A good many times I have been present at gatherings of people who, by the standards of the traditional culture, are thought highly educated and who have with considerable gusto been expressing their incredulity at the illiteracy of scientists. Once or twice I have been provoked and have asked the company how many of them could describe the Second Law of Thermodynamics. The response was cold: it was also negative. Yet I was asking something which is about the scientific equivalent of: Have you read a work of Shakespeare's?

... All who have brought about a state of sex-consciousness are to blame, and it is they who drive me, when I want to stretch my faculties on a book, to seek it in that happy age ... when the writer used both sides of his mind [the male and female sides of his mind] equally. One must turn back to Shakespeare then, for Shakespeare was androgynous; and so were Keats and Sterne and Cowper and Lamb and Coleridge. Shelley perhaps was sexless. Milton and Ben Jonson had a dash too much of the male in them. So had Wordsworth and Tolstoy.

During the Government’s recent overhaul of GCSEs, I was asked to join a consultative group advising on the English Literature syllabus. It quickly became clear that the minister wanted to prescribe two Shakespeare plays for every 16-year-old in the land. I argued, to the contrary, that there should be one Shakespeare play and one play by anybody except Shakespeare. It cannot be in Shakespeare’s interest for teenagers to associate him with compulsion, for his plays and his alone to have the dreaded status of set books.

For this new-married man approaching here,Whose salt imagination yet hath wrong'dYour well defended honour, you must pardonFor Mariana's sake: but as he adjudged your brother,--Being criminal, in double violationOf sacred chastity and of promise-breachThereon dependent, for your brother's life,--The very mercy of the law cries outMost audible, even from his proper tongue,'An Angelo for Claudio, death for death!'Haste still pays haste, and leisure answers leisure;Like doth quit like, and MEASURE still FOR MEASURE

The worst feature of the Common Core is its anti-humanistic, utilitarian approach to education. It mistakes what a child is and what a human being is for. That is why it has no use for poetry, and why it boils the study of literature down to the scrambling up of some marketable "skill" [...] you don't read good books to learn about what literary artists do...you learn about literary art so that you can read more good books and learn more from them. It is as if Thomas Gradgrind had gotten hold of the humanities and turned them into factory robotics.

To die, is to be banish'd from myself; And Silvia is myself: banish'd from her, Is self from self: a deadly banishment! What light is light, if Silvia be not seen? What joy is joy, if Silvia be not by? Unless it be to think that she is by, And feed upon the shadow of perfection.Except I be by Silvia in the night, There is no music in the nightingale; Unless I look on Silvia in the day, There is no day for me to look upon; She is my essence, and I leave to be, If I be not by her fair influence Foster'd, illumin'd, cherish'd, kept alive.

This goodly frame, the earth, seems to me a sterile promontory, this most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours. What a piece of work is a man! how noble in reason! how infinite in faculty! in form and moving how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust?

I said ”I love you so much it’s killing me”and you kept saying sorryso I stopped explainingfor it never made sense to youwhat always did to meto let what you love kill youand never regret. As Romeo is dying Juliet says”I am willing to die to remain by your side”and love was never a static place of restbut the last second of euphoriawhile throwing yourself out from a 20 store windowto be able to say”I flew before I hit the ground”,and it was glorious.Don’t be sorry.The fall was beautiful, dear.The crash was beautiful.

Ribs closing on his heart, Will battled internal sirens whose song he couldn’t yet decipher. During his childhood, ‘sin’ had been such an abstract word. It denoted getting your Sunday best dirty and torn, or lying to have your brother punished for things you’d done yourself. But now, on the cusp of adulthood, the word seemed to grow and change, to acquire terrifying shades of darkness. He was beginning to understand that there was more to it. That there were things the human body longed for that were infinitely worse than playing in mud and telling fibs.

My love is as a fever, longing stillFor that which longer nurseth the disease;Feeding on that which doth preserve the ill,The uncertain sickly appetite to please.My reason, the physician to my love,Angry that his prescriptions are not kept,Hath left me, and I desperate now approve,Desire his death, which physic did except.Past cure I am, now reason is past care,And frantic-mad with evermore unrest;My thoughts and my discourse as madmen's are,At random from the truth vainly express'd;For I have sworn thee fair, and thought thee bright,Who art as black as hell, as dark as night.

And there was never a better time to delve for pleasure in language than the sixteenth century, when novelty blew through English like a spring breeze. Some twelve thousand words, a phenomenal number, entered the language between 1500 and 1650, about half of them still in use today, and old words were employed in ways not tried before. Nouns became verbs and adverbs; adverbs became adjectives. Expressions that could not have grammatically existed before - such as 'breathing one's last' and 'backing a horse', both coined by Shakespeare - were suddenly popping up everywhere.

Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no, it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wand'ring barque, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.

There comes a time in a man's life, if he is unlucky and leads a full life, when he has a secret so dirty that he knows he never will get rid of it. (Shakespeare knew this and tried to say it, but he said it just as badly as anyone ever said it. 'All the perfumes of Arabia' makes you think of all the perfumes of Arabia and nothing more. It is the trouble with all metaphors where human behavior is concerned. People are not ships, chess men, flowers, race horses, oil paintings, bottles of champagne, excrement, musical instruments or anything else but people. Metaphors are all right to give you an idea.)

It seems only fair," Matthew continued. "A bit of karma, if you will." He twirled the stake again. "Shall we see how long you scream?""Are you ever going to shut up?" I snapped, fear and irritation filling me in equal measures. "This isn't your monologue, Hamlet. It's the battle scene, in case you've forgotten."His eyes narrowed so fast they nearly sparked. They were the color of honey on fire. One of the others growled like an animal, low in his throat. It made all the hairs on my arms stand straight up.I was going to die for making fun of Shakespeare.My English Lit professor would be so proud.

Usually, Shakespeare gives me goose bumps. The guy knows everything. Like some ancient angel quill-ing out blueprints life. Hiding it in fiction. And usually I love the sound of the words, the way they dance on the page. Today, they fall flat. My attention bobbing in the cosmos. All free brain-space is marinating in gap month fizz. I chew my pen, candy-cane style. The million possibilities ahead make it hard to care about right now. I write my answers slowly, each letter carved in stone not ballpoint. I’m going to explore the world, find my passion, try everything! The fizz shoots up my spine and a smile sprouts.