Citing Shakespeare Quotes

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!

The devil can cite Scripture for his purpose." "And the foolish can cite Shakespeare.

The devil can cite Scripture for his own purpose. —William Shakespeare

Shakespeare said it this way: Even the devil can cite scripture for his purpose.

As Shakespeare said, ‘The devil can cite Scripture for his purpose.’4

In short, and as always, a devoted reader can find support for nearly any position he or she wishes in Shakespeare. (Or as Shakespeare himself put it in a much misquoted line: “The devil can cite Scripture for his purpose.”)

In short, and as always, a devoted reader can find support for nearly any position he or she wishes in Shakespeare. (Or, as Shakespeare himself put it in a much misquoted line: "The devil can cite Scripture for his purpose.")

There were multitudes of dependents fed at the great houses, and everywhere, according to means, a wide-open hospitality was maintained. Froude gives a notion of the style of living in earlier times by citing the details of a feast given when George Neville, brother of Warwick the king-maker, was made archbishop of York. There were present, including servants, thirty-five hundred persons. These are a few of the things used at the banquet: three hundred quarters of wheat, three hundred tuns of ale, one hundred and four tuns of wine, eighty oxen, three thousand geese, two thousand pigs, — four thousand conies, four thousand heronshaws, four thousand venison pasties cold and five hundred hot, four thousand cold tarts, four thousand cold custards, eight seals, four porpoises, and so on.

Fond of Shakespeare, Ambedkar would later cite apt lines from various plays to fit the circumstances.

The devil can cite Scripture for his purpose.

In his article, Barrell had cited a letter by Ketel’s biographer that proved Ketel had indeed painted de Vere. Barrell then pointed out that the Ashbourne had likely resided for decades at Wentworth Woodhouse in South Yorkshire, where a 1695 will mentioned a portrait of “the earl of Oxford my wife’s great grand-father at [full] length.” In 1721 that de Vere portrait was again noted by the antiquarian George Vertue, but by 1782 this framed picture had vanished; yet that year’s inventory recorded a new portrait now hung in the main dining hall: an unframed three-quarter-length Will Shakespeare. De Vere full-length with frame disappears, Shakespeare three-quarter-length unframed appears, and all this taking place some thirty-five miles from where the Ashbourne would be discovered. It was hard to fault Barrell’s logic here, I felt, especially since the Folger itself had recorded the Ashbourne as owning no original edges, meaning the picture had been cut down in size at some point.

The Master of Shakespeare, by A. W. L. Saunders, after citing many of the above details, hung its hat on those similarities of poetic style while arguing that Greville, a famously amiable patron, had been the master of a long-standing collaboration marketed as “Will Shake-speare,” whose contributing members included Mary Sidney, Tom Nashe, Francis Bacon, Kit Marlowe, George Peele, and Samuel Daniel.

One Reformation-era proverb, which would be cited in different forms by John Donne and William Shakespeare, proclaimed that women who died unmarried were doomed to “lead apes in hell.