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"And what is the third?” Then he snored like
a pig, And puffing his cheeks out, he replied, “A great
wig." GEO. COLMAN the Younger-Orator Prig.
(See also PLUTARCH)
highest sentimentalities and the purest enthusiasms. Edw. G. PARKER—The Golden Age of American
Oratory. Ch. I.
We fear that the glittering generalities of the speaker have left an impression more delightful than permanent. F. J. DICKMAN–Review of Lecture by Rufus Choate. Providence Journal, Dec. 14, 1849.
(See also CHOATE)
There is no true orator who is not a hero.
EMERSON—Letters and Social Aims. Eloquence.
Præterea multo magis, ut vulgo dicitur viva vox afficit: nam licet acriora sint, quæ legas, ultius tamen in ammo sedent, quæ pronuntiatio, vultus, habitus, gestus dicentis adfigit.
Besides, as is usually the case, we are much more affected by the words which we hear, for though what you read in books may be more pointed, yet there is something in the voice, the look, the carriage, and even the gesture of the speaker, that makes a deeper impression upon the mind. PLINY the Younger Epistles. II. 3. 13
When Demosthenes was asked what was the first part of Oratory, he answered, “Action," and which was the second, he replied, “Action," and which was the third, he still answered "Action." PLUTARCH-Morals. Lives of the Ten Orators.
Referred to by CICERO— De Oratore. III. 214. Oration 55, and Brutus. 234.
(See also COLMAN)
Glittering generalities! They are blazing ubiquities. EMERSON—Remark on Choate's words.
(See also CHOATE)
You'd scarce expect one of my age
It is a thing of no great difficulty to raise objections against another man's oration, --nay, it is a very easy matter; but to produce a better in its place is a work extremely troublesome.
PLUTARCH-Of Hearing. VI. Fire in each eye, and papers in each hand, They rave, recite, and madden round the land.
POPE— Prologue to Satires. L. 5.
Allein der Vortrag macht des Redners Glück,
Yet through delivery orators succeed,
As You Like It. Act IV. Sc. 1. L. 75.
Es trägt Verstand und rechter Sinn, Mit wenig Kunst sich selber vor.
With little art, clear wit and sense Suggest their own delivery. GOETHE-Faust. I. 1. 198.
Be not thy tongue thy own shame's orator.
Comedy of Errors. Act III. Sc. 2. L. 10. List his discourse of war, and you shall hear A fearful battle render'd you in music.
Henry V. Act I. Sc. 1. L. 43.
19 What means this passionate discourse, This peroration with such circumstance?
Henry VI. Pt. II. Act I. Sc. 1. L. 104.
Intererit multum Davusne loquatur an heros.
It makes a great difference whether Davus or a hero speaks. HORACE--Ars Poetica. CXIV. 8
The passions are the only orators that always persuade: they are, as it were, a natural art, the rules of which are infallible; and the simplest man with passion is more persuasive than the most eloquent without it.
LA ROCHEFOUCAULD-Maxims. No. 9.
The object of oratory alone is not truth, but persuasion.
MACAULAY-Essay on Athenian Orators. Thence to the famous orators repair, Those ancient, whose resistless eloquence Wielded at will that fierce democratie, Shook the Arsenal, and fulmined over Greece, To Macedon, and Artaxerxes' throne.
MILTON- Paradise Regained. Bk. IV. L. 267. The capital of the orator is in the bank of the
Bid me discourse, I will enchant thine ear, Or, like a fairy, trip upon the green.
Venus and Adonis. L. 145.
Charm us, orator, till the lion look no larger than the cat. TENNYSON—Locksley Hall Sixty Years After.
The heavens themselves, the planets and this Orchis
centre In the marsh pink orchid's faces,
Observe degree, priority and place, With their coy and dainty graces,
Insisture, course, proportion, season, form, Lure us to their hiding places
Office and custom, in all line of order. Laugh, O murmuring Spring!
Troilus and Cressida. Act I. Sc. 3. L. 85. SARAH F. DAVIS-Summer Song.
As order is heavenly, where quiet is had,
So error is hell, or a mischief as bad.
TUSSER-Points of Huswifery, Huswifery Ad
monitions. XII. P. 251. (1561) Shield-broad the lily floats; the aloe flower Foredates its hundred years.
(See also POPE) BAYARD TAYLOR-Canopus.
The large white owl that with eye is blind,
That hath sate for years in the old tree hollow. I Corinthians. XIV. 40.
Is carried away in a gust of wind.
E. B. BROWNING-Isobel's Child. St. 19. 4 For the world was built in order
The Roman senate, when within And the atoms march in tune;
The city walls an owl was seen,
Did cause their clergy, with lustrations
The round-fac'd prodigy t'avert, 5
From doing town or country hurt. Can any man have a higher notion of the rule BUTLER-Hudibras. Pt. II. Canto III. L. 709. of right and the eternal fitness of things? HENRY FIELDING—Tom Jones. Bk. IV. Ch. In the hollow tree, in the old gray tower,
IV. SAMUEL CLARKE—Being and Attrib The spectral Owl doth dwell; utes of God. JOHN LELAND-Review of Dull, hated, despised, in the sunshine hour, Morgan's Moral Philosopher. I. 154. (Ed. But at dusk-he's abroad and well! 1807) Also his Inquiry into Lord Boling Not a bird of the forest e'er mates with him, broke's Writings. Letter XXII. I. 451. All mock him outright, by day:
But at night, when the woods grow still and dim, Set thine house in order.
The boldest will shrink away! Isaiah. XXXVIII. 1.
O, when the night falls, and roosts the fowl,
Then, then, is the reign of the Horned Owl! To make the plough go before the horse.
BARRY CORNWALL—The Oul. JAMES I–Letter to the Lord Keeper. July, 1617. (See also RABELAIS)
St. Agnes' Eve--Ah, bitter chill it was!
The owl, for all his feathers, was a-cold.
KEATS—The Eve of St. Agnes.
The wailing owl
Screams solitary to the mournful moon. MILTON—Paradise Lost. Bk. III. L. 710.
The screech-owl, with ill-boding cry,
Stops every fool that passes by,
And frights the school-boy from his play. (See also TUSSER)
LADY MONTAGU—The Politicians. St. 4. Not chaos-like together crush'd and bruis'd,
Then nightly sings the staring owl, But, as the world, harmoniously confused:
Tu-whit; Where order in variety we see,
Tu-who, a merry note. And where tho' all things differ, all agree.
Love's Labour's Lost. Act V. Sc. 2. L. 928. POPE—Windsor Forest. L. 13.
It was the owl that shriek'd, the fatal bellman, Folie est mettre la charrue devant les boufs. Which gives the stern’st good night.
It is folly to put the plough in front of the oxen. Macbeth. Act II. Sc. 2. L. 3.
The clamorous owl, that nightly hoots and
wonders Not a mouse
At our quaint spirits. Shall disturb this hallow'd house:
Midsummer Night's Dream. Act II. Sc. 2. L. 6. I am sent with broom before, To sweep the dust behind the door.
O you virtuous owle, Midsummer Night's Dream. Act V. Sc. 1. L. The wise Minerva's only fowle. 394.
SIR PHILIP SIDNEY-X Remedy for Love. L. 77.
When cats run home and light is come,
And dew is cold upon the ground,
And the whirring sail goes round,
his five wits,
The ox knoweth his owner, and the ass his master's crib.
Isaiah. I. 3.
8 'Twere better to be born a stone Of ruder shape, and feeling none, Than with a tenderness like mine And sensibilities so fine! Ah, hapless wretch! condemn'd to dwell Forever in my native shell, Ordained to move when others please, Not for my own content or ease; But toss'd and buffeted about, Now in the water and now out. COWPER—The Poet, the Oyster and Sensitive
Secret, and self-contained, and solitary as an oyster.
DICKENS—Christmas Carol. Stave I.
And the wind that saddens, the sea that gladdens,
A flattering painter, who made it his care
To draw men as they ought to be, not as they are.
GOLDSMITH—Retaliation. L. 63. Nothing begins, and nothing ends,
(See also CROMWELL) That is not paid with moan; For we are born in others' pain,
The fellow mixes blood with his colors. And perish in our own.
Said by GUIDO RENI of RUBENS. FRANCIS THOMPSON-Daisy. St. 15.
(See also OPIE) 2
16 The mark of rank in nature is capacity for pain, One picture in ten thousand, perhaps, ought to And the anguish of the singer marks the sweet live in the applause of mankind, from generation ness of the strain.
to generation until the colors fade and blacken SARAH WILLIAMS—Twilight Hours. Is it so, O out of sight or the canvas rot entirely away. Christ, in Heaven.
HAWTHORNE—Marble Faun. Bk. II. Ch. XII. 3 A man of pleasure
is a man of pains. YOUNG—Night Thoughts. Night VIII. L. 793.
, something must be done for May,
The time is drawing nighWhen pain can't bless, heaven quits us in despair.
To figure in the Catalogue, YOUNG—Night Thoughts. Night IX. L. 500.
And woo the public eye.
Something I must invent and paint; PAINTING 5
But oh my wit is not And those who paint 'em truest praise 'em most.
Like one of those kind substantives ADDISON—The Campaign. Last line.
That answer Who and What? 6
HoodThe Painter Puzzled. As certain as the Correggiosity of Correggio. 18 AUGUSTINE BIRRELLObiter Dicta. Emerson. Delphinum sylvis appingit, fluctibus aprum.
Phrase found also in STERNE—Tristram He paints a dolphin in the woods, a boar in Shandy. Ch. XII.
the waves. (See also CARLYLE)
HORACE-Ars Poetica. XXX. From the mingled strength of shade and light He that seeks popularity in art closes the door A new creation rises to my sight,
on his own genius: as he must needs paint for Such heav'nly figures from his pencil flow, other minds, and not for his own. So warm with light his blended colors glow. Mrs. JAMESON—Memoirs and Essays. Wash
ington Allston. The glowing portraits, fresh from life, that bring Home to our hearts the truth from which they 20 spring.
Nequeo monstrare et sentio tantum. BYRON—Monody on the death of the Rt. Hon.
I only feel, but want the power to paint. R. B. Sheridan. St. 3.
JUVENAL-Satires. VII. 56. 8 If they could forget for a moment the correg
The only good copies are those which exhibit giosity of Correggio and the learned babble of
the defects of bad originals. the sale-room and varnishing Auctioneer.
LA ROCHEFOUCAULD-Maxims. No. 136. CARLYLE-Frederick the Great. Bk. IV. Ch. III. (See also BIRRELL)
The picture that approaches sculpture nearest
Is the best picture.
IONGFELLOW—Michael Angelo. Pt. II. 4. 10
23 Paint me as I am. If you leave out the scars Vain is the hope by colouring to display and wrinkles, I will not pay you a shilling. The bright effulgence of the noontide ray
CROMWELL-Remark to the Painter, Lely. Or paint the full-orb'd ruler of the skies (See also FIELDS, GOLDSMITH, La Rocherou With pencils dipt in dull terrestrial dyes. CAULD)
MASON—Fresnoy's Art of Painting.
beauty shows a master's hand. I mix them with my brains, sir. DRYDEN—To Mr. Lee, on his Alexander. L. 53. JOHN OPIE. Answer when asked with what he 12
mixed his colors. See SAMUEL SMILES—Self Pictures must not be too picturesque.
Help. Chap. V. EMERSON—Essays. Of Art.
(See also GUIDO RENI) 13 "Paint me as I am,” said Cromwell,
He best can paint them who shall feel them most. "Rough with age and gashed with wars;
POPE—Eloisa and Abelard. Last line.
Lely on animated canvas stole JAMES T. FIELDS-On a Portrait of Cromwell. The sleepy eye, that spoke the melting soul. (See also CROMWELL)
POPE-Second Book of Horace. Ep. I. L. 149.
Palmaceae As the palm-tree standeth so straight and so tall, The more the hail beats, and the more the rains
fall. LONGFELLOW—Annie of Tharaw. Trans. from
the German of SIMON Dach. L. 11. 13 First the high palme-trees, with braunches faire, Out of the lowly vallies did arise, And high shoote up their heads into the skyes.
SPENSER—Virgil's Gnat. L. 191.
If it is the love of that which your work represents-if, being a landscape painter, it is love of hills and trees that moves you—if, being a figure painter, it is love of human beauty, and human soul that moves you—if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fullness thereof.
RUSKIN—The Two Paths. Lect. I.
Look here, upon this picture, and on this.
E'amlet. Act III. Sc. 4. L. 53.
Next to thee, O fair gazelle,
BAYARD TAYLOR—M'he Arab to the Palm.
What demi-god Hath come so near creation?
Merchant of Venice. Act III. Sc. 2. L. 116. 5
I will say of it,
Timon of Athens. Act 1. Sc. 1. L. 36.
Of threads of palm was the carpet spun
The painting is almost the natural man:
Timon of Athens. Act I. Sc. 1. L. 157.
He wrought better that made the painter; and yet he's but a filthy piece of work.
Timon of Athens. Act I. Sc. 1. L. 200. With hue like that when some great painter dips His pencil in the gloom of earthquake and
eclipse. SHELLEY—The Revolt of Islam. Canto V. St.
What does the good ship bear so well? The cocoa-nut with its stony shell, And the milky sap of its inner cell.
There is no such thing as a dumb poet or a handless painter. The essence of an artist is that he should be articulate. SWINBURNE--Essays and Studies. Matthew
Arnold's New Poems.
But who can paint Like nature? Can Imagination boast, Amid its gay creation, hues like hers?
THOMSON-Seasons. Spring. L. 465. 11
They dropped into the yolk of an egg the milk that flows from the leaf of a young fig-tree, with which, instead of water, gum or gumdragant, they mixed their last layer of colours. WALPOLE—Anecdotes of Painting. Vol. I. Ch.
Of a sweet picture, and of her who led,
A fitting guide, with reverential tread, Into that mountain mystery.
WHITTIER-Mountain Pictures. No. 2.
A jewel in the mirror).