Best 92 quotes in «hamlet quotes» category

We all still show too little respect for nature, which in Leonardo's deep words recalling Hamlet's speech "is full of infinite reasons which never appeared in experience." Every one of us human beings corresponds to one of the infinite experiments in which these "reasons of nature" force themselves into experience.

We are arrant knaves all, believe none of us.

what a silly, frail, and forward pieces are the best of men (647)!

We defy augury. There is special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come—the readiness is all. Since no man, of aught he leaves, knows what is't to leave betimes, let be. (Hamlet 5.2.217-224)

When art is made new, we are made new with it. We have a sense of solidarity with our own time, and of psychic energies shared and redoubled, which is just about the most satisfying thing that life has to offer. 'If that is possible,' we say to ourselves, 'then everything is possible'; a new phase in the history of human awareness has been opened up, just as it opened up when people first read Dante, or first heard Bach's 48 preludes and fugues, or first learned from Hamlet and King Lear(/I> that the complexities and contradictions of human nature could be spelled out on the stage. This being so, it is a great exasperation to come face to face with new art and not make anything of it. Stared down by something that we don't like, don't understand and can't believe in, we feel personally affronted, as if our identity as reasonably alert and responsive human beings had been called into question. We ought to be having a good time, and we aren't. More than that, an important part of life is being withheld from us; for if any one thing is certain in this world it is that art is there to help us live, and for no other reason.

Who would fardels bear, To groan and sweat under a weary life, But that the dread of something after death, The undiscovered country, from whose bourn No traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of? Thus, conscience does make cowards of us all;

Well said, old mole!

A murderer and a villain; a slave that is not twentieth part the tithe of your precedent lord; a vice of kings; a cutpurse of the empire and the rule

And these few precepts in thy memory Look thou character. Give thy thoughts no tongue, Nor any unproportioned thought his act. Be thou familiar but by no means vulgar. Those friends thou hast, and their adoption tried, Grapple them unto thy soul with hoops of steel, But do not dull thy palm with entertainment Of each new-hatched, unfledged comrade.

¿Aparentar? No señora, yo no sé aparentar. Ni el color negro de este manto, ni el traje acostumbrado en solemnes lutos, ni los interrumpidos sollozos, ni en los ojos un abundante río, ni la dolorida expresión del semblante, junto con las fórmulas, los ademanes, las exterioridades de sentimiento; bastarán por sí solos, mi querida madre, a manifestar el verdadero afecto que me ocupa el ánimo. Estos signos aparentan, es verdad; pero son acciones que un hombre puede fingir... Aquí, aquí dentro tengo lo que es más que apariencia, lo restante no es otra cosa que atavíos y adornos del dolor.

Así acontece frecuentemente a los hombres. Cualquier defecto natural en ellos, sea el de su nacimiento, del cual no son culpables (puesto que nadie puede escoger su origen), sea cualquier desorden ocurrido en su temperamento, que muchas veces rompe los límites y reparos de la razón, o sea cualquier hábito que se aparte demasiado de las costumbres recibidas llevando a estos hombres consigo el signo de un solo defecto que imprimió en ellos la naturaleza o el acaso, aunque sus virtudes fuesen tantas cuantas es concedido a un mortal, y tan puras como la bondad celeste; serán no obstante amancilladas en el concepto público, por aquel único vicio que las compaña. Un solo adarme de mezcla quita el valor al más precioso metal y le envilece.

Act – make an event. Smash the coordinates and see where the smithereens fly. Let in the madness, and be sure to be a danger to oneself and others. Too much thinking turns you into that fool Hamlet.

A vontade e o destino andam tanto a contrário que o mais leve projeto é sempre letra morta.

As Hamlet said to Ophelia, ”God has given you one face, and you make yourself another." The battle between these two halves of identity...Who we are and who we pretend to be, is unwinnable. "Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness, within each of us is the capacity for both good and evil. But those who are able to blur the moral dividing line hold the true power.

Clement, usually a fluent speaker in any situation, could hear his voice assuming a pompous and affected tone, not unlike that which many actors use (wrongly in Clement's view) when playing Polonius.

Danny strolled to the town common, sat on one of the benches in Teenytown and took one of the bottles out of the bag, looking down on it like Hamlet with Yorick's skull

Doing nothing was as honourable as any available course of action. Think of Hamlet, think of Job, think of Jesus before Pilate.

Even truth can be deceptive, whatever its appearance.

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

At være eller ikke være - det gider vi sgu ikke lære!

But I have that within which passes show. these but the trappings and the suits of woe

Existir o no existir, ésta es la cuestión. ¿Cuál es más digna acción del ánimo, sufrir los tiros penetrantes de la fortuna injusta, u oponer los brazos a este torrente de calamidades, y darlas fin con atrevida resistencia? Morir es dormir. ¿No más? ¿Y por un sueño, diremos las aflicciones se acabaron y los dolores sin número, patrimonio de nuestra débil naturaleza?... Este es un término que deberíamos solicitar con ansia. Morir es dormir... y tal vez soñar.

Do you see yonder cloud that's almost in shape of a camel?

GUIL: It [Hamlet's madness] really boils down to symptoms. Pregnant replies, mystic allusions, mistaken identities, arguing his father is his mother, that sort of thing; intimations of suicide, forgoing of exercise, loss of mirth, hints of claustrophobia not to say delusions of imprisonment; invocations of camels, chameleons, capons, whales, weasels, hawks, handsaws -- riddles, quibbles and evasions; amnesia, paranoia, myopia; day-dreaming, hallucinations; stabbing his elders, abusing his parents, insulting his lover, and appearing hatless in public -- knock-kneed, droop-stockinged and sighing like a love-sick schoolboy, which at his age is coming on a bit strong. ROS: And talking to himself. GUIL: And talking to himself.

God has given you one face, and you make yourselves another . . .

Fais-le-moi vite connaître, pour qu'avec des ailes rapides comme l'idée ou les pensées de l'amour, je vole à la vengeance ! (Hamlet, Acte I, Scène V)

He dodged remarkably fast for a melancholy introvert.

How weary, stale, flat, and unprofitable seem to me all the uses of this world.

HAMLET I will receive it sir with all diligence of spirit. Put your bonnet to his right use, 'tis for the head. OSRIC I thank you lordship, it is very hot. HAMLET No believe me, 'tis very cold, the wind is northerly. OSRIC It is indifferent cold my lord, indeed. HAMLET But yet methinks it is very sultry and hot for my complexion. OSRIC Exceedingly my lord, it is very sultry, as 'twere - I cannot tell how. But my lord, his majesty bade me signify to you that a has laid a great wager on your head. Sir, this is the matter - HAMLET I beseech you remember. (Hamlet moves him to put on his hat)

Her gaze wavered towards one of the books on the sales counter beside the register, a hardcover copy of Shakespeare’s Hamlet with many of the pages dog-eared and stained with coffee and tea. The store owner caught her looking at it and slid it across the counter towards her. “You ever read Hamlet?” he questioned. “I tried to when I was in high school,” said Mandy, picking up the book and flipping it over to read the back. “I mean, it’s expected that everyone should like Shakespeare’s books and plays, but I just….” her words faltered when she noticed him laughing to himself. “What’s so funny, Sir?” she added, slightly offended. “…Oh, I’m not laughing at you, just with you,” said the store owner. “Most people who say they love Shakespeare only pretend to love his work. You’re honest Ma’am, that’s all. You see, the reason you and so many others are put-off by reading Shakespeare is because reading his words on paper, and seeing his words in action, in a play as they were meant to be seen, are two separate things… and if you can find a way to relate his plays to yourself, you’ll enjoy them so much more because you’ll feel connected to them. Take Hamlet for example – Hamlet himself is grieving over a loss in his life, and everyone is telling him to move on but no matter how hard he tries to, in the end all he can do is to get even with the ones who betrayed him.” “…Wow, when you put it that way… sure, I think I’ll buy a copy just to try reading, why not?” Mandy replied with a smile.

He was digging in his garden--digging, too, in his own mind, laboriously turning up the substance of his thought. Death--and he drove in his spade once, and again, and yet again. And all our yesterdays have lighted fools they way to dusty death. A convincing thunder rumbled through the words. He lifted another spadeful of earth. Why had Linda died? Why had she been allowed to become gradually less than human and at last... He shuddered. A good kissing carrion. He planted his foot on his spade and stamped it fiercely into the tough ground. As flies to wanton boys are we to the gods; they kills us for their sport. Thunder again; words that proclaimed themselves true--truer somehow than truth itself. And yet that same Gloucester had called them ever-gentle gods. Besides, thy best of rest is sleep, and that thou oft provok'st; yet grossly fear'st thy death which is no more. No more than sleep. Sleep. Perchance to dream. His spade struck against a stone; he stooped to pick it up. For in that sleep of death, what dreams...?

Hamlet' dwarfs 'Hamilton' - it dwarfs pretty much everything - but there's a revealing similarity between them. Shakespeare's longest play leaves its audience in the dark about some basic and seemingly crucial facts. It's not as if the Bard forgot, in the course of all those words, to tell us whether Hamlet was crazy or only pretending: He wanted us to wonder. He forces us to work on a puzzle that has no definite answer. And this mysteriousness is one reason why we find the play irresistible. 'Hamilton' is riddled with question marks. The first act begins with a question, and so does the second. The entire relationship between Hamilton and Burr is based on a mutual and explicit lack of comprehension: 'I will never understand you,' says Hamilton, and Burr wonders, 'What it is like in his shoes?' Again and again, Lin distinguishes characters by what they wish they knew. 'What'd I miss?' asks Jefferson in the song that introduces him. 'Would that be enough?' asks Eliza in the song that defines her. 'Why do you write like you're running out of time?' asks everybody in a song that marvels at Hamilton's drive, and all but declares that there's no way to explain it. 'Hamilton', like 'Hamlet', gives an audience the chance to watch a bunch of conspicuously intelligent and well-spoken characters fill the stage with 'words, words, words,' only to discover, again and again, the limits to what they can comprehend.

Hamlet promised himself he’d throw down afterward, but I think perhaps when he said, “From this time forth, my thoughts be bloody, or be nothing worth!” the limits of blank verse weakened his resolve somehow. If he’d been free to follow the dictates of his conscience rather than the pen of Shakespeare, perhaps he would have abandoned verse altogether, like me, and contented himself with this instead: “Bring it, muthafuckas. Bring it.

Herhangi bir konuda büyük bir zafer kazanmak istiyorsan hamleni beklenmedik bir şekilde yap!

Huye siempre de mezclarte en disputas; pero una vez metido en ellas, obra de manera que tu contrario huya de ti.

I can never forget that Chinese student I knew in Paris - Mr. Tcheou, I think it was. One day, upon asking him if he had ever read Hamlet, he answered: "You mean that novel by Jack London?

I essentially am not in madness, but mad in craft.

If a story is no good, being based on Hamlet won't save it.

If someone had killed Hamlet in the first act, a lot more people would’ve been alive at the end.

I am by turns a petulant adolescent and a mature man, a melancholy loner and a wit telling actors their trade. I cannot decide whether I'm a philosopher or a moping teenager, a poet or a murderer, a procrastinator or a man of action. I might be truly mad or sane pretending to be mad or even mad pretending to be sane.

Hamlet's Cat's Soliloquy "To go outside, and there perchance to stay Or to remain within: that is the question: Whether 'tis better for a cat to suffer The cuffs and buffets of inclement weather That Nature rains on those who roam abroad, Or take a nap upon a scrap of carpet, And so by dozing melt the solid hours That clog the clock's bright gears with sullen time And stall the dinner bell. To sit, to stare Outdoors, and by a stare to seem to state A wish to venture forth without delay, Then when the portal's opened up, to stand As if transfixed by doubt. To prowl; to sleep; To choose not knowing when we may once more Our readmittance gain: aye, there's the hairball; For if a paw were shaped to turn a knob, Or work a lock or slip a window-catch, And going out and coming in were made As simple as the breaking of a bowl, What cat would bear the houselhold's petty plagues, The cook's well-practiced kicks, the butler's broom, The infant's careless pokes, the tickled ears, The trampled tail, and all the daily shocks That fur is heir to, when, of his own will, He might his exodus or entrance make With a mere mitten? Who would spaniels fear, Or strays trespassing from a neighbor's yard, But that the dread of our unheeded cries And scraches at a barricaded door No claw can open up, dispels our nerve And makes us rather bear our humans' faults Than run away to unguessed miseries? Thus caution doth make house cats of us all; And thus the bristling hair of resolution Is softened up with the pale brush of thought, And since our choices hinge on weighty things, We pause upon the threshold of decision.

I know that David Tennant's Hamlet isn't till July. And lots of people are going to be doing Dr Who in Hamlet jokes, so this is just me getting it out of the way early, to avoid the rush... "To be, or not to be, that is the question. Weeelll.... More of A question really. Not THE question. Because, well, I mean, there are billions and billions of questions out there, and well, when I say billions, I mean, when you add in the answers, not just the questions, weeelll, you're looking at numbers that are positively astronomical and... for that matter the other question is what you lot are doing on this planet in the first place, and er, did anyone try just pushing this little red button?

Imagine the same scene in HAMLET if Pullman had written it. Hamlet, using a mystic pearl, places the poison in the cup to kill Claudius. We are all told Claudius will die by drinking the cup. Then Claudius dies choking on a chicken bone at lunch. Then the Queen dies when Horatio shows her the magical Mirror of Death. This mirror appears in no previous scene, nor is it explained why it exists. Then Ophelia summons up the Ghost from Act One and kills it, while she makes a speech denouncing the evils of religion. Ophelia and Hamlet are parted, as it is revealed in the last act that a curse will befall them if they do not part ways.

In fact a favourite problem of [John Tyndall] is—Given the molecular forces in a mutton chop, deduce Hamlet or Faust therefrom. He is confident that the Physics of the Future will solve this easily.

If and worms'-meat must have such respect, think, then, what reverence thou shouldst approach thy Maker (569).

It is hardly surprising that there are more things in heaven and earth, dear reader, than have been dreamed of in our philosophy - or in our physics.

...imagine anybody having lived forty-five or fifty years without knowing Hamlet! One might as well spend one's life in a coal mine.

... in my heart there was a kind of fighting, That would not let me sleep

In my nervous frame of mind I expected to see the ghost of Hamlet wandering on the legendary castle terrace.

I will have the children read Hamlet as soon as it is practical. There are some useful cautions against eavesdropping to be gleaned from that.