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Anger seeks its prey,-
Of recreation there is none
Bk. I. My hand alone my work can do ;
So, I can fish and study too. Anger is one of the sinews of the soul.
WILLIAM BASSE - The Angler's Song. d. FULLER--The Iloly and Profane States.
Anger. The first men that our Saviour dear
Did choose to wait upon him here, Anger wishes that all mankind had only
Blest tishers were ; and fish the last one neck ; love, that it had only one heart;
Food was, that He on earth did taste : grief, two tear-glands ; pride, two bent knees.
I therefore strive to follow those, e RICHTER. Flower, Fruit and Thorn
Whom he to follow him hath chose.
8. WILLIAM BASSE- The Angler's Song. Alas why gnaw you so your nether lip?
In genial spring, beneath the quivering shade, Some bloody passion shakes your very frame;
Where cooling vapors breathe along the These are portents; but yet I hope, I hope, They do not point on me.
The patient fisher takes his silent stand, j. Othello. Act V. Sc. 2.
Intent, his angle trembling in his hand;
With looks unmov'd, he hopes the scaly Anger is like
breed, A full-hot horse ; who being allow'd his way, Self-mettle tires him.
And eyes the dancing cork, and bending
reed. ☺. Henry VII. Act I. Sc. 1.
t. POPE- Windsor Forest. Line 135. Anger's my meat ; I sup upon myself, And so shall starve with feeding.
Give me mine angle, we'll to the river; there, h. Coriolanus. Act. IV. Sc. 2.
My music playing far off, I will betray
Tawney-finn'd fishes; my bended hook shall Being once chaf'd, he cannot
pierce Be rein'd again to temperance; then he speaks
Their slimy jaws. What's in his heart.
u. Antony and Cleopatra. Act II. Sc.5. l. Coriolanus. Act III. Sc. 3. Come not within the measure of my wrath.
3 Fish. Master I marvel how the fishes live
| in the sea. J. Tro Gentlemen of Verona. Act V.
1 Fish. Why, as men do a-land: the great Sc. 4.
ones eat up the little ones. If I had a thunderbolt in mine eye,
v. Pericles. Act II. Sc. 1. I can tell who should down. As You Like It. Act I, Sc. 2.
The pleas'nt angling is to see the fish
Cut with her golden oars the silver stream, in rage deaf as the sea, hasty as fire.
And greedily devour the treacherous bait. b. Richard II. Act I. .Sc. 1.
w. Much Ado About Nothing. Act III.
Sc. 1. him to choler straight; He hath been us'd to conquer, and to have his worth
Trail'st thou the puissant pike?
x. Henry V. Act IV. Sc. 1. mo Coriolanus. Act III. Sc. 3. That in the captain's but a choleric word,
Angling is somewhat like Poetry, men aro ch in the soldier is flat blasphemy.
to be born so. Measure for Measure. Act 11. Sc. 2. 1 y. WALTON — The Complete Angler. Pt. I.
Touch me with noble anger! et not women's weapon, water drops I am, Sir, a Brother of the angle. a may man's cheeks.
E. WALTON — The Complete Angler. Pt. I. . King Lear. Act II. Sc. 4
And let not wo
I shall stay him no longer than to wish
Th’unwieldy elephant, * * that if he be an honest angler, To make them mirth, us'd all his might, and the east wind may never blow when he goes
wreathed a fishing.
His lithe proboscis. a. Walton- The Complete Angler. 1 N. MILTON- Paradise Lost. Bk. IV. The Author's Preface.
Line 34). Thus use your frog: put your hook, I mean
Who knows not Circe, the arming wire, through his mouth, and out | The daughter of the Sun? whose charmed at his gills, and then with a fine needle and
cup silk sew the upper part of his leg with only Whoever tasted, lost his upright shape, one stitch to the arming wire of your hook, And downward fell into a groveling swine. or tie the frog's leg above the upper joint to 0. MILTON- Comus. Line 50. the armed wire ; and in so doing use him as though you loved him.
The mountain sheep were sweeter, b. WALTON - The Complete Angler. Pt. I. But the valley sheep were fatter. Ch. V. p. Thos. L. PEACOCK— The Misfortunes of
Ephur. (P. 141.) We may say of angling as Dr. Boteler said of strawberries : “ Doubtless God could have But thinks, admitted to that equal sky, made a better berry, but doubtless God never
His faithful dog shall bear him company. did;" and so, if I might be judge, God never q. Pope-- Essuy on Man. Ep. I. did make a more caim, quiet, innocent re.
Line 111. creation than angling. c. WALTON— The Complete Angler. Pt. I. |
How Instinct varies in the grov'ling swine. Ch. V. . POPE- Essay on Man. Ep. I.
Line 221. ANIMALS.
I am his Highness' dog at Kew; The jackal's troop, in gather'd cry,
Pray tell me, sir, whose dog are you? Buy'd from afar complainingly,
S. POPE- On the Collar of a Dog. With a mix d und mournful sound,
The hog that ploughs not, nor obeys thy call, Like crying babe, and beaten hound.
Lives on the labours of this lord of all. d. BYRON - Siege of Corinth. Pt. XXXIII.
t. POPE--Essay on Van. Ep. III. His faithful dog salutes the smiling guest.
Line 41. e. CAMPBELL-Pleasures of llope. Pt. I.
Line 86. The fur that warms a monarch, waru'd a
bear. I hold a mouse's hert not worth a leek,
U. Pops-Essay on Man. Ep. III. That hath but oon liole to sterte to.
Line 44. J. CHAUCER – Prologue of the Wife of
Bathë, v. 572. The mouse that always trusts to one poor If 'twere not for my cat and dog,
hole, I think I could not live.
Can never be a mouse of any soul. g. EBENEZER ELLIOTT-Poor Andrew
V. POPE- The Wife of Buth. Her Prologue, St. I.
Line 298. The lion is not so fierce as painted.
Rouse the lion from his lair. h. FULLER— Of Expecting Preferment. w. SCOTT— The Talisman. Ch. VI. The gazelles so gentle and clever,
A horse, a horse! my kingdom for a horse ! Skip lightly in irolicsome mood.
2. Richard III. Act V. Sc. 4. i. HEINE-- Book of Songs, Lyrical.
Interlude No. 9. Give me another horse, bind up my wounds. The lion is not so fierce as they paint him. 1 y. Richard 111. Act V. Sc. 3. . ITERBERT-Jacula Prudentum.
Mine enemy's dog, The mouse that hath but one hole is
Though he had bit me, should have stood quickly taken.
Against my tire. ki HERLERT--Jacula Prudentum.
King Lear. Act IV. Sc. 7.
Steed threatens steed, in high and boastful 1. MILTON - Paradise Lost. Bk. VII.
aa. King llenry V'. Chorus to Act IV. They rejoice Each with their kind, lion with lioness,
The Elephant hath joints, but none for So titly them in pairs thou hast combined. courtesy ; his legs are legs for necessity, not m. MILTON - Paradise Lost. Bk. VIII. I for flexure.
Line 392. 6. Troilus and Cressida. Act II. Sc. 3.
The little dogs and all, He that is proud of the rustling of his Tray, Blanche, and Sweet-heart, see, they | silks, like a madman, laughs at the rattling bark at me.
of his fetters. For, indeed, clothes ought to a. King Lear. Act III. Sc. 6.
be our remembrancers of our lost innocency.
l. FULLER— The Iloly and Profane States. The mouse ne'er shunn'd the cat, as they did
Apparel. budge From rascals worse than they.
Still to be neat, still to be drest, b. Coriolanus. Act I, Sc. 6.
As you were going to a feast,
Still to be powder'd, still perfum'd. Thou hast seen a farmer's dog bark at a m. BEN Jonson- The Silent Woman. beggar?
Act I. Sc. 5 (Song). Ć King Lear. Act IV. Sc. 6.
So tedious is this day, Spit on a serpent, and his vigor flies,
| As in the night before some festival He straight devours himself, and quickly | To an impatient child, that hath new robes,
(lies. d. VOLTAIRE-A Philosophical Dictionary.
And may not wear them.
n. Romeo and Juliet. Act III. Sc. 2. Serpents.
The soul of this man is his clothes. ANTIQUITY. 0. All's Well That Ends Well. Act II.
Sc. 5. Among so many things as are by men possessed or pursued in the whole course of With silken coats, and caps, and golden their lives, all the rest are baubles besides (sic.), old wood to burn, old wine to drink, With ruffs, and cuffs, and farthingales, and old friends to converse with, and old books
things ; to read.
With scarfs, and fans, and double change of €. ALFONSO, KING OF ARAGON.
bravery, (Quoted by Sir William Temple.) With amber bracelets, beads, and all this
knavery. I love everything that's old. old friends. old times, old manners, old books, old wine.
p. Taming of the Shrcu. Act IV. Sc. 3. f. GOLDSMITH - She Stoops to Conquer.
| O fair undress, best dress! it checks no vein, Act I. Sc. 1.
But every flowing limb in pleasure drowns, Old wood to burn! Old wine to drink!
And heightens ease with grace. Old friends to trust! Old authors to read!
9. THOMSON - Castle of Inılolence. MELCHIÒR - Floresta Española de
Canto I. 9.
Govern well thy appetite, lest Sin
Line 35. | Surprise thee, and her black attendant Death. My copper-lamps, at any rate,
s. MILTON--Paradise Lost. Bk. VII.
Line 546. for being true antique, I bought ; Let wisely melted down my plate,
Appetite comes with eating, says Angeston. On mollern models to be wrought ;
t. RABELAIS – Works. Bk. I. Ch. 5. And trifles I alike pursue, Because they're old, because they're new. Doth not the appetite alter? A man loves PRIOR-- Alma. Canto III.
the meat in his youth, that he cannot endure In an age
in his age. When men were men, and not ashamed of
L u. Much Ado About Nothing. Act II.
Sc. 3. 3. Young -- Night Thoughts. Night VIII.
Epicurean cooks Line 2. | Sharpen with cloyless sauce his appetite.
v. Antony and Cleopatra. Act II. Sc. 1. APPAREL.
Now good digestion wait on appetite, Dress drains our cellar dry
And health on both ! and keeps our lardır clean ; puts out our w Macbeth. Act III. Sc. 4.
fires, und introduces hunger, frost, and woe,
Read o'er this ; here peace and hospitality might reign. And after, this; and then to breakfast, with COOPER- The Task. Bk. II.
What appetite you have.
Who can cloy the hungry edge of appetite? I have found you an argument, I am not Richard II. Act I. Sc. 3.
obliged to find you an understanding.
n. SAM'L JOHNSON— Boswell's Life of And through the hall there walked to and
Johnson. An. 1784. fro, A iolly yeoman, marshall of the same, If he take you in hand, sir, with an arzuWhose name was Appetite ; he did bestow
ment, Both guestes and meate, whenever in they | He'll bray you in a mortar. came,
0. BEN Jonson - The Alchemist. And knew them how to order without
Act II. Sc. 1. blame. b. SPENSER— Faerie Queene. Bk. II. In argument with men a woman ever Canto IX. St. 28. Goes by the worse, whatever be her cause. p. MILTON- Samson Agonistes.
** Line 903. APPLAUSE.
Reason not impossibility, may meet Applause is the spur of noble minds, the
Some specious object by the foe suborn'd end and aim of weak ones.
And fall into deception unaware. C. C. C. COLTON- Lacon.
q. Milton-Paradise Lost. Bk. IX. The silence that accepts merit as the most
Line 36). natural thing in the world, is the highest
By force who reason for their law refuse*d. EMERSON- An Address. July 15, 1838.
Right reason for their law. I love the people, r. MILTON- Paradise Lost. Bk. VI.
Line 40. But do not like to stage me to their eyes ; Though it do well, I do not relish well
In argument Their loud applause, and aves vehement;
Similes are like songs in love: Nor do I think tne man of safe discretion,
They must describe ; they nothing prove. That does affect it.
s. PRIOR – Alma. Canto III. e. Measure for Measure. Act I. Sc. 1.
And sheath'd their swords for lack of arguI would applaud thee to the very echo,
ment. That should applaud again.
t. Henry V. Act III. Sc. 1. f. Macbeth. Act V. Sc. 3.
His reasons are two grains of wheat hid in They threw their caps
two bushels of chaff; you shall seek all day As they would hang them on the horns o
ere you find them ; and, when you have the moon,
them, they are not worth the search.. Shouting their emulation.
u. Merchant of Venice. Act I. Sc. 1. g. Coriolanus. Act I, Sc. 1.
If reasons were as plenty as blackberries, I
would give no man å reason upon compulARGUMENT.
v. Henry IV. Pt. I. Act II. Sc. 4. Much may be said on both sides. h. ADDISON - Spectator. No. 122.
I have no other but a woman's reason ;
I think him so, because I think him so. I've heard old cunning stagers say, fools 10. Two Gentlemen of Verona. Act I. Sc 2. for arguments use wagers. i. BUTLER-IIudibras. Pt. II. Canto I. Leave this keen encounter of our wits,
Line 297. And fall somewhat into a slower method.
x. Richard III. Act I. Sc. 2. Whatever sceptic conld inquire for, For every why he had a wherefore,
Romans, countrymen, and lovers! hear j. BUTLER- Iludibras. Pt. I. Canto I. me for my cause; and be silent, that you
Line 131. may hear.
y Julius Cæsar. Act III. Sc. 2. A knock-down argument: 'tis but a word and a blow.
She hath prosperous art k. DYRDEN-- Amphitryon. Act I. Sc. 1. When she will play with reason and dis
course, In arguing, too, the parson own'd his skill.
And well she can persuade. For, e'en though vanquish'd, he could argue 2. Measure for Measure. Act I. Sc. 3.
Strong reasons make strong actions.
aa. King John. Act III. Sc. 4. His conduct still right with his argument There is occasions and causes why and wrong.
wherefore in all things. m." GOLDSMITH-Retaliation. Line 46. I 16. Henry V. Act V. Sc. 1.
They are yet but ear-kissing argument.
The one thing that marks the true artist is A. King Lear. Act II. Sc. 1.
a clear perception and a firm, bold hand, in
distinction from that imperfect mental vision If thou continnest to take delight in idle
and uncertain touch which give us the feeble argumentation thou mayest be qualified to
pictures and the lumpy statues of the mere combat with the sophists, but never know artisans on canvas or in stone, how to love with men.
k. HOLMES — The Professor at the BreakSOCRATES.
fast Table. Ch. IX. ART.
Piety in art-poetry in art-puseyism in art,
let us be careful how we confound them. The art of a thing is, first, its aim, and l. Mrs. JAMESON--Memoirs and Essays. next, its manner of accomplishment.
The House of Titian. C. C. N. BOVEE-Summaries of Thought.
Art and Artists.
Art is Power.
m. LONGFELLOW--Hyperion. Bk. 3. Ch. V. Nature is not at variance with art, nor art with nature; they being both the servants of Art is the child of Nature; yes, his providence. Art is the perfection of Her darling child in whom we trace nature. Were the world now as it was the The features of the mother's face; sixth day, there were yet a chaos. Nature | Her aspect and her attitude. hath made one world, and art another. In n. . LONGFELLOW--Kéramos. Line 382. brief, all things are artificial; for nature is the art of God.
The counterfeit and counterpart d. SIR THOMAS BROWNE--Religio Medici. Of Nature reproduced in art.
Sec. 16. 0. LONGFELLOW-Kéramos. Line 380. There is an art of reading, as well as an art Art in fact is the effort of man to express of thinking, and an art of writing.
the ideas which Nature suggests to him of a €. ISAAC DISRAELI-Literary Character. power above Nature, whether that power be
- Ch. XI. within the recesses of his own being, or in
the Great First Cause of which Nature, like The conscious utterance of thought by himself, is but the effect. speech or action, to any end, is art..
p. BULWER LYTTON -- Caxtoniana. On the F. EMERSON- Society and Solitude. Art.
Moral Effect of Writers. The power depends on the depth of the
Artists may produce excellent designs, but artist's insight of that object he contemplates.
they will avail little, unless the taste of the g. EMERSON – Essay on Art.
public is sufficiently cultivated to appreciate
them, The perfection of an art consists in the
q. GEORGE C. Mason-Art Manufactures employment of a comprehensive system of
Ch. XIX. laws, commensurate to every purpose within
One of the first principles of decorative art its scope, but concealed from the eye of the spectator; and in the production of effects that
is, that in all manufactures, ornament must
hold a place subordinate to that of utility; seem to flow forth spontaneously, as though
and when, by its exuberance, ornament interuncontrolled by their influence, and which are equally excellent, whether regarded in
feres with utility, it is misplacel and vulgar. dividually, or in reference to the proposed
r. GEORGE C. MASON - Art Manufactures.
Ch. XIX. h. GOOD-The Book of Nature. Series I.
Art is Nature made by Man
Lecture IX. To Man the interpreter of God. There are two kinds of artists in this
S. OWEN MEREDITH— The Artist. St. 26. World; those that work because the spirit is The perfection of art is to conceal art. in them, and they cannot be silent if they t. QUINTILIAN. Would, and those that speak from a conscientious desire to make apparent to others the
Greater completion marks the progress of beauty that has awakened their own admir art, absolute completion usually its decline.
u. RUSKIN-- True and Beautiful. ANNA KATHARINE GREEN — The Sword
Architecture. The Lamp of Beauty. of Damocles. Bk. I. Ch. V.
Seraphs share with thee . The temple of art is built of words. Paint. | Knowledge : But Art, O Man, is thine alone! ing and sculpture and music are but the L v. SCHILLER – The Artist. St. 2. blazon of its windows, borrowing all their significance from the light, and suggestive | His art with nature's workmanship at strife, only of the temple's uses.
As if the dead the living should exceed. j. HOLLAND-Plain Talks on Familiar u. Venus and Adonis. Subjects. Art and Life. |