Pastoral Resources

When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety.

We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works.

Shakespeare very rarely makes the least attempt to surprise by his catastrophes. They are felt to be inevitable, though the precise way in which they will be brought about is not, of course, foreseen.

Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact.

In speaking, for convenience, of devices and expedients, I did not intend to imply that Shakespeare always deliberately aimed at the effects which he produced.

Shakespeare's idea of the tragic fact is larger than this idea and goes beyond it; but it includes it, and it is worth while to observe the identity of the two in a certain point which is often ignored.

You can find more traditional Shakespeare than we do. But what we want to bring to these works is energy, passion, freshness.

I do think that, for instance, we've been very lucky to have theatrical careers and be associated with Shakespeare which sometimes gives you a kind of bogus kudos.

The elasticity of Shakespeare is extraordinary.

There is some mysterious thing that goes on whereby, in the process of playing Shakespeare continuously, actors are surprised by the way the language actually acts on them.

One of the things that makes Hamlet unique among Shakespeare's characters is his courage to face up to the darker elements of his personality.

If Shakespeare had to go on an author tour to promote Romeo and Juliet, he never would have written Macbeth.

And to Shakespeare I owe my vision of the world as a theater, wherein all humans are acting out their parts.

I grew up reading Shakespeare and Mark Twain.

The aim, if reached or not, makes great the life: Try to be Shakespeare, leave the rest to fate!

I did about 2000 covers altogether, for all sorts of books - from Shakespeare to James Bond - and I always had the idea that I must give 100%, no matter who the author was.

Shakespeare was a dramatist of note who lived by writing things to quote.

Shakespeare's name, you may depend on it, stands absurdly too high and will go down.

Read not Milton, for he is dry; nor Shakespeare, for he wrote of common life.

Shakespeare said, nothing is either good nor bad but thinking makes it so.