University Of Cambridge Faculty

"Most men are rather stupid, and most of those who are not stupid are, consequently, rather vain."

"The difference between an icicle and a red-hot poker is really much slighter than the difference between truth and falsehood or sense and nonsense; yet it is much more immediately noticeable and much more universally noticed, because the body is more sensitive than the mind."

"A textual critic engaged upon his business is not at all like Newton investigating the motions of the planets: he is much more like a dog hunting for fleas. If a dog hunted for fleas on mathematical principles, basing his researches on statistics of area and population, he would never catch a flea except by accident."

"A man who possesses common sense and the use of reason must not expect to learn from treatises or lectures on textual criticism anything that he could not, with leisure and industry, find out for himself. What the lectures and treatises can do for him is to save him time and trouble by presenting to him immediately considerations which would in any case occur to him sooner or later."

"accuracy is a duty and not a virtue"

"Therefore, since the world has still Much good, but much less good than ill, And while the sun and moon endure Luck’s a chance, but trouble’s sure I’d face it as a wise man would, And train for ill and not for good."

"Oh many a peer of England brews Livelier liquor than the Muse, And malt does more than Milton can To justify God's ways to man. Ale, man, ale's the stuff to drink For fellows whom it hurts to think."

"Now hollow fires burn out to black, And lights are guttering low: Square your shoulders, lift your pack, And leave your friends and go. Oh never fear, man, nought's to dread, Look not to left nor right: In all the endless road you tread There's nothing but the night."

"Chorus: O suitably attired in leather boots Head of a traveller, wherefore seeking whom Whence by what way how purposed art thou come To this well-nightingaled vicinity? My object in inquiring is to know. But if you happen to be deaf and dumb And do not understand a word I say, Nod with your hand to signify as much. Alcmaeon: I journeyed hither a Boeotian road. Chorus: Sailing on horseback or with feet for oars? Alcmaeon: Plying by turns my partnership of legs. Chorus: Beneath a shining or a rainy Zeus? Alcmaeon: Mud's sister, not himself, adorns my shoes. Chorus: To learn your name would not displease me much. Alcmaeon: Not all that men desire do they attain."

"When I was one-and-twenty I heard him say again, "The heart out of the bosom Was never given in vain; 'Tis paid with sighs a plenty And sold for endless rue." And I am two-and-twenty And oh, 'tis true, 'tis true."

"When I was one-and-twenty I heard a wise man say, "Give crowns and pounds and guineas But not your heart away.""

"Lovers lying two and two Ask not whom they sleep beside, And the bridegroom all night through Never turns him to the bride."

"Clay lies still, but blood's a rover; Breath's a ware that will not keep. Up, lad: when the journey's over There'll be time enough to sleep."

"Now, of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom Fifty springs are little room, About the woodlands I will go To see the cherry hung with snow."

"Loveliest of trees, the cherry now Is hung with bloom along the bough."

"Nature, not content with denying to Mr — the faculty of thought, has endowed him with the faculty of writing."

"Oh who is that young sinner with the handcuffs on his wrists? And what has he been after that they groan and shake their fists? And wherefore is he wearing such a conscience-stricken air? Oh they're taking him to prison for the colour of his hair."

"My heart always warms to people who do not come to see me, especially Americans, to whom it seems to be more of an effort."

"I rather doubt if man really has much to gain by substituting peace for strife, as you and Jesus Christ recommend. Sic notus Ulixes? do you think you can outwit the resourceful malevolence of Nature? God is not mocked, as St. Paul long ago warned the Galatians. When man gets rid of a great trouble he is easier for a while, but not for long: Nature instantly sets to work to weaken his power of sustaining trouble, and very soon seven pounds is as heavy as fourteen pounds used to be. Last Easter Monday a young woman threw herself in the Lea because her dress looked so shabby amongst the holiday crowd: in other times and countries women have been ravished by half-a-dozen dragoons and taken it less to heart. It looks to me as if the state of mankind always had been and always would be a state of just tolerable discomfort."

"The most important truth which has ever been uttered, and the greatest discovery ever made in the moral world."

"Three minutes' thought would suffice to find this out; but thought is irksome and three minutes is a long time."

"The average man, if he meddles with criticism at all, is a conservative critic. His opinions are determined not by his reason -- 'the bulk of mankind' says Swift 'is as well qualified for flying as for thinking' -- but by his passions; and the faintest of all human passions is the love of truth. He believes that the text of ancient authors is generally sound, not because he has acquainted himself with the elements of the problem, but because he would feel uncomfortable if he did not believe it; just as he believes, on the same cogent evidence, that he is a fine fellow, and that he will rise again from the dead."

"The house of delusions is cheap to build, but draughty to live in, and ready at any instant to fall."

"Save that from yonder ivy-mantled tow'r The moping owl does to the moon complain."

"Gray, who was at the head of those who by their reasonings have attempted to widen the space of separation betwixt Prose and Metrical composition, and was more than any other man curiously elaborate in the structure of his own poetic diction."

"After the manner of Gilbert White, who, unknown to the poet, was making similar observations at Selborne, Gray kept a calendar in which he noted the opening of flowers and the arrival of birds."

"Gray (who joins to the sublimity of Milton the elegance and harmony of Pope, and to whom nothing is wanting to render him, perhaps, the first poet in the English language, but to have written a little more), is said to have been so much hurt by a foolish and impertinent parody of two of his finest odes, that he never afterwards attempted any considerable work. Those men of letters who value themselves upon what is called fine writing in prose, approach somewhat to the sensibility of poets."

"Spenser was among his favourite poets; and he told me he never sat down to compose poetry without reading Spenser for a considerable time previously."

"Almost all his poetry was lyrical—that species which, issuing from a mind in the highest state of excitement, requires an intensity of feeling which for a long composition the genius of no poet could support. Those who complained of its brevity and rapidity only confessed their own inability to follow the movements of poetical inspiration. Of the two grand attributes of the Ode, Dryden had displayed the enthusiasm, Gray exhibited the magnificence. He is also the only modern English writer whose Latin verses deserve general notice; but we must lament that such difficult trifles had diverted his genius from its natural objects. In his letters he has shown the descriptive powers of a poet, and in new combinations of generally familiar words, which he seems to have caught from Madame de Sevigné (though it must be owned he was somewhat quaint), he was eminently happy. It may be added, that he deserves the comparatively trifling praise of having been the most learned poet since Milton."

"Of all English poets he was the most finished artist. He attained the highest degree of splendour of which poetical style seems to be capable, if Virgil and his scholar Racine may be allowed to have united somewhat more ease with their elegance, no other poet approaches Gray in this kind of excellence. The degree of poetical invention diffused over such a style, the balance of taste and of fancy necessary to produce it, and the art with which an offensive boldness of imagery is polished away, are not indeed always perceptible to the common reader, nor do they convey to any mind the same species of gratification which is felt from the perusal of those poems which seem to be the unpremeditated effusions of enthusiasm; but to the eye of the critic, and more especially to the artist, they afford a new kind of pleasure, not incompatible with a distinct perception of the art employed, and somewhat similar to the grand emotions excited by the reflection on the skill and toil exerted in the construction of a magnificent palace. They can only be classed among the secondary pleasures of poetry, but they never can exist without a great degree of its higher excellencies."

"Next day I dined with Johnson at Mr. Thrale's. He attacked Gray, calling him "a dull fellow." BOSWELL. "I understand he was reserved, and might appear dull in company; but surely he was not dull in poetry." JOHNSON. "Sir, he was dull in company, dull in his closet, dull in every where. He was dull in a new way, and that made many people think him GREAT. He was a mechanical poet." He then repeated some ludicrous lines, which have escaped my memory, and said "Is not that GREAT, like his Odes?""

"Gray thought his language more poetical as it was more remote from common use."

"[The editor of Facetiae Cantabrigienses, Richard Gooch writes:] Those who remember Mr. Gray when at the University of Cambridge, where he resided the greater part of his life, will recollect that he was a little prim fastidous man, distinguished by a short shuffling step. He commonly held up his gown behind with one of his hands, at the same time cocking up his chin, and perking up his nose. Christopher Smart, who was contemporary with him at Pembroke Hall, used to say that Gray walked "as if he had fouled his small-clothes, and looked as if he smelt it.""

"I have been reading Gray's Works, and think him the only poet since Shakespeare entitled to the character of sublime... I once thought Swift's letters the best that could be written; but I like Gray's better. His humour, or his wit, or whatever it is to be called, is never ill-natured or offensive, and yet, I think equally poignant with the Dean's."

"Of all the English poets of this age, Mr Gray is most admired, and, I think, with justice; yet there are, comparatively speaking, but a few who know any thing of his, but his "Churchyard Elegy," which is by no means the best of his works."

"Gray is our poetical classic of that literature and age; the position of Gray is singular, and demands a word of notice here. He has not the volume or the power of poets who, coming in times more favourable, have attained to an independent criticism of life. But he lived with the great poets, he lived, above all, with the Greeks, through perpetually studying and enjoying them; and he caught their poetic point of view for regarding life, caught their poetic manner. The point of view and the manner are not self-sprung in him, he caught them of others; and he had not the free and abundant use of them. But whereas Addison and Pope never had the use of them, Gray had the use of them at times. He is the scantiest and frailest of classics in our poetry, but he is a classic."

"Gray's production was scanty, and scanty, as we have seen, it could not but be. Even what he produced is not always pure in diction, true in evolution. Still, with whatever drawbacks, he is alone, or almost alone (for Collins has something of the like merit) in his age. Gray said himself that "the style he aimed at was extreme conciseness of expression, yet pure, perspicuous, and musical." Compared, not with the work of the great masters of the golden ages of poetry, but with the poetry of his own contemporaries in general, Gray's may be said to have reached, in style, the excellence at which he aimed; while the evolution also of such a piece as his Progress of Poesy must be accounted not less noble and sound than its style."

"Gray, a born poet, fell upon an age of prose. He fell upon an age whose task was such as to call forth in general men's powers of understanding, wit and cleverness, rather than their deepest powers of mind and soul."

"The verse adorn again Fierce War, and faithful Love, And Truth severe, by fairy Fiction drest."

"Hear from the grave, great Taliessin, hear; They breathe a soul to animate thy clay. Bright Rapture calls, and soaring, as she sings, Waves in the eye of Heav'n her many-colour'd wings."

"Visions of glory, spare my aching sight, Ye unborn ages, crowd not on my soul!"

"Ye towers of Julius, London's lasting shame, With many a foul and midnight murder fed."

"Fair laughs the morn, and soft the zephyr blows, While proudly riding o'er the azure realm In gallant trim the gilded vessel goes; Youth on the prow, and Pleasure at the helm; Regardless of the sweeping whirlwind's sway, That, hushed in grim repose, expects his evening prey."

"Weave the warp, and weave the woof, The winding sheet of Edward's race. Give ample room and verge enough, The Characters of hell to trace."

"Dear, as the light that visits these sad eyes; Dear, as the ruddy drops that warm my heart."

"To high-born Hoel's harp, or soft Llewellyn's lay."

"Helm nor hauberk's twisted mail, Nor even thy virtues, tyrant, shall avail To save thy secret soul from nightly fears, From Cambria's curse, from Cambria's tears!"

"Ruin seize thee, ruthless King! Confusion on thy banners wait, Though fanned by Conquest's crimson wing They mock the air with idle state."

"No farther seek his merits to disclose, Or draw his frailties from their dread abode, (There they alike in trembling hope repose,) The bosom of his Father and his God."

"Large was his bounty, and his soul sincere, Heav'n did a recompense as largely send: He gave to Mis'ry all he had, a tear, He gained from Heav'n ('twas all he wished) a friend."