Hal Prince Quotes

Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

I am the Prince of Wales; and think not, Percy, To share with me in glory any more: Two stars keep not their motion in one sphere;

Were't not for laughing, I should pity him.

Before, I loved thee as a brother, John, But now, I do respect thee as my soul.

How now, my sweet creature of bombast! How long is't ago, Jack, since thou saw'st thien own knee?

Hark, how hard he fetches breath.

Unless hours were cups of sack, and minutes capons, and clocks the tongues of bawds, and dials the signs of leaping-houses, and the blessed sun himself a fair hot wench in flame-colored taffeta, I see no reason why thou shouldst be so superfluous to demand the time of the day.

though I be but the prince of Wales, yet I am king of courtesy

O monstrous! eleven buckram men grown out of two!

Now could thou and I rob the thieves and go merrily to London, it would be argument for a week, laughter for a month, and a good jest forever.

Orang dewasa menyukai angka-angka. Jika kalian bercerita tentang teman baru, mereka tidak pernah menanyakan hal-hal penting.

Orang dewasa menyukai angka-angka. Jika kalian bercerita tentang teman baru, mereka tidak pernah menanyakan hal-hal yang penting.

Aku banyak berhubungan dengan banyak manusia yang serius sepanjang hidupku. Aku lama hidup di tengah orang-orang dewasa. Aku telah melihat mereka dari dekat. Hal itu tidak banyak menambah penilaianku terhadap mereka.

Demikianlah aku banyak berhubungan dengan banyak manusia yang serius sepanjang hidupku. Aku lama hidup di tengah orang-orang dewasa. Aku telah melihat mereka dari dekat. Hal itu tidak menambah penilaianku akan mereka

Maka aku mencoba-coba begini dan begitu, sebisa-bisanya. Aku malah akan keliru mengenai beberapa detail yang lebih penting. Tetapi dalam hal itu aku harus dimaafkan. Temanku itu tidak pernah memberi penjelasan. Barangkali ia mengira aku sama dengan dia. Tapi sayangnya aku tidak pandai melihat domba di dalam peti. Mungkin aku sedikit seperti orang-orang dewasa. Mungkin aku sudah menjadi tua.

How mad and monstrous it all seemed! Could it be that written on his hand, in characters that he could not read himself, but that another could decipher, was some fearful secret of sin, some blood-red sign of crime? Was there no escape possible? Were we no better than chessmen, moved by an unseen power, vessels the potter fashions at his fancy, for honour or for shame? His reason revolted against it, and yet he felt that some tragedy was hanging over him, and that he had been suddenly called upon to bear an intolerable burden. Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

How mad and monstrous it all seemed! Could it be that written on his hand, in characters that he could not read himself, but that another could decipher, was some fearful secret of sin, some blood-red sign of crime? Was there no escape possible? Were we no better than chessmen, moved by an unseen power, vessels the potter fashions at his fancy, for honour or for shame? His reason revolted against it, and yet he felt that some tragedy was hanging over him, and that he had been suddenly called upon to bear an intolerable burden. Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

How mad and monstrous it all seemed! Could it be that written on his hand, in characters that he could not read himself, but that another could decipher, was some fearful secret of sin, some blood-red sign of crime? Was there no escape possible? Were we no better than chessmen, moved by an unseen power, vessels the potter fashions at his fancy, for honour or for shame? His reason revolted against it, and yet he felt that some tragedy was hanging over him, and that he had been suddenly called upon to bear an intolerable burden. Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.

the corporate investor became an almost essential part of Broadway--which isn't necessarily a bad thing. But when the money tries to protect it's investment...by getting involved with the creative content of the shows, unhealthy mutations occur. ...Our times encourage another sort of people--people with new money who are essentially interested in more money, not the arts.

Ought once was, of all things, the past tense of owe. In Shakespeare’s Henry IV, Part 1, you can see it used in both the present and the past. Mistress Quickly tells Prince Hal that Falstaff “said this other day you ought him a thousand pound.” The prince asks Falstaff, “Sirrah! Do I owe you a thousand pound?” But when you owe, you’re under an obligation. The obligation is most readily thought to be financial or transactional, but one way the word might change is for the sense of obligation to become more general.

flute and a brandy snifter. With the lean uprightness of the former looking down upon the squat rotundity of the latter, one could not help but think of Don Quixote and Sancho Panza on the plains of the Sierra Morena. Or of Robin Hood and Friar Tuck in the shadows of Sherwood Forest. Or of Prince Hal and Falstaff before the gates of— But there was a knock at the door. The Count stood and hit his head against the ceiling.

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who’s called Hal—like Falstaff’s prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al—Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. “But what shall I say to Hal—that I have never loved him?” Patricia says to Fred. Down below it says, “Et Al—qu’est-ce que je vais lui dire?

Hal was not yet a prince when she fell in love with Lady Hotspur, but she would be within the hour.