« FöregåendeFortsätt »
The daughter of debate
In argument with men a woman ever That still discord doth sow.
Goes by the worse, whatever be her cause.
Sonnet in PERCY's Reliques, Vol. I. Bk. V.
Doctor and Saint, and heard great argument
About it and about: but evermore Reproachful speech from either side
Came out by the same door wherein I went. The want of argument supplied;
OMAR KHAYYAM–Rubaiyat. FITZGERALD'S They rail, reviled; as often ends
Trans. St. 27.
Agreeing to differ.
Ovm-Metamorphoses. I. 433. I always admired Mrs. Grote's saying that
(See also SOUTHEY) politics and theology were the only two really great subjects.
Demosthenes, when taunted by Pytheas that GLADSTONE—Letter to LORD ROSEBERY. Sept. all his arguments "smelled of the lamp,” replied,
16, 1880. See MORLEY's Life of Gladstone. "Yes, but your lamp and mine, my friend, do not Bk. VIII. Ch. I.
witness the same labours."
PLUTARCH-Life of Demosthenes. See also his His conduct still right with his argument wrong.
Life of Timoleon. GOLDSMITH-Retaliation. L. 46.
Like doctors thus, when much dispute has past, In arguing, too, the parson own'd his skill,
We find our tenets just the same at last. For even though vanquished he could argue
POPE—Moral Essays. Epis. III. L. 15. still. GOLDSMITH–The Deserted Village. L. 211. In some places he draws the thread of his ver
bosity finer than the staple of his argument. I find you want me to furnish you with argu
DR. PORSON, of GIBBON's Decline and Fall, ment and intellects too. No, sir, these, I protest
quoted in the Letters to Travis. you, are too hard for me. GOLDSMITH–Vicar of Wakefield. Ch. VII.
In argument (See also DISRAELI, JOHNSON)
Similes are like songs in love:
They must describe; they nothing prove.
PRIOR-Alma. Canto III.
You know, than negatives a score.
PRIOR—Epistle to Fleetwood Shepherd. not obliged to find you an understanding, SAMUEL JOHNSON-Boswell's Life of Johnson. Soon their crude notions with each other fought; (1784)
The adverse sect denied what this had taught; (See also GOLDSMITH)
And he at length the amplest triumph gain'd,
Who contradicted what the last maintain'd. Nay, if he take you in hand, sir, with an argu PRIOR—Solomon. Bk. I. L. 717.
ment, He'll bray you in a mortar.
The first the Retort Courteous; the second BEN JONSON—The Alchemist. Act II. Sc. 1.
the Quip Modest; the third the Reply Churl
ish; the fourth the Reproof Valiant; the fifth Seria risu risum, seriis discutere.
the Countercheck Quarrelsome; the sixth the In arguing one should meet serious pleading Lie with Circumstance; the seventh the Lie
with humor, and humor with serious plead- | Direct. ing.
As You Like It. Act V. Sc. 4. L. 96.
ARMY (See NavY, SOLDIERS, WAR)
ARNO (RIVER) At last the Muses rose, And scattered,
as they flew, Their blooming wreaths from fair Valclusa's
bowers To Amo's myrtle border. AKENSIDE-Pleasures of the Imagination. II.
ART (See also PAINTING, SCULPTURE) No work of art is worth the bones of a Pomeranian Grenadier. Quoted by BISMARCK. Possibly a phrase of FREDERICK THE GREAT.
(See also BISMARCK, under WAR)
As all Nature's thousand changes
But one changeless God proclaim; So in Art's wide kingdom ranges
One sole meaning still the same: This is Truth, eternal Reason,
Which from Beauty takes its dress,
Stands for aye in loveliness.
XIV. (Ch. III. 128 of Carlyle's Ed.)
GOLDSMITH-Retaliation. L. 139.
Now nature is not at variance with art, nor art with nature; they being both the servants of his providence. Art is the perfection of nature. Were the world now as it was the sixth day, there were yet a chaos. Nature hath made one world, and art another. In brief, all things are artificial; for nature is the art of God.
SIR THOMAS BROWNE-Religio Medici. Sec.
The canvas glow'd beyond ev'n nature warm; The pregnant quarry teem'd with human form.
GOLDSMITH–The Traveller. L. 137
10 It is the glory and good of Art, That Art remains the one way possible Of speaking truth, to mouths like mine at least. ROBERT BROWNING—The Ring and the Book.
The Book and the Ring. L. 842. 11
Etenim omnes artes, quæ ad humanitatem pertinent, habent quoddam commune vinculum, et quasi cognatione quadam inter se continentur.
All the arts which belong to polished life have some common tie, and are connected as it were by some relationship. CICERO-Oratio Pro Licinio Archia. I.
The perfection of an art consists in the employment of a comprehensive system of laws, commensurate to every purpose within its scope, but concealed from the eye of the spectator; and in the production of effects that seem to flow forth spontaneously, as though uncontrolled by their influence, and which are equally excellent, whether regarded individually, or in reference to the proposed result. JOHN MASON GOOD—The Book of Nature.
Series 1. Lecture IX.
Ars longa, vita brevis est.
Art (of healing) is long, but life is fleeting. HIPPOCRATES-Aphorismi. I. Nobilissimus
tures of Pygmalion and Galatea by BURNE
JONES, in the Grosvenor Gallery, London. Arte citæ veloque rates remoque moventur; Arte levis currus, arte regendus Amor.
By arts, sails, and oars, ships are rapidly moved; arts move the light chariot, and establish love. OVID-Ars Amatoria. I. 3.
Medicus. Translated from the Greek.
LIFE, TIME) The temple of art is built of words. Painting and sculpture and music are but the blazon of its windows, borrowing all their significance from the light, and suggestive only of the temple's uses. J. G. HOLLAND-Plain Talks on Familiar
Subjects. Art and Life. It is not strength, but art, obtains the prize, And to be swift is less than to be wise. 'Tis more by art, than force of numerous strokes. HOMER-Iliad. Bk. 23. L. 382. POPE's trans.
Pictoribus atque poetis Quidlibet audendi semper fuit æqua potestas.
Painters and poets have equal license in regard to evervthing.
HORACE–Ars Poetica. 9. Piety in art-poetry in art-Puseyism in art -let us be careful how we confound them. MRS. JAMESON—Memoirs and Essays. The
House of Titian. Art hath an enemy called ignorance. BEN JONSON-Ěvery Man Out of his Humour.
Act I. Sc. 1.
The perfection of art is to conceal art.
QUINTILIAN. 15 Die Kunst ist zwar nicht das Brod, aber der Wein des Lebens.
Art is indeed not the bread but the wine of life. JEAN PAUL RICHTER.
Von der Freiheit gesäugt wachsen die Künste der Lust.
All the arts of pleasure grow when suckled by freedom. SCHILLER—Der Spaziergang. L. 122. 19
Kunst ist die rechte Hand der Natur. Diese hat nur Geschöpfe, jene hat Menschen gemacht.
Art is the right hand of Nature. The latter has only given us being, the former has made us men. SCHILLER—Fiesco. II. 17.
Schwer ist die Kunst, vergänglich ist ihr Preis.
Art is difficult, transient is her reward.
We have learned to whittle the Eden Tree to
the shape of a surplice peg, We have learned to bottle our parents twain in
the yelk of an addled egg. We know that the tail must wag the dog, for
the horse is drawn by the cart, But the devil whoops, as he whooped of old;
It's clever, but is it art? RUDYARD KIPLING-The Conundrum of the
Workshops. 7 Art is Power.
LONGFELLOW-Hyperion. Bk. III. Ch. V.
LONGFELLOW-Keramos. L. 380.
LONGFELLOW-Keramos. L. 382.
10 Dead he is not, but departed, -for the artist
never dies. LONGFELLOW-Nuremburg. St. 13.
Illa maximi medicorum exclamatio est, Vitam brevem esse, longam artem.
That is the utterance of the greatest of physicians, that life is short and art long. SENECA-De Brevitate Vitæ. I.
(See also HIPPOCRATES)
To gild refined gold, to paint the lily,
King John. Act IV. Sc. 2. L. 11.
For Art is Nature made by Man
In framing an artist, art hath thus decreed, To make some good, but others to exceed.
Pericles. Act II. Sc. 3. L. 15.
His art with nature's workmanship at strife, As if the dead the living should exceed.
Venus and Adonis. L. 291.
The heart desires,
The hand refrains,
The soul attains.
Around the mighty master came
The marvels which his pencil wrought,
Is wide as human thought.
The ash her purple drops forgivingly And sadly, breaking not the general hush;
The maple swamps glow like a sunset sea, Each leaf a ripple with its separate flush; All round the wood's edge creeps the skirting
blaze, Of bushes low, as when, on cloudy days, Ere the rain falls, the cautious farmer burns his
brush. LOWELL-An Indian Summer Reverie. St. 11.
Populus Tremuloides What whispers so strange at the hour of mid
night, From the aspen leaves trembling so wildly? Why in the lone wood sings it sad, when the
bright Full moon beams upon it so mildly? B. S. INGEMANN—The Aspen.
ASS 11 John Trott was desired by two witty peers To tell them the reason why asses had ears. “An 't please you,” quoth John, “I'm not given
to letters; Nor dare I pretend to know more than my bet
ters: Howe'er, from this time I shall ne'er see your
graces, As I hope to be saved! without thinking on
asses.' GOLDSMITH—The Clown's Reply.
12 He shall be buried with the burial of an ass.
Jeremiah. XXII. 19.
At that awful hour of the Passion, when the Saviour of the world felt deserted in His agony, when "The sympathizing sun his light withdrew, And wonder'd how the stars their dying Lord
could view" when earth,
shaking with horror, rung the passing bell for Deity, and universal nature groaned, then from the loftiest tree to the lowliest flower all felt a sudden thrill, and trembling, bowed their heads, all save the proud and obdurate aspen, which said, “Why should we weep and tremble? we trees, and plants, and flowers are pure and never sinned!" Ere it ceased to speak, an involuntary trembling seized its very leaf, and the word went forth that it should never rest, but tremble on until the day of judgment. Legend. From Notes and Queries. First Series.
Vol. VI. No. 161.
The Autumn wood the aster knows,
The empty nest, the wind that grieves,
Among the rustling leaves.
The aster greets us as we pass
dian Summer. L. 35.
And the wind, full of wantonness, wooes like a
lover The young aspen-trees till they tremble all over.
MOORE—Lalla Rookh. Light of the Harem.
7 Do I? yea, in very truth do I, An 'twere an aspen leaf.
II Henry IV. Act II. Sc. 4. L. 117.
8 O had the monster seen those lily hands Tremble like aspen-leaves, upon a lute.
Titus Andronicus. Act II. Sc. 5. L. 45.
ATHENS Ancient of days! august Athena! where, Where are thy men of might? thy grand in soul? Gone glimmering through the dream of things First in the race that led to glory's goal, They won, and pass'd away—Is this the whole?
BYRON-Childe Harold. Canto II. St. 2.
DRYDEN—Palamon and Arcite. Bk. I. L. 186.
But when Aurora, daughter of the dawn,
Night's son was driving
CHARLES KINGSLEY—The Longbeards' Saga.
These earthly godfathers of heaven's lights
And teach me how To name the bigger light, and how the less, That burn by day and night.
Tempest. Act 1. Sc. 2. L. 334.
There's some ill planet reigns;
O how loud
AUDACITY (See also COURAGE) La crainte fit les dieux; l'audace a fait les rois.
Fear made the gods; audacity has made kings. CRÉBILLON during the French Revolution.
The wolves have prey'd: and look, the gentle
day, Before the wheels of Phæbus, round about, Dapples the drowsy east with spots of grey. Much Ado About Nothing. Act V. Sc. 3. L.
Questa lor tracotanza non è nuova.
This audacity of theirs is not new.
DANTE—Inferno. VIII. 124. De l'audace, encore de l'audace, toujours de
l'audace. Audacity, more audacity, always audacity. DANTON during the French Revolution. (See
also CARLYLE-The French Revolution. Vol. II. 3. 4)
Audax omnia perpeti Gens humana ruit per vetitum nefas.
The human race afraid of nothing, rushes on through every crime. HORACE- Carmina. I. 3. 25.
At last, the golden orientall gate
ayre. SPENSER—Faerie Queene. Bk. I. Canto V.
Audendo magnus tegitur timor.
By audacity, great fears are concealed. LUCAN-Pharsalia. IV. 702.
You cannot rob me of free nature's grace,
face. THOMSON—Castle of Indolence. Canto II. St. 3.