Word: nay
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Dates: during 1890-1899
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...following men please report at Soldiers Field at 4 p. m. dressed to play. All must be on time. Adoit, Parker, Brayton, Oglesby, Rust, F. Edmands, Harris, Kidner, Hatch, Edmunds, Hawkins, B. Davis, Ellicutt, Curtis, Hayes, Martin, F. Beardsell, Heard, Forbes, Kernan, Nay, Gray, Follansbee, Hunt, Cambell, Egbert, Boal, Trainer, Fabyan, Talbot, McCormick...
There is something in the bearing of the men of two centuries ago which marks them as different from ourselves, nay, as superior to us. It was simply that they were used to better society and have the air of the great world, of the world, that is, which makes fashions and is not made by them. They opened their Homer, their Sophocles, their Tacitus, their Horace, where we take up our newspaper or our novel. What an old Gascon prig would Montaigne have been but for the ancients, especially Plutarch. Yet his library did not swamp him, and though...
Many-sidedness is the essence of culture and it matters less what a man learns than how he learns it. The day will come, nay, it is dawning already, when it will be understood that the masterpieces of whatever language are not to be classed by an arbitrary standard, but stand on the same level in virtue of being masterpieces; that thought, imagination and fancy may make even a patois acceptable to scholars; that the poets of all climes and of all ages "sing to one clear harp in divers tones;" and that the masters of prose and the masters...
...each subtending a different angle and so modifying each other as to produce truth in the resultant impression. And even then, it is only repeated experience from different points of view which enables us to see even familiar objects precisely as they are. The same is true, nay, almost more true, of the eyes of the mind, and the defining of transient images into precise and permanent ideas, real possessions of the soul...
...total overturn as that of the French Revolution. Montaigne's unconscious errand was not to break away from tradition, but to show that the past was even more valuable in certain ways as contrast than as example. In literature, the ability to make such contrasts is of incalculable advantage, nay, of prime necessity in acquiring breadth of view, and in defining our impressions more sharply. Without it, no man can be a critic. It was this which, in the absence of any original contemporary literature, gave to the classics that preponderance which degenerated into superstition. But the same result...