William Shakespeare Quotes About Trust

A Midsummer Night’s Dream, Act I, Scene 1; Lysander says this to Hermia while describing the obstacles that repeatedly frustrate lovers. Verified in the scan-backed 1918 Yale Shakespeare edition edited by Willard Higley Durham; direct evidence resolves to the reviewed Act I transcription.

All’s Well That Ends Well, Act I, Scene 1; the Countess of Roussillon gives Bertram the counsel “Love all, trust a few, do wrong to none.” Verified against Wikisource’s 1910 facsimile transcription of the 1623 First Folio (folio spelling “Loue all, trust a few, Doe wrong to none”); direct evidence resolves to the reviewed Act I transcription.

Macbeth, Act II, Scene III, reviewed against the scan-backed 1918 Yale text and the First Folio facsimile. Donalbain's 'There's daggers in men's smiles' follows Duncan's murder as Malcolm and Donalbain decide to flee; it is fictional suspicion under immediate danger rather than a universal claim about trust.

Romeo and Juliet, Act 2, Scene 2; Juliet speaks as the lovers part for the night.

Romeo and Juliet, Act 1, Scene 5.

Act 2, Scene 2; Juliet separates Romeo from the social meaning of his family name.

The Merchant of Venice, Act 4, Scene 1; Portia explains why mercy benefits both sides.

The Two Gentlemen of Verona, Act III, Scene 1: Proteus speaks to Valentine after the Duke banishes him. Although the words sound encouraging in isolation, Proteus has secretly betrayed Valentine’s plan. The MIT play transcription supplies the displayed public-domain wording and scene; this is fictional dialogue rather than Shakespeare’s personal confession.

Twelfth Night, Act I, Scene 1, Orsino; 1922 Yale Shakespeare edition edited by George Henry Nettleton, printed page 1 / Wikisource scan leaf 13. “If music be the food of love, play on” opens Orsino’s attempt to use excess music to surfeit and extinguish his appetite for love. It remains fictional dramatic speech shaped by Orsino’s self-dramatizing desire, not Shakespeare speaking autobiographically or a modern psychological claim about music and emotion.

Twelfth Night, Act III, Scene 3, Sebastian; 1922 Yale Shakespeare edition edited by George Henry Nettleton, printed page 56 / Wikisource scan leaf 68. Sebastian tells Antonio, “I can no other answer make but thanks, and thanks, and ever thanks,” after Antonio explains that concern for Sebastian’s safety drove him onward despite danger in Illyria. It remains fictional gratitude dialogue tied to Antonio’s costly loyalty, not Shakespeare autobiography.