"Di, quibus imperium est animarum, umbraeque silentes, Et Chaos, et Phlegethon, loca nocte tacentia late, Sit mihi fas audita loqui: sit numine vestro Pandere res alta terra et caligine mersas."

"Nunc animis opus, Aenea, nunc pectore firmo."

"Procul, O procul este, profani!"

"Fidus Achates."

"Facilis descensus Averno Noctes atque dies patet atri ianua Ditis; Sed revocare gradum superasque evadere ad auras, Hoc opus, hic labor est."

"Obscuris vera involvens."

"Tu ne cede malis, sed contra audentior ito."

"Bella, horrida bella."

"Superanda omnis fortuna ferendo est."

"Decus et tutamen."

"Possunt, quia posse videntur."

"Litus ama."

"Furens quid Femina possit."

"‘Moriemur inultae, Sed moriamur’ ait. ‘sic, sic juvat ire sub umbras.’"

"Vixi, et, quem dederat cursum Fortuna, peregi; Et nunc magna mei sub terras ibit Imago."

"Exoriare aliquis nostris ex ossibus ultor."

"Varium et mutabile semper Femina."

"Fata obstant."

"Improbe Amor, quid non mortalia pectora cogis!"

"Italiam non sponte sequor."

"Numquam, regina, negabo Promeritam, nec me meminisse pigebit Elissae Dum memor ipse mei, dum spiritus hos regit artus."

"Quis fallere possit amantem?"

"Fama, malum qua non aliud velocius ullum."

"Agnosco veteris vestigia flammae."

"Degeneres animos timor arguit."

"Monstrum horrendum, informe, ingens, cui lumen ademptum."

"Fama volat."

"Quid non mortalia pectora cogis, Auri sacra fames?"

"Fit via vi."

"Dis aliter visum."

"Una salus victis nullam sperare salutem."

"Venit summa dies et ineluctabile tempus Dardaniae."

"Arrectis auribus adsto."

"Quantum mutatus ab illo."

"Tacitae per amica silentia lunae."

"Horresco referens."

"Ab uno disce omnes."

"He writes passionately, because he feels keenly; forcibly, because he conceives vividly; he sees too clearly to be vague; he is too serious to be otiose; he can analyze his subject, and therefore he is rich; he embraces it as a whole and in its parts, and therefore he is consistent; he has a firm hold of it, and therefore he is luminous. When his imagination wells up, it overflows in ornament; when his heart is touched, it thrills along his verse. He always has the right word for the right idea, and never a word too much. If he is brief, it is because few words suffice; when he is lavish of them, still each word has its mark, and aids, not embarrasses, the vigorous march of his elocution. He expresses what all feel, but all cannot say; and his sayings pass into proverbs among his people, and his phrases become household words and idioms of their daily speech, which is tesselated with the rich fragments of his language, as we see in foreign lands the marbles of Roman grandeur worked into the walls and pavements of modern palaces. Such pre-eminently is Shakespeare among ourselves; such pre-eminently Virgil among the Latins; such in their degree are all those writers who in every nation go by the name of Classics."

"Virgil imitated Homer, but imitated him as a rival, not as a disciple."

"His single words and phrases, his pathetic half-lines giving utterance, are as the voice of Nature herself, to that pain and weariness, yet hope of better things, which is the experience of her children in every time."

"My lord, you know what Virgil sings— Woman is various and most mutable."

"Roman Virgil, thou that singest Ilion's lofty temples robed in fire."

"Thou that singest wheat and woodland, tilth and vineyard, hive and horse and herd; All the charm of all the Muses often flowering in a lonely word."

"Thou that seest Universal Nature moved by Universal Mind; Thou majestic in thy sadness at the doubtful doom of human kind."

"Sound for ever of Imperial Rome."

"I salute thee, Mantovano, I that loved thee since my day began, Wielder of the stateliest measure ever moulded by the lips of man."