Shakespeare Henry Viii Quotes

We've searched our database for all the quotes and captions related to Shakespeare Henry Viii. Here they are! All 31 of them:

Men's evil manners live in brass; their virtues we write in water.
William Shakespeare (Henry VIII)
We all are men, in our own natures frail, and capable of our flesh; few are angels.
William Shakespeare (Henry VIII)
My drops of tears I'll turn to sparks of fire.
William Shakespeare (Henry VIII)
Nor shall this peace sleep with her; but as when The bird of wonder dies, the maiden phoenix, Her ashes new-create another heir As great in admiration as herself.
William Shakespeare (Henry VIII)
Heat not a furnace for your foe so hot That it do singe yourself.
William Shakespeare (Henry VIII)
Verily, I swear, 'tis better to be lowly born, and range with humble livers in content, than to be perk'd up in a glistering grief, and wear a golden sorrow.
William Shakespeare (Henry VIII)
I charge thee, fling away ambition. By that sin fell the angels.
William Shakespeare (Henry VIII)
I do believe, induced by potent circumstances That thou art mine enemy.
William Shakespeare (Henry VIII)
Love thyself last: cherish those hearts that hate thee...
William Shakespeare (Henry VIII)
And 'tis a kind of good deed to say well: And yet words are no deeds.
William Shakespeare (Henry VIII)
So farewell to the little good you bear me Farewell! a long farewell, to all my greatness!
William Shakespeare (Henry VIII)
Tis ten to one this play can never please All that are here. Some come to take their ease And sleep an act or two; but those, we fear, W' have frighted with our trumpets.
William Shakespeare (Henry VIII)
yellow
William Shakespeare (Henry VIII)
How soon this mightiness meets misery; And if you can be merry then, I'll say A man may weep upon his wedding-day.
William Shakespeare (King Henry VIII)
Todos somos hombres, por naturaleza, frágiles y capaces de nuestra carne; pocos son ángeles.
William Shakespeare (Henry VIII)
T is better to be lowly born, And range with humble livers in content, Than to be perked up in a glistering grief, And wear a golden sorrow. King Henry VIII. II.3
William Shakespeare (Complete Works of William Shakespeare)
Cromwell, I charge thee, fling away ambition! By that sin fell the angels;
William Shakespeare (Henry VIII (The Pelican Shakespeare))
Had I but served my God with half the zeal I served my king, He would not in mine age Have left me naked to mine enemies.
William Shakespeare (Henry VIII)
good company, good wine, good welcome, Can make good people.
William Shakespeare (King Henry VIII)
Ведь гнев похож на пылкого коня: Ослабь узду — и он себя загонит.
William Shakespeare (Henry VIII)
Three portraits by Hans Holbein have for generations dictated the imagery of the epoch. The first shows King Henry VIII in all his swollen arrogance and finery. The second gives us Sir Thomas More, the ascetic scholar who seems willing to lay his life on a matter of principle. The third captures King Henry’s enforcer Sir Thomas Cromwell, a sallow and saturnine fellow calloused by the exercise of worldly power. The genius of Mantel’s prose lies in her reworking of this aesthetic: Look again at His Majesty and see if you do not detect something spoiled, effeminate, and insecure. Now scrutinize the face of More and notice the frigid, snobbish fanaticism that holds his dignity in place. As for Cromwell, this may be the visage of a ruthless bureaucrat, but it is the look of a man who has learned the hard way that books must be balanced, accounts settled, and zeal held firmly in check. By the end of the contest, there will be the beginnings of a serious country called England, which can debate temporal and spiritual affairs in its own language and which will vanquish Spain and give birth to Shakespeare and Marlowe and Milton.
Christopher Hitchens (Arguably: Essays by Christopher Hitchens)
And when he thinks, good easy man, full surely His greatness is a-ripening, nips his root, And then he falls, as I do. I have ventured, Like little wanton boys that swim on bladders, This many summers in a sea of glory, But far beyond my depth. My high-blown pride At length broke under me and now has left me, Weary and old with service, to the mercy Of a rude stream that must forever hide me. Vain pomp and glory of this world, I hate you. I feel my heart new opened. O, how wretched Is that poor man that hangs on princes’ favors! There is betwixt that smile we would aspire to, That sweet aspect of princes, and their ruin, More pangs and fears than wars or women have; And when he falls, he falls like Lucifer, Never to hope again.
William Shakespeare (Henry VIII)
And what do we do to fit our English-speaking Chinese, our docile and happy, our truly loyal servants, for the Asia of the future? We teach them English history: Henry the VIII, Elizabeth and Victoria, English geography, three-quarters of the book the British Isles, one quarter the rest of the world. literature, Lamb's Tales from Shakespeare and The Mill on the Floss, all in Basic, as they aren't to know the complexities of our tongue. We cut them from their own learning, their traditions; if that were cutting them off merely from the past, it wouldn't matter, but also and more dangerously, it cuts them from the present, and perhaps the future of Asia. With these happy eunuchs who are bound to us by their knowledge of English we run this country well as our colonial preserve. But we cannot pretend to think we can leave it to them to run it for themselves. All the revolutionaries in India were people who went back to their own literature and language. We'll see the same phenomenon here.
Han Suyin (And the Rain My Drink)
He raised an eyebrow. "Where did you get this? Is our Anne Boleyn suddenly from Mars?" He chuckled. "I always thought she hailed from Wiltshire." Luce's mind raced to catch up. She was playing Anne Boleyn? She'd never read this play, but Daniel's costume suggested he was playing the king, Henry VIII. "Mr. Shakespeare-ah,Will-thought it would look good-" "Oh,Will did?" Daniel smirked, bot believing her at all but seeming not to care. It was strange to feel that she could do or say almost anything and Daniel would still find it charming. "You're a little bit mad, aren't you, Lucinda?" "I-well-" He brushed her cheek with the back of his finger. "I adore you." "I adore you,too." The words tumbled from her mouth,feeling so real and so true after the last few stammering lies. It was like letting out a long-held breath. "I've been thinking, thinking a lot,and I wanted to tell you that-that-" "Yes?" "The truth is that what I feel for you is...deeper than adoration." She pressed her hands over his heart. "I trust you. I trust your love. I know how strong it is,and how beautiful." Luce knew that she couldn't come right out and say what she really meant-she was supposed to be a different version of herself,and the other times,when Daniel had figured out who she was, where she'd come from,he'd clammed up immediately and told her to leave. But maybe if she chose her words carefully, Daniel would understand. "It may seem like sometimes I-I forgot what you mean to me and what I mean to you,but deep down...I know.I know because we are meant to be together.I love you, Daniel." Daniel looked shocked. "You-you love me?" "Of course." Luce almost laughed at how obvious it was-but then she remembered: She had no idea which moment from her past she'd walked into.Maybe in this lifetime they'd only exchanged coy glances. Daniel's chest rose and fell violently and his lower lip began to quiver. "I want you to come away with me," he said quickly.There was a desperate edge to his voice. Luce wanted to cry out Yes!, but something held her back.It was so easy to get lost in Daniel when his body was pressed so close to hers and she could feel the heat coming off his skin and the beating of his heart through his shirt.She felt she could tell him anything now-from how glorious it had felt to die in his arms in Versailles to how devastated she was now that she knew the scope of his suffering. But she held back: The girl he thought she was in this lifetime wouldn't talk about those things, wouldn't know them. Neither would Daniel. So when she finally opened her mouth,her voice faltered. Daniel put a finger over her lips. "Wait. Don't protest yet. Let me ask you properly.By and by, my love." He peeked out the cracked wardrobe door, toward the curtain.A cheer came from the stage.The audience roared with laughter and applause. Luce hadn't even realized the play had begun. "That's my entrance.I'll see you soon." He kissed her forehead,then dashed out and onto the stage.
Lauren Kate (Passion (Fallen, #3))
Y' are welcome, my fair guests. That noble lady, Or gentleman that is not freely merry, Is not my friend. This, to confirm my welcome, And to you all, good health. [Drinks] Lord Sands. Your grace is noble. Let me have such a bowl may hold my thanks, And save me so much talking. Cardinal Wolsey. My Lord Sands, I am beholding to you; cheer your neighbours. Ladies, you are not merry. Gentlemen, Whose fault is this? Lord Sands. The red wine first must rise In their fair cheeks, my lord, then we shall have 'em Talk us to silence. Anne Bullen. You are a merry gamester, My Lord Sands. Lord Sands. Yes, if I make my play. Here's to your ladyship: and pledge it, madam, For 'tis to such a thing,— Anne Bullen. You cannot show me. Lord Sands. I told your grace they would talk anon. [Drum and trumpet; chambers discharg'd] Cardinal Wolsey. What's that? Lord Chamberlain. Look out there, some of ye. [Exit Servant] Cardinal Wolsey. What warlike voice, And to what end is this? Nay, ladies, fear not; By all the laws of war y' are privileg’d.
William Shakespeare (Henry VIII)
Take the oft-repeated injunction to get “its” and “it’s” straight. Everyone claims it’s remarkably easy to remember that “its” is possessive and “it’s” is a contraction. But logic tells us that in English, ’s attached to a noun signals possession: the dog’s dish, the cat’s toy, the lexicographer’s cry. So if English is logical, and there are simple rules to follow, why doesn’t “it’s” signal possession? We know that ’s also signals a contraction, but we don’t have any problems with differentiating between “the dog’s dish” and “the dog’s sleeping”—why should we suddenly have problems with “it’s dish” and “it’s sleeping”? This type of grammar often completely ignores hundreds (and, in some cases, well over a thousand) years of established use in English. For “it’s,” the rule is certainly easy to memorize, but it also ignores the history of “its” and “it’s.” At one point in time, “it” was its own possessive pronoun: the 1611 King James Bible reads, “That which groweth of it owne accord…thou shalt not reape”; Shakespeare wrote in King Lear, “It had it head bit off by it young.” They weren’t the first: the possessive “it” goes back to the fifteenth century. But around the time that Shakespeare was shuffling off this mortal coil, the possessive “it” began appearing as “it’s.” We’re not sure why the change happened, but some commentators guess that it was because “it” didn’t appear to be its own possessive pronoun, like “his” and “her,” but rather a bare pronoun in need of that possessive marker given to nouns: ’s. Sometimes this possessive appeared without punctuation as “its.” But the possessive “it’s” grew in popularity through the seventeenth and eighteenth centuries until it was the dominant form of the word. It even survived into the nineteenth century: you’ll find it in the letters of Thomas Jefferson and Jane Austen and the speechwriting notes of Abraham Lincoln. This would be relatively simple were it not for the fact that “it’s” was also occasionally used as a contraction for “it is” or “it has” (“and it’s come to pass,” Shakespeare wrote in Henry VIII, 1.2.63). Some grammarians noticed and complained—not that the possessive “it’s” and the contractive “it’s” were confusing, but that the contractive “it’s” was a misuse and mistake for the contraction “ ’tis,” which was the more standard contraction of “it is.” This was a war that the pedants lost: “ ’tis” waned while “it’s” waxed.
Kory Stamper (Word by Word: The Secret Life of Dictionaries)
Cribbage!” I declared, pulling out the board, a deck of cards, and pen and paper, “Ben and I are going to teach you. Then we can all play.” “What makes you think I don’t know how to play cribbage?” Sage asked. “You do?” Ben sounded surprised. “I happen to be an excellent cribbage player,” Sage said. “Really…because I’m what one might call a cribbage master,” Ben said. “I bet I’ve been playing longer than you,” Sage said, and I cast my eyes his way. Was he trying to tell u something? “I highly doubt that,” Ben said, “but I believe we’ll see the proof when I double-skunk you.” “Clearly you’re both forgetting it’s a three-person game, and I’m ready to destroy you both,” I said. “Deal ‘em,” Ben said. Being a horse person, my mother was absolutely convinced she could achieve world peace if she just got the right parties together on a long enough ride. I didn’t know about that, but apparently cribbage might do the trick. I didn’t know about that, but apparently cribbage might do the trick. The three of us were pretty evenly matched, and Ben was impressed enough to ask sage how he learned to play. Turned out Sage’s parents were historians, he said, so they first taught him the precursor to cribbage, a game called noddy. “Really?” Ben asked, his professional curiosity piqued. “Your parents were historians? Did they teach?” “European history. In Europe,” Sage said. “Small college. They taught me a lot.” Yep, there was the metaphorical gauntlet. I saw the gleam in Ben’s eye as he picked it up. “Interesting,” he said. “So you’d say you know a lot about European history?” “I would say that. In fact, I believe I just did.” Ben grinned, and immediately set out to expose Sage as an intellectual fraud. He’d ask questions to trip Sage up and test his story, things I had no idea were tests until I heard Sage’s reactions. “So which of Shakespeare’s plays do you think was better served by the Globe Theatre: Henry VIII or Troilus and Cressida?” Ben asked, cracking his knuckles. “Troilus and Cressida was never performed at the Globe,” Sage replied. “As for Henry VIII, the original Globe caught fire during the show and burned to the ground, so I’d say that’s the show that really brought down the house…wouldn’t you?” “Nice…very nice.” Ben nodded. “Well done.” It was the cerebral version of bamboo under the fingernails, and while they both tried to seem casual about their conversation, they were soon leaning forward with sweat beading on their brows. It was fascinating…and weird. After several hours of this, Ben had to admit that he’d found a historical peer, and he gleefully involved Sage in all kinds of debates about the minutiae of eras I knew nothing about…except that I had the nagging sense I might have been there for some of them. For his part, Sage seemed to relish talking about the past with someone who could truly appreciate the detailed anecdotes and stories he’d discovered in his “research.” By the time we started our descent to Miami, the two were leaning over my seat to chat and laugh together. On the very full flight from Miami to New York, Ben and Sage took the two seats next to each other and gabbed and giggled like middle-school girls. I sat across from them stuck next to an older woman wearing far too much perfume.
Hilary Duff (Elixir (Elixir, #1))
The restoration of our travell'd gallants, That fill the court with quarrels, talk and tailors. -
shakespeare and fletcher
Heat not a furnace for your foe so hot That it do singe yourself. —William Shakespeare, Henry VIII
Angela Elwell Hunt (Delilah: Treacherous Beauty (Dangerous Beauty #3))
De ce slăbești? De ce privești a jale? Fii mare-n fapte, cum ai fost în gânduri. Nu vază lumea că-ndoiala tristă Și frica stăpânesc un ochi de rege. Fii furtunos cu vremea, foc cu focul, Amenințând pe cine te amenință, Și-nfruntă chipul groazei ce-i făloasă. Așa, cei mici, împrumutând purtarea De la cei mari, vor fi prin pilda-ți mari Și plini de duhul dârz al hotărârii. 'Nainte! Fii strălucitor ca Marte Când este gata a păși-n război; Arată-avânt și-ncredere ne-nfrântă. Ce? Vor să cerce leu-n vizuină? Să-l sperie? Să-l facă a tremura? Să nu se zică asta. Sari și-aleargă Spre-a-ntâmpina restriștea de la porți Și a lupta cu ea cât nu-i pe-aproape.
William Shakespeare (King John/Henry VIII (Signet Classics))
The inflation of language is striking. Exotic flavours of crisps are suddenly part of ‘Britain’s heritage’, on a par with Stonehenge, Shakespeare and the six wives of Henry VIII. The German nationality of the commissioner Martin Bangemann allows the story to become another episode of Anglo-German conflict (‘der crunch’) – like two world wars. And in Taylor’s rent-a-quote comment, there is a double act of hyping. A packet of crisps becomes a thing that ‘affects your life’, and the alleged assault on the right to produce and consume it in strange varieties is the demolition of democracy. There is no point in voting at all because some bloke in Brussels will just decide what you can and cannot eat.
Fintan O'Toole (Heroic Failure: Brexit and the Politics of Pain)