Quotes About Shakespeare

Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.

I believe strongly in what John Keats called negative capability: the trait or practice that allows a poet to remain in uncertainties, mysteries, doubts, without any irritable reaching after fact & reason. For Keats, William Shakespeare exemplified negative capability, and I do think it's extraordinary that for all the thousands of pages Shakespeare left behind, we really don't know much about Shakespeare's own personality or opinions.

I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.

Not Shakespeare. In college I took a Shakespeare class because I was an English major, and they had a Summer program called Shakespeare at Winedale, which is out in the German Hill country in Texas , where you go out and live for two months and then you perform three plays at the end of that time.

I think working on Shakespeare was a big part of my time at drama school. I'm so glad that I got to know Shakespeare and got a chance to play great parts in Shakespeare, because it really teaches you - or taught me, anyway - everything.

William Shakespeare was the most remarkable storyteller that the world has ever known. Homer told of adventure and men at war, Sophocles and Tolstoy told of tragedies and of people in trouble. Terence and Mark Twain told cosmic stories, Dickens told melodramatic ones, Plutarch told histories and Hans Christian Andersen told fairy tales. But Shakespeare told every kind of story – comedy, tragedy, history, melodrama, adventure, love stories and fairy tales – and each of them so well that they have become immortal. In all the world of storytelling he has become the greatest name.

England has two books, the Bible and Shakespeare. England made Shakespeare,but the Bible made England.

I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.

Shakespeare will never be made by the study of Shakespeare.

And Prometheus was flying directly toward them. William Shakespeare shifted uncomfortably in his seat. "Now, I've never been a warrior,and I know little about tactics,but shouldn't we be flying in the other direction?" They were close enough now to see the wide-eyed anpu in the nearest craft. "We will," Prometheus said. "Just as soon as the missiles explode." "Which missiles?" Shakespeare asked. "The two just behind us.

I had been in a Shakespeare company for three years and done a lot of Shakespeare. That was fun. That was interesting.

In school I really loved Shakespeare, and I participated in a country-wide Shakespeare competition.

There have only been two authentic geniuses in the world, Willie Mays and Willie Shakespeare and I think you'd better put Shakespeare first, darling.

And I just think that to introduce an unknown Shakespeare is thrilling, too - not to do Hamlet or Romeo and Juliet, to do the richer Shakespeare. People will come to this and not know the story.

English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.

American radio is the reverse of the Shakespearean stage. In Shakespeare's time the world's greatest dramas were acted with the most primitive technical arrangements; on the American air the world's most primitive writing is performed under perfect technical conditions.

A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.

Men of humor are always in some degree men of genius; wits are rarely so, although a man of genius may, amongst other gifts, possess wit, as Shakespeare.

Sometimes Joyce is hilarious. I read Finnegans Wake after graduate school and I had the great good fortune of reading it without any help. I don't know if I read it right, but it was hilarious! I laughed constantly! I didn't know what was going on for whole blocks but it didn't matter because I wasn't going to be graded on it. I think the reason why everyone still has so much fun with Shakespeare is because he didn't have any literary critic. He was just doing it; and there were no reviews except for people throwing stuff on stage. He could just do it.

Can't spell, can't spot fake Shakespeare, can't tell one wacky foreigner from another: it's increasingly obvious that Barbra is some deep sleeper planted by the Republicans to discredit the very concept of activist celebrities. Poor old Democrats, in thrall to her fundraising: people who need Barbra are the unluckiest people in the world.

My first time acting for camera really was for Steven Spielberg in War Horse. I was trained in theater and I was actually working in theater at the time. I had a small role with the Royal Shakespeare Company, which is a huge prestigious theater company back in England. I honestly thought that was as good as it got.

Shakespeare's personages live and move as if they had just come from the hand of God, with a life that, though manifold, is one, and, though complex, is harmonious.

What makes Shakespeare eternal is his grasp of psychology. He knew how to nail stuff about us as human beings.

The way Shakespeare wrote Fallstaff is with a heightened language and everything.

It was easier to do Shakespeare than a lot of modern movie scripts that are so poorly written.

Until I was a junior in high school, I was a "boy scientist" type and expected to go into chemistry. Then I discovered the humanities. I read the plays of Shakespeare voraciously, some novels, such as Pasternack's Dr. Zhivago and Sinclair Lewis' Main Street, and I got into philosophy by reading Kierkegaard and Nietzsche.

As for sex, well, I mean sex is a perfectly respectable subject as far as Shakespeare is concerned. I mean, all history is love and violence.

Literate households in the 17th century would have had the Bible, John Bunyan's "The Pilgrim's Progress," and a couple of other books. Shakespeare plays were cheap, so you could buy those, but a folio cost a pound, which was an incredible amount of money then.

Monarchs not only fashion their age, but are fashioned by it, so that they can become a sort of personification of the age. If Elizabeth I, independent, strong, represents the age of Shakespeare's heroines, a woman's heyday, Victoria represents another image of womanhood, predominant in the nineteenth century: a woman who, although queen in her own right, leaned on her husband, looked up to him, and went into perpetual mourning after his death. The feminist movement filled her with shocked horror and outrage.

I'd say our ability to supersize emotions are American-made special effects. In European countries, people mostly stay close to home and whatever rage there is simmers under the surface - it's what made the plays of Shakespeare and Harold Pinter so good.

Joy and grief are never far apart. In the same street the shutters of one house are closed, while the curtains of the next are brushed by shadow of the dance. A wedding-party returns from church, and a funeral winds to its door. The smiles and the sadness of life are the tragi-comedy of Shakespeare. Gladness and sighs brighten and dim the mirror he beholds.

Corneille is to Shakespeare as a clipped hedge is to a forest.

I sort of feel that the role of a portrait in society is to represent the sitters, we see paintings of Shakespeare and we believe that it is what he looked like, well maybe a little older, fatter and with a higher hairline. I guess it would be cool if the portraits that were painted really did look like the sitter or expressed some sort of emotion that gave the viewers in the future a sense of the sitter's pathos at the time it was painted.

I tend to look at the world more from Voltaire's perspective. Incidentally, if you haven't read Candide lately, it's a fabulous book. It's riotously, laugh-out-loud funny in a way that no Shakespeare comedy will ever be.

Shakespeare has had neither equal nor second.

Playing Shakespeare requires technique. You don't play a Bach toccata by getting in the mood.

The great works belong to no one nation, no one cultural tradition even. They are universal.I want an Australian vision of arts policy that is expansive, is embracing, is not narrow, is not parochial. For example, that Australians can do Shakespeare just as well as Englishmen can because we, like every civilised nation, partake of the great canonical works. It's not about Australian nationalism; it's about our identity as a culturally ambitious, culturally sophisticated nation.

I think there's a poet who wrote once a tragedy by Shakespeare, a symphony by Beethoven and a thunderstorm are based on the same elements. I think that's a beautiful line.

I think its sad that movies and television have caused the theatre to fade as a popular art form. I hope to get young people into the theatre and expose them to Shakespeare.

I've never done anything for money. My first love is things of limited commercial appeal. I could be happy doing Shakespeare for the rest of my life.

Shakespeare's stories are still very strong. He structured fantastic stories about things that were fundamental to the human being and psyche.

Shakespeare tells the same stories over and over in so many guises that it takes a long time before you notice.

It is a relief to read some true book, wherein all are equally dead,--equally alive. I think the best parts of Shakespeare would only be enhanced by the most thrilling and affecting events. I have found it so. And so much the more, as they are not intended for consolation.

Every artist is linked to a mistake with which he has a particular intimate relation. There is the mistake of Homer, of Shakespeare — which is perhaps, for both, the fact of not existing. Every art draws its origin from an exceptional fault, every work is the implementation of this original fault, from which come to us a new light and a risky conception of plenitude.

If Shakespeare were alive today, he might be writing on Twitter.

Shakespeare carries us to such a lofty strain of intelligent activity, as to suggest a wealth which beggars his own; and we then feel that the splendid works which he has created, and which in other hours we extol as a sort of self-existent poetry, take no stronger hold of real nature than the shadow of a passing traveller on the rock. The inspiration which uttered itself in Hamlet and Lear could utter things as good from day to day, for ever.

[Bob Dylan] is principally a recording artist, and if he weren't, it is unthinkable he would have had such an impact. He is to be heard first and read second. Well, what about plays, you could reasonably ask. Is [William] Shakespeare not great literature? Yes, obviously: but his work is great literature even to those who have never known it performed. The same is evidently not true of Dylan.

If those gentlemen would let me alone I should be much obliged to them. I would say, as Shakespeare would say... Sweet Friend, for Jesus sake forbear.