Success and Failure
SUCCESS AND FAILURE an essay by William Matthews | |
| |
|Let every man be occupied, and occupied in the highest employment of which his nature is capable, and die with the consciousness |
|that he has done his best. |
|--SYDNEY SMITH |
|Men must know that in this theatre of man's life it remaineth only to God and angels to be lookers-on. |
|--BACON |
|Toil alone could not have produced the "Paradise Lost" or the "Principia." The born dwarf never grows to the middle size. |
|--REV. R. A. WILLMOTT |
|The talent of success is nothing more than doing what you can do well, without a thought of fame. |
|--HENRY W. LONGFELLOW |
|IN attending a concert in one of our large cities, did you ever observe the wide chasm that separates the first and second |
|violinists of the orchestra? One is all pomp, fire, bustle, enthusiasm, energy. Now waving his bow high in the air, he silently |
|guides the harmony; now rapidly tapping on the rest-board, he hurries the movement; and again, bringing the violin to his |
|shoulder, he takes the leading strain, and high above the crash of sound, above the shrill blast of the trumpet, the braying of |
|horns, the ear-piercing notes of the fife, the sobbing of oboes, the wailing of
| |
|Let every man be occupied, and occupied in the highest employment of which his nature is capable, and die with the consciousness |
|that he has done his best. |
|--SYDNEY SMITH |
|Men must know that in this theatre of man's life it remaineth only to God and angels to be lookers-on. |
|--BACON |
|Toil alone could not have produced the "Paradise Lost" or the "Principia." The born dwarf never grows to the middle size. |
|--REV. R. A. WILLMOTT |
|The talent of success is nothing more than doing what you can do well, without a thought of fame. |
|--HENRY W. LONGFELLOW |
|IN attending a concert in one of our large cities, did you ever observe the wide chasm that separates the first and second |
|violinists of the orchestra? One is all pomp, fire, bustle, enthusiasm, energy. Now waving his bow high in the air, he silently |
|guides the harmony; now rapidly tapping on the rest-board, he hurries the movement; and again, bringing the violin to his |
|shoulder, he takes the leading strain, and high above the crash of sound, above the shrill blast of the trumpet, the braying of |
|horns, the ear-piercing notes of the fife, the sobbing of oboes, the wailing of