fragment whose surrounding paragraph describes repeated attempts before improvement.

‘Advent,’ second stanza, in Goblin Market, The Prince's Progress, and Other Poems, Project Gutenberg #16950. ‘The watch is long betimes and late, / The prize is slow to win’ belongs to Rossetti's explicitly Christian devotional waiting; later stanzas name Christ and Jesus Christ directly. It is devotional poetry rather than a secular guarantee that persistence produces a reward.

“Up-Hill,” Project Gutenberg #16950. The poem is an allegorical question-and-answer sequence about the soul’s journey, endurance and eventual rest.

“A Child’s Grave at Florence,” stanza XXIII; Project Gutenberg #31015. This is Christian elegiac conviction, not empirical evidence about death or grief outcomes.

Aurora Leigh, Book I, printed page 21 / Wikisource scan leaf 30, scan-backed Chapman and Hall third edition (London, 1857), cross-checked against Project Gutenberg #56621. After recounting bereavement and a slow return to ordinary consciousness, Aurora says, “For uses, therefore, I must count worth while.” This remains literary first-person narration about loss and renewed engagement with life, not clinical advice or a recovery benchmark.

Poems of Cheer, “Worth While,” represented 1914 Gay and Hancock edition; Project Gutenberg #3238. The line is poetic encouragement and does not imply that smiling is an adequate response to every form of suffering.

Poems of Optimism, “The Winds of Fate,” first published in this collection in 1913; Project Gutenberg #7421. The statement is metaphorical poetry about agency, not a denial of material constraints or unequal circumstances.

Poems of Progress and New Thought Pastels, “The Structure”; Project Gutenberg #3228. The following lines emphasize purpose, wisdom, resolve and patience, which anchors the rebuilding metaphor.

‘Hope,’ third stanza, in Poems by Currer, Ellis, and Acton Bell, Project Gutenberg #1019. ‘She would sing while I was weeping; / If I listened, she would cease’ belongs to Brontë's deliberately bleak personification in which Hope behaves as a false, unreliable guard and finally departs. It is not simple positive-thinking advice or a clinical claim about hope.

“Hope,” in Poems by Currer, Ellis, and Acton Bell; Project Gutenberg #1019. The poem personifies Hope critically rather than offering a straightforward optimistic slogan.

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

“Remembrance,” Project Gutenberg #1019. The poem’s speaker is reflecting on a long-dead beloved within a literary lyric.

“Remembrance,” Project Gutenberg #1019. The line follows the collapse of earlier dreams and is literary reflection on endurance, not a prescription to avoid joy or support.

“The Old Stoic,” Project Gutenberg #1019. This is the poem’s closing aspiration and remains a literary statement rather than medical or psychological guidance.

The Lost Prince; Project Gutenberg #384. Loristan encourages Marco to strengthen a sketching ability useful to the story’s secret mission.

The Lost Prince; Project Gutenberg #384. Marco says this while explaining that his father had long been preparing him for responsibility within the fictional plot.

The Lost Prince; Project Gutenberg #384. Marco is trapped during the fictional mission; the line describes literary courage and does not advise ignoring real-world danger.

The Secret Garden (1911), Chapter XXIII, “Magic.” Immediately after recalling Mary’s encouragement, Colin says that he had to try himself at the same time. The line keeps effort inside the novel’s fictional experiment/Magic rhetoric and is not clinical guidance.

The Secret Garden (1911), Chapter X, “Dickon.” Mary tells Dickon that this is a secret garden and that she is the only person who wants it to be alive. The sentence belongs to Mary Lennox’s fictional discovery/care plot rather than to Burnett speaking autobiographically.

My Bondage and My Freedom; Douglass is recounting one of the practical struggles through which persistence accompanied his pursuit of greater freedom and independence.

Narrative of the Life of Frederick Douglass; the sentence introduces a turning point in Douglass’s account of resistance.

The Twilight of the Idols, “Maxims and Missiles,” maxim 8, Anthony M. Ludovici translation, 1911 Complete Works edition, Project Gutenberg #52263. The source introduces it as “From the military school of life.”

The Twilight of the Idols, “Maxims and Missiles,” maxim 12, Anthony M. Ludovici translation, Project Gutenberg #52263. This is Nietzsche’s represented wording; later paraphrases such as “He who has a why…” should not be silently substituted for it.

At the Back of the North Wind; Project Gutenberg #225. This is narrator description of Joseph during financial and emotional strain, not a promise that hope alone changes circumstances.

Lilith: A Romance; Project Gutenberg #1640. Mr. Raven speaks the line within MacDonald’s symbolic Christian fantasy, so it remains fictional and theological in context.

“Hope and Patience,” in The Poetical Works of George MacDonald in Two Volumes, Volume II (1893), Project Gutenberg #9984. The bird-and-shell image is a poetic metaphor rather than a literal psychological model.

Unspoken Sermons, Series Two, ‘The Last Farthing,’ Project Gutenberg #9057. ‘There must be hope while there is existence’ occurs in MacDonald's explicitly Christian argument that where existence remains there must be God, whom he describes as forever good. It is nineteenth-century theology about divine goodness and ultimate restoration, not secular prognosis or clinical mental-health evidence.

Uncle Tom’s Cabin, Chapter XL, “The Martyr,” Project Gutenberg #203. “The longest way must have its close” opens the chapter immediately after its religious epigraph and before the narrator returns to Tom’s suffering under slavery and Legree’s final violence. The morning/night imagery belongs to Stowe’s antislavery and Christian martyrdom frame rather than context-free positivity or guaranteed recovery advice.

Optimism: An Essay (1903), Project Gutenberg #31622. The surrounding passage explicitly says her optimism does not rest on the absence of evil.

The Story of My Life; Keller reflects on what adversity can teach without pretending that suffering itself is desirable.

James 1:2 in the King James Version.

As a Man Thinketh, “Thought and Purpose.”

As a Man Thinketh, “Achievement.”

John 16:33 in the King James Version; excerpt from Jesus’s closing words to the disciples.

Paradise Lost (1667), Book I, line 330; Satan rallies the fallen legions with ‘Awake, arise, or be for ever fall’n.’ The line remains dramatic character speech inside the defeated angels’ scene rather than context-free motivational advice.

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.

Stickeen; Muir says this while attempting a dangerous glacier crossing, tying the line to immediate physical risk rather than abstract motivational language.

The Ethics of the Dust, Lecture IV, Project Gutenberg #4701. Ruskin immediately contrasts many persevering people with the rarer patient person and later insists that genuine patience is not necessarily passive or idle.

The Awakening, Project Gutenberg #160. Mademoiselle Reisz first explains that an artist needs “the courageous soul,” later repeating the fuller wording as Edna’s story reaches its end; it is character dialogue within a novel, not a universal test of artistic legitimacy.

Romans 5:3 in the King James Version.

Little Women, Chapter 44, “My Lord and Lady,” Project Gutenberg #514. Amy March Laurence says the represented storm/sailing thought while discussing married life with Laurie. The frozen catalog wording expands the source contraction to “I am not afraid of storms,” while the represented #514 text reads “I’m not afraid of storms”; this is a legacy wording variant of the same passage represented by the separate contracted record, not a second independent locus.

Meditations, Book IV, section XL, Meric Casaubon translation represented by Project Gutenberg #2680. The promontory image recommends steadiness under repeated disturbance. The frozen catalog wording shortens the represented witness after “yet it”: Gutenberg reads “yet it both itself stands, and about it are those swelling waves stilled and quieted.” This remains translation-mediated Roman Stoic moral philosophy, not a modern clinical resilience finding.

Meditations, Book IV; George Long translation, in the reflection on meeting misfortune without being crushed by it.

Meditations, Book VII, section 61, George Long translation; the full sentence emphasizes readiness for sudden and unexpected onsets.

Struggles and Triumphs, 1872 author’s edition; this is autobiographical reflection from Barnum’s account of rebuilding after a difficult business period.

The Art of Money Getting, in Barnum’s discussion of thorough work and business effort.

“Keep A-Pluggin’ Away,” represented by Wikisource’s Complete Poems transcription. The poem repeatedly urges persistence through steep paths, storms, ridicule and pain; its period motivational voice is literary encouragement, not a guarantee that effort always produces a desired outcome.

2 Corinthians 4:8 in the King James Version; opening contrast in a sequence about affliction and endurance.

Galatians 6:9 in the King James Version; opening clause of the verse about perseverance.

Galatians 6:9, King James Version.

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

Proverbs 24:16, King James Version.

The Moral Sayings of Publius Syrus, saying 595, D. Lyman Jr. translation (1856).

The Moral Sayings of Publius Syrus, saying 586, D. Lyman Jr. translation (1856).

Fruit-Gathering, poem LXXIX, translated by Tagore from Bengali; Project Gutenberg #6522. The line is explicitly prayer language and should not be read as advice to ignore real safety precautions.

Memories and Portraits, in Stevenson’s reflection on graves and failed lives; Project Gutenberg #381. The sentence is literary commemoration, not a claim that every defeat is heroic.

If—, first stanza; the line frames patience as sustained conduct under delay.

If—, third stanza; the surrounding passage describes losing one’s winnings and beginning again.

Poem “If—,” opening lines.

“If—,” in Rewards and Fairies, Project Gutenberg #556. The poem presents a period ideal of masculine self-command through a sequence of conditional tests; the stored lines are literary and moral rhetoric, not a requirement to suppress normal emotion.

Rasselas, Chapter XVIII; Imlac encourages the prince after acknowledging that strong restraints may still exist.

The History of Rasselas, Prince of Abissinia.

Rasselas, Chapter XVI; spoken by Imlac while comparing European life with the travelers’ expectations of happiness.

Men of Invention and Industry, Chapter III, “John Harrison: Inventor of the Marine Chronometer”; Project Gutenberg #725. This is Smiles’s biographical narration, not Harrison speaking in first person.

Self-Help, Chapter XI, “Self-Culture—Facilities and Difficulties,” Project Gutenberg #935. The passage follows Charles James Fox’s contrast between early success and perseverance after failure, then leads into examples of discoveries and learning produced through mistakes and failed attempts.

Self-Help, Chapter XI, “Self-Culture—Facilities and Difficulties,” Project Gutenberg #935. The passage comes immediately after Hodson’s reflection on resolutely doing difficult duties and continues by presenting difficulty as a stimulus to people of resolution and valour.

The Life of George Stephenson and of his Son Robert Stephenson, Chapter XI, “Chat Moss—Construction of the Railway”; represented 1868 revised edition, Project Gutenberg #46229. Smiles records Stephenson’s first-person recollection of the directors’ crisis over Chat Moss in quoted speech.

Moral Letters to Lucilius, Letter 13, section 3, Richard M. Gummere translation.

Letter 67 considers whether difficult experiences can be desired insofar as they exercise courageous virtue.

Letter 78 uses the language of struggle while discussing Seneca’s own experiences of illness and endurance.

Citizenship in a Republic, commonly called the Man in the Arena speech; Roosevelt contrasts action with spectatorship.

Citizenship in a Republic; this short clause comes from the “man in the arena” passage.

The Strenuous Life, speech before the Hamilton Club, Chicago, April 10, 1899; Project Gutenberg #58821. The sentence appears in Roosevelt’s opening argument for active effort and immediately follows his praise of the person who embodies “victorious effort”; it is preserved as historical motivational rhetoric rather than a promise that effort always produces success.

Opening of The American Crisis No. I; Paine addresses perseverance during a difficult stage of the American Revolution.

Traditional English moral associated with the fable; wording is later than the ancient Greek tradition.

The Lady of the Lake, Canto V, “The Combat,” stanza X, Project Gutenberg #45888. Fitz-James says “Come one, come all!” with his back against a rock after Roderick Dhu’s signal reveals armed followers around him. The defiant rock image is fictional martial speech in Scott’s historical romance in verse rather than current safety, combat or self-help advice.

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.

“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.

Closing lines of Invictus; Henley ends a poem about hardship with a statement of inner command.

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.

The Majesty of Calmness, “Failure as a Success.” The passage is motivational interpretation, not a promise that every loss will produce a better outcome.

Aequanimitas, 1889. The wording appears in Osler’s discussion of patience and equanimity; the source note keeps the medical-graduation context visible rather than treating it as universal therapeutic advice.

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.

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.

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.

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.