As honour, love, obedience, troops of friends, / I must not look to have; but, in their stead, / Curses, not loud but deep, mouth-honour, breath, / Which the poor heart would fain deny, and dare not" (5.3.25-28).
William ShakespeareRead
Speak the speech, I pray you, as I pronounced it to you-trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and as I may say, the whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
Interpretation
This quote emphasizes the importance of delivering speeches with authenticity and control, avoiding exaggeration and insincerity.
In this quote, Shakespeare advises actors on how to deliver their lines effectively. He stresses that a genuine performance should flow naturally and not be marred by artificiality or over-exaggeration. The imagery of a storm contrasts with the need for temperance, suggesting that while passion is vital in a performance, it should be tempered with skill and moderation to create a smooth and engaging delivery.
In practice
In a drama class, the teacher might use this quote to encourage students to focus on genuine expression.
As honour, love, obedience, troops of friends, / I must not look to have; but, in their stead, / Curses, not loud but deep, mouth-honour, breath, / Which the poor heart would fain deny, and dare not" (5.3.25-28).
Love bears it out even to the edge of doom.
Good company, good wine, good welcome, can make good people.
Absence doth sharpen love, presence strengthens it; the one brings fuel, the other blows it till it burns clear.
Lord, Lord, how this world is given to lying!
Give it an understanding, but no tongue.
Nothing is more odious than music without hidden meaning.
Music is perpetual, and only the hearing is intermittent.
I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.
The poetry you read has been written for you, each of you - black, white, Hispanic, man, woman, gay, straight.
As a filmmaker, I believe in trying to make movies that invite the audience to be part of the film; in other words, there are some films where I'm just a spectator and am simply observing from the front seat. What I try to do is draw the audience into the film and have them participate in what's happening onscreen.
It takes 25 years to learn to draw, one hour to learn to paint.
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