DOCSLIB.ORG

The Best William Shakespeare Quotes Love Quotes From

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Best William Shakespeare Quotes Love Quotes From The Best William Shakespeare Quotes Shakespeare Quotes on Love, Life, Dream, Friendship William Shakespeare, one of the most prominent British writers, wrote many famous plays like Romeo and Juliet, Macbeth, Hamlet, Othello, The Tempest, Julius Caesar, Twelfth Night, The Merchant of Venice, and so on. Shakespeare’s literary works portray everything related to human life – love, dream, revenge, mystery, friendship etc. This post includes some very famous Shakespeare quotes. The following Shakespeare quotes are very well known, and many people do use these quotes on various occasions. I hope you will love this collection of Shakespeare Quotes on different topics. Love Quotes from ‘Antony & Cleopatra’ Her passions are made of nothing but the finest part of pure love In time we hate that which we often fear. The stroke of death is as a lover’s pinch, Which hurts and is desired Age cannot wither her, nor custom stale her infinite variety. Where souls do couch on flowers we’ll hand in hand… There’s beggary in love that can be reckoned Shakespeare Quotes on love from ‘Othello’ She loved me for the dangers I had passed, And I loved her that she did pity them I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip Excellent wretch! Perdition catch my soul, but I do love thee, and when I love thee not, chaos is come again His unkindness may defeat my life, But never taint my love I humbly do beseech of your pardon, For too much loving you Shakespeare Love Quotes from ‘Much Ado About Nothing’ Speak low if you speak love I love you with so much of my heart that none is left to protest. Love goes by haps; Some Cupid kills with arrows, some with traps She will die if you love her not, And she will die ere she might make her love known I will not be sworn but love may transform me to an oyster I had rather hear my dog bark at a crow than a man swear he loves me Shakespeare Quotes on Love from ‘As You Like It’ I pray you, do not fall in love with me, For I am falser than vows made in wine Who ever loved that loved not at first sight? Men have died from time to time, and worms have eaten them, but not for love In thy youth wast as true a lover, As ever sighed upon a midnight pillow Love hath made thee a tame snake They are in the very wrath of love, and they will go together. Clubs cannot part them Mistress, you know yourself, down on your knees, And thank heaven, fasting, for a good man’s love Shakespeare Quotes from ‘Romeo and Juliet’ Love is a smoke and is made with the fume of sighs If love be blind, love cannot hit the mark. Is love a tender thing? It is too rough, Too rude, too boisterous, and it pricks like thorn. Love moderately. Long love doth so. Too swift arrives as tardy as too slow. O teach me how I should forget to think. Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof Some grief shows much of love, But much of grief shows still some want of wit. Out of her favour, where I am in love. Lovers can do their amorous rites by their own beauties Don’t waste your love on somebody, who doesn’t value it. My only love sprung from my only hate. This bud of love by summer’s ripening breath, May prove a beauteous flower when next we meet Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out. I talk of dreams, which are the children of an idle brain That all the world will be in love with night And pay no worship to the garish sun. There’s no trust, No faith, no honesty in men; all perjured, All forsworn, all naught, all dissemblers. Under loves heavy burden do I sink. I have more care to stay, than will to go. Do not swear by the moon, for she changes constantly. Then your love would also change. If love be rough with you, be rough with love; Prick love for pricking, and you beat love down. .
Load more

Recommended publications
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • 1 Shakespeare and Film
    Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon.
    [Show full text]
  • No Fear Shakespeare – Othello (By Sparknotes, Transcription by Alex Woelffer) -1
    No Fear Shakespeare – Othello (by SparkNotes, transcription by Alex Woelffer) -1- Original Text Modern Text Act 1, Scene 1 Enter RODMERIGO and IAGO RODERIGO and IAGO enter. RODERIGO RODERIGO Tush! Never tell me. I take it much unkindly Come on, don’t tell me that. I don’t like it that you That thou, Iago, who hast had my purse knew about this, Iago. All this time I’ve thought As if the strings were thine, shouldst know of this. you were such a good friend that I’ve let you spend my money as if it was yours. IAGO IAGO 'Sblood, but you’ll not hear me! If ever I did dream of Damn it, you’re not listening to me! I never such a matter, abhor me. dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO RODERIGO Thou told’st me You told me you hated him. Thou didst hold him in thy hate. IAGO IAGO Despise me I do hate him, I swear. Three of Venice’s most If I do not. Three great ones of the city important noblemen took their hats off to him and 10 (In personal suit to make me his lieutenant) asked him humbly to make me his lieutenant, the Off-capped to him, and by the faith of man second in command. And I know my own worth I know my price, I am worth no worse a place. well enough to know I deserve that position. But But he (as loving his own pride and purposes) he wants to have things his own way, so he Evades them with a bombast circumstance sidesteps the issue with a lot of military talk and 15 Horribly stuffed with epithets of war, refuses their request.
    [Show full text]
  • Shakespeare's Othello Beyond the Boundaries of the Page
    http://dx.doi.org/10.5007/2175-7917.2015v20n2p11 SHAKESPEARE’S OTHELLO BEYOND THE BOUNDARIES OF THE PAGE: AN ANALYSIS OF TWO FILMIC PRODUCTIONS Camila Paula Camilotti* Universidade Federal de Santa Catarina Abstract: This article aims at observing and analyzing two filmic productions ofWilliam Shakespeare’s Othello. The first, entitled Othello, was directed, produced and starred by Orson Welles in 1952 andthe second, also entitled Othello, was directed by Oliver Parker in 1995. My main interest in studying these two filmic productions is to observe – based on the notions of theatrical adaptation by Jay Halio (2000), Patrice Pavis (1992), and Allan Dessen (2002) – how each director constructed the seduction moment that happens in Scene III, Act III of Shakespeare’s playtext in their filmic productions. The analysis proves that two different conceptions, separated in time and space, are capable of making Shakespeare’s timelessness transcend and make the modern spectators aware of the fact that the human artistic capacity is able to cross unimaginable limits of creativity and transform a great literary work of art in a great (filmic or theatrical) spectacle. Keywords: Shakespeare’s Othello. Welles’ Othello. Parker’s Othello. Conception. I have’t. It is engendered. Hell and night Must bring this monstrous birth to the world’s light. (II.I 403-404) Whenever a text (in this case, a Shakespearian playtext) crosses the boundaries of the page to live in a theatrical or cinematic medium, with all its visual (and sonorous) elements,it has inevitably to go through several alterations in order to be seen and heard by an audience, in a certain time and space.
    [Show full text]
  • OTHELLO by William Are, M Shakespeare Ew Y B Lo , R D O
    SHADY SHAKESPEARE THEATRE COMPANY PROUDLY PRESENTS OTHELLO by William are, m Shakespeare ew y b lo , r d O , “ o f j e a l o u s ” y … July 25-August 29 at Sanborn Park WWW.SHADYSHAKES.ORG SHADY SHAKESPEARE THEATRE COMPANY PROUDLY PRESENTS Pride & Prejudice by Jane Austen Adapted for the stage by Joseph Hanreddy and J.R. Sullivan “You must allow me to tell you how ardently I admire and love you.” August 1 - 31 at Sanborn Park Table of Contents Othello Cast ....................................................................................... 2 Othello Synopsis ................................................................................ 2 Othello Director’s Notes ................................................................... 3 Pride and Prejudice Cast ..................................................................... 4 Pride and Prejudice Synopsis .............................................................. 4 Pride and Prejudice Director’s Notes ................................................. 5 2014 Shady Shakespeare Crew ......................................................... 8 A Note from the Managing Director ............................................... 9 Artist Biographies ........................................................................... 10 2014 Sanborn Park Season Schedule ............................................. 13 2014 Season Sponsors .................................................................... 17 2014 Donors ..................................................................................
    [Show full text]
  • OTHELLO Excellent Wretch! Perdition Catch My Soul, but I Do Love Thee! and When I Love Thee Not, Chaos Is Come Again
    OTHELLO Excellent wretch! Perdition catch my soul, But I do love thee! and when I love thee not, Chaos is come again. IAGO My noble lord-- OTHELLO What dost thou say, Iago? IAGO Did Michael Cassio, when you woo'd my lady, Know of your love? OTHELLO He did, from first to last: why dost thou ask? IAGO But for a satisfaction of my thought; No further harm. OTHELLO Why of thy thought, Iago? IAGO I did not think he had been acquainted with her. OTHELLO O, yes; and went between us very oft. IAGO Indeed! OTHELLO Indeed! ay, indeed: discern'st thou aught in that? Is he not honest? IAGO Honest, my lord! OTHELLO Honest! ay, honest. IAGO My lord, for aught I know. OTHELLO What dost thou think? IAGO Think, my lord! OTHELLO Think, my lord! By heaven, he echoes me, As if there were some monster in his thought Too hideous to be shown. Thou dost mean something: I heard thee say even now, thou likedst not that, When Cassio left my wife: what didst not like? And when I told thee he was of my counsel In my whole course of wooing, thou criedst 'Indeed!' And didst contract and purse thy brow together, As if thou then hadst shut up in thy brain Some horrible conceit: if thou dost love me, Show me thy thought. IAGO My lord, you know I love you. OTHELLO I think thou dost; And, for I know thou'rt full of love and honesty, And weigh'st thy words before thou givest them breath, Therefore these stops of thine fright me the more: For such things in a false disloyal knave Are tricks of custom, but in a man that's just They are close delations, working from the heart That passion cannot rule.
    [Show full text]
  • Othello and Omkara
    Self Love: A Study of Narcissistic Leadership in Film - Othello and Omkara Naheed P. Malbari and Dr. Amanat Ali Jalbani SZABIST Karachi, Pakistan Abstract: In leadership studies, many authors and writers, narcissistic where the latter term was given a negative basically, use examples of real life heroes both historical connotation. and contemporary models, yet the impact of fictional characters is underrated. This interdisciplinary study is This study is not one of psychoanalytical prognosis one such, which fuses many disciplines, namely but one seeing leaders and leadership qualities through the psychology, social science, literature and cinema and same. Thus, the focus is different. religion into one; and to understand the impact it can have The researcher wishes to explore the concept of on people. Narcissistic leadership trait is, therefore, the Narcissistic leadership in film and view things with a subject of study. differing perspective to see the extent to which Cinema, both western and eastern, has depicted this Shakespeare’s main character has influenced others in element. Shakespeare’s plays have often portrayed this cinematic representations of both movies and to denote concept. Thus, I take Othello and Omkara, the Indian what narcissistic leadership qualities Othello and Omkara Shakespearean version and show how each director chose have in common and where they differ. to depict this trait of leadership. Narcissism normally means self-obsession. This complex The interdisciplinary, comparative and descriptive psychological trait is explained keeping in mind recent study focuses on how film can make the understanding of published works by many prominent thinkers, both on a complex psychological phenomenon, like narcissism, an narcissism as well as on leadership (in other words understandable trait for the common man.
    [Show full text]
  • Http//:Daathvoyagejournal.Com Editor: Saikat Banerjee Department Of
    http//:daathvoyagejournal.com Editor: Saikat Banerjee Department of English Dr. K.N. Modi University, Newai, Rajasthan, India. : An International Journal of Interdisciplinary Studies in English ISSN 2455-7544 www.daathvoyagejournal.com Vol.1, No.4, December, 2016 Shakespeare on Celluloid, Focusing Vishal Bhardwaj’s Haider Dr. Deepa Vanjani Assistant Professor & Head, Dept. of English P.M.B. Gujarati Science College, Indore Abstract: Shakespeare’s legacy lives on. The legacy is by no means a lean one. The immense canvas with mind-boggling characters set in diverse geographical regions remains unparalleled in English drama, as does his rich linguistic legacy. The greatness of William Shakespeare is his contemporariness. It is therefore quite explainable as to how interest in his works never wanes. The profound impact of his plays on cinema has not gone unnoticed. The 21st century has done very well in keeping Shakespeare alive on celluloid. The adaptations of his plays into films have been numerous. In fact film makers have done remarkably well in reinterpreting the Bard’s plays in many languages and thus broadening the reach of his pen. In India film maker Vishal Bhardwaj has succeeded in adapting successfully three tragedies of Shakespeare into three films namely ‘Maqbool’, ‘Omkara’ and ‘Haider’. The three films have received accolades for their dextrous handling of the plot and characters in the three plays they have been inspired by namely ‘Macbeth’, ‘Othello’ and ‘Hamlet’ respectively. The present paper attempts to look into adaptations of Shakespeare’s plays into cinema, in particular Vishal Bhardwaj’s films with the focus being ‘Haider’ made in the year 2014, looking at how he has endeavoured to make alterations in his screenplay and how he fits the Prince of Denmark into present day Kashmir.
    [Show full text]
  • Gass Catch My Soul Mp3, Flac, Wma
    Gass Catch My Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul / Stage & Screen Album: Catch My Soul Country: UK & Europe Released: 1971 Style: Gospel, Funk, Soul, Southern Rock, Musical MP3 version RAR size: 1873 mb FLAC version RAR size: 1777 mb WMA version RAR size: 1365 mb Rating: 4.5 Votes: 975 Other Formats: AAC ASF TTA WAV DMF AUD XM Tracklist A1a Goats And Monkeys A1b Wedding Chant A2 Ballad Of Catch My Soul A3 Drunk A4 If Wives Do Fall A5 Cannikins B1 Put Out The Light B2 You Told A Lie B3 Very Well-Go To B4 Willow B5 Seven Days And Night B6 Why B7a Black On White B7b Death Chant Credits Bass – DeLisle Harper Co-producer, Vocals – Jack Good Drums – Godfrey Mclean Flute – David Coxhill, Geoff Driscoll Guitar – Robert Tench* Music By – Ray Pohlman Organ – Derek Austin Percussion – Lennox Langton* Piano – Derek Austin Producer – Peter Knight* Saxophone – David Coxhill, Geoff Driscoll, Phil Kenzie Tin Whistle – Geoff Driscoll Trombone – John Bennett Trumpet – Bob Thompson, Keith Maynard Vocals – Robert Tench*, DeLisle Harper, Jeffry Wickham, Lance Le Gault, P.J. Proby, P.P. Arnold, Sharon Gurney Vocals, Music By – Emil Dean Zoghby* Notes The cover of this album states that the record was an original UK cast recording of Jack Good's "Catch My Soul-Rock Othello" with music as interpreted by Gass. Related Music albums to Catch My Soul by Gass 1. Big Eye Louis Nelson Delisle - American Music By Big Eye Louis Nelson Delisle 2. Colin Tench Project - Hair in a G-String 3.
    [Show full text]
  • From Shakespearean Text to Cinema: a Study of Select Dramaturgic Adaptations
    FROM SHAKESPEAREAN TEXT TO CINEMA: A STUDY OF SELECT DRAMATURGIC ADAPTATIONS THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Doctor of philosophy In English By FATIMAH JAVED UNDER THE SUPERVISION OF PROF. SAMINA KHAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (U.P) INDIA 2017 Professor Samina Khan Department of English Aligarh Muslim University, Aligarh Phone No: 09997398308 [email protected] Certificate Certified that the thesis entitled “From Shakespearean Text to Cinema: A Study of Select Dramaturgic Adaptations” submitted by Ms. Fatimah Javed for the award of the degree of the Doctor of Philosophy is an original work carried out under my supervision and has not been submitted, in part or full, to this University or any other University. Prof. Samina Khan Date: Supervisor Acknowledgements I am sincerely indebted to all those people who have helped, guided and encouraged me while I was working on my thesis. First and foremost, I thank my supervisor, Prof. Samina Khan who appreciated the idea and supported me at each and every phase of my research. I owe her my heartfelt gratitude for being there as my guide. This work would not have been possible without her able guidance and support. I would like to thank the Chairperson, Department of English, for her help and support. I would also like to extend a big thanks to Dr. Jawed S. Ahmad for his diligent proofreading of my various chapters. I am equally thankful to Dr. Akbar Joseph A. Syed and Dr. Rashmi Attri for their valuable suggestions and feedback. I also thank my friend Dr.
    [Show full text]
  • Othello FM.Qxd 1/14/05 9:25 AM Page I
    Othello FM.qxd 1/14/05 9:25 AM Page i OTHELLO THE MOOR OF VENICE William Shakespeare WITH RELATED READINGS THE EMC MASTERPIECE SERIES Access Editions EMC/Paradigm Publishing St. Paul, Minnesota Othello FM.qxd 1/21/05 12:09 PM Page ii Staff Credits Laurie Skiba Shelley Clubb Managing Editor Production Manager Brenda Owens Lisa Beller Editor Design and Production Specialist Jennifer J. Anderson Petrina Nyhan Associate Editor Electronic Production Specialist Nichola Torbett Leslie Anderson Associate Editor Cover Designer Paul Spencer Parkwood Composition Art and Photo Researcher Compositor Valerie Murphy Cheryl Drivdahl Editorial Assistant Proofreader Cover image: Paul Robeson as Othello and Peggy Ashcroft as Desdemona in a stage production of Othello, London, 1930. © Bettmann/Corbis. [back cover] Engraving of William Shakespeare from the First Folio, courtesy of the Library of Congress. Library of Congress Cataloging-in-Publication Data Shakespeare, William, 1564–1616. Othello : the Moor of Venice / by William Shakespeare ; with related readings. p. cm. – (The EMC masterpiece series access editions) ISBN 0-8219-2956-9 1. Othello (Fictitious character)—Drama. 2. Shakespeare, William, 1564- 1616. Othello. 3. Othello (Fictitious character) 4. Venice (Italy)—Drama. 5. Jealousy—Drama. 6. Muslims—Drama. 7. Cyprus—Drama. I. Title. II. Series. PR2829.A1 2004 822.3’3—dc22 2004053207 ISBN 0-8219-2956-9 Copyright © 2005 by EMC Corporation All rights reserved. No part of this publication may be adapted, reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without permission from the publisher. Published by EMC/Paradigm Publishing 875 Montreal Way St.
    [Show full text]