HOYT'S NEW CYCLOPEDIA OF PRACTICAL QUOTATIONS

The Blossoms and leaves in plenty

From the apple tree fall each day;
The merry breezes approach them,

And with them merrily play.
HEINE-Book of Songs. Lyrical Interlude.

No. 63.

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

I love the people,
But do not like to stage me to their eyes;
Though it do well, I do not relish weli
Their loud applause, and Aves vehement;
Nor do I think the man of safe discretion,
That does affect it.

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
Of tasting those fair apples, I resolv'd
Not to defer; hunger and thirst at once
Powerful persuaders, quicken'd at the scent
Of that alluring fruit, urged me so keen.

MILTON-Paradise Lost. Bk. LX. L. 584.

APPLE

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.

SWIFT-Brother Protestants.

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 beautiful as woman's blush,

As evanescent too.
L. E. LANDON—Apple Blossoms.

3
All day in the green, sunny orchard,

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.

10
Make me over, Mother April,
When the sap begins to stir!
When thy flowery hand delivers
All the mountain-prisoned rivers,
And thy great heart beats and quivers,
To revive the days that were.

RICHARD HOVEY—April.

11 For April sobs while these are so glad

April weeps while these are so gay, -
Weeps like a tired child who had,

Playing with flowers, lost its way.
HELEN HUNT JACKSON—Verses. April.

12
The children with the streamlets sing,

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
When forest glades are teeming with bright forms,
Nor dark and many-folded clouds foretell

The coming on of storms.
LONGFELLOW—An April Day. L. 6.

14
Sweet April! many a thought

Is wedded unto thee, as hearts are wed;
Nor shall they fail, till, to its autumn brought,

Life's golden fruit is shed.
LONGFELLOW-An April Day. St. 8.

APRIL

When April winds
Grew soft, the maple

burst into a flush
Of scarlet flowers. The tulip tree, high up,
Opened in airs of June her multitude
Of golden chalices to humming birds
And silken-wing'd insects of the sky.

BRYANT—The Fountain.

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.
CLARE— The Village Minstrel and Other Poems.

The Last of April.
Every tear is answered by a blossom,

Every sigh with songs and laughter blent,
Apple-blooms upon the breezes toss them.
April knows her own, and is content.
SUSAN COOLIDGE-April.

7
Now the noisy winds are still;
April's coming up the hill!
All the spring is in her train,
Led by shining ranks of rain;

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;
The garden-walks are passional

To bachelors and dames.
EMERSON—April.
Oh, the lovely fickleness of an April day!

W.H. GIBSON—Pastoral Days. Spring.

The first of April, some do say
Is set apart for All Fools' day;
But why the people call it so,
Nor I, nor they themselves, do know.

Poor Robin's Almanac. (1760) AU Fools' Day.

17 The lyric sound of laughter

Fills all the April hills,
The joy-song of the crocus,

The mirth of daffodils.
CLINTON SCOLLARD-April Music.

Suddenly sunshine and perfect blue

An April day in the morning.
HARRIET PRESCOTT SPOFFORD-April.

Les moi aussie je fus pasteur dans l'Arcadie.

DE LILLE-Les Jardins.

Sweet April showers
Do bring May flowers.
TUSSER-Five Hundred Points of Good Hus-

bandry. Ch. XXXIX.
Again the blackbirds sing; the streams
Wake, laughing, from their winter dreams,
And tremble in the April showers
The tassels of the maple flowers.
WHITTIER—The Singer. St. 20.

ARBUTUS, TRAILING

Epigæa repens.
Darlings of the forest!

Blossoming alone
When Earth's grief is sorest

For her jewels gone
Ere the last snow-drift melts your tender buds

have blown. Rose T. COOKE—Trailing Arbutus.

I dwell no more in Arcady,
But when the sky is blue with May,
And birds are blithe and winds are free,
I know what message is for me,
For I have been in Arcady.

LOUISE CHANDLER MOULTON—Arcady.
In the days when we went gypsying

A long time ago.
EDWIN RANSFORDIn the Days when we

Went Gypsying.
Et in Arcadia ego.

I too was in Arcadia.
BARTOLOMEO SCHIDONI on a painting in the

Schiarra-Colonna, Rome. NICHOLAS Pous-
SIN later used same on a painting in the
Louvre. On his monument, San Lorenzo,
Rome. WIELAND notes same in PERVOMTE,
Ideen & Erinerung. HERDER, Angedenken
an Neapel. Inscription on painting by
JOSHUA REYNOLDS. Portrait of Hariot Fawk-
ener, Mrs. Bowerie and Mrs. Crewe.

(See also GOETHE)

Pure and perfect, sweet arbutus
Twines her rosy-tinted wreath.

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

years ago.
ROBERT W. SERVICE—The Tramps.

Arcades ambo,
Et cantare pares, et respondere parati.

Arcadians both, equal in the song and ready in the response. VERGIL-Eclogues. VII. 4.

The shy little Mayflower weaves her nest,
But the south wind sighs o'er the fragrant loam,
And betrays the path to her woodland home.
SARAH HELEN WHITMAN—The Waking of the
Heart.

ARCADIA
The Arcadians were chestnut-eaters.

ALCÆUS—Fragment. LXXXVI.
What, know you not, old man (quoth he)-
Your hair is white, your face is wise
That Love must kiss that Mortal's eyes
Who hopes to see fair Arcady?
No gold can buy you entrance there;
But beggared Love may go all bare
No wisdom won with weariness;
But love goes in with Folly's dress
No fame that wit could ever win;
But only Love may lead Love in.
To Arcady, to Arcady.

H. C. BUNNER—The Way to Arcady.
Arcades amboid est, blackguards both.
BYRON–Don Juan. Canto IV. St. 93.

(See also VERGIL) Auch ich war in Arkadien geboren.

I, too, was born in Arcadia.
GOETHE. Motto of Travels in Italy. SCHILLER

-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
Hæc vestris: soli cantare periti Arcades.
O mihi tum quam molliter ossa quiescant,
Vestra meos olim si fistula dicat amores.

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,
Was never none richer, the story says:
For all the windows and the walls
Were painted with gold, both towers and halls;
Pillars and doors all were of brass;
Windows of latten were set with glass;

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

ter Garden.

A man who could build a church, as one may say, by squinting at a sheet of paper. DICKENSMartin Chuzzlewit. Vol. II. Ch.

VI.

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.

EMERSON—The Problem.

In the elder days of Art,

Builders wrought with greatest care Each minute and unseen part;

For the gods see everywhere.
LONGFELLOW-The Builders. St. 5.

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.

EMERSON—The Problem.

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.

L. 54.

Anon, out of the earth a fabric huge
Rose, like an exhalation.
Milton-Paradise Lost. Bk. I. L. 710.

(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,
Like some tall palm the mystic fabric sprung.
Majestic silence.
BISHOP HEBER—Palestine. L. 163. (“No

workman's steel,” as recited by HEBER in
The Sheldonian, June 15, 1803.)

(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,
All comes united to th' admiring eyes.

POPE--Essay on Criticism. Pt. II. L. 47.
22

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
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.

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,
For every why he had a wherefore.

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.

When we

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)

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