I cannot often enough say, that a man is only a relative and representative nature. Each is a hint of the truth, but far enough from being that truth, which yet he quite newly and inevitably suggests to us. If I seek it in him, I shall not find it.

Everyone I meet is in some way my superior.

Shakespeare possesses the power of subordinating nature for the purposes of expression, beyond all poets. His imperial muse tosses the creation like a bauble from hand to hand, and uses it to embody any caprice of thought that is uppermost in his mind. The remotest spaces of nature are visited, and the farthest sundered things are brought together, by subtle spiritual connection. We are made aware that magnitude of material things is relative, and all objects shrink and expand to serve the passion of the poet.

A man in the wrong may more easily be convinced than one half right.

O Lord! Unhappy is the man whom man can make unhappy.

A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single.

So . . . I feel in regard to this aged England . . . pressed upon by transitions of trade and . . . competing populations,-I see her not dispirited, not weak, but well remembering that she has seen dark days before;-indeed, with a kind of instinct that she sees a little better in a cloudy day, and that, in storm of battle and calamity, she has a secret vigor and a pulse like a cannon.