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COMPANY-COMPARISONS.

COMPANY.-Company, villainous company, hath been the spoil of me.

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SHAKSPERE.-King Henry IV. Part I. Act. III.
Scene 3. (Falstaff to Bardolph.)

COMPARE.-So I had known whelps like dogs, so kids like their dams: thus I was wont to compare great things with small.

DAVIDSON'S VIRGIL, by Buckley, Page 2.

So, if great things to small may be compar'd,
Xerxes, the liberty of Greece to yoke,
From Susa, his Memnonian palace high,
Came to the sea; and, over Hellespont
Bridging his way, Europe with Asia join'd,

And scourg'd with many a stroke the indignant waves.
MILTON. Par. Lost, Book X.

If I may be allowed to compare little matters with great ones,
Anaphis also loved me.

RILEY'S OVID.-Meta., Page 174.

COMPARISON.-One fairer than my love! the all-seeing sun Ne'er saw her match, since first the world begun.

SHAKSPERE.-Romeo and Juliet, Act I. Scene 2.
(Romeo to Benvolio.)

Compare her face with some that I shall show,
And it will make thee think thy swan a crow.

SHAKSPERE. Ibid. (Benvolio to Romeo.)

To seek through the regions of the earth

For one his like, there would be something failing
In him that should compare.

SHAKSPERE.-Cymbeline, Act I. Scene 1.

To me he seems like diamond to glass.

SHAKSPERE.-Pericles, Act II. Scene 3.
(Thaisa to Pericles.)

COMPARISONS.-No caparisons, miss, if you please,
Caparisons don't become a young woman.

SHERIDAN.-The Rivals, Act IV. Scene 2.

Comparisons are oderous.

SHAKSPERE.-Much Ado about Nothing, Act III.
Scene 5. (Dogberry.)

To liken them to your auld-warld squad,

I must needs say comparisons are odd.
BURNS.-Brigs of Ayr.

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COMPARISONS-CONDUCT.

COMPARISONS.-Comparisons are odious.

BURTON.-Anat. of Mel., Part III. Section III.
Mem. 1, sub. 2;

GEORGE HERBERT.-Jacula Prudentum.

HEYWOOD.-A Woman Kill'd with Kindness,
Act I. Scene 1.

COMPASS.-A rusted nail, placed near the faithful compass, Will sway it from the truth, and wreck the argosy

SCOTT.-The Talisman, Chap. XXIV. quoting "The Crusade."

COMPOSING.-'Tis true, composing is the nobler part,
But good translation is no easy art.

ROSCOMMON.-On Translated Verse.

COMPOSURE.-The school was done, the bus'ness o'er,
When, tir'd of Greek and Latin lore,

Good Syntax sought his easy chair,

And sat in calm composure there.

GEORGE COMBE.-Doctor Syntax, Canto I. Line 1.

CONCLUSION.-But this denoted a foregone conclusion.
SHAKSPERE.-Othello, Act III. Scene 3.
(The Moor to Iago.)

CONDUCT.-Take heed lest passion sway
Thy judgment to do aught which else free will
Would not admit.

MILTON.-Paradise Lost, Book VIII. Line 635.

I argue not

Against Heaven's hand or will, nor bate a jot
Of heart or hope; but still bear up and steer

Right onward.

MILTON.-Sonnet XXII.

Were man

But constant, he were perfect.

SHAKSPERE.-Two Gentlemen of Verona, Act V..
Scene 4. (Proteus.)

And let men so conduct themselves in life,

As to be always strangers to defeat.

YONGE'S Cicero. -A precept of Atreus, Tusculan
Disp. Book V. Div. 18.

CONDUCT-CONFUSION.

CONDUCT.-When once our grace we have forgot,
Nothing goes right; we would, and we would not.

SHAKSPERE.-Measure for Measure, Act IV.
Scene 4. (Angelo repentant.)

But by bad courses may be understood,

That their events can never fall out good.

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SHAKSPERE.-King Richard II. Act II. Scene 1. (York to the King.)

The honest heart that's free frae a'

Intended fraud or guile,

However fortune kick'd the ba',
Has aye some cause to smile.

BURNS.-Epi. to Davie.

Circles are prais'd, not that abound
In largeness, but th' exactly round:
So life we praise, that does excel,
Not in much time, but acting well.

WALLER.-Long and Short Life. Epigrams.

CONFIDENCE.-In maiden confidence she stood,
Though mantled in her cheek the blood,
And told her love with such a sigh

Of deep and hopeless agony.

SCOTT.-Lady of the Lake, Canto IV. Stanza 18. If ever you betray what you are entrusted with, you forfeit my malevolence for ever; and your being a simpleton shall be no excuse for your locality.

SHERIDAN.-The Rivals, Act I. Scene 2.

CONFOUND.-The attempt and not the deed, confounds us. SHAKSPERE.-Macbeth, Act II. Scene 2. (Lady Macbeth.)

If ever fearful

To do a thing, when I the issue doubted,

Whereof the execution did cry out

Against the non-performance; 'twas a fear

Which oft infects the wisest.

SHAKSPERE.-Winter's Tale, Act I. Scene 2.
(Camillo to Leontes.)

CONFUSION.-I saw and heard, for such a numerous host
Fled not in silence through the frighted deep;

With ruin upon ruin, rout on rout,

Confusion worse confounded.

MILTON.-Paradise Lost, Book II. Line 993.

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CONJECTURES-CONSIDERATION.

CONJECTURES.-If there's a Power above
(And that there is all nature cries aloud,

Through all her works) he must delight in virtue;
And that which he delights in must be happy.

But when? or where? this world was made for Cæsar ;-
I'm weary of conjectures-this must end them.
ADDISON.-Cato, Act V. Scene 1.

CONQUEST.—And ever since the conquest have been fools. ROCHESTER.-Letter from Artemisia to Cloe, Line 51 from end.

CONSCIENCE. Thus conscience does make cowards of us all;

And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought;
And enterprizes of great pith and moment,
With this regard, their currents turn awry,
And lose the name of action.

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Trust that man in nothing, who has not a conscience in every thing.

STERNE.-Tristram Shandy, Vol. II. Chap. XVII. and Sermon 27.

CONSENT.-My consent goes not that way.

SHAKSPERE.-Merry Wives of Windsor, Act III.
Scene 2. (Page to Hostess.)

Let him light his pipe with his consent if he pleases. Wilful against Wise for a wager.

COLLEY CIBBER.-The Non-Juror, Act I. Scene 1.

CONSIDERATION.-What you have said,

I will consider; what you have to say,

I will with patience hear: and find a time

Both meet to hear and answer.

SHAKSPERE.-Julius Cæsar, Act I. Scene 2.
(Brutus to Cassius.)

Consideration like an angel came,

And whipp'd the offending Adam out of him.

SHAKSPERE.-King Henry V. Act I. Scene 1.
(Canterbury to Ely.)

CONSTABLE-CONTEMPLATION.

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CONSTABLE.-Quoth Hudibras, "Friend Ralph, thou hast,
Out-run the constable at last."

BUTLER.-Hudibras, Part I. Canto III.
Line 1367.

Who thinks you the most desartless man to be constable? SHAKSPERE.-Much Ado about Nothing, Act III. Scene 3. (Dogberry to 1st Watch.)

You are thought here to be the most senseless and fit man for the constable of the watch; therefore bear you the lantern. SHAKSPERE.-Much Ado about Nothing, Act III. Scene 3. (Dogberry to 2nd Watch.)

What does this fellow of a constable mean by interrupting our play?

FIELDING.-The Author's Farce, Act III. Scene 1.

CONSTANCY.-Hang constancy, you know too much of the world to be constant, sure..

FIELDING.-Love in several Masques, Act IV.
Scene 2.

'Tis often constancy to change the mind.

HOOLE'S ANASTATIO.-(SIEVES) Vol. I. Section 8.

CONSTRUE.-But men may construe things, after their

fashion,

Clean from the purpose of the things themselves.

SHAKSPERE.-Julius Cæsar, Act I. Scene 3.
(Cicero to Casca.)

CONSUMMATION.-"Tis a consummation

Devoutly to be wish'd.

SHAKSPERE. Hamlet, Act III. Scene 1.
(His Soliloquy.)

CONTEMPLATION.-To contemplation's sober eye,

Such is the race of man,

And they that creep, and they that fly,

Shall end where they began.

GAY.-On the Spring, Verse 4.

For contemplation he, and valour form'd;
For softness she, and sweet attractive grace.

MILTON.-Paradise Lost, Book IV. Line 297.
(Adam and Eve.)

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