We must meet reverses boldly, and not suffer them to frighten us, my dear. We must learn to act the play out. We must live misfortune down, Trot! - Charles Dickens

if the world go wrong, it was, in some off-hand manner, never meant to go right.

You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell; what I mean is, that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me. But if you would return a favourable answer to my offer of myself in marringe, you could draw me to any good - every good - with equal force.

Above all, one hideous figure grew as familiar as if it had been before the general gaze from the foundations of the world - the figure of the sharp female called La Guillotine.
It was the popular theme for jests; it was the best cure for headache, it infallibly prevented hair from turning gray, it imparted a peculiar delicacy to the complexion, it was the National Razor which shaved close: who kissed La Guillotine looked through the little window and sneezed into the sack.