7OE doth the heavier sit, W Where it perceives it is but faintly 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. THE `HE means that heavens yield must be And not neglected; else, if heaven would W1 ISE men ne'er sit and wail their woes, WHO can hold a fire in his hand Or cloy the hungry edge of appetite Cowardice Cour age Self Grief Contrast No Comfort Seeing and Feeling By thinking on fantastic summer's heat? Gives but the greater feeling to the worse. ́ELL, every one can master a grief but W the that has it. Much Ado About Nothing. Act III, Sc. 2. OR, brother, men FOR Can counsel and speak comfort to that Which they themselves not feel; but, tasting it, To be so moral when he shall endure 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- But, being season'd with a gracious voice, As stairs of sand, wear yet upon their chins And these assume but valour's excrement Seeming Truth Cupid Unscrupulous To render them redoubted! Look on beauty, Upon supposed fairness, often known To be the dowry of a second head, 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 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 Is loathsome in his own deliciousness, 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 |