Handy Dictionary of Poetical Quotations | Page 4

on your angling; when your diver

Did hang a salt-fish on his hook, which he
With fervency drew up.

89
SHAKS.: Ant. and Cleo., Act ii., Sc. 5.
=Anticipation.=
Peace, brother, be not over-exquisite
To cast the fashion of uncertain
evils;
For, grant they be so, while they rest unknown,
What need a
man forestall his date of grief,
And run to meet what he would most
avoid?
90
MILTON: Comus, Line 359.
=Antiquity.=
O good old man! how well in thee appears
The constant service of the
antique world,
When service sweat for duty, not for meed!
Thou art
not for the fashion of these times,
Where none will sweat, but for
promotion.
91
SHAKS.: As You Like It, Act ii., Sc. 3.
Nor rough, nor barren, are the winding ways
Of hoar antiquity, but
strewn with flowers.
92
WARTON: Written on a Blank Leaf of
Dugdale's Monasticon.
=Apathy.=
In lazy apathy let stoics boast
Their virtue fix'd; 'tis fixed as in a frost.

93
POPE: Essay on Man, Epis. ii., Line 101.
=Apparel.=
Costly thy habit as thy purse can buy,
But not expressed in fancy;
rich, not gaudy:
For the apparel oft proclaims the man.
94

SHAKS.: Hamlet, Act i., Sc. 3.
=Apparitions.=
How fading are the joys we dote upon!
Like apparitions seen and

gone.
95
JOHN NORRIS: The Parting.
=Appeal.=
I have done the state some service, and they know it.
No more of that;
I pray you in your letters,
When you shall these unlucky deeds relate,

Speak of me as I am, nothing extenuate,
Nor set down aught in
malice.
96
SHAKS.: Othello, Act v., Sc. 2.
=Appearances.=
All that glisters is not gold,
Gilded tombs do worms infold.
97

SHAKS.: M. of Venice, Act ii., Sc. 7.
Appearances to save, his only care;
So things seem right no matter
what they are.
98
CHURCHILL: Rosciad, Line 299.
=Appetite.=
Now good digestion wait on appetite,
And health on both.
99

SHAKS.: Macbeth, Act iii., Sc. 4.
His thirst he slakes at some pure neighboring brook,
Nor seeks for
sauce where appetite stands cook.
100
CHURCHILL: Gotham, iii.,
Line 133.
=Applause.=
I would applaud thee to the very echo,
That should applaud again.

101
SHAKS.: Macbeth, Act v., Sc. 3
Oh popular applause! what heart of man
Is proof against thy sweet,
seducing charms?
102
COWPER: Task, Bk. ii., Line 481.
The applause of list'ning senates to command.
103
GRAY: Elegy,
St. 16

=April.=
Whanne that Aprille with his shoures sote
The droughte of March
hath perced to the rote.
104
CHAUCER: Canterbury Tales,
Prologue, Line 1.
April cold with dropping rain
Willows and lilacs brings again,
The
whistle of returning birds,
And trumpet-lowing of the herds.
105

EMERSON: May-day, Line 124.
When aince Aprile has fairly come,
An' birds may bigg in winter's
lum,
An' pleisure's spreid for a' and some
O' whatna state,
Love, wi' her auld recruitin' drum,
Than taks the gate.
106
ROBERT LOUIS STEVENSON:
Underwoods, Bk. ii., iii.
=Argument.=
In arguing, too, the parson owned his skill,
For e'en though
vanquish'd, he could argue still.
107
GOLDSMITH: Des. Village,
Line 211
=Aristocracy.=
'Tis from high life high characters drawn;
A saint in crape is twice a
saint in lawn.
108
POPE: Moral Essays, Epis. i., Line 135.
=Art.=
Seraphs share with thee
Knowledge: But art, O man, is thine alone!

109
SCHILLER: Artists, St 2.
Art is the child of Nature; yes,
Her darling child, in whom we trace

The features of the mother's face,
Her aspect and her attitude.
110


LONGFELLOW: _Kéramos._
=Artist.=
In framing an artist, art hath thus decreed,
To make some good, but
others to exceed.
111
SHAKS.: Pericles, Act ii., Sc. 3.
=Aspect.=
With grave
Aspect he rose, and in his rising seem'd
A pillar of state.

112
MILTON: Par. Lost, Bk. ii., Line 300.
=Aspiration.=
'Tis he, I ken the manner of his gait;
He rises on the toe; that spirit of
his
In aspiration lifts him from the earth.
113
SHAKS.: Troil. and
Cress., Act iv., Sc. 5.
=Assurance.=
I'll make assurance double sure,
And take a bond of fate.
114

SHAKS.: Macbeth, Act iv., Sc. 1.
=Atheism.=
By night an atheist half believes a God.
115
YOUNG: Night
Thoughts, Night v., Line 176.
=Athens.=
Ancient of days! august Athena! where,
Where are thy men of might,
thy grand in soul?
Gone--glimmering through the dream of things
that were
First in the race that led to glory's goals
They won, and
pass'd away.
116
BYRON: Ch. Harold, Canto ii., St. 2.
Athens, the eye of Greece, mother of arts
And eloquence.
117

MILTON: Par. Regained, Bk. iv., Line 240.

=Attempt.=
The attempt and not the deed
Confounds us.
118
SHAKS.:
Macbeth, Act ii., Sc. 2.
=Attention.=
The tongues of dying men
Enforce attention like deep harmony.

119
SHAKS.: Richard II., Act ii., Sc. 1.
=Audience.=
Still govern thou my song,
Urania, and fit audience find, though few.

120
MILTON: Par. Lost, Bk. vii., Line 30,
=August.=
Rejoice! ye fields, rejoice! and wave with gold,
When August round
her precious gifts is flinging;
Lo! the crushed wain is slowly
homeward rolled:
The sunburnt reapers jocund lays are singing.
121

RUSKIN: The Months.
=Aurora.=
Aurora now, fair daughter of the dawn,
Sprinkled with rosy light the
dewy lawn.
122
POPE: Iliad, Bk. viii., Line 1.
=Author.=
Most authors steal their works, or buy;
Garth did not write his own
Dispensary,
123
POPE: E. on Criticism, Pt. iii., Line 59.
No author ever spar'd a brother.
124
GAY: Fables, The Elephant
and the Bookseller.
How many great