Faith builds in the dungeon and lazarhouse its sublimest shrines; and up, through roofs of stone, that shut out the eye of heaven, ascends the ladder where the angels glide to and fro,--prayer.

The grave is, I suspect, the sole commonwealth which attains that dead flat of social equality that life in its every principle so heartily abhors.

Oratory, like the drama, abhors lengthiness; like the drama, it must keep doing. It avoids, as frigid, prolonged metaphysical soliloquy. Beauties themselves, if they delay or distract the effect which should be produced on the audience, become blemishes.

In some exquisite critical hints on "Eurythmy," Goethe remarks, "that the best composition in pictures is that which, observing the most delicate laws of harmony, so arranges the objects that they by their position tell their own story." And the rule thus applied to composition in painting applies no less to composition in literature.

The imagination acquires by custom a certain involuntary, unconscious power of observation and comparison, correcting its own mistakes, and arriving at precision of judgment, just as the outward eye is disciplined to compare, adjust, estimate, measure, the objects reflected on the back of its retina.

The commerce of intellect loves distant shores. The small retail dealer trades only with his neighbor; when the great merchant trades he links the four quarters of the globe.

The law is a gun, which if it misses a pigeon always kills a crow; if it does not strike the guilty, it hits someone else. As every crime creates a law, so in turn every law creates a crime.