Browse 28 quotations connecting William Shakespeare with Deep, with meanings, source notes and related themes.
Each quotation is included because its central idea connects with this theme, not simply because one matching word appears in the sentence.
Sources represented here include Hamlet, The Merchant of Venice, The Tempest. Keeping the work and source note beside each quotation makes differences in setting, speaker and emphasis easier to see.
Sources represented here include Hamlet, The Merchant of Venice, The Tempest.
“The course of true love never did run smooth.”
Love is described as complicated rather than frictionless, which makes the line a durable reminder against idealizing relationships.
Source note: A Midsummer Night’s Dream, Act 1, Scene 1; Lysander says this to Hermia while describing the obstacles that repeatedly frustrate lovers. It is character dialogue inside their threatened relationship.
“The poet’s eye, in a fine frenzy rolling, doth glance from heaven to earth, from earth to heaven.”
The image captures artistic movement between abstract possibility and concrete experience, suggesting that poetry gives form to what imagination first sees.
Source note: A Midsummer Night’s Dream, Act 5, Scene 1; continuation of Theseus’s speech about the poet and imagination.
“No legacy is so rich as honesty.”
The line values trustworthy character above possessions or reputation inherited after death.
Source note: All’s Well That Ends Well, Act 3, Scene 5; the line occurs in dialogue that values honest character above material inheritance.
“The web of our life is of a mingled yarn, good and ill together.”
Human life is pictured as a fabric woven from favorable and painful threads rather than a story made from only one kind of experience.
Source note: All’s Well That Ends Well, Act 4, Scene 3.
“All the world’s a stage, and all the men and women merely players.”
The metaphor treats life as a sequence of roles and stages, inviting reflection on identity, aging, and impermanence.
Source note: As You Like It, Act 2, Scene 7; Jaques introduces the famous seven-ages speech by comparing human life with a stage.
“The fool doth think he is wise, but the wise man knows himself to be a fool.”
Recognizing the limits of one’s knowledge is presented as a mark of wisdom, while certainty about one’s own wisdom can be evidence of the opposite.
Source note: As You Like It, Act 5, Scene 1.
“This above all: to thine own self be true.”
Polonius frames integrity as consistency between inward conviction and outward conduct, although the advice belongs to a fallible fictional counselor.
Source note: Hamlet, Act 1, Scene 3; Polonius gives Laertes this advice before Laertes leaves for France.
“To be, or not to be: that is the question.”
The line condenses an existential dilemma into a question about endurance, action, fear, and the unknown consequences of death.
Source note: Act 3, Scene 1; Hamlet weighs existence against suffering and uncertainty.
“We know what we are, but know not what we may be.”
The line leaves room between present identity and future possibility, making it useful for reflection on change and potential.
Source note: Hamlet, Act 4, Scene 5; Ophelia speaks during her disrupted state, so the line remains dramatic dialogue rather than Shakespearean autobiography.
“There is nothing either good or bad, but thinking makes it so.”
The line separates events from the judgments people place on them, a useful distinction for thinking about perception and response.
Source note: Hamlet, Act 2, Scene 2; Hamlet says this to Rosencrantz and Guildenstern while explaining that Denmark feels like a prison to him. The line is dramatic dialogue, not a detached psychological proposition by Shakespeare.
“When sorrows come, they come not single spies, but in battalions.”
Difficulty often feels cumulative: one loss can arrive alongside others, making the burden larger than any isolated event.
Source note: Hamlet, Act 4, Scene 5; Claudius describes multiple troubles arriving together after Polonius’s death.
“There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.”
The line warns against treating one explanatory framework as large enough to contain every possible fact or experience.
Source note: Hamlet, Act 1, Scene 5.
“Uneasy lies the head that wears a crown.”
Status and authority are presented as carrying anxiety and responsibility rather than guaranteeing comfort or peace of mind.
Source note: Act 3, Scene 1; King Henry reflects on the sleepless burden of rule.
“Cowards die many times before their deaths; the valiant never taste of death but once.”
The contrast suggests that repeated fear can make a person suffer imagined losses long before the real event arrives.
Source note: Julius Caesar, Act 2, Scene 2; Caesar contrasts repeated imagined fear with the single reality of death.
“The wheel is come full circle.”
The image describes consequences returning to their starting point and fortunes reversing over time.
Source note: King Lear, Act 5, Scene 3.
“Give sorrow words; the grief that does not speak knits up the o’er-wrought heart and bids it break.”
Putting grief into words can make suffering more shareable; silence may intensify pressure when pain has no form of expression.
Source note: Macbeth, Act 4, Scene 3; Malcolm urges Macduff to give grief words after the news of his family’s murder.
“How poor are they that have not patience! What wound did ever heal but by degrees?”
The image recognizes that wounds and complicated situations change gradually rather than instantly, but the dramatic context warns against automatically treating a persuasive maxim as trustworthy advice.
Source note: Othello, Act 2, Scene 3, Project Gutenberg #1531. Iago says this to Roderigo while encouraging patience with a manipulative plot; the speaker context is therefore essential to interpretation.
“O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on.”
Jealousy is described as self-consuming because it feeds on suspicion while tormenting the person who carries it.
Source note: Othello, Act 3, Scene 3.
“I wasted time, and now doth time waste me.”
Time ignored earlier becomes painfully visible later, when opportunities narrow and delay can no longer be recovered.
Source note: Richard II, Act 5, Scene 5.
“O, she doth teach the torches to burn bright!”
Romeo’s first reaction to Juliet turns visual beauty into illumination, showing how admiration changes the way the surrounding scene is perceived.
Source note: Romeo and Juliet, Act 1, Scene 5.
“What’s in a name? That which we call a rose by any other word would smell as sweet.”
The line questions whether labels and inherited identities should determine the value or reality of the person beneath them.
Source note: Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.
“All that glisters is not gold.”
Appearance can imitate value without possessing it, so the line encourages evidence and discernment before admiration or trust.
Source note: Act 2, Scene 7; the inscription warns against judging by outward appearance.
“The devil can cite Scripture for his purpose.”
Even respected language can be quoted selectively, so a citation should be judged by context and purpose rather than authority alone.
Source note: The Merchant of Venice, Act 1, Scene 3.
“Truth will come to light; murder cannot be hid long.”
Hidden wrongdoing may remain concealed for a time, but the line expresses confidence that facts and consequences tend eventually to surface.
Source note: The Merchant of Venice, Act 2, Scene 2; Launcelot uses the phrase while revealing his identity to his father.
“Look how the floor of heaven is thick inlaid with patines of bright gold.”
Shakespeare imagines the starry sky as a richly decorated surface, converting an ordinary night view into a crafted visual pattern.
Source note: The Merchant of Venice, Act 5, Scene 1; Lorenzo describes the stars above Belmont.
“Hell is empty and all the devils are here.”
The dramatic line relocates evil from an imagined elsewhere into immediate human experience and frightening events in the present.
Source note: Act 1, Scene 2; Ferdinand describes the terror surrounding the shipwreck.
“The isle is full of noises, sounds and sweet airs, that give delight and hurt not.”
Caliban’s description complicates the way others see him by giving him one of the play’s most sensitive accounts of sound, place, and beauty.
Source note: The Tempest, Act 3, Scene 2; Caliban reassures Stephano and Trinculo about the mysterious music of the island.
“We are such stuff as dreams are made on, and our little life is rounded with a sleep.”
The line emphasizes impermanence and the dreamlike brevity of human life.
Source note: Act 4, Scene 1.