Hamlet Act 3 Quotes

Words without thoughts never to heaven go.

O, woe is me, To have seen what I have seen, see what I see!

Тъпча се с въздух, пълен с обещания.

Pandora launched into a detailed account of her conversation with the hermit crab, reporting that his name was Shelley, after the poet, whose works he admired. He was a well-traveled crustacean, having flown to distant lands while clinging to the pink leg of a herring gull who had no taste for shellfish, preferring hazelnuts and bread crumbs. One day, the herring gull, who possessed the transmigrated soul of an Elizabethan stage actor, had taken Shelley to see Hamlet at the Drury Lane theater. During the performance, they had alighted on the scenery and played the part of a castle gargoyle for the entire second act. Shelley had enjoyed the experience but had no wish to pursue a theatrical career, as the hot stage lights had nearly fricasseed him. Gabriel stopped digging and listened, transported by the wonder and whimsy of Pandora's imagination. Out of thin air, she created a fantasy world in which animals could talk and anything was possible. He was charmed out of all reason as he watched her, this sandy, disheveled, storytelling mermaid, who seemed already to belong to him and yet wanted nothing to do with him. His heart worked in strange rhythms, as if it were struggling to adjust to a brand new metronome. What was happening to him?

С кротък лик и действия набожни ний често захаросваме отвънка самия Сатана.

Честността ви би трябвало да се пази от много разговори с хубостта ви.

нали в тез тлъсти времена доброто е длъжно да се кланя на порока за разрешение да го спаси!

Със думи там съм, но със дух съм тук, а бог не дава слух на празен звук!

Whoreson dog,” “whoreson peasant,” “slave,” “you cur,” “rogue,” “rascal,” “dunghill,” “crack-hemp,” and “notorious villain” — these are a few of the epithets with which the plays abound. The Duke of York accosts Thomas Horner, an armorer, as “base dunghill villain and mechanical” (Henry VI., Part 2, Act 2, Sc. 3); Gloucester speaks of the warders of the Tower as “dunghill grooms” (Ib., Part 1, Act 1, Sc. 3), and Hamlet of the grave-digger as an “ass” and “rude knave.” Valentine tells his servant, Speed, that he is born to be hanged (Two Gentlemen of Verona, Act 1, Sc. 1), and Gonzalo pays a like compliment to the boatswain who is doing his best to save the ship in the “Tempest” (Act 1, Sc. 1). This boatswain is not sufficiently impressed by the grandeur of his noble cargo, and for his pains is called a “brawling, blasphemous, uncharitable dog,” a “cur,” a “whoreson, insolent noise-maker,” and a “wide-chapped rascal.

Shakespeare had Polonius truly say, "The apparel oft proclaims the man." (Hamlet, act 1, sc. 3). We are affected by our own outward appearances; we tend to fill roles. If we are in our Sunday best, we have little inclination for roughhousing; if we dress for work, we are drawn to work; if we dress immodestly, we are tempted to act immodestly; if we dress like the opposite sex, we tend to lose our sexual identity or some of the characteristics that distinguish the eternal mission of our sex. Now I hope not to be misunderstood: I am not saying that we should judge one another by appearance, for that would be folly and worse; I am saying that there is a relationship between how we dress and groom ourselves and how we are inclined to feel and act. By seriously urging full conformity with the standards, we must not drive a wedge between brothers and sisters, for there are some who have not heard or do not understand. They are not to be rejected or condemned as evil, but rather loved the more, that we may patiently bring them to understand the danger to themselves and the disservice to the ideals to which they owe loyalty, if they depart from their commitments. We hope that the disregard we sometimes see is mere thoughtlessness and not deliberate. [Ensign, Mar. 1980, 2, 4]

I want to decorate the castle with shells and seaweed,” Seraphina said. “You’ll make it look like a girl’s castle,” Justin protested. “Your hermit crab might be a girl,” Seraphina pointed out. Justin was clearly appalled by the suggestion. “He’s not! He’s not a girl!” Seeing his little cousin’s gathering outrage, Ivo intervened quickly. “That crab is definitely male, sis.” “How do you know?” Seraphina asked. “Because . . . well, he . . .” Ivo paused, fumbling for an explanation. “Because,” Pandora intervened, lowering her voice confidentially, “as we were planning the layout of the castle, the hermit crab discreetly asked me if we would include a smoking room. I was a bit shocked, as I thought he was rather young for such a vice, but it certainly leaves no doubt as to his masculinity.” Justin stared at her raptly. “What else did he say?” he demanded. “What is his name? Does he like his castle? And the moat?” Pandora launched into a detailed account of her conversation with the hermit crab, reporting that his name was Shelley, after the poet, whose works he admired. He was a well-traveled crustacean, having flown to distant lands while clinging to the pink leg of a herring gull who had no taste for shellfish, preferring hazelnuts and bread crumbs. One day, the herring gull, who possessed the transmigrated soul of an Elizabethan stage actor, had taken Shelley to see Hamlet at the Drury Lane theater. During the performance, they had alighted on the scenery and played the part of a castle gargoyle for the entire second act. Shelley had enjoyed the experience but had no wish to pursue a theatrical career, as the hot stage lights had nearly fricasseed him.

Hamlet: Horatio! the funeral baked meats Did coldly furnish forth the marriage tables. هاملت: هوراشيو! فإن اللحوم التي شُويت لأجل المناحة قُدَّمت باردة على موائد العرس

Кралят: Как да приема думите ви? Хамлет: А аз как да ги взема?

Хемлет: Госпожице, може ли да легна между коленете ви? Офелия: Не, господарю! Хамлет: Исках да кажа, да облегна глава на тях. Офелия: Да, господарю. Хамлет: Помислихте си, че искам нещо лошо? Офелия: Не, не мисля, господарю. Хамлет: Макар че съвсем не е лошо да легнеш между момински крачета. Офелия: Не разбирам какво намеквате, господарю. Хамлет: Ще разберете като се потвърди.

Искате да свирите за мен. Държите се, сякаш познавате всички дупчици на ума и сърцето ми. Искате да изтръгнете скрития звук на тайната ми, да ме просвирите от най-ниската до най-високата ми нота. А в тази малка цев има много музика, прекрасен глас, но вие не можете да я накарате да проговори.