This continuation page contains additional source-backed quotations not shown in the initial 70-quotation overview. Return to the topic guide and browse collection.
“To strive, to seek, to find, and not to yield.”
The closing sequence turns purpose into continuing action: effort, search, discovery, and refusal to surrender.
Poem “Ulysses,” final line.
“But still I say, do your best wherever it is, and keep up your good name.”
Black Beauty’s mother advises steady good conduct even when circumstances and future owners cannot be controlled.
Black Beauty, Part I, Chapter 3, “My Breaking In,” Project Gutenberg #271. Black Beauty’s mother advises him to do his best and keep his good name after warning that horses may pass into kind, careless or cruel human hands. The equine narrator and animal-welfare context remain explicit.
“So, in writing, only out of long preparation can come the truly triumphant flash”
The sudden-looking breakthrough is placed at the end of preparation rather than outside it: memorable execution is supported by work accumulated beforehand.
On The Art of Reading, Lecture V, Project Gutenberg #16579; excerpted from Quiller-Couch’s analogy between writing practice and concentrated performance.
“Little strokes fell great oaks.”
Small repeated efforts can accomplish work that seems too large for a single burst of effort, making consistency itself a practical form of strength.
Poor Richard’s Almanack; a compact maxim about cumulative effort.
“Diligence is the mother of good luck.”
Persistent effort improves the odds of useful results because steady work creates more opportunities for progress than waiting for favorable circumstances.
Poor Richard’s Almanack; the maxim appears in Franklin’s collected Poor Richard material.
“He that can have patience can have what he will.”
The proverb presents patience as a practical advantage in goals that require time rather than immediate reward.
Poor Richard’s Almanack.
“But I kept at it”
The short phrase summarizes Washington’s response to repeated failure while learning demanding household work under Mrs. Ruffner’s supervision.
Working With the Hands, Chapter I; Project Gutenberg #64504. This is an autobiographical fragment whose surrounding paragraph describes repeated attempts before improvement.
“Will the day's journey take the whole long day? From morn to night, my friend.”
The answer accepts that a meaningful journey may require the whole available day rather than promising a quick or effortless finish.
“Up-Hill,” Project Gutenberg #16950. The poem is an allegorical question-and-answer sequence about the soul’s journey, endurance and eventual rest.
“Is it not pleasant to learn with a constant perseverance and application?”
Learning becomes satisfying when it is sustained through repeated application rather than treated as a single act of exposure.
The Analects of Confucius, James Legge’s public-domain English translation; Book I opens by connecting learning with steady practice.
“No great thing is created suddenly, any more than a bunch of grapes or a fig.”
Epictetus treats worthwhile development as organic rather than instantaneous: ability, character and reconciliation require stages of growth that cannot be skipped simply because the final result is desired now.
Discourses of Epictetus, Book I, Chapter XV, “What Philosophy Promises,” George Long translation; 1877 George Bell & Sons witness on Wikisource, cross-checked against Project Gutenberg #10661. Epictetus answers a request for immediate improvement with the fig/grape analogy: nothing great is produced suddenly and development requires time.
“Disease is an impediment to the body, but not to the will.”
Physical limitation and inner choice are treated as different domains, preserving agency even under constraint.
Enchiridion 9; Epictetus uses illness to illustrate the distinction between external limits and the will.
“I am not afraid. I shall not be afraid. In some way I shall get out.”
Faced with immediate confinement and uncertainty, Marco turns fear into a commitment to keep looking for a way out rather than surrendering to panic.
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.
“You have seen how a man was made a slave; you shall see how a slave was made a man.”
The line marks a reversal from imposed dehumanization toward recovered agency, dignity, resistance, and self-possession.
Narrative of the Life of Frederick Douglass; the sentence introduces a turning point in Douglass’s account of resistance.
“The heights by great men reached and kept were not attained by sudden flight.”
Sustained achievement is presented as the result of continued effort rather than a single dramatic leap.
Poem “The Ladder of St. Augustine.”
“My brethren, count it all joy when ye fall into divers temptations.”
Joy here does not mean enjoying difficulty; it means interpreting hardship within a larger process of endurance and growth.
James 1:2 in the King James Version.
“A man can only rise, conquer, and achieve by lifting up his thoughts.”
Allen connects achievement with deliberately raising the standards and direction of one’s thinking.
As a Man Thinketh, “Achievement.”
“In the world ye shall have tribulation: but be of good cheer.”
The line acknowledges hardship directly before calling for courage, so cheer is not based on pretending that trouble does not exist.
John 16:33 in the King James Version; excerpt from Jesus’s closing words to the disciples.
“Long is the way and hard, that out of Hell leads up to light.”
Recovery from a dark condition is pictured as difficult and lengthy rather than instant.
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.
“The artist must possess the courageous soul that dares and defies.”
Mademoiselle Reisz defines artistic vocation as requiring courage to risk judgment, convention and difficulty rather than talent alone.
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.
“I am not afraid of storms, for I am learning how to sail my ship.”
Difficulty becomes part of learning rather than proof that progress is impossible; skill grows while the storm is being navigated.
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.
“Happy am I, though this has happened to me.”
The point is not denial of hardship but refusal to let an event dictate the whole evaluation of one’s life and character.
Meditations, Book IV; George Long translation, in the reflection on meeting misfortune without being crushed by it.
“The art of life is more like the wrestler’s art than the dancer’s.”
Life requires readiness for unexpected pressure, closer to maintaining balance in a contest than performing a fully choreographed sequence.
Meditations, Book VII, section 61, George Long translation; the full sentence emphasizes readiness for sudden and unexpected onsets.
“The situation was disheartening, but I had energy, experience, health and hope.”
The memoir acknowledges discouraging circumstances while inventorying the practical and psychological resources Barnum believed remained available to him.
Struggles and Triumphs, 1872 author’s edition; this is autobiographical reflection from Barnum’s account of rebuilding after a difficult business period.
“We are troubled on every side, yet not distressed.”
Pressure is acknowledged without allowing pressure to become the whole story; difficulty and endurance are held together.
2 Corinthians 4:8 in the King James Version; opening contrast in a sequence about affliction and endurance.
“Let us not be weary in well doing.”
Courage can look like continuing useful work after enthusiasm fades, especially when results are delayed rather than immediately visible.
Galatians 6:9 in the King James Version; opening clause of the verse about perseverance.
“If Winter comes, can Spring be far behind?”
The seasonal image turns hardship into a temporary phase: decline can contain the possibility of renewal even when that renewal is not yet visible.
Final line of Ode to the West Wind; the changing seasons become a metaphor for historical and personal renewal.
“For a just man falleth seven times, and riseth up again.”
Falling is not treated as final defeat; character appears in the repeated act of getting up and continuing.
Proverbs 24:16, King James Version.
“No scar is dishonorable which is a mark of our courage.”
A visible consequence of hardship need not be shameful when it records endurance or brave action rather than failure of character.
The Moral Sayings of Publius Syrus, saying 586, D. Lyman Jr. translation (1856).
“Let me not pray to be sheltered from dangers but to be fearless in facing them.”
The prayer asks not for the removal of danger but for courage within it, shifting the desired response from guaranteed safety toward steadiness under difficulty.
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.
“This ground is hallowed by the heroes of defeat.”
The phrase grants dignity to people who struggled without conventional victory, reframing defeat as compatible with courage and a life still worthy of remembrance.
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 you can wait and not be tired by waiting.”
Patience is portrayed as active endurance: the ability to continue without letting delay become defeat.
If—, first stanza; the line frames patience as sustained conduct under delay.
“And lose, and start again at your beginnings.”
Starting again after loss is presented as a test of composure rather than as evidence that the earlier effort was meaningless.
If—, third stanza; the surrounding passage describes losing one’s winnings and beginning again.
“If you can fill the unforgiving minute with sixty seconds’ worth of distance run.”
Time is treated as something to inhabit fully through sustained effort rather than something to merely count.
If—, final stanza; the line joins limited time with sustained effort.
“If you can keep your head when all about you Are losing theirs and blaming it on you.”
Composure under social pressure is treated as a mark of maturity, especially when panic and blame are spreading around you.
Poem “If—,” opening lines.
“If you can meet with Triumph and Disaster And treat those two impostors just the same.”
Kipling’s speaker recommends maintaining steadiness toward both success and failure rather than allowing either outcome to determine one’s character or judgment.
“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.
“Human life is everywhere a state in which much is to be endured and little to be enjoyed.”
The novel resists fantasies of perfect circumstances by emphasizing that difficulty follows people across different places and conditions.
Rasselas, Chapter XVI; spoken by Imlac while comparing European life with the travelers’ expectations of happiness.
“We learn wisdom from failure much more than from success.”
Failure can expose what does not work and force closer observation, turning setbacks into information that uncomplicated success may never reveal.
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.
“Progress, however, of the best kind, is comparatively slow.”
Smiles treats durable progress as incremental rather than instantaneous, arguing that worthwhile results are built through repeated effort and patience instead of expecting one dramatic breakthrough.
Self-Help, Chapter IV, “Application and Perseverance,” Project Gutenberg #935. The sentence opens a paragraph that continues, “Great results cannot be achieved at once,” and compares advancement in life to walking step by step.
“There was no help for it, however, but to go on.”
During the Chat Moss crisis, continuing became the practical choice after heavy investment and discouraging expert opinion had narrowed the alternatives.
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.
“So much patient perseverance could not but eventually succeed”
Smiles describes Stephenson’s progress in arithmetic as the cumulative result of study and patient persistence rather than easy aptitude.
The Life of George Stephenson and of his Son Robert Stephenson, Chapter IV, “The Stephensons at Killingworth—Education and Self-Education of Father and Son”; represented 1868 revised edition, Project Gutenberg #46229. The excerpt is Smiles’s narration of Stephenson’s patient arithmetic study under John Wigham.
“For manliness gains much strength by being challenged.”
Difficulty can exercise courage the way resistance exercises a muscle, giving strength an opportunity to become practiced rather than theoretical.
Moral Letters to Lucilius, Letter 13, section 3, Richard M. Gummere translation.
“Wrestle bravely with disease.”
The command treats illness as a circumstance to meet with courage while keeping the focus on character rather than promising any medical outcome.
Letter 78 uses the language of struggle while discussing Seneca’s own experiences of illness and endurance.
“It is not the critic who counts.”
Participation matters more than detached fault-finding when achievement requires risk, effort, mistakes, and responsibility for an outcome.
Citizenship in a Republic, commonly called the Man in the Arena speech; Roosevelt contrasts action with spectatorship.
“If he fails, at least fails while daring greatly.”
Roosevelt distinguishes honorable failure in serious effort from the safety of never attempting anything demanding.
Citizenship in a Republic; this short clause comes from the “man in the arena” passage.
“It is hard to fail, but it is worse never to have tried to succeed.”
Roosevelt contrasts the disappointment of an unsuccessful attempt with the deeper loss of never attempting worthwhile work at all, making participation and effort more important than guaranteed success.
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.
“These are the times that try men's souls.”
Crisis reveals commitment because principles become costly to maintain precisely when fear, fatigue, and uncertainty make retreat easier.
Opening of The American Crisis No. I; Paine addresses perseverance during a difficult stage of the American Revolution.
“Slow and steady wins the race.”
The moral values sustained progress over bursts of speed that are not matched by attention or follow-through.
Traditional English moral associated with the fable; wording is later than the ancient Greek tradition.
“Come one, come all! this rock shall fly From its firm base as soon as I.”
Fitz-James refuses intimidation despite being surrounded, using the rock image to express a determination not to be moved from his position by threats.
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.
“Truth, crushed to earth, shall rise again;”
Bryant expresses confidence that truth can survive temporary defeat and re-emerge even when public power, violence or opinion appears to have buried it.
“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.
“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.
“Sweet are the uses of adversity.”
Adversity is presented as capable of yielding insight or value even when the experience itself is unwelcome.
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.
“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.
