Cheek Shakespeare Quotes

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 wand'ring barque, 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.

See how she leans her cheek upon her hand. O, that I were a glove upon that hand That I might touch that cheek!

The devil can cite Scripture for his purpose. An evil soul producing holy witness Is like a villain with a smiling cheek, A goodly apple rotten at the heart. O, what a goodly outside falsehood hath!

Love is not love which alters it when 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.

O! she doth teach the torches to burn bright It seems she hangs upon the cheek of night Like a rich jewel in an Ethiop's ear; Beauty too rich for use, for earth too dear. - Romeo -

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.

He jests at scars that never felt a wound. But soft! What light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou, her maid, art far more fair than she. Be not her maid since she is envious. Her vestal livery is but sick and green, And none but fools do wear it. Cast it off! It is my lady. Oh, it is my love. Oh, that she knew she were! She speaks, yet she says nothing. What of that? Her eye discourses. I will answer it.— I am too bold. 'Tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars As daylight doth a lamp. Her eye in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See how she leans her cheek upon her hand. Oh, that I were a glove upon that hand That I might touch that cheek!

Why, I can smile and murder whiles I smile, And cry 'content' to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face for all occasions

She never told her love, but let concealment, like a worm 'i th' bud, feed on her damask cheek. She pinned in thought; and, with a green and yellow melancholy, she sat like Patience on a monument, smiling at grief. Was not this love indeed? We men may say more, swear more; but indeed our shows are more than will; for we still prove much in our vows but little in our love.

Blow, winds, and crack your cheeks! Rage! Blow! You cataracts and hurricanoes, spout Till you have drenched our teeples, drowned the cocks! You sulphurour and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o' the world! Crack nature's molds, all germens spill at once That make ingrateful man!

The Brightness of her cheek would shame those stars as daylight doth a lamp; her eyes in heaven would through the airy region stream so bright that birds would sing, and think it were not night.

It is my lady. O, it is my love! O, that she knew she were! She speaks, yet she says nothing. What of that? Her eye discourses; I will answer it. I am too bold. ’Tis not to me she speaks. Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head? The brightness of her cheek would shame those stars

Oh, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope’s ear, Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady o'er her fellows shows. The measure done, I’ll watch her place of stand, And, touching hers, make blessèd my rude hand. Did my heart love till now? Forswear it, sight! For I ne'er saw true beauty till this night.

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.

How now, my love? Why is your cheek so pale? How chance the roses there do fade so fast? Her. Belike for want of rain, which I could well beteem them from the tempest of my eyes.

Leontes is whispering nothing? Is leaning cheek to cheek? Is meeting noses? Kissing with inside lip? Stopping the career Of laughter with a sigh?- a note infallible Of breaking honesty. Horsing foot on foot? Skulking in corners? Wishing clocks more swift; Hours, minutes; noon, midnight? And all eyes Blind with the pin and web but theirs, theirs only, That would unseen be wicked - is this nothing? Why, then the world and all that's in't is nothing; The covering sky is nothing; Bohemia nothing; My wife is nothing; nor nothing have these nothings, If this be nothing.

An evil soul producing holy witness Is like a villain with a smiling cheek, A goodly apple rotten at the heart.

Thine eyes I love, and they, as pitying me, Knowing thy heart torment me with disdain, Have put on black and loving mourners be, Looking with pretty ruth upon my pain. And truly not the morning sun of heaven Better becomes the grey cheeks of the east, Nor that full star that ushers in the even, Doth half that glory to the sober west, As those two mourning eyes become thy face: O! let it then as well beseem thy heart To mourn for me since mourning doth thee grace, And suit thy pity like in every part. Then will I swear beauty herself is black, And all they foul that thy complexion lack

Fie, fie upon her! There's language in her eye, her cheek, her lip, Nay, her foot speaks; her wanton spirits look out at every joint and motive of her body.

I steal one glance over my shoulder as soon as we are far from the foreboding luminance of the neon glow, and it is there that my stomach leaps into my throat. Squatting just shy of the light and partially concealed by the shade of an alley is a sinister silhouette beneath a crimson cowl, beaming a demonic smile which spans from cheek to swollen cheek.

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.

What is your substance, whereof are you made, That millions of strange shadows on you tend? Since everyone hath every one, one shade, And you, but one, can every shadow lend. Describe Adonis, and the counterfeit Is poorly imitated after you. On Helen’s cheek all art of beauty set, And you in Grecian tires are painted new. Speak of the spring and foison of the year; The one doth shadow of your beauty show, The other as your bounty doth appear, And you in every blessèd shape we know. In all external grace you have some part, But you like none, none you, for constant heart.

O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night As a rich jewel in an Ethiope's ear - Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady o'er her fellows shows.

Ah, she doth teach the torches to burn bright, it seems she hangs against the cheek of night like a rich jewel from an Ethiope's ear, beauty too rich for use, for earth too dear.

I will desist; ...But there is something glows upon my cheek, And whispers in mine ear, 'Go not till he speak.

EVEN as the sun with purple-colour'd face Had ta'en his last leave of the weeping morn, Rose-cheek'd Adonis tried him to the chase; Hunting he lov'd, but love he laugh'd to scorn;

Return'd so soon! Rather approached too late: the capron burns, the pig falls from the spit, the clock hath strucken twelve upon the bell; my mistress made it one upon my cheek: she is hot because the meat is cold; the meat is cold because you have no stomach, you have no stomach, having broke your fast; but we, that know what 'tis to fast and pray, are pentent for your default today.

Hear, nature, hear; dear goddess, hear! Suspend thy purpose, if thou didst intend To make this creature fruitful! Into her womb convey sterility! Dry up in her the organs of increase; And from her derogate body never spring A babe to honour her! If she must teem, Create her child of spleen; that it may live, And be a thwart disnatured torment to her! Let it stamp wrinkles in her brow of youth; With cadent tears fret channels in her cheeks; Turn all her mother's pains and benefits To laughter and contempt; that she may feel How sharper than a serpent's tooth it is To have a thankless child! Away, away!

A spirit I am indeed,   But am in that dimension grossly clad   Which from the womb I did participate.   Were you a woman, as the rest goes even,   I should my tears let fall upon your cheek,   And say, ‘Thrice welcome, drownèd Viola.

Tell me, sweet lord, what is ’t that takes from thee Thy stomach, pleasure, and thy golden sleep? Why dost thou bend thine eyes upon the earth And start so often when thou sit’st alone? Why hast thou lost the fresh blood in thy cheeks And given my treasures and my rights of thee To thick-eyed musing and curst melancholy?

A blank, my lord. She never told her love, 110   But let concealment, like a worm i’the bud, Feed on her damask cheek.

fresh tears Stood upon her cheeks, as doth the honey-dew Upon a gathered lily almost withered

There’s language in her eye, her cheek, her lip; Nay, her foot speaks. Her wanton spirits look out At every joint and motive of her body. [Ulysses—4.5.64–66]

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. —William Shakespeare, Sonnet 116

You are the opposite of romantic. Did anyone ever tell you that?" "I am full of romance. I like sunsets and the ocean and beaches and flowers and love songs and Shakespeare in the park and all that kind of shit." Eli's cheeks flushed. It was adorable on him. "I don't get what any of that has to do with sex." "I'm not talking about sex, Eli. I'm talking about a kiss." "Fine. I'll kiss the romantic fuck out of you.

Gallop apace, you fiery-footed steeds, Towards Phoebus' lodging: such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway's eyes may wink and Romeo Leap to these arms, untalk'd of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven's back. Come, gentle night, come, loving, black-brow'd night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possess'd it, and, though I am sold, Not yet enjoy'd: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. O, here comes my nurse, And she brings news; and every tongue that speaks But Romeo's name speaks heavenly eloquence.

Tears, like bitter rivers, streamed down his dried-up cheeks, as he stood swaying in his brother's arms.

O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear; Beauty too rich for use, for earth too dear!

The poor condemned English, Like sacrifices, by their watchful fires Sit patiently and inly ruminate The morning's danger, and their gesture sad Investing lank-lean; cheeks and war-worn coats Presenteth them unto the gazing moon So many horrid ghosts.

For me the sand hath never been a balm— On Tatooine we are encumber'd by Too much of its most coarse and unkind touch. It is an ever-present irritant, Not like the peaceful sands of thy Naboo. Here all is soft, like cheeks upon a babe, And smooth as sculpted alabaster too.

Well, I must do’t. Away, my disposition, and possess me Some harlot’s spirit! My throat of war be turn’d, Which quier’d with my drum, into a pipe Small as an eunuch, or the virgin voice That babies lull asleep! The smiles of knaves Tent in my cheeks, and schoolboys’ tears take up The glasses of my sight! A beggar’s tongue Make motion through my lips, and my arm’d knees, Who bow’d but in my stirrup, bend like his That hath receiv’d an alms! I will not do’t, Lest I surcease to honor mine own truth, And by my body’s action teach my mind A most inherent baseness.

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 wand'ring 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 prov'd, I never writ, nor no man ever lov'd.

Why then I do but dream on sovereignty, Like one that stands upon a promontory And spies a far-off shore where he would tread, Wishing his foot were equal with his eye, And chides the sea that sunders him from thence, Saying, he'll lade it dry to have his way: So do I wish the crown, being so far off, And so I chide the means that keeps me from it, And so, I say, I'll cut the causes off, Flattering me with impossibilities, My eye's too quick, my hear o'erweens too much, Unless my hand and strength could equal them. Well, say there is no kingdom then for Richard; What other pleasure can the world afford? I'll make my heaven in a lady's lap, And deck my body in gay ornaments, And witch sweet ladies with my words and looks. O miserable thought! and more unlikely Than to accomplish twenty golden crowns! Why, love forswore me in my mother's womb; And for I should not deal in her soft laws, She did corrupt frail nature with some bribe, To shrink mine arm up like a wither'd shrub, To make an envious mountain on my back, Where sits deformity to mock my body; To shape my legs of an unequal size, To disproportion me in every part, Like to a chaos, or an unlick'd bear-whelp That carries no impression like the dam. And am I then a man to be belov'd? O monstrous fault, to harbor such a thought! Then since this earth affords no joy to me But to command, to check, to o'erbear such As are of better person than myself, I'll make my heaven to dream upon the crown, And whiles I live, t' account this world but hell, Until my misshap'd trunk that bears this head Be round impaled with a glorious crown. And yet I know not how to get the crown, For many lives stand between me and home; And I - like one lost in a thorny wood, That rents the thorns, and is rent with the thorns, Seeking a way, and straying from the way, Not knowing how to find the open air, But toiling desperately to find it out - Torment myself to catch the English crown; And from that torment I will free myself, Or hew my way out with a bloody axe. Why, I can smile, and murther whiles I smile, And cry "Content" to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all occasions. I'll drown more sailors than the mermaid shall, I'll slay more gazers than the basilisk, I'll play the orator as well as Nestor, Deceive more slily than Ulysses could, And like a Simon, take another Troy. I can add colors to the chameleon, Change shapes with Proteus for advantages, And set the murtherous Machevil to school. Can I do this, and cannot get a crown? Tut, were it farther off, I'll pluck it down.

let not thy sword skip one: Pity not honour'd age for his white beard; He is an usurer: strike me the counterfeit matron; It is her habit only that is honest, Herself's a bawd: let not the virgin's cheek Make soft thy trenchant sword; for those milk-paps, That through the window-bars bore at men's eyes, Are not within the leaf of pity writ, But set them down horrible traitors: spare not the babe, Whose dimpled smiles from fools exhaust their mercy; Think it a bastard, whom the oracle Hath doubtfully pronounced thy throat shall cut, And mince it sans remorse: swear against objects; Put armour on thine ears and on thine eyes; Whose proof, nor yells of mothers, maids, nor babes, Nor sight of priests in holy vestments bleeding, Shall pierce a jot. There's gold to pay soldiers: Make large confusion; and, thy fury spent, Confounded be thyself! Speak not, be gone.

Her lily hand her rosy cheek lies under, Cozening the pillow of a lawful kiss; Who, therefore angry, seems to part in sunder, Swelling on either side to want his bliss; Between whose hills her head entombed is; Where like a virtuous monument she lies, To be admired of lewd unhallowed eyes. Without the bed her other fair hand was, On the green coverlet, whose perfect white Showed like an April daisy on the grass, With pearly sweat resembling dew of night. Her eyes, like marigolds, had sheathed their light, And canopied in darkness sweetly lay Till they might open to adorn the day. Her hair like golden threads played with her breath O modest wantons, wanton modesty! Showing life’s triumph in the map of death, And death’s dim look in life’s mortality. Each in her sleep themselves so beautify As if between them twain there were no strife, But that life lived in death, and death in life.

Virginity being blown down man will quicklier be blown up; marry, in blowing him down again, with the breach yourselves made you lose your city. It is not politic in the commonwealth of nature to preserve virginity. Loss of virginity is rational increase, and there was never virgin got till virginity was first lost. That you were made of is mettel to make virgins. Virginity, by being once lost may be ten times found; by being ever kept it is ever lost. ‘Tis too cold a companion. Away with ‘t! There’s little can be said in’t; ’tis against the rule of nature. To speak on the part of virginity, is to accuse your mothers; which is most infallible disobedience. He that hangs himself is a virgin; virginity murthers itself, and should be buried in highways out of all sanctified limit, as a desperate offendress against nature. Virginity breeds mites, much like a cheese; consumes itself to the very paring, and so dies with feeding his own stomach. Besides, virginity is peevish, proud, idle, made of self-love which is the most inhibited sin in the canon. Keep it not; you cannot choose but loose by’t. Out with ‘t! Within the year it will make itself two, which is a goodly increase, and the principal itself not much the worse. Away with ‘t! Tis a commodity that will lose the gloss with lying; the longer kept, the less worth: off with ’t, while ’tis vendible; answer the time of request. Virginity, like an old courtier, wears her cap out of fashion; richly suited, but unsuitable: just like the brooch and the toothpick, which wear not now. Your date is better in your pie and your porridge than in your cheek; and your virginity, your old virginity, is like one of our French withered pears: it looks ill, it eats drily. Marry, 'tis a withered pear; it was formerly better; marry, yet 'tis a withered pear! Will you anything with it?

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

You see me here, you gods, a poor old man, As full of grief as age; wretched in both! If it be you that stir these daughters' hearts Against their father, fool me not so much To bear it tamely; touch me with noble anger, And let not women's weapons, water-drops, Stain my man's cheeks! No, you unnatural hags, I will have such revenges on you both, That all the world shall--I will do such things,-- What they are, yet I know not: but they shall be The terrors of the earth. You think I'll weep No, I'll not weep: I have full cause of weeping; but this heart Shall break into a hundred thousand flaws, Or ere I'll weep. O fool, I shall go mad!

I just care about you so much … but I’ve always got this fear that … one day you’ll leave. Or Pip and Jason will leave, or … I don’t know.’ Fresh tears fell from my cheeks. ‘I’m never going to fall in love, so … my friendships are all I have, so … I just … can’t bear the idea of losing any of my friends. Because I’m never going to have that one special person.’ ‘Can you let me be that person?’ Rooney said quietly. I sniffed loudly. ‘What d’you mean?’ ‘I mean I want to be your special person.’ [...] ‘But you know what I realised on my walk?’ she said. ‘I realise that I love you, Georgia.’ My mouth dropped open. ‘Obviously I’m not romantically in love with you. But I realised that whatever these feelings are for you, I …’ She grinned wildly. ‘I feel like I am in love. Me and you – this is a fucking love story! I feel like I’ve found something most people just don’t get. I feel at home around you in a way I have never felt in my fucking life. And maybe most people would look at us and think that we’re just friends, or whatever, but I know that it’s just … so much MORE than that.’ She gestured dramatically at me with both hands. ‘You changed me. You … you fucking saved me, I swear to God. I know I still do a lot of dumb stuff and I say the wrong things and I still have days where I just feel like shit but … I’ve felt happier over the past few weeks than I have in years.’ I couldn’t speak. I was frozen. Rooney dropped to her knees. ‘Georgia, I am never going to stop being your friend. And I don’t mean that in the boring average meaning of ‘friend’ where we stop talking regularly when we’re twenty-five because we’ve both met nice young men and gone off to have babies, and only get to meet up twice a year. I mean I’m going to pester you to buy a house next door to me when we’re forty-five and have finally saved up enough for our deposits. I mean I’m going to be crashing round yours every night for dinner because you know I can’t fucking cook to save my life, and if I’ve got kids and a spouse, they’ll probably come round with me, because otherwise they’ll be living on chicken nuggets and chips. I mean I’m going to be the one bringing you soup when you text me that you’re sick and can’t get out of bed and ferrying you to the doctor’s even when you don’t want to go because you feel guilty about using the NHS when you just have a stomach bug. I mean we’re gonna knock down the fence between our gardens so we have one big garden, and we can both get a dog and take turns looking after it. I mean I’m going to be here, annoying you, until we’re old ladies, sitting in the same care home, talking about putting on a Shakespeare because we’re all old and bored as shit.’ She grabbed the bunch of flowers and practically threw them at me. ‘And I bought these for you because I honestly didn’t know how else to express any of that to you.’ I was crying. I just started crying again. Rooney wiped the tears off my cheeks.

He raised an eyebrow. "Where did you get this? Is our Anne Boleyn suddenly from Mars?" He chuckled. "I always thought she hailed from Wiltshire." Luce's mind raced to catch up. She was playing Anne Boleyn? She'd never read this play, but Daniel's costume suggested he was playing the king, Henry VIII. "Mr. Shakespeare-ah,Will-thought it would look good-" "Oh,Will did?" Daniel smirked, bot believing her at all but seeming not to care. It was strange to feel that she could do or say almost anything and Daniel would still find it charming. "You're a little bit mad, aren't you, Lucinda?" "I-well-" He brushed her cheek with the back of his finger. "I adore you." "I adore you,too." The words tumbled from her mouth,feeling so real and so true after the last few stammering lies. It was like letting out a long-held breath. "I've been thinking, thinking a lot,and I wanted to tell you that-that-" "Yes?" "The truth is that what I feel for you is...deeper than adoration." She pressed her hands over his heart. "I trust you. I trust your love. I know how strong it is,and how beautiful." Luce knew that she couldn't come right out and say what she really meant-she was supposed to be a different version of herself,and the other times,when Daniel had figured out who she was, where she'd come from,he'd clammed up immediately and told her to leave. But maybe if she chose her words carefully, Daniel would understand. "It may seem like sometimes I-I forgot what you mean to me and what I mean to you,but deep down...I know.I know because we are meant to be together.I love you, Daniel." Daniel looked shocked. "You-you love me?" "Of course." Luce almost laughed at how obvious it was-but then she remembered: She had no idea which moment from her past she'd walked into.Maybe in this lifetime they'd only exchanged coy glances. Daniel's chest rose and fell violently and his lower lip began to quiver. "I want you to come away with me," he said quickly.There was a desperate edge to his voice. Luce wanted to cry out Yes!, but something held her back.It was so easy to get lost in Daniel when his body was pressed so close to hers and she could feel the heat coming off his skin and the beating of his heart through his shirt.She felt she could tell him anything now-from how glorious it had felt to die in his arms in Versailles to how devastated she was now that she knew the scope of his suffering. But she held back: The girl he thought she was in this lifetime wouldn't talk about those things, wouldn't know them. Neither would Daniel. So when she finally opened her mouth,her voice faltered. Daniel put a finger over her lips. "Wait. Don't protest yet. Let me ask you properly.By and by, my love." He peeked out the cracked wardrobe door, toward the curtain.A cheer came from the stage.The audience roared with laughter and applause. Luce hadn't even realized the play had begun. "That's my entrance.I'll see you soon." He kissed her forehead,then dashed out and onto the stage.

Y' are welcome, my fair guests. That noble lady, Or gentleman that is not freely merry, Is not my friend. This, to confirm my welcome, And to you all, good health. [Drinks] Lord Sands. Your grace is noble. Let me have such a bowl may hold my thanks, And save me so much talking. Cardinal Wolsey. My Lord Sands, I am beholding to you; cheer your neighbours. Ladies, you are not merry. Gentlemen, Whose fault is this? Lord Sands. The red wine first must rise In their fair cheeks, my lord, then we shall have 'em Talk us to silence. Anne Bullen. You are a merry gamester, My Lord Sands. Lord Sands. Yes, if I make my play. Here's to your ladyship: and pledge it, madam, For 'tis to such a thing,— Anne Bullen. You cannot show me. Lord Sands. I told your grace they would talk anon. [Drum and trumpet; chambers discharg'd] Cardinal Wolsey. What's that? Lord Chamberlain. Look out there, some of ye. [Exit Servant] Cardinal Wolsey. What warlike voice, And to what end is this? Nay, ladies, fear not; By all the laws of war y' are privileg’d.

And why, I pray you? Who might be your mother, That you insult, exult, and all at once, Over the wretched? What though you have no beauty— As, by my faith, I see no more in you Than without candle may go dark to bed— Must you be therefore proud and pitiless? Why, what means this? why do you look on me? I see no more in you than in the ordinary Of nature’s sale-work. ’Od’s my little life, I think she means to tangle my eyes too! No, faith, proud mistress, hope not after it. ’Tis not your inky brows, your black silk hair, Your bugle eyeballs, nor your cheek of cream That can entame my spirits to your worship. You foolish shepherd, wherefore do you follow her, Like foggy south, puffing with wind and rain? You are a thousand times a properer man Than she a woman. ’Tis such fools as you That makes the world full of ill-favor’d children. ’Tis not her glass, but you that flatters her, And out of you she sees herself more proper Than any of her lineaments can show her. But, mistress, know yourself, down on your knees, And thank heaven, fasting, for a good man’s love; For I must tell you friendly in your ear, Sell when you can, you are not for all markets. Cry the man mercy, love him, take his offer; Foul is most foul, being foul to be a scoffer. So take her to thee, shepherd. Fare you well.

He strode forward, heedless of the murmuring that began among the women when they saw him. Then Sara turned, and her gaze met his. Instantly a guilty blush spread over her cheeks that told him all he needed to know about her intent. “Good afternoon, ladies,” he said in steely tones. “Class is over for today. Why don’t you all go up on deck and get a little fresh air?” When the women looked at Sara, she folded her hands primly in front of her and stared at him. “You have no right to dismiss my class, Captain Horn. Besides, we aren’t finished yet. I was telling them a story—” “I know. You were recounting Lysistrata.” Surprise flickered briefly in her eyes, but then turned smug and looked down her aristocratic little nose at him. “Yes, Lysistrata,” she said in a sweet voice that didn’t fool him for one minute. “Surely you have no objection to my educating the women on the great works of literature, Captain Horn.” “None at all.” He set his hands on his hips. “But I question your choice of material. Don’t you think Aristophanes is a bit beyond the abilities of your pupils?” He took great pleasure in the shock that passed over Sara’s face before she caught herself. Ignoring the rustle of whispers among the women, she stood a little straighter. “As if you know anything at all about Aristophanes.” “I don’t have to be an English lordling to know literature, Sara. I know all the blasted writers you English make so much of. Any one of them would have been a better choice for your charges than Aristophanes.” As she continued to glower at him unconvinced, he scoured his memory, searching through the hundreds of verse passages his English father had literally pounded into him. “You might have chosen Shakespeare’s The Taming of the Shrew, for example—‘fie, fie! Unknit that threatening unkind brow. / And dart not scornful glances from those eyes / to wound thy lord, thy king, thy governor.’” It had been a long time since he’d recited his father’s favorite passages of Shakespeare, but the words were as fresh as if he’d learned them only yesterday. And if anyone knew how to use literature as a weapon, he did. His father had delighted in tormenting him with quotes about unrepentant children. Sara gaped at him as the other women looked from him to her in confusion. “How . . . I mean . . . when could you possibly—” “Never mind that. The point us, you’re telling them the tale of Lysistrata when what you should be telling them is ‘thy husband is thy lord, thy life, thy keeper. /thy head, thy sovereign; one that cares for thee / and for thy maintenance commits his body / to painful labour by both sea and land.’” Her surprise at this knowledge of Shakespeare seemed to vanish as she recognized the passage he was quoting—the scene where Katherine accepts Petruchio as her lord and master before all her father’s guests. Sara’s eyes glittered as she stepped from among the women and came nearer to him. “We are not your wives yet. And Shakespeare also said ‘sigh no more, ladies, sigh no more / men were deceivers ever / one foot on sea and one on shore / to one thing constant never.’” “Ah, yes. Much Ado About Nothing. But even Beatrice changes her tune in the end, doesn’t she? I believe it’s Beatrice who says, ‘contempt, farewell! And maiden pride, adieu! / no glory lives behind the back of such./ and Benedick, love on, I will requite thee, / taming my wild heart to thy loving hand.’” “She was tricked into saying that! She was forced to acknowledge him as surely as you are forcing us!” “Forcing you?” he shouted. “You don’t know the meaning of force! I swear, if you—” He broke off when he realized that the women were staring at him with eyes round and fearful. Sara was twisting his words to make him sound like a monster. And succeeding, too, confound her.

The same song was playing the second I met my ex–best friend and the moment I realized I’d lost her. I met my best friend at a neighborhood cookout the year we would both turn twelve. It was one of those hot Brooklyn afternoons that always made me feel like I'd stepped out of my life and onto a movie set because the hydrants were open, splashing water all over the hot asphalt. There wasn't a cloud in the flawless blue sky. And pretty black and brown people were everywhere. I was crying. ‘What a Wonderful World’ was playing through a speaker someone had brought with them to the park, and it reminded me too much of my Granny Georgina. I was cupping the last snow globe she’d ever given me in my small, sweaty hands and despite the heat, I couldn’t help imagining myself inside the tiny, perfect, snow-filled world. I was telling myself a story about what it might be like to live in London, a place that was unimaginably far and sitting in the palm of my hands all at once. But it wasn't working. When Gigi had told me stories, they'd felt like miracles. But she was gone and I didn't know if I'd ever be okay again. I heard a small voice behind me, asking if I was okay. I had noticed a girl watching me, but it took her a long time to come over, and even longer to say anything. She asked the question quietly. I had never met anyone who…spoke the way that she did, and I thought that her speech might have been why she waited so long to speak to me. While I expected her to say ‘What’s wrong?’—a question I didn’t want to have to answer—she asked ‘What are you doing?’ instead, and I was glad. “I was kind of a weird kid, so when I answered, I said ‘Spinning stories,’ calling it what Gigi had always called it when I got lost in my own head, but my voice cracked on the phrase and another tear slipped down my cheek. To this day I don’t know why I picked that moment to be so honest. Usually when kids I didn't know came up to me, I clamped my mouth shut like the heavy cover of an old book falling closed. Because time and taught me that kids weren't kind to girls like me: Girls who were dreamy and moony-eyed and a little too nice. Girls who wore rose-tonted glasses. And actual, really thick glasses. Girls who thought the world was beautiful, and who read too many books, and who never saw cruelty coming. But something about this girl felt safe. Something about the way she was smiling as she stuttered out the question helped me know I needn't bother with being shy, because she was being so brave. I thought that maybe kids weren't nice to girls like her either. The cookout was crowded, and none of the other kids were talking to me because, like I said, I was the neighborhood weirdo. I carried around snow globesbecause I was in love with every place I’d never been. I often recited Shakespeare from memory because of my dad, who is a librarian. I lost myself in books because they were friends who never letme down, and I didn’t hide enough of myself the way everyone else did, so people didn’t ‘get’ me. I was lonely a lot. Unless I was with my Gigi. The girl, she asked me if it was making me feel better, spinning the stories. And I shook my head. Before I could say what I was thinking—a line from Hamlet about sorrow coming in battalions that would have surely killed any potential I had of making friends with her. The girl tossed her wavy black hair over her shoulder and grinned. She closed her eyes and said 'Music helps me. And I love this song.' When she started singing, her voice was so unexpected—so bright and clear—that I stopped crying and stared at her. She told me her name and hooked her arm through mine like we’d known each other forever, and when the next song started, she pulled me up and we spun in a slow circle together until we were both dizzy and giggling.

I just care about you so much … but I’ve always got this fear that … one day you’ll leave. Or Pip and Jason will leave, or … I don’t know.’ Fresh tears fell from my cheeks. ‘I’m never going to fall in love, so … my friendships are all I have, so … I just … can’t bear the idea of losing any of my friends. Because I’m never going to have that one special person.’ ‘Can you let me be that person?’ Rooney said quietly. I sniffed loudly. ‘What d’you mean?’ ‘I mean I want to be your special person.’ [...] ‘But you know what I realised on my walk?’ she said. ‘I realise that I love you, Georgia.’ My mouth dropped open. ‘Obviously I’m not romantically in love with you. But I realised that whatever these feelings are for you, I …’ She grinned wildly. ‘I feel like I am in love. Me and you – this is a fucking love story! I feel like I’ve found something most people just don’t get. I feel at home around you in a way I have never felt in my fucking life. And maybe most people would look at us and think that we’re just friends, or whatever, but I know that it’s just … so much MORE than that.’ She gestured dramatically at me with both hands. ‘You changed me. You … you fucking saved me, I swear to God. I know I still do a lot of dumb stuff and I say the wrong things and I still have days where I just feel like shit but … I’ve felt happier over the past few weeks than I have in years.’ I couldn’t speak. I was frozen. Rooney dropped to her knees. ‘Georgia, I am never going to stop being your friend. And I don’t mean that in the boring average meaning of ‘friend’ where we stop talking regularly when we’re twenty-five because we’ve both met nice young men and gone off to have babies, and only get to meet up twice a year. I mean I’m going to pester you to buy a house next door to me when we’re forty-five and have finally saved up enough for our deposits. I mean I’m going to be crashing round yours every night for dinner because you know I can’t fucking cook to save my life, and if I’ve got kids and a spouse, they’ll probably come round with me, because otherwise they’ll be living on chicken nuggets and chips. I mean I’m going to be the one bringing you soup when you text me that you’re sick and can’t get out of bed and ferrying you to the doctor’s even when you don’t want to go because you feel guilty about using the NHS when you just have a stomach bug. I mean we’re gonna knock down the fence between our gardens so we have one big garden, and we can both get a dog and take turns looking after it. I mean I’m going to be here, annoying you, until we’re old ladies, sitting in the same care home, talking about putting on a Shakespeare because we’re all old and bored as shit.’ She grabbed the bunch of flowers and practically threw them at me. ‘And I bought these for you because I honestly didn’t know how else to express any of that to you.’ I was crying. I just started crying again. Rooney wiped the tears off my cheeks.

Surely you’re not going to destroy another book, are you?” “I’ve decided my obsession with reading has gotten me absolutely nowhere, so . . . I’m tossing all the nonsense out of my life and intend to travel forth with less baggage.” “You love to read.” “And I’ll occasionally indulge that love, but enough is enough.” She held up her copy of Pride and Prejudice. “This, for all intent and purposes, is a fairy tale. I’m done with fairy tales for good, as well as anything by Shakespeare. I loathe his stories, don’t understand most of what he’s written, and I was only reading them because of any future children I hoped to have. But since I’m destined to remain a spinster forever . . . I’m chucking them into the fire.” “What do Shakespeare and any children you might have in the future have in common?” Millie sent him a look that clearly said she found him a little dense. “I wanted to be knowledgeable so that my children wouldn’t suffer any embarrassment because of my ignorance and lack of education.” Everett’s mouth dropped open before he had the presence of mind to snap it shut when she shot him a glare. Bracing himself in case she got it into her head to punch him as she’d done Mr. Victor, Everett stepped closer to her and pried the copy of Pride and Prejudice out of her hand. “Any child would be lucky to call you mother, Millie. You’re smart, well-read, curious about everything, and have a true love for children.” Staring at him for a long moment, Millie tilted her head. “I knew we should have summoned the physician to take a look at you after your last brawl.” “My wits are not addled, Millie. Quite honestly, my mind is clearer right now than it’s been in years.” He brought her hand up to his lips and kissed it, relieved when her eyes widened just a bit. “And I have to tell you something else.” “What?” she asked in a voice that sounded somewhat breathless. “I can’t allow you to burn any Jane Austen book—but especially not Pride and Prejudice.” “That’s what you have to say to me—that I can’t burn a silly book?” “I finished the story, Millie. I read Pride and Prejudice from cover to cover, and . . . I’m your Mr. Darcy and you’re my Lizzy.” “You . . . finished . . . the story?” “Indeed. And if you didn’t hear me the first time, I’m Mr. Darcy.” “I’m fairly certain Mr. Darcy would have had an English accent, but since Lizzy did enjoy reading, I suppose it’s not too much of a stretch to compare me with her, although. . . .” As Millie continued talking, really rapidly at that, Everett simply watched her, taking in every detail of her face. Her green eyes were sparkling and her cheeks were flushed a delicate shade of pink. Brown curls had begun to escape the pins someone had put in her hair, and a spray of flowers that had been tucked into that hair was hanging somewhat forlornly over her ear. Her lips were still moving incredibly fast, but the second his gaze settled on them, he couldn’t seem to look away. They were delightful lips, just the right shade of pink, and . . . Everett leaned forward and claimed those rapidly moving lips with his own. For

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.

What’s going on?’ she said. ‘Talk to me.’ ‘I …’ I looked down. I didn’t want her to see me. But Rooney was looking at me, eyebrows furrowed, so many thoughts churning behind her eyes, and it was that look that made me start spilling everything out. ‘I just care about you so much … but I’ve always got this fear that … one day you’ll leave. Or Pip and Jason will leave, or … I don’t know.’ Fresh tears fell from my cheeks. ‘I’m never going to fall in love, so … my friendships are all I have, so … I just … can’t bear the idea of losing any of my friends. Because I’m never going to have that one special person.’ ‘Can you let me be that person?’ Rooney said quietly. I sniffed loudly. ‘What d’you mean?’ ‘I mean I want to be your special person.’ ‘B-but … that’s not how the world works, people always put romance over friendships –’ ‘Says who?’ Rooney spluttered, smacking her hand on the ground in front of us. ‘The heteronormative rulebook? Fuck that, Georgia. Fuck that.’ She stood up, flailing her arms and pacing as she spoke. ‘I know you’ve been trying to help me with Pip,’ she began, ‘and I appreciate that, Georgia, I really do. I like her and I think she likes me and we like being around each other and, yep, I’m just gonna say it – I think we really, really want to have sex with each other.’ I just stared at her, my cheeks tear-stained, having no idea where this was going. ‘But you know what I realised on my walk?’ she said. ‘I realise that I love you, Georgia.’ My mouth dropped open. ‘Obviously I’m not romantically in love with you. But I realised that whatever these feelings are for you, I …’ She grinned wildly. ‘I feel like I am in love. Me and you – this is a fucking love story! I feel like I’ve found something most people just don’t get. I feel at home around you in a way I have never felt in my fucking life. And maybe most people would look at us and think that we’re just friends, or whatever, but I know that it’s just … so much MORE than that.’ She gestured dramatically at me with both hands. ‘You changed me. You … you fucking saved me, I swear to God. I know I still do a lot of dumb stuff and I say the wrong things and I still have days where I just feel like shit but … I’ve felt happier over the past few weeks than I have in years.’ I couldn’t speak. I was frozen. Rooney dropped to her knees. ‘Georgia, I am never going to stop being your friend. And I don’t mean that in the boring average meaning of ‘friend’ where we stop talking regularly when we’re twenty-five because we’ve both met nice young men and gone off to have babies, and only get to meet up twice a year. I mean I’m going to pester you to buy a house next door to me when we’re forty-five and have finally saved up enough for our deposits. I mean I’m going to be crashing round yours every night for dinner because you know I can’t fucking cook to save my life, and if I’ve got kids and a spouse, they’ll probably come round with me, because otherwise they’ll be living on chicken nuggets and chips. I mean I’m going to be the one bringing you soup when you text me that you’re sick and can’t get out of bed and ferrying you to the doctor’s even when you don’t want to go because you feel guilty about using the NHS when you just have a stomach bug. I mean we’re gonna knock down the fence between our gardens so we have one big garden, and we can both get a dog and take turns looking after it. I mean I’m going to be here, annoying you, until we’re old ladies, sitting in the same care home, talking about putting on a Shakespeare because we’re all old and bored as shit.’ She grabbed the bunch of flowers and practically threw them at me. ‘And I bought these for you because I honestly didn’t know how else to express any of that to you.’ I was crying. I just started crying again. Rooney wiped the tears off my cheeks.

You have to be an optimist to believe in the Singularity,” she says, “and that’s harder than it seems. Have you ever played Maximum Happy Imagination?” “Sounds like a Japanese game show.” Kat straightens her shoulders. “Okay, we’re going to play. To start, imagine the future. The good future. No nuclear bombs. Pretend you’re a science fiction writer.” Okay: “World government … no cancer … hover-boards.” “Go further. What’s the good future after that?” “Spaceships. Party on Mars.” “Further.” “Star Trek. Transporters. You can go anywhere.” “Further.” I pause a moment, then realize: “I can’t.” Kat shakes her head. “It’s really hard. And that’s, what, a thousand years? What comes after that? What could possibly come after that? Imagination runs out. But it makes sense, right? We probably just imagine things based on what we already know, and we run out of analogies in the thirty-first century.” I’m trying hard to imagine an average day in the year 3012. I can’t even come up with a half-decent scene. Will people live in buildings? Will they wear clothes? My imagination is almost physically straining. Fingers of thought are raking the space behind the cushions, looking for loose ideas, finding nothing. “Personally, I think the big change is going to be our brains,” Kat says, tapping just above her ear, which is pink and cute. “I think we’re going to find different ways to think, thanks to computers. You expect me to say that”—yes—“but it’s happened before. It’s not like we have the same brains as people a thousand years ago.” Wait: “Yes we do.” “We have the same hardware, but not the same software. Did you know that the concept of privacy is, like, totally recent? And so is the idea of romance, of course.” Yes, as a matter of fact, I think the idea of romance just occurred to me last night. (I don’t say that out loud.) “Each big idea like that is an operating system upgrade,” she says, smiling. Comfortable territory. “Writers are responsible for some of it. They say Shakespeare invented the internal monologue.” Oh, I am very familiar with the internal monologue. “But I think the writers had their turn,” she says, “and now it’s programmers who get to upgrade the human operating system.” I am definitely talking to a girl from Google. “So what’s the next upgrade?” “It’s already happening,” she says. “There are all these things you can do, and it’s like you’re in more than one place at one time, and it’s totally normal. I mean, look around.” I swivel my head, and I see what she wants me to see: dozens of people sitting at tiny tables, all leaning into phones showing them places that don’t exist and yet are somehow more interesting than the Gourmet Grotto. “And it’s not weird, it’s not science fiction at all, it’s…” She slows down a little and her eyes dim. I think she thinks she’s getting too intense. (How do I know that? Does my brain have an app for that?) Her cheeks are flushed and she looks great with all her blood right there at the surface of her skin. “Well,” she says finally, “it’s just that I think the Singularity is totally reasonable to imagine.

Blow, wind, crack your cheeks, I thought. Brian wasn’t the only one who could quote Shakespeare. I made it to my room without thinking of any other suitably apocalyptic line from Lear, and I was too tired to start in on Othello. I flopped onto the bed facedown—and immediately I was bent into a bow shape, with the soles of my feet facing the back of my head.

gentlemen who were desirous of going with us, we all started westward, and after a pleasant trip arrived at Fort McPherson." Before he arrived at Fort McPherson, Cody was interviewed by the local press. Cody allowed, surely with tongue in cheek, that We have played New York until we forced Edwin Booth to go West. He said it would not do for him to try to buck against us, and he was right. I propose to [be] ... playing Shakespeare right through, from beginning to end, with Ned Buntline and Texas Jack to support me. I shall do Hamlet in a buckskin suit and when my father's ghost appears "doomed for a certain time," &c., I shall say to Jack, "Rope the cuss in, Jack!!" and unless the lasso breaks, the ghost will have to come. As Richard the Third I shall fight with pistols and hunting knives. In "Romeo and Juliet" I will put a half-breed squaw on the balcony, and make various interpretations of Shakespeare's words to suit myself. Shakespeare has had to endure many indignities over the years: bowdlerizations, bizarre directorial concepts, and costume choices of all kinds, but theatergoers, fortunately, were spared Hamlet in buckskin or the balcony scene in a Western saloon. On the other hand, it is possible that Cody, with his genius for showmanship, might have won over a whole new audience to the plays. During the run of The Scouts of the Prairie, Cody had not only overcome his initial stage fright but had developed enough self-confidence to feel comfortable onstage. Moreover, he knew that audiences responded favorably to him. Although he still did not consider himself an actor, he had begun to wear the more becoming mantle of "showman." Ned Buntline had all kinds

A young man married is a man that’s marred.’ That’s a golden rule, Arthur; take it to heart. Anne Hathaway, I have not a doubt, suggested it; experience is the sole abestos, only unluckily one seldom gets it before one’s hands are burnt irrevocably. Shakespeare took to wife the ignorant, rosy-cheeked, Warwickshire peasant girl, at eighteen! Poor fellow! I picture him, with all his untried powers, struggling like new-born Hercules for strength and utterance, and the great germ of poetry within him, tinging all the common realities of life with its rose hue; genius giving him power to see with God-like vision, the ‘fairies nestling in the cowslip chalices,’ and the golden gleam of Cleopatra’s sails; to feel the ‘spiced Indian air’ by night, and the wild working of kings’ ambitious lust; to know by intuition, alike the voices of nature unheard by common ears, and the fierce schemes and passions of a world from which social position shut him out!

Zounds!” Ren leans and picks it up. “Did you just swear in Shakespeare—” “Let’s move on and pretend I didn’t do that.” Ren’s cheeks are bright red.

I previously spoke to Mrs. Newton of such… She's trading your shifts. She spoke to inform you she wishes you a: 'Happy Birthday.'' ‘I- yet can't come over,’ I resolved, clambering for an excuse. ‘I, well, I mustn't watch Romeo and Juliet yet for English.’ Olivia squealed, ‘You have Romeo and Juliet memorized.’ ‘Although Mr. Smith proclaimed, we obliged to notice it performed to thoroughly acknowledge it that's how Shakespeare intended it to be presented.’ Marcel rolled his eyes. ‘You've already seen the movie,’ Olivia accused. ‘Although not the nineteen-sixties version. Mr. Smith said it was the best.’ Subsequently, Olivia lost the self-satisfied smile and glared at me. ‘This can be obvious, or this can be troublesome, Bell, but one way or the others’ Marcel interrupted her threat. ‘Relax, Olivia. If Karly wants to watch a movie, then she can. It's her birthday.’ ‘So there,’ I added. ‘I'll bring her over around seven,’ he continued. ‘That will give you more time to set up.’ Olivia's howling sounded again. ‘Sounds immeasurable good. See you tonight, Bell! It'll be fun, you'll see.’ She grinned- the wide smile revealed all her perfect, glistening teeth-then pecked me on the cheek and danced off moving her first class before I could respond. ‘Marcel, please-’ I started to beg, but he clasped one crisp finger to my lips. ‘Let's review it later. We're going to be late for school.’ No one bothered to stare at us as we took our representative seats in the back of the classroom (we should almost every class together now-it was amazing the favors Marcel could get the female administrators to do for him.)

I should make very forges of my cheeks That would to cinders burn up modesty Did I but speak thy deeds. What committed? Heaven stops the nose at it and the moon winks, The bawdy wind that kisses all it meets Is hushed within the hollow mine of earth And will not hear ’t. What committed! Impudent strumpet!

You were wrong," he murmured ruefully, resting his cheek on top of Amy’s head. "You weren’t safe with me." "I feel like Psyche kissing Cupid in the dark," Amy said dreamily. Richard drew Amy’s arms around his back under his cloak. "Feel. No wings." Amy could hear the smile in the Gentian’s voice. "Does that mean if I unmask you, you won’t fly away?" Richard tightened his grip on Amy’s arms. "Don’t even consider it." "You could give me three trials, like Psyche." "With what as the prize at the end? Me, or membership in the League?" Amy managed the difficult feat of looking at him askance with her nose only inches from his. "It would be much easier for me to answer that question if I knew who you were." "What’s in a name? A Gentian by any other name would—" "Be an entirely different flower," interjected Amy, swatting him on the arm. "I refuse to be fobbed off with poor imitations of Shakespeare." "If you don’t like Romeo and Juliet, how about a sonnet?" Richard suggested. "Shall I compare thee to a summer’s day? Thou art—" "Not that easily deterred." Amy extricated herself from Richard’s arms – and his cloak, which had tangled around her knees – and hopped off the window seat. "Damnation," muttered Richard. "I’ll ignore that,"offered Amy generously. "And we can go straight to the crucial question of how I’m going to help you restore the monarchy

Draven gave her a long look. “I see Lord Jasper chose well.” “I don’t understand.” “It’s obvious he cares for you, and I see why.” Her cheeks flushed warmly. “You’re braver than you look. What is that line from Shakespeare? And though she be but little, she is fierce.

Luca picked up the leather-bound volume Cass had been reading. “Shakespeare,” he said, twirling the book in his hand. “Quite a tale. Pity how they both die at the end.” “Luca!” Cass gasped. Slipper jumped down from her lap and padded over to the fireplace. “I had only just completed the first quarto. I was looking for the second volume when you arrived.” Luca looked apologetic. “I’m sorry. A classmate was talking about it at university. You can still read it, Cassandra. It’s a fine story, if you like that sort of thing. As I recall, you used to be more into swordfights and sorcerers.” Cass was about to respond when Agnese glided into the library, dressed in a pearl gray dressing gown cinched at the waist with a wide white belt. “Do I hear arguing already? Save it for your marriage, children.” Her eyes brightened and her mouth curled upward as if Luca were a roasted bear on a platter, smelling of cloves and cinnamon. “Narissa told me you’d arrived,” Agnese continued. “I apologize for my state of disarray, dear. I retired early this evening.” “Signora Querini. You are every bit as lovely as I remember,” Luca said, his cheeks reddening slightly as he bowed toward Agnese. The old woman crowed with delight. “I daresay you are three or four times as lovely as I remember. Whatever herbs and potions you’re taking over there in France, can you spare some for an old lady?” Luca laughed. “No potions, Signora,” he said. “Just growing up.