Shakespeare Denmark Quotes

One may smile, and smile, and be a villain; at least I'm sure it may be so in Denmark.

Something is rotten in the state of Denmark.

You can't just skip the boring parts." "Of course I can skip the boring parts." "How do you know they're boring if you don't read them?" "I can tell." "Then you can't say you've read the whole play." "I think I can live a happy life, Meryl Lee, even if I don't read the boring parts of The Tragedy of Hamlet, Prince of Denmark." "Who knows?" she said. "Maybe you can't.

In the State of Denmark there was the odor of decay...

That one may smile, and smile, and be a villain: At least I am sure, it may be so in Denmark:

Denmark's a prison.

Tis given out that, sleeping in my orchard, A serpent stung me; so the whole ear of Denmark Is by a forged process of my death Rankly abused: but know, thou noble youth, The serpent that did sting thy father's life Now wears his crown.

Mobile phones would have wrecked the plots of most of Shakespeare's plays.

meet it is I set it down        That one may smile, and smile, and be a villain;        At least I am sure it may be so in Denmark. [

O villain, villain, smiling, damned villain! My tables, — meet it is I set it down,   115 That one may smile, and smile, and be a villain; At least I’m sure it may be so in Denmark:  [Writing. So, uncle, there you are. Now to my word;

Hamlet: Denmark's a prison Rosencrantz: Then is the world one. Hamlet: A goodly one; in which there are many confines, wards and dungeons

Hãy thành thật với chính mình.

A serpent stung me; so the whole ear of Denmark Is by a forged process4 of my death Rankly abused. But know, thou noble youth, The serpent that did sting thy father’s life Now wears his crown.

quoted a bench of justices Katju and Misra saying, “Something is rotten in the state of Denmark, said Shakespeare in Hamlet, and it can similarly be said that something is rotten in the Allahabad High Court,” and the high court “really needs some house cleaning.

The character and the play of Hamlet are central to any discussion of Shakespeare's work. Hamlet has been described as melancholic and neurotic, as having an Oedipus complex, as being a failure and indecisive, as well as being a hero, and a perfect Renaissance prince. These judgements serve perhaps only to show how many interpretations of one character may be put forward. 'To be or not to be' is the centre of Hamlet's questioning. Reasons not to go on living outnumber reasons for living. But he goes on living, until he completes his revenge for his father's murder, and becomes 'most royal', the true 'Prince of Denmark' (which is the play's subtitle), in many ways the perfection of Renaissance man. Hamlet's progress is a 'struggle of becoming' - of coming to terms with life, and learning to accept it, with all its drawbacks and challenges. He discusses the problems he faces directly with the audience, in a series of seven soliloquies - of which 'To be or not to be' is the fourth and central one. These seven steps, from the zero-point of a desire not to live, to complete awareness and acceptance (as he says, 'the readiness is all'), give a structure to the play, making the progress all the more tragic, as Hamlet reaches his aim, the perfection of his life, only to die.

a stage. The script gave meaning to their every word, tear and gesture – but placed strict limits on their performance. Hamlet cannot murder Claudius in Act I, or leave Denmark and go to an ashram in India. Shakespeare won’t allow it. Similarly, humans cannot live for ever, they cannot escape all diseases, and they cannot do as they please. It’s not in the script. In exchange for giving up power, premodern humans believed that their lives gained meaning. It really mattered whether they fought bravely on the battlefield, whether they supported the lawful king, whether they ate forbidden foods for breakfast or whether they had an affair with the next-door neighbour. This of course created some inconveniences, but it gave

Hamlet. What have you, my good friends, deserved at the hands of Fortune that she sends you to prison hither? Guildenstern. Prison, my lord? Hamlet. Denmark’s a prison. Rosencrantz. Then is the world one. Hamlet. A goodly one, in which there are many confines, wards, and dungeons, Denmark being one o’ th’ worst. Rosencrantz. We think not so, my lord. Hamlet. Why, then ’tis none to you, for there is nothing either good or bad but thinking makes it so. To me it is a prison. Rosencrantz. Why then your ambition makes it one. ’Tis too narrow for your mind. Hamlet. O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams. Guildenstern. Which dreams indeed are ambition, for the very substance of the ambitious is merely the shadow of a dream. Hamlet. A dream itself is but a shadow. Rosencrantz. Truly, and I hold ambition of so airy and light a quality that it is but a shadow’s shadow. Hamlet. Then are our beggars bodies, and our monarchs and outstretched heroes the beggars’ shadows.

Let me sum up: Hamlet’s the prince of Denmark. His dad, the king, died and though it’s only been two months, his mom married his dad’s brother, Claudius. Now Claudius is king. Hamlet thinks that’s whack.” “Sounds just like Shakespeare.” “One night, three guards see a ghost and they tell Ham. Ham sees it too. It’s Dad. Dad says Claudius poured poison in his ear and killed him. Hamlet’s mind is blown. But hold up, he’s been dating Ophelia, daughter of Polonius. Polonius is Claudius’ right-hand man. Polonius tells Ophelia that Hamlet’s losing his marbles and she has to break up with him. “Ophelia and Hamlet are in love but, like, the fucking patriarchy, right? She caves to her dad’s pressure and agrees to break up with him. Ham’s devastated and rants that all women are traitorous bitches, and Ophelia should go to a nunnery and never reproduce. Then Ham confronts his mom while Polonius eavesdrops and—whoops!—Ham kills Polonius. “Ophelia, having lost her man and her dad, proceeds to lose her mind. She goes nuts, sings a bunch of dirty, sexy-time songs, and drowns herself in the river. Then a bunch of other shit happens until pretty much everyone else in the cast is dead. Curtain.

Sarah said frowning: "I don't understand doctor Gerard. He seems to think - " "Something is rotten in the state of Denmark," quoted Poirot. "You see, I know your Shakespeare.

Off the record, though, I think something is very, very rotten in the state of Denmark. Well, in the state of W.1.

The Great Dane by Stewart Stafford Martyr father of poison sleep, Rotten carcass of a slain beast, Wicked stars cast against him, Beloved, that loved him least. O maggot of gnawing doubt, Wriggling along life’s tightrope, Sleepwalking this broken path, To a coup de grâce last stroke. The players unmask dark play, Trampling nightshade that reeks, Honour's duel in a snake pit, The shadow castle grows weak. © Stewart Stafford, 2023. All rights reserved.

The primacy of performance dominates their thoughts. To return to Dylan’s Nobel Lecture, we find him musing on the practicalities of ‘putting on a show’: “I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn’t have entered his head. His words were written for the stage. Meant to be spoken not read. When he was writing Hamlet, I’m sure he was thinking about a lot of different things: “Who’re the right actors for these roles?” “How should this be staged?” “Do I really want to set this in Denmark8?” His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. “Is the financing in place?” “Are there enough good seats for my patrons?” “Where am I going to get a human skull?” I would bet that the farthest thing from Shakespeare’s mind was the question “Is this literature? But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life’s mundane matters. “Who are the best musicians for these songs?” “Am I recording in the right studio?” “Is this song in the right key?” Some things never change, even in 400 years. Not once have I ever had the time to ask myself, “Are my songs literature?

When the line is delivered, Hamlet is gazing on Yorrick's skull, casually unearthed by the gravedigger. Yorrick's fame grew out of being the line which accompanied what is perhaps the single most recognizable iconic image in literature: a man in black, considering a human skull. Show some form of that picture to most moderately educated people and plenty who aren't and they'll know that the man is Hamlet. Such things don't find their way into the popular consciousness by accident and trivial though the line may sound, it speaks to the heart of the play: a man compelled by circumstances outside of his control to confront his own mortality.

Something smelled rotten in Denmark. The odor lilted more rank than the slimy cabbage leaves and maggot-boiling mutton discarded in a heap behind the royal kitchen, or more than the moldy cheesed breath of Orrick, the tavern owner in the village, when he blasted a laugh between the yellow posts of his teeth. The putrid aroma drifted on the wind like the blasts of winter, permeating the stone walls of Elsinore Castle in a hard, cold, bitter wetness, and growing along the dark corridors, spreading and eating away at the peace of the entire Kingdom and her inhabitants. - Prince of Sorrows

Then, if he says he loves you, It fits your wisdom so far to believe it As he in his particular act and place May give his saying deed; which is no further Than the main voice of Denmark goes withal. Then weigh what loss your honour may sustain If with too credent ear you list his songs, Or lose your heart, or your chaste treasure open To his master importunity. Fear it, Ophelia, fear it, my dear sister. And keep you in the rear of your affection, Out of the shot and danger of desire. The chariest maid is prodigal enough If she unmask her beauty to the moon. Virtue itself 'scapes not calumnious strokes. The canker galls the infants of the spring Too oft before their buttons be disclosed; And in the morn and liquid dew of youth Contagious blastments are more imminent. Be wary then. Best safety lies in fear. Youth to itself rebels, though none else near.