Miles Art

Prisudzované výroky

No. 93 (16 June 1711).
The Spectator (1711–1714)

No. 4 (5 March 1711).
The Spectator (1711–1714)

No. 120 (18 July 1711).
The Spectator (1711–1714)

Attributed to Addison in (K)new Words: Redefine Your Communication (2005), by Gloria Pierre, p. 120, there are no indications of such a statement in Addison's writings.
Misattributed

No. 15 (March 17, 1711).
The Spectator (1711–1714)

As quoted in Hugs for Girlfriends : Stories, Sayings, and Scriptures to Encourage and Inspire (2001) by Philis Boultinghouse and LeAnn Weiss, p. 7; there seem to be no published sources available for this statement prior to 2001.
Disputed

The earliest appearance of this proverb yet located is in Eliza Cook's Journal Vol. 11, (1854), p. 128, and the earliest attribution to Addison yet found is in Public Ledger Almanac (1887), p. 20.
Disputed
Zdroj: https://www.google.com/books/edition/The_New_Era/XD8DAAAAYAAJ?hl=en&gbpv=1&dq=addison%20%22hope%20your%20guardian%20genius%22&pg=PA1&printsec=frontcover&bsq=addison%20%22hope%20your%20guardian%20genius%22 Many Thoughts of Many Minds

No. 166 (10 September 1711).
The Spectator (1711–1714)
Kontext: Books are the legacies that a great genius leaves to mankind, which are delivered down from generation to generation, as presents to the posterity of those who are yet unborn.

No. 177 (22 September 1711).
The Spectator (1711–1714)
Kontext: I have somewhere met with the epitaph of a charitable man, which has very much pleased me. I cannot recollect the words, but the sense of it is to this purpose; What I spent I lost; what I possessed is left to others; what I gave away remains with me.

No. 225.
The Tatler (1711–1714)
Kontext: The cast of mind which is natural to a discreet man, make him look forward into futurity, and consider what will be his condition millions of ages hence, as well as what it is at present. He knows that the misery or happiness which are reserved for him in another world, lose nothing of their reality by being placed at so great a distance from him. The objects do not appear little to him because they are remote. He considers that those pleasures and pains which lie hid in eternity, approach nearer to him every moment, and will be present with him in their full weight and measure, as much as those pains and pleasures which he feels at this very instant. For this reason he is careful to secure to himself that which is the proper happiness of his nature, and the ultimate design of his being. He carries his thoughts to the end of every action, and considers the most distant as well as the most immediate effects of it. He supersedes every little prospect of gain and advantage which offers itself here, if he does not find it consistent with his views of an hereafter. In a word, his hopes are full of immortality, his schemes are large and glorious, and his conduct suitable to one who knows his true interest, and how to pursue it by proper methods.

A Letter from Italy (1703).
Kontext: Fain would I Raphael's godlike art rehearse,
And show th' immortal labours in my verse,
Where from themingled strength of shade and light
A new creation rises to my sight,
Such heavenly figures from his pencil flow,
So warm with life his blended colours glow.
From theme to theme with secret pleasure tost,
Amidst the soft variety I 'm lost:
Here pleasing airs my ravish'd soul confound
With circling notes and labyrinths of sound;
Here domes and temples rise in distant views,
And opening palaces invite my Muse.

Translation of Horace, Odes, Book III, ode iii.
Kontext: The man resolved, and steady to his trust,
Inflexible to ill, and obstinately just,
May the rude rabble's insolence despise,
Their senseless clamours and tumultuous cries;
The tyrant's fierceness he beguiles,
And the stern brow, and the harsh voice defies,
And with superior greatness smiles.

Act IV, scene iv.
Cato, A Tragedy (1713)
Kontext: How beautiful is death, when earn'd by virtue!
Who would not be that youth? What pity is it
That we can die but once to serve our country!