Might even be Shakespeare since his lines seem to have been filtered into more titles than any other single source with the possible exception of the King James Bible. A lot of readers will already know that Hemingway's inspired title was filched neither from Tennyson nor Keats but from John Donne, to serve as epigraph to his great romance of love, war and death. My point is that there was something in Donne's prose that was very attractive to Hemingway, and that knowing this illuminates the writing of them both. A good anthology of English prose will give us something of the raw material to make a connection of this kind, to view, at least in a rudimentary way, the resources available to authors and readers. We like to know where stuff comes from, and in particular we take very fine delight in knowing what writers read, and from whom they learned to write.
English prose is an interlocking tradition, and to a large degree, a transmitted skill.
We write what we've read. We read our contemporaries better if we have some acquaintance with their predecessors. The New Oxford Book of English Prose, edited by anthologist John Gross, is a handy kit to start us on some understanding and appreciation of the massive tradition of English writing. An anthology of English prose that excluded Herman Melville, for example, would be a monster. The workings of Sir Thomas Browne or Jeremy Taylor in the early 17th century have a music and power of captivation quite different from the aggressive energies of Lord Macaulay, or the exquisite, punctilious cadences and sedulous craft of Walter Pater, in the latter 19th.