Familiar Quotations, - [best romance ebooks .txt] 📗
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[45:1] Familiarity breeds contempt.—Publius Syrus: Maxim 640.
[46:1] What the dickens!—Thomas Heywood: Edward IV. act iii. sc. 1.
[46:2] As ill luck would have it.—Cervantes: Don Quixote, pt. i. bk. i. ch. ii.
[47:1] Act i. Sc. 5, in White, Singer, and Knight.
[47:2] Compare Portia's words in Merchant of Venice, act iv. sc. 1.
[49:1] See Spenser, page 29.
[49:2] "Mariana in the moated grange,"—the motto used by Tennyson for the poem "Mariana."
[49:3] This song occurs in Act v. Sc. 2 of Beaumont and Fletcher's Bloody Brother, with the following additional stanza:—
Hide, O, hide those hills of snow,
Which thy frozen bosom bears,
On whose tops the pinks that grow
Are of those that April wears!
But first set my poor heart free,
Bound in those icy chains by thee.
[50:1] For every why he had a wherefore.—Butler: Hudibras, part i. canto i. line 132.
[51:1] From the crown of his head to the sole of the foot.—Pliny: Natural History, book vii. chap. xvii. Beaumont and Fletcher: The Honest Man's Fortune, act ii. sc. 2. Middleton: A Mad World, etc.
[54:1] For "mirth," White reads shews; Singer, shows.
[56:1] Musical as is Apollo's lute.—Milton: Comus, line 78.
[57:1] Maidens withering on the stalk.—Wordsworth: Personal Talk, stanza 1.
[57:2] "Ever I could read,"—Dyce, Knight, Singer, and White.
[57:3] Act ii. sc. 2 in Singer and Knight.
[58:1] Act ii. sc. 2 in Singer and Knight.
[58:2] See Chapman, page 36.
[58:3] Trew as steele.—Chaucer: Troilus and Cresseide, book v. line 831.
[58:4] Act ii. sc. 2 in Singer and Knight.
[58:5] Eye hath not seen, nor ear heard.—1 Corinthians, ii. 9.
[59:1] I see the beginning of my end.—Massinger: The Virgin Martyr act iii. sc. 3.
[60:1] For the good that I would I do not; but the evil which I would not, that I do.—Romans vii. 19.
[62:1] See Chaucer, page 5.
[63:1] See Heywood, page 10.
[63:2] I will play the swan and die in music.—Othello, act v. sc. 2.
I am the cygnet to this pale faint swan,
Who chants a doleful hymn to his own death.
King John, act v. sc. 7.
There, swan-like, let me sing and die.—Byron: Don Juan, canto iii. st. 86.
You think that upon the score of fore-knowledge and divining I am infinitely inferior to the swans. When they perceive approaching death they sing more merrily than before, because of the joy they have in going to the God they serve.—Socrates: In Phaedo, 77.
[64:1] It is better to learn late than never.—Publius Syrus: Maxim 864.
[64:2] Incidis in Scyllam cupiens vitare Charybdim (One falls into Scylla in seeking to avoid Charybdis).—Phillippe Gualtier: Alexandreis, book v. line 301. Circa 1300.
[65:1] "It is not nominated in the bond."—White.
[68:1] The same in The Taming of the Shrew, act iv. sc. 1; in Othello, act iii. sc. 1; in The Merry Wives of Windsor, act i. sc. 4; and in As You Like It, act ii. sc. 7. Rabelais: book v. chap. iv.
[69:1]
The world 's a theatre, the earth a stage,
Which God and Nature do with actors fill.
Thomas Heywood: Apology for Actors. 1612.
A noble farce, wherein kings, republics, and emperors have for so many ages played their parts, and to which the whole vast universe serves for a theatre.—Montaigne: Of the most Excellent Men.
[70:1] See Spenser, page 30.
[71:1] Too much of a good thing.—Cervantes: Don Quixote, part i. book i. chap. vi.
[71:2] "Cud" in Dyce and Staunton.
[72:1] You need not hang up the ivy branch over the wine that will sell.—Publius Syrus: Maxim 968.
[72:2] See Heywood, page 9. Beaumont and Fletcher: Wit without Money.
[72:3] Married in haste, we may repent at leisure.—Congreve: The Old Bachelor, act v. sc. 1.
[73:1] See Heywood, page 18.
[74:1] How noiseless falls the foot of time!—W. R. Spencer: Lines to Lady A. Hamilton.
[74:2] "Like the sweet south" in Dyce and Singer. This change was made at the suggestion of Pope.
[74:3] See Heywood, page 12.
[76:1] Act iii. Sc. 5 in Dyce.
[77:1] Act iii. sc. 5 in Dyce.
[77:2] Into the jaws of death.—Tennyson: The Charge of the Light Brigade, stanza 3.
In the jaws of death.—Du Bartas: Divine Weekes and Workes, second week, first day, part iv.
[77:3] Act iv. sc. 2 in Dyce, Knight, Singer, Staunton, and White.
[78:1] Act iv. Sc. 3 in Dyce, Knight, Singer, Staunton, and White.
[78:2] Like a wave of the sea.—James i. 6.
[78:3] Act ii. Sc. 2 in Singer, Staunton, and Knight.
[79:1] Act ii. Sc. 2 in White.
[79:2] When fortune flatters, she does it to betray.—Publius Syrus: Maxim 278.
[80:1] Qui s'excuse, s'accuse (He who excuses himself accuses himself).—Gabriel Meurier: Trésor des Sentences. 1530-1601.
[80:2] See page 63, note 2.
[82:1] It is easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God.—Matt. xix. 24.
[83:1] Thomas Nash: Have with you to Saffron Walden. Dryden: Epilogue to the Duke of Guise.
[85:1] Beaumont and Fletcher: Wit without Money, act iv. sc. 1. Swift: Mary the Cookmaid's Letter.
[87:1] See Heywood, page 19.
[87:2] It show'd discretion the best part of valour.—Beaumont and Fletcher: A King and no King, act ii. sc. 3.
[88:1] Which of you, intending to build a tower, sitteth not down first and counteth the cost, whether he have sufficient to finish it?—Luke xiv. 28.
[90:1] Act. iv. Sc. 4 in Dyce, Singer, Staunton, and White.
[90:2] See Heywood, page 20.
Ill blows the wind that profits nobody.—Henry VI. part iii. act ii. sc. 5.
[91:1] Act iii. Sc. 6 in Dyce.
[92:1] With clink of hammers closing rivets up.—Cibber: Richard III. Altered, act v. sc. 3.
[92:2] "In their mouths" in Dyce, Singer, Staunton, and White.
[93:1] All delays are dangerous in war.—Dryden: Tyrannic Love, act i. sc. 1.
[93:2] Have a care o' th' main chance.—Butler: Hudibras, part ii. canto ii.
Be careful still of the main chance.—Dryden: Persius, satire vi.
[93:3] See Raleigh, page 25; Lyly, page 33.
[94:1] See Marlowe, page 40.
[96:1] For fools rush in where angels fear to tread.—Pope: Essay on Criticism, part iii. line 66.
[96:2] "Stolen forth" in White and Knight.
[97:1] A little too wise, they say, do ne'er live long.—Middleton: The Phœnix, act i. sc. 1.
[97:2] Off with his head! so much for Buckingham!—Cibber: Richard III. (altered), act iv. sc. 3.
[98:1] A weak invention of the enemy.—Cibber: Richard III. (altered), act v. sc. 3.
[98:2] See Spenser, page 27.
[100:1] For men use, if they have an evil tourne, to write it in marble: and whoso doth us a good tourne we write it in duste.—Sir Thomas More: Richard III. and his miserable End.
All your better deeds
Shall be in water writ, but this in marble.
Beaumont and Fletcher: Philaster, act v. sc. 3.
L'injure se grave en métal; et le bienfait s'escrit en l'onde.
(An injury graves itself in metal, but a benefit writes itself in water.)
Jean Bertaut. Circa 1611.
[101:1] Act v. Sc. 2 in Dyce, Singer, Staunton, and White.
[101:2] Act v. Sc. 4 in Dyce, Singer, Staunton, and White.
[101:3] Labour for his pains.—Edward Moore: The Boy and his Rainbow.
Labour for their pains.—Cervantes: Don Quixote, The Author's Preface.
[102:1] Unless degree is preserved, the first place is safe for no one.—Publius Syrus: Maxim 1042.
[103:1]
When flowing cups pass swiftly round
With no allaying Thames.
Richard Lovelace: To Althea from Prison, ii.
[103:2] See Sidney, page 34.
[103:3] Act v. sc. 5 in Singer and Knight.
[104:1] See Heywood, page 18.
[104:2] See Chapman, page 36.
[105:1] My dancing days are done.—Beaumont and Fletcher: The Scornful Lady, act v. sc. 3.
[105:2] Dyce, Knight, and White read, "Her beauty hangs."
[105:3] Act ii. sc. 1 in White.
[105:4] Act ii. sc. 1. in White.
[106:1] Perjuria ridet amantum Jupiter (Jupiter laughs at the perjuries of lovers).—Tibullus: iii. 6, 49.
[106:2] Act ii. sc. 1 in White.
[107:1] True as steel.—Chaucer: Troilus and Creseide, book v. Compare Troilus and Cressida, act iii. sc. 2.
[107:2] Word and a blow.—Dryden: Amphitryon, act i. sc. 1. Bunyan: Pilgrim's Progress, part i.
[111:1] "Utmost" in Singer.
[112:1] Dear as the ruddy drops that warm my heart.—Gray: The Bard, i. 3, line 12.
[113:1] Though last not least.—Spenser: Colin Clout, line 444.
[118:1] See Heywood, page
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