Explain Shakespeare Quotes

It was one of those cases where you approve the broad, general principle of an idea but can't help being in a bit of a twitter at the prospect of putting it into practical effect. I explained this to Jeeves, and he said much the same thing had bothered Hamlet.

The more things change, the more they stay the same. I'm not sure who the first person was who said that. Probably Shakespeare. Or maybe Sting. But at the moment, it's the sentence that best explains my tragic flaw, my inability to change. I don't think I'm alone in this. The more I get to know other people, the more I realize it's kind of everyone's flaw. Staying exactly the same for as long as possible, standing perfectly still... It feels safer somehow. And if you are suffering, at least the pain is familiar. Because if you took that leap of faith, went outside the box, did something unexpected... Who knows what other pain might be out there, waiting for you. Chances are it could be even worse. So you maintain the status quo. Choose the road already traveled and it doesn't seem that bad. Not as far as flaws go. You're not a drug addict. You're not killing anyone... Except maybe yourself a little. When we finally do change, I don't think it happens like an earthquake or an explosion, where all of a sudden we're like this different person. I think it's smaller than that. The kind of thing most people wouldn't even notice unless they looked at us really close. Which, thank God, they never do. But you notice it. Inside you that change feels like a world of difference. And you hope this is it. This is the person you get to be forever... that you'll never have to change again.

I said ”I love you so much it’s killing me” and you kept saying sorry so I stopped explaining for it never made sense to you what always did to me to let what you love kill you and never regret. As Romeo is dying Juliet says ”I am willing to die to remain by your side” and love was never a static place of rest but the last second of euphoria while throwing yourself out from a 20 store window to be able to say ”I flew before I hit the ground”, and it was glorious. Don’t be sorry. The fall was beautiful, dear. The crash was beautiful.

When they had been deciding what to call their company all those years ago, Marx had argued for calling it Tomorrow Games, a name Sam and Sadie instantly rejected as "too soft." Marx explained that the name referenced his favorite speech in Shakespeare, and that it wasn't soft at all. "Do you have any ideas that aren't from Shakespeare?" Sadie said. To make his case, Marx jumped up on a kitchen chair and recited the "Tomorrow" speech for them, which he knew by heart: Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. "That's bleak," Sadie said. "Why start a game company? Let's go kill ourselves," Sam joked. "Also," Sadie said, "What does any of that have to do with games?" "Isn't it obvious?" Marx said. It was not obvious to Sam or to Sadie. "What is a game?" Marx said. "It's tomorrow, and tomorrow, and tomorrow. It's the possibility of infinite rebirth, infinite redemption. The idea that if you keep playing, you could win. No loss is permanent, because nothing is permanent, ever." "Nice try, handsome," Sadie said. "Next.

The effectance motive helps explain the progress principle: We get more pleasure from making progress toward our goals than we do from achieving them because, as Shakespeare said, “Joy’s soul lies in the doing.

As far back as Yossarian could recall, he explained to Clevinger with a patient smile, somebody was always hatching a plot to kill him. There were people who cared for him and people who didn't, and those who hated him were out to get him. They hated him because he was Assyrian. But they couldn't touch him, he told Clevinger, because he had a sound mind in a pure body and was as strong as an ox. They couldn't touch him because he was Tarzan, Mandrake, Flash Gordon. He was Bill Shakespeare. He was Cain, Ulysses, the Flying Dutchman; he was Lot in Sodom, Deirdre of the Sorrows, Sweeney in the nightingales among trees. He was miracle ingredient Z-247. He was - Crazy!" Clevinger interrupted, shrieking. "That's what you are! Crazy!" "immense. I'm a real slam-bang, honest-to-goodness, three-fisted humdinger. I'm a bona fide Supraman." "Superman?" Clevinger cried. "Superman?" Supraman," Yossarian corrected.

Saint Bartleby's School for Young Gentlemen Annual Report Student: Artemis Fowl II Year: First Fees: Paid Tutor: Dr Po Language Arts As far as I can tell, Artemis has made absolutely no progress since the beginning of the year. This is because his abilities are beyond the scope of my experience. He memorizes and understands Shakespeare after a single reading. He finds mistakes in every exercise I administer, and has taken to chuckling gently when I attempt to explain some of the more complex texts. Next year I intend to grant his request and give him a library pass during my class. Mathematics Artemis is an infuriating boy. One day he answers all my questions correctly, and the next every answer is wrong. He calls this an example of the chaos theory, and says that he is only trying to prepare me for the real world. He says the notion of infinity is ridiculous. Frankly, I am not trained to deal with a boy like Artemis. Most of my pupils have trouble counting without the aid of their fingers. I am sorry to say, there is nothing I can teach Artemis about mathematics, but someone should teach him some manners. Social Studies Artemis distrusts all history texts, because he says history was written by the victors. He prefers living history, where survivors of certain events can actually be interviewed. Obviously this makes studying the Middle Ages somewhat difficult. Artemis has asked for permission to build a time machine next year during double periods so that the entire class may view Medieval Ireland for ourselves. I have granted his wish and would not be at all surprised if he succeeded in his goal. Science Artemis does not see himself as a student, rather as a foil for the theories of science. He insists that the periodic table is a few elements short and that the theory of relativity is all very well on paper but would not hold up in the real world, because space will disintegrate before lime. I made the mistake of arguing once, and young Artemis reduced me to near tears in seconds. Artemis has asked for permission to conduct failure analysis tests on the school next term. I must grant his request, as I fear there is nothing he can learn from me. Social & Personal Development Artemis is quite perceptive and extremely intellectual. He can answer the questions on any psychological profile perfectly, but this is only because he knows the perfect answer. I fear that Artemis feels that the other boys are too childish. He refuses to socialize, preferring to work on his various projects during free periods. The more he works alone, the more isolated he becomes, and if he does not change his habits soon, he may isolate himself completely from anyone wishing to be his friend, and, ultimately, his family. Must try harder.

When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in which the talent was cradled that explains; it is the training it received while it grew, the nurture it got from reading, study, example, the encouragement it gathered from self-recognition and recognition from the outside at each stage of its development: when we know all these details, then we know why the man was ready when his opportunity came.

We would never have met," he explained, voice dropping to a husky note. "I would have gone about my life and not thought I was missing anything. You would have – you would have painted obsessively, all those transformative images, and I would be someone unimagined and unknown, and I cannot decide whether it would be trite to call that a tragedy or if I should resent you for making this – all this death – somehow bearable, tolerable for the tenuous joy I have gained. You steal my anger and leave me dazed." He stopped, took a shaking breath, then laughed. "I sound like Pan's understudy, failing to channel Shakespeare. There's no way to do more than guess what would have happened if Fisher Charteris and Madeleine Cost met one day in a world which had never feared dust, any more than we can be certain of surviving two years, or two days. I can't speak to what-ifs, but I know I will always be glad to have been here in this moment with you.

There was an advertisement in the newspaper for a teaching position in a school with the worst reputation in town, with the sort of class that no qualified teacher with all the parts of her brain correctly screwed together would voluntarily face. It was attention-deficit hyperactivity disorder before attention-deficit hyperactivity disorder had been invented. “There’s no hope for these boys and girls,” the headmaster soberly explained in the interview. “This is not education, this is storage.” Maybe Sonja understood how it felt to be described as such. The vacant position attracted only one applicant, and she got those boys and girls to read Shakespeare.

Mr Bott sits down and gestures gracefully to the board. "As you are clearly both fascinated by this text, would you like to explain the significance of Laertes in Hamlet?" He looks at Alexa. "Please go first, Miss Roberts." "Well..." Alexa says hesitantly. "He's Ophelia's brother, right?" "I didn't ask for his family tree, Alexa. I want to know his literary significance as a fictional character." Alexa looks uncomfortable. "Well then, his literary significance is in being Ophelia's brother, isn't it? So she has someone to hang out with." "How very kind of Shakespeare to give fictional Ophelia a fictional playmate so that she doesn't get fictionally bored. Your analytical skills astound me, Alexa. Perhaps I should send you to Set Seven with Mrs White and you can spend the rest of the lesson studying Thomas the Tank Engine. I believe he has lots of buddies too.

If modern scholars overlook the entertainment motive, dominant in the Iliad, and treat Homer as a Virgil, Dante, or Milton, rather than as a Shakespeare or Cervantes, they are doing him a great disservice. The Iliad, Don Quixote and Shakespeare’s later plays are life—tragedy salted with humour; the Aeneid, the Inferno and Paradise Lost are literary works of almost superhuman eloquence, written for fame not profit, and seldom read except as a solemn intellectual task. The Iliad, and its later companion-piece, the Odyssey, deserve to be rescued from the classroom curse which has lain heavily on them throughout the past twenty-six centuries, and become entertainment once more; which is what I have attempted here. How this curse fell on them can be simply explained.

Tell me. You're a man who understands history," I said. "If you want to start a revolution, why not issue a manifesto? Why not show the people who you are, what you're doing?" He leaned back, grateful to explain. "That's perfectly understandable. Socrates wrote nothing down. Neither did Jesus. The problem with text is that it assumes it's own reality. It cannot answer, and it cannot explain.

Simplicity itself. Skin, debone, demarrow, scarify, melt, render down and destroy. Every adjective that counted, every verb that moved, every metaphor that weighed more than a mosquito--out! Every simile that would have made sub-moron's mouth twitch--gone! Any aside that explained the two-bit philosophy of a first-rate writer--lost! Every story slenderized, starved, bluepenciled, leeched and bled white, resembled every other story. Twain read like Poe read Shakespeare read like Dostoevsky read like--in the finale--Edgar Guest. Every word of more than three syllables had been razored. Every image that demanded so much as one instant's attention--shot dead.

HENSLOWE: Mr. Fennyman, let me explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster. Believe me, to be closed by the plague is a bagatelle in the ups and downs of owning a theatre. FENNYMAN: So what do we do? HENSLOWE: Nothing. Strangely enough, it all turns out well. FENNYMAN: How? HENSLOWE: I don't know, it's a mystery.

We have already shown by references to the contemporary drama that the plea of custom is not sufficient to explain Shakespeare’s attitude to the lower classes, but if we widen our survey to the entire field of English letters in his day, we shall see that he was running counter to all the best traditions of our literature. From the time of Piers Plowman down, the peasant had stood high with the great writers of poetry and prose alike. Chaucer’s famous circle of story-tellers at the Tabard Inn in Southwark was eminently democratic.

Michael had to clutch the end of the table to keep from rising. He could have had Shakespeare at his side to translate, and still not have been able to explain why Colin‟s remark infuriated him so.

When that I was and a little tiny boy, With hey, ho, the wind and the rain..." As they explained, this had been sung by a human who had visited Fantastica long years before, name of Shexper, or something of the sort.

Time is a very rum thing, as Shakespeare knew--ambling, trotting, galloping and sometimes standing still; though why he had to add "withal" to these interesting facts we cannot explain. Perhaps he could not explain either, but wrote whatever came into his head.

But hell can endure for only a limited period, and life will begin again one day. History may perhaps have an end; but our task is not to terminate it but to create it, in the image of what we henceforth know to be true. Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature. For him, the great god Pan is not dead. His most instinctive act of rebellion, while it affirms the value and the dignity common to all men, obstinately claims, so as to satisfy its hunger for unity, an integral part of the reality whose name is beauty. One can reject all history and yet accept the world of the sea and the stars. The rebels who wish to ignore nature and beauty are condemned to banish from history everything with which they want to construct the dignity of existence and of labor. Every great reformer tries to create in history what Shakespeare, Cervantes, Moliere, and Tolstoy knew how to create: a world always ready to satisfy the hunger for freedom and dignity which every man carries in his heart. Beauty, no doubt, does not make revolutions. But a day will come when revolutions will have need of beauty. The procedure of beauty, which is to contest reality while endowing it with unity, is also the procedure of rebellion. Is it possible eternally to reject injustice without ceasing to acclaim the nature of man and the beauty of the world? Our answer is yes. This ethic, at once unsubmissive and loyal, is in any event the only one that lights the way to a truly realistic revolution. In upholding beauty, we prepare the way for the day of regeneration when civilization will give first place—far ahead of the formal principles and degraded values of history—to this living virtue on which is founded the common dignity of man and the world he lives in, and which we must now define in the face of a world that insults it.

It's like Romeo & Juliet,' I say. 'You can't separate them. Otherwise, there would be no Shakespeare.' Silence. I decide to be more straightforward. I tell him, 'Nothing frightens me anymore. I am not even afraid to die.' Bussey's eyes, already wide open, grow even wider. My death is the last thing he needs. I have the strange feeling that there are two of me. One observes the conversation while the other does the talking. Everything is abnormal, especially this extreme calm that has taken me over. I try to explain to Bussey that if I decide to die, it will be without bitterness. I know I did everything I possibly could, so it will be respectful farewell. I will bow to life like an actor, who, having delivered his lines, bends deeply to his audience & retires. I tell Bussey that this decision has nothing to do with him, that it is entirely mine. I will choose either to live or to die, but I cannot allow myself to live in the in-between. I do not want to go through life like a ghost. 'Do you think you'll find Danny this way?' Bussey asks. My mind sifts through all available theories on the afterlife. It is as if this metaphysical question has become as real as the air we breathe. Buddhism teaches that life is an eternal cycle without beginning or end. I recall the metaphor: "Our individual lives are like waves produced from the great ocean that is the universe. The emergence of a wave is life, and its abatement is death. This rhythm repeats eternally." Finally I answer Bussey, 'No, I don't think so.' Bussey seems relieved, but I'm more panicky, because I had never thought that I could wind up alone. In my mind, whatever the odds, Danny & I were & would be together forever.

You’re totally wrong!” Rakoff cried. He explained that the rule against split infinitives was just a bizarre invention by some pedants in the late nineteenth century to have English mimic Latin, in which infinitives are one word. All the great authors—Shakespeare! Faulkner!—split the infinitive.

There's no hope for these boys and girls, the headmaster soberly explained in the interview. This is not education, this is storage. Maybe Sonja (disabled) understood how it felt to be described as such. The vacant position only attracted one applicant, and she go thtose boys and girls to read Shakespeare.

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

Well, the earring tells us he was bohemian,” she explained. “An earring on a man meant the same then as it does now—that the wearer was a little more fashionably racy than the average person. Drake and Raleigh were both painted with earrings. It was their way of announcing that they were of an adventurous disposition.

Leonardo cant be explained. Or Newton, or Shakespeare. Or endless others. Well. Probably not endless. But at least we know their names. But unless you're willing to concede that God invented the violin there is a figure who will never be known. A small man who went with his son into the stunted forests of the little iceage of fifteenth century Italy and sawed and split the maple trees and put the flitches to dry for seven years and then stood in the slant light of his shop one morning and said a brief prayer of thanks to his creator and then–knowing this perfect thing–took up his tools and turned to its construction. Saying now we begin.

In high school, we barely brushed against Ogden Nash, Lewis Carroll, Edward Lear, or any of the other so-unserious writers who delight everyone they touch. This was, after all, a very expensive and important school. Instead, I was force-fed a few of Shakespeare's Greatest Hits, although the English needed translation, the broad comedy and wrenching drama were lost, and none of the magnificently dirty jokes were ever explained. (Incidentally, Romeo and Juliet, fully appreciated, might be banned in some U.S. states.) This was the Concordance again, and little more. So we'd read all the lines aloud, resign ourselves to a ponderous struggle, and soon give up the plot completely.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

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

Then I had the good of my reading,” he explained presently. “I had no books; the pastor spoke but little English, and all his books were foreign; but I used to say over all I could remember. The old poets little knew what comfort they could be to a man. I was well acquainted with the works of Milton, but up there it did seem to me as if Shakespeare was the king; he has his sea terms very accurate, and some beautiful passages were calming to the mind. I could say them over until I shed tears; there was nothing beautiful to me in that place but the stars above and those passages of verse.

Two hours later, at 11.22 p.m, a large bell started tolling: the 13-ton Gros Bourdon of Notre Dame – the first time that Priscilla had heard its F-sharp since 1940. Soon, other church bells rang out over the darkened rooftops. The sound reached the Hôtel Meurice where General Choltitz, Military Commander of Greater Paris, was speaking to Berlin. He held the telephone to the window just as, five years before, an English correspondent had raised her receiver to catch the grinding of German tanks crossing the Polish border. Choltitz explained: ‘What you are hearing is that Paris is going to be liberated and that Germany without doubt has lost the war.

It was, as Berlin remembered it: “The fox knows many things, but the hedgehog knows one big thing.” 2 The passage survives only as a fragment, so its context has long been lost. But the Renaissance scholar Erasmus played around with it, 3 and Berlin couldn’t help doing the same. Might it become a scheme for classifying great writers? If so, Plato, Dante, Dostoevsky, Nietzsche, and Proust would all have been hedgehogs. Aristotle, Shakespeare, Goethe, Pushkin, and Joyce were obviously foxes. So was Berlin, who distrusted most big things—like logical positivism—but felt fully at ease with smaller ones. 4 Diverted by World War II, Berlin didn’t return to his quadrupeds until 1951, when he used them to frame an essay he was preparing on Tolstoy’s philosophy of history. It appeared two years later as a short book, The Hedgehog and the Fox. Hedgehogs, Berlin explained, “relate everything to a single central vision” through which “all that they say and do has significance.” Foxes, in contrast, “pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way.” The distinction was simple but not frivolous: it offered “a point of view from which to look and compare, a starting point for genuine investigation.” It might even reflect “one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general.

...I remembered Binkie throwing a few chips of encouragement to me as he said, with a gleam of disaffection, 'Of course, Noel's quite uneducated.' Whether it implied that the Master was as unashamedly ignorant as myself, expelled and barely literate at fifteen, condemned to a fixed condition of 'not being ready for it yet', I hadn't resolved. It merely seemed a piece of clumsy treachery, a fair example of the reverence for academic skill and a classic misapprehension of its link with creative imagination. Even Binkie, from his own more distinguished production, could have deduced that from Shakespeare to Shaw a little Latin and less Greek, or none of either, did no damage to untutored dramatists.

Vincent was the victim of his own fanatic heart. “There’s something in the way he talks that makes people either love him or hate him,” he tried to explain. “He spares nothing and no one.” Long after others had put away the breathless manias of youth, Vincent still lived by their unsparing rules. Titanic, unappeasable passions swept through his life. “I am a fanatic!” Vincent declared in 1881. “I feel a power within me … a fire that I may not quench, but must keep ablaze.” Whether catching beetles on the Zundert creekbank, collecting and cataloguing prints, preaching the Christian gospel, consuming Shakespeare or Balzac in great fevers of reading, or mastering the interactions of color, he did everything with the urgent, blinding single-mindedness of a child.

University, organized on the Soviet system, was just like high school: daily classes from 9-2 p.m., daily written assignments; attendance strictly kept, no choice of courses beside the major. We studied Ukrainian, Russian grammar as well as literature. It sounds ridiculous, but we learned spelling in one lesson and had to read Pushkin, in the original text, next period. The same was repeated with Ukrainian spelling, grammar and also the reading of poetry by Taras Shevchenko. That was similar to learning the verbs to be or to have and read also Shakespeare. (Actually, that was how I learned English in 1938.) The subjects that were most important: History of the Party and Dialectic Materialism. That had to be learned the way they explained it and no questions should be asked; no doubts were permitted.

Some five years back, the editors of yet another anthology for school readers put together a volume with some 400 (count ’em) short stories in it. How do you cram 400 short stories by Twain, Irving, Poe, Maupassant, and Bierce into one book? Simplicity itself. Skin, debone, demarrow, scarify, melt, render down, and destroy. Every adjective that counted, every verb that moved, every metaphor that weighed more than a mosquito—out! Every simile that would have made a sub-moron’s mouth twitch—gone! Any aside that explained the two-bit philosophy of a first-rate writer—lost. Every story, slenderized, starved, bluepenciled, leeched, and bled white, resembled every other story. Twain read like Poe read like Shakespeare read like Dostoevsky read like—in the finale—Edgar Guest. Every word of more than three syllables had been razored. Every image that demanded so much as one instant’s attention—shot dead.

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.

Therefore the winds, piping to us in vain, as in revenge, have sucked up from the sea contagious fogs.…” Pestilential, a note in the text explains, next to the word contagious, in Kirsten’s favorite of the three versions of the text that the Symphony carries. Shakespeare was the third born to his parents, but the first to survive infancy. Four of his siblings died young. His son, Hamnet, died at eleven and left behind a twin. Plague closed the theaters again and again, death flickering over the landscape. And now in a twilight once more lit by candles, the age of electricity having come and gone, Titania turns to face her fairy king. “Therefore the moon, the governess of floods, pale in her anger, washes all the air, that rheumatic diseases do abound.” Oberon watches her with his entourage of fairies. Titania speaks as if to herself now, Oberon forgotten. Her voice carries high and clear over the silent audience, over the string section waiting for their cue on stage left. “And through this distemperature, we see the seasons alter.” All three caravans of the Traveling Symphony are labeled as such, THE TRAVELING SYMPHONY lettered in white on both sides, but the lead caravan carries an additional line of text: Because survival is insufficient.

Two weeks ago my mountain of mail delivered forth a pipsqueak mouse of a letter from a well-known publishing house that wanted to reprint my story “The Fog Horn” in a high school reader. In my story, I had described a lighthouse as hav­ing, late at night, an illumination coming from it that was a “God-Light.” Looking up at it from the view-point of any sea-creature one would have felt that one was in “the Presence.” The editors had deleted “God-Light” and “in the Presence.” Some five years back, the editors of yet another anthology for school readers put together a volume with some 400 (count ‘em) short stories in it. How do you cram 400 short stories by Twain, Irving, Poe, Maupassant and Bierce into one book? Simplicity itself. Skin, debone, demarrow, scarify, melt, render down and destroy. Every adjective that counted, every verb that moved, every metaphor that weighed more than a mosquito—out! Every simile that would have made a sub-moron’s mouth twitch—gone! Any aside that explained the two-bit philosophy of a first-rate writer—lost! Every story, slenderized, starved, bluepenciled, leeched and bled white, resembled every other story. Twain read like Poe read like Shakespeare read like Dostoevsky read like—in the finale—Edgar Guest. Every word of more than three syllables had been ra­zored. Every image that demanded so much as one instant’s attention—shot dead. Do you begin to get the damned and incredible picture? How did I react to all of the above? By “firing” the whole lot. By sending rejection slips to each and every one. By ticketing the assembly of idiots to the far reaches of hell.

ARTHUR: Ford, I don’t know if this sounds like a silly question, but what am I doing here? FORD: Well, you know that. I rescued you from the Earth. ARTHUR: And what has happened to the Earth? FORD: It’s been disintegrated. ARTHUR: Has it? FORD: Yes, it just boiled away into space. ARTHUR: Look. I’m a bit upset about that. FORD: Yes, I can understand. But there are plenty more Earths just like it. ARTHUR: Are you going to explain that? Or would it save time if I just went mad now? FORD: Keep looking at the book. ARTHUR: What? FORD: “Don’t Panic”. ARTHUR: I’m looking. FORD: Alright. The universe we exist in is just one of a multiplicity of parallel universes which co-exist in the same space but on different matter wavelengths, and in millions of them the Earth is still alive and throbbing much as you remember—or very similar at least—because every possible variation of the Earth also exists. ARTHUR: Variation? I don’t understand. You mean like a world where Hitler won the war? FORD: Yes. Or a world in which Shakespeare wrote pornography, made a lot more money and got a knighthood. They all exist. Some of course with only the minutest variations. For instance, one parallel universe must contain a world which is utterly identical to yours except that one small tree somewhere in the Amazon basin has an extra leaf. ARTHUR: So one could quite happily live on that world without knowing the difference? FORD: Yes, more or less. Of course it wouldn’t be quite like home with that extra leaf… ARTHUR: Well, it’s hardly going to notice. FORD: No, probably not for a while. It would be a few years before you really became strongly aware that something was off balance somewhere. Then you’d start looking for it and you’d probably end up going mad because you’d never be able to find it. ARTHUR: So what do I do? FORD: You come along with me and have a good time. You’ll need to have this fish in your ear. ARTHUR: I beg your pardon? — Pilot radio script.

Worshipping the genius out of vanity. Because we think well of ourselves, but in no way expect that we could ever make the sketch to a painting by Raphael or a scene like one in a play by Shakespeare, we convince ourselves that the ability to do so is quite excessively wonderful, a quite uncommon accident, or, if we still have a religious sensibility, a grace from above. Thus our vanity, our self-love, furthers the worship of the genius, for it does not hurt only if we think of it as very remote from ourselves, as a miracle (even Goethe, who was without envy, called Shakespeare his star of the farthest height, recalling to us that line, "Die Sterne, die begehrt man nicht"—one does not covet the stars).9 But those insinuations of our vanity aside, the activity of the genius seems in no way fundamentally different from the activity of a mechanical inventor, a scholar of astronomy or history, a master tactician. All these activities are explained when one imagines men whose thinking is active in one particular direction; who use everything to that end; who always observe eagerly their inner life and that of other people; who see models, stimulation everywhere; who do not tire of rearranging their material. The genius, too, does nothing other than first learn to place stones, then to build, always seeking material, always forming and reforming it. Every human activity is amazingly complicated, not only that of the genius: but none is a "miracle." From where, then, the belief that there is genius only in the artist, orator, or philosopher? That only they have "intuition" (thus attributing to them a kind of magical eye glass, by which they can see directly into "being")?10 It is evident that men speak of genius only where they find the effects of the great intellect most agreeable and, on the other hand, where they do not want to feel envy. To call someone "divine" means "Here we do not have to compete." Furthermore, everything that is complete and perfect is admired; everything evolving is underestimated. Now, no one can see in an artist's work how it evolved: that is its advantage, for wherever we can see the evolution, we grow somewhat cooler. The complete art of representation wards off all thought of its evolution; it tyrannizes as present perfection. Therefore representative artists especially are credited with genius, but not scientific men. In truth, to esteem the former and underestimate the latter is only a childish use of reason.

Shakespeare famously claimed that “all the world’s a stage, and all the men and women merely players” and this theatrical quality of life is nowhere more evident than in the social world. For the social world is not, and never will be, a world in which we reveal our true selves. Our total character is the product of our genes, our environment, and the interaction of the two, but who we are in public is only a slice of this totality. From very early in life, we learn to magnify the traits of our character most likely to produce social acceptance, while diminishing and hiding those traits which garner rejection or ridicule. This process leads to the creation of our social mask, or what can be called our persona, and as Carl Jung explains, the persona: “…is a compromise between the individual and society as to what a man should appear to be. He takes a name, earns a title, represents an office, he is this or that. In a certain sense all this is real, yet in relation to the essential individuality of the person concerned it is only a secondary reality, a product of compromise, in making which others often have a greater share than he.” Carl Jung, Collected Works Volume 7: Two Essays in Analytical Psychology

In 1543 the historian John Leland wrote, for example: A Stately place for rare and glorious shew There is, which Tamis with wandring stream doth dowse; Times past, by name of Avon men it knew: Here Henrie, the Eighth of that name, built a house So sumptuous, as that on such an one (Seeke through the world) the bright Sunne never shone. Leland’s words were quoted in the exhaustive history of Britain published by William Camden, Ben Jonson’s tutor. So the description would certainly have been known to Jonson. In another work, Leland explained that “Avon” was a shortening of the Celtic-Roman name “Avondunum,” meaning a fortified place (dunum) by a river (avon), which “the common people by corruption called Hampton.” Raphael Holinshed similarly wrote in his sprawling 1577 book of British history, Chronicles, that “we now pronounce Hampton for Avondune.” William Lambarde in his Topographical and Historical Dictionary of England affirmed that Hampton Court is “corruptly called Hampton for Avondun or Avon, an usual

Scholars have struggled to explain why an epitaph to Shakespeare references Nestor (who wrote nothing), Socrates (who also wrote nothing—his observations were recorded by others), and Virgil (who, though a poet, was not one with whom the Ovid-loving Shakespeare was associated).

In 1709 a playwright named Nicholas Rowe sought more reliable information on Shakespeare to introduce a new edition of the plays. As Rowe explained, “knowledge of an Author may sometimes conduce to the better understanding his Book.” Rowe’s publisher placed advertisements in the London Gazette and the Daily Courant, requesting anyone with “serviceable” materials to come forward. No one seems to have done so, for Rowe’s introduction, “Some Account of the life &c. Of Mr. William Shakespeare,” is largely a critical appreciation of the plays dotted with a few biographical statements. Many of these statements proved to be either inaccurate or unverifiable, but they were repeated for the next 150 years, entrenching a Shakespearean mythos.

A story published in 1769 featured “a person belonging to the playhouse” who steals literary materials from allegorical characters called Wit, Genius, and Wisdom. “With these (stolen) materials… he commenced Play-Writer,” the story explained, and “how he succeeded I need not tell you; for his name was Shakespeare.

wanting to create a monument to Shakespeare in the US capital. “The poet is one of our best sources, one of the wells from which we Americans draw our national thought, our faith, and our hope,” Emily Folger explained, drawing on a strain of American literary criticism that saw Shakespeare, paradoxically, as America’s poet. He had influenced the founding fathers, who saw in his villains and tyrants the dangers of monarchy and the need for institutional checks on power. Shakespeare’s history plays heralded the “inauguration of modern democracy,” Walt Whitman wrote, for they put “on record the first full exposé—and by far the most vivid one… of the political theory and results” of a feudal system “which America has come on earth to abnegate and replace.

brothers William and Philip Herbert, the Earls of Pembroke and Montgomery, to whom it is dedicated. (A prefatory epistle explains that the earls showed “much favour” toward the author and his works, though the Stratford man had no documented relationship with them.) If the patrons or the printer did not approve of the portrait, they could have refused it and sought out a better one. They did not. The portrait of the idiot is apparently what they wanted.

For instance, Ben Jonson’s folio of 1616 features a laurel wreath, a motto, and a Latin inscription from Horace explaining that he wrote not for the crowd but for the discriminating few: Neque, me vt miretur turbo laboro: Contentus paucis lectoribus (“ I do not labor for the crowd to admire me, I am content with a few readers”).

For instance, Ben Jonson’s folio of 1616 features a laurel wreath, a motto, and a Latin inscription from Horace explaining that he wrote not for the crowd but for the discriminating few: Neque, me vt miretur turbo laboro: Contentus paucis lectoribus

It appears, therefore, that though Tolstoy can explain away nearly everything about Shakespeare, there is one thing that he cannot explain away, and that is his popularity. He himself is aware of this, and greatly puzzled by it. I said earlier that the answer to Tolstoy really lies in something he himself is obliged to say. He asks himself how it is that this bad, stupid and im-moral writer Shakespeare is everywhere admired, and finally he can only explain it as a sort of world-wide conspiracy to pervert the truth.

Yet at the same time humans are inherently irreverent. It was Saint Bonaventura, a thirteenth-century theologian, who said, “The higher a monkey climbs, the more you see of its behind.” We love to make fun of the higher-ups. We’re always ready to bring them down. And the powerful know this all too well. “Uneasy lies the head that wears a crown,” as Shakespeare wrote.

George, he explained, always preferred new faces to old friends. Their inevitable infatuation with Shakespeare and Company, the enthusiasm and energy they brought to the store, the tantalizing blank canvas of an unknown person. It wasn’t that the permanent residents of the bookstore fell out of favor; it was just that they were less shiny than the bright new arrivals. George was a man who liked a little shine.

The tragedy we know today came to us patched together with lines lifted from the works of another playwright, Thomas Middleton. Since Macbeth was not considered one of Shakespeare’s last plays, it’s difficult to explain why the tragedy had to be cobbled together in that manner. Was it possible that Macbeth, due to its bloodthirsty portrayal of Scottish royalty, had been censored by James I? Was Macbeth always the shortest play in the canon, or was its brevity the result of censorship? Could its author have suffered dire consequences as a result of a king’s displeasure, and was that the reason “the Scottish play” had always been associated with bad luck?

the 1601 Essex Rebellion, an armed uprising against the crown that was started at the Globe Theatre with an illicit production of Richard II. The rebellion ended with five courtiers being beheaded and the Fair Youth Earl of Southampton tossed into the Tower. If Strong was correct, that connection to treason might help explain why the picture had been repeatedly altered in strange fantastic ways while residing inside the Royal Collection.

Let’s have a glance at Strong’s theory. Okay, the 2nd Earl of Essex, a former court favorite, had been the leader of the failed rebellion against the crown. In Strong’s strange-fantastic scenario, the pregnant Lady Essex, hoping to prevent the beheading of her husband following his arrest, had with great speed commissioned this sexy full-length portrait of herself and sent it to Elizabeth as a plea to spare her husband’s life. Strong made no attempt to explain why Lady Essex, who was famously despised by Elizabeth, would have thought it wise to paint herself as the Virgin Queen’s pregnant twin—the two women didn’t even look alike in real life. We are asked to believe that Lady Essex decided to co-opt the queen’s symbol of the goddess Diana in a nearly nude portrait in which the deer, presumably representing her husband Essex, was being crowned by the queen?

As it turned out, there was another portrait buried beneath the Flower, an Italian-looking painting likely from the sixteenth century that portrayed the Virgin Mary, baby Jesus, and toddler John the Baptist. Prior to the Flower’s restoration, the Ashmolean and the Royal Shakespeare Company already knew from the portrait’s 1966 X-ray that this portrait existed beneath the paint. Yet today nobody can explain why they chose to dissolve the existing backdrop on what was arguably the most authentic painted portrait of Shakespeare in the world.

Shakespeare’s knowledge of classics and philosophy has always puzzled his biographers,” admitted the scholar E. K. Chambers. “A few years at the Stratford Grammar School do not explain it.” Others have tried to resolve the puzzle by downplaying Shakespeare’s erudition. The plays merely “looked learned,” especially “to the less literate public,” insisted Harvard’s Alfred Harbage. But the plays have sent scholars writing whole books on the law in Shakespeare, medicine in Shakespeare, theology in Shakespeare. Shakespeare and astronomy. Shakespeare and music. Shakespeare and the classics. Shakespeare and the Italian novella. Shakespeare and the French language.

that this genius transcended was his humble origins, which Oxfordians would deprive us of. And so, the Oxfordian position doesn’t just ‘solve the mystery’ of Shakespeare’s accomplishment, doesn’t just demystify the man, it deprives the Shakespeare community of its primary source of power…. In less hyperbolic terms, anti-Stratfordians spoil the fun. They provide an answer to a question that we don’t want answered. They provide the final pieces to a puzzle we’d prefer to keep on solving. How did a young man from the depths of Warwickshire scale the heights of literary fame, armed with nothing more than a grammar school education? Well, he didn’t. Instead, an extremely well-educated, well-off, well-traveled, and well-connected young aristocrat wrote the plays. His well-documented life explains everything, in fact, and in so doing leaves little room for speculation.

He signed documents only with a mark, suggesting that he could not write his name. “Most plain-dealing men in early modern England used marks because the majority of the population was illiterate,” explains the historian David Cressy. “More than two-thirds of men and four-fifths of women in the seventeenth century could not write their names.” Numeracy, not literacy, was needed to conduct business in Elizabethan England, and reading and counting were taught before writing, so some could read but not write. Of the nineteen elected officials in Stratford while John Shakespeare held office, only seven could sign their names. His wife could not write her name, either.

I think [someone else] wrote Shakespeare. If you don't, there are some awfully funny coincidences to explain away.” Orson Welles, in an interview with theater critic Kenneth Tynan, related in Persona Grata, by Cecil Beaton and Kenneth Tynan, Winthrop, New York, 1953.

We’ll call her Perdita,” said Mrs. Dearly, and explained to the Nannies that this was after a character in Shakespeare. “She was lost. And the Latin word for lost is perditus.” Then she patted Pongo, who was looking particularly intelligent, and said anyone would think he understood. And indeed he did. For though he had very little Latin beyond “Cave canem,” he had, as a young dog, devoured Shakespeare (in a tasty leather binding).

Love all, trust a few. Do wrong to none. ~ William Shakespeare

The best portrait of this psychology comes from that very dead, very white European male: William Shakespeare, in his Othello. Iago just hated Othello, but he could not hope to defeat him in open confrontation. How then could he destroy him?  Iago’s strategy was to attack him where it would hurt most—through Othello’s passion for Desdemona. Iago hinted indirectly that she had been sleeping around, he spread subtle lies and innuendo about her faithfulness, he succeeded in raising a doubt in Othello’s mind about the most beautiful thing in his life, and he let that doubt work like a slow poison. Like the postmodernists, Iago’s only weapons were words. The only difference is that the postmodernists are not so subtle about their intended targets.

Nerissa,” he murmured, his head cocked slightly to one side as though seeing her for the first time. A smile tugged at the corner of his mouth. “Nerissa, who’s not seasick despite never bein’ aboard a ship, Nerissa who loves the taste of the sea on her lips and tongue, Nerissa whose eyes sparkle as she looks over the rollin’ swells, whose spirit is comin’ alive beneath me eyes because she’s in her element, she is. Nerissa. I should have known.” “That’s Lady Nerissa, to you,” she snapped. “And known what?” “Your name. Don’t ye know? It means ‘sea nymph.’” “It’s taken from a character in a Shakespeare play,” she shot back, uncomfortably. “The Merchant Of Venice.” “A sea sprite. Uh-huh. Explains everythin’, it does.” She stood up. Her knees were weak and she gripped her hands together to keep them from shaking. “Thank you for the hat, Captain O’ Devir. And now, if you don’t mind, I would like to go back to the cabin to… to rest.” “Stay up here and enjoy the fresh air. ’Tis good for the soul, it is.” “You won’t bother me?” “Am I botherin’ ye?” Yes, in ways you can’t even begin to imagine. She saw the twinkle in his eye. Or maybe you can. She looked away. “No,” she said, unable to meet his gaze. “You are not.

… the conjunction of Beethoven’s last symphonic masterpiece with crucial works or events in the lives of so many other outstanding artists made 1824 a particularly fertile year…. The fact that the Ninth Symphony, Byron’s death, Pushkin’s Boris Gudunov and “To the Sea,” Delacroix’s Massacres at Chios, Stendhal’s Racine and Shakespeare, and Heine’s Harz Journey and North Sea Pictures all futhered, in one way or another, Romanticism’s rear-guard action against repression underlines the significance of that speck of time. And perhaps these brief glances at those artists and their states of being at that moment will have helped to remind readers—as they reminded this author—that spiritual and intellectual liberation requires endless internal warfare against everything in ourselves that narrows us down instead of opening us up and that replaces questing with certitude. Nearly two centuries later, the world still overflows with people who believe that truth not only exists but that it is simple and straightforward, and that their truths—be they political, religious, philosophical, moral, or social—constitute The Truth. Federico Fellini’s characterization, a generation ago, of the fascist mentality as “a refusal to deepen one’s individual relationship to life, out of laziness, prejudice, unwillingness to inconvenience oneself, and presumptuousness” describes the obedient adherents of most prefabricated beliefs, everywhere and at all times. The others—the disobedient, the nonadherents, those who think that the world is not easily explained and that human experience does not fit into tidy little compartments—are still fighting the eternally unwinnable War of Liberation. Until our sorry species bombs or gluts itself into oblivion, the skirmishing will continue, and what Beethoven and company keep telling us, from the ever-receding yet ever-present past, is that the struggle must continue (pp. 110-11).

Language is always an issue in spiritual teachings. First of all, as I’ve talked about, these teachings are trying to explain something that goes beyond language; words are only an attempt to represent reality, they are not reality itself. But still we must speak, we must try to find a way to communicate our understanding. Language always comes out of a particular time and place, a particular culture. Inevitably it becomes dated. How do we respond to that? One way is to preserve and study the original texts, as is done with Shakespeare and Chaucer. Both the Buddhist and the Twelve Step literature have been preserved in this way.

Shakespeare was right. There are, indeed, more things in heaven and earth than are dreamt of in philosophy. One of those philosophies includes the sciences. No matter what we learn, no matter what we prove and reaffirm, there is that which cannot be explained. Those people, places, and objects that challenge the sciences,

When we first arrived at the school we received an extended introduction detailing what a wonderful place it was and how lucky we were to be there. But no one explained exactly why we were to be there. Yes, we understood the general objective was to accumulate knowledge, although learning Shakespeare and algebra did not strike us as particularly helpful to our future lives. I've yet to meet a single person who found a use for algebra in later life. The excuse proffered was that it developed intelligence. It struck me as extremely unintelligent not to give us the opportunity to study subjects that would be of practical use as well as develop our intelligence. I learned Boyle's law and Ohm's law parrot fashion without having a clue as to their meaning, yet left the school five years later incapable of changing a fuse or wiring a three-pin plug. Understandably, we formed the general impression that we were there for the same reason we were sent to Sunday school – to keep us out of mischief until we were old enough to work.

Isaac Asimov was not just a science fiction writer. In his prolific lifetime, he wrote nearly 500 books on topics ranging from his beloved science fiction series to a two-volume work explaining the collected literature of William Shakespeare. He even wrote a reader’s guidebook

And school isn’t the same as theatre,” said Xavier, gazing round the building. “In a classroom you can talk this stuff through, interrogate it, contextualize it, and so on. You can’t do that here. There’s no pop-up footnotes to explain the subtext while the story is happening in front of you. That’s different. Makes it feel…real. Or at least endorsed: like, this is how it is and we’re not going to explain it. Study it critically by all means, talk about it, but don’t stage Othello and expect me to just sit there and drink it in, okay? Not gonna happen. Not Othello, and not The Merchant of Venice.

Universities promote diversity. On April 24, 1997, 62 research universities led by Harvard bought a full-page advertisement in the New York Times that justified racial preferences in university admissions by explaining that diversity is a “value that is central to the very concept of education in our institutions.” Lee Bollinger, who has been president of the University of Michigan and of Columbia, once claimed that diversity “is as essential as the study of the Middle Ages, of international politics and of Shakespeare.” Many companies and universities have a “chief diversity officer” who reports directly to the president. In 2006, Michael J. Tate was vice president for equity and diversity of Washington State University. He had an annual budget of three million dollars, a full time staff of 55, and took part in the highest levels of university decision-making. There were similarly powerful “chief diversity officers” at Harvard, Berkeley, the University of Virginia, Brown, and the University of Michigan. In 2006, the University of Wisconsin at La Crosse decided that diversity was so important that its beneficiaries—students—should pay for it. It increased in-state tuition by 24 percent, from $5,555 to $6,875, to cover the costs of recruitment to increase diversity.

Richey currently smokes 50 cigarettes a day, having started two weeks ago. “Whenever I do something, I like to do it a lot,” he explains back at the hotel. “When I was 13, I did a Shakespeare project that was 859 pages long. Everyone else just did six. I just had fuck all else to do but sit in and write...

I'll explain later. It is too fine a day for melodrama.

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