text:
The Taming of the Shrew

The Taming of the Shrew is a comedy by William Shakespeare. It was one of his earlier plays, probably written in 1593 or 1594.

Induction

 * Look in the chronicles; we came in with Richard Conqueror.
 * Sly, scene I

 * Let the world slide.
 * Sly, scene I

 * I’ll not budge an inch.
 * Sly, scene I

 * Stephen Sly, and old John Naps of Greece, And Peter Turf, and Henry Pimpernell, And twenty more such names and men as these Which never were, nor no man ever saw.
 * Third Servant, scene II

Act I

 * No profit grows where is no pleasure ta’en; In brief, sir, study what you most affect.
 * Tranio, scene I

 * There’s small choice in rotten apples.
 * Hortensio, scene I

 * I burn, I pine, I perish.
 * Lucentio, scene I

 * Nothing comes amiss, so money comes withal.
 * Grumio, scene II

Think you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea, puff'd up with winds, Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field, And heaven's artillery thunder in the skies? Have I not in a pitched battle heard Loud 'larums, neighing steeds, and trumpets' clang? And do you tell me of a woman's tongue, That gives not half so great a blow to hear As will a chestnut in a farmer's fire? Tush, tush! fear boys with bugs.!
 * Why came I hither but to that intent?
 * Petruchio, scene II

 * Do as adversaries do in law, — Strive mightily, but eat and drink as friends.
 * Tranio, scene II

Act II

 * I'll attend her here, And woo her with some spirit when she comes. Say that she rail, why then I'll tell her plain She sings as sweetly as a nightingale. Say that she frown, I'll say she looks as clear As morning roses newly wash'd with dew. Say she be mute and will not speak a word, Then I'll commend her volubility, And say she uttereth piercing eloquence. If she do bid me pack, I'll give her thanks, As though she bid me stay by her a week. If she deny to wed, I'll crave the day When I shall ask the banns, and when be married.
 * Petruchio, scene I

 * You lie, in faith; for you are call'd plain Kate, And bonny Kate, and sometimes Kate the curst; But Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate, For dainties are all cates: and therefore, Kate, Take this of me, Kate of my consolation; — Hearing thy mildness prais'd in every town, Thy virtues spoke of, and thy beauty sounded, (Yet not so deeply as to thee belongs,) — Myself am mov'd to woo thee for my wife.
 * Petruchio, scene I

 * Petruchio: Come, come, you wasp; i' faith, you are too angry. Katherina: If I be waspish, best beware my sting. Petruchio: My remedy is, then, to pluck it out. Katherina: Ay, if the fool could find it where it lies. Petruchio: Who knows not where a wasp does wear his sting? In his tail. Katherina: In his tongue. Petruchio: Whose tongue? Katherina: Yours, if you talk of tales; and so farewell. Petruchio: What! with my tongue in your tail? Nay, come again, Good Kate; I am a gentleman. Katherina: That I'll try. [Striking him.] Petruchio: I swear I'll cuff you if you strike again. Katherina: So may you lose your arms: If you strike me, you are no gentleman; And if no gentleman, why then no arms.
 * scene I

 * 'Twas told me you were rough, and coy, and sullen, And now I find report a very liar; For thou art pleasant, gamesome, passing courteous, But slow in speech, yet sweet as spring-time flowers. Thou canst not frown, thou canst not look askance, Nor bite the lip, as angry wenches will; Nor hast thou pleasure to be cross in talk; But thou with mildness entertain'st thy wooers; With gentle conference, soft and affable. Why does the world report that Kate doth limp? O slanderous world! Kate, like the hazel-twig Is straight and slender, and as brown in hue As hazel-nuts, and sweeter than the kernels. O! let me see thee walk: thou dost not halt.
 * Petruchio, scene I

Act III

 * Old fashions please me best; I am not so nice To change true rules for odd inventions.
 * Bianca, scene I

 * Who woo'd in haste, and means to wed at leisure.
 * Katharina, scene II

 * To me she's married, not unto my clothes.
 * Petruchio scene III

Act IV

 * Thereby hangs a tale.
 * Grumio, scene I

 * What, is the jay more precious than the lark, Because his feathers are more beautiful?
 * Petruchio, scene III

Act V

 * My cake is dough.
 * Gremio, scene I

 * Fie, fie! unknit that threatening unkind brow, And dart not scornful glances from those eyes To wound thy lord, thy king, thy governor: It blots thy beauty as frosts do bite the meads, Confounds thy fame as whirlwinds shake fair buds, And in no sense is meet or amiable. A woman mov'd is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty; And while it is so, none so dry or thirsty Will deign to sip or touch one drop of it. Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks, and true obedience; Too little payment for so great a debt. Such duty as the subject owes the prince, Even such a woman oweth to her husband; And when she is froward, peevish, sullen, sour, And not obedient to his honest will, What is she but a foul contending rebel And graceless traitor to her loving lord? — I am asham'd that women are so simple To offer war where they should kneel for peace, Or seek for rule, supremacy, and sway, When they are bound to serve, love, and obey. Why are our bodies soft and weak and smooth, Unapt to toll and trouble in the world, But that our soft conditions and our hearts Should well agree with our external parts? Come, come, you froward and unable worms! My mind hath been as big as one of yours, My heart as great, my reason haply more, To bandy word for word and frown for frown; But now I see our lances are but straws, Our strength as weak, our weakness past compare, That seeming to be most which we indeed least are. Then vail your stomachs, for it is no boot, And place your hands below your husband's foot: In token of which duty, if he please, My hand is ready; may it do him ease.
 * Katharina, scene II

 * Come on and kiss me, Kate !
 * Petruchio scene II

title: The Taming of the Shrew


text:
Twelfth Night

Twelfth Night, or What You Will, is a comedy by William Shakespeare, named after the Twelfth Night holiday. The play was believed to have been written around 1601–1602.

Act I

 * If music be the food of love, play on; Give me excess of it; that, surfeiting, The appetite may sicken, and so die. — That strain again; it had a dying fall: O, it came o'er my ear, like the sweet sound That breathes upon a bank of violets, Stealing, and giving odour! Enough! No more. 'Tis not so sweet now as it was before.
 * Orsino, scene i

 * Conceal me what I am; and be my aid For such disguise as, haply, shall become The form of my intent.
 * Viola, scene ii

 * I am sure care's an enemy to life.
 * Sir Toby scene iii

 * I have them at my fingers' ends.
 * Maria, scene iii

 * Wherefore are these things hid? Wherefore have these gifts a curtain before 'em?
 * Sir Toby, scene iii

 * Is it a world to hide virtues in?
 * Sir Toby, scene iii

 * Many a good hanging prevents a bad marriage...
 * Feste, scene v

 * Olivia: Go to, you're a dry fool; I'll no more of you; besides, you grow dishonest. Feste: Two faults, madonna, that drink and good counsel will amend: for give the dry fool drink, then is the fool not dry; bid the dishonest man mend himself; if he mend, he is no longer dishonest; if he cannot, let the botcher mend him; any thing that's mended is but patched; virtue that transgresses is but patched with sin; and sin that amends is but patched with virtue.
 * Scene v

 * Olivia: What's a drunken man like, fool? Feste: Like a drowned man, a fool, and a madman: one draught above heat makes him a fool; the second mads him; and a third drowns him.
 * Scene v

 * We will draw the curtain, and show you the picture.
 * Olivia, scene v

 * ’T is beauty truly blent, whose red and white Nature’s own sweet and cunning hand laid on: Lady, you are the cruell’st she alive If you will lead these graces to the grave, And leave the world no copy.
 * Viola, scene v

 * Make me a willow cabin at your gate, And call upon my soul within the house; Write loyal cantons of contemned love, And sing them loud even in the dead of night; Holla your name to the reverberate hills, And make the babbling gossip of the air Cry out.
 * Viola, scene v

Act II

 * O Time, thou must untangle this, not I; It is too hard a knot for me t' untie.
 * Viola, scene ii, lines 38-39

 * O mistress mine, where are you roaming? O stay and hear: your true-love's coming, That can sing both high and low: Trip no further, pretty sweeting; Journeys end in lovers' meeting, Every wise man’s son doth know.
 * Feste, scene iii

 * What is love? 'Tis not hereafter; Present mirth hath present laughter; What's to come is still unsure: In delay there lies no plenty; Then come kiss me, sweet-and-twenty: Youth's a stuff will not endure.
 * Feste, scene iii

 * He does it with a better grace, but I do it more natural.
 * Sir Andrew, scene iii

 * Is there no respect of place, persons, nor time in you?
 * Malvolio, scene iii

 * Sir Toby: Art any more than a steward? Dost thou think, because thou art virtuous, there shall be no more cakes and ale? Feste: Yes, by Saint Anne; and ginger shall be hot i’ the mouth too.
 * Scene iii

 * My purpose is, indeed, a horse of that colour.
 * Maria, scene iii

 * These most brisk and giddy-paced times.
 * Orsino, scene iv

 * Let still the woman take An elder than herself: so wears she to him, So sways she level in her husband's heart: For, boy, however we do praise ourselves, Our fancies are more giddy and unfirm, More longing, wavering, sooner lost and worn, Than women's are.
 * Orsino, scene iv

 * Then let thy love be younger than thyself, Or thy affection cannot hold the bent.
 * Orsino, scene iv

 * The spinsters and the knitters in the sun And the free maids that weave their thread with bones Do use to chant it: it is silly sooth, And dallies with the innocence of love, Like the old age.
 * Orsino, scene iv

 * Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath; I am slain by a fair cruel maid.
 * Feste, scene iv

 * Orsino: And what's her history? Viola: A blank, my lord. She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek: she pin'd in thought, And, with a green and yellow melancholy, She sat like Patience on a monument, Smiling at grief. Was not this love, indeed?
 * Scene iv

 * I am all the daughters of my father's house, And all the brothers too.
 * Viola, scene iv

 * This is my lady's hand these be her very C's, her U's and her T's and thus makes she her great P's.
 * Malvolio, scene v

 * An you had any eye behind you, you might see more detraction at your heels than fortunes before you.
 * Fabian, scene v

 * Some are born great, some achieve greatness, and some have greatness thrust upon 'em.
 * Malvolio, scene v
 * Malvolio is reading aloud a letter which he believes to be from Olivia.
 * Parodied in Joseph Heller, Catch-22, Chapter 9, as “Some men are born mediocre, some men achieve mediocrity, and some men have mediocrity thrust upon them.”

Act III

 * Foolery, sir, does walk about the orb, like the sun; it shines everywhere.
 * Feste, scene i

 * O, what a deal of scorn looks beautiful In the contempt and anger of his lip!
 * Olivia, scene i

 * Love sought is good, but given unsought, is better.
 * Olivia, scene i

 * Let there be gall enough in thy ink; though thou write with a goose-pen, no matter.
 * Sir Toby, scene ii

 * I think we do know the sweet Roman hand.
 * Malvolio, scene iv

 * Why, this is very midsummer madness.
 * Olivia, scene iv

 * Put thyself into the trick of singularity.
 * Malvolio, scene iv
 * Malvolio is quoting what he believes to be a letter from Olivia.

 * What, man! defy the Devil: consider, he's an enemy to mankind.
 * Sir Toby, scene iv

 * ’T is not for gravity to play at cherry-pit with Satan.
 * Sir Toby, scene iv

 * If this were played upon a stage now, I could condemn it as an improbable fiction.
 * Fabian, scene iv

 * More matter for a May morning.
 * Fabian, scene iv

 * Still, you keep o’ the windy side of the law.
 * Fabian, scene iv

 * An I thought he had been valiant and so cunning in fence, I'ld have seen him damned ere I'ld have challenged him.
 * Sir Andrew, scene v

 * Out of my lean and low ability I'll lend you something.
 * Viola, scene v

 * Out of the jaws of death.
 * Antonio, scene v

Act IV

 * As the old hermit of Prague, that never saw pen and ink, very wittily said to a niece of King Gorboduc, That, that is, is.
 * Feste, scene ii

 * Feste: What is the opinion of Pythagoras concerning wild-fowl? Malvolio: That the soul of our grandam might haply inhabit a bird.

Act V

 * Thus the whirligig of time brings in his revenges.
 * Feste, scene i

 * When that I was and a little tiny boy, With hey, ho, the wind and the rain: A foolish thing was but a toy, For the rain it raineth every day.
 * Feste, scene i

 * A great while ago the world begun, With hey, ho, the wind and the rain: But that's all one, our play is done, And we'll strive to please you every day.
 * Feste, scene i

Characters

 * Viola – a shipwrecked young woman who disguises herself as a page named Cesario
 * Sebastian – Viola's twin brother
 * Duke Orsino – Duke of Illyria
 * Olivia – a wealthy countess
 * Malvolio – steward in Olivia's household
 * Maria – Olivia's gentlewoman
 * Sir Toby Belch – Olivia's uncle
 * Sir Andrew Aguecheek – a friend of Sir Toby
 * Feste – Olivia's servant, a jester
 * Fabian – a servant in Olivia's household
 * Antonio – a sea captain and friend to Sebastian
 * Valentine and Curio – gentlemen attending on the Duke
 * A Sea Captain – a friend to Viola

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Twelfth Night


text:
The Two Gentlemen of Verona

The Two Gentlemen of Verona is an early comedy by William Shakespeare. Its date of composition is unknown, but it is believed to have been written in the early 1590s. The play deals with the themes of friendship and infidelity, the conflict between friendship and love, and the foolish behaviour of people in love.

Act I

 * Home-keeping youth have ever homely wits.
 * Valentine, scene i

 * He was more than over-shoes in love.
 * Proteus, scene i

 * I have no other but a woman's reason: I think him so, because I think him so.
 * Lucetta, scene ii

 * Fie, fie! how wayward is this foolish love, That, like a testy babe, will scratch the nurse, And presently, all humbled, kiss the rod!
 * Julia, scene ii

 * O hateful hands, to tear such loving words! Injurious wasps, to feed on such sweet honey, And kill the bees, that yield it, with your stings! I'll kiss each several paper for amends. Look, here is writ — kind Julia. — Unkind Julia! As in revenge of thy ingratitude, I throw thy name against the bruising stones, Trampling contemptuously on thy disdain. And here is writ — love-wounded Proteus. Poor wounded name! My bosom, as a bed, Shall lodge thee, till thy wound be thoroughly healed; And thus I search it with a sovereign kiss. But twice or thrice was Proteus written down. Be calm, good wind, blow not a word away, Till I have found each letter in the letter, Except mine own name: that some whirlwind bear Unto a ragged, fearful, hanging rock, And throw it thence into the raging sea! Lo, here in one line is his name twice writ, — Poor forlorn Proteus, passionate Proteus, To the sweet Julia. That I'll tear away; And yet I will not, sith so prettily He couples it to his complaining names. Thus will I fold them one upon another, Now kiss, embrace, contend, do what you will.
 * Julia, scene ii

 * Oh, how this spring of love resembleth The uncertain glory of an April day; Which now shows all the beauty of the sun, And by and by a cloud takes all away!
 * Proteus, scene iii

Act II

 * I was in love with my bed.
 * Speed, scene i

 * And if it please you, so; if not, why, so.
 * Silvia, scene i

 * O jest unseen, inscrutable, invisible, As a nose on a man’s face, or a weathercock on a steeple.
 * Speed, scene i

 * What! gone without a word? Ay, so true love should do: it cannot speak; For truth hath better deeds, than words, to grace it.
 * Proteus, scene ii

 * Nay, 'twill be this hour ere I have done weeping; all the kind of the Launces have this very fault. I have received my proportion, like the prodigious son, and am going with Sir Proteus to the Imperial's court. I think Crab my dog be the sourest-natured dog that lives. My mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur shed one tear. He is a stone, a very pebble stone, and has no more pity in him than a dog. A Jew would have wept to have seen our parting. Why, my grandam, having no eyes, look you, wept herself blind at my parting. Nay, I'll show you the manner of it. This shoe is my father. No, this left shoe is my father. No, no, this left shoe is my mother. Nay, that cannot be so neither. Yes, it is so, it is so — it hath the worser sole. This shoe, with the hole in it, is my mother, and this my father. A vengeance on't! There 'tis. Now, sir, this staff is my sister; for, look you, she is as white as a lily and as small as a wand. This hat is Nan, our maid. I am the dog. — no, the dog is himself, and I am the dog — O, the dog is me, and I am myself; ay, so, so. Now come I to my father: Father, your blessing. Now should not the shoe speak a word for weeping. Now should I kiss my father — well, he weeps on. Now come I to my mother. O, that shoe could speak now, like a wood woman! Well, I kiss her — why, there 'tis: here's my mother's breath up and down. Now come I to my sister; mark the moan she makes. Now the dog all this while sheds not a tear, nor speaks a word; but see how I lay the dust with my tears.
 * Launce, scene iii

 * A fine volley of words, gentlemen, and quickly shot off.
 * Silvia, scene iv

 * When I was sick, you gave me bitter pills; And I must minister the like to you.
 * Proteus, scene iv

 * She is mine own, And I as rich in having such a jewel As twenty seas, if all their sand were pearl, The water nectar, and the rocks pure gold.
 * Valentine, scene iv

 * For love, thou know'st, is full of jealousy.
 * Valentine, scene iv

 * Or as one nail by strength drives out another, So the remembrance of my former love Is by a newer object quite forgotten.
 * Proteus, scene iv

 * Didst thou but know the inly touch of love; Thou wouldst as soon go kindle fire with snow, As seek to quench the fire of love with words.
 * Julia, scene vii

 * Lucetta: I do not seek to quench your love's hot fire; But qualify the fire's extreme rage, Lest it should burn above the bounds of reason. Julia: The more thou dam'st it up, the more it burns. The current that with gentle murmur glides, Thou know'st, being stopp'd, impatiently doth rage; But, when his fair course is not hindered, He makes sweet music with th' enamell'd stones, Giving a gentle kiss to every sedge He overtaketh in his pilgrimage; And so by many winding nooks he strays With willing sport, to the wild ocean. Then let me go, and hinder not my course. I'll be as patient as a gentle stream And make a pastime of each weary step, Till the last step have brought me to my love; And there I'll rest, as, after much turmoil, A blessed soul doth in Elysium.
 * Scene vii

Act III

 * Win her with gifts, if she respect not words; Dumb jewels often, in their silent kind, More than quick words, do move a woman's mind.
 * Valentine, scene i

 * That man that hath a tongue, I say, is no man, If with his tongue he cannot win a woman.
 * Valentine, scene i

 * Love is like a child, That longs for every thing that he can come by.
 * Duke, scene i

 * And why not death, rather than living torment? To die is to be banish'd from myself; And Silvia is myself: banish'd from her, Is self from self: a deadly banishment! What light is light, if Silvia be not seen? What joy is joy, if Silvia be not by? Unless it be to think that she is by, And feed upon the shadow of perfection. Except I be by Silvia in the night, There is no music in the nightingale; Unless I look on Silvia in the day, There is no day for me to look upon; She is my essence; and I leave to be, If I be not by her fair influence Foster'd, illumined, cherish'd, kept alive. I fly not death, to fly his deadly doom: Tarry I here, I but attend on death; But, fly I hence, I fly away from life.
 * Valentine, scene i

 * The best way is, to slander Valentine With falsehood, cowardice, and poor descent; Three things that women highly hold in hate.
 * Proteus, scene ii

 * You must lay lime, to tangle her desires By wailful sonnets.
 * Proteus, scene ii

 * Ay, much the force of heaven-bred poesy.
 * Duke, scene ii

Act IV

 * A man I am, cross’d with adversity.
 * Valentine, scene i

 * Who is Silvia? what is she, That all our swains commend her? Holy, fair, and wise is she, The heaven such grace did lend her, That she might admiréd be. Is she kind, as she is fair? For beauty lives with kindness Love doth to her eyes repair, To help him of his blindness: And, being helped, inhabits there. Then to Silvia let us sing, That Silvia is excelling; She excels each mortal thing Upon the dull earth dwelling: To her let us garlands bring.
 * Song, scene ii

 * Is she not passing fair?
 * Silvia, scene iv

Act V

 * How use doth breed a habit in a man!
 * Valentine, scene iv

 * O heaven! were man But constant, he were perfect.
 * Proteus, scene iv

 * Come not within the measure of my wrath.
 * Valentine, scene iv

title: The Two Gentlemen of Verona


text:
The Winter's Tale

The Winter's Tale is a play by William Shakespeare. Although listed as a comedy in the first Folio, modern editors have relabelled the play a romance. There has been a good deal of dispute over when the play was written, with dates ranging from 1594 to 1610 or 1611. It is sometimes considered to be one of the "problem plays" because the first three acts are filled with intense psychological drama, while the last two acts are comedic and supply a happy ending.

Act I

 * Camillo: You pay a great deal too dear for what's given freely. Archidamus: Believe me, I speak as my understanding instructs me, and as mine honesty puts it to utterance.
 * Scene i

 * You put me off with limber vows; but I, Though you would seek to unsphere the stars with oaths, Should yet say, Sir, no going. Verily, You shall not go; a lady's verily's As potent as a lord's. Will you go yet? Force me to keep you as a prisoner, Not like a guest; so you shall pay your fees When you depart, and save your thanks. How say you? My prisoner or my guest? by your dread verily, One of them you shall be.
 * Hermione, scene ii

 * We were, fair queen, Two lads that thought there was no more behind, But such a day to-morrow as to-day, And to be boy eternal.
 * Polixenes, scene ii

 * What we chang'd Was innocence for innocence; we knew not The doctrine of ill-doing, nor dream'd That any did.
 * Polixenes, scene ii

 * Of this make no conclusion, lest you say Your queen and I are devils: yet, go on; The offences we have made you do, we'll answer, If you first sinn'd with us, and that with us You did continue fault, and that you slipp'd not With any but with us.
 * Hermione, scene ii

 * Leontes: Hermione, my dearest, thou never spok'st To better purpose. Hermione: Never? Leontes: Never, but once. Hermione: What! have I twice said well? when was't before?
 * Scene ii

 * My last good deed was to entreat his stay; What was my first? it has an elder sister, Or I mistake you: O, would her name were Grace! But once before I spoke to the purpose: when? Nay, let me have't; I long.
 * Hermione, scene ii

 * They say we are Almost as like as eggs.
 * Leontes, scene ii

 * I may be negligent, foolish, and fearful; In every one of these no man is free, But that his negligence, his folly, fear, Among the infinite doings of the world, Sometime puts forth. In your affairs, my lord, If ever I were wilfull-negligent, It was my folly; if industriously I play'd the fool, it was my negligence, Not weighing well the end; if ever fearful To do a thing, where I the issue doubted, Whereof the execution did cry out Against the non-performance, 'twas a fear Which oft infects the wisest. These, my lord, Are such allow'd infirmities that honesty Is never free of. But, beseech your grace, Be plainer with me; let me know my trespass By its own visage; if I then deny it, 'Tis none of mine.
 * Camillo, scene ii

 * You may as well Forbid the sea for to obey the moon, As, or by oath remove, or counsel shake The fabric of his folly, whose foundation Is pil'd upon his faith, and will continue The standing of his body.
 * Camillo, scene ii

 * I am sure 'tis safer to Avoid what's grown than question how 'tis born.
 * Camillo, scene ii

 * This jealousy Is for a precious creature; as she's rare, Must it be great; and, as his person's mighty, Must it be violent: and as he does conceive He is dishonour'd by a man which ever Profess'd to him, why, his revenges must In that be made more bitter. Fear o'ershades me.
 * Polixenes, scene ii

Act II

 * There’s some ill planet reigns: I must be patient till the heavens look With an aspect more favourable. Good my lords, I am not prone to weeping, as our sex Commonly are — the want of which vain dew Perchance shall dry your pities — but I have That honourable grief lodg’d here, which burns Worse than tears drown. Beseech you all, my lords, With thoughts so qualified as your charities Shall best instruct you, measure me; and so The king’s will be perform’d!
 * Hermione, scene i

 * The silence often of pure innocence Persuades, when speaking fails.
 * Paulina, scene ii

Act III

 * It shall scarce boot me To say Not guilty; mine integrity Being counted falsehood, shall, as I express it, Be so receiv'd. But thus, — if powers divine Behold our human actions (as they do), I doubt not, then, but innocence shall make False accusation blush, and tyranny Tremble at patience.
 * Hermione, scene ii

 * Leontes: I ne'er heard yet That any of these bolder vices wanted Less impudence to gainsay what they did, Than to perform it first. Hermione: That's true enough; Though 'tis a saying, sir, not due to me.
 * Scene ii

 * Tell me what blessings I have here alive, That I should fear to die? Therefore, proceed. But yet hear this; mistake me not; — no life, — I prize it not a straw: — but for mine honour, (Which I would free) if I shall be condemn'd Upon surmises — all proofs sleeping else, But what your jealousies awake, — I tell you 'Tis rigour, and not law. — Your honours all, I do refer me to the oracle: Apollo be my judge!
 * Hermione, scene ii

 * Apollo's angry; and the heavens themselves Do strike at my injustice.
 * Leontes, scene ii

 * What’s gone, and what’s past help, Should be past grief.
 * Paulina, scene ii

 * Exit, pursued by a Bear.
 * Stage direction, scene iii

 * Heavy matters, heavy matters! But look thee here, boy. Now bless thyself: thou met'st with things dying, I with things new-born.
 * Shepherd, scene iii

Act IV

 * I, — that please some, try all; both joy and terror Of good and bad; — that make and unfold error; — Now take upon me, in the name of Time, To use my wings. Impute it not a crime To me or my swift passage, that I slide O'er sixteen years, and leave the growth untried Of that wide gap, since it is in my power To o'erthrow law, and in one self-born hour To plant and o'erwhelm custom.
 * Time, scene i

 * A snapper-up of unconsidered trifles.
 * Autolycus, scene ii

 * A merry heart goes all the day, Your sad tires in a mile-a.
 * Autolycus, scene ii

 * O Proserpina, For the flowers now, that, frighted, thou let’st fall From Dis’s waggon! Daffodils, That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno’s eyes, Or Cytherea’s breath; pale primroses, That die unmarried, ere they can behold Bright Phœbus in his strength, — a malady Most incident to maids; bold oxlips, and The crown-imperial; lilies of all kinds, The flower-de-luce being one!
 * Perdita, scene iv

 * When you do dance, I wish you A wave o’ the sea, that you might ever do Nothing but that.
 * Florizel, scene iv

 * I love a ballad in print a’-life; for then we are sure they are true.
 * Mopsa, scene iv

 * To unpath'd waters, undream'd shores.
 * Camillo, scene iv

Act V

 * I am asham'd: does not the stone rebuke me, For being more stone than it?
 * Leontes, scene iii

 * Still, methinks, There is an air comes from her! What fine chisel Could ever yet cut breath?
 * Leontes, scene iii

title: The Winter's Tale


text:
Wikiquote talk:Announcements

http://wikiquote.org/ works OK, but as soon as I click on any of the links on the page I am back to http://quote.wikipedia.org/

Is there some way we can get all the links to stay on the same domain name? Nanobug 18:23, 26 Aug 2003 (UTC)

It appears at the moment the domain wikiquote.org is merely just a redirect to the main page, It has not been set up fully yet, just ahve to be patient and wait for a developer to do it. - fonzy

Freeze or try to revive it?
This page seems almost forgotten by all the community. We are better to put on this page? Or we are better to try to revive it? --Aphaia 10:23, 26 July 2006 (UTC)

title: Wikiquote talk:Announcements


text:
William Blake

William Blake (November 28 1757 – August 12 1827) was an English poet, Christian mystic, painter, printmaker, and engraver.

1780s

 * Reason, or the ratio of all we have already known, is not the same that it shall be when we know more.
 * There Is No Natural Religion (1788)

 * The true method of knowledge is experiment.
 * All Religions are One (1788)

 * There can be no Good Will. Will is always Evil; it is persecution to others or selfishness.
 * Annotations to Swedenborg (1788)

 * If a thing loves, it is infinite.
 * Annotations to Swedenborg (1788)

 * Does the Eagle know what is in the pit? Or wilt thou go ask the Mole? Can Wisdom be put in a silver rod? Or Love in a golden bowl?
 * The Book of Thel, Thel's Motto (1789–1792)

Poetical Sketches (1783)

 * How sweet I roamed from field to field, And tasted all the summer's pride, Till I the prince of love beheld, Who in the sunny beams did glide!
 * Song (How Sweet I Roamed), st. 1

 * He loves to sit and hear me sing, Then, laughing, sports and plays with me; Then stretches out my golden wing, And mocks my loss of liberty.
 * Song (How Sweet I Roamed), st. 4

 * My silks and fine array, My smiles and languished air, By love are driv'n away; And mournful lean Despair Brings me yew to deck my grave: Such end true lovers have.
 * Song (My Silks and Fine Arrays), st. 1

 * Like a fiend in a cloud, With howling woe, After night I do crowd, And with night will go; I turn my back to the east, From whence comforts have increased; For light doth seize my brain With frantic pain.
 * Mad Song, st. 3

 * How have you left the ancient love That bards of old enjoyed in you! The languid strings do scarcely move! The sound is forced, the notes are few!
 * To the Muses, st. 4

Annotations to Lavater (1788)

 * Damn sneerers!

 * True superstition is ignorant honesty & this is beloved of god and man.

 * Forgiveness of enemies can only come upon their repentance.

 * Active Evil is better than Passive Good.

 * They suppose that Woman's Love is Sin; in consequence all the Loves & Graces with them are Sin.

Songs of Innocence (1789–1790)

 * Piping down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: "Pipe a song about a Lamb." So I piped with merry cheer; "Piper, pipe that song again." So I piped; he wept to hear.
 * Introduction, st. 1–2

 * And I made a rural pen, And I stained the water clear, And I wrote my happy songs Every child may joy to hear.
 * Introduction, st. 5

 * Sing louder around To the bells' cheerful sound, While our sports shall be seen On the ecchoing green.
 * The Ecchoing Green, st. 1

 * Little Lamb, who made thee? Dost thou know who made thee? Gave thee life and bid thee feed By the stream and o'er the mead; Gave thee clothing of delight, Softest clothing, woolly bright.
 * The Lamb, st. 1

 * My mother bore me in the southern wild, And I am black, but O! my soul is white; White as an angel is the English child, But I am black as if bereaved of light.
 * The Little Black Boy, st. 1

 * And we are put on earth a little space, That we may learn to bear the beams of love, And these black bodies and this sunburnt face Is but a cloud, and like a shady grove.
 * The Little Black Boy, st. 4

 * I'll shade him from the heat till he can bear To lean in joy upon our Father's knee; And then I'll stand and stroke his silver hair, And be like him and he will then love me.
 * The Little Black Boy, st. 7

 * When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry 'weep! 'weep! 'weep!'weep! So your chimneys I sweep, and in soot I sleep.
 * The Chimney Sweeper, st. 1

 * To Mercy, Pity, Peace, and Love All pray in their distress; And to these virtues of delight Return their thankfulness.
 * The Divine Image, st. 1

 * For Mercy has a human heart, Pity, a human face, And Love, the human form divine, And Peace, the human dress.
 * The Divine Image, st. 3

 * The moon like a flower In heaven's high bower, With silent delight, Sits and smiles on the night.
 * Night, st. 1

 * And there the lion's ruddy eyes Shall flow with tears of gold, And pitying the tender cries, And walking round the fold, Saying: "Wrath by his meekness, And by his health, sickness, Is driven away From our immortal day."
 * Night, st. 5

 * "For washed in life's river, My bright mane forever Shall shine like the gold As Iguard o'er the fold."
 * Night, st. 6

 * When the voices of children are heard on the green And laughing is heard on the hill, My heart is at rest within my breast And everything else is still.
 * Nurse's Song, st. 1

 * Can I see another's woe, And not be in sorrow too? Can I see another's grief, And not seek for kind relief?
 * On Another's Sorrow, st. 1

1790s

 * Nothing can be more contemptible than to suppose Public RECORDS to be True.
 * Annotations to An Apology for the Bible by R. Watson (1798)

 * That the Jews assumed a right Exclusively to the benefits of God. will be a lasting witness against them. & the same will it be against Christians
 * Annotations to An Apology for the Bible by R. Watson (1798)

 * In my Brain are studies & Chambers fill'd with books & pictures of old, which I wrote & painted in ages of Eternity before my mortal life;
 * The Letters Of William Blake (1956), p. 50

but the nature of such things is not, as some suppose, without trouble or care.
 * I am not ashamed, afraid, or averse to tell you what Ought to be Told: That I am under the direction of Messengers from Heaven, Daily & Nightly;
 * The Letters Of William Blake (1956), p. 70
 * And now let me finish with assuring you that, Tho I have been very unhappy, I am so no longer. I am again. Emerged into the light of day; I still & shall to Eternity Embrace Christianity and Adore him who is the Express image of God; but I have travel'd thro' Perils & Darkness not unlike a Champion. I have Conquer'd, and shall still Go on Conquering. Nothing can withstand the fury of my Course among the Stars of God & in the Abysses of the Accuser. My Enthusiasm is still what it was, only Enlarged and conform'd.
 * The Letters Of William Blake (1956), p. 74-75

 * I have labour'd hard indeed, & have been borne on angel's wings. Till we meet I beg of God our Saviour to be with you & me, & yours & mine. Pray give my & my wife's love to Mrs Butts & Family, & believe me to remain.
 * The Letters Of William Blake (1956), p. 90

 * Degrade first the arts if you'd mankind degrade, Hire idiots to paint with cold light and hot shade.
 * Annotations to Sir Joshua Reynolds's Discourses, title page (c. 1798–1809)

 * To Generalize is to be an Idiot. To Particularize is the Alone Distinction of Merit — General Knowledges are those Knowledges that Idiots possess.
 * Annotations to Sir Joshua Reynolds's Discourses, pp. xvii–xcviii (c. 1798–1809)

 * The Foundation of Empire is Art & Science Remove them or Degrade them & the Empire is No More — Empire follows Art & Not Vice Versa as Englishmen suppose.
 * Annotations to Sir Joshua Reynolds's Discourses

The Marriage of Heaven and Hell (1790–1793)

 * Rintrah roars and shakes his fires in the burden'd air; Hungry clouds swag on the deep.
 * The Argument

 * Without contraries there is no progression. Attraction and repulsion, reason and energy, love and hate are necessary to human existence.
 * The Argument

 * The reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet and of the Devils' party without knowing it.
 * Note to The Voice of the Devil

 * Those who restrain desire do so because theirs is weak enough to be restrained; and the restrainer or reason usurps its place & governs the unwilling.
 * The Voice of the Devil

 * If the doors of perception were cleansed, everything would appear to man as it is: infinite.
 * A Memorable Fancy

 * The man who never alters his opinion is like standing water, and breeds reptiles of the mind.
 * A Memorable Fancy

 * Opposition is true Friendship.
 * A Memorable Fancy

Proverbs of Hell

 * The road of excess leads to the palace of wisdom.
 * Line 3

 * He who desires but acts not breeds pestilence.
 * Line 5

 * A fool sees not the same tree that a wise man sees. He whose face gives no light shall never become a star.
 * Lines 8–9

 * Eternity is in love with the productions of time.
 * Line 10

 * The busy bee has no time for sorrow.
 * Line 11

 * The hours of folly are measur'd by the clock, but of wisdom no clock can measure.
 * Line 12

 * All wholesome food is caught without a net or a trap.
 * Line 13

 * No bird soars too high if he soars with his own wings.
 * Line 15

 * If the fool would persist in his folly he would become wise.
 * Line 18

 * Prisons are built with stones of law; brothels with bricks of religion.
 * Line 21

 * The pride of the peacock is the glory of God. The lust of the goat is the bounty of God. The wrath of the lion is the wisdom of God. The nakedness of woman is the work of God.
 * Line 22

 * The cistern contains: the fountain overflows.
 * Line 35

 * One thought fills immensity.
 * Line 36

 * Always be ready to speak your mind, and a base man will avoid you.
 * Line 37

 * The eagle never lost so much time as when he submitted to learn of the crow.
 * Line 39

 * Think in the morning. Act in the noon. Eat in the evening. Sleep in the night.
 * Line 41

 * The tygers of wrath are wiser than the horses of instruction.
 * Line 44

 * You never know what is enough unless you know what is more than enough.
 * Line 46

 * The weak in courage is strong in cunning.
 * Line 49

 * When thou seest an Eagle, thou seest a portion of Genius; lift up thy head!
 * Line 54

 * Exuberance is Beauty.
 * Line 64

 * Improvement makes straight roads; but the crooked roads without improvement are roads of genius.
 * Line 66

 * Truth can never be told so as to be understood, and not be believed.
 * Line 69

 * Enough! or too much.
 * Line 70

 * The ancient poets animated all objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could perceive. And particularly they studied the genius of each city & country, placing it under its mental deity; Till a system was formed, which some took advantage of, & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began priesthood; Choosing forms of worship from poetic tales. And at length they pronounc'd that the Gods had order'd such things. Thus men forgot that all deities reside in the human breast.
 * Line 71

Poems from Blake's Notebook (c. 1791-1792)

 * Never seek to tell thy love Love that never told can be; For the gentle wind does move Silently, invisibly. I told my love, I told my love, I told her all my heart; Trembling, cold, in ghastly fears— Ah, she doth depart.  Soon as she was gone from me A traveler came by Silently, invisibly— Oh, was no deny.
 * Never Seek to Tell

 * I asked a thief to steal me a peach: He turned up his eyes. I asked a lithe lady to lie her down: Holy and meek, she cries. As soon as I went An angel came. He winked at the thief And smiled at the dame—  And without one word said Had a peach from the tree, And still as a maid Enjoyed the lady.
 * I Asked a Thief

 * Sleep, sleep, beauty bright, Dreaming o'er the joys of night. Sleep, sleep: in thy sleep Little sorrows sit and weep.
 * A Cradle Song, st. 1

 * Why art thou silent and invisible, Father of Jealousy?
 * To Nobody, st. 1

 * Love to faults is always blind, Always is to joys inclined, Lawless, winged, and unconfined, And breaks all chains from every mind.
 * Love to Faults

 * The sword sung on the barren heath, The sickle in the fruitful field; The sword he sung a song of death, But could not make the sickle yield.
 * The Sword Sung

 * Abstinence sows sand all over The ruddy limbs and flaming hair, But desire gratified Plants fruits of life and beauty there.
 * Abstinence Sows Sand

 * If you trap the moment before it's ripe, The tears of repentance you'll certainly wipe; But if once you let the ripe moment go You can never wipe off the tears of woe.
 * If You Trap the Moment

 * Then old Nobodaddy aloft Farted and belched and coughed, And said, "I love hanging and drawing and quartering Every bit as well as war and slaughtering."
 * Let the Brothels of Paris, st. 2

Several Questions Answered

 * He who binds to himself a joy Does the wingèd life destroy; But he who kisses the joy as it flies Lives in eternity's sunrise.
 * No. 1, He Who Binds

 * The look of love alarms Because 'tis filled with fire; But the look of soft deceit Shall win the lover's hire.
 * No. 2, The Look of Love

 * What is it men in women do require? The lineaments of gratified desire. What is it women do in men require? The lineaments of gratified desire.
 * No. 4, What Is It

 * You'll quite remove the ancient curse.
 * No. 5, An Ancient Proverb

Songs of Experience (1794)

 * Hear the voice of the Bard, Who present, past, and future, sees; Whose ears have heard The Holy Word That walked among the ancient trees.
 * Introduction, st. 1

 * Turn away no more; Why wilt thou turn away? The starry floor, The watery shore Is given thee till the break of day.
 * Introduction, st. 4

 * Love seeketh not itself to please, Nor for itself hath any care, But for another gives its ease, And builds a heaven in hell's despair.
 * The Clod and the Pebble, st. 1

 * Love seeketh only Self to please, To bind another to its delight, Joys in another's loss of ease, And builds a hell in heaven's despite.
 * The Clod and the Pebble, st. 3

 * O Rose thou art sick. The invisible worm, That flies in the night In the howling storm: Has found out thy bed Of crimson joy: And his dark secret love Does thy life destroy.
 * The Sick Rose, plate 39.

 * Little Fly, Thy summer's play My thoughtless hand Has brushed away. Am not I A fly like thee? Or art not thou A man like me?  For I dance, And drink, and sing, Till some blind hand Shall brush my wing.
 * The Fly, st. 1–3

 * The modest Rose puts forth a thorn, The humble sheep a threat'ning horn: While the Lily white shall in love delight, Nor a thorn nor a threat stain her beauty bright.
 * The Lily

 * In every cry of every Man, In every Infant's cry of fear, In every voice, in every ban, The mind-forg'd manacles I hear.
 * London, st. 2

 * But most, thro' midnight streets I hear How the youthful Harlot's curse Blasts the new born Infant's tear, And blights with plagues the Marriage hearse.
 * London, st. 4

 * Pity would be no more If we did not make somebody Poor; And Mercy no more could be If all were as happy as we.
 * The Human Abstract, st. 1

 * My mother groan'd! my father wept. Into the dangerous world I leapt: Helpless, naked, piping loud: Like a fiend hid in a cloud.
 * Infant Sorrow, st. 1

 * I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow.
 * A Poison Tree, st. 1

 * In the morning glad I see My foe outstretch'd beneath the tree.
 * Ibid., st. 4

 * Children of the future Age Reading this indignant page, Know that in a former time Love! sweet Love! was thought a crime.
 * A Little Girl Lost, st. 1

 * Cruelty has a human heart, And Jealousy a human face; Terror the human form divine, And Secrecy the human dress.
 *  A Divine Image, st. 1

The Tyger (1794)

 * Tyger! Tyger! burning bright in the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?
 * St. 1

 * In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire?
 * St. 2

 * When the stars threw down their spears, And water'd heaven with their tears, Did he smile his work to see? Did he who made the Lamb make thee?
 * St. 5

Letter to Revd. Dr. Trusler (1799)

 * Letter to Revd. Dr. Trusler (23 August 1799)

 * What is Grand is necessarily obscure to Weak men. That which can be made Explicit to the idiot is not worth my care.

 * But Want of Money & the Distress of A Thief can never be alleged as the Cause of his Thieving, for many honest people endure greater hard ships with Fortitude. We must therefore seek the Cause else where than in want of Money for that is the Misers passion, not the Thiefs.

 * Fun I love, but too much Fun is of all things the most loathsom. Mirth is better than Fun & Happiness is better than Mirth.

 * To the Eyes of a Miser a Guinea is more beautiful than the Sun & and a bag worn with the use of Money has more beautiful proportions than a Vine filled with Grapes. The tree which moves some to tears of joy is in the Eyes of others only a Green thing that stands in the way. Some see Nature all Ridicule and Deformity, and by these I shall not regulate my proportions; and some scarce see Nature at all. But to the Eyes of the Man of Imagination, Nature is Imagination itself. As a man is, So he Sees. As the Eye is formed, such are its Powers..

1800s

 * When a Man has Married a Wife He finds out whether Her Knees & elbows are only glued together.
 * Poems from Blake's Notebook (c. 1800–1803)

 * When nations grow old, the Arts grow cold, And Commerce settles on every tree: And the poor and the old Can live upon gold, For all are born poor.               Aged sixty-three.
 * On Art And Artists (1800) 'On the Foundation of the Royal Academy'

 * Fiery the Angels rose, and as they rose deep thunder roll'd Around their shores: indignant burning with the fires of Orc.
 * America, A Prophecy.
 * Acts themselves alone are history, and these are neither the exclusive property of Hume, Gibbon nor Voltaire, Echard, Rapin, Plutarch, nor Herodotus. Tell me the Acts, O historian, and leave me to reason upon them as I please; away with your reasoning and your rubbish. All that is not action is not worth reading.
 * Blake's Exhibition and Catalogue of 1809, A Descriptive Catalogue of Pictures: Number V. The Ancient Britons

 * Art can never exist without Naked Beauty displayed.
 * The Laocoön

 * Art is the tree of life. S CIENCE is the Tree of D EATH A RT is the Tree of L IFE GOD is J ESUS
 * The Laocoön

 * Jesus & his apostles & disciples were all artists
 * The Laocoön, p. 271

Auguries of Innocence (1803)

 * Auguries of Innocence at Wikisource

 * To see a World in a Grain of Sand And a Heaven in a Wild Flower, Hold Infinity in the palm of your hand And Eternity in an hour.
 * Line 1

 * A robin redbreast in a cage Puts all Heaven in a rage.
 * Line 5

 * A dog starved at his master's gate Predicts the ruin of the state.
 * Line 9

 * He who shall hurt the little wren Shall never be beloved by men.
 * Line 29

 * A truth that's told with bad intent Beats all the lies you can invent.
 * Line 53

 * Man was made for joy and woe, And when this we rightly know Through the world we safely go. Joy and woe are woven fine, A clothing for the soul divine.
 * Line 56. Compare Psalm 30:5 (KJV): "weeping may endure for a night, but joy cometh in the morning."

 * Every tear from every eye Becomes a babe in eternity.
 * Line 67

 * He who shall teach the child to doubt The rotting grave shall ne'er get out.
 * Line 87

 * The strongest poison ever known Came from Caesar's laurel crown.
 * Line 97

 * He who doubts from what he sees Will ne'er believe, do what you please. If the sun and moon should doubt They'd immediately go out.
 * Line 107

 * The harlot's cry from street to street Shall weave old England's winding sheet.
 * Line 115

 * Every night, and every morn, Some to misery are born. Every morn, and every night, Some are born to sweet delight. Some are born to sweet delight. Some are born to endless night.
 * Line 123

 * God appears and god is light To those poor souls who dwell in night But does a human form display To those who dwell in realms of day
 * Line 129

Poems from Blake's Notebook (c. 1804)

 * My specter around me night and day Like a wild beast guards my way, My emanation far within Weeps incessantly for my sin.
 * My Specter, st. 1

 * And throughout all eternity I forgive you, you forgive me.
 * My Specter, st. 14

 * Mock on, mock on, Voltaire, Rousseau. Mock on, mock on — 'tis all in vain! You throw the sand against the wind, And the wind blows it back again.
 * Mock On, st. 1

 * Terror in the house does roar, But Pity stands before the door.
 * Terror in the House

Poems from the Pickering Manuscript (c. 1805)

 * There is a smile of love, And there is a smile of deceit, And there is a smile of smiles In which these two smiles meet.
 * The Smile, st. 1

 * This cabinet is formed of gold And pearl and crystal shining bright, And within it opens into a world And a little lovely moony night.
 * The Crystal Cabinet, st. 2

 * For a tear is an intellectual thing, And a sigh is the sword of an Angel King, And the bitter groan of the martyr's woe Is an arrow from the Almighty's bow.
 * The Gray Monk, st. 8

Milton (c. 1809)

 * The Stolen and Perverted Writings of Homer & Ovid, of Plato & Cicero, which all men ought to contemn, are set up by artifice against the Sublime of the Bible
 * Preface

 * Rouze up, O Young Men of the New Age! set your foreheads against the ignorant Hirelings! For we have Hirelings in the Camp, the Court & the University, who would, if they could, for ever depress Mental & prolong Corporeal War.
 * Ibid

 * And did those feet in ancient time, Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the Countenance Divine Shine forth upon our clouded hills? And was Jerusalem builded here Among these dark Satanic mills?  Bring me my Bow of burning gold, Bring me my Arrows of desire, Bring me my Spear — O clouds, unfold! Bring me my Chariot of fire!  I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green & pleasant land.
 * Prefatory Poem

 * Time is the mercy of Eternity; without Time's swiftness Which is the swiftest of all things, all were eternal torment.
 * Book the First, 24:72

Poems from Blake's Notebook (c. 1807-1809)

 * Great things are done when men and mountains meet; This is not done by jostling in the street.
 * Great Things Are Done

 * If you have formed a circle to go into, Go into it yourself and see how you would do.
 * To God

 * The Angel that presided o'er my birth Said, "Little creature, formed of joy and mirth, Go love without the help of any thing on earth."
 * The Angel That Presided

 * Grown old in love from seven till seven times seven, I oft have wished for Hell for ease from Heaven.
 * Grown Old in Love

Jerusalem The Emanation of The Giant Albion (c. 1803–1820)

 * Half Friendship is the bitterest Enmity...
 * ''Frontiespiece, plate 1, line 8 (as it seen on the additional plate, Fitzwilliam Museum).

 * Every Thing has its Vermin O Spectre of the Sleeping Dead!
 * ''Frontiespiece, plate 1, line 11 (as it seen on the additional plate, Fitzwilliam Museum).

 * Poetry Fetter'd. Fetters the Human Race. Nations are Destroy'd, or Flourish, in proportion as Their Poetry, Painting, and Music are Destroy'd or Flourish!
 * ''To the Public, plate 3 (the last paragraph)

Within your bosoms I reside, and you reside in me: Lo! we are One; forgiving all Evil; Not seeking recompense!
 * I am not a God afar off, I am a brother and friend;
 * ''Ch. 1, plate 4, lines 18-28 The Words of Jesus to the Giant Albion

Yet they forgive my wanderings, I rest not from my great task! To open the Eternal Worlds, to open the immortal Eyes Of Man inwards into the Worlds of Thought: into Eternity Ever expanding in the Bosom of God. the Human Imagination
 * Trembling I sit day and night, my friends are astonish'd at me.
 * ''Ch. 1, plate 5, lines 16-20 The Words of Blake

Annihilate the Selfhood in me, be thou all my life! Guide thou my hand which trembles exceedingly upon the rock of ages
 * O Saviour pour upon me thy Spirit of meekness & love:
 * ''Ch. 1, plate 5, lines 21-23 The Words of Blake

Pity<...>
 * They have divided themselves by Wrath. they must be united by
 * ''Ch. 1, plate 7, lines 57-58 The Words of Los to his Spectre

 * Pity must join together those whom wrath has torn in sunder
 * ''Ch. 1, plate 7, lines 62 The Words of Los to his Spectre

I will not Reason and Compare: my business is to Create.
 * I must Create a System, or be enslav'd by another Man's;
 * ''Ch. 1, plate 10, lines 20-21 The Words of Los

 * Ever Weeping Paddington...
 * ''Ch. 1, plate 12, line 28

One hair nor particle of dust, not one can pass away.
 * For every thing exists & not one sigh nor smile nor tear,
 * ''Ch. 1, plate 13, line 66 — plate 14, line 1

The Humanity in deadly sleep, And its fallen Emanation. The Spectre & its cruel Shadow. I see the Past, Present & Future, existing all at once Before me; O Divine Spirit sustain me on thy wings!
 * I see the Four-fold Man.
 * ''Ch. 1, plate 15, lines 6-9

AS I MY ORDERD RACE HAVE RUN JERUSALEM IS NAMED LIBERTY AMONG THE SONS OF ALBION
 * SUCH VISIONS HAVE APPEARD TO ME
 * ''Ch. 1, plate 26, lines 1-4

To Primrose Hill and Saint John's Wood: Were builded over with pillars of gold, And there Jerusalems pillars stood.
 * The fields from Islington to Marybone,
 * ''Ch. 1, plate 27, "To the Jews" 1) lines 1-4

Among her golden pillars high: Among her golden arches which Shine upon the starry sky.
 * Pancrass & Kentish-town repose
 * ''Ch. 1, plate 27, "To the Jews" 1) lines 9-12

 * He who would do good to another must do it in minute particulars; General good is the plea of the scoundrel, hypocrite, and flatterer: For art and science cannot exist but in minutely organized Particulars.
 * ''Ch. 3, plate 55, line 60

 * What is a Wife & what is a Harlot? What is a Church & What Is a Theatre? are they Two & not One? can they Exist Separate? Are not Religion & Politics the Same Thing? Brotherhood is Religion O Demonstrations of Reason Dividing Families in Cruelty & Pride!
 * ''Ch. 3, plate 57

 * England! awake! awake! awake! Jerusalem thy sister calls! Why wilt thou sleep the sleep of death And close her from thy ancient walls?
 * ''Ch. 4, prefatory poem, plate 77, st. 1

 * It is easier to forgive an Enemy than to forgive a Friend.
 * ''Ch. 4, plate 91, line 1

1810s

 * Commerce is so far from being beneficial to Arts or to Empire, that it is destructive of both, as all their History shows, for the above Reason of Individual Merit being its Great Hatred. Empires flourish till they become Commercial & then they are scattered abroad to the four winds
 * Public Address, Blake's Notebook c. 1810

 * When I tell any Truth it is not for the sake of Convincing those who do not know it but for the sake of defending those who Do
 * Public Address, Blake's Notebook c. 1810

 * Every Harlot was a Virgin once
 * For the Sexes: The Gates of Paradise: [Epilogue] To The Accuser who is The God of This World

 * It is not because Angels are Holier than Men or Devils that makes them Angels but because they do not Expect Holiness from one another but from God only
 * A Vision of the Last Judgment

 * Thinking as I do that the Creator of this World is a very Cruel Being & being a Worshipper of Christ, I cannot help saying: "the Son, O how unlike the Father!" First God Almighty comes with a Thump on the Head. Then Jesus Christ comes with a balm to heal it.
 * A Vision of the Last Judgment

 * This world of imagination is the world of eternity.
 * A Vision of the Last Judgment

 * You cannot have Liberty in this world without what you call Moral Virtue & you cannot have Moral Virtue without the Slavery of that half of the Human Race who hate what you call Moral Virtue
 * A Vision of the Last Judgment

 * I assert, for myself, that I do not behold the outward creation, and that to me it is hindrance and not action. "What !" it will be questioned, "when the sun rises, do you not see a round disc of fire somewhat like a guinea !" Oh ! no, no ! I see an innumerable company of the heavenly host crying "Holy, holy, holy is the Lord God Almighty !" I question not my corporeal eye any more than I would question a window concerning a sight. I look through it, and not with it.
 * A Vision of the Last Judgment

 * ...some say that Happiness is not Good for Mortals & they ought to be answerd that Sorrow is not fit for Immortals & is utterly useless to any one a blight never does good to a tree & if a blight kill not a tree but it still bear fruit let none say that the fruit was in consequence of the blight.
 * Letter to William Hayley (1803-10-07)

 * The Goddess Fortune is the devils servant ready to Kiss any ones Arse.
 * Inscription on Illustrations to Dante "No. 16: HELL Canto 7"

 * The Old & New Testaments are / the Great Code of Art.
 * "Laocoön" [engraving]

The Everlasting Gospel (c. 1818)

 * The Everlasting Gospel at Wikisource · The Everlasting Gospel as rendered in The Oxford Book of English Mystical Verse (1917) edited by Nicholson & Lee

Is my vision's greatest enemy.''' Thine has a great hook nose like thine; Mine has a snub nose like to mine. Thine is the Friend of all Mankind; Mine speaks in parables to the blind. Thine loves the same world that mine hates; Thy heaven doors are my hell gates.
 * '''The vision of Christ that thou dost see

He'd have done anything to please us'''; Gone sneaking into synagogues, And not us'd the Elders and Priests like dogs; But humble as a lamb or ass Obey'd Himself to Caiaphas.
 * '''If He had been Antichrist, Creeping Jesus,

That is the trick of the Ancient Elf. This is the race that Jesus ran: Humble to God, haughty to man, Cursing the Rulers before the people Even to the Temple's highest steeple, And when He humbled Himself to God Then descended the cruel rod. ‘If Thou Humblest Thyself, Thou humblest Me. Thou also dwell’st in Eternity.
 * God wants not man to humble himself:

 * This life's dim windows of the soul Distorts the heavens from pole to pole And leads you to believe a lie When you see with, not through, the eye.

I made my voice heard all over the nation. … I am sure this Jesus will not do Either for Englishman or Jew.
 * Seeing this False Christ, in fury and passion

Miscellaneous poems and fragments from the Nonesuch edition

 * "I die, I die!" the Mother said, "My children die for lack of Bread."
 * The Grey Monk, stanza 1

 * My Brother starv'd between two Walls, His Children's Cry my Soul appalls;
 * Ibid, stanza 5

 * The iron hand crush'd the Tyrant's head And became a Tyrant in his stead.
 * Ibid, stanza 9

Attributed

 * When a sinister person means to be your enemy, they always start by trying to become your friend.

 * [T]he man who never alters his opinions is like standing water, and breeds reptiles of the mind.
 * As quoted in William Blake: Bloom's Classic Critical Views, eds. Harold Bloom, Alexis Harley, Infobase Publishing (2008), p. 148 : ISBN 1438117078

 * I myself do nothing. The Holy Spirit accomplishes all through me.
 * Attributed to William Blake by Michael J. Gelb in Creativity on Demand: How to Ignite and Sustain the Fire of Genius (2014), but cannot be retrieved in The Marriage of Heaven and Hell, xxii.

Quotes about Blake

 * What is most needed today is a fundamental theological thinking, one centered upon the Godhead itself, and centered upon that which is most challenging or most offensive in the Godhead, one which has truly been veiled in the modern world, except by our most revolutionary thinkers and visionaries. If we allow Blake and Nietzsche to be paradigmatic of those revolutionaries, nowhere else does such a centering upon God or the Godhead occur, although a full parallel to this occurs in Spinoza and Hegel; but the language of Hegel and Spinoza is not actually offensive, or not in its immediate impact, whereas the language of Nietzsche and Blake is the most purely offensive language which has ever been inscribed. Above all this is true of the theological language of Blake and Nietzsche, but here a theological language is a truly universal language, one occurring in every domain, and occurring as that absolute No which is the origin of every repression and every darkness, and a darkness which is finally the darkness of God, or the darkness of that Godhead which is beyond “God.” Only Nietzsche and Blake know a wholly fallen Godhead, a Godhead which is an absolutely alien Nihil, but the full reversal of that Nihil is apocalypse itself, an apocalypse which is an absolute joy, and Blake and Nietzsche are those very writers who have most evoked that joy.
 * Thomas J. J. Altizer, Godhead and the Nothing (2003), Preface

 * And again to quote Blake: “It is better to murder an infant in the cradle than to nurse an ungratified desire.”
 * Carl Andre, as quoted in 'Artists talks 1969 – 1977' ed. Peggy Gale, The Press N.S.C.A.D, Nova Scotia, Canada 2004, p. 15

 * ..I saw William Blake (in his dream), noble emanation of English genius... ...’Have confidence in your objects,’ he said, 'do not let yourself be intimidated by the horror of the world. Everything is ordered and correct and must fulfill its destiny in order to attain perfection. Seek this path'.. ..I awoke and found myself in Holland in the midst of boundless world turmoil. But my belief in the final release and absolution of all things, whether they please or torment, was newly strengthened.
 * Max Beckmann, in his public speech 'On my painting' for the exhibition ‘Twentieth-Century German Art’, London, 21 July 1938; Tate Publishing London, 2003

 * To me, it seems best to read Blake in company with his truest peers, Shakespeare and Milton, and with his greatest contemporaries, Wordsworth and Shelley. He was a visionary, rather than a mystic, and, like D. H. Lawrence and Sigmund Freud, he hoped to encourage us to exalt our human potential. Perhaps Blake can be best termed an apocalyptic humanist, who urges us never to forget that all deities reside in the human breast.
 * Harold Bloom (May 22, 2007) The Complete Poetry and Prose of William Blake ed. David V. Erdman (2008) Forward

 * "Blake was among the first of European idealists to link his own traditions of thought" with the Indian classic...
 * 1947 Northrop Frye, in Fearful Symmetry. cited in Weir, David Brahma in the Westp. 8 - 97., as quoted in Londhe, S. (2008). A tribute to Hinduism: Thoughts and wisdom spanning continents and time about India and her culture

 * I also liked the Romantic poets. Wordsworth, Keats, Burns and Blake were some of my favourites. There was something about their rebellious spirit against the evils of industrialization that moved me. Of course now, some of their pessimism, mysticism and limited critical realist visions make me quite uncomfortable.
 * Micere Githae Mugo in Talking with African Writers by Jane Wilkinson (1992)

 * I learned this bit of wisdom from a principle of William Blake's which I discovered early and followed far too assiduously the first half of my aesthetic life, and from which I have happily released myself and this axiom was: "Put off intellect and put on imagination; the imagination is the man." From this doctrinal assertion evolved the theoretical axiom that you don't see a thing until you look away from it which was an excellent truism as long as the principles of the imaginative life were believed in and followed. I no longer believe in the imagination.
 * Marsden Hartley in his article Art and the Personal Life,, 1928; accessed online Aug. 7, 2007 on Artchive, n.p.

 * There is no century in which Blake would not have seen angels.
 * Thomas Merton, in "Mystics and Zen Masters"

 * It is not at all certain that a merely moral criticism of society may not be just as "revolutionary" — and revolution, after all, means turning things upside down — as the politico-economic criticism which is fashionable at this moment. Blake was not a politician, but there is more understanding of the nature of capitalist society in a poem like "I wander through each charter'd street" than in three-quarters of Socialist literature.
 * George Orwell, Dickens (1939)

 * I think it was Blake's "The Tyger." I was given poems to copy, that was how my father taught me to do handwriting. "The Tyger" was one of them and it was so musical and mysterious. The wonderful image sank very deep very early. ("Do you remember the first poem that touched you deeply, that awakened you somehow?")
 * Adrienne Rich, interview (1996) in The Language of Life: A Festival of Poets by Bill Moyers

 * "I was angry with my friend,/I told my wrath, my wrath did end./I was angry with my foe,/I told it not, my wrath did grow." As an angry child, often urged to "curb my temper," I used to ponder those words of William Blake, but they slid first into my memory through their repetitions of sound, their ominous rhythms.
 * Adrienne Rich, Blood, Bread, and Poetry (1986)

 * In the modern world, the Romantics were the last major cultural movement to assert the "truth of the imagination," defending art as a way of knowing the world that equalled or surpassed scientific reason. In their resistance to what Blake called "Satan's Mathematik Holiness," their goal was not to reject science but to enlarge it. ...the Romantics sought to understand by augmentation.
 * Betty and Theodore Roszak, "Deep Form in Art and Nature" Alexandria 4, Vol.4 The Order of Beauty and Nature (1997) ed. David Fideler

 * Blake deeply admired science; he never failed to portray it heroically. But he was concerned that science saw the universe from an odd angle that hid as much as it revealed. Science screened the value of things, the beauty of things, the sacredness of things as if these qualities might not really be there. Blake called this Single Vision, and contrasted it with his ideal Fourfold vision: an understanding that included the poetic, the sensuous, and the visionary along with the rational. ...he fervently prayed for our culture to be saved from the scientist's severe abbreviation of reality: "God us keep from Single Vision and Newton's Sleep."
 * Theodore Roszak, The Gendered Atom (1999)

 * Freud was frank to admit that Romantic artists like Blake had discovered the unconscious before he had. But... he could hardly adopt Blake's unsettling view of the scientific psyche.
 * Theodore Roszak, The Gendered Atom (1999)

 * Re-claiming, contextualizing, and interpreting their memories remain the historians' tasks. I am reminded of a line in William Blake's "Auguries of Innocence"-"To see a world in a grain of sand."
 * Vicki L. Ruiz, From Out of the Shadows: Mexican Women in Twentieth-Century America

 * think: poems fixed this landscape: Blake, Donne, Keats
 * Collected Poems of Muriel Rukeyser

 * Most scientists would make very hard work of explaining how the concept of soul fits into the material universe, where there is nothing but "atoms and the void." Was this what Blake meant when he said that science was a tree of death? The death of religion? Of imagination? Both have been frequently suggested. ...Science is certainly our prime weapon against superstition and irrationalism, but in a world in which science flourishes—with or without God—love and fear remain, as do pleasure and regret, poetry and humor, art and music. The arts are not lessened by the sciences. Blake was mistaken: man's ineradicable gift, his questing curiosity, the divine discontent, is the common source of the arts and sciences.
 * Brian L. Silver, The Ascent of Science (1998)

 * It may seem to be a long way from Blake's innocent talk of love and copulation to De Sade's need to inflict pain. And yet both are the outcome of a sexual mysticism that strives to transcend the everyday world. Simone de Beauvoir said penetratingly of De Sade's work that 'he is trying to communicate an experience whose distinguishing characteristic is, nevertheless its will to remain incommunicable'. De Sade's perversion may have sprung from his dislike of his mother or of other women, but its basis is a kind of distorted religious emotion.
 * Colin Wilson in The Origins of the Sexual Impulse, p. 90 (1963)

title: William Blake


text:
Dr. Seuss

Theodor Seuss Geisel (2 March 1904 – 24 September 1991) was an American children's author, political cartoonist, illustrator, poet, animator, and filmmaker. He is known for his work writing and illustrating more than 60 books under the pen name Dr. Seuss. His work includes many of the most popular children's books of all time, selling over 600 million copies and being translated into more than 20 languages by the time of his death.

Quotes

 * ... and the wolf chewed up the children and spit out their bones ... But those were Foreign Children and it really didn't matter ...
 * Caption to a political cartoon against the "America First" movement, showing children being read a story of "Adolf the Wolf", in PM Magazine (1 October 1941). For more context see:Another popular rumor was

 * You make 'em, I amuse 'em.
 * Statement about children, as quoted in Enter, Conversing (1962) by Clifton Fadiman, p. 108

 * Nonsense wakes up the brain cells. And it helps develop a sense of humor, which is awfully important in this day and age. Humor has a tremendous place in this sordid world. It's more than just a matter of laughing. If you can see things out of whack, then you can see how things can be in whack.
 * As quoted in "Author Isn't Just a Cat in the Hat" by Miles Corwin in The Los Angeles Times (27 November 1983); also in Dr. Seuss: American Icon (2004) by Philip Nel, p. 38

 * When at last we are sure You've been properly pilled, Then a few paper forms Must be properly filled So that you and your heirs May be properly billed.
 * You're Only Old Once! : A Book for Obsolete Children (1986)

 * You can get help from teachers, but you are going to have to learn a lot by yourself, sitting alone in a room.
 * On becoming a writer, NY Times (May 21, 1986)

 * Adults are just obsolete children and the hell with them.
 * On writing for adults, as quoted in Of Sneetches and Whos and the Good Dr. Seuss: Essays on the Writings and Life of Theodor Geisel (1997) by Thomas Fensch, p. 96

And to Think That I Saw It on Mulberry Street (1937)

 * And that is a story that no one can beat, When I say that I saw it on Mulberry Street.

Horton Hatches the Egg (1940)

 * I meant what I said, and I said what I meant An elephant's faithful, One hundred percent.

Horton Hears a Who! (1954)

In the heat of the day, in the cool of the pool, He was splashing... enjoying the jungle's great joys... When Horton the elephant heard a small noise.
 * On the 15th of May, in the Jungle of Nool,

 * A person's a person, no matter how small.

"Tell me! Do tell! Are you safe? Are you sound? Are you whole? Are you well?"
 * "My friends!", cried the elephant.

And you're going to be caged! And, as for your dust speck – hah! That we shall boil in a hot steaming kettle of Beezle-Nut Oil!"
 * "You're going to be roped!

A person's a person, no matter how small! And you very small persons will not have to die If you make yourselves heard! So come on, now, and TRY!'''"
 * "'''Don't give up! I believe in you all.

The time for all Whos who have blood that is red To come to the aid of their country!", he said. "We've GOT to make noises in greater amounts! '''So, open your mouth, lad! For every voice counts!'''"
 * "This", cried the Mayor, "is your town's darkest hour!

On Beyond Zebra! (1955)

 * Oh the things you can find If you don't stay behind!

 * In the places I go there are things that I see That I never could spell if I stopped with the Z. I'm telling you this 'cause you're one of my friends. My alphabet starts where your alphabet ends!

 * So, on beyond Z! It's high time you were shown That you really don't know All there is to be known.

The Cat in the Hat (1957)

 * The sun did not shine. It was too wet to play. So we sat in the house All that cold, cold, wet day.

 * We looked! Then we saw him Step in on the mat! We looked! And we saw him! The Cat in the Hat!

How the Grinch Stole Christmas! (1957)

 * "Maybe Christmas...", he thought, "...Doesn't come from a store." "Maybe Christmas... perhaps... means a little bit more!"

 * Well, in Who-ville they say That the Grinch's small heart Grew 3 sizes that day.

Yertle the Turtle (1958)

 * On the far-away island of Sala-ma-Sond, Yertle the Turtle was king of the pond. A nice little pond. It was clean. It was neat. The water was warm. There was plenty to eat. The turtles had everything turtles might need. And they were all happy. Quite happy indeed.

They were… until Yertle, the spoiled, selfish, and unkind king of them all, Decided the kingdom he ruled was too small. “I’m ruler”, said Yertle furiously, “of all that I see. But I don’t see enough. That’s the trouble with me. With this stone for a throne, I look down on my pond But I cannot look down on the places beyond. This throne that I sit on is too, too low down. It ought to be higher!” he said with a frown. “If I could sit high, how much greater I’d be! What a king! I’d be ruler of all that I see!”

So Yertle the Turtle King, lifted his hand And Yertle, the Turtle King, gave a command. He ordered nine turtle soldiers to swim to his stone And, using these turtles, he built a new throne. He made each turtle stand on another one’s back And he piled them all up in a nine-turtle stack. And then Yertle climbed up. He sat down on the pile. What a wonderful view! He could see ‘most a mile!

“All mine!” Yertle cried. “Oh, the things I now rule! I’m the king of a cow! And I’m the king of a mule! I’m the king of a house! And, what’s more, beyond that I’m the king of a blueberry bush and a cat! I’m Yertle the Turtle! Oh, marvelous me! For I am the ruler of all that I see!”

And all through the morning, he sat up there high Saying over and over, “A great king am I!” Until ‘long about noon. Then he heard a faint sigh. “What’s that?” snapped the angry king and growls, and he angrily baring his teeth for the first time, looked down the stack. And he saw, at the bottom, a whimpering turtle named Mack. Just a part of his throne. And this plain little turtle Looked up and he said, “Beg your pardon, King Yertle. I’ve pains in my back and my shoulders and knees. How long must we stand here, Your Majesty, please?”

“SSSIIILLLEEEENNNNCCCCEEEE!!!!!!!!!!!!!!!!!!!” the mighty King of the Turtles screams back. '''“I AM TEN TIMES THE VERY, VERY, VERY ANGRY KING!!!!!!!!!!! and you’re only a turtle named Mack!”'''

“You're in trouble of ruling place while I sit here and rule! I’m the king of a cow! And I’m the king of a mule! I’m the king of a house! And a bush! And a cat! But that isn’t all! I’ll do better than that! My throne shall be higher!” his royal head turns red in savagely voice thundered, “So pile up more turtles!! I'm ordering ’bout two hundred!!”

“Turtles! More turtles!” he roars and brayed. And the turtle guards ‘way down in the pond were misbehaved. They blinding group of Imperials. They angrily pair of Imperial soldiers. But they came. They obeyed. From all over the pond, they came marching by dozens. Whole families of turtles, swimming with uncles and cousins. And all of them stepped on the head of poor disappointedly Mack. One after another, they climbed up the stack. (They piled up so high their shells creaked and they bent! But Yertle's dismay and he lividly said "Higher!" So higher they went.)

Then Yertle the Turtle was perched up so high, He could see forty miles from his throne in the sky! “Hooray!” shouted Yertle with an evil smile. “I’m the king of the trees! I’m king of the birds! And I’m king of the bees! I’m king of the butterflies! King of the fireflies! And the air! Ah, me! What a throne! What a wonderful chair! I’m Yertle the Turtle! Oh, marvelous me! For I am the ruler of all that I see!”

Then again, from below, in the great heavy stack, Came a groan from that plain little turtle named Mack. “Your Majesty, please… I don’t like to complain, But down here below, we are feeling great pain. I know up on top you are seeing great sights, But down here on the bottom, We too should have rights. We turtles can’t stand it. Our shells will all crack! Besides, we need food. We are starving!” groaned Mack.

“You hush up your mouth!” barked the bully King Yertle. “You’ve hurt his feelings to the world’s angriest, nastiest turtle. I told you to rule from the clouds! Over land! Over sea! There’s nothing, no, NOTHING, that’s higher than me!”

But, while he was snarling, he saw with surprise That the moon of the evening was starting to rise Up over his head in the darkening skies. “What’s THAT?” snorted Yertle. “Say, what IS that thing That dares to be higher than Yertle the King? I am very angrily and i shall not allow it! I’ll go higher still! I'm never in trouble, I’ll build my throne higher! I can and I will! I’ll call some more turtles. I’ll stack ‘em to heaven! I need ’bout five thousand, six hundred and seven!”

But, as Yertle, the Angry Turtle King, lifted his angry hand And started angrily to order and give the command, That plain little turtle below in the stack, That plain little turtle whose name was just Mack, Decided he’d taken enough. And he had. And that plain little lad got a bit mad. And that plain little Mack did a plain little thing. He burped! And his burp shook the throne of the king!

And Yertle the Turtle, the king of the trees, The king of the air and the birds and the bees, The king of a house and a cow and a mule… Well, that was the end of the Turtle King’s rule! For Yertle, the King of all Sala-ma-Sond, Fell off his high throne and fell Plunk! in the pond!And today the great Yertle, that Marvelous he, Is King of the Mud. That is all he can see. And the turtles, of course... all the turtles are free As turtles and, maybe, all creatures should be.

 * The End.

One Fish Two Fish Red Fish Blue Fish (1960)

 * From there to here, from here to there, funny things are everywhere.

 * If you never did You should. These things are fun. and Fun is good.'

Green Eggs and Ham (1960)

 * I am Sam. Sam-I-Am.

 * That Sam-I-Am! That Sam-I-Am! I do not like that Sam-I-Am!

 * I would not like them here or there. I would not like them anywhere. I do not like green eggs and ham. I do not like them, Sam-I-Am.

 * Say! I like green eggs and ham! I do! I like them, Sam-I-Am!

I Had Trouble in Getting to Solla Sollew (1965)

 * I pulled, pulled, and pulled. And the next thing I knew, I was pulling the camel and Wubble-Chap too! "Now really," I thought, "this is rather unfair!" But he said, "Don't you stew.  I am doing my share. "This is called teamwork.  I furnish the brains. You furnish the muscles, the aches and the pains. I'll pick the best roads, tell you just where to go, And we'll find a good doctor more quickly, you know." Then he sat and he worked with his brains and his tongue And he bossed me around just because I was young. He told me go left.  Then he told me go right. And that's what he told me all day and all night.

 * A big man on a horse scared me out of my wits. He bellowed, "I'm General Genghis Kahn Schmitz. There's a war going on! And it's time that you knew Every lad in this land has his duty to do. We're marching to battle. We need you, my boy! We're about to attack.  We're about to destroy The Perilous Poozer of Pompelmoose Pass! So get into line. You're a Private, First Class."

 * I'd have no more troubles... That's what the man said. So I started to go. But I didn't. Instead .... I did some quick thinking Inside of my head.  Then I started back home To the Valley of Vung. I know I'll have troubles. I'll maybe get stung. I'll always have troubles. I'll maybe get bit By that Green-Headed Quail On the place where I sit.  But I've bought a big bat. I'm all ready, you see. Now my troubles are going To have troubles with me!

The Lorax (1971)

 * "Mister!" he said with a sawdusty sneeze. "I am the Lorax. I speak for the trees. I speak for the trees, for the trees have no tongues. And I'm asking you, sir, at the top of my lungs" – He was very upset as he shouted and puffed – "What's that THING you've made out of my Truffula tuft?"

 * I am the Lorax who speaks for the trees, Which you seem to be chopping as fast as you please! But I'm also in charge of the brown Bar-ba-loots, Who played in the shade in their Bar-ba-loot suits, And happily lived, eating Truffula fruits. Now, thanks to your hacking my trees to the ground, There's not enough Truffula fruit to go 'round! And my poor Bar-ba-loots are all getting the crummies Because they have gas, and no food, in their tummies!

cares a whole awful lot, nothing is going to get better. It's not. '''
 * '''UNLESS someone like you

 * "So . . . Catch!" calls the Once-ler. He lets something fall. "It's a Truffula Seed. It's the last one of all! You're in charge of the last of the Truffula Seeds. And Truffula Trees are what everyone needs. Plant a new Truffula. Treat it with care. Give it clean water. And feed it fresh air. Grow a forest. Protect it from axes that hack. Then the Lorax and all of his friends may come back."

 * Now all that was left 'neath the bad-smelling sky was my big empty factory... the Lorax... and I. The Lorax said nothing. Just gave me a glance, just gave me a very sad, sad backward glance, as he lifted himself by the seat of his pants. And I'll never forget the grim look on his face when he heisted himself and took leave of this place, through a hole in the smog, without leaving a trace. And all that the Lorax left here in this mess was a small pile of rocks with the one word: UNLESS. Whatever that meant . . . well, I just couldn't guess.

Did I Ever Tell You How Lucky You Are? (1973)
are troubled with troubles almost every minute. You oughta be thankful, a whole heaping lot, For the places and people you're lucky you're not!
 * It's a troublesome world. All the people who're in it
 * The last sentence of this statement is often misquoted as "You oughta be thankful, a whole heaping lot, / For the people and places you're lucky you're not!'"

But your pants are safe! '''You're a fortunate guy. And you ought to be shouting, "How lucky am I!"'''
 * And suppose that you lived in that forest in France Where the average young person just hasn't a chance To escape from the perilous pants-eating plants!

Thank goodness you're not something someone forgot, and left all alone in some punkerish place like a rusty tin coat hanger hanging in space.
 * Thank goodness for all the things you are not!

Don’t grumble! Don’t stew! Some critters are much-much, oh, ever so much-much, so muchly much-much more unlucky than you!'''"
 * That's why I say, "'''Duckie!

I Can Read With My Eyes Shut! (1978)

 * The more that you read, The more things you will know. The more that you learn, The more places you'll go.

 * Young cat! If you keep Your eyes open enough, Oh, the stuff you will learn! The most wonderful stuff!

 * you'll miss the best things if you keep your eyes shut

Oh, the Places You'll Go! (1990)

 * You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose.

 * With your head full of brains, and your shoes full of feet, You're too smart to go down any not-so-good-street.

 * Out there things can happen, and frequently do, To people as brainy and footsy as you. And when things start to happen, don't worry, don't stew. Just go right along, you'll start happening too!

 * You're off to great places. Today is your day! Your mountain is waiting. So... get on your way.

Miscellaneous

 * [...] right now, when the Japs are planting their hatchets in our skulls, it seems like a hell of a time for us to smile and warble: “Brothers!” It is a rather flabby battle cry. If we want to win, we've got to kill Japs, whether it depresses John Haynes Holmes or not. We can get palsy-walsy afterward with those that are left.
 * Commenting his patriotic editorial cartoon in 1942 in the New York newspaper PM. Source: Dr. Seuss Draws Anti-Japanese Cartoons During WWII, Then Atones with Horton Hears a Who!. For more context, see Dr. Seuss Goes to War.

Disputed

 * Don't cry because it's over. Smile because it happened.
 * Often attributed to Dr. Seuss without citation; also cited as an anonymous proverb.
 * This quote has also been attributed to Gabriel García Márquez, in Spanish: "No llores porque ya se terminó, sonríe porque sucedió."
 * Compare lines from In Memoriam A.H.H. of Tennyson:   'Tis better to have loved and lost   Than never to have loved at all.

Misattributed

 * Those who mind don't matter, and those who matter don't mind.
 * Bernard Baruch in response to a question by Igor Cassini as to how he handled the seating arrangements at his dinner parties, as quoted in Shake Well Before Using: A New Collection of Impressions and Anecdotes Mostly Humorous (1948) by Bennett Cerf, p. 249; the full response was "I never bother about that. Those who matter don't mind, and those who mind don't matter." This anecdote is also quoted online at Chiasmus.com. It has also become part of a larger expression, which has been commonly attributed to Dr. Seuss, even in print, but without citation of a specific work: "Be who you are and say what you feel, because those who mind don't matter and those who matter don't mind."
 * "The earliest instance located by [QUOTEINVESTIGATOR.COM] was printed in 1938 in a journal based in London and written for municipal and county engineers. The phrase was used comically to discount the criticisms directed at housing designs. The words were enclosed in quotation marks suggesting that the quip was already known in 1938: Mr. Davies himself admitted that it was highly controversial and open to criticism; but criticism concerned both mind and matter. “Those who mind don’t matter, and those who matter don’t mind!”" 1938 February 1, The Journal of the Institution of Municipal & County Engineers, Volume 64, Number 16, Discussion, [Quotation is contained in the remarks of “Mr. Percy Morris (Wakefield)”], Quote Page 1277, Published at the Offices of the Institution of Municipal & County Engineers, London. (Verified with scans; Thanks to Dennis Lien and the University of Minnesota library system)"

 * You want my opinion? We're all a little weird. And life is a little weird. And when we find someone whose weirdness is compatible with ours, we join up with them and fall into mutually satisfying weirdness — and call it love — true love.
 * Robert Fulghum in True Love (1998). Versions attributed to Dr. Seuss usually run "mutual weirdness".

 * Sometimes you will never know the value of a moment until it becomes a memory.
 * Georges Duhamel in THE HEART'S DOMAIN (1919). As it was composed in French, the wording in English may vary in translation. Theodore Geisel / Dr. Seuss was born in 1904, and would have been about 15 years old at the time that it was published.  The full text can be found at the link below: We do not know the true value of our moments until they have undergone the test of memory. Like the images the photographer plunges into a golden bath, our sentiments take on color; and only then, after that recoil and that trans-figuration, do we understand their real meaning and enjoy them in all their tranquil splendor.

title: Dr. Seuss


text:
User:SeeSchloss

English | Français

Ana, c'est plus propre.

So, if you want to know a bit more about me, then visit either English or Français.

Or http://seeschloss.org, even

title: User:SeeSchloss