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| Hoyt & Roberts, comps. Hoyt’s New Cyclopedia of Practical Quotations. 1922. |
| Voice |
| Her voice changed like a bird’s: There grew more of the music, and less of the words. Robert Browning—Flight of the Duchess. St. 15. | 1 |
| The devil hath not, in all his quiver’s choice, An arrow for the heart like a sweet voice. Byron—Don Juan. Canto XV. St. 13. | 2 |
| His voice no touch of harmony admits, Irregularly deep, and shrill by fits. The two extremes appear like man and wife Coupled together for the sake of strife. Churchill—Rosciad. L. 1,003. | 3 |
| He ceased: but left so charming on their ear His voice, that listening still they seemed to hear. Homer—Odyssey. Bk. II. L. 414. Pope’s trans. | 4 |
| The voice so sweet, the words so fair, As some soft chime had stroked the air; And though the sound had parted thence, Still left an echo in the sense. Ben Jonson—Eupheme. IV. | 5 |
| A still, small voice. I Kings. XIX. 12. | 6 |
| Oh, there is something in that voice that reaches The innermost recesses of my spirit! Longfellow—Christus. Pt. I. The Divine Tragedy. The First Passover. Pt. VI. | 7 |
| Thy voice Is a celestial melody. Longfellow—Masque of Pandora. Pt. V. | 8 |
| Her silver voice Is the rich music of a summer bird, Heard in the still night, with its passionate cadence. Longfellow—The Spirit of Poetry. L. 55. | 9 |
| How sweetly sounds the voice of a good woman! It is so seldom heard that, when it speaks, It ravishes all senses. Massinger—The Old Law. Act IV. Sc. 2. L. 34. | 10 |
| Vox clamantis in deserto. The voice of one crying in the wilderness. Matthew. III. 3; Mark. I. 3; Luke. III. 4; John. I. 23. (Vulgate.) | 11 |
| The Angel ended, and in Adam’s ear So charming left his voice, that he awhile Thought him still speaking, still stood fix’d to hear. Milton—Paradise Lost. Bk. VIII. L. 1. | 12 |
| A Locanian having plucked all the feathers off from a nightingale and seeing what a little body it had, “surely,” quoth he, “thou art all voice and nothing else.” (Vox et præterea nihil.) Plutarch—Laconic Apothegms. Credited to Lacon Incert. XIII, by Lipsius. | 13 |
| Her voice was like the voice the stars Had when they sang together. Dante Gabriel Rossetti—The Blessed Damozel. St. 10. | 14 |
| A sweet voice, a little indistinct and muffled, which caresses and does not thrill; an utterance which glides on without emphasis, and lays stress only on what is deeply felt. George Sand—Handsome Lawrence. Ch. III. | 15 |
| Vox nihil aliud quam ictus aer. The voice is nothing but beaten air. Seneca—Naturalinum Quæstionum. Bk. II. 29. | 16 |
| I thank you for your voices: thank you: Your most sweet voices. Coriolanus. Act II. Sc. 3. L. 179. | 17 |
| Her voice was ever soft, Gentle and low, an excellent thing in woman. King Lear. Act V. Sc. 3. L. 272. | 18 |
| But I will aggravate my voice so that I will roar you as gently as any sucking dove. Midsummer Night’s Dream. Act I. Sc. 2. L. 83. | 19 |
| And rolling far along the gloomy shores The voice of days of old and days to be. Tennyson—The Passing of Arthur. | 20 |
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| He ceased; but still their trembling ears retained The deep vibrations of his witching song. Thomson—Castle of Indolence. Canto I. St. 20. | 21 |
| Vox faucibus hæsit. My voice stuck in my throat. Vergil—Æneid. II. 774; III. 48; IV. 280. | 22 |
| Two voices are there; one is of the sea, One of the mountains: each a mighty Voice. Wordsworth—Thought of a Briton on the Subjugation of Switzerland. | 23 |
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