This continuation page contains additional source-backed quotations not shown in the initial 50-quotation overview. Return to the topic guide and browse collection.
“And God shall wipe away all tears from their eyes.”
The image gives grief an imagined endpoint, focusing consolation on a future in which tears and the conditions producing them are no longer permanent.
Revelation 21:4, King James Version; the verse continues with the end of death, sorrow, crying, and pain in the new creation.
“The first stroll of the year should be taken in Claygate Lane.”
Jefferies treats the year as a sequence of observable natural opportunities, tying a particular walk to the first spring signs rather than treating seasonal time as an abstract calendar alone.
Nature Near London, “Woodlands”; Project Gutenberg #18629. The recommendation is literary nature writing rooted in Jefferies’s local seasonal observation, not contemporary travel guidance.
“Above the highest sphere we meet Unseen, unknown; and greet as Angels greet.”
The speaker imagines mutual fidelity as capable of overcoming physical distance, placing emotional constancy beyond ordinary measures of space and absence.
“To Lucasta, Going Beyond the Seas,” published in Lucasta (1649) and represented by Project Gutenberg #703. The poem uses seventeenth-century spiritual and cosmological imagery to describe separation and fidelity; the claim is lyric metaphor.
“God's in his heaven—All's right with the world!”
Pippa’s song voices a moment of religious confidence and ordinary delight whose effect in the drama depends on other characters hearing it at morally decisive moments.
Pippa Passes (1841), represented in the Project Gutenberg Robert Browning works edition #59123. The lyric is sung by Pippa inside a verse drama; its Christian optimism is a character-song within the play, not a factual guarantee that every event is good.
“Grow old along with me! The best is yet to be,”
Browning’s dramatic speaker frames aging not merely as decline but as part of a larger spiritual development in which later life can complete what youth only begins.
“Rabbi Ben Ezra” (1864), represented in Project Gutenberg #59123, The Works of Robert Browning. The poem speaks through Browning’s imagined Rabbi Ben Ezra and is explicitly theistic; its confidence about age and providence is poetic-religious argument rather than a factual guarantee about later life.
“There is no duty we so much underrate as the duty of being happy.”
Stevenson argues that a person’s happiness can benefit others socially, so cheerfulness is not merely private pleasure in the essay’s deliberately provocative moral accounting.
‘An Apology for Idlers,’ represented in Project Gutenberg #69825, a 1905 Thomas B. Mosher reprint of the essay first published in the Cornhill Magazine in July 1877. ‘There is no duty we so much underrate as the duty of being happy’ appears in Stevenson's argument that cheerfulness can confer anonymous benefits on others. It remains provocative conduct-of-life essay rhetoric rather than clinical mental-health guidance or a universally binding moral duty.
“To travel hopefully is a better thing than to arrive, and the true success is to labour.”
The value of a journey can lie in purposeful movement and effort rather than only in the moment of arrival.
Essay “El Dorado.”
“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.
“They discovered art and science, and we succeed to the useful effects of their labours.”
Creative and scientific achievements are described as an inheritance whose benefits pass beyond the original workers, inviting appreciation of accumulated human effort.
Thrift, Chapter I, “Industry,” Project Gutenberg #14418. The “they” refers to earlier generations whose tools, fabrics, art and science are presented as an inherited store of useful labour in Smiles’s historical account.
“Nature works with us. She provides the earth which we furrow; she grows and ripens the seeds that we sow and gather.”
Smiles combines appreciation of natural processes with human labour, presenting food production as cooperation between conditions people receive and work they perform.
Thrift, Chapter I, “Industry,” Project Gutenberg #14418. Smiles describes labour as cooperation with nature and personifies nature as supplying the conditions under which human work produces food and materials; it is not a scientific account of agriculture.
“Our birthright is made up of something far more imperishable. It consists of the sum of the useful effects of human skill and labour.”
Smiles values inherited skill and labour more highly than material wealth alone, framing social inheritance as accumulated useful human capability.
Thrift, Chapter I, “Industry,” Project Gutenberg #14418. Smiles contrasts inherited material wealth with the more durable inheritance of useful human skill and labour transmitted across generations by teaching and example.
“So look forward to better things.”
The advice resists suffering in advance: when the feared event has not happened, the present still leaves room for a better outcome.
Moral Letters to Lucilius, Letter 13, section 11, Richard M. Gummere translation.
“Begin at once to live, and count each separate day as a separate life.”
Seneca argues against postponing life into an imagined future and asks the reader to treat the present day as complete enough for deliberate living.
Moral Letters to Lucilius, Letter 101.
“What I advise you to do is, not to be unhappy before the crisis comes.”
Anticipatory fear can make a person suffer an event that has not occurred, so Seneca asks the reader not to spend present peace on an uncertain future.
Moral Letters to Lucilius, Letter 13, section 4, Richard M. Gummere translation.
“It is likely that some troubles will befall us; but it is not a present fact.”
Possible future trouble is acknowledged without being treated as present reality, preserving attention for what is actually happening now.
Moral Letters to Lucilius, Letter 13, section 10, Richard M. Gummere translation.
“Fortune has often in the past got the upper hand of you, and yet you have not surrendered, but have leaped up and stood your ground still more eagerly.”
Past recovery is evidence of present capacity: being struck down by fortune is different from surrendering to it.
Moral Letters to Lucilius, Letter 13, section 3, Richard M. Gummere translation.
“Do not hope without despair, or despair without hope.”
Hope and fear can mirror each other when both depend on uncertain futures; steadier judgment avoids being ruled by either extreme.
Letter 104 discusses travel, anxiety, and the need to change the mind rather than merely the location.
“A wise man needs intercourse with his friends.”
Even the wise person benefits from conversation and relationship, showing again that Stoic independence is not social withdrawal.
Letter 109 discusses how friendship and mutual conversation can benefit people committed to wisdom.
“Learn how to feel joy.”
Joy is presented as a skill of character rather than a lucky mood produced by favorable external circumstances.
Letter 23, on the true joy which comes from philosophy.
“Real joy, believe me, is a stern matter.”
Real joy requires disciplined judgment because it must survive fear, pain, poverty, and uncertainty instead of depending on entertainment.
Letter 23 describes philosophical joy as solid and difficult rather than merely cheerful.
“God is near you, he is with you, he is within you.”
The line turns attention inward, suggesting that moral seriousness and steadiness are not dependent on external display or distance.
Letter 41 argues that the divine and the noble life are encountered within a person’s moral character.
“Can one rise superior to fortune unless God helps him to rise?”
Rising above fortune means refusing to let changing circumstances become the final measure of character or inner freedom.
Letter 41 discusses the source of moral greatness and resistance to fortune.
“Joy can be attained only by the wise.”
Seneca uses joy in a demanding sense: not passing excitement, but steadiness grounded in sound judgment and character.
Letter 59 distinguishes real joy from ordinary cheerfulness and unstable pleasure.
“It is a characteristic of real joy that it never ceases.”
Durable joy is defined by continuity; if it collapses with every external change, Seneca would not count it as the deepest kind.
Letter 59 describes philosophical joy as stable rather than dependent on circumstances.
“Virtue needs nothing to set it off.”
Moral worth does not need decoration from wealth, fame, or comfort; its value is supposed to stand on its own.
Letter 66 compares different circumstances while arguing for the equality and sufficiency of virtue.
“The Supreme Good is that which is honourable.”
Seneca defines the highest good in moral rather than material terms, making honorable character the standard for judging success.
Letter 71 argues that what is honorable is the only complete good.
“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.
“For sometimes it is an act of bravery even to live.”
Enduring a difficult period can itself require courage when continuing responsibly is harder than dramatic gestures or escape.
Letter 78 discusses illness, endurance, and the courage required to continue living under hardship.
“The prudent man is happy.”
Happiness is tied to prudent judgment rather than accumulation, making the quality of decisions central to a good life.
Letter 85 develops Stoic arguments connecting virtue, prudence, and the sufficiency of the happy life.
“Virtue is sufficient for the happy life.”
The claim is intentionally strong: a good life ultimately rests on character, not on securing every external advantage.
Letter 85 defends the Stoic position that virtue is sufficient for happiness.
“If you would be loved, love.”
Seneca treats affection as reciprocal practice: the desire to receive love begins with becoming someone who actively gives it.
Letter 9, on philosophy and friendship; Seneca quotes Hecato while discussing how friendship is formed.
“The wise man is self-sufficient. Nevertheless, he desires friends.”
Self-sufficiency does not require isolation; inner stability can coexist with a genuine desire for friendship and shared life.
Letter 9 contrasts Stoic self-sufficiency with the continuing value of friendship.
“What is the happy life? It is peace of mind, and lasting tranquillity.”
Happiness is defined as durable mental order rather than constant excitement, pleasure, or favorable luck.
Letter 92 asks what makes a happy life and connects it with peace of mind and stable judgment.
“To what do we trust for safety, if not in mutual good offices one to another?”
The question connects human safety to reciprocal acts of assistance: people rely on one another because no individual can secure every need alone. In the argument, gratitude helps preserve these shared bonds.
On Benefits (De Beneficiis), Book IV, section 18, Aubrey Stewart English translation (1887). This is Seneca’s rhetorical question in an argument that ingratitude weakens human association; it is historical Stoic moral philosophy, not an empirical public-safety claim.
“Give thanks unto God for His grace, but for thyself alone confess thy fault.”
The sentence separates gratitude from self-congratulation: what is received as grace is answered with thanks, while personal failure remains something to examine rather than disguise with spiritual pride.
The Imitation of Christ, Book II, Chapter X, “Of gratitude for the Grace of God,” William Benham translation, Project Gutenberg #1653. The sentence appears in the third paragraph, distinguishing thanks for grace from confession of one’s own fault within the work’s Christian theology of grace and humility.
“Be thankful, therefore, for the least benefit and thou shalt be worthy to receive greater.”
The devotional instruction treats gratitude as a discipline of scale: small benefits should not disappear merely because larger gifts are desired, since attention to what is received is itself part of humility.
The Imitation of Christ, Book II, Chapter X, “Of gratitude for the Grace of God,” William Benham translation, Project Gutenberg #1653. The sentence appears in the chapter’s fifth paragraph and treats gratitude for even the least divine benefit as part of humility; this remains explicitly Christian devotional teaching rather than a general promise of material reward.
“’Tis distance lends enchantment to the view, And robes the mountain in its azure hue.”
Campbell uses a distant mountain to show how remoteness can make a scene—and, by analogy, anticipated future happiness—appear especially attractive.
The Pleasures of Hope, Part I, represented in The Poetical Works of Thomas Campbell, Project Gutenberg #59788. ‘’Tis distance lends enchantment to the view’ appears in the poem's opening mountain image and immediately leads into a comparison with imagined future joys appearing more pleasing from afar. It remains Romantic poetic analogy and philosophical observation rather than an empirical law of visual perception, memory or decision-making.
“An aged thrush, frail, gaunt, and small, In blast-beruffled plume, Had chosen thus to fling his soul Upon the growing gloom.”
A physically frail bird sings into a bleak winter scene, creating a contrast in which hope appears through action even though the speaker does not understand its source.
“The Darkling Thrush,” Poems of the Past and the Present; Project Gutenberg #3168. The poem's final hope remains uncertain to the speaker rather than becoming a guarantee of optimism.
“The sun never shined on a cause of greater worth.”
The line emphasizes the scale and future consequences of the political choice Paine believed his contemporaries faced.
Common Sense (1776), “Thoughts on the present State of American Affairs.” The represented wording is verified in Project Gutenberg #147 and the validated 1776 Wikisource transcription; Paine enlarges the stakes from a city or province to a continent and to posterity.
“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.
“The supreme happiness of life consists in the conviction that one is loved; loved for one’s own sake—let us say rather, loved in spite of one’s self;”
Hugo’s narrator presents the felt certainty of being loved—including despite one’s imperfections—as an especially deep form of happiness.
Les Misérables, Project Gutenberg #135, in the represented Isabel F. Hapgood public-domain English translation. The sentence occurs in the narrator’s reflection on love and blindness; its English phrasing is translation-specific and belongs to the novel’s moral-religious rhetoric.
“The ideal of human brotherhood has become a practical possibility.”
Human solidarity is treated not merely as abstract sentiment but as an achievable political and social aim requiring organized effort and mutual recognition.
The Conservation of Races, closing programmatic resolutions. The sentence belongs to Du Bois’s 1897 argument about race organization and human brotherhood; period racial concepts remain historical context rather than modern science.
“I celebrate myself, and sing myself.”
The opening celebrates the self without separating it from the wider world that the poem later embraces.
Song of Myself, section 1 in the 1882 Leaves of Grass text, printed page 29 (Wikisource scan page 35). The retained wording “I celebrate myself, and sing myself” is not the 1855 first-edition opening, which reads only “I celebrate myself”; the synchronized source year is therefore corrected from 1855 to 1882.
“I am satisfied—I see, dance, laugh, sing.”
The compact declaration expresses an affirmative presence in one’s own life, emphasizing direct participation and delight instead of waiting for external valuation first.
Song of Myself, 1882 text; the line sits amid Whitman’s celebration of bodily and spiritual acceptance.
“I dote on myself, there is that lot of me and all so luscious.”
Whitman’s exuberant self-acceptance is deliberately bodily and unapologetic, presenting delight in one’s own existence as something broader than vanity or external approval.
Song of Myself, in the passage celebrating the body and the speaker’s delight in his own existence.
“I am larger, better than I thought, I did not know I held so much goodness.”
Whitman describes self-discovery as expansion rather than invention: experience reveals capacities and goodness that were already present but insufficiently recognized.
Walt Whitman, 'Song of the Open Road,' section 5 in the represented 1882 Leaves of Grass text. 'I am larger, better than I thought, I did not know I held so much goodness' follows the speaker's declaration of being loosed from imagined limits. It remains poetic first-person self-discovery rather than empirical psychology.
“There is no hope, if we look back at the past: there may be hope, if we look on to the future.”
Mr Pendril urges Miss Garth to focus on what can still change rather than treating past disaster as proof that every future possibility is closed.
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.
“He who binds to himself a joy does the winged life destroy.”
Trying to possess a joyful moment permanently can damage it, while accepting impermanence allows experience to remain alive and free.
Short poem commonly titled “Eternity”; Blake contrasts grasping with the passing movement of joy.
“God moves in a mysterious way, His wonders to perform;”
Cowper opens the hymn with a Christian claim that divine purposes may operate through events people cannot immediately understand or interpret correctly.
“Light Shining out of Darkness,” first published in 1774 and later included in Olney Hymns; represented by the Cowper & Newton Museum. The line is explicitly Christian devotional poetry about providence, not evidence that every hardship has a knowable beneficial purpose.
“Now let us sing, long live the king! And Gilpin, long live he; And when he next doth ride abroad, May I be there to see!”
The narrator closes Gilpin’s chaotic runaway ride by converting the mishap into communal amusement and a playful wish to witness the spectacle again.
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.
“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.
“In the long way that I must tread alone, Will lead my steps aright.”
The speaker takes the waterfowl’s guided migration as a religious image of trust that his own solitary path can also have direction.
“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.
“Man is placed into this world not as a finality,—but as a possibility.”
A person is described as unfinished rather than fixed, leaving room for development in conduct, ability and character.
Self-Control, Its Kingship and Majesty, opening essay. Jordan’s language is philosophical and motivational, with period assumptions about agency that should not be substituted for modern psychological evidence.
“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.
“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.
“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.
“art made by the people and for the people as a joy both to the maker and the user would further progress in other matters rather than hinder it”
Morris links shared artistic production with social progress, arguing that pleasure for both makers and users can coexist with wider improvement rather than obstruct it.
Hopes and Fears for Art, lecture “The Art of the People”; Project Gutenberg #3773. The claim belongs to Morris’s Arts and Crafts social argument.
“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.
“We know what we are, but know not what we may be.”
The line leaves room between present identity and future possibility, making it useful for reflection on change and potential.
Hamlet, Act 4, Scene 5; Ophelia speaks during her disrupted state, so the line remains dramatic dialogue rather than Shakespearean autobiography.
“How sharper than a serpent’s tooth it is to have a thankless child!”
The image captures the particular hurt of care being answered by ingratitude within a close family bond.
King Lear, Act I, Scene IV, reviewed against the scan-backed First Folio facsimile. Lear's serpent's-tooth line occurs inside his curse against Goneril after the reduction of his retinue; it is angry dramatic speech, not a neutral rule about children or family relationships.
“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.
“How far that little candle throws his beams! So shines a good deed in a naughty world.”
A small good action can remain visible precisely because it contrasts with a difficult environment.
Act 5, Scene 1.
“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.
“I can no other answer make but thanks, and thanks, and ever thanks.”
Sebastian responds to Antonio’s costly loyalty with repeated thanks while also admitting that words alone are an inadequate repayment for practical care.
Twelfth Night, Act III, Scene 3, Sebastian; 1922 Yale Shakespeare edition edited by George Henry Nettleton, printed page 56 / Wikisource scan leaf 68. Sebastian tells Antonio, “I can no other answer make but thanks, and thanks, and ever thanks,” after Antonio explains that concern for Sebastian’s safety drove him onward despite danger in Illyria. It remains fictional gratitude dialogue tied to Antonio’s costly loyalty, not Shakespeare autobiography.
“Put statements in positive form.”
Strunk recommends stating what is true or intended directly when possible instead of making the reader reconstruct the point from repeated negation.
The Elements of Style, Chapter III, Rule 11, Project Gutenberg #37134; the rule concerns sentence construction, not positive-thinking philosophy.
“Nature never did betray the heart that loved her.”
Wordsworth describes long attention to nature as a dependable source of memory, quietness, and moral perspective.
Lines Written a Few Miles above Tintern Abbey.
“Sweet is the lore which Nature brings.”
Nature is presented as a source of knowledge that can complement formal study by training attention and receptiveness.
The Tables Turned; the line follows Wordsworth’s claim that a vernal wood can teach moral insight.
