Friar Laurence:O, mickle is the powerful grace that liesIn herbs, plants, stones, and their true qualities: For nought to vile that on the earth doth live, But to the earth some special good doth give; nor aught so good, but, strain'd from that fair use, Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied, And vice sometime's by action dignified.
Art is enchantment and artists have the right of spells. ... The success of later Shakespeare is the success of spells, where every element, however uneven, however incredible, is fastened to the next with perfect authority. The enchanted world shimmers but does not waver. A Midsummer Night's Dream is the first of his plays to accomplish this, The Tempest is enchantment's apotheosis.
Who are these people sharing the street with me? What is going on in their worlds, inside their heads? Are they in love? If so, is it the kind that Mum and Dad have? Based on having things in common, like raspberry picking and a love of dogs, and Shakespeare, and long country walks? Or is it the knock-you-out, eat-you-up, set-you-on-fire kind of love that I have longed for-and avoided-all my life?
Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.
We probably read Shakespeare in the first place for his stories, afterwards for his characters. . . . To become intimate with Shakespeare in this way is a great enrichment of mind and instruction of conscience. Then, by degrees, as we go on reading this world-teacher, lines of insight and beauty take possession of us, and unconsciously mould our judgments of men and things and of the great issues of life.
That such a slave as this should wear a sword,Who wears no honesty. Such smiling rogues as these,Like rats, oft bite the holy cords atwainWhich are too intrinse t' unloose; smooth every passionThat in the natures of their lords rebel,Being oil to the fire, snow to the colder moods,Renege, affirm, and turn their halcyon beaksWith every gale and vary of their mastersKnowing naught, like dogs, but following.
A southwest blow on ye and blister you all o'er!''The red plague rid you!''Toads, beetles, bats, light on you!''As wicked dew as e'er my mother brushed with raven's feather from unwholesome fen drop on you.''Strange stuff''Thou jesting monkey thou''Apes with foreheads villainous low''Pied ninny''Blind mole...' -The Caliban Curses
The English language [during the Elizabethan era] wasn't standardized. There were no official dictionaries. There was no cultural belief that words should always be spelled the same way. So people spelled things however they heard them or however made sense. I mean the name Shakespeare had something like 16 different spellings, and the way he spelled it isn't the way we spell it.- School of Night - pg 44
Ram. My lord constable, the armor that I saw in your tent to-night, are those stars or suns upon it?Con. Stars, my lord.Dau. Some of them will fall to-morrow, I hope.Con. And yet my sky shall not want.Dau. That may be, for you bear a many superfluously, and ’twere more honor some were away.Con. Even as your horse bears your praises; who would trot as well, were some of your brags dismounted.Henry V, 3.7.69-78
I guess I ought to be aware of what to look for, is all. The signs of true love, I mean. Is it like Shakespeare?" I sat up and took Tootsie's hands. "You know, is it all heaving bosoms and fluttering hearts and mistaken identities and madness?"The sound of the phone ringing downstairs made my heart leap."Yes," Tootsie said with wide eyes, holding tightly to my hand as I jumped up. "Yes, it is exactly like that.
Perhaps talk of counters turned the boy’s thoughts to his father’s glove shop. His father would have accounted for all his transactions using the tokens. They were hard and round and very thin, made of copper or brass. There were counters for one pair of gloves, and for two pairs, and three and four and five. But there was no counter for zero. No counters existed for all the sales that his father did not close.
If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.
Shakespeare's ambiguous lubricity in Venus is less disturbing than the bleakly moral emphasis of Lucrece, where virtue is so low-spirited, its exclamation so lachrymose and its justification the nasty realpolitik of Roman Republicanism. The sun has not dried the dew on the grass in Venus, but the ill-lit world of Livy's Rome darkens Lucrece. The first poem lives out of doors; the second is in a permanent chiaroscuro.
Brutus: Kneel not, gentle Portia.Portia: I should need not, if you were gentle Brutus. Within the bond of marriage, tell me, Brutus, Is it excepted I should know no secrets That appertain to you? Am I yourself But, as it were, in sort or limitation, To keep with you at meals, comfort your bed, And talk to you sometimes? Dwell I but in the suburbs Of your good pleasure? If it be no more, Portia is Brutus' harlot, not his wife.
How stand I, then,That have a father killed, a mother stained,Excitements of my reason and my blood,And let all sleep, while to my shame I seeThe imminent death of twenty thousand menThat for a fantasy and trick of fameGo to their graves like beds, fight for a plotWhereon the numbers cannot try the cause,Which is not tomb enough and continentTo hide the slain? O, from this time forthMy thoughts be bloody or be nothing worth!He exits.
