Quotes4study

"Fernand," cried Mercedes, "I believed you were good-hearted, and I was mistaken! Fernand, you are wicked to call to your aid jealousy and the anger of God! Yes, I will not deny it, I do await, and I do love him of whom you speak; and, if he does not return, instead of accusing him of the inconstancy which you insinuate, I will tell you that he died loving me and me only." The young girl made a gesture of rage. "I understand you, Fernand; you would be revenged on him because I do not love you; you would cross your Catalan knife with his dirk. What end would that answer? To lose you my friendship if he were conquered, and see that friendship changed into hate if you were victor. Believe me, to seek a quarrel with a man is a bad method of pleasing the woman who loves that man. No, Fernand, you will not thus give way to evil thoughts. Unable to have me for your wife, you will content yourself with having me for your friend and sister; and besides," she added, her eyes troubled and moistened with tears, "wait, wait, Fernand; you said just now that the sea was treacherous, and he has been gone four months, and during these four months there have been some terrible storms."

Alexandre Dumas, Pere     The Count of Monte Cristo

So she decided that it was necessary to prepare the opinion of society. She provoked the jealousy of the elderly magnate and told him what she had told her other suitor; that is, she put the matter so that the only way for him to obtain a right over her was to marry her. The elderly magnate was at first as much taken aback by this suggestion of marriage with a woman whose husband was alive, as the younger man had been, but Helene's imperturbable conviction that it was as simple and natural as marrying a maiden had its effect on him too. Had Helene herself shown the least sign of hesitation, shame, or secrecy, her cause would certainly have been lost; but not only did she show no signs of secrecy or shame, on the contrary, with good-natured naivete she told her intimate friends (and these were all Petersburg) that both the prince and the magnate had proposed to her and that she loved both and was afraid of grieving either.

Leo Tolstoy     War and Peace

30:3. He that teacheth his son, maketh his enemy jealous, and in the midst of his friends he shall glory in him.

THE PROLOGUE.     OLD TESTAMENT

True, oh my son! is all which thou hast spoken. These limbs, these hands, young friend! (their vigor lost) No longer, darted from the shoulder, spring At once to battle. Ah that I could grow Young yet again, could feel again such force Athletic, as when in Buprasium erst The Epeans with sepulchral pomp entomb'd King Amarynceus, where his sons ordain'd Funereal games in honor of their sire! Epean none or even Pylian there Could cope with me, or yet Ætolian bold. Boxing, I vanquish'd Clytomedes, son Of Enops; wrestling, the Pleuronian Chief Ancæus; in the foot-race Iphiclus, Though a fleet runner; and I over-pitch'd Phyleus and Polydorus at the spear. The sons of Actor in the chariot-race Alone surpass'd me, being two for one, And jealous both lest I should also win That prize, for to the victor charioteer They had assign'd the noblest prize of all. They were twin-brothers, and one ruled the steeds, The steeds one ruled, the other lash'd them on. Such once was I; but now, these sports I leave To younger; me submission most befits To withering age, who then outshone the best. But go. The funeral of thy friend with games Proceed to celebrate; I accept thy gift With pleasure; and my heart is also glad That thou art mindful evermore of one Who loves thee, and such honor in the sight Yield'st me of all the Greeks, as is my due. May the Gods bless thee for it more and more!

BOOK XXIII.     The Iliad by Homer

In a very few minutes the count reached No. 7 in the Rue Meslay. The house was of white stone, and in a small court before it were two small beds full of beautiful flowers. In the concierge that opened the gate the count recognized Cocles; but as he had but one eye, and that eye had become somewhat dim in the course of nine years, Cocles did not recognize the count. The carriages that drove up to the door were compelled to turn, to avoid a fountain that played in a basin of rockwork,--an ornament that had excited the jealousy of the whole quarter, and had gained for the place the appellation of "The Little Versailles." It is needless to add that there were gold and silver fish in the basin. The house, with kitchens and cellars below, had above the ground-floor, two stories and attics. The whole of the property, consisting of an immense workshop, two pavilions at the bottom of the garden, and the garden itself, had been purchased by Emmanuel, who had seen at a glance that he could make of it a profitable speculation. He had reserved the house and half the garden, and building a wall between the garden and the workshops, had let them upon lease with the pavilions at the bottom of the garden. So that for a trifling sum he was as well lodged, and as perfectly shut out from observation, as the inhabitants of the finest mansion in the Faubourg St. Germain. The breakfast-room was finished in oak; the salon in mahogany, and the furnishings were of blue velvet; the bedroom was in citronwood and green damask. There was a study for Emmanuel, who never studied, and a music-room for Julie, who never played. The whole of the second story was set apart for Maximilian; it was precisely similar to his sister's apartments, except that for the breakfast-parlor he had a billiard-room, where he received his friends. He was superintending the grooming of his horse, and smoking his cigar at the entrance of the garden, when the count's carriage stopped at the gate.

Alexandre Dumas, Pere     The Count of Monte Cristo

Miss Bingley saw, or suspected enough to be jealous; and her great anxiety for the recovery of her dear friend Jane received some assistance from her desire of getting rid of Elizabeth.

Jane Austen     Pride and Prejudice

And, to reduce the matter into a small compass, I say that, on the side of the conspirator, there is nothing but fear, jealousy, prospect of punishment to terrify him; but on the side of the prince there is the majesty of the principality, the laws, the protection of friends and the state to defend him; so that, adding to all these things the popular goodwill, it is impossible that any one should be so rash as to conspire. For whereas in general the conspirator has to fear before the execution of his plot, in this case he has also to fear the sequel to the crime; because on account of it he has the people for an enemy, and thus cannot hope for any escape.

Nicolo Machiavelli     The Prince

"'Some little time ago I bought a small place--a very small place--within ten miles of Reading. I was fortunate enough to discover that there was a deposit of fuller's-earth in one of my fields. On examining it, however, I found that this deposit was a comparatively small one, and that it formed a link between two very much larger ones upon the right and left--both of them, however, in the grounds of my neighbours. These good people were absolutely ignorant that their land contained that which was quite as valuable as a gold-mine. Naturally, it was to my interest to buy their land before they discovered its true value, but unfortunately I had no capital by which I could do this. I took a few of my friends into the secret, however, and they suggested that we should quietly and secretly work our own little deposit and that in this way we should earn the money which would enable us to buy the neighbouring fields. This we have now been doing for some time, and in order to help us in our operations we erected a hydraulic press. This press, as I have already explained, has got out of order, and we wish your advice upon the subject. We guard our secret very jealously, however, and if it once became known that we had hydraulic engineers coming to our little house, it would soon rouse inquiry, and then, if the facts came out, it would be good-bye to any chance of getting these fields and carrying out our plans. That is why I have made you promise me that you will not tell a human being that you are going to Eyford to-night. I hope that I make it all plain?'

Arthur Conan Doyle     The Adventures of Sherlock Holmes

"Upon my word," said Caderousse, from whose mind the friendly treatment of Dantes, united with the effect of the excellent wine he had partaken of, had effaced every feeling of envy or jealousy at Dantes' good fortune,--"upon my word, Dantes is a downright good fellow, and when I see him sitting there beside his pretty wife that is so soon to be. I cannot help thinking it would have been a great pity to have served him that trick you were planning yesterday."

Alexandre Dumas, Pere     The Count of Monte Cristo

The personal character of Marivaux was curious and somewhat contradictory, though not without analogies, one of the closest of which is to be found in Goldsmith. He was, however, unlike Goldsmith, at least as brilliant in conversation as with the pen. He was extremely good-natured, but fond of saying very severe things, unhesitating in his acceptance of favours (he drew a regular annuity from Helvetius), but exceedingly touchy if he thought himself in any way slighted. He was, though a great cultivator of _sensibilité_, on the whole decent and moral in his writings, and was unsparing in his criticism of the rising _Philosophes_. This last circumstance, and perhaps jealousy as well, made him a dangerous enemy in Voltaire, who lost but few opportunities of speaking disparagingly of him. He had good friends, not merely in the rich, generous and amiable Helvetius, but in Mme de Tencin, in Fontenelle and even in Mme de Pompadour, who gave him, it is said, a considerable pension, of the source of which he was ignorant. His extreme sensitiveness is shown by many stories. He had one daughter, who took the veil, the duke of Orleans, the regent's successor, furnishing her with her dowry. Entry: MARIVAUX

Encyclopaedia Britannica, 11th Edition, Volume 17, Slice 6 "Map" to "Mars"     1910-1911

BOLEYN (or BULLEN), ANNE (c. 1507-1536), queen of Henry VIII. of England, daughter of Sir Thomas Boleyn, afterwards earl of Wiltshire and Ormonde, and of Elizabeth, daughter of Thomas Howard, earl of Surrey, afterwards duke of Norfolk, was born, according to Camden, in 1507, but her birth has been ascribed, though not conclusively, to an earlier date (to 1502 or 1501) by some later writers.[1] In 1514 she accompanied Mary Tudor to France on the marriage of the princess to Louis XII., remained there after the king's death, and became one of the women in waiting to Queen Claude, wife of Francis I. She returned in 1521 or 1522 to England, where she had many admirers and suitors. Among the former was the poet Sir Thomas Wyatt,[2] and among the latter, Henry Percy, heir of the earl of Northumberland, a marriage with whom, however, was stopped by the king and another match provided for her in the person of Sir James Butler. Anne Boleyn, however, remained unmarried, and a series of grants and favours bestowed by Henry on her father between 1522 and 1525 have been taken, though very doubtfully, as a symptom of the king's affections. Unlike her sister Mary, who had fallen a victim to Henry's solicitations,[3] Anne had no intention of being the king's mistress; she meant to be his queen, and her conduct seems to have been governed entirely by motives of ambition. The exact period of the beginning of Anne's relations with Henry is not known. They have been surmised as originating as early as 1523; but there is nothing to prove that Henry's passion was anterior to the proceedings taken for the divorce in May 1527, the celebrated love letters being undated. Her name is first openly connected with the king's as a possible wife in the event of Catherine's divorce, in a letter of Mendoza, the imperial ambassador, to Charles V. of the 16th of August 1527,[4] during the absence in France of Wolsey, who, not blinded by passion like Henry, naturally opposed the undesirable alliance, and was negotiating a marriage with Renée, daughter of Louis XII. Henry meanwhile, however, had sent William Knight, his secretary, on a separate mission to Rome to obtain facilities for his marriage with Anne; and on the cardinal's return in August he found her installed as the king's companion and proposed successor to Catherine of Aragon. After the king's final separation from his wife in July 1531, Anne's position was still more marked, and in 1532 she accompanied Henry on the visit to Francis I., while Catherine was left at home neglected and practically a prisoner. Soon after their return Anne was found to be pregnant, and in consequence Henry married her about the 25th of January 1533[5] (the exact date is unknown), their union not being made public till the following Easter. Subsequently, on the 23rd of May, their marriage was declared valid and that with Catherine null, and in June Anne was crowned with great state in Westminster Abbey. Anne Boleyn had now reached the zenith of her hopes. A weak, giddy woman of no stability of character, her success turned her head and caused her to behave with insolence and impropriety, in strong contrast with Catherine's quiet dignity under her misfortunes. She, and not the king, probably was the author of the petty persecutions inflicted upon Catherine and upon the princess Mary, and her jealousy of the latter showed itself in spiteful malice. Mary was to be forced into the position of a humble attendant upon Anne's infant, and her ears were to be boxed if she proved recalcitrant. She urged that both should be brought to trial under the new statute of succession passed in 1534, which declared her own children the lawful heirs to the throne. She was reported as saying that when the king gave opportunity by leaving England, she would put Mary to death even if she were burnt or flayed alive for it.[6] She incurred the remonstrances of the privy council and alienated her own friends and relations. Her uncle, the duke of Norfolk, whom she was reported to have treated "worse than a dog," reviled her, calling her a "grande putaine." But her day of triumph was destined to be even shorter than that of her predecessor. There were soon signs that Henry's affection, which had before been a genuine passion, had cooled or ceased. He resented her arrogance, and a few months after the marriage he gave her cause for jealousy, and disputes arose. A strange and mysterious fate had prepared for Anne the same domestic griefs that had vexed and ruined Catherine and caused her abandonment. In September 1533 the birth of a daughter, afterwards Queen Elizabeth, instead of the long-hoped-for son, was a heavy disappointment; next year there was a miscarriage, and on the 29th of January 1536, the day of Catherine's funeral, she gave birth to a dead male child. Entry: BOLEYN

Encyclopaedia Britannica, 11th Edition, Volume 4, Slice 2 "Bohemia" to "Borgia, Francis"     1910-1911

HENDERSON, JOHN (1747-1785), English actor, of Scottish descent, was born in London. He made his first appearance on the stage at Bath on the 6th of October 1772 as Hamlet. His success in this and other Shakespearian parts led to his being called the "Bath Roscius." He had great difficulty in getting a London engagement, but finally appeared at the Haymarket in 1777 as Shylock, and his success was a source of considerable profit to Colman, the manager. Sheridan then engaged him to play at Drury Lane, where he remained for two years. When the companies joined forces he went to Covent Garden, appearing as Richard III. in 1778, and creating original parts in many of the plays of Cumberland, Shirley, Jephson and others. His last appearance was in 1785 as Horatius in _The Roman Father_, and he died on the 25th of November of that year and was buried in Westminster Abbey. Garrick was very jealous of Henderson, and the latter's power of mimicry separated him also from Colman, but he was always gratefully remembered by Mrs. Siddons and others of his profession whom he had encouraged. He was a close friend of Gainsborough, who painted his portrait, as did also Stewart and Romney. He was co-author of Sheridan and Henderson's _Practical Method of Reading and Writing English Poetry_. Entry: HENDERSON

Encyclopaedia Britannica, 11th Edition, Volume 13, Slice 3 "Helmont, Jean" to "Hernosand"     1910-1911

In the autumn of 1505 Dürer journeyed for a second time to Venice, and stayed there until the spring of 1507. The occasion of this journey has been erroneously stated by Vasari. Dürer's engravings, both on copper and wood, had by this time attained great popularity both north and south of the Alps, and had begun to be copied by various hands, among others by the celebrated Marcantonio of Bologna, then in his youth. According to Vasari, Marcantonio, in copying Dürer's series of the Little Passion on wood, had imitated the original monogram, and Dürer, indignant at this fraud, set out for Italy in order to protect his rights, and having lodged a complaint against Marcantonio before the signory of Venice, carried his point so far that Marcantonio was forbidden in future to add the monogram of Dürer to copies taken after his works. This account will not bear examination. Chronological and other proofs show that if such a suit was fought at all, it must have been in connexion with another set of Dürer's woodcuts, the first seventeen of the Life of the Virgin. Dürer himself, a number of whose familiar letters written from Venice to his friend Pirkheimer at Nuremberg are preserved, makes no mention of anything of the kind. Nevertheless some such grievance may possibly have been among the causes which determined his journey. Other causes, of which we have explicit record, were an outbreak of sickness at Nuremberg; Dürer's desire, which in fact was realized, of finding a good market for the proceeds of his art; and the prospect, also realized, of a commission for an important picture from the German community settled at Venice, who had lately caused an exchange and warehouse--the _Fondaco de' Tedeschi_--to be built on the Grand Canal, and who were now desirous to dedicate a picture in the church of St Bartholomew. The picture painted by Dürer on this commission was the "Adoration of the Virgin," better known as the "Feast of Rose Garlands"; it was subsequently acquired by the emperor Rudolf II., and carried as a thing beyond price upon men's shoulders to Vienna; it now exists in a greatly injured state in the monastery of Strahow at Prague. It shows the pope and emperor, with a lute-playing angel between them, kneeling to right and left of the enthroned Virgin and Child, who crown them with rose garlands, with a multitude of other kneeling saints disposed with free symmetry in the background, and farther in the background portraits of the donor and the painter, and a flutter of wreath-carrying cherubs in the air. Of all Dürer's works, it is the one in which he most deliberately rivalled the combined splendour and playfulness of certain phases of Italian art. The Venetian painters assured him, he says, that they had never seen finer colours. They were doubtless too courteous to add that fine colours do not make fine colouring. Even in its present ruined state, it is apparent that in spite of the masterly treatment of particular passages, such as the robe of the pope, Dürer still lacked a true sense of harmony and tone-relations, and that the effect of his work must have been restless and garish beside that of a master like the aged Bellini. That veteran showed the German visitor the most generous courtesy, and Dürer still speaks of him as the best in painting ("_der pest im gemell_") in spite of his advanced years. A similar festal intention in design and colouring, with similar mastery in passages and even less sense of harmonious relations in the whole, is apparent in a second important picture painted by Dürer at Venice, "The Virgin and Child with the Goldfinch," formerly in the collection of Lord Lothian and now at Berlin. A "Christ disputing with the Doctors" of the same period, in the Barberini Gallery at Rome, is recorded to have cost the painter only five days' labour, and is an unsatisfying and ill-composed congeries of heads and hands, both of such strenuous character and individuality as here and there to pass into caricature. The most satisfying of Dürer's paintings done in Venice are the admirable portrait of a young man at Hampton Court (the same sitter reappears in the "Feast of Rose Garlands"), and two small pieces, one the head of a brown Italian girl modelled and painted with real breadth and simplicity, formerly in the collection of Mr Reginald Cholmondeley and now at Berlin, and the small and very striking little "Christ Crucified" with the figure relieved against the night sky, which is preserved in the Dresden Gallery and has served as model and inspiration to numberless later treatments of the theme. An interesting, rather fantastic, portrait of a blonde girl wearing a wide cap, now in the Berlin museum, is dated 1507 and may have been done in the early months of that year at Venice. It is possible, though not certain, that to this date also belongs the famous portrait of himself at Munich bearing a false signature and date, 1500; in this it has been lately shown that the artist modified his own lineaments according to a preconceived scheme of facial proportion, so that it must be taken as an ideal rather than a literal presentment of himself to posterity as he appeared in the flower of his early middle age. From Venice Dürer kept up a continuous correspondence, which has been published, with his bosom friend Pirkheimer at Nuremberg. He tells of the high position he holds among the Venetians; of the jealousy shown him by some of the meaner sort of native artist; of the honour and wealth in which he might live if he would consent to abandon home for Italy; of the northern winter, and how he knows that after his return it will set him shivering for the south. Yet he resisted all seductions and was in Nuremberg again before the summer of 1507. First, it seems, he had made an excursion to Bologna, having intended to take Mantua on the way, in order to do homage to the old age of that Italian master, Andrea Mantegna, from whose work he had himself in youth learned the most. But the death of Mantegna prevented his purpose. Entry: DÜRER

Encyclopaedia Britannica, 11th Edition, Volume 8, Slice 8 "Dubner" to "Dyeing"     1910-1911