Orsino Quotes

We've searched our database for all the quotes and captions related to Orsino. Here they are! All 12 of them:

Where lies your text? Viola: In Orsino's bosom. Olivia: In his bosom! In what chapter of his bosom? Viola: To answer by the method, in the first of his heart.
William Shakespeare (Twelfth Night)
Viola to Duke Orsino: 'I'll do my best To woo your lady.' [Aside.] 'Yet, a barful strife! Whoe'er I woo, myself would be his wife.
William Shakespeare (Twelfth Night)
But when in other habits you are seen –   Orsino’s mistress, and his fancy’s queen!
William Shakespeare (Twelfth Night)
...like most discontented and disappointed people who have no real object in life, Orsino Saracinesca read a good deal....
F. Marion Crawford
APART. Such a simple concept. So concrete. So easy to represent on charts or diagrams with dots and pushpins either in or out. Yet real life is not dots. Some of us appear to be in, but we are out. And that is where we want to be. Not just want but need, the way tuna need the sea. Simple: an orientation, not just a choice. A fact. To paraphrase that Boston song, more than a feeling. We are loners. Which means we are at our best, as Orsino says in Twelfth Night, when least in company.
Anneli Rufus (Party of One: The Loners' Manifesto)
Are you ready, sir? Orsino. Ay; prithee, sing. [Music] 945 SONG. Feste. Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away breath; I am slain by a fair cruel maid. 950 My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet 955 On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where 960 Sad true lover never find my grave, To weep there! Orsino. There's for thy pains. Feste. No pains, sir: I take pleasure in singing, sir. Orsino. I'll pay thy pleasure then. 965 Feste. Truly, sir, and pleasure will be paid, one time or another.
William Shakespeare
When he wrote back, he pretended to be his old self, he lied his way into sanity. For fear of his psychiatrist who was also their censor, they could never be sensual, or even emotional. His was considered a modern, enlightened prison, despite its Victorian chill. He had been diagnosed, with clinical precision, as morbidly oversexed, and in need of help as well as correction. He was not to be stimulated. Some letters—both his and hers—were confiscated for some timid expression of affection. So they wrote about literature, and used characters as codes. All those books, those happy or tragic couples they had never met to discuss! Tristan and Isolde the Duke Orsino and Olivia (and Malvolio too), Troilus and Criseyde, Once, in despair, he referred to Prometheus, chained to a rock, his liver devoured daily by a vulture. Sometimes she was patient Griselde. Mention of “a quiet corner in a library” was a code for sexual ecstasy. They charted the daily round too, in boring, loving detail. He described the prison routine in every aspect, but he never told her of its stupidity. That was plain enough. He never told her that he feared he might go under. That too was clear. She never wrote that she loved him, though she would have if she thought it would get through. But he knew it. She told him she had cut herself off from her family. She would never speak to her parents, brother or sister again. He followed closely all her steps along the way toward her nurse’s qualification. When she wrote, “I went to the library today to get the anatomy book I told you about. I found a quiet corner and pretended to read,” he knew she was feeding on the same memories that consumed him “They sat down, looked at each other, smiled and looked away. Robbie and Cecilia had been making love for years—by post. In their coded exchanges they had drawn close, but how artificial that closeness seemed now as they embarked on their small talk, their helpless catechism of polite query and response. As the distance opened up between them, they understood how far they had run ahead of themselves in their letters. This moment had been imagined and desired for too long, and could not measure up. He had been out of the world, and lacked the confidence to step back and reach for the larger thought. I love you, and you saved my life. He asked about her lodgings. She told him. “And do you get along all right with your landlady?” He could think of nothing better, and feared the silence that might come down, and the awkwardness that would be a prelude to her telling him that it had been nice to meet up again. Now she must be getting back to work. Everything they had, rested on a few minutes in a library years ago. Was it too frail? She could easily slip back into being a kind of sister. Was she disappointed? He had lost weight. He had shrunk in every sense. Prison made him despise himself, while she looked as adorable as he remembered her, especially in a nurse’s uniform. But she was miserably nervous too, incapable of stepping around the inanities. Instead, she was trying to be lighthearted about her landlady’s temper. After a few more such exchanges, she really was looking at the little watch that hung above her left breast, and telling him that her lunch break would soon be over.
Ian McEwan (Atonement)
If music be the food of love, play on, Give me excess of it; that surfeiting, The appetite may sicken, and so die.
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I will rise again, and it will not be by Your blessings but by my own mastery! I will fly with my own wings.
Danielle M. Orsino (Birth of the Fae: Locked Out of Heaven)
Is the cave thing an option?” She was really trying to dispel the tension in the room. Salvatore looked back at her, and she felt the temperature rise by degrees. “If you’d like,” he drew in a trembling breath between his lips, “I can make it happen.
Reina Torres (Her UnBearable Protector (Orsino Security #1))
Many of my Anglophone Indian friends, even if they grew up on a steady diet of masala movies, have imbibed the attitude of Shakespeare Wallah. They involuntarily cringe when I talk about how I find the cheap flash of Hindi film Shakespearean. ‘Gilji,’ they say, ‘random item numbers, idiotic dances by lovers around trees, unoriginal stories: surely all this is a world away from the lofty accomplishment of Shakespeare! You of all people should know that!’ These friends are nonplussed when I tell them that Shakespeare’s plays—at least as performed 400 years ago to mixed audiences of literate and illiterate, noble and poor—also routinely featured naach-gaana (song-and-dance numbers), often celebrated sanams (lovers) in the presence of trees (just ask Rosalind and Orsino in As You Like It), and plundered their kahaaniyan (stories) from everywhere. Watching Lagaan was, for me, a moment of awakening to masala possibilities in Shakespeare and his drama that I had until then largely overlooked. Conversely, it was an awakening to how there is something Shakespearean about the masala movie even if it is not an adaptation of Shakespeare.
Jonathan Gil Harris (Masala Shakespeare: How a Firangi Writer Became Indian)
When my eyes did see Olivia first, the sweetest beauty, that ever I beheld -Act 1, Scene 1, Orsino
William Shakespeare