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William Shakespeare's play Hamlet has contributed many phrases to common English, from the famous "To be, or not to be" to a few less known, but still in everyday English. Some also occur elsewhere (e.g. in the Bible) or are proverbial. All quotations are second quarto except as noted:
"Tomorrow and tomorrow and tomorrow" is the beginning of the second sentence of one of the most famous soliloquies in William Shakespeare's tragedy Macbeth. It takes place in the beginning of the fifth scene of Act 5, during the time when the Scottish troops, led by Malcolm and Macduff, are approaching Macbeth's castle to besiege it.
"Friends, Romans": Orson Welles' Broadway production of Caesar (1937), a modern-dress production that evoked comparison to contemporary Fascist Italy and Nazi Germany "Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.
Loosely based on William Shakespeare’s comedy Much Ado About Nothing, Anyone But You is chock-full of references to its source material that could be easily overlooked by the casual viewer.
In the speech, Hamlet contemplates death and suicide, weighing the pain and unfairness of life against the alternative, which might be worse. It is not clear that Hamlet is thinking of his own situation since the speech is entirely in an abstract, somewhat academic register that accords with Hamlet's status as a (recent) student at Wittenberg ...
Leishman also names Sonnet 25 as an example of a contrast between the style of Shakespeare's sonnets and Drayton: where Drayton directly names the people he refers to, and references public events "in a perfectly plain and unambiguous manner," [17] Shakespeare never directly includes names and all his allusions to public events are couched in ...
Sonnet 116 is an English or Shakespearean sonnet.The English sonnet has three quatrains, followed by a final rhyming couplet.It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions.
The couplet points out that the desire the youth has for flattery hurts the praise he receives, because that praise is not the simple, and ideal description — it is mere flattery. This is an idea that sounds like the problem Cordelia has in King Lear: Whatever she can say about her father, he wants flattery, and she cannot satisfy that desire.