7OE doth the heavier sit,

W

Where it perceives it is but faintly
borne.

King Richard II. Act I, Sc. 3.

OR gnarling sorrow hath less power to

FOR

bite

The man that mocks at it and sets it light.
King Richard II. Act I, Sc. 3.

THE

`HE means that heavens yield must be
embrac❜d,

And not neglected; else, if heaven would
And we will not, heaven's offer we refuse,
The proffer'd means of succor and redress.
King Richard II. Act III, Sc. 2.

W1

ISE men ne'er sit and wail their woes,
But presently prevent the ways to wail.
King Richard II. Act III, Sc. 2.

WHO can hold a fire in his hand
By thinking on the frosty Caucasus?

Or cloy the hungry edge of appetite
By bare imagination of a feast?
Or wallow naked in December snow

Cowardice

Cour

age

Self
Help

Grief

Contrast

No Comfort

Seeing and

Feeling

By thinking on fantastic summer's heat?
O, no! the apprehension of the good

Gives but the greater feeling to the worse.
Fell Sorrow's tooth doth never rankle more
Than when he bites, but lanceth not the sore.
King Richard II. Act I, Sc. 3.

́ELL, every one can master a grief but
ELL, every one

W the that has it.

Much Ado About Nothing. Act III, Sc. 2.

OR, brother, men

FOR

Can counsel and speak comfort to that
grief

Which they themselves not feel; but, tasting it,
Their counsel turns to passion, which before
Would give preceptial medicine to rage,
Fetter strong madness in a silken thread,
Charm ache with air and agony with words.
No, no; 'tis all men's office to speak patience
To those that wring under the load of sorrow,
But no man's virtue nor sufficiency

To be so moral when he shall endure
The like himself.

Much Ado About Nothing. Act V, Sc. 1.

DISENCHANTMENT

THE DECEIT OF BEAUTY

HE world is still deceiv'd with ornament.

TH

In law, what plea so tainted and cor-
rupt

But, being season'd with a gracious voice,
Obscures the show of evil? In religion,
What damned error but some sober brow
Will bless it and approve it with a text,
Hiding the grossness with fair ornament?
There is no vice so simple but assumes
Some mark of virtue on his outward parts.
How many cowards, whose hearts are all as
false

As stairs of sand, wear yet upon their chins
The beards of Hercules and frowning Mars,
Who, inward search'd, have livers white as
milk;

And these assume but valour's excrement

Seeming Truth

Cupid Unscrupulous

To render them redoubted! Look on beauty,
And you shall see 'tis purchas'd by the weight;
Which therein works a miracle in nature,
Making them lightest that wear most of it.
So are those crisped snaky golden locks,
Which make such wanton gambols with the
wind

Upon supposed fairness, often known

To be the dowry of a second head,
The skull that bred them in the sepulchre.
Thus ornament is but the guiled shore
To a most dangerous sea; the beauteous scarf
Veiling an Indian beauty; in a word,
The seeming truth which cunning times put

on

To entrap the wisest.

The Merchant of Venice. Act III, Sc. 2.

LOVE'S DECAY

OVE is a familiar; Love is a devil; there Love is a vil was LOV is no evil angel but Love. Yet Samson so tempted, and he had an excellent strength; yet was Solomon so seduced, and he had a very good wit. Cupid's butt-shaft

is too hard for Hercules' club; and therefore
too much odds for a Spaniard's rapier.
The passado he respects not, the duello he re-
gards not: his disgrace is to be called boy;
but his glory is to subdue men.

Love's Labour's Lost. Act I, Sc. 2.

`HESE violent delights have violent ends,

And in their triumph die, like fire and

powder,

Which as they kiss consume. The sweetest
honey

Is loathsome in his own deliciousness,
And in the taste confounds the appetite;
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.

Romeo and Juliet. Act II, Sc. 6.

ELL me where is fancy bred,

TEL

Or in the heart or in the head?

How begot, how nourished?

Danger

Mock

Mourn

ing