Thursday, May 14, 2009

Quotations on Art


Appetite comes with eating, says Angeston. a. Rabelais— Works. Bk. I. Ch. V.

Doth not the appetite alter? A man loves the meat in his youth, that he cannot endure in his age.

6. Much Ado About Nothing. Act II.

Sc. 3. L. 250.

Epicurean cooks Sharpen with cloyless sauce his appetite.

c. Antony and Cleopatra. Act II. Sc. 1.

L. 24.

Now good digestion wait on appetite,
And health on both !

d. .V,,,/„//.. Actni. Sc. 4. L. 38.

Read o'er this;

And after, this; and then to breakfast, with What appetite you have.

e. Henry VIII. Act III. Sc.2. L. 201.

The sweetest honey Is loathsome in his own deliciousness, And in the taste confounds the appetite. /. Romeo and Juliet. Act II. Sc. 6.

L. 11.

Or cloy the hungry edge of appetite?
g. Richard II. Aet I. Sc. 3. L. 296.

And through the hall there walked to and fro.

A jolly yeoman, marshull of the same, Whose name was Appetite; he did bestow Both guestes and meate, whenever in they


And knew them how to order withoutblamc. h. Spenser—Faerie Qtieenr. Bk. II.

Canto IX. St. 28.


Applause is the spur of noble minds, the end and aim of weak ones. ». C. C. Coltok—Lacon. P. 205.

O Popular Applause ! what heart of man Is proof against thy sweet, seducing charms? j. CowpKR—Task. Bk. II. L. 431.

The silence that accepts merit as the most natural thing in the world, is the highest applause.

k. Emerson—An Address. July 15, 1838.

The applause of a single human being is of great consequence.

1. Sam'l Johnson—Bonvell't Life, of

Johnson, 1780.

Like Cato, give his little senate laws, And sit attentive to his own applause. m. Pope—Prologue to the Satires. L. 207.

I love the people,

But do not like to stage me to their eyes;
Though it do well, I do not relish well
Their loud applause, and Aves vehement;
Nor do I think the man of safe discretion,
That does affect it.
71. Measure for Meatntre. Act I. Sc. 1.

L. 68.

I would applaud thee to the very echo.
That should applaud again.
o. Macbeth. Act V. Sc. 3. L. 53.

They threw their caps As they would hang them on the horns o' the


Shouting their emulation.
p. Coriolamu. Act I. Sc. 1. L. 216.

APRIL (See Months).
ARCHITECTURE (See Occupations).


Much might be said on both sides.
q. Addison—Spectator. No. 122.

Where we desire to be informed 'tis good to contest with men above ourselves ; but to confirm and establish our opinions, 'tis best to argue with judgments below our own, that the frequent spoils and victories over their reasons may settle in ourselves an esteem and confirmed opinion of our own.

r. Sib Thos. Browne—Keligio Medici.

Pt. I. VI.

And there began a. lang digression
About the lords o' the creation.
a. Burns— The Twa Dogs.

He'd undertake to prove, by force
Of argument, a man's no horse.
He'd prove a buzzard is no fowl.
And that a Lord may be an owl,
A calf an Alderman, a goose a Justice,
And rooks, Committee-men or Trustees.
t. Butler— Hudibras. Pt. I. Canto I.

L. 71.

I've heard old cunning stagers Sny, fools for arguments use wagers. it. Bi-tler—Hudibras. Pt. II. Canto I.

L. 297.

Whatever Sceptic could inquire for, For every why he had a wherefore. v. Butleh—Hudibras. Pt. I. Canto I.

L. 131.

"I'was blow for blow, disputing inch by inch, For one would not retreat, nor t'other flinch. «. Byron—Don Juan. Canto VIII.



When Bishop Berkeley said, " there was no


And proved it—'twas no matter what he said. a. Byron—Don Juan. Canto XI. St. I.

The noble lord is the Rupert of debate. 6. Benj. Disraeli—Speech. April, 1844.

A knock-down argument; 'tis but a word and a blow, c. Dryden—Amphitryon. Act I. Sc. 1.

Reproachful speech from either side
The want of argument supplied;
They rail, reviled; as often ends
The contests of disputing friends,
rf. Gay—Fables. Karens. Sexton and

Earth Worm. Pt. II. L. 117.

His conduct still right with his argument

wrong. e. Goldsmith—Retali'ttion. L. 46.

In arguing, too, the parson own'd his skill, For even though vanquished he could argue

still. /. Goldsmith—The Deserted Village.

L. 211.

Be calm in arguing; for fierceness makes Error a fault, and truth discourtesy. g. Herbert—Temple. Church Porch. St. 52.

I have found you an argument; but I am not obliged to find you an understanding. h. Sam'l Johnson—Boswelfs Life of

Johraon. 1784.

Nay, if he take you in hand, sir, with an argument.

He'll bray you in a mortar. ». Be.v Jokson—The Alchemist. Act II.

Sc. 1.

There is no good in arguing with the inevitable. The only argument available with an east wind is to put on your overcoat.

j. Lowell—Democracy and Other

Addresses. Democracy.

The brilliant chief, irregularly great, Frank, haughty, rash,—the Rupert of debate, t. Bulwer Lyttoh—The New Timon.

Pt. 1. 1846.

In argument with men a woman ever
Goes by the worse, whatever be her cause.
/. Milton—Samson Agonistes. L. 903.

Like doctors thus, when much dispute has


We find oor tenets just the same at last, ro. Pope—Moral Essays. Epis. III. L. 15.

In argument

Similes are like songs in love:
They must describe; they nothing prove.
n. Prior—Alma. Canto III.

One single positive weighs more,
You know, than negatives a score.

0. Prior—Epistle to Fleetwood Shepherd.

Soon their crude notions with each other


The adverse sect denied what this had taught; And he at length the amplest triumph gain'd, Who contradicted what the last maintain'd. p. Prior—Solomon. Bk. I. L. 717.

And sheath'd their swords for lack of argument. q. Henry V. Act III. So. 1. L. 21.

For they are yet but ear-kissing arguments.
r. King Lear. Act II. Sc. 1. L. 9.

Leave this keen encounter of our wits,
And fall somewhat into a slower method.

1. Richard III. Act I. Sc. 2. L. 115.

She hath prosperous art When she will play with reason and discourse. And well she can persuade.

{. Measure for Measure. Act I. Sc. 2.

L. 189.

There is occasions and causes why and wherefore in all things. «. Henry V. Act V. Sc. 1. L. 3.

The first the Retort Courteous; the second the Quip Modest; the third the Reply Churlish ; the fourth the Reproof Valiant; the fifth the Countercheck Quarrelsome; the sixth the tic with Circumstance; the seventh the Lie Direct.

v. As You Like It. Act V. Sc. 4. L. 90.

If thou continues! to take delight in idle argumentation thou mayest be qualified to combat with the sophists, but never know how to love with men.

w. Socrates.


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.

x. Sir Thomas Browne—Religio Medici.

Sec. Hi.

It is the glory and good of Art. That Art remains the one way possible Of speaking truth, to mouths like mine at


y. Robert Browning—The Ring and the Book. The Book and the Ring.

L. 84;;. 38 ART.

There is an art of reading, as well as an art of thinking, and an art of writing.

a. Isaac Disraeli—Literary Character.

Ch. XI.

The conscious utterance of thought, by speech or action, to any end, is art.

b. Emerson—Society and Solitude. Art.

The hand that rounded Peter's dome,
And groined the aisles of Christian Rome,
Wrought in a sad sincerity ;
Himself from God he could not free;
He builded better than he knew ;—
The conscious stone to beauty grew.

c. Emerson— The Problem. L. 19.

His pencil was striking, resistless, and grand ; His manners were gentle, complying, and


Still born to improve us in every part,
His pencil our faces, his manners our heart.

d. Goldsmith—Retaliation. L. 139.


The canvas glow'd beyond ev'n nature warm ; The pregnant quarry teem'd with human form. /

e. Goldsmith— The Trarcller. L. 137.

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. Lectnre IX.

There arc two kinds of artists in this world ; those that work because the spirit is in them, and they cannot be silent if they would, and those that speak from a conscientious desire to make apparent to others the beauty that has awakened their own admiration.

g. Anna Katharine Green—The Simrd of Damocles. Bk. I. Ch. V.

The temple of art is built of words. Paint- ing 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.

A. J. G. Holland—Plain Talks on

Familiar Subjects. Art and Life.

The one thing that marks the true artist is a clear perception and a firm, bold hand, in distinction from that imperfect mental vision and uncertain touch which give us the feeble pictures and the lumpy statues of the mere artisans on canvas or in stone.

i. O. W. Holmes— The Professor at the

Breakfast Table. Ch. IX.


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

/. Homer— Iliad. Bk. 23. L. 382.

Pope's trans.

Piety in art—poetry in art— Puseyism in art—let us be careful how we confound them. k. Mrs. Jameson—Memoirs and Essays.

The Hmue of Titian.

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? I. Rudyaed Kiplino—The Conundrum of the Workshops.

Art is Power.
m. Longfellow—Hyperion. Bk. 3. Ch. V.

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,
n. Longfellow—Keramos. L. 382.

Dead he is not, but departed,—for the artist

never dies,
o. Longfellow—Nuremburg. St. 13.

The counterfeit and counterpart
Of Nature reproduced in art.
p. Longfellow—Keramos. L. 380.

Art, in fact, is the effort of man to express the ideas which Nature suggests to him of a power above Nature, whether that power be within the recesses of his own being, or in the Great First Cause of which Nature, like himself, is but the effect.

q. Bulwer Lttton—Cailoniana. On the Moral Effect of Writers.

Artists may produce excellent designs, but they will avail little, unless the taste of the public is sufficiently cultivated to appreciate them.

r. George C. Mason—Art Manufactures.

Ch. XIX.

One of the first principles of decorative art is, that in all manufactures, ornament must hold a place subordinate to that of utility; and when, by its exuberance, ornament interferes with utility, it is misplaced and vulgar.

». Gborge C. Mason—Art Manufactures.




For Art is Nature made by Man
To Man the interpreter of God.
a. Owen Meredith (Lord Lytton)—The
Artist. St. 26.

The perfection of art is to conceal art.


Greater completion marks the progress of art, absolute completion usually its decline. e. Rubkin—The Seven Lamps of Architecture. Ch. IV. Ft. XXX. The Lamp of Beauty.

Seraphs share with thee

Knowledge; But Art, O Man, is thine alone!

d. Schiller— The Artists. St. 2.

His art with nature's workmanship at strife. As if the dead the living should exceed.

e. Venus and Adonis. L. 291.

In framing an artist, art hath thus decreed,
To make some good, but others to exceed.
/. Pericles. Act II. 8c. 3. L. 15.

To gild refined gold, to paint the lily,
To throw a perfume on the violet,
To smooth the ice, or add another hue
Unto the rainbow.
g. King John. Act IV. Sc. 2. L. 11.

It was Homer who gave laws to the artist.
h. Francis Wayland—The Iliad and the


Around the mighty master came
The marvels which his pencil wrought,

Those miracles of power whose fame
Is wide as human thought.
'. Whittier—Raphael. St. 8.

ASTRONOMY (See Occupations).
AUGUST (See Mosths).


Aurora had but newly chased the night, And purpled o'er the sky with blushing light. j. Dryden—Palamon and Arctic. Bk. I.

L. 186.

But when Aurora, daughter of the dawn, With rosy lustre purpled o'er the lawn, t. Homkb— Odyssey. Bk. III. L. 621.

Pope's trans.

Night's son was driving
His golden-haired horses up;
Over the eastern firths
High flashed their manes.
'. Charles Kinoslit—The Longbeards'


Zephyr, with Aurora playing.
As he met her once a-Maying.
m. Milton—L'Allegro. L. 19.

See now, that radiant bow of pillared fires
Spanning the hills like dawn, until they lie

In soft tranquillity,

And all night's ghastly glooms asunder roll. n. D. M. Mulock—The Aurora on the


For night's swift dragons cut the clouds full


And yonder shines Aurora's harbinger;
At whose approach ghosts, wandering here

and there,

Troop home to churchyards : o. Midsummer Night's Dream. Act III. Sc. 2. L. 379.

The wolves have prey'd : and look, the gentle


Before the wheels of Phoebus, round about,

Dapples the drowsy east with spots of grey.

p. Much Ado About Nothing. Act V.

Sc. 3. L. 25.

At last, the golden orientall gate

Of greatest heaven gan to open fayre,

And Phoebus, fresh as brydegrome to his mate,

Came dauncing forth, shaking his dewie

hay re; And hurls his glistring beams through gloomy

ayrc. g. Spenser—Faerie Queene. Bk. I.

Canto V. St. 2.


All authority must be out of a man's self, turned * * * either upon an art, or upon a man.

r. Bacon—Natural History. Century X. Touching emission of immateriate virtues, etc.

Authority intoxicates,
And makes mere sots of magistrates;
The fumes of it invade the brain,
And make men giddy, proud, and vain.
s. Butler—Miscellaneous Thoughts.

L. 283.

And though authority be a stubborn bear, yet

he is oft led by the nose with gold. t. A Winter's Tale. Act IV. Sc. 4.

L. 831.

Shall remain! Hear you this Triton of the minnows ? mark


His absolute "shall"?
«. Coriolanus. Act III. Sc. 1. L. 88.

There is no fettering of authority.
v. AlFs Well That Ends Well. Act II.

Sc. 3. L. 248. AUTHORITY.


Those he commands, move only in command,
Nothing in love: now does he feel his title
Hang loose about him, like a giant's robe
Upon a dwarfish thief.
! a. Macbeth. Act V. Sc. 2. L. 19.

Thou hast seen a fanner's dog bark at a beggar,

And the creature run from the cur: There.

There, thou might'st behold the great image of authority;

A dog's obeyed in office. 6. King Lear. Act IV. Sc. 6. L. 159.

Thus can the derai-god Authority

Make us pay down for our offense by weight.

c. Measure /or Measure. Act I. Sc. 2.

L. 124. All people said she had authority.

d. Tennyson— The Princess. Ft. VI.

L. 221.

Authority forgets a dying king,
Laid widow'd of the power in his eye
That bow'd the will.

e. Tennyson—Mart* d'Arthur. L. 121.

But see that some one with authority
Be near her still.
/. Tennyson— The Princess. Pt. VI.

L. 219.

AUTHORSHIP (See Occupations).
AUTUMN (See Seasons).


So for a good old-gentlemanly vice, I think I must take up with avarice. g. Bteon—Don Juan. Canto I. St. 216.

That disease

Of which all old men sicken, avarice. h. Thomas Middleton— The Roaring Girl.

Act I. Sc. 1.

Be niggards of advice on no pretence ;
For the worst avarice is that of sense.
i. Pops—Essay on Criticism. L. 578.

There grows,

In my most ill-compos'd affection such
A stanchless avarice, that, were I king,
I should cut off the nobles for their lands.
j. Macbeth. Act IV. Sc. 3. L. 76.

There is thy gold ; worse poison to men's souls. k. Romeo and Juliet. ActV. Sc. 1. L.79.

This avarice Strikes deeper, grows with more pernicious

root. 1. Macbeth. Act IV. Sc. 3. L. 84.

Poverty is in want of much, but avarice of everything. m. Publius Sybus—Maxims. 441.


Awkward, embarrassed, stiff, without the


Of moving gracefully or standing still.
One leg, as if suspicious of his brother,
Desirous seems to run away from t'other.
n. Chukchill—Rosciad. L. 438.

What's a fine person, or a beauteous face,
Unless deportment gives them decent grace?
Blessed with all other requisites to please,
Some want the striking elegance of ease;
The curious eye their awkward movement


They seem like puppets led about by wires. o. Churchill—Rosciad. L. 741.



Oh those little, those little blue shoes!
Those shoes that no little feet use.
Oh, the price were high
That those shoes would buy,
Those little blue unused shoes!
p. William C. Bennett—Baby's Shoes.

Sweet babe, in thy face
Soft desires I can trace,
Secret joys and secret smiles,
Little pretty infant wiles.
g. William Blake—A Cradle Song.

Sweet sleep, with soft down
Weave thy brows an infant crown!
Sweet sleep, angel mild,
Hover o'er my happy child,
r. William Blake— A Cradle Song.

He smiles, and sleeps !—sleep on

And smile, thou little, young inheritor

Of a world scarce less young: sleep on and

smile! Thine arc the hours and days when both are

cheering And innocent! s. Byron—Caw. Act III. Sc. 1. L. 24.

How lovely he appears ! his little cheeks

In their pure incarnation, vying with

The rose leaves strewn beneath them.

And his lips, too,

How beautifully parted I No; you shall not

Kiss him ; at least not now ; he will wake

soon— His hour of midday rest is nearly over.

I. Byron—Cain. Act III. Sc. 1. L. 14.

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