Chapter 1

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HANDY DICTIONARY OF POETICAL QUOTATIONS

COMPILED BY GEORGE W. POWERS

AUTHOR OF "IMPORTANT EVENTS," ETC.

NEW YORK THOMAS Y. CROWELL & CO. PUBLISHERS

1901 BY T.Y. CROWELL & COMPANY.

PREFACE.

It has been the aim of the compiler of this little book to present a Dictionary of Poetical Quotations which will be a ready reference to many of the most familiar stanzas and lines of the chief poets of the English language, with a few selections from Continental writers; and also some less familiar selections from more modern poets, which may in time become classic, or which at least have a contemporary interest. Readers of English literature are aware that the few great poets of our language have struck perhaps every chord of human sentiment capable of illustration in verse, and even these few have borrowed the ideas, and sometimes almost the exact words, of predecessors or contemporaries.

But often old ideas in a new dress are welcome to readers who might not have been attracted by the old forms; and each generation has its peculiar modes of expression if not its new lines of thought. It is hoped that this mingling of the old and the new will not be without interest. To carry out the plan of making this a "handy" dictionary of quotations and, at the same time, as comprehensive as the space permitted, it has been necessary to confine the illustration of the topics selected to brief extracts from each author. Of course, in all books of quotations the great name of Shakespeare fills the largest space; and the compiler of this book, as well as all students of Shakespeare, is under obligation to the painstaking compilers of the concordances to this poet, and especially to Mr. Bartlett's monumental work. To many other compilers of quotations, especially to the _Poetical Quotations_ Anna L. Ward (published by Messrs. T.Y. Crowell & Co.), the author is under obligations; while he has made an independent examination of the more recent poets, as well as many of the older ones. The topics illustrated number 2138, selected from the writings of 255 authors. The indexes, which will be found full and complete, were prepared by Mrs. Grace E. Powers, who has also rendered valuable assistance in preparing the copy for the press and in reading the proofs.

G.W.P.

DORCHESTER, MASS., July, 1901.

HANDY DICTIONARY OF POETICAL QUOTATIONS.

* * * * *

==A.==

=Abashed.=

Abash'd the devil stood, And felt how awful goodness is, and saw Virtue in her shape how lovely. 1 MILTON: _Par. Lost,_ Bk. iv., Line 846.

=Abbots.=

To happy convents bosom'd deep in vines, Where slumber abbots purple as their wines. 2 POPE: _Dunciad,_ Bk. iv., Line 301.

=Abdication.=

I give this heavy weight from off my head, And this unwieldy sceptre from my hand, The pride of kingly sway from out my heart; With mine own tears I wash away my balm, With mine own hands I give away my crown, With mine own tongue deny my sacred state, With mine own breath release all duteous oaths. 3 SHAKS.: _Richard II.,_ Act iv., Sc. 1.

=Abdiel.=

So spake the seraph Abdiel, faithful found; Among the faithless, faithful only he. 4 MILTON: _Par. Lost,_ Bk. v., Line 896.

=Ability.=

I profess not talking; only this, Let each man do his best. 5 SHAKS.: _1 Henry IV.,_ Act v., Sc. 2.

=Absence.=

What! keep a week away! Seven days and nights? Eight score eight hours? and lovers' absent hours, More tedious than the dial eight score times? O weary reckoning! 6 SHAKS.: _Othello,_ Act iii., Sc. 1.

Though lost to sight, to memory dear Thou ever wilt remain. 7 GEORGE LINLEY: _Song, Though Lost to Sight._

Condemn'd whole years in absence to deplore, And image charms he must behold no more. 8 POPE: _Eloisa to A.,_ Line 361.

O last love! O first love! My love with the true heart, To think I have come to this your home, And yet--we are apart! 9 JEAN INGELOW: _Sailing Beyond Seas._

'Tis said that absence conquers love; But oh believe it not! I've tried, alas! its power to prove, But thou art not forgot. 10 FREDERICK W. THOMAS: _Absence Conquers Love._

=Abstinence.=

Against diseases here the strongest fence Is the defensive virtue abstinence. 11 HERRICK: _Aph. Abstinence._

=Abuse.=

Thou thread, thou thimble, Thou yard, three quarters, half-yard, quarter, nail, Thou flea, thou nit, thou winter cricket thou: Away thou rag, thou quantity, thou remnant. 12 SHAKS.: _Tam. of the S.,_ Act iv., Sc. 3.

=Accident.=

As the unthought-on accident is guilty Of what we wildly do, so we profess Ourselves to be the slaves of chance, and flies Of every wind that blows. 13 SHAKS.: _Wint. Tale,_ Act iv., Sc. 3.

Wherein I spake of most disastrous chances, Of moving accidents by flood and field. 14 SHAKS.: _Othello,_ Act i., Sc. 3.

Our wanton accidents take root, and grow To vaunt themselves God's laws. 15 CHARLES KINGSLEY: _Saints' Tragedy,_ Act ii., Sc. 4.

By many a happy accident. 16 MIDDLETON: _No Wit, No Help, Like a Woman's,_ Act ii., Sc. 2.

=Account.=

No reckoning made, but sent to my account With all my imperfections on my head. 17 SHAKS.: _Hamlet,_ Act i., Sc. 5.

=Accusation.=

Accuse not Nature: she hath done her part; Do thou but thine. 18 MILTON: _Par. Lost,_ Bk. viii., Line 561.

=Achievements.=

Great things thro' greatest hazards are achiev'd, And then they shine. 19 BEAUMONT AND FLETCHER: _Loyal Subject,_ Act i., Sc. 5.

=Acquaintance.=

Should auld acquaintance be forgot, And never brought to mind? Should auld acquaintance be forgot, And days o' lang syne? 20 BURNS: _Auld Lang Syne._

=Action.=

Pleasure and action make the hours seem short. 21 SHAKS.: _Othello,_ Act ii., Sc. 3.

Of every noble action, the intent Is to give worth reward--vice punishment. 22 BEAUMONT AND FLETCHER: _Captain,_ Act v., Sc. 5.

Only the actions of the just Smell sweet and blossom in their dust. 23 JAMES SHIRLEY: _Death's Final Conquest,_ Sc. iii.

Who sweeps a room as for Thy laws Makes that and th' action fine. 24 HERBERT: _The Elixir._

=Activity.=

If it were done, when 'tis done, then 'twere well It were done quickly. 25 SHAKS.: _Macbeth,_ Act i., Sc. 7.

Wise men ne'er sit and wail their loss, But cheerly seek how to redress their harms. 26 SHAKS.: _3 Henry VI.,_ Act v., Sc. 4.

=Actors.=

A strutting player,--whose conceit Lies in his hamstring, and doth think it rich To hear the wooden dialogue and sound 'Twixt his stretched footing and the scaffoldage. 27 SHAKS.: _Troil. and Cress.,_ Act i., Sc. 3.

The world's a theatre, the earth a stage Which God and Nature do with actors fill. 28 THOMAS HEYWOOD: _Apology for Actors._

=Adaptability.=

All things are ready, if our minds be so. 29 SHAKS.: _Henry V.,_ Act iv., Sc. 3.

=Address.=

And the tear that is wiped with a little address May be follow'd perhaps by a smile. 30 COWPER: _The Rose._

=Adieu.=

Adieu, adieu! my native shore Fades o'er the waters blue. 31 BYRON: _Ch. Harold,_ Canto i., St. 13.

Adieu, she cried, and waved her lily hand. 32 GAY: _Sweet William's Farewell to Black-eyed Susan._

=Admiration.=

Season your admiration for a while. 33 SHAKS.: _Hamlet,_ Act i., Sc 2.

=Adoration.=

The holy time is quiet as a nun Breathless with adoration. 34 WORDSWORTH: _It is a Beauteous Evening._

=Adorning.=

Her modest looks the cottage might adorn, Sweet as the primrose peeps beneath the thorn. 35 GOLDSMITH: _Des. Village,_ Line 232.

Loveliness Needs not the foreign aid of ornament, But is when unadorn'd, adorn'd the most. 36 THOMSON: _Seasons, Autumn,_ Line 204.

=Adversity.=

Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life, exempt from public haunt, Finds tongues in trees, books in the running brooks, Sermons in stones, and good in everything. 37 SHAKS.: _As You Like It,_ Act ii., Sc. 1.

A wretched soul, bruis'd with adversity, We bid be quiet, when we hear it cry; But were we burthen'd with like weight of pain, As much, or more, we should ourselves complain. 38 SHAKS.: _Com. of Errors,_ Act ii., Sc. 1.

I am not now in fortune's power: He that is down can fall no lower. 39 BUTLER: _Hudibras,_ Pt. i., Canto iii., Line 877.

For of fortunes sharpe adversite, The worst kind of infortune is this,-- A man that hath been is prosperite, And it remember whan it passed is. 40 CHAUCER: _Troilus and Creseide,_ Bk. iii., Line 1625.

=Advice.=

Give every man thine ear, but few thy voice; Take each man's censure, but reserve thy judgment. 41 SHAKS.: _Hamlet,_ Act i., Sc. 3.

Know when to speak--for many times it brings Danger, to give the best advice to kings. 42 HERRICK: _Aph. Caution in Council._

The worst men often give the best advice. 43 BAILEY _Festus,_ Sc. _A Village Feast._

'Twas good advice, and meant, my son, Be good. 44 CRABBE: _The Learned Boy._

=Affectation.=

There affectation, with a sickly mien, Shows in her cheek the roses of eighteen; Practis'd to lisp, and hang the head aside; Faints into airs, and languishes with pride; On the rich quilt sinks with becoming woe, Wrapt in a gown, for sickness, and for show. 45 POPE: _R. of the Lock,_ Canto iv., Line 31.

=Affection.=

Why, she would hang on him, As if increase of appetite had grown By what it fed on. 46 SHAKS.: _Hamlet,_ Act i., Sc. 2.

Affection is a coal that must be cool'd, Else, suffer'd, it will set the heart on fire. 47 SHAKS.: _Venus and A.,_ Line 387.

=Affliction.=

Affliction is the good man's shining scene; Prosperity conceals his brightest ray; As night to stars, woe lustre gives to man. 48 YOUNG: _Night Thoughts,_ Night ix., Line 406.

Now let us thank the Eternal Power: convinced That Heaven but tries our virtue by affliction. 49 JOHN BROWN: _Barbarossa,_ Act v., Sc. 3.

=Affronts.=

Young men soon give and soon forget affronts; Old age is slow in both. 50 ADDISON: _Cato,_ Act ii., Sc. 5.

=Age.=

When the age is in, the wit is out. 51 SHAKS.: _Much Ado,_ Act iii., Sc. 5

His silver hairs Will purchase us a good opinion, And buy men's voices to commend our deeds; It shall be said,--his judgment rul'd our hands. 52 SHAKS.: _Jul. Cæsar,_ Act ii., Sc. 1.

Manhood, when verging into age, grows thoughtful. 53 CAPEL LOFFT'S _Aphorisms. Published in_ 1812.

I am declin'd into the vale of years. 54 SHAKS.: _Othello,_ Act iii., Sc. 3.

Age cannot wither her, nor custom stale Her infinite variety; other women Cloy th' appetites they feed; but she makes hungry Where most she satisfies. 55 SHAKS.: _Ant. and Cleo.,_ Act ii., Sc. 2.

An old man, broken with the storms of State, Is come to lay his weary bones among ye; Give him a little earth for charity! 56 SHAKS.: _Henry VIII.,_ Act iv., Sc. 2.

We see time's furrows on another's brow... How few themselves in that just mirror see! 57 YOUNG: _Night Thoughts,_ Night v., Line 627.

O, sir! I must not tell my age. They say women and music should never be dated. 58 GOLDSMITH: _She Stoops to Con.,_ Act iii.

What is the worst of woes that wait on age? What stamps the wrinkle deeper on the brow? To view each loved one blotted from life's page, And be alone on earth as I am now. 59 BYRON: _Ch. Harold,_ Canto ii., St. 98.

Old age comes on apace to ravage all the clime. 60 BEATTIE: _The Minstrel,_ Bk. i., St. 25.

But an old age serene and bright, And lovely as a Lapland night, Shall lead thee to thy grave. 61 WORDSWORTH: _To a Young Lady._

=Agony.=

A solitary shriek, the bubbling cry Of some strong swimmer in his agony. 62 BYRON: _Don Juan,_ Canto ii., St. 53.

=Agreement.=

Could we forbear dispute and practise love, We should agree as angels do above. 63 WALLER: _Divine Love,_ Canto iii.

Where order in variety we see, And where, though all things differ, all agree. 64 POPE: _Windsor Forest,_ Line 13.

=Aim.=

Better have failed in the high aim, as I, Than vulgarly in the low aim succeed. 65 ROBERT BROWNING: _The Inn Album,_ iv.

=Air.=

When he speaks, The air, a chartered libertine, is still 66 SHAKS.: _Henry V.,_ Act i., Sc. 1.

=Alacrity.=

I have a kind of alacrity in sinking. 67 SHAKS.: _Mer. W. of W.,_ Act iii., Sc. 5.

=Ale.=

Then to the spicy nut-brown ale. 68 MILTON: _L'Allegro,_ Line 100.

A Rechabite poor Will must live, And drink of Adam's ale. 69 PRIOR: _The Wandering Pilgrim._

=Alexandrine.=

A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along. 70 POPE: _E. on Criticism,_ Pt. ii., Line 156.

=Alone.=

Alone, alone,--all, all alone; Alone on a wide, wide sea. 71 COLERIDGE: _The Ancient Mariner,_ Pt. iv.

=Amazement.=

But look! Amazement on thy mother sits; O step between her and her fighting soul: Conceit in weakest bodies strongest works. 72 SHAKS.: _Hamlet,_ Act iii., Sc. 4.

=Amber.=

Pretty! in amber to observe the forms Of hairs, or straws, or dirt, or grubs, or worms! The things, we know, are neither rich nor rare, But wonder how the devil they got there. 73 POPE: _Epis. to Arbuthnot,_ Line 169.

=Ambition.=

Fling away ambition; By that sin fell the angels: how can man then, The image of his Maker, hope to win by it? 74 SHAKS.: _Henry VIII.,_ Act iii, Sc. 2.

I have no spur To prick the sides of my intent, but only Vaulting ambition, which o'erleaps itself, And falls on the other. 75 SHAKS.: _Macbeth,_ Act i, Sc. 7.

Ambition has but one reward for all: A little power, a little transient fame, A grave to rest in, and a fading name. 76 WILLIAM WINTER: _Queen's Domain._

To reign is worth ambition, though in hell: Better to reign in hell, than serve in heaven. 77 MILTON: _Par. Lost,_ Bk. i., Line 262.

Such joy ambition finds. 78 MILTON: _Par. Lost,_ Bk. iv., Line 92.

=America.=

America! half brother of the world! With something good and bad of every land; Greater than thee have lost their seat-- Greater scarce none can stand. 79 BAILEY: _Festus,_ Sc. _The Surface._

=Anarchy.=

Where eldest Night And Chaos, ancestors of Nature, hold Eternal anarchy amidst the noise Of endless wars, and by confusion stand. 80 MILTON: _Par. Lost,_ Bk. ii., Line 894.

=Ancestry.=

The sap which at the root is bred In trees, through all the boughs is spread; But virtues which in parents shine Make not like progress through the line. 81 WALLER: _To Zelinda._

What can ennoble sots, or slaves, or cowards? Alas! not all the blood of all the Howards. 82 POPE: _Essay on Man,_ Epis. iv., Line 215.

=Angels.=

Fools rush in where angels fear to tread. 83 POPE: _E. on Criticism,_ Pt. iii., Line 66.

The angels come and go, the messengers of God. 84 R.H. STODDARD: _Hymn to the Beautiful._

The good he scorn'd Stalk'd off reluctant, like an ill-used ghost, Not to return; or if it did, in visits Like those of angels, short and far between. 85 BLAIR: _The Grave,_ Pt. ii., Line 586.

=Anger.=

Anger's my meat; I sup upon myself, And so shall starve with feeding. 86 SHAKS.: _Coriolanus,_ Act iv., Sc. 2.

Never anger made good guard for itself. 87 SHAKS.: _Ant. and Cleo.,_ Act iv., Sc. 1.

=Angling.=

The pleasant'st angling is to see the fish Cut with her golden oars the silver stream, And greedily devour the treacherous bait. 88 SHAKS.: _Much Ado,_ Act iii., Sc. 1.

'Twas merry when You wager'd on your angling; when your diver Did hang a salt-fish on his hook, which he With fervency drew up. 89 SHAKS.: _Ant. and Cleo.,_ Act ii., Sc. 5.

=Anticipation.=

Peace, brother, be not over-exquisite To cast the fashion of uncertain evils; For, grant they be so, while they rest unknown, What need a man forestall his date of grief, And run to meet what he would most avoid? 90 MILTON: _Comus,_ Line 359.

=Antiquity.=

O good old man! how well in thee appears The constant service of the antique world, When service sweat for duty, not for meed! Thou art not for the fashion of these times, Where none will sweat, but for promotion. 91 SHAKS.: _As You Like It,_ Act ii., Sc. 3.

Nor rough, nor barren, are the winding ways Of hoar antiquity, but strewn with flowers. 92 WARTON: _Written on a Blank Leaf of Dugdale's Monasticon._

=Apathy.=

In lazy apathy let stoics boast Their virtue fix'd; 'tis fixed as in a frost. 93 POPE: _Essay on Man,_ Epis. ii., Line 101.

=Apparel.=

Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy: For the apparel oft proclaims the man. 94 SHAKS.: _Hamlet,_ Act i., Sc. 3.

=Apparitions.=

How fading are the joys we dote upon! Like apparitions seen and gone. 95 JOHN NORRIS: _The Parting._

=Appeal.=

I have done the state some service, and they know it. No more of that; I pray you in your letters, When you shall these unlucky deeds relate, Speak of me as I am, nothing extenuate, Nor set down aught in malice. 96 SHAKS.: _Othello,_ Act v., Sc. 2.

=Appearances.=

All that glisters is not gold, Gilded tombs do worms infold. 97 SHAKS.: _M. of Venice,_ Act ii., Sc. 7.

Appearances to save, his only care; So things seem right no matter what they are. 98 CHURCHILL: _Rosciad,_ Line 299.

=Appetite.=

Now good digestion wait on appetite, And health on both. 99 SHAKS.: _Macbeth,_ Act iii., Sc. 4.

His thirst he slakes at some pure neighboring brook, Nor seeks for sauce where appetite stands cook. 100 CHURCHILL: _Gotham,_ iii., Line 133.

=Applause.=

I would applaud thee to the very echo, That should applaud again. 101 SHAKS.: _Macbeth,_ Act v., Sc. 3

Oh popular applause! what heart of man Is proof against thy sweet, seducing charms? 102 COWPER: _Task,_ Bk. ii., Line 481.

The applause of list'ning senates to command. 103 GRAY: _Elegy,_ St. 16

=April.=

Whanne that Aprille with his shoures sote The droughte of March hath perced to the rote. 104 CHAUCER: _Canterbury Tales,_ Prologue, Line 1.

April cold with dropping rain Willows and lilacs brings again, The whistle of returning birds, And trumpet-lowing of the herds. 105 EMERSON: _May-day,_ Line 124.

When aince Aprile has fairly come, An' birds may bigg in winter's lum, An' pleisure's spreid for a' and some O' whatna state, Love, wi' her auld recruitin' drum, Than taks the gate. 106 ROBERT LOUIS STEVENSON: _Underwoods,_ Bk. ii., iii.

=Argument.=

In arguing, too, the parson owned his skill, For e'en though vanquish'd, he could argue still. 107 GOLDSMITH: _Des. Village,_ Line 211

=Aristocracy.=

'Tis from high life high characters drawn; A saint in crape is twice a saint in lawn. 108 POPE: _Moral Essays,_ Epis. i., Line 135.

=Art.=

Seraphs share with thee Knowledge: But art, O man, is thine alone! 109 SCHILLER: _Artists,_ St 2.

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. 110 LONGFELLOW: _Kéramos._

=Artist.=

In framing an artist, art hath thus decreed, To make some good, but others to exceed. 111 SHAKS.: _Pericles,_ Act ii., Sc. 3.

=Aspect.=

With grave Aspect he rose, and in his rising seem'd A pillar of state. 112 MILTON: _Par. Lost,_ Bk. ii., Line 300.

=Aspiration.=

'Tis he, I ken the manner of his gait; He rises on the toe; that spirit of his In aspiration lifts him from the earth. 113 SHAKS.: _Troil. and Cress.,_ Act iv., Sc. 5.

=Assurance.=

I'll make assurance double sure, And take a bond of fate. 114 SHAKS.: _Macbeth,_ Act iv., Sc. 1.

=Atheism.=

By night an atheist half believes a God. 115 YOUNG: _Night Thoughts,_ Night v., Line 176.

=Athens.=

Ancient of days! august Athena! where, Where are thy men of might, thy grand in soul? Gone--glimmering through the dream of things that were First in the race that led to glory's goals They won, and pass'd away. 116 BYRON: _Ch. Harold,_ Canto ii., St. 2.

Athens, the eye of Greece, mother of arts And eloquence. 117 MILTON: _Par. Regained,_ Bk. iv., Line 240.

=Attempt.=

The attempt and not the deed Confounds us. 118 SHAKS.: _Macbeth,_ Act ii., Sc. 2.

=Attention.=

The tongues of dying men Enforce attention like deep harmony. 119 SHAKS.: _Richard II.,_ Act ii., Sc. 1.

=Audience.=

Still govern thou my song, Urania, and fit audience find, though few. 120 MILTON: _Par. Lost,_ Bk. vii., Line 30,

=August.=

Rejoice! ye fields, rejoice! and wave with gold, When August round her precious gifts is flinging; Lo! the crushed wain is slowly homeward rolled: The sunburnt reapers jocund lays are singing. 121 RUSKIN: _The Months._

=Aurora.=

Aurora now, fair daughter of the dawn, Sprinkled with rosy light the dewy lawn. 122 POPE: _Iliad,_ Bk. viii., Line 1.

=Author.=

Most authors steal their works, or buy; Garth did not write his own Dispensary, 123 POPE: _E. on Criticism,_ Pt. iii., Line 59.

No author ever spar'd a brother. 124 GAY: _Fables, The Elephant and the Bookseller._

How many great ones may remember'd be, Which in their days most famously did flourish, Of whom no word we hear, nor sign now see, But as things wip'd out with a sponge do perish. 125 SPENSER: _Ruins of Time,_ St. 52.

=Authority.=

Man, proud man, Drest in a little brief authority, Most ignorant of what he's most assur'd, His glassy essence--like an angry ape, Plays such fantastic tricks before high heaven As make the angels weep! 126 SHAKS.: _M. for M.,_ Act ii., Sc. 2.

=Autumn.=

Season of mists and mellow fruitfulness! Close bosom friend of the maturing sun; Conspiring with him how to load and bless With, fruit the vines that round the thatch-eaves run; To bend with apples the moss'd cottage trees, And fill all fruit with ripeness to the core. 127 KEATS: _To Autumn._

Divinest autumn! who may paint thee best, Forever changeful o'er the changeful globe? Who guess thy certain crown, thy favorite crest, The fashion of thy many-colored robe? 128 R.H. STODDARD: _Autumn._

Autumn wins you best by this its mute Appeal to sympathy for its decay. 129 ROBERT BROWNING: _Paracelsus,_ Sc. i.

The lands are lit With all the autumn blaze of Golden Rod; And everywhere the Purple Asters nod And bend and wave and flit. 130 HELEN HUNT: _Asters and Golden Rod._

I saw old Autumn in the misty morn Stand shadowless like silence, listening To silence, for no lonely bird would sing Into his hollow ear from woods forlorn, Nor lowly hedge nor solitary thorn. 131 HOOD: _Autumn._

=Avarice.=

The lust of gold succeeds the rags of conquest: The lust of gold, unfeeling and remorseless! The last corruption of degenerate man. 132 DR. JOHNSON: _Irene,_ Act i., Sc. 1.

So for a good old-gentlemanly vice, I think I must take up with avarice. 133 BYRON: _Don Juan,_ Canto i., St. 216.

That disease Of which all old men sicken,--avarice. 134 MIDDLETON: _Roaring Girl,_ Act i., Sc. 1.

=Awkwardness.=

Awkward, embarrassed, stiff, without the skill Of moving gracefully, or standing still, One leg, as if suspicious of his brother, Desirous seems to run away from t'other. 135 CHURCHILL: _Rosciad,_ Line 438.

==B.==

=Balances.=

Jove lifts the golden balances that show The fates of mortal men, and things below. 136 POPE: _Iliad,_ Bk. xxii., Line 271.

=Ball.=

I saw her at a county ball; There when the sound of flute and fiddle Gave signal sweet in that old hall, Of hands across and down the middle. 137 PRAED: _Belle of the Ball-Room,_ St. 2.

=Banishment.=

Eating the bitter bread of banishment. 138 SHAKS.: _Richard II.,_ Act iii., Sc. 1.

Banished? O friar, the damned use that word in hell; Howlings attend it: How hast thou the heart, Being a divine, a ghostly confessor, A sin-absolver, and my friend profess'd, To mangle me with that word--banished? 139 SHAKS.: _Rom. and Jul.,_ Act iii., Sc. 3

=Banner.=

Hang out our banners on the outward walls. 140 SHAKS.: _Macbeth,_ Act v., Sc. 5.

A banner with the strange device. 141 LONGFELLOW: _Excelsior._

Wave, Munich! all thy banners wave, And charge with all thy chivalry. 142 CAMPBELL: _Hohenlinden._

=Bard.=

Be that blind bard who on the Chian strand, By those deep sounds possessed with inward light, Beheld the Iliad and the Odyssey Rise to the swelling of the voiceful sea. 143 COLERIDGE: _Fancy in Nubibus._

=Bars.=