'As You Like It' Quotes

William Shakespeare
The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London.
Born	Baptised 26 April 1564 (birth date unknown) Stratford-upon-Avon, Warwickshire, England
Died	23 April 1616 (aged 52) Stratford-upon-Avon, Warwickshire, England
Occupation	Playwright, poet, actor
Literary movement	English Renaissance theatre
Spouse(s)	Anne Hathaway (m. 1582–1616) «start: (1582)–end+1: (1617)»"Marriage: Anne Hathaway to William Shakespeare" Location: (linkback:http://en.wikipedia.org/wiki/William_Shakespeare)
Children	Susanna Hall Hamnet Shakespeare Judith Quiney
Relative(s)	John Shakespeare (father) Mary Shakespeare (mother)

"All the world 's a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts" - ( Quote Act II, Scene VII).

"Can one desire too much of a good thing?". As You Like It ( Quote Act IV, Sc. I).

"I like this place and willingly could waste my time in it" - ( Quote Act II, Scene IV).

"How bitter a thing it is to look into happiness through another man's eyes!" As You Like It ( Quote Act V, Sc. II).

"Blow, blow, thou winter wind! Thou art not so unkind as man's ingratitude". ( Quote Act II, Scene VII).

"True is it that we have seen better days". - ( Quote Act II, Scene VII).

"For ever and a day". As You Like It  ( Quote Act IV, Sc. I).

"The fool doth think he is wise, but the wise man knows himself to be a fool". - ( Quote Act V, Scene I).

Julius Caesar/ Shakespeare Quotes

"Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him". Quote (Act III, Scene II).

"But, for my own part, it was Greek to me". -  Julius Caesar Quote (Act I, Scene II).

"A dish fit for the gods". Quote (Act II, Scene I).

"Cry "Havoc," and let slip the dogs of war". Julius Caesar Quote (Act III, Sc. I).

"Et tu, Brute!" Quote (Act III, Scene I).

"Men at some time are masters of their fates: The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings". - (Quote Act I, Scene II).

"Not that I loved Caesar less, but that I loved Rome more". Quote (Act III, Scene II).

"Beware the ides of March". - (Quote Act I, Scene II).

"This was the noblest Roman of them all". - (Quote Act V, Sc. V).

"When that the poor have cried, Caesar hath wept: Ambition should be made of sterner stuff". - (Quote Act III, Sc. II).

"Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous" Julius Quote  (Act I, Scene II).

"For Brutus is an honourable man; So are they all, all honourable men". - (Quote Act III, Sc. II).

"As he was valiant, I honour him; but, as he was ambitious, I slew him" . Quote (Act III, Sc. II).

"Cowards die many times before their deaths;

The valiant never taste of death but once.

Of all the wonders that I yet have heard, it seems to me most strange that men should fear;
Seeing that death, a necessary end, will come when it will come.. .

A Midsummer Night's Dream/ Shakespeare Quotes.

"The course of true love never did run smooth". Quote (Act I, Scene I).

"Love looks not with the eyes, but with the mind, and therefore is winged Cupid painted blind". Quote  (Act I, Scene I)

That would hang us, every mother’s son. A Midsummer Night’s Dream Quote. Act i. Scene.2

I ’ll put a girdle round about the earth In forty minutes. Quote  Act ii. Scene. 1

My heart Is true as steel. A Midsummer Night’s Dream Quote. Act ii. Scene. 1.

I know a bank where the wild thyme blows,
Where oxlips and the nodding violet grows,
Quite over-canopied with luscious woodbine,
With sweet musk-roses and with eglantine.
A Midsummer Night’s Dream Quote. Act ii. Scene.1

The true beginning of our end. A Midsummer Night’s Dream Quote. Act v. Scene.1 .

Macbeth / Shakespeare Quotes

"There 's daggers in men's smiles". - ( Quote Act II, Sc. III).

"what 's done is done". Macbeth ( Quote Act III, Scene II).

"I dare do all that may become a man; Who dares do more is none". Macbeth Quote  (Act I, Sc. VII).

"Fair is foul, and foul is fair". - ( Quote Act I, Scene I).

"I bear a charmed life". Macbeth Quote (Act V, Sc. VIII).

"Yet do I fear thy nature; It is too full o' the milk of human kindness." Macbeth Quote (Act I, Scene V).

"Will all great Neptune's ocean wash this blood clean from my hand? No, this my hand will rather the multitudinous seas incarnadine, making the green one red" Macbeth Quote (Act II, Sc. II).

"Double, double toil and trouble; Fire burn, and cauldron bubble." Macbeth Quote (Act IV, Scene I).

"Out, damned spot! out, I say!" - ( Quote Act V, Scene I).

"All the perfumes of Arabia will not sweeten this little hand." Macbeth Quote (Act V, Sc. I).

"When shall we three meet again in thunder, lightning, or in rain? When the hurlyburly 's done,
When the battle 's lost and won". Macbeth Quote (Act I, Scene I).

"If chance will have me king, why, chance may crown me". Macbeth Quote (Act I, Scene III).

"Nothing in his life became him like the leaving it; he died as one that had been studied in his death to throw away the dearest thing he owed, as 't were a careless trifle". - ( Quote Act I, Sc. IV).

"Look like the innocent flower, but be the serpent under 't." Macbeth Quote (Act I, Scene V).

"I have no spur to prick the sides of my intent, but only vaulting ambition, which o'erleaps itself, and falls on the other." - ( Quote Act I, Scene VII).

"Is this a dagger which I see before me, The handle toward my hand?" Macbeth Quote (Act II, Scene I).

"Out, out, brief candle! Life's but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more: it is a tale told by an idiot, full of sound and fury, signifying nothing." Macbeth Quote (Act V, Scene V).

"My mistress' eyes are nothing like the sun" / sonnet 130.

My mistress' eyes are nothing like the sun;

Coral is far more red than her lips' red;

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damask'd, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

That music hath a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks, treads on the ground.

And yet, by heaven, I think my love as rare
As any she belied with false compare.
     

Let me not to marriage of true minds admit impediments/ sonnet 116

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 wandering bark,

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.

Oberon, Titania and Puck with Fairies Dancing/ William Blake

 

 

Shakespeare's works provided Blake with many themes; he drew on 13 of the plays for his subject matter. 'Oberon,Titania and Puck with Fairies Dancing' illustrates the closing moments of 'A Midsummer Night's Dream', when the reconciled Oberon and Titania make their final entry. (V ii 21-30)

Oberon-Through the house give gathering light,
By the dead and drowsy fire:
Every elf and fairy sprite
Hop as light as bird from brier;
And this ditty, after me,
Sing, and dance it trippingly.

Titania-First, rehearse your song by rote
To each word a warbling note:
Hand in hand, with fairy grace,
Will we sing, and bless this place.

Ophelia in paintings of John William Waterhouse

Ophelia, a beautiful young woman, is the young daughter of Polonius, the sister of Laertes, and Hamlet's love interest. In the play 'Hamlet', Ophelia is caught between her obedience to her father and her love for Hamlet, which has tragic consequences.  Her whole character is that of simple unselfish affection. Even though her love for Hamlet is strong, she obeys her father when he tells her not to see Hamlet again or accept any letters that Hamlet writes. Her heart is pure, and when she does do something dishonest, such as tell Hamlet that her father has gone home when he is really behind the curtain, it is out of genuine fear. Ophelia clings to the memory of Hamlet treating her with respect and tenderness, and she defends him and loves him to the very end despite his brutality.


As in the play, so in visual asts, she has been portrayed as a beautiful young woman with dainty, slender figure and long flowing hair. Not a tragic heroine—but, rather, pure tragedy—she is the Prince of Denmark’s (Hamlet’s) lover and experiences hopeless suffering as a result of her love. She witnesses the progression of his feigned madness, while enduring cruel and humiliating rejection. Ophelia is set up as a pawn by her own father to manipulate Hamlet, but will eventually discover that the Prince has violently murdered her father. Unable to cope, she falls into true madness, and commits suicide by drowning. Shakespeare intensifies the tragic nature of her character, specifically her victimization by men, by making her die offstage. Even in death, she is marginalized. Ophelia simply fades, drops into the water, and drifts away—like flower petals. Mostly associated with wild flowers during her phase of madness, she has always been a favorite tragic character of the visual artists.


J.W. Waterhouse, an English painter (1849-1917) was known to work in the Pre-Raphaelite manner and also adopted the techniques of Impressionism in his later paintings. He borrowed themes from Shakespeare's plays and often illustrated them time and again. His fascination for Shakespeare is self-evident in his visual renderings of Ophelia. He painted three versions of Ophelia, all of which portray her in various stages before her death.

 

Waterhouse’s first Ophelia in 1889 depicts a young woman lying in a field with hair and dress disheveled gazing past the viewer.The artist has effectively integrated Ophelia with her landscape, entwining flowers in her hair on her dress and in her hands. Unfortunately, the tilt of her head and blank stare make it difficult to determine her thoughts. A stream is pictured in the background, which is as difficult to detect as the subject’s identity to an unknowing viewer.

In contrast, Waterhouse’s 1894 version seats Ophelia on a log, extending out into a pond of lilies in the last moments before her death. Her opulent dress strong contrasts her natural surroundings, but once again Waterhouse has placed flowers on her lap and in her hair tying her into her natural surroundings. She stares out into the dark water, giving the onlooker a profile view of her strangely solemn face. This expression does not seem to accurately portray a woman who has decided to take her own life. Much like the previous Ophelia, the subject looks distant.

This is the last of three paintings on Ophelia; it was exhibited at the Royal Academy in 1910. John Christian remarks that the painting is stylistically interesting in that "the picture shows how Waterhouse combined Pre-Raphaelite subject matter with a bold impressionistic technique. Most English artists who adopted this method, notably the so-called Newlyn School, rejected the literary themes of the Pre-Raphaelites to paint scenes from modern life. Waterhouse, who knew many of the Newlyn artists, was unusual in attempting to bridge the gulf between the Pre-Raphaelite and realist traditions that divided British art from the 1880's on" (191). Striking too is how Waterhouse departs from the tradition elaborated over the decades; the girlish Ophelia dressed in a simple gown of virginal white is replaced with a voluptuous, mature young woman in a tailored blue and crimson gown with elegant gold embroidery. Two children in contemporary clothing look undiscerningly from the bridge, unaware that Ophelia presses on towards her fate.
 
It is interesting to note that the three portrayals of Ophelia by Waterhouse form a progression of the moments leading up to her death. In the first, she is young lying in a field, with the stream far behind her. The second portrays a slightly older Ophelia sitting closer to the water, but still appearing distant from her future fate and the viewer. The final painting of Ophelia depicts the subject as a mature woman confronting not only the viewer but also the choice in front of her.