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The Blossoms and leaves in plenty
From the apple tree fall each day;
And with them merrily play.
I would applaud thee to the very echo,
I love the people,
Measure for Measure. Act I. Sc. 1. L. 68. Vos valete et plaudite.
Fare ye well, and give us your applause. TERENCE. Last words. of several comedies.
See his Eunuchus V. 9. 64.
To satisfy the sharp desire I had
MILTON-Paradise Lost. Bk. LX. L. 584.
Pyrus Malus 10
What plant we in this apple tree? Sweets for a hundred flowery springs To load the May-wind's restless wings, When, from the orchard-row, he pours Its fragrance through our open doors;
A world of blossoms for the bee, Flowers for the sick girl's silent room, For the glad infant sprigs of bloom,
We plant with the apple tree.
BRYANT—The Planting of the Apple Tree. Like to the apples on the Dead Sea's shore, All ashes to the taste. BYRON-Childe Harold. Canto III. St. 34.
(See also MOORE)
Like the sweet apple which reddens upon the top
most bough A-top on the topmost twig-which the pluckers
forgot, somehowForgot it not, nay, but got it not, for none could
get it till now. ROSSETTI—Beauty. A combination from Sap
pho. (See also CARMAN) The apples that grew on the fruit-tree of knowl
edge By woman were pluck'd, and she still wears
the prize To tempt us in theatre, senate, or college
I mean the love-apples that bloom in the eyes. HORACE and JAMES SMITH—Rejected Addresses.
The Living Lustres, by T. M. 5. How we apples swim.
Art thou the topmost apple
The gatherers could reach, Reddening on the bough?
Shall I not take thee? Bliss CARMAN-Trans. of Sappho. 53. (See also ROSSETTI; also FIELD under PEACH)
After the conquest of Afric, Greece, the lesser Asia, and Syria were brought into Italy all the sorts of their Mala, which we interprete apples,
and might signify no more at first; but were afterwards applied to many other foreign fruits. SIR WM. TEMPLE-On Gardening.
APPLE BLOSSOMS Underneath an apple-tree Sat a maiden and her lover; And the thoughts within her he Yearned, in silence, to discover. Round them danced the sunbeams bright, Green the grass-lawn stretched before them While the apple blossoms white Hung in rich profusion o'er them.
WILL CARLETON—Apple Blossoms. The apple blossoms' shower of pearl,
Though blent with rosier hue,
As evanescent too.
When May was a marvel of bloom, I followed the busy bee-lovers
Down paths that were sweet with perfume. MARGARET E. SANGSTER—Apple Blossoms.
11 For April sobs while these are so glad
April weeps while these are so gay, -
Playing with flowers, lost its way.
When April stops at last her weeping; And every happy growing thing
Laughs like a babe just roused from sleeping. LUCY LARCOM—The Sister Months.
I love the season well
The coming on of storms.
Is wedded unto thee, as hearts are wed;
Life's golden fruit is shed.
When April winds
burst into a flush
5 Old April wanes, and her last dewy morn
Her death-bed steeps in tears; to hail the May New blooming blossoms 'neath the sun are born,
And all poor April's charms are swept away.
The Last of April.
Every sigh with songs and laughter blent,
Pit, pat, patter, clatter,
Sudden sun and clatter patter! All things ready with a will, April's coming up the hill! MARY MAPES DODGE-Now the Noisy Winds
are Still. 8 The April winds are magical,
And thrill our tuneful frames;
To bachelors and dames.
W.H. GIBSON—Pastoral Days. Spring.
The first of April, some do say
Poor Robin's Almanac. (1760) AU Fools' Day.
17 The lyric sound of laughter
Fills all the April hills,
The mirth of daffodils.
Suddenly sunshine and perfect blue
An April day in the morning.
Les moi aussie je fus pasteur dans l'Arcadie.
DE LILLE-Les Jardins.
Sweet April showers
bandry. Ch. XXXIX.
For her jewels gone
have blown. Rose T. COOKE—Trailing Arbutus.
I dwell no more in Arcady,
LOUISE CHANDLER MOULTON—Arcady.
A long time ago.
I too was in Arcadia.
Schiarra-Colonna, Rome. NICHOLAS Pous-
(See also GOETHE)
Pure and perfect, sweet arbutus
ELAINE GOODALE—The First Flowers.
Alas! the road to Anywhere is pitfalled with dis
aster; There's hunger, want, and weariness, yet O
we loved it so! As on we tramped exultantly, and no man was
our master, And no man guessed what dreams were ours,
as, swinging heel and toe, We tramped the road to Anywhere, the magic
road to Anywhere, The tragic road to Anywhere, such dear, dim
Arcadians both, equal in the song and ready in the response. VERGIL-Eclogues. VII. 4.
The shy little Mayflower weaves her nest,
H. C. BUNNER—The Way to Arcady.
(See also VERGIL) Auch ich war in Arkadien geboren.
I, too, was born in Arcadia.
-Resignation. I. (See also HEMANS, HOFFMANN, DELILLE,
SCHIDONI) I too, Shepherd, in Arcadia dwelt. FELICIA D. HEMANS—Song, in Songs for
Sunny Hours. 11 Au ich war in Arkadien. E. T. A. HOFFMANN. Motto to Lebensan
sichten des Kater Muri. Vol. I. Ch. II.
Tamen cantabitis, Arcades inquit montibus
Arcadians skilled in song will sing my woes upon the hills. Softly shall my bones repose, if you in future sing my loves upon your pipe VERGIL-Eclogues. X. 31.
There was King Bradmond's palace,
piles? I replied: "Dear Alphonse, men in those days had convictions (Ueberzeugungen), we moderns have opinions (Meinungen) and it requires something more than an opinion to build a Gothic cathedral. HEINE—Confidential Letters to August Lewald
on the French Stage. Letter 9. Trans. by
C. G. LELAND. 13
So that there was neither hammer nor axe nor any tool of iron heard in the house, while it was in building. I Kings. VI. 7.
(See also COWPER, HEBER) 14
Grandeur * * consists in form, and not in size: and to the eye of the philosopher, the curve drawn on a paper two inches long, is just as magnificent, just as symbolic of divine mysteries and melodies, as when embodied in the span of some cathedral roof. CHARLES KINGSLEY—Prose Idylls. My Win
A man who could build a church, as one may say, by squinting at a sheet of paper. DICKENSMartin Chuzzlewit. Vol. II. Ch.
The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in man. The mountain of granite blooms into an eternal flower, with the lightness and delicate finish, as well as the ærial proportions and perspective of vegetable beauty. EMERSON-Essays. Of History.
(See also SCHELLING) Earth proudly wears the Parthenon As the best gem upon her zone.
In the elder days of Art,
Builders wrought with greatest care Each minute and unseen part;
For the gods see everywhere.
The hand that rounded Peter's dome
The architect Built his great heart into these sculptured stones, And with him toiled his children, and their lives Were builded, with his own, into the walls, As offerings unto God. LONGFELLOW-Christus. The Golden Legend.
Pt. III. In the Cathedral.
17 Ah, to build, to build! That is the noblest of all the arts. LONGFELLOW-Michael Angelo. Pt. I. II.
Anon, out of the earth a fabric huge
(See also HEBER)
Middle wall of partition.
Ephesians. II. 14. An arch never sleeps. J. FERGUSSON-History of Indian and Eastern
Architecture. P. 210. (Referring to the Hindu aphorism of the sleepless arch.) Also the refrain of a novel by J. MEADE FALK
NER—The Nebuly Cloud. 9 Die Baukunst ist eine erstarrte Musik.
Architecture is frozen music. GOETHE-Conversation with Eckermann. March 23, 1829.
(See also SCHELLING, DE STAËL)
Nor did there want Cornice or frieze with bossy sculpture graven.
MILTON—Paradise Lost. Bk. I. L. 715.
The hasty multitude Admiring enter'd, and the work some praise, And some the architect: his hand was known In heaven by many a tower'd structure high, Where scepter'd angels held their residence, And sat as princes.
MILTON- Paradise Lost. Bk. I. L. 730.
Rich windows that exclude the light, And passages that lead to nothing.
GRAY-A Long Story.
No hammers fell, no ponderous axes rung,
workman's steel,” as recited by HEBER in
(See also COWPER, MILTON) When I lately stood with a friend before (the cathedral of] Amiens, he asked me how it happens that we can no longer build such
No single parts unequally surprise,
POPE--Essay on Criticism. Pt. II. L. 47.
The stone which the builders refused is become the head stone of the corner.
Psalms. CXVIII. 22.
'Fore God, you have here a goodly dwelling and a rich.
Henry IV. Pt. II. Act V. Sc. 3. L. 6.
Better the rudest work that tells a story or records a fact, than the richest without meaning. There should not be a single ornament put upon great civic buildings, without some intellectual intention. RUSKIN—Seven Lamps of Architecture. The
Lamp of Memory. It was stated, * * * that the value of architecture depended on two distinct characters:the one, the impression it receives from human power; the other, the image it bears of the natural creation. RUSKIN-Seven Lamps of Architecture. The
Lamp of Beauty. 3
I would have, then, our ordinary dwellinghouses built to last, and built to be lovely; as rich and full of pleasantness as may be within and without: * with such differences as might suit and express each man's character and occupation, and partly his history. RUSKIN—Seven Lamps of Architecture. The
Lamp of Memory. Therefore when we build, let us think that we build (public edifices) forever. Let it not be for present delight, nor for present use alone, let it be such work as our descendants will thank us for, and let us think, as we lay stone on stone, that a time is to come when those stones will be held sacred because our hands have touched them, and that men will say as they look upon the labor and wrought substance of them, “See! this our fathers did for us." RUSKIN—Seven Lamps of Architecture. The
Lamp of Memory.
He that has a house to put's head in has a good head-piece.
King Lear. Act III. Sc. 2. L. 25. 13
La vue d'un tel monument est comme une musique continuelle et fixée qui vous attend pour vous faire du bien quand vous vous en approchez.
The sight of such a monument is like continual and stationary music which one hears for one's good as one approaches it. MADAME DE STAËL-Corinne. Bk. IV. Ch.
III. (See also SCHELLING) Behold, ye builders, demigods who made England's Walhalla (Westminster Abbey). THEODORE WATTS - DUNTON - The Silent
Voices. No. 4. The Minster Spirits.
And there began a lang digression About the lords o' the creation.
BURNS—The Twa Dogs.
We require from buildings, as from men, two kinds of goodness: first, the doing their practical duty well: then that they be graceful and pleasing in doing it; which last is itself another form of duty.
RUSKIN—The Stones of Venice. Vol. I. Ch. II.
He'd undertake to prove, by force
BUTLER—Hudibras. Pt. I. Canto I. L. 71.
Architecture is the work of nations.
RUSKIN—True and Beautiful. Sculpture. 7
No person who is not a great sculptor or painter, can be an architect. If he is not a sculptor or painter, he can only be a builder.
RUSKIN—True and Beautiful. Sculpture.
Whatever Sceptic could inquire for,
BUTLER—Hudibras. Pt. I. Canto I. L. 131.
20 I've heard old cunning stagers Say, fools for arguments use wagers. BUTLER—Hudibras. Pt. II. Canto I. L. 297.
Ornamentation is the principal part of architecture, considered as a subject of fine art.
RUSKIN—True and Beautiful. Sculpture. 9
Since it (architecture) is music in space, as it were a frozen music.
If architecture in general is frozen music. SCHELLING-Philosophie der Kunst. Pp. 576, 593.
(See also GOETHE, DE STAËL)
'Twas blow for blow, disputing inch by inch, For one would not retreat, nor t'other flinch.
BYRON—Don Juan. Canto VIII. St. 77.
When Bishop Berkeley said, “there was no
matter, And proved it'twas no matter what he said.
BYRON-Don Juan. Canto XI. St. 1.
mean to build We first survey the plot, then draw the model; And when we see the figure of the house, Then must we rate the cost of the erection.
Henry IV. Pt. II. Act I. Sc. 3. L. 41.
I am bound to furnish my antagonists with arguments, but not with comprehension. BENJ. DISRAELI.
(See also GOLDSMITH)