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When work enslaves a group of faculties, and employs and develops that group to the neglect or the death of all others, then does it surpass and abuse its office. This it is that makes one-sided men, partial men, fractional men. This it is that puts the menial stamp upon men, that brands them with the name of their tyrant-master. This it is which spoils manhood, and debases its subjects to the level of their calling.

This it is which too often transforms men into lawyers and financiers and ministers and merchants and farmers and hod-carriers -- beings who can do one thing, and nothing else. There is no royal road to anything, one thing at a time, all things in succession. That which grows fast, withers as rapidly; that which grows slowly, endures.

God gives every bird its food, but does not throw it into the nest. He does not unearth the good that the earth contains, but He puts it in our way, and gives us the means of getting it ourselves. If there be one attribute of the Deity which astonishes me more than another, it is the attribute of patience. The Great Soul that sits on the throne of the universe is not, never was, and never will be, in a hurry.

XII century Renaissance in writing and reading

In the realm of nature, every thing has been wrought out in the august consciousness of infinite leisure; and I bless God for that geology which gives me a key to the patience in which the creative process was effected. No man ever feels the restraint of law so long as he remains within the sphere of his liberty -- a sphere, by the way, always large enough for the full exercise of his powers and the supply of all his legitimate wants. Every man who becomes heartily and understandingly a channel of the Divine beneficence, is enriched through every league of his life.

Josiah Gilbert Holland Quotes

Perennial satisfaction springs around and within him with perennial verdure. Flowers of gratitude and gladness bloom all along his pathway, and the melodious gurgle of the blessings he bears is echoed back by the melodious waves of the recipient stream. The man who loves and seeks the excitement of temptation, shows that he is restrained from sin by fear, and not by principle--that while his life is on the side of virtue, his affections lean to vice.

If I refuse to trust the word of an honest man, I may reasonably expect that with me, at least, he will break faith at the earliest opportunity. The wheels of progress do not stop. The world advances toward and into a better life, and will advance until, leaving the hard, clumsy and jarring pavements of the marts of selfishness behind it, it will strike off joyously into the broad avenue of the millennium. Every man who can be a first-rate something -- as every man can be who is a man at all -- has no right to be a fifth-rate something; for a fifth-rate something is not better than a first-rate nothing.

Life Quotes. Love Quotes. Death Quotes. God Quotes. Wisdom Quotes. Hope Quotes. Success Quotes. Women Quotes.

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Happiness Quotes. Shakespeare Quotes. Browse quotes by subject Browse quotes by author. I count this thing to be grandly true: That a noble deed is a step toward God-- Lifting the soul from the common clod To a purer air and a broader view. Llanstephan , f. It may be that Philips's assigning her husband the name "Antenor" in her poems is motivated partly by his age Antenor was an elderly counselor in the Iliad.

It may also be relevant, as Patrick Thomas suggests, that Antenor attempted to make peace between the Greeks and the Trojans. The name may thus designate James Philips as a man with a moderate temperament. It might even be a playful reminder to a beloved husband that he might be less partisan. Neither Philips's poems nor her letters provide proof positive that Katherine and James Philips's marriage was a happy one. Nevertheless, as Orinda teases and cajoles Antenor, they image a relationship of easygoing respect.

From the poetry can be drawn at least the outlines of one indicative episode in their political and personal lives.

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Sometime during the Protectorate , one J. Jones threatened to publish Philips's poem "Upon the double murther of K.


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Charles, in answer to a libellous rime made by V. Jones threatens to publish to his prejudice. Nevertheless, Orinda's tetrameter lines are cheerful—as cheerful as Orinda is hoping Antenor will become. In "To my dearest Antenor on his parting," Orinda writes a poem whose paraphrasable content is not unlike poems of parting by her male contemporaries— John Donne , for example. As James Philips's wife, Katherine Philips lived from until her death in at his family home, Cardigan Priory.

Cardigan is in the southwestern corner of Cardiganshire and thus only a short distance from Pembrokeshire, where many of her friends and relatives lived. Knowing that she also maintained many of her London friends throughout her adult life, one might speculate that Philips often, or at least sometimes, accompanied her husband when he went to London for meetings of Parliament. Certainly she was in London in the spring of , for her only son, Hector, who died in infancy, was buried there in Saint Syth's Church.

And from the title of the poem Philips wrote to mourn the death of her twelve-year-old stepdaughter, Frances Philips, we know that the girl died in in Acton—a London suburb where Katherine Philips's mother by then married to a fourth husband, Maj. Philip Skippon resided. Katherine and James Philips's only daughter also a Katherine , born in Cardigan in April , would live to marry Lewis Wogan of Boulston, Pembrokeshire, and to bear fifteen children—fourteen of whom lie buried with their parents in Boulston Church.

In the two poems Philips wrote on the death of her young son, she uses Judeo-Christian numerology to express the intense pain of a bereaved mother who, after seven years of marriage, bore a son who was "in less than six weeks, dead" "Epitaph on Hector Philips". She also uses the number forty, which is associated with periods of privation and pain—periods such as the Israelites' forty years of wandering followed by relief and joy. The only one known to survive is inscribed on John Lloyd's monument in Cilgerron Church, a few miles southeast of Cardigan.

The others are the epitaph for young Hector Philips, who was buried in a church that a few years later burned in London's Great Fire of , and two commemorating John Collier described in John Fowler's will as his "servant and cozen" and Collier's daughter Regina, who were buried in Beddington, Surrey, in January and September , respectively.

Other poems occasioned by deaths of friends and relatives include verses in memory of Mrs. Philips also wrote two poems addressed to women who had lost their husbands—"To my dearest friend, on her greatest loss" and "To Mrs. On theDeath of her husband"—and she wrote two elegies on members of the royal family—"On the death of the Duke of Gloucester" and "On the Death of the Queen of Bohemia. In, for example, "To my deare Sister Mrs.

Indeed, the wedding in question was performed, the parish register indicates, "by James Phillips They include a variety of literary kinds: wooing poems and poems of parting; the epithalamia and the elegies and epitaphs previously mentioned; philosophical pieces on topics such as "The World," "Submission," and "Death"; verse letters to friends and relatives; pastoral dialogues; and even one pindaric ode, an ode on retirement first published, as was Abraham Cowley 's "On Orinda's Poems. Ode," in in Poems, by Several Persons.

In addition to Cowley, Philips's acquaintances included many British writers. Sixteen fifty-one, the same year that Vaughan praised his fellow Anglo-Welsh poet, marks Philips's earliest print publication. Her poem in praise of William Cartwright appeared as the first of fifty-four prefatory poems in the posthumous edition of his Comedies, Tragi-Comedies, with Other Poems Several poets whose works appear there also appear in the next volume in which Philips's verses were printed: Henry Lawes's Second Book of Ayres, and Dialogues Dedicated to Mary Harvey, Philips's friend since their time together at Mrs.

Salmon's school and by the wife of Sir Edward Dering, the book includes, as a prefatory poem, Philips's Henry Lawes and, with music by Lawes, her "Friendship's Mysterys"—called there "Mutuall Affection between Orinda and Lucatia. If one were to substitute different names in some of the friendship poems, they might read like verses celebrating love between a Renaissance male poet and his lady.

The title of the poem "To the excellent Mrs A. Cavendish, chosing the name of Policrite. Edmund Gosse describes Philips's society as an early salon: "It would appear that among her friends and associates in and near Cardigan she instituted a Society of Friendship, in which male and female members were admitted, and in which poetry, religion, and the human heart were to form the subjects of discussion.

Thomas argues, however, that since many of Philips's connections, even those with Anglo-Welsh writers, were centered in London, any society that she might have headed must have been based there. It seems, however, that Philips uses the word society to refer to what twentieth-century writers might call a network of friends, what the Oxford English Dictionary refers to in definition I.

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The broadside written by one J. The theme of friendship was especially popular among seventeenth-century Royalist poets, who often used pastoral poetry to image court life as a place of polite civility in contrast to what they saw as the noisy barbarisms of their populist contemporaries. Several other Philips poems suggest musical associations. December "; and "On the death of my first and dearest childe, Hector Philipps" indicate that they were also set to music by Lawes for the score of the elegy on Philips's son, see Joan Applegate's article in volume four of English Manuscript Studies.

Bitter-Sweet, a Poem

Yet another, "Against Pleasure," was set by a Dr. Coleman, almost certainly Charles Coleman, doctor of music, who contributed to the Second Book of Ayres, and Dialogues. Whether other poems were intended as songs is unclear, but several were set to music and published in seventeenth-century songbooks. Two "Upon the engraving. K:P: on a Tree Philips wrote songs to be sung after each of the five acts of her translation of Corneille's Pompey.

As Curtis A.

Garnered Sheaves the Complete Poetical Works of J G Holland

Price suggests, it may be that some or all of the Christ Church settings were composed for a later London performance of the play. Philips's poetry includes two Royalist poems written during the Civil War years, four celebrating the Restoration, and six occasional poems addressed in the early s to members of the royal family. Among her poems on the Restoration are "On the numerous accesse of the English to waite upon the King in Holland," which portrays loyal Royalists going to Holland "to expresse their joy and reverence," and "Arion on a Dolphin to his Majestie in his passadge into England," which celebrates the sea journey by which Charles II returned to England in Thus more is known about her life and work after the Restoration of the monarchy than before; and quite a bit is known about her interest in the court of Charles II.

For example, on 3 May Orinda sent a poem, evidently "To her royall highnesse the Dutchesse of Yorke, on her command to send her some things I had wrote," to Poliarchus with the request that he "put it in a better Dress" so that she could insert his corrections before sending "the Dutchess another Copy, in obedience to the Commands she was pleas'd to lay upon me, that I should let her see all my Trifles of this nature.

By 3 December Philips had finished the translation, asking Cotterell to correct any errors he might find in it and agreeing that he should present a copy to Anne, Duchess of York. In early February Philips's Pompey was performed in Dublin's Smock Alley Theatre—Philips thus becoming the first woman to have a drama produced in a British public theater. As Catherine Cole Mambretti points out, the play is also "the first clearly documented production of an heroic drama in English heroic couplets. During the winter of , Philips went on to translate most of Corneille's Horace , but the task was yet to be finished when she died in June First published in its unfinished state in the edition of her Poems , Philips's Horace was completed by John Denham in time for a February production at court.

Denham's conclusion was also used for a winter production at the Theatre Royal and for the and editions of Philips's Poems. When Jacob Tonson brought out an octavo edition of Poems in , he replaced Denham's work with equivalent lines from Sir Charles Cotton's translation, first published in Not long before she died, another publishing event captured Philips's attention—this having to do with her original poetry. As noted earlier, one of Philips's poems was printed in ; two, in As far as can now be determined, no other poems appeared in print until the publication of a collection though an aside in one of Philips's letters may indicate that one poem was printed on a broadsheet earlier that year.

On 15 May Philips wrote to Cotterell about "a Miscellaneous Collection of Poems, printed here; among which, to fill up the Number of his Sheets, and as a Foil to the others, the Printer has thought fit, tho' without my Consent or Privity, to publish two or three Poems of mine, that had been stollen from me. Philips, it would seem, did not unduly mind that her poems had been "stollen" and printed, and she says she will send Cotterell a copy of the book "by the first Opportunity. By the Incomparable Mrs. Although a few twentieth-century readers have seen in Philips's distress a coy desire to obscure the fact that she herself had planned the volume's appearance, one might well believe that a seventeenth-century woman born into a merchant family and now a member of the gentry with many aristocratic friends would not have sought that kind of publicity.

On 25 January Philips wrote to Dorothy Temple of her fear that "the most part of the worlde are apt to believe that I connived at this ugly accident I am soe innocent of this pittiful design of a knave to get a groat that I never was more vexed at anything.