Shakespeare’s Most Shareable Quotes

I hope you’re all enjoying ShakeShare, our mobile app that combines a database of Shakespeare quotes with all the original material from here on the blog (think #hashtag games and @Bardfilm’s famous lists), rendering them on top of a wide variety of background images (or your own photos!), suitable for sharing with your friends.  The mission here has always been, “Proving that Shakespeare makes life better,” and the app is just one more tool for making that happen.  Make an image that makes you happy, and share it with somebody.



I’ve recently compiled my statistics about how people have been using the app, and I’m happy to present the top 5 most shared quotes of all.  Just please, nobody tell bardfilm that none of his jokes made the list, he’ll be devastated. 😉

#5) “To you I give myself, for I am yours.”  How romantic! This one plays a big role in my book as well.
#4) “Strong reasons make strong actions.” I’m aware that I’ve put a King John quote on an image of Lady Macbeth, but I think it still works. They certainly thought their strong reasons justified their strong actions!

#3) “Fight till the last gasp.” People sure seem to like their motivational Shakespeare!
#2) “Be great in act, as you have been in thought.” Funny that two of the most shareable quotes come from a play most people have never seen. 

And the most shareable Shakespeare quote is…

#1) “How far that little candle throws its beams! So shines a good deed in a naughty world.” Ok, tell the truth, how many people think “Willy Wonka” when they hear this quote?

Like any of these images? Even if you don’t have or can’t get the app, you can still share Shakespeare. See those little buttons right below this post (buttons only appear on post, not on blog homepage)? Go ahead and share it on Pinterest or Facebook or whichever social network you love most.  Thanks!

The Lyfe of Arthure?

So I’ve been poking around Henslowe’s diary because I think my kids would find it cool that part of their inventory included an invisibility cloak (“a robe for to goo invisibell”).  Along the way I spotted this:


Which, if I translate it correctly, says that Henslowe lent money to Thomas Dowton (on May 2) to buy a robe to play “the lyfe of arthure.”  As in King Arthur?

We had a discussion once upon a time about why Shakespeare never wrote about King Arthur, and who else might have been writing about that legend at the time. I don’t see this play (or playwright?) mentioned.

Just thought it curious.  This excerpt has even more detail about that particular play:

I just noticed that right before the “lyfe of arthure” payment there is a full payment to Mr. Hathaway for the “booke of Kyng Arthore”.  Neat stuff!

To A Nunnery, Go

Watching bits and pieces of Olivier’s Hamlet this afternoon, just like I said I was going to do. I happened upon the “Get thee to a nunnery” scene.  As I write this I hear “To be or not to be” in the background so I’m forced to assume that Olivier flipped these scenes?


Anyway, back to Ophelia. This is quite possibly my favorite scene of the play, at least as far as dissecting Hamlet’s madness. I once collected every video interpretation of this scene I could find, to see how differently it has been played.  (Unfortunately some of the links in that post have been removed, just so you know.)

What is Hamlet’s relationship to Ophelia at this moment? Is he thinking that she’s turned on him as well? That she’s just a pawn being manipulated by her father? Is he putting on a show for the men behind the curtain, or does he mean what he’s saying? How far do his feelings for his mother at this moment extend toward all women (“Frailty thy name is woman?”) and thus toward Ophelia?

My title comes from the last line of the scene, as Olivier delivers it.  Ophelia is on the floor (where he’s thrown her), weeping inconsolably.  He leans over, kisses her hair, and says “To a nunnery, go,” and exits.  It almost sounds like, “The world is full of horrible horrible people doing horrible things, and you above all others I’d want to protect from that.” That’s most certainly not said for the benefit of Claudius and Polonius, and it doesn’t sound like it’s coming from someone “who loved her not.”

Mercutio, Kinsman to the Prince

I was thinking today about how often people accidentally lump Mercutio in with the Montagues, since he’s a friend of Romeo and doesn’t hold much love for Tybalt. That’s of course not true, otherwise his “A plague on both your houses!” would make no sense.

Casual audiences forget that Mercutio is actually a kinsman to the Prince himself. It’s pretty easy to forget, because … tell me again how it plays into the story?

I was trying to figure this out. Mercutio needs to be neither Montague nor Capulet, that’s clear. But Shakespeare could have just given him no affiliation. He doesn’t have to be related to the Prince, does he?

What about Romeo’s banishment? The Prince walks in to the bloodbath that was Tybalt/Mercutio/Romeo. He’s told that his kinsmen Mercutio is dead, murdered by Tybalt. Tybalt, likewise, is murdered by Romeo. Romeo’s gone.

The Prince, despite having promised execution for anybody that disturbs the streets again, decides on banishment for Romeo. How much do we think this decision has to do with the fact that it’s Mercutio we’re talking about? If Tybalt had murdered, say, Benvolio…then what? Does the Prince still call for banishment, or Romeo’s head?

This is the only place I can think of where the relationship between Mercutio and the Prince might have played into the story. Is there another one?

Shakespearean Anecdotes

I don’t know why this article exists – it has neither header nor footer telling me, and the headline is merely “Shakespeare” – but the author provides a bullet list of nothing but a bunch of anecdotes about actors performing Shakespeare.

Some favorites:

  • While working with Sir Donald Wolfit, Eric Porter ran into a problem at a school matinee performance of “Macbeth.” Wolfit disliked schoolchildren’s giggling during a performance, so he told the schoolchildren before the play started that there was absolutely no reason to laugh during “Macbeth.” However, Porter was playing the porter, who is a humorous character, and he said afterwards, “I had to stand on my head, practically, before I could raise a giggle!”
  • While performing Shakespeare in the open air in Africa during the late 1960s, actress Judi Dench received a scare one night. She looked at the audience, saw the silhouette of a figure with horns, and thought, “The Devil’s here!” The horned figure turned out to be a goat that had wandered into the audience.
  • Fred Astaire was not a reader. He once asked his son-in-law about the story of “Romeo and Juliet.” His son-in-law explained that it was like “West Side Story.”

No idea if they’re all true or what, I’m just fascinated by the random compilation that I stumbled across.