Wit Shakespeare Quotes

Brevity is the soul of wit.

The first thing we do, let's kill all the lawyers.

Better a witty fool, than a foolish wit.

The devil can cite Scripture for his purpose. An evil soul producing holy witness Is like a villain with a smiling cheek, A goodly apple rotten at the heart. O, what a goodly outside falsehood hath!

What needs my Shakespeare for his honoured bones, The labor of an age in pilèd stones, Or that his hallowed relics should be hid Under a star-y-pointing pyramid? Dear son of memory, great heir of fame, What need'st thou such weak witness of thy name?

If I be waspish, best beware my sting.

I was sorry to have my name mentioned as one of the great authors, because they have a sad habit of dying off. Chaucer is dead, Spencer is dead, so is Milton, so is Shakespeare, and I’m not feeling so well myself.

It is excellent To have a giant's strength But it is tyrannous To use it like a giant

The small amount of foolery wise men have makes a great show.

Watch out he's winding the watch of his wit, by and by it will strike.

I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was: man is but an ass, if he go about to expound this dream. Methought I was--there is no man can tell what. Methought I was,--and methought I had,--but man is but a patched fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream: it shall be called Bottom's Dream, because it hath no bottom...

Well, in that hit you miss. She'll not be hit With Cupid's arrow. She hath Dian's wit, And, in strong proff of chastity well armed, From Love's weak childish bow she lives uncharmed. She will not stay the siege of loving terms, Nor bide th' encounter of assailing eyes, Nor ope her lap to saint-seducing gold. O, she is rich in beauty; only poor That, when she dies, with dies her store. Act 1,Scene 1, lines 180-197

His jest shall savour but a shallow wit, when thousands more weep than did laugh it.

I am not only witty in myself, but the cause that wit is in other men.

This rudeness is a sauce to his good wit, Which gives men stomach to digest his words With better appetite.

Some grief shows much of love, But much of grief shows still some want of wit.

This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labour as a wise man's art For folly that he wisely shows is fit; But wise men, folly-fall'n, quite taint their wit.

For what says Quinapalus? Better a witty fool than a foolish wit.

thy wit is a very bitter sweeting; it is a most sharp sauce.

Since brevity is the soul of wit, And tediousness the limbs and outward flourishes, I will be brief.

In sooth, I know not why I am so sad: It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me, That I have much ado to know myself.

For I have neither wit, nor words, nor worth, Action, nor utterance, nor the power of speech, To stir men’s blood: I only speak right on; I tell you that which you yourselves do know;

I may chance have some odd quirks and remnants of wit broken on me, because I have railed so long against marriage: but doth not the appetite alter? a man loves the meat in his youth that he cannot endure in his age. Shall quips and sentences and these paper bullets of the brain awe a man from the career of his humour? No, the world must be peopled. When I said I would die a bachelor, I did not think I should live till I were married.

Cannot you tell that? Every fool can tell that. It was the very day that young Hamlet was born, he that is mad and sent into England." "Ay, marry, why was he sent into England?" "Why, because he was mad. He shall recover his wits there, or, if he do not, it's no great matter there." "Why?" "'Twill not be seen in him there. There the men are as mad as he.

My liege, and madam, to expostulate What majesty should be, what duty is, Why day is day, night night, and time is time, Were nothing but to waste night, day and time. Therefore, since brevity is the soul of wit, And tediousness the limbs and outward flourishes, I will be brief.

Muster your wits; stand in your own defence...

It was wonderful flirting with him, all the razor-edged literary banter, like Beatrice and Benedick in Much Ado About Nothing. A battle of wit, and a test, too.

Dost thou not suspect my place? Dost thou not suspect my years? O that he were here to write me down an ass! But masters, remember that I am an ass. Though it be not written down, yet forget not that I am an ass. No, thou villain, thou art full of piety, as shall be proved upon thee by good witness. I am a wise fellow, and which is more, an officer, and which is more, a householder, and which is more, as pretty a piece of flesh as any is in Messina, and one that knows the law, go to . . . and one that hath two gowns, and everything handsome about him. Bring him away. O that I had been writ down an ass!

Thou sodden-witted lord! thou hast no more brain than I have in mine elbows.

Make the doors upon a woman's wit, and it will out at the casement; shut that, and 'twill out at the key-hole; stop that, 'twill fly with the smoke out at the chimney.

Alas, sir, how fell you besides your five wits?" Malvolio: "Fool, there was never a man so notoriously abused. I am as well in my wits, fool, as thou art." Feste: "But as well? Then you are mad indeed, if you be no better in you wits than a fool.

The pow'r I have on you is to spare you / The malice towards you, to forgive you. Posthumus

Good madonna, give me leave to prove you a fool.

As an unperfect actor on the stage, Who with his fear is put besides his part, Or some fierce thing replete with too much rage, Whose strength's abundance weakens his own heart; So I, for fear of trust, forget to say The perfect ceremony of love's rite, And in mine own love's strength seem to decay, O'ercharg'd with burden of mine own love's might. O, let my books be then the eloquence And dumb presagers of my speaking breast; Who plead for love, and look for recompense, More than that tongue that more hath more express'd. O, learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.

In faith, I do not love thee with mine eyes, For they in thee a thousand errors note; But 'tis my heart that loves what they despise, Who in despite of view is pleased to dote; Nor are mine ears with thy tongue's tune delighted, Nor tender feeling, to base touches prone, Nor taste, nor smell, desire to be invited To any sensual feast* with thee alone*: But my five wits* nor my five senses can Dissuade one foolish heart from serving thee, Who leaves unsway'd the likeness of a man*, Thy proud hearts slave and vassal wretch to be: Only my plague thus far I count my gain, That she that makes me sin awards me pain.

ACKBAR —O knavery Most vile, O trick of Empire’s basest wit. A snare, a ruse, a ploy: and we the fools. What great deception hath been plied today— O rebels, do you hear? Fie, ’tis a trap!

An evil soul producing holy witness Is like a villain with a smiling cheek, A goodly apple rotten at the heart.

When this—my baby, source of all my hopes— Doth hit upon the speed of eighty-eight, In miles per hour, then Marty, verily, Thine eyes shalt witness shit most serious.

This golden droid has been a friend, 'tis true,/ And yet I wish to still his prating tongue!/ An imp, he calleth me? I'll be reveng'd,/ And merry pranks aplenty I shall play/ Upon this pompous droid C-3PO!/ Yet not in language shall my pranks be done:/ Around both humans and droids I must/ Be seen to make such errant beeps and squeaks/ That they shall think me simple. Truly, though,/ Although with sounds obilque I speak to them, I clearly see how I shall play my part,/ And how a vast rebellion shall succeed/ by wit and wisdom of a simple droid. [R2-D2]

My lord, will you be true? Who, I? Alas, it is my vice, my fault: Whiles others fish with craft for great opinion, I with great truth catch mere simplicity; Whilst some with cunning gild their copper crowns, With truth and plainness I do wear mine bare. Fear not my truth: the moral of my wit Is "plain and true"; there's all the reach of it.

I am not gamesome: I do lack some part of that quick spirit that is in Antony.

Beshrew me, but you have a quick wit. SPEED: And yet it cannot overtake your slow purse.

A sentence is but a cheveril glove to a good wit. How quickly the wrong side may be turned outward!

Look, he's winding up the watch of his wit; by and by it will strike.

How every fool can play upon the word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none only but parrots.

I once expected to spend seven years walking around the world on foot. I walked from Mexico to Panama where the road ended before an almost uninhabited swamp called the Choco Colombiano. Even today there is no road. Perhaps it is time for me to resume my wanderings where I left off as a tropical tramp in the slums of Panama. Perhaps like Ambrose Bierce who disappeared in the desert of Sonora I may also disappear. But after being in all mankind it is hard to come to terms with oblivion - not to see hundreds of millions of Chinese with college diplomas come aboard the locomotive of history - not to know if someone has solved the riddle of the universe that baffled Einstein in his futile efforts to make space, time, gravitation and electromagnetism fall into place in a unified field theory - never to experience democracy replacing plutocracy in the military-industrial complex that rules America - never to witness the day foreseen by Tennyson 'when the war-drums no longer and the battle-flags are furled, in the parliament of man, the federation of the world.' I may disappear leaving behind me no worldly possessions - just a few old socks and love letters, and my windows overlooking Notre-Dame for all of you to enjoy, and my little rag and bone shop of the heart whose motto is 'Be not inhospitable to strangers lest they be angels in disguise.' I may disappear leaving no forwarding address, but for all you know I may still be walking among you on my vagabond journey around the world." [Shakespeare & Company, archived statement]

She’ll not be hit With Cupid’s arrow. She hath Dian’s wit, And, in strong proof of chastity well armed, From love’s weak, childish bow she lives uncharmed. She won't be assaulted by loving eyes, and she won't accept gifts of gold.

For folly that he wisely shows is fit; But wise men, folly-fallen, quite taint their wit.

yea dost thou fall upon thy face? thou wilt fall backward when thou hast more wit!

Well, I always enjoy a case more once witnesses start quoting Shakespeare, don't you?

Fare thee well. Remain thou still in darkness: thou shalt hold the opinion of Pythagoras ere I will allow of thy wits; and fear to kill a woodcock, lest thou dispossess the soul of thy grandam. Fare thee well.

This to hear Would Desdemona seriously incline: But still the house-affairs would draw her thence: Which ever as she could with haste dispatch, She'ld come again, and with a greedy ear Devour up my discourse: which I observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate, Whereof by parcels she had something heard, But not intentively: I did consent, And often did beguile her of her tears, When I did speak of some distressful stroke That my youth suffer'd. My story being done, She gave me for my pains a world of sighs: She swore, in faith, twas strange, 'twas passing strange, 'Twas pitiful, 'twas wondrous pitiful: She wish'd she had not heard it, yet she wish'd That heaven had made her such a man: she thank'd me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story. And that would woo her. Upon this hint I spake: She loved me for the dangers I had pass'd, And I loved her that she did pity them. This only is the witchcraft I have used: Here comes the lady; let her witness it.

O, let my books be then the eloquence And dumb presagers of my speaking breast; Who plead for love, and look for recompense, More than that tongue that more hath more express'd. O, learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.

Good fool, help me to some light and some   paper. I tell thee, I am as well in my wits as any man in   Illyria.

Not so, neither: but if I had wit enough to get out of this wood, I have enough to serve mine own turn.

Let me, if not by birth, have lands by wit: All with me's meet that I can fashion fit.

Extremity, that sharpens sundry wits, 133 Makes me a fool.

Why did Juliet fall for Romeo? Well for one thing, with all due deference for Shakespeare, he happened to be the first man she had seen.

A sentence is but a cheverel glove to a good wit,” quips the clown Feste in Twelfth Night,

I am a great eater of beef, and I believe that does harm to my wit

Dog bites man is not interesting, man bites dog is.

It is also significant that the play opens with the objective presence of supernatural forces. The witches are not the figment of someone else’s imagination because there is nobody else present to witness them. They are alone, and therefore they stand alone, utterly independent. We are in the real presence of evil, an evil that really exists whether we like it or not, an evil that is not merely the product of our fetid fetishes or our fevered imaginations. In its formal structure, therefore, Macbeth places us unequivocally in a supernatural cosmos, rendering implausible all materialistic interpretations of the play’s intrinsic meaning.

I once witnessed a rather unfortunate production of Shakespeare's Hamlet - the lead actor didn't know his existential angst from his iambic pentameter and, alas, poor Yorick was a bemused bystander.

Who are you? Tell me for more certainty. Albeit, I'll swear that I do know your tongue. Lorenzo: Lorenzo, and thy love. Jessica: Lorenzo, certain, and my love indeed. For who love I so much? And now who knows but you, Lorenzo, whether I am yours? Lorenzo: Heaven and thy thoughts are witness that thou art.

Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave with tears? An if thou couldst, thou couldst not make him live; Therefore, have done: some grief shows much of love; But much of grief shows still some want of wit. JULIET: Yet let me weep for such a feeling loss. LADY CAPULET: So shall you feel the loss, but not the friend Which you weep for. JULIET: Feeling so the loss, Cannot choose but ever weep the friend. LADY CAPULET: Well, girl, thou weep’st not so much for his death, As that the villain lives which slaughter’d him.

Adieu, valour: rust, rapier: be still, drum, for your manager is in love: yea, he loveth. Assist me, some extemporal god of rhyme, for I am sure I shall turn sonnet. Devise, wit: write, pen, for I am for whole volumes in folio.

If one has once read Shakespeare with attention, it is not easy to go a day without quoting him, because there are not many subjects of major importance that he does not discuss or at least mention somewhere or another, in his unsystematic but illuminating way.

There are things I've given up on Like recording funny answering machine messages. It's part of growing older And the human race as a group has matured along the same lines. It seems our comedy dates the quickest. If you laugh out loud at Shakespeare's jokes I hope you won't be insulted if I say you're trying too hard. Even sketches from the original Saturday Night Live seem slow-witted and obvious now.

Slanders, sir. For the satirical rogue says here that old men have gray beards, that their faces are wrinkled, their eyes purging thick amber and plum-tree gum, and that they have a plentiful lack of wit, together with most weak hams—all which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down; for yourself, sir, should be old as I am, if like a crab you could go backward.

Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-sized monster of ingratitudes: Those scraps are good deeds past; which are devour'd As fast as they are made, forgot as soon As done: perseverance, dear my lord, Keeps honour bright: to have done is to hang Quite out of fashion, like a rusty mail In monumental mockery. Take the instant way; For honour travels in a strait so narrow, Where one but goes abreast: keep then the path; For emulation hath a thousand sons That one by one pursue: if you give way, Or hedge aside from the direct forthright, Like to an enter'd tide, they all rush by And leave you hindmost; Or like a gallant horse fall'n in first rank, Lie there for pavement to the abject rear, O'er-run and trampled on: then what they do in present, Though less than yours in past, must o'ertop yours; For time is like a fashionable host That slightly shakes his parting guest by the hand, And with his arms outstretch'd, as he would fly, Grasps in the comer: welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time.

Who was it that thus cried? why? worthy thane, you do unbend your noble strength to think so brainsickly of things.Go get some water and wash this filthy witness from your hand.Why did you bring these daggers from the place?They must lie there. Go carry them and smear the sleepy grooms with blood." lady macbeth

A torch for me: let wantons light of heart Tickle the senseless rushes with their heels, For I am proverb’d with a grandsire phrase; I’ll be a candle-holder, and look on. The game was ne’er so fair, and I am done. MERCUTIO: Tut, dun’s the mouse, the constable’s own word: If thou art dun, we’ll draw thee from the mire Of this sir-reverence love, wherein thou stick’st Up to the ears. Come, we burn daylight, ho! ROMEO: Nay, that’s not so. MERCUTIO: I mean, sir, in delay We waste our lights in vain, like lamps by day. Take our good meaning, for our judgement sits Five times in that ere once in our five wits. ROMEO: And we mean well in going to this mask; But ’tis no wit to go. MERCUTIO: Why, may one ask? ROMEO: I dream’d a dream to-night. MERCUTIO: And so did I. ROMEO: Well, what was yours? MERCUTIO: That dreamers often lie. ROMEO: In bed asleep, while they do dream things true. MERCUTIO: O, then, I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes.

The trouble with you, Charles, is that basically you despise women, whereas I, in spite of some appearances to the contrary, do not." "I don't despise women. I was in love with all Shakespeare's heroines before I was twelve." "But they don't exist, dear man, that's the point. They live in the never-never land of art, all tricked out in Shakespeare's wit and wisdom, and mock us from there, filling us with false hopes and empty dreams. The real thing is spite and lies and arguments about money.

A good sherris-sack hath a twofold operation in it. It ascends me into the brain, dries me there all the foolish and dull and crudy vapors which environ it, makes it apprehensive, quick, forgetive, full of nimble, fiery, and delectable shapes, which, delivered o'er to the voice, the tongue, which is the birth, becomes excellent wit.

Home-keeping youth have ever homely wits.

I must get a sconce for my head, and ensconce it too, or else I shall seek my wit in my shoulders. [II.ii.37]

Can no prayers pierce thee? SHYLOCK: No, none that thou hast wit enough to make.

O, learn to read what silent love hath writ! To hear with eyes belongs to love’s fine wit.

if she be fair and wise, fairness and wit, / The one’s for use, the other users it.

Those wits that think they have thee very oft prove fools.

A halter pardon him! and hell gnaw his bones! Why should he call her whore? who keeps her company? What place? what time? what form? what likelihood? The Moor’s abused by some most villainous knave, Some base notorious knave, some scurvy fellow:— O heaven, that such companions thou’dst unfold, And put in every honest hand a whip To lash the rascals naked through the world Even from the east to the west! IAGO Speak within door. EMILIA O, fie upon them! some such squire he was That turn’d your wit the seamy side without, And made you to suspect me with the Moor.

How all occasions do inform against me, And spur my dull revenge! What is a man, If his chief good and market of his time Be but to sleep and feed? a beast, no more. Sure, he that made us with such large discourse, Looking before and after, gave us not That capability and god-like reason To fust in us unused. Now, whether it be Bestial oblivion, or some craven scruple Of thinking too precisely on the event, A thought which, quarter'd, hath but one part wisdom And ever three parts coward, I do not know Why yet I live to say 'This thing's to do;' Sith I have cause and will and strength and means To do't. Examples gross as earth exhort me: Witness this army of such mass and charge Led by a delicate and tender prince, Whose spirit with divine ambition puff'd

It is merely a lust of the blood and a permission of the will. Come, be a man: drown thyself! drown cats and blind puppies. I have professed me thy friend, and I confess me knit to thy deserving with cables of perdurable toughness; I could never better stead thee than now. Put money in thy purse; follow thou the wars; defeat thy favour with an usurped beard; I say, put money in thy purse. It cannot be that Desdemona should long continue her love to the Moor,—put money in thy purse,—nor he his to her: it was a violent commencement, and thou shalt see an answerable sequestration;—put but money in thy purse.—These Moors are changeable in their wills:—fill thy purse with money: the food that to him now is as luscious as locusts shall be to him shortly as acerb as the coloquintida. She must change for youth: when she is sated with his body, she will find the error of her choice: she must have change, she must: therefore put money in thy purse.—If thou wilt needs damn thyself, do it a more delicate way than drowning. Make all the money thou canst; if sanctimony and a frail vow betwixt an erring barbarian and a supersubtle Venetian be not too hard for my wits and all the tribe of hell, thou shalt enjoy her; therefore make money. A pox of drowning thyself! it is clean out of the way: seek thou rather to be hanged in compassing thy joy than to be drowned and go without her.

O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time.

Like Princes crowned they bore them-- Like Demi-Gods they wrought, When the New World lay before them In headlong fact and thought. Fate and their foemen proved them Above all meed of praise, And Gloriana loved them, And Shakespeare wrote them plays! . . . . . . . Now Valour, Youth, and Life's delight break forth In flames of wondrous deed, and thought sublime--- Lightly to mould new worlds or lightly loose Words that shall shake and shape all after-time! Giants with giants, wits with wits engage, And England-England-England takes the breath Of morning, body and soul, till the great Age Fulfills in one great chord:--Elizabeth!

Come, how wouldst thou praise me? IAGO I am about it; but indeed my invention Comes from my pate as birdlime does from frieze; It plucks out brains and all: but my Muse labours, And thus she is deliver'd. If she be fair and wise, fairness and wit, The one's for use, the other useth it. DESDEMONA Well praised! How if she be black and witty? IAGO If she be black, and thereto have a wit, She'll find a white that shall her blackness fit. DESDEMONA Worse and worse. EMILIA How if fair and foolish? IAGO She never yet was foolish that was fair; For even her folly help'd her to an heir. DESDEMONA These are old fond paradoxes to make fools laugh i' the alehouse. What miserable praise hast thou for her that's foul and foolish? IAGO There's none so foul and foolish thereunto, But does foul pranks which fair and wise ones do.

Words are Hamlet's constant companions, his weapons, and his defenses. ... And yet, words also serve as Hamlet's prison. He analyzes and examines every nuance of his situation until he has exhausted every angle. They cause him to be indecisive. He dallies in his own wit, intoxicated by the mix of words he can concoct; he frustrates his own burning desire to be more like his father, the Hyperion. When he says that Claudius is "... no more like my father than I to Hercules" he recognizes his enslavement to words, his inability to thrust home his sword of truth. No mythic character is Hamlet. He is stuck, unable to avenge his father's death because words control him.

CONTROL. —Good admiral, approaching ships! It is the enemy. ACKBAR —O knavery Most vile, O trick of Empire’s basest wit. A snare, a ruse, a ploy: and we the fools. What great deception hath been plied today— O rebels, do you hear? Fie, ’tis a trap!

The venom clamours of a jealous woman, Poisons more deadly than a mad dog’s tooth. It seems his sleeps were hinder’d by thy railing: And thereof comes it that his head is light. Thou say’st his meat was sauced with thy upbraidings: Unquiet meals make ill digestions; Thereof the raging fire of fever bred; And what’s a fever but a fit of madness? Thou say’st his sports were hinder’d by thy brawls: Sweet recreation barr’d, what doth ensue But moody and dull melancholy, Kinsman to grim and comfortless despair; And at her heels a huge infectious troop Of pale distemperatures and foes to life? In food, in sport, and life-preserving rest To be disturb’d, would mad or man or beast: The consequence is, then, thy jealous fits Have scared thy husband from the use of wits.

Why, he is the Prince’s jester, a very dull fool; only his gift is in devising impossible slanders. None but libertines delight in him, and the commendation is not in his wit, but in his villainy, for he both pleases men and angers them, and then they laugh at him and beat him.

You are such a woman! A man knows not at what ward you lie. CRESSIDA Upon my back, to defend my belly; upon my wit, to defend my wiles; upon my secrecy, to defend mine honesty; my mask, to defend my beauty; and you, to defend all these; and at all these wards I lie at, at a thousand watches. PANDARUS Say one of your watches. CRESSIDA Nay, I'll watch you for that; and that's one of the chiefest of them too. If I cannot ward what I would not have hit, I can watch you for telling how I took the blow; unless it swell past hiding, and then it's past watching.

These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse.  Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable.  The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature.  The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs.  He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

Pretty sure I can. You signed the contract. You’re a witness that he owes me this. And before you get high and mighty about it, why didn’t you just use your own money to take out Persia? I mean, it’s kind of your fault he’s in this position in the first place, isn’t it?” “I’d have had money if he hadn’t ‘borrowed’ it from me for a concert ticket he couldn’t afford,” Bas snaps. “You’re not the only one he screwed over.

Hold thy desperate hand: Art thou a man? thy form cries out thou art: Thy tears are womanish; thy wild acts denote The unreasonable fury of a beast: Unseemly woman in a seeming man! Or ill-beseeming beast in seeming both! Thou hast amazed me: by my holy order, I thought thy disposition better temper’d. Hast thou slain Tybalt? wilt thou slay thyself? And stay thy lady too that lives in thee, By doing damned hate upon thyself? Why rail’st thou on thy birth, the heaven, and earth? Since birth, and heaven, and earth, all three do meet In thee at once; which thou at once wouldst lose. Fie, fie, thou shamest thy shape, thy love, thy wit; Which, like a usurer, abound’st in all, And usest none in that true use indeed Which should bedeck thy shape, thy love, thy wit: Thy noble shape is but a form of wax, Digressing from the valour of a man; Thy dear love sworn but hollow perjury, Killing that love which thou hast vow’d to cherish; Thy wit, that ornament to shape and love, Misshapen in the conduct of them both, Like powder in a skitless soldier’s flask, Is set afire by thine own ignorance, And thou dismember’d with thine own defence. What, rouse thee, man! thy Juliet is alive, For whose dear sake thou wast but lately dead; There art thou happy: Tybalt would kill thee, But thou slew’st Tybalt; there are thou happy too: The law that threaten’d death becomes thy friend And turns it to exile; there art thou happy: A pack of blessings lights up upon thy back; Happiness courts thee in her best array; But, like a misbehaved and sullen wench, Thou pout’st upon thy fortune and thy love: Take heed, take heed, for such die miserable. Go, get thee to thy love, as was decreed, Ascend her chamber, hence and comfort her: But look thou stay not till the watch be set, For then thou canst not pass to Mantua; Where thou shalt live, till we can find a time To blaze your marriage, reconcile your friends, Beg pardon of the prince, and call thee back With twenty hundred thousand times more joy Than thou went’st forth in lamentation. Go before, nurse: commend me to thy lady; And bid her hasten all the house to bed, Which heavy sorrow makes them apt unto: Romeo is coming.

Falstaff is the most unusual figure in fiction. He is almost entirely a good man, a glorious, life-affirming good man, and there is hardly a good man in dramatic literature. There has always been an England, an older England, which was sweeter, purer, where the hay smelled better and the weather was always springtime and the daffodils blew in the gentle warm breezes. You feel a nostalgia for it in Chaucer, and you feel it all throughout Shakespeare. Falstaff is a refugee from that world. He has to live by his wits, he has to be funny, he has no place to sleep if he doesn’t get a laugh out of his patron. It’s a rough modern world that he’s living in. You’ve got to be able to see that look in his eyes that comes out of the age that never existed, the one that exists in the heart of all English poetry.

Swaggering in the coffee-houses and ruffling it in the streets were the men who had sailed with Frobisher and Drake and Sir Humphrey Gilbert, Hawkins, and Sir Richard Granville; had perhaps witnessed the heroic death of Sir Philip Sidney, at Zutphen; had served with Raleigh in Anjou, Picardy, Languedoc, in the Netherlands, in the Irish civil war; had taken part in the dispersion of the Spanish Armada, and in the bombardment of Cadiz; had filled their cups to the union of Scotland with England; had suffered shipwreck on the Barbary Coast, or had, by the fortune of war, felt the grip of the Spanish Inquisition; who could tell tales of the marvels seen in new-found America and the Indies, and, perhaps, like Captain John Smith, could mingle stories of the naive simplicity of the natives beyond the Atlantic, with charming narratives of the wars in Hungary, the beauties of the seraglio of the Grand Turk, and the barbaric pomp of the Khan of Tartary.

Good faith, this same young sober-blooded boy doth not love me; nor a man cannot make him laugh—but that's no marvel; he drinks no wine. There's never none of these demure boys come to any proof; for thin drink doth so over-cool their blood, and making many fish-meals, that they fall into a kind of male green-sickness; and then, when they marry, they get wenches. They are generally fools and cowards-which some of us should be too, but for inflammation. A good sherris-sack hath a two-fold operation in it. It ascends me into the brain; dries me there all the foolish and dull and crudy vapours which environ it; makes it apprehensive, quick, forgetive, full of nimble, fiery, and delectable shapes; which delivered o'er to the voice, the tongue, which is the birth, becomes excellent wit. The second property of your excellent sherris is the warming of the blood; which before, cold and settled, left the liver white and pale, which is the badge of pusillanimity and cowardice; but the sherris warms it, and makes it course from the inwards to the parts extremes. It illumineth the face, which, as a beacon, gives warning to all the rest of this little kingdom, man, to arm; and then the vital commoners and inland petty spirits muster me all to their captain, the heart, who, great and puff'd up with this retinue, doth any deed of courage—and this valour comes of sherris. So that skill in the weapon is nothing without sack, for that sets it a-work; and learning, a mere hoard of gold kept by a devil till sack commences it and sets it in act and use. Hereof comes it that Prince Harry is valiant; for the cold blood he did naturally inherit of his father, he hath, like lean, sterile, and bare land, manured, husbanded, and till'd, with excellent endeavour of drinking good and good store of fertile sherris, that he is become very hot and valiant. If I had a thousand sons, the first humane principle I would teach them should be to forswear thin potations and to addict themselves to sack.

Good friends, sweet friends, let me not stir you up To such a sudden flood of mutiny. They that have done this deed are honourable: What private griefs they have, alas, I know not, That made them do it: they are wise and honourable, And will, no doubt, with reasons answer you. I come not, friends, to steal away your hearts: I am no orator, as Brutus is; But, as you know me all, a plain blunt man, That love my friend; and that they know full well That gave me public leave to speak of him: For I have neither wit, nor words, nor worth, Action, nor utterance, nor the power of speech, To stir men's blood: I only speak right on; I tell you that which you yourselves do know; Show you sweet Caesar's wounds, poor poor dumb mouths, And bid them speak for me: but were I Brutus, And Brutus Antony, there were an Antony Would ruffle up your spirits and put a tongue In every wound of Caesar that should move The stones of Rome to rise and mutiny. Yet hear me, countrymen; yet hear me speak. Why, friends, you go to do you know not what: Wherein hath Caesar thus deserved your loves? Alas, you know not: I must tell you then: You have forgot the will I told you of. Here is the will, and under Caesar's seal. To every Roman Plebeian he gives, To every several man, seventy-five drachmas. Moreover, he hath left you all his walks, His private arbours and new-planted orchards, On this side Tiber; he hath left them you, And to your heirs for ever, common pleasures, To walk abroad, and recreate yourselves. Here was a Caesar! when comes such another?

Wake up every day, expecting not to know what's going to happen, and look for the events to unfold with curiosity. Instead of stressing and managing, just be present at anything that pops up with the intention of approaching it with your best efforts. Whatever happens in the process of spiritual awakening is going to be unpredictable and moving forward, if you're just the one who notices it, not fighting or making a big project out there. •       You may have emotional swings, energetic swings, psychic openings, and other unwanted shifts that, as you knew, feel unfamiliar to your personality. Be the beholder. Don't feel like you have something to fix or alter. They're going to pass. •       If you have severe trauma in your history and have never had therapy, it might be very useful to release the pains of memories that arise around the events. Therapy teaches you how to express, bear witness, release, and move forward. Your therapist needn't know much about kundalini as long as he or she doesn't discount that part of your process. What you want to focus on is the release of trauma-related issues, and you want an experienced and compassionate therapist who sees your spiritual orientation as a motivation and support for the healing process. •       This process represents your chance to wake up to your true nature. Some people wake up first, and then experience the emergence of a kundalini; others have the kundalini process going through as a preparation for the emergence. The appearance happens to do the job of wiping out, so is part of either pattern. Waking up means realizing that whoever looks through your eyes, lives through your senses, listens to your thoughts, and is present at every moment of your experience, whether good or bad, is recognized or remembered. This is a bright, conscious, detached and unconditionally loving presence that is universal and eternal and is totally free from all the conditions and memories you associate with as a personal identity. But as long as you believe in all of your personal conditions and stories, emotions, and thoughts, you have to experience life filtered by them. This programmed mind is what makes the game of life to be varied and suspense-filled but it also causes suffering and fear of death. When we are in Samadhi and Satori encounters, we glimpse the Truth about the vast, limitless space that is the foundation for our being. It is called gnosis (knowledge) or the One by the early Gnostics. Some spiritual teachings like Advaita Vedanta and Zen go straight for realization, while others see it as a gradual path through years of spiritual practices. Anyway, the ending is the same. As Shakespeare said, when you know who you are, the world becomes a stage and you the player, and life is more light and thoughts less intrusive, and the kundalini process settles down into a mellow pleasantness. •       Give up places to go and to be with people that cause you discomfort.

Surely you’re not going to destroy another book, are you?” “I’ve decided my obsession with reading has gotten me absolutely nowhere, so . . . I’m tossing all the nonsense out of my life and intend to travel forth with less baggage.” “You love to read.” “And I’ll occasionally indulge that love, but enough is enough.” She held up her copy of Pride and Prejudice. “This, for all intent and purposes, is a fairy tale. I’m done with fairy tales for good, as well as anything by Shakespeare. I loathe his stories, don’t understand most of what he’s written, and I was only reading them because of any future children I hoped to have. But since I’m destined to remain a spinster forever . . . I’m chucking them into the fire.” “What do Shakespeare and any children you might have in the future have in common?” Millie sent him a look that clearly said she found him a little dense. “I wanted to be knowledgeable so that my children wouldn’t suffer any embarrassment because of my ignorance and lack of education.” Everett’s mouth dropped open before he had the presence of mind to snap it shut when she shot him a glare. Bracing himself in case she got it into her head to punch him as she’d done Mr. Victor, Everett stepped closer to her and pried the copy of Pride and Prejudice out of her hand. “Any child would be lucky to call you mother, Millie. You’re smart, well-read, curious about everything, and have a true love for children.” Staring at him for a long moment, Millie tilted her head. “I knew we should have summoned the physician to take a look at you after your last brawl.” “My wits are not addled, Millie. Quite honestly, my mind is clearer right now than it’s been in years.” He brought her hand up to his lips and kissed it, relieved when her eyes widened just a bit. “And I have to tell you something else.” “What?” she asked in a voice that sounded somewhat breathless. “I can’t allow you to burn any Jane Austen book—but especially not Pride and Prejudice.” “That’s what you have to say to me—that I can’t burn a silly book?” “I finished the story, Millie. I read Pride and Prejudice from cover to cover, and . . . I’m your Mr. Darcy and you’re my Lizzy.” “You . . . finished . . . the story?” “Indeed. And if you didn’t hear me the first time, I’m Mr. Darcy.” “I’m fairly certain Mr. Darcy would have had an English accent, but since Lizzy did enjoy reading, I suppose it’s not too much of a stretch to compare me with her, although. . . .” As Millie continued talking, really rapidly at that, Everett simply watched her, taking in every detail of her face. Her green eyes were sparkling and her cheeks were flushed a delicate shade of pink. Brown curls had begun to escape the pins someone had put in her hair, and a spray of flowers that had been tucked into that hair was hanging somewhat forlornly over her ear. Her lips were still moving incredibly fast, but the second his gaze settled on them, he couldn’t seem to look away. They were delightful lips, just the right shade of pink, and . . . Everett leaned forward and claimed those rapidly moving lips with his own. For