Goneril Quotes

Not yet!" said she [Goneril], trying to roll me over and get back to smacking my bum. She honked my codpiece. You honked my codpiece." Aye, give it up, fool." [...]

It’s cruelty that gets to me. Still, it’s important to read about cruelty. “Why is it important?” Because when you read about it, it’s easier to recognize. That was always the hardest thing in the refugee camps—to hear the stories of the people who had been raped or mutilated or forced to watch a parent or a sister or a child be raped or killed. It’s very hard to come face-to-face with such cruelty. But people can be cruel in lots of ways, some very subtle. I think that’s why we all need to read about it. I think that’s one of the amazing things about Tennessee Williams’s plays. He was so attuned to cruelty—the way Stanley treats Blanche in A Streetcar Named Desire. It starts with asides and looks and put-downs. There are so many great examples from Shakespeare—when Goneril torments King Lear or the way Iago speaks to Othello. And what I love about Dickens is the way he presents all types of cruelty. You need to learn to recognize these things right from the start. Evil almost always starts with small cruelties.

Creo que recelas demasiado. GONERIL Es mejor que fiarse demasiado. Antes suprimir el daño que recelo que vivir temiendo el daño.

O Goneril! You are not worth the dust the rude wind blows in your face. I fear your disposition.

Dear Mr. Duke, As requested, here is an inventory of the animals in my care: *Bixby, a two-legged terrier. *Marigold, a nanny goat of unimpeachable character, who is definitely not breeding. *Angus, a three-year-old Highland steer. *Regan, Goneril, and Cordelia- laying hens. *Delilah, a parrot. *Hubert, an otter. *Freya, a hedgehog. *Thirteen kittens of varying colors and dispositions. Gabe leafed through the report in disbelief. It went on for pages. She'd given not only the names, breeds, and ages of every misbegotten creature, but she'd appended a chart of temperaments, sleeping schedules, preferred bedding, and a list of dietary requirements that would beggar a moderately successful tradesman. Along with the expected hay, alfalfa, corn, and seed, the animals required several pounds of mince weekly, daily pints of fresh cream, and an ungodly number of sardines. The steer and thee goat, she insisted, must go to the same loving home. Apparently they were tightly bonded, whatever that meant, and refused to eat of parted. The laying hens did not actually lay with any regularity. Their previous owners had grown frustrated with this paltry production, and thus they had come into Her Ladyship's care. And the lucky bastard who accepted a ten-year-old hedgehog? Well, he must not only provide a steady supply of mealworms, but remain ever mindful of certain "traumatic experiences in her youth.

Hubert's on to happier waters," Penny said. "Bixby and Freya stay. Surely I'm allowed to keep a dog, and Freya doesn't trouble anyone." Gabriel counted on his fingers. "That leaves Delilah, the kittens, Marigold and Angus, then Regan, Goneril, and Cordelia." Penny was touched. He knew them all by name? Be still her heart.

Put on what weary negligence you please, You and your fellows; I'll have it come to question: If he dislike it, let him to our sister, Whose mind and mine, I know, in that are one, Not to be over-ruled. Idle old man, That still would manage those authorities That he hath given away! Now, by my life, Old fools are babes again; and must be used With cheques as flatteries,--when they are seen abused. Remember what I tell you.

When the choice lies between the ultra-feminine and the virago, Shakespeare’s sympathy lies with the virago. The women of the tragedies are all feminine—even Lady Macbeth (who is so often misinterpreted as a termagant), especially Gertrude, morally unconscious, helpless, voluptuous, and her younger version, infantile Ophelia, the lustful sisters, Goneril and Regan opposed by the warrior princess Cordelia who refuses to simper and pander to her father’s irrational desire. Desdemona is fatally feminine, but realizes it and dies understanding how she has failed Othello. Only Cleopatra has enough initiative and desire to qualify for the status of female hero.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character. The main source, on the contrary, is in every case evil; and, what is more (though this seems to have been little noticed), it is in almost every case evil in the fullest sense, not mere imperfection but plain moral evil. The love of Romeo and Juliet conducts them to death only because of the senseless hatred of their houses. Guilty ambition, seconded by diabolic malice and issuing in murder, opens the action in Macbeth. Iago is the main source of the convulsion in Othello; Goneril, Regan and Edmund in King Lear. Even when this plain moral evil is not the obviously prime source within the play, it lies behind it: the situation with which Hamlet has to deal has been formed by adultery and murder. Julius Caesar is the only tragedy in which one is even tempted to find an exception to this rule. And the inference is obvious. If it is chiefly evil that violently disturbs the order of the world, this order cannot be friendly to evil or indifferent between evil and good, any more than a body which is convulsed by poison is friendly to it or indifferent to the distinction between poison and food.

Few crimes were considered more scurrilous than suicide, as in Sonnet 66 (“ Tired with all these, for restful death I cry”), as in: Cassius, Brutus, Portia, Romeo, Juliet, Othello, Ophelia, Lady Macbeth, Mark Antony, Cleopatra, Charmian, Goneril, and Eros. During Shakespeare’s life, suicide was considered an act of murder against God, Nature, and King, a trinity of stigmas so severe that even a nobleman who offed himself would have his assets seized. Only one man in England had a samurai approach to the art of self-destruction, and that was Shakespeare himself, who seemed to admire it under certain circumstances.

Frequent suggestions were made during the course of the trial that the motives of the donor and the donees alike, in carrying out this transaction, were to escape death duties. I feel constrained to dispose once and for all of these suggestions by the short answer that the existence or otherwise of such motives is irrelevant, excep as evidence for or against the bona fides of the transactions. There is the highest authority for the proposition that, if a man can lawfully so order his affairs that the payment of revenue duties of any kind is reduced or avoided altogether, there is no legal objection to his doing so. Whatever may be thought as the the morality of such transactions in these times from the point of view of patriotism and public spirit, there is no ground for ignoring their legal effect, unless such transactions be proved to be amere sham, such as those falling within the words 'not bona fide' in the act of 1894, or the phrase 'artificial transaction' in the Finance Acts of more recent years. Attorney General vs. Goneril Albany in re the estate of King Lear, MORE LEGAL FICTIONS