“He passed a cottage with a double coach-house,
A cottage of gentility;
And he owned with a grin
That his favorite sin
Is pride that apes humility.”

Source: City of Glass

Source: Tris's Book

St. 1.
The Battle of Blenheim http://www.poetry-archive.com/s/the_battle_of_blenheim.html (1798)

Book XXIV; the Judgement of Paris.
Homer His Iliads Translated (1660)

The Devil's Progress (1849)

Speech to Wynyard Horticultural Show (1848), quoted in William Flavelle Monypenny and George Earle Buckle, The Life of Benjamin Disraeli, Earl of Beaconsfield. Volume II. 1860–1881 (London: John Murray, 1929), p. 709.
1840s

The Ballad of Rudolph Reed

The Great Movies II (2005), p. 94
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness.
Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own.