Short quotes — Page 18

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.

Pragmatism, Lecture VI, “Pragmatism’s Conception of Truth”; Project Gutenberg #5116. Capitalization has been normalized from “Truth HAPPENS to an idea”; the surrounding passage explains verification and validation.

Pragmatism, Lecture II, “What Pragmatism Means”; Project Gutenberg #5116. Capitalization has been normalized from the represented all-caps sentence while the wording is otherwise preserved.

Pragmatism, Lecture II, “What Pragmatism Means”; Project Gutenberg #5116. The sentence follows James’s claim that theories become instruments rather than final answers.

Talks To Teachers, chapter on Habit; Project Gutenberg #16287. This is the opening clause of James’s third habit-forming maxim; the longer sentence also refers to emotional promptings toward desired habits.

Talks To Teachers, chapter on Habit; Project Gutenberg #16287. James calls this his fifth practical maxim about habits. The physiological vocabulary is historical psychology, not modern clinical guidance.

Talks To Teachers, chapter on Habit; Project Gutenberg #16287. The line follows James’s maxim against allowing exceptions before a new habit is secure; its nervous-system terminology is historically contextualized.

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.

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

A Way of Life, section I, printed page 5, London: Constable & Company Ltd. (1913), Project Gutenberg #73116. Osler condenses his proposed daily-living habit into “Life in day-tight compartments,” using the metaphor of watertight ship compartments. This remains historical conduct-of-life rhetoric, not a treatment for anxiety or other health conditions.

A Way of Life, section IV, printed page 14, London: Constable & Company Ltd. (1913), Project Gutenberg #73116. “Concentration is an art of slow acquisition” follows Osler’s advice about steady daily dedication and hour-tight focus. It remains historical educational/professional counsel rather than a quantified modern efficiency rule.

A Way of Life, section IV, printed page 12, London: Constable & Company Ltd. (1913), Project Gutenberg #73116. Osler says “Realise how much time there is, how long the day is” while discussing deliberate control of the mind, study and avoidance of hurry and worry; this collection does not convert the period medical rhetoric into current clinical or productivity guidance.

Aequanimitas, 1889 valedictory address. Osler uses the phrase while defining imperturbability for physicians and surgeons; it is retained as a professional ideal in its historical medical setting.

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.

Aequanimitas, valedictory address delivered at the University of Pennsylvania on May 1, 1889; reviewed against the represented 1906 second edition of Aequanimitas with Other Addresses, Internet Archive identifier aequanimitaswith00osle_0. Osler defines imperturbability as ‘coolness and presence of mind under all circumstances,’ immediately followed by ‘calmness amid storm’ and ‘clearness of judgment in moments of grave peril.’ This remains historical medical-professional rhetoric about composure, not clinical guidance or an instruction to suppress emotion.

The Master-Word in Medicine, address delivered October 1, 1903 at the opening of the new buildings of the University of Toronto Medical Faculty; reviewed against the represented 1903 John Murphy pamphlet, Internet Archive identifier b28060805. ‘The master-word is Work’ is Osler’s organizing refrain and is followed by his appeal to write the word on the heart and forehead. This remains historical professional rhetoric rather than an endorsement of unsafe working hours or workaholism.

The Master-Word in Medicine, 1903. “It” refers to the master-word Work in the immediately preceding passage; the source page preserves that antecedent so the excerpt is not detached from its meaning.

The Master-Word in Medicine, 1903. Osler immediately acknowledges that acquiring the work-habit can be a hard battle; the context therefore supports persistence without turning the passage into a modern workaholism prescription.

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.

A Midsummer Night’s Dream, Act III, Scene 2; Helena describes Hermia during the lovers’ quarrel. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act III transcription.

A Midsummer Night’s Dream, Act I, Scene 1; Lysander says this to Hermia while describing the obstacles that repeatedly frustrate lovers. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act I transcription.

A Midsummer Night’s Dream, Act V, Scene 1; Theseus skeptically groups the lunatic, lover and poet through imagination. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act V transcription.

All’s Well That Ends Well, Act III, Scene 5; Mariana warns Diana about Bertram and says that no legacy is so rich as honesty. Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio; direct evidence resolves to the reviewed Act III transcription.

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.

All’s Well That Ends Well, Act I, Scene 1; the Countess of Roussillon gives Bertram the counsel “Love all, trust a few, do wrong to none.” Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio (folio spelling “Loue all, trust a few, Doe wrong to none”); direct evidence resolves to the reviewed Act I transcription.

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 II, Scene 7, Jaques; 1919 Yale Shakespeare edition edited by Jack R. Crawford, printed page 42 / Wikisource scan leaf 54. “All the world’s a stage, and all the men and women merely players” opens Jaques’s seven-ages speech after Duke Senior compares human suffering with theatrical pageants. The metaphor remains dramatic character speech about roles and aging, not Shakespeare speaking autobiographically.

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.

Hamlet, Act 1, Scene 3; Polonius gives Laertes this advice before Laertes leaves for France.

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

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

Hamlet, Act 4, Scene 5; Ophelia speaks during her disrupted state, so the line remains dramatic dialogue rather than Shakespearean autobiography.

Hamlet, Act 2, Scene 2; Hamlet says this to Rosencrantz and Guildenstern while explaining that Denmark feels like a prison to him. The line is dramatic dialogue, not a detached psychological proposition by Shakespeare.

Hamlet, Act 4, Scene 5; Claudius describes multiple troubles arriving together after Polonius’s death.

Hamlet, Act 1, Scene 5.

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.

Henry IV, Part 2, Act III Scene 1; reviewed against the 1921 Yale Shakespeare edition edited by Samuel B. Hemingway. King Henry speaks the crown line at the close of his sleepless midnight monologue after contrasting his wakefulness with the sleep of poor subjects and the storm-tossed ship-boy. It remains dramatic kingship rhetoric rather than clinical evidence about leadership stress.

Julius Caesar, Act I, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Cassius says ‘Men at some time are masters of their fates’ immediately before the fuller stars/underlings argument; the retained short record is part of the same local persuasion scene.

Julius Caesar, Act IV, Scene 3, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Brutus argues for marching to Philippi and compares opportunity to a tide that must be taken at the flood; the metaphor belongs to a disputed military decision inside the play rather than a context-free guarantee of success.

Julius Caesar, Act II, Scene 2, in the 1919 Yale Shakespeare edition edited by Lawrence Mason. Caesar tells Calpurnia, ‘Cowards die many times before their deaths; / The valiant never taste of death but once,’ while rejecting her fear and deciding to go out. The line remains Caesar’s dramatic reasoning, not Shakespeare’s direct personal counsel.

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.

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.

Macbeth, Act V, Scene I, reviewed against the scan-backed 1918 Yale text. Lady Macbeth says 'What's done cannot be undone' during the sleepwalking scene; the dramatic context is guilt and psychological disintegration, not generic advice that consequences should simply be accepted.

Macbeth, Act II, Scene III, reviewed against the scan-backed 1918 Yale text and the First Folio facsimile. Donalbain's 'There's daggers in men's smiles' follows Duncan's murder as Malcolm and Donalbain decide to flee; it is fictional suspicion under immediate danger rather than a universal claim about trust.

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.

Othello, Act I, Scene III, reviewed against the scan-backed 1910 First Folio facsimile on Wikisource. The Duke tells Brabantio that continuing to spend grief on an irreversible loss only compounds it; the retained modernized wording corresponds to the Folio's 'The rob'd that smiles, steales something from the Thiefe.' It is dramatic counsel inside the scene, not Shakespeare autobiography or clinical grief guidance.

Othello, Act I, Scene III, reviewed against the scan-backed 1910 First Folio facsimile on Wikisource. The Duke's 'To mourne a Mischeefe that is past and gon' sentence is part of the same attempt to redirect Brabantio after Desdemona's marriage; this collection preserves modernized spelling and punctuation rather than Folio orthography.

Othello, commonly numbered Act II, Scene III in modern editions. In the represented 1910 First Folio facsimile the continuous Cyprus scene is routed as Act II, Scene II; Iago says 'How poore are they that haue not Patience? / What wound did euer heale but by degrees?' while manipulating Roderigo. The edition-specific scene-number difference is preserved explicitly.

Romeo and Juliet, Act 2, Scene 2; Juliet speaks as the lovers part for the night.

Romeo and Juliet, Act 2, Scene 2; Romeo continues the dawn imagery after seeing Juliet.

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

Romeo and Juliet, Act 1, Scene 5.

Romeo and Juliet, Act 2, Scene 2; Romeo sees Juliet at the window.

Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.

Act 2, Scene 7; the inscription warns against judging by outward appearance.

The Merchant of Venice, Act 4, Scene 1; opening of Portia’s mercy speech during the trial.

The Merchant of Venice, Act 4, Scene 1; Portia contrasts mercy with the coercive force symbolized by a monarch’s scepter.

The Merchant of Venice, Act 1, Scene 3.

The Merchant of Venice, Act 5, Scene 1; Lorenzo speaks in the moonlit garden at Belmont.

The Merchant of Venice, Act 2, Scene 2; Launcelot uses the phrase while revealing his identity to his father.

The Merchant of Venice, Act 4, Scene 1; Portia explains why mercy benefits both sides.

The Merchant of Venice, Act 5, Scene 1; Lorenzo describes the stars above Belmont.

Act 5, Scene 1.

The Merchant of Venice, Act 4, Scene 1; conclusion of the central argument in Portia’s mercy speech.

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.

The Tempest, Act 1, Scene 2; Prospero explains how deeply he preferred his library to governing Milan.

Act 1, Scene 2; Ferdinand describes the terror surrounding the shipwreck.

The Tempest, Act 5, Scene 1; Prospero decides against vengeance after considering the suffering of his enemies.

The Tempest, Act 3, Scene 2; Caliban reassures Stephano and Trinculo about the mysterious music of the island.

Act 4, Scene 1.

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.

Troilus and Cressida, Act III, Scene 3, Project Gutenberg #1528; Ulysses speaks to Achilles. ‘One touch of nature makes the whole world kin’ is immediately defined by the following lines: people ‘with one consent praise new-born gauds’ and the present eye praises the present object. The retained line therefore belongs to Ulysses’s argument about novelty, reputation and forgotten past merit, not an uncomplicated statement of sentimental universal fellowship or Shakespearean autobiography.

Troilus and Cressida, Act I, Scene 2, Project Gutenberg #1528; Cressida speaks privately after Pandarus leaves. ‘Things won are done; joy’s soul lies in the doing’ occurs in her reflection that people prize what is still ungained and that love can seem sweetest while desire is still suing; she then resolves to conceal her own love. It remains fictional dramatic psychology inside the play’s courtship plot, not a universal motivational or happiness law.

Twelfth Night, Act I, Scene 1, Orsino; 1922 Yale Shakespeare edition edited by George Henry Nettleton, printed page 1 / Wikisource scan leaf 13. “If music be the food of love, play on” opens Orsino’s attempt to use excess music to surfeit and extinguish his appetite for love. It remains fictional dramatic speech shaped by Orsino’s self-dramatizing desire, not Shakespeare speaking autobiographically or a modern psychological claim about music and emotion.

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.

Twelfth Night, Act II, Scene 5; 1922 Yale Shakespeare edition edited by George Henry Nettleton, printed page 43 / Wikisource scan leaf 55. Malvolio reads “some are born great, some achieve greatness, and some have greatness thrust upon them” from Maria’s forged letter written in Olivia’s supposed voice as part of the prank. The maxim remains an embedded deceptive written voice rather than Malvolio’s original saying or Shakespeare’s direct advice about success.

The Elements of Style, Chapter III, Rule 13, Project Gutenberg #37134; the surrounding paragraph explicitly says detail need not be eliminated.

The Elements of Style, Chapter III, Rule 13, Project Gutenberg #37134; this sentence introduces the explanation of “Omit needless words.”

The Elements of Style, Chapter III, Rule 16, Project Gutenberg #37134; the following examples focus on avoiding misplaced modifiers and broken relationships.

The Elements of Style, Chapter III, Rule 11, Project Gutenberg #37134; the rule concerns sentence construction, not positive-thinking philosophy.

The Elements of Style, Chapter III, Rule 12, Project Gutenberg #37134; Strunk follows the heading with examples contrasting vague and concrete phrasing.

The Elements of Style, Chapter III, Rule 18, Project Gutenberg #37134; the principle is extended to sentences in paragraphs and paragraphs in compositions.

The Elements of Style, Chapter III, Rule 8, Project Gutenberg #37134; the book discusses exceptions for very short subjects and rapid narrative.

Lines Written a Few Miles above Tintern Abbey.

Poem “My Heart Leaps Up.”

“She Dwelt among the Untrodden Ways,” second stanza.

The Tables Turned; the line follows Wordsworth’s claim that a vernal wood can teach moral insight.

The Tables Turned, final stanza; the speaker urges his friend to close the books and bring a receptive heart outdoors.

Poem “The Tables Turned.”

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