Poverty is relative, and, therefor not ignoble.

Genius in the poet, like the nomad of Arabia, ever a wanderer, still ever makes a home where the well or the palm-tree invites it to pitch the tent. Perpetually passing out of himself and his own positive circumstantial condition of being into other hearts and into other conditions, the poet obtains his knowledge of human life by transporting his own life into the lives of others.

Character is money; and according as the man earns or spends the money, money in turn becomes character. As money is the most evident power in the world's uses, so the use that he makes of money is often all that the world knows about a man.

Woman makes half the sorrows which she boasts the privilege to sooth. Woman consoles us, it is true, while we are young and handsome; when we are old and ugly, woman snubs and scolds us. On the whole, then, woman in this scale, the weed in that. Jupiter! Hang out thy balance, and weigh them both; and if thou give the preference to woman, all I can say is, the next time Juno ruffles thee, O Jupiter, try the weed.

A woman too often reasons from her heart; hence two-thirds of her mistakes and her troubles.

Emulation, even in brutes, is sensitively "nervous." See the tremor of the thoroughbred racer before he starts. The dray-horse does not tremble, but he does not emulate. It is not his work to run a race. Says Marcus Antoninus, "It is all one to a stone whether it be thrown upward or downward." Yet the emulation of a man of genius is seldom with his contemporaries, that is, inwardly in his mind, although outwardly in his act it would seem so. The competitors with whom his secret ambition seems to vie are the dead.

Labour is the purgatory of the erring.