Dramatic Shakespeare Quotes

When King Lear dies in act five, do you know what Shakespeare has written? He has written, 'He dies.' No more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential piece of dramatic literature is, 'He dies.' Now I am not asking you to be happy at my leaving but all I ask you to do is to turn the page and let the next story begin. -- Mr. Magorium

When King Lear dies in Act V, do you know what Shakespeare has written? He's written "He dies." That's all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is "He dies." It takes Shakespeare, a genius, to come up with "He dies." And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it's only natural to be sad, but not because of the words "He dies." but because of the life we saw prior to the words.

Shakespeare's bitter play [Troilus and Cressida] is therefore a dramatization of a part of a translation into English of the French translation of a Latin imitation of an old French expansion of a Latin epitome of a Greek romance. (p. 55)

When King Lear dies in Act V, do you know what Shakespeare has written? He’s written “He dies.” That’s all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is “He dies.” It takes Shakespeare, a genius, to come up with “He dies.” And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it’s only natural to be sad, but not because of the words “He dies,” but because of the life we saw prior to the words. I’ve lived all five of my acts, Mahoney, and I am not asking you to be happy that I must go. I’m only asking that you turn the page, continue reading… and let the next story begin. And if anyone asks what became of me, you relate my life in all its wonder, and end it with a simple and modest “He died.

Shakespeare appreciated the value of lovely costumes in adding picturesqueness to poetry, but he saw how important costume is as a means of producing certain dramatic effects.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

It is true that biographical readings of the plays are dangerous, unregulated, prone to sentimentalization. It is absurd to cherry-pick passages of poetry written over more than two decades and infer from them a consistent personal attitude. Lines belong in a dramatic context and in the psychological context of the character who utters them and cannot be taken to reflect Shakespeare's views.

Speeches, however eloquent and profound they may be, when put into the mouth of dramatic characters, if they be superfluous or unnatural to the position and character, destroy the chief condition of dramatic art—the illusion, owing to which the reader or spectator lives in the feelings of the persons represented...

Here's one of the problems with communicating in the words of a man who is not around to explain himself: it's damn hard sometimes to tell what he was talking about. Look, the sheer fact that people have banged out book after article after dramatic interpretation of this guy should tell you that despite his eloquence, he wasn't the clearest of communicators.

What ho! You men, you beasts, That quench thenfirst if your pernicious rage With purple foundations issuing from your veins

What I can do can do no hurt to try,

Let me not live,' quoth he, 'After my flame lacks oil, to be the snuff Of younger spirits, whose apprehensive senses All but new things disdain; whose judgments are Mere fathers of their garments; whose constancies Expire before their fashions.

Interestingly, this speech by Prospero does not contrast the unreality of the stage with the solid, flesh-and-blood existence of real men and women. On the contrary, it seizes on the flimsiness of dramatic characters as a metaphor for the fleeting, fantasy-ridden quality of actual human lives. It is we who are made of dreams, not just such figments of Shakespeare’s imagination as Ariel and Caliban. The cloud-capped towers and gorgeous palaces of this earth are mere stage scenery after all.

As in most modern narratives, a character’s fate depended on human actions, his and others. King Lear’s Gloucester may complain about human fate as “flies to wanton boys,” but it’s Lear’s vanity that sets in motion the dramatic arc of the play. From the Enlightenment onward, the individual occupied center stage. But now I lived in a different world, a more ancient one, where human action paled against superhuman forces, a world that was more Greek tragedy than Shakespeare. No amount of effort can help Oedipus and his parents escape their fates; their only access to the forces controlling their lives is through the oracles and seers, those given divine vision. What I had come for was not a treatment plan—I had read enough to know the medical ways forward—but the comfort of oracular wisdom.

Shakespeare's plays do not present easy solutions. The audience has to decide for itself. King Lear is perhaps the most disturbing in this respect. One of the key words of the whole play is 'Nothing'. When King Lear's daughter Cordelia announces that she can say 'Nothing' about her love for her father, the ties of family love fall apart, taking the king from the height of power to the limits of endurance, reduced to 'nothing' but 'a poor bare forked animal'. Here, instead of 'readiness' to accept any challenge, the young Edgar says 'Ripeness is all'. This is a maturity that comes of learning from experience. But, just as the audience begins to see hope in a desperate and violent situation, it learns that things can always get worse: Who is't can say 'I am at the worst?' … The worst is not So long as we can say 'This is the worst.' Shakespeare is exploring and redefining the geography of the human soul, taking his characters and his audience further than any other writer into the depths of human behaviour. The range of his plays covers all the 'form and pressure' of mankind in the modern world. They move from politics to family, from social to personal, from public to private. He imposed no fixed moral, no unalterable code of behaviour. That would come to English society many years after Shakespeare's death, and after the tragic hypothesis of Hamlet was fulfilled in 1649, when the people killed the King and replaced his rule with the Commonwealth. Some critics argue that Shakespeare supported the monarchy and set himself against any revolutionary tendencies. Certainly he is on the side of order and harmony, and his writing reflects a monarchic context rather than the more republican context which replaced the monarchy after 1649. It would be fanciful to see Shakespeare as foretelling the decline of the Stuart monarchy. He was not a political commentator. Rather, he was a psychologically acute observer of humanity who had a unique ability to portray his observations, explorations, and insights in dramatic form, in the richest and most exciting language ever used in the English theatre.

He is the most Shakespearean creature since Shakespeare. If Shakespeare could sing with myriad lips, Browning could stammer through a thousand mouths. [...] Yes, Browning was great. And as what will he be remembered? As a poet? Ah, not as a poet! He will be remembered as a writer of fiction, as the most supreme writer of fiction, it may be, that we have ever had. His sense of dramatic situation was unrivalled, and, if he could not answer his own problems, he could at least put problems forth, and what more should an artist do? Considered from the point of view of a creator of character he ranks next to him who made Hamlet. Had he been articulate, he might have sat beside him. The only man who can touch the hem of his garment is George Meredith. Meredith is a prose Browning, and so is Browning. He used poetry as a medium for writing in prose.

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

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.

Falstaff is the most unusual figure in fiction. He is almost entirely a good man, a glorious, life-affirming good man, and there is hardly a good man in dramatic literature. There has always been an England, an older England, which was sweeter, purer, where the hay smelled better and the weather was always springtime and the daffodils blew in the gentle warm breezes. You feel a nostalgia for it in Chaucer, and you feel it all throughout Shakespeare. Falstaff is a refugee from that world. He has to live by his wits, he has to be funny, he has no place to sleep if he doesn’t get a laugh out of his patron. It’s a rough modern world that he’s living in. You’ve got to be able to see that look in his eyes that comes out of the age that never existed, the one that exists in the heart of all English poetry.

Authors like Shakespeare and Goethe have glorious monologues that flood the theater with words. This endless verbalizing is a lie. This perfect harmony between heart and tongue exists only on a stage. I wanted to use language realistically to dramatize the tension that arises when the correspondence between feelings and language breaks down. Even Brecht swindled when it comes to language. His peasants speak more intelligently and more beautifully than any university professor. I wanted to smash this convention of stage language. I do not believe that people can heave their hearts into their mouths and speak their inner torments trippingly on the tongue. Language should not be the central element in drama. Language exists only on the surface of our consciousness. The great human struggles are played out in silence and in the inability to express oneself. Language should have the same function in the theater that it has in reality.

Once again, I had traversed the line from doctor to patient, from actor to acted upon, from subject to direct object. My life up until my illness could be understood as the linear sum of my choices. As in most modern narratives, a character’s fate depended on human actions, his and others. King Lear’s Gloucester may complain about human fate as “flies to wanton boys,” but it’s Lear’s vanity that sets in motion the dramatic arc of the play. From the Enlightenment onward, the individual occupied center stage. But now I lived in a different world, a more ancient one, where human action paled against superhuman forces, a world that was more Greek tragedy than Shakespeare. No amount of effort can help Oedipus and his parents escape their fates; their only access to the forces controlling their lives is through the oracles and seers, those given divine vision. What I had come for was not a treatment plan—I had read enough to know the medical ways forward—but the comfort of oracular wisdom.

The modern educational system provides numerous other examples of reality bowing down to written records. When measuring the width of my desk, the yardstick I am using matters little. My desk remains the same width regardless of whether I say it is 200 centimetres or 78.74 inches. However, when bureaucracies measure people, the yardsticks they choose make all the difference. When schools began assessing people according to precise marks, the lives of millions of students and teachers changed dramatically. Marks are a relatively new invention. Hunter-gatherers were never marked for their achievements, and even thousands of years after the Agricultural Revolution, few educational establishments used precise marks. A medieval apprentice cobbler did not receive at the end of the year a piece of paper saying he has got an A on shoelaces but a C minus on buckles. An undergraduate in Shakespeare’s day left Oxford with one of only two possible results – with a degree, or without one. Nobody thought of giving one student a final mark of 74 and another student 88.6

For many citizens, libraries are the one place where the information they need to be engaged in civic life is truly available for free, requiring nothing more than the time to walk into a branch. The reading room of a public library is the place where a daily newspaper, a weekly newsmagazine, and a documentary film are all available for free. In many communities, the library's public lecture room is the only place to hear candidates for office comparing points of view or visiting professors explaining their work on climate change, immigration or job creation. That same room is often the only place where a child from a family without a lot of money can go to see a dramatic reading or a production of a Shakespeare play. (Another of these simple realities in most communities is that a big part of public librarians job is to figure out how to host the community's homeless in a safe and fair manner.) Democracies can work only if all citizens have access to information and culture that can help them make good choices, whether at the voting booth or in other aspects of public life.

Where else in dramatic literature is there such a treatment of the life-and-death cycle of people and political change? One needs to reach back to the chronicles of Shakespeare, back to the Greeks. Larry Kramer isn't Sophocles and he isn't Shakespeare; we don't have Sophocleses or Shakespeares, not these days, but we do have, on rare occasion, remarkable accomplishment, and Kramer's is remarkable, invaluable, and rare. How else to dramatise revolution accurately, truthfully, politically, than by showing it to be tragic as well as triumphant? And on the other hand, if the medical, biological, political, and familial failures of "Destiny" produce, by the play's end, despair again; if we are plunged back into night, it cannot be different from the night with which "Normal Heart" began, rife with despair and terror, and pregnant with an offstage potential for transformation, for hope. Failure awaits any political movement, even a spectacularly successful movement such as the one Larry Kramer helped to spark and organise. Political movements, liberation movements, revolutions, are as subject to time, decline, mortality, tragedy, as any human enterprise, or any human being. Death waits for every living thing, no matter how vital or brilliant its accomplishment; death waits for people and for their best and worst efforts as well.politics is a living thing, and living things die. The mistake is to imagine otherwise, to believe that progress doesn't generate as many new problems as it generates blessings, to imagine, foolishly, that the struggle can be won decisively, finally, definitively. No matter what any struggle accomplishes, time, life, death bring in their changes, and new oppressions are always forming from the ashes of the old. The fight for justice, for a better world, for civil rights or access to medicine, is a never-ending fight, at least as far as we have to see. the full blooded description of this truth, the recognition and dramatisation of a political cycle of birth, death, rebirth, defeat, renewal - this is true tragedy, in which absolute loss and devastation, Nothing is arrived at, and from this Nothing, something new is born.

The modern educational system provides numerous other examples of reality bowing down to written records. When measuring the width of my desk, the yardstick I am using matters little. My desk remains the same width regardless of whether I say it is 200 centimetres or 78.74 inches. However, when bureaucracies measure people, the yardsticks they choose make all the difference. When schools began assessing people according to precise marks, the lives of millions of students and teachers changed dramatically. Marks are a relatively new invention. Hunter-gatherers were never marked for their achievements, and even thousands of years after the Agricultural Revolution, few educational establishments used precise marks. A medieval apprentice cobbler did not receive at the end of the year a piece of paper saying he has got an A on shoelaces but a C minus on buckles. An undergraduate in Shakespeare’s day left Oxford with one of only two possible results – with a degree, or without one. Nobody thought of giving one student a final mark of 74 and another student 88.6 Credit 1.24 24. A European map of Africa from the mid-nineteenth century. The Europeans knew very little about the African interior, which did not prevent them from dividing the continent and drawing its borders. Only the mass educational systems of the industrial age began using precise marks on a regular basis. Since both factories and government ministries became accustomed to thinking in the language of numbers, schools followed suit. They started to gauge the worth of each student according to his or her average mark, whereas the worth of each teacher and principal was judged according to the school’s overall average. Once bureaucrats adopted this yardstick, reality was transformed. Originally, schools were supposed to focus on enlightening and educating students, and marks were merely a means of measuring success. But naturally enough, schools soon began focusing on getting high marks. As every child, teacher and inspector knows, the skills required to get high marks in an exam are not the same as a true understanding of literature, biology or mathematics. Every child, teacher and inspector also knows that when forced to choose between the two, most schools will go for the marks.

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.

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.

He didn’t know what the feeling was, but it was like a Phoenix rising from the ashes of his almost-dead soul. How dramatic. Take that, Shakespeare.

The night of the theatrical, Jane and Mr. Nobley secreted themselves behind the house for the final brush-up. The mood of late had let a bit of Bohemia into Regency England, the usual strict social observances bending, the rehearsals allowing the couples to slip away alone and enjoy the exhilarating intimacy of the unobserved. Mr. Nobley sat on the gravel path, leaning back on his elbow in a reluctant recline. “Oh, to die here, alone and unloved…” “That was pretty good,” Jane said. “You genuinely sounded in pain as you said it, but I think you could add a groan or two.” Mr. Nobley groaned, though perhaps not as part of the theatrical. “Perfect!” said Jane. Mr. Nobley rested his head on his knee and laughed. “I cannot believe I let you railroad me into this. I have always avoided doing a theatrical.” “Oh, you don’t seem that sorry. I mean, you certainly are sorry, just not regretful…” “Just do your part, please, Miss Erstwhile.” “Oh, yes, of course, forgive me. I can’t imagine why I’m taking so long, it’s just that there’s something so appealing about you there on the ground, at my feet--” He tackled her. He actually leaped up, grabbed her around the waist, and pulled her to the ground. She screeched as she thudded down on top of him. His hands stiffened. “Whoops,” he said. “You did not just do that.” He looked around for witnesses. “You are right, I did not just do that. But if I had, I was driven to it; no jury in the world would convict me. We had better keep rehearsing, someone might come by.” “I would, but you’re still holding me.” His hands were on her waist. They were gorgeous, thick-fingered, large. She liked them there. “So they are,” he said. Then he looked at her. He breathed in. His forehead tensed as if he were trying to think of words for his thoughts, as if he were engaged in some gorgeous inner battle that was provoked by how perfectly beautiful she was. (That last part was purely Jane’s romantic speculation and can’t be taken as literal.) Nevertheless, they were on the ground, touching, frozen, staring at each other, and even the trees were holding their breath. “I--” Jane started to say, but Mr. Nobley shook his head. He apologized and helped her to her feet, then plopped back onto the ground, as his character was still in the throes of death. “Shall we resume?” “Right, okay,” she said, shaking gravel from her skirt, “we were near the end…Oh, Antonio!” She knelt carefully beside him to keep her skirt from wrinkling and patted his chest. “You are gravely wounded. And groaning so impressively! Let me hold you and you can die in my arms, because traditionally, death and unrequited love are a romantic pairing.” “Those aren’t the lines,” he said through his teeth, as though an actual audience might overhear their practice. “They’re better than. It’s hardly Shakespeare.” “Right. So, your love revives my soul, my wounds heal…etcetera, etcetera, and I stand up and we exclaim our love dramatically. I cherish you more than farms love rain, than night loves the moon, and so on…” He pulled her upright and they stood facing each other, her hands in his. Again with the held breaths, the locked gazes. Twice in a row. It was almost too much! And Jane wanted to stay in that moment with him so much, her belly ached with the desire. “Your hands are cold,” he said, looking at her fingers. She waited. They had never practiced this part and the flimsy play gave no directions, such as, Kiss the girl, you fool. She leaned in a tiny bit. He warmed her hands. “So…” she said. “I suppose we know our scene, more or less,” he said. Was he going to kiss her? No, it seemed nobody ever kissed in Regency England. So what was happening? And what did it mean to fall in love in Austenland anyway? Jane stepped back, the weird anxiety of his nearness suddenly making her heart beat so hard it hurt.

what started with the Sonnets migrated to the plays, though the claim that Shakespeare was speaking for himself through his dramatic characters was more difficult to sustain.

The room was large and airy. Shelves lined the walls on three sides, shelves that stretched way above his head, bending under the weight of the hundreds of books stored there. The fourth wall was covered in old newspaper, yellowed and faded but still readable. The room had become a shrine of sorts, he supposed. The books he had saved before the last days. He ran his finger along the spines: Shakespeare, Dickens, Keats, the ancients, all there alongside books from the last century. Nothing wasted, nothing lost. His private collection. He would find it difficult to let them go when the time came, but he would let them go. He couldn’t risk them being found at a later date. There were few incidents where people managed to decode words after Nicene, very few. Nonetheless, he wouldn’t take that chance. They would be destroyed along with everything the wordsmith had managed to salvage. For a second, images of the wordsmith filled his head, but he pushed them away. He turned his back on the books and walked across to the wall of newsprint. Here was a potted history of the past hundred years. The warnings. The signs. Global warming. Water levels rising. It was incomprehensible even now that man had just ignored it all. Young people talked about the Melting as if it were a single event, but it hadn’t been like that. The earth had been heating up for years. His finger touched one of the news sheets. Scientists were warning of an alarming acceleration in the melting of the polar ice caps. They predicted a dramatic rise in sea levels. That was back in the twenty-first century! He shook his head. He chose another article from around the same time. The writer was warning about the disappearing ice caps. “Until recently, the Arctic ice cap covered two percent of the earth’s surface. Enormous amounts of solar energy are bounced back into space from those luminous white ice fields. Replacing that mass of ice with dark open ocean will induce a catastrophic tipping point in the balance of planetary energy.” Torrents of words had followed. Words from politicians assuring people there was no such thing as global warming. Words from industrialists who justified their emissions of CO2 into the atmosphere. Words to hide behind. Words to deceive. Useless, dangerous, destructive words… He drew back his hand and punched the wall, hurting his knuckles and leaving a trail of blood on the yellowing paper.

Politicians have great skill in activating this system and easily persuade large crowds to behave like small children having temper tantrums. The favorite activating device (dramatized by Shakespeare in Henry V) invokes mammalian pack-solidarity by attacking a rival pack. George Bush, perceived as a "wimp" by many, raised his popularity to unprecedented heights, just as I looked about for a contemporary illustration of this point. Mr. Bush simply invaded a small, Third World country (Panama) where a quick, easy victory came within a week. The "wimp" image vanished overnight. Any alpha male in any gorilla or chimpanzee pack, feeling his authority slipping, would have followed the same course.

On Stage was a groundbreaking dramatic series capping the radio careers of Cathy and Elliott Lewis. It came in what might have been a watershed era but was instead radio’s last hurrah. The Lewises reached the crest as the ship began to sink, though in a strange way it was a time of peace. The war with television had been lost in a single season, and the big money had gone, as it always does, with the winner. What was left on radio fell into several broad categories, none ruled by money as they had been in the old days. Agencies and producers still had radio budgets, but the tide had irrevocably turned. The end of big-time radio had for its best artists a liberating effect. “I can do things now that I wouldn’t dare to do two or three years ago,” said Elliott Lewis in Newsweek in mid-1953. As producer-director of Suspense, he had just aired a two-part adaptation of Shakespeare’s Othello, which would have been unthinkable for the thrill show in 1945. Network people paid less attention, and if money was tighter, there was no lack of talent to prove it. People still wanted to work in radio: they remained because it was a dear first love, terminally ill and soon to disappear. Jack Benny and Jack Webb were still on the air; Gunsmoke was in its first year, and just ahead were more frugal but extremely creative shows—X-Minus One, Frontier Gentleman, and The CBS Radio Workshop. These were produced and enacted by people who loved what they were doing: some would mourn its final loss so deeply that they spoke of it reluctantly even two decades later. It was in this time that the Lewises produced On Stage, by some accounts the best radio anthology ever heard.

Another Byzantine miracle was an original version of Shylock. Shakespeare and his fellow dramatists plundered the Church legends as freely as their masters plundered the Church treasuries, yet left a mass of dramatic material untouched.

Of course, Adam was still counting days the old way, as Sunday was the first day of the week, so he was misinforming me as to which day his father actually arrived in Spain, seemingly by accident, by mistake. Perhaps it was a mistake that Adam had confused the European calendar with the Israeli calendar from time to time; perhaps it was not a mistake. Ferran actually arrived the following day, Tuesday, according to the Gregorian calendar and not Monday, when we had all been preparing for his arrival with Martina in vain. I had wanted to introduce her to the old man nicely. However, Tuesday, when he was scheduled to arrive, Mario Larese - Mister Twister - showed up, banging the glass of the store-front door, echoing throughout the entire store and upstairs apartment, as if he was about to break the glass if I did not go down to open it. He was knocking on the plain, large glass of the door with either a lighter or with his metal ring; I don't know which, but it was terrible. I knew Ferran could arrive at any moment, so I told Martina it might be best if she went home to Paola and let me take care of the business. I couldn't ignore Mario, who was almost breaking the glass, seemingly because he had seen my scooter parked in front of the store. I opened the door and he started pushing his way inside, saying, “Let's smoke a joint and drink a coffee.” I replied, “Slow down, cowboy. I've got company, I'm expecting more company, and I just woke up. I have no time now; sorry, Mario.” He kept banging the door because he wanted to smoke somewhere early in the morning, and Canale Vuo was still closed. I was so tempted to slap him. Unintentionally, I let slip that I was expecting Ferran, which only increased his refusal to leave. Theatrical. Dramatic. He wasn't going to get out of my store, my way, my day, my life, my struggle, or my schedule. Meanwhile, the same time, Nico was bugging me on the phone to make sure I delivered a box of 1,000 cones for La Silla because they needed it to make pre-rolled joints for their smokers. They sold 2-3,000 pre-rolled joints a week, ordering two boxes weekly, thus making me waste my time for free. I started to think it had all been planned just to make me lose time every week. They sold 3,000 joints a week and yet couldn't afford more than two boxes of cones to purchase to keep up. Tuesday morning was so urgent for La Silla to get those 1,000 brown cones right then. Just for Nico's 5-euro commission and so he wouldn't be embarrassed in front of his friends at La Silla with his sales performance - no problem. I couldn't kick out Mario, and I didn't want to kick out Martina, who apparently didn't want to leave. I asked them to leave, but Mario was leaning on the kitchen table and unable to look up or turn toward me to meet my gaze. Martina was looking at me angrily. So, I told them both, “OK then, stay here; let the old man inside once he arrives. I have to deliver this box of cones to La Silla right away, but I will be right back. 20 minutes tops.” Adam had also failed to inform me that he had copied a set of keys for his dad at one point, and he had somehow sent them to Israel by mail, I guess. Martina did not need to stay in the store to let Ferran in, but I did not know that. Adam was always secretive and brief with his words, as if it cost him money to say words out of his mouth or dictate to Rachel what to write in an email or what he was supposed to tell me on the phone. I thought that Martina had to stay to let Ferran into the store in case he arrived just when I went to La Mesa to do a favor for Nico. I was on my way back to Urgell from La Silla, when Adam suddenly called me from Amsterdam, screaming on the phone.

Most detached of all is the great but damaged Sonnet 146, which would be more at home in a religious than in an amatory sequence. It may be significant that it immediately follows the Anne Hathaway sonnet (No. 14S), which also seems irrelevantly imported into the collection. The antithesis between soul and body has occurred earlier, and will be repeated in a grosser context in Sonnet 151 (see pp. 53, 71, below). It is a Renaissance topos; Love's Labour's Lost might be regarded as an extended dramatization of it. Shakespeare develops it here with consummate skill in a perfectly formed poem, marred only by the textual dislocation in its second line. The couplet is worthy of John Donne ('Death, thou shalt die', Holy Sonnets, 6) and anticipates Dylan Thomas's `Death, thou shalt have no dominion' (itself biblical in origin):