Short quotes — Page 12

Thoughts on the Education of Daughters (1787), “MORAL DISCIPLINE,” beginning on printed page 22, Project Gutenberg #67466. “I wish them to be taught to think” follows Wollstonecraft’s recommendation that children compare similar and different ideas; the sentence continues into the next printed page and remains historical educational reform argument.

Thoughts on the Education of Daughters (1787), “EXTERIOR ACCOMPLISHMENTS,” printed page 29, Project Gutenberg #67466. Wollstonecraft says pain should not be given without a design to amend while criticizing ridicule, affectation and correction that humiliates rather than improves; this is historical conduct guidance.

Thoughts on the Education of Daughters (1787), “READING,” printed page 49, Project Gutenberg #67466. “Judicious books enlarge the mind and improve the heart” appears in Wollstonecraft’s case for carefully chosen reading that joins intellectual cultivation with moral formation; the passage remains historical educational and conduct writing.

Thoughts on the Education of Daughters (1787), “MORAL DISCIPLINE,” printed page 22, Project Gutenberg #67466. Wollstonecraft urges that a taste for the beauties of nature be cultivated early and immediately recommends making the vegetable and animal worlds intelligible and amusing to children.

Thoughts on the Education of Daughters (1787), “The TEMPER,” printed page 62, Project Gutenberg #67466. Wollstonecraft calls governing the temper the business of the whole life while discussing habits of self-command and conduct; the passage is moral-educational argument rather than clinical emotion-regulation advice.

Thoughts on the Education of Daughters (1787), “MORAL DISCIPLINE,” printed page 20, Project Gutenberg #67466. Wollstonecraft says parents should preserve children from wrong impressions while discussing early prejudices and habits; this is eighteenth-century child-rearing argument rather than current developmental or clinical guidance.

Thoughts on the Education of Daughters (1787), “THE BENEFITS WHICH ARISE FROM DISAPPOINTMENTS,” printed page 111, Project Gutenberg #67466. Wollstonecraft says reflection forms habits and fixes principles while opening a religious-moral discussion of disappointment, self-examination and character.

Thoughts on the Education of Daughters (1787), “READING,” printed page 49, Project Gutenberg #67466. Wollstonecraft calls reading the most rational employment when people seek food for the understanding, contrasting reflective reading with merely collecting words or quotations; this is eighteenth-century educational argument rather than a current evidence-based teaching prescription.

Matthew 23:11 in the King James Version, within a warning against seeking honorific status and public elevation.

Micah 7:18 in the King James Version; opening question of the verse praising divine pardon and mercy.

Essays of Montaigne, Book I, Chapter XXXI, ‘That a Man Is Soberly to Judge of the Divine Ordinances,’ Charles Cotton translation edited by William Carew Hazlitt (1877); Project Gutenberg Volume 06 #3586 / Complete Essays #3600. The sentence appears in Montaigne’s skeptical warning about confidence concerning unknown things and speculative claims about divine purposes.

Essays of Montaigne, Book I, Chapter XXV, ‘Of the Education of Children,’ Charles Cotton translation edited by William Carew Hazlitt (1877); Project Gutenberg Volume 05 #3585 / Complete Essays #3600. The cheerfulness sentence belongs to Montaigne’s account of philosophy as forming a serene, active way of life rather than a gloomy scholastic display.

Essays of Montaigne, Book I, Chapter XXXVIII, ‘Of Solitude,’ Charles Cotton translation edited by William Carew Hazlitt (1877); Project Gutenberg Volume 06 #3586 / Complete Essays #3600. Montaigne’s self-possession sentence occurs in his discussion of inward independence and making a retreat that does not leave the self owned by external obligations.

Essays of Montaigne, Book II, Chapter VI, “Use Makes Perfect,” Charles Cotton translation, W. C. Hazlitt 1877 edition, Project Gutenberg #3600. “My trade and art is to live” occurs while Montaigne defends speaking from his own sense, experience and practice. It remains early-modern autobiographical essay and moral reflection rather than modern therapeutic or behavioral-science evidence.

Essays of Montaigne, Book III, Chapter II, “Of Repentance,” Charles Cotton translation; Project Gutenberg Volume 14 #3594 / Complete Essays #3600. Montaigne distinguishes reporting a changing particular self from constructing an ideal model of humanity.

Essays of Montaigne, Book III, Chapter XIII, “Of Experience,” Charles Cotton translation; Project Gutenberg Volume 19 #3599 / Complete Essays #3600. Montaigne argues that anticipatory fear can add suffering before the feared event arrives.

Essays of Montaigne, Book III, Chapter II, “Of Repentance,” Charles Cotton translation; Project Gutenberg Volume 14 #3594 / Complete Essays #3600. The surrounding passage treats fidelity and increasingly candid self-report as part of the Essays’ project.

Essays of Montaigne, Book III, Chapter X, “Of Managing the Will,” Charles Cotton translation; Project Gutenberg Volume 18 #3598 / Complete Essays #3600. Montaigne describes lending oneself to external affairs without allowing them to possess the whole will.

Deuteronomy 31:6 in the King James Version.

Nehemiah 8:10 in the King James Version; concluding reassurance in the verse.

The Gift of the Magi, Project Gutenberg #7256. The narrator offers the line just after Della counts her $1.87 and cries on the couch before Christmas; it is humorous literary narration within a story of poverty, love and gift-giving.

“The Last Leaf,” in The Trimmed Lamp, Project Gutenberg #3707. Johnsy speaks while seriously ill; the story rejects her fatalistic belief and later centers care, sacrifice and renewed desire to live. This is fiction, not health advice.

“The Ransom of Red Chief,” represented in Project Gutenberg #1595. The first-person narrator introduces the kidnappers’ scheme with comic foreshadowing; the story satirizes their criminal plan rather than endorsing it.

Elsie Venner, represented by Project Gutenberg #2696 and corroborated by Gutenberg’s Holmes quotation index. The sentence belongs to nineteenth-century literary and medical-philosophical discourse; it is not current psychiatric guidance, diagnosis or a clinically validated rule.

The Professor at the Breakfast-Table, Project Gutenberg #2665. The sentence appears in a reflection on young poets whose sensitivity can seem older than their years; it is literary-philosophical observation by the book’s conversational persona, not a measurable law of learning.

Architects of Fate; Project Gutenberg #21622. The short maxim appears in Marden’s discussion of character.

Architects of Fate; Project Gutenberg #21622. The sentence occurs in a passage criticizing narrow material measures of a life.

Architects of Fate; Project Gutenberg #21622, in Marden’s discussion of definite purpose and concentrated effort.

Architects of Fate; Project Gutenberg #21622. The claim is preserved as period motivational rhetoric, not presented as medical advice.

Cheerfulness as a Life Power, Foreword; Project Gutenberg #18394. Claims about health elsewhere in the book are period rhetoric and are not treated as modern medical evidence.

Cheerfulness as a Life Power; Project Gutenberg #18394. Context notes distinguish motivational rhetoric from modern psychological evidence.

The Victorious Attitude; the sentence is followed by explicitly religious language about faith, so the source page keeps that spiritual context visible.

The Victorious Attitude, chapter on faith; Marden explicitly distinguishes other people’s good opinion from the faith in oneself he calls imperative.

A Woman of No Importance, Act III; Lord Illingworth answers Gerald’s question about love with the romance/self-deception epigram. The exact catalog wording is supported by this play, not by The Picture of Dorian Gray.

An Ideal Husband, Act III; Lord Goring tells Phipps that “To love oneself is the beginning of a lifelong romance” immediately after saying that the only possible society is oneself. Verified against the public-domain Wikisource Act III transcription and Project Gutenberg #885. This remains comic fictional dialogue in Wilde’s social comedy rather than a psychological finding.

An Ideal Husband, Act I; Mrs. Cheveley—not Lord Goring—answers Sir Robert Chiltern’s question “You prefer to be natural?” with “Sometimes. But it is such a very difficult pose to keep up.” Verified against the public-domain Wikisource Act I transcription and Project Gutenberg #885.

An Ideal Husband, Act I; Lord Goring answers his father, Lord Caversham, “I love talking about nothing, father. It is the only thing I know anything about.” Verified against the public-domain Wikisource Act I transcription and Project Gutenberg #885; this is comic fictional dialogue in their exchange about London society.

De Profundis, public-domain 1913 Methuen text; the sentence appears in Wilde’s description of prison time and the apparent sameness of suffering.

De Profundis; Wilde reflects on suffering as a source of seriousness, humility, and transformed perception.

De Profundis, public-domain 1913 Methuen text; Wilde writes from prison about suffering, memory, humiliation, and the changed experience of time.

Lady Windermere’s Fan.

Lady Windermere’s Fan; a characteristic Wildean epigram linking experience and mistakes.

Lady Windermere’s Fan.

Lady Windermere’s Fan, Third Act, Project Gutenberg #790. Lord Darlington says that all are in the gutter but some look at the stars during ironic banter about vice, virtue and his love for a married woman. It is comic dramatic dialogue, not Oscar Wilde autobiography or a context-free motivational doctrine.

“Phrases and Philosophies for the Use of the Young,” first published in The Chameleon in 1894.

The Importance of Being Earnest, Act I; Algernon Moncrieff. Exact catalog wording is preserved in the scan-backed Samuel French acting text on Wikisource, scan leaf 14 / printed page 12. The acting-text witness is abridged elsewhere, so this record is bound only to its independently verified page.

The Importance of Being Earnest, Act I; Jack Worthing. Exact catalog wording is preserved in the scan-backed Samuel French acting text on Wikisource, scan leaf 26 / printed page 24.

The Importance of Being Earnest, Act II; Miss Prism. Project Gutenberg #844 preserves the exact line in the complete Act II text. The Samuel French acting-text witness represented elsewhere on this source hub omits this Cecily / Miss Prism happy-ending exchange, so this record deliberately uses the complete-text witness rather than a guessed scan page.

The Importance of Being Earnest, Act I; Lady Bracknell. Exact catalog wording is preserved in the scan-backed Samuel French acting text on Wikisource, scan leaf 24 / printed page 22, during her interrogation of Jack Worthing about his parentage.

The Importance of Being Earnest, Act II; Cecily Cardew. Project Gutenberg #844 preserves the exact line in the complete Act II text. The Samuel French acting-text witness represented elsewhere on this source hub omits this Cecily / Miss Prism happy-ending exchange, so this record deliberately uses the complete-text witness rather than a guessed scan page.

The Picture of Dorian Gray, 1890 Lippincott magazine text, Chapter 2; Lord Henry states the temptation paradox while influencing Dorian in Basil Hallward’s garden.

The Picture of Dorian Gray, 1890 Lippincott magazine text, Chapter 3; Lord Henry gives the price-and-value epigram after describing a bargain for old brocade.

The Picture of Dorian Gray, 1890 Lippincott magazine text, Chapter 2; Lord Henry praises Dorian’s beauty and youth.

The Picture of Dorian Gray, 1891 edition, Chapter 17; Lord Henry answers the Duchess of Monmouth’s question “What are you?” with “To define is to limit.”

The Picture of Dorian Gray, 1891 edition, Preface; the final aphorism of Wilde’s aesthetic manifesto.

The Picture of Dorian Gray, 1891 edition, Preface; part of Wilde’s warning about reading beneath artistic surfaces.

The Picture of Dorian Gray, 1891 edition, Preface; the first aphorism in Wilde’s statement of aesthetic principles.

The Picture of Dorian Gray, 1891 edition, Preface; Wilde states one of his principles about the relation between artwork and artist.

The Picture of Dorian Gray, 1891 edition, Preface; one of Wilde’s epigrams about art and books.

The Picture of Dorian Gray, 1891 edition, Preface; immediately follows the statement rejecting moral and immoral categories for books.

The Picture of Dorian Gray, 1891 edition, Chapter 4; third-person narration focalized through Lord Henry reflects that experience is the name people give to their mistakes.

The Picture of Dorian Gray, 1891 edition, Preface; Wilde distinguishes different ways readers and viewers respond to beauty.

The Soul of Man under Socialism; Wilde defends individual thought while criticizing social pressure that mistakes conformity for moral virtue.

The Soul of Man under Socialism; Wilde develops individualism as the freedom to form a life from within rather than conform to social expectation.

Struggles and Triumphs, 1872 author’s edition; Barnum is describing the beginning of his ownership and management of the American Museum.

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, section headed “Whatever You Do, Do It With All Your Might.”

The Art of Money Getting; Barnum places health before the business maxims that follow.

The Art of Money Getting, section “Avoid Debt”; Project Gutenberg #8581. The advice is period-specific and not a blanket claim that every productive use of credit is harmful.

The Art of Money Getting, unheaded opening economy discussion before the first formal contents section, Project Gutenberg #8581. “True economy consists in always making the income exceed the out-go” follows Barnum’s contrast between real economy and penny-wise meanness and leads into his margin-of-income example. The queue parser’s inherited “rule i” hint is not a printed heading in this witness. This remains nineteenth-century conduct-of-life and financial rhetoric, not individualized financial planning or a guaranteed savings rule.

The Art of Money Getting, “Be Polite and Kind to Your Customers”; Barnum treats civility as a practical part of durable commercial reputation.

The Art of Money Getting, economy discussion; Project Gutenberg #8581. The road metaphor appears in Barnum’s warning against living fully up to one’s means.

The Art of Money Getting, “Avoid Debt”; Project Gutenberg #8581. This is Barnum’s forceful moral rhetoric, not a clinical claim about every debtor’s mental state.

The Art of Money Getting, expense-account discussion; Project Gutenberg #8581. This is Barnum’s historical generalization about comfort and spending, not a modern cost-of-living statistic.

The Art of Money Getting, economy section; Project Gutenberg #8581. Barnum introduces the line while describing lifestyle expansion after financial success.

The Art of Money Getting, economy discussion; Project Gutenberg #8581. The sentence follows Barnum’s warning about trying to appear richer than one is.

The Art of Money Getting, “Avoid Debt”; Project Gutenberg #8581. Barnum uses the servant-and-master metaphor while contrasting interest working for versus against the borrower.

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

Elements of Morals, Chapter XIV, section 165, printed page 296, Caroline Rollin Corson’s 1884 English translation, Project Gutenberg #37016. “Remember that thou art a man and do not degrade thyself: this is self-respect” appears in the same paragraph as Janet’s paired reminder against vain pride, making self-respect and humility complementary parts of his moral argument rather than generic affirmation copy.

Elements of Morals, Chapter XIV, section 165, printed page 296, Caroline Rollin Corson’s 1884 English translation, Project Gutenberg #37016. Janet distinguishes humility from abasement: humility arises from recognition of human weakness, but lowering oneself is not itself a virtue. The passage belongs to nineteenth-century systematic moral philosophy rather than modern clinical self-esteem guidance.

“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.

“Sympathy,” published in Lyrics of the Hearthside (1899) and represented by Poetry Foundation. The caged-bird image became one of Dunbar’s most influential metaphors for constrained freedom and suffering; the record keeps the poem’s figurative language rather than assigning one exhaustive historical interpretation.

“We Wear the Mask,” represented in Lyrics of Lowly Life (1896) on Wikisource. The poem’s collective voice and historical reception connect concealment with racial and social pressure; it should not be reduced to personal dishonesty or a generic “fake people” slogan.

1 Corinthians 13:13 in the King James Version.

1 Corinthians 13:4 in the King James Version; this is the opening clause of the verse.

1 Corinthians 13:8 in the King James Version; “charity” is the KJV rendering in this passage.

1 Corinthians 16:13 in the King James Version.

1 Thessalonians 4:13, King James Version; Paul addresses sorrow concerning those who have died and frames the following passage around hope.

1 Thessalonians 5:11 in the King James Version.

1 Thessalonians 5:18 in the King James Version.

2 Corinthians 2:10, King James Version; Paul continues instructions about forgiving and receiving a person who had caused sorrow.

2 Corinthians 2:7 in the King James Version; excerpt from Paul’s instruction about receiving and comforting a repentant member.

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

2 Timothy 1:7 in the King James Version.

Acts 13:38, King James Version; Paul’s speech at Antioch presents forgiveness as part of the message he is declaring to his listeners.

Acts 17:26 in the King James Version; opening clause.

Colossians 3:12 in the King James Version.

Ephesians 4:26 in the King James Version.

Ephesians 4:32 in the King James Version; excerpt from the verse before its comparison with divine forgiveness.

Ephesians 6:10 in the King James Version; opening command before the armor metaphor.