1. Hamlet Quotes Review Regular classes

2. Hamlet Review

3. Speaker: At such a time I'll loose my daughter to him: Be you and I behind an arras then; Mark the encounter:

4. Who is “you”? At such a time I'll loose my daughter to him: Be you and I behind an arras then; Mark the encounter:

5. Who is ‘him’? At such a time I'll loose my daughter to him: Be you and I behind an arras then; Mark the encounter:

6. Speaker: And, England, if my love thou hold'st at aught-- As my great power thereof may give thee sense, Since yet thy cicatrice looks raw and red After the Danish sword, and thy free awe Pays homage to us--thou mayst not coldly set Our sovereign process; which imports at full, By letters congruing to that effect, The present death of Hamlet. Do it, England; For like the hectic in my blood he rages, And thou must cure me: till I know 'tis done, Howe'er my haps, my joys were ne'er begun.

7. Speaker: Give me your pardon, sir: I've done you wrong; But pardon't, as you are a gentleman. This presence knows, And you must needs have heard, how I am punish'd With sore distraction.

8. Who is spoken to: Give me your pardon, sir: I've done you wrong; But pardon't, as you are a gentleman. This presence knows, And you must needs have heard, how I am punish'd With sore distraction.

9. Speaker: Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.

10. The theme of this quote is Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action. A. revengeB. madness C. disguiseD. indecision

11. Speaker: Sir, in my heart there was a kind of fighting, That would not let me sleep: methought I lay Worse than the mutines in the bilboes. Rashly, And praised be rashness for it, let us know, Our indiscretion sometimes serves us well, When our deep plots do pall: and that should teach us There's a divinity that shapes our ends, Rough-hew them how we will,--

12. Who is spoken to: Sir, in my heart there was a kind of fighting, That would not let me sleep: methought I lay Worse than the mutines in the bilboes. Rashly, And praised be rashness for it, let us know, Our indiscretion sometimes serves us well, When our deep plots do pall: and that should teach us There's a divinity that shapes our ends, Rough-hew them how we will,--

13. Speaker: was your father dear to you? Or are you like the painting of a sorrow, A face without a heart?

14. Who is ‘you’? was your father dear to you? Or are you like the painting of a sorrow, A face without a heart?

15. Who is ‘father’? was your father dear to you? Or are you like the painting of a sorrow, A face without a heart?

16. Speaker: nor have we herein barr'd Your better wisdoms, which have freely gone With this affair along. For all, our thanks.

17. Speaker: Seems,…nay it is; I know not 'seems.' 'Tis not alone my inky cloak, … Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.

18. Who is spoken to? Seems,…nay it is; I know not 'seems.' 'Tis not alone my inky cloak, … Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.

19. Speaker: Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will: but you must fear, His greatness weigh'd, his will is not his own; For he himself is subject to his birth: He may not, as unvalued persons do, Carve for himself; for on his choice depends The safety and health of this whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.

20. Who is described: Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will: but you must fear, His greatness weigh'd, his will is not his own; For he himself is subject to his birth: He may not, as unvalued persons do, Carve for himself; for on his choice depends The safety and health of this whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.

21. Who is spoken to: Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will: but you must fear, His greatness weigh'd, his will is not his own; For he himself is subject to his birth: He may not, as unvalued persons do, Carve for himself; for on his choice depends The safety and health of this whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.Perhaps he loves you now, And now no soil nor cautel doth besmirch The virtue of his will: but you must fear, His greatness weigh'd, his will is not his own; For he himself is subject to his birth: He may not, as unvalued persons do, Carve for himself; for on his choice depends The safety and health of this whole state; And therefore must his choice be circumscribed Unto the voice and yielding of that body Whereof he is the head.

22. Speaker: Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.

23. Who is described: Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.

24. This quote means Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede.Do not, as some ungracious pastors do, Show me the steep and thorny way to heaven; Whiles, like a puff'd and reckless libertine, Himself the primrose path of dalliance treads, And recks not his own rede. A. don’t lieB. don’t be a hypocriteA. don’t lieB. don’t be a hypocrite C. don’t be a preacherC. don’t be a preacher

25. Speaker: Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows: these blazes, Giving more light than heat, extinct in both, Even in their promise, as it is a-making, You must not take for fire.Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows: these blazes, Giving more light than heat, extinct in both, Even in their promise, as it is a-making, You must not take for fire.

26. Who is spoken to: Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows: these blazes, Giving more light than heat, extinct in both, Even in their promise, as it is a-making, You must not take for fire.Ay, springes to catch woodcocks. I do know, When the blood burns, how prodigal the soul Lends the tongue vows: these blazes, Giving more light than heat, extinct in both, Even in their promise, as it is a-making, You must not take for fire.

27. Speaker: For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.

28. Who is described in the underlined words? For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.

29. Who is spoken to (underlined word)? For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.For _____, Believe so much in him, that he is young And with a larger tether may he walk Than may be given you.

30. Speaker: Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!' And, in this brainish apprehension, kills The unseen good old man.Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!' And, in this brainish apprehension, kills The unseen good old man.

31. Who is described:  Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!' And, in this brainish apprehension, kills The unseen good old man.

32. Who is spoken to?  Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!' And, in this brainish apprehension, kills The unseen good old man.

33. Is this statement true or false?  Mad as the sea and wind, when both contend Which is the mightier: in his lawless fit, Behind the arras hearing something stir, Whips out his rapier, cries, 'A rat, a rat!' And, in this brainish apprehension, kills The unseen good old man.

34. Speaker:  My lord, I will be ruled; The rather, if you could devise it so That I might be the organ.

35. Who is spoken to?  My lord, I will be ruled; The rather, if you could devise it so That I might be the organ.

36. Speaker:  that we would do We should do when we would; for this 'would' changes And hath abatements and delays as many As there are tongues, are hands, are accidents; And then this 'should' is like a spendthrift sigh, That hurts by easing.

37. Who is spoken to?  that we would do We should do when we would; for this 'would' changes And hath abatements and delays as many As there are tongues, are hands, are accidents; And then this 'should' is like a spendthrift sigh, That hurts by easing.

38. Speaker:  How smart a lash that speech doth give my conscience! The harlot's cheek, beautied with plastering art, Is not more ugly to the thing that helps it Than is my deed to my most painted word:

39. The theme expressed is  that we would do We should do when we would; for this 'would' changes And hath abatements and delays as many As there are tongues, are hands, are accidents; And then this 'should' is like a spendthrift sigh, That hurts by easing.  A. disguiseB. madness  C. indecision

40. This speech is  How smart a lash that speech doth give my conscience! The harlot's cheek, beautied with plastering art, Is not more ugly to the thing that helps it Than is my deed to my most painted word:  A. an accusationB. a plan  C. a paradoxD. a confession

41. Speaker: O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down!

42. Who is described: O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down! O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down!

43. This line means O, what a noble mind is here o'erthrown! O, what a noble mind is here o'erthrown! A. the person described is dead A. the person described is dead B. the person described is in disguise B. the person described is in disguise C. the person described is insane C. the person described is insane

44. This line means The expectancy and rose of the fair state The expectancy and rose of the fair state A. the person described is like a flower A. the person described is like a flower B. the person described will be the next ruler B. the person described will be the next ruler C. The person described is expecting a baby C. The person described is expecting a baby

45. Speaker: About, my brain! I have heard That guilty creatures sitting at a play Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ. About, my brain! I have heard That guilty creatures sitting at a play Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.

46. Speaker: But, O, what form of prayer Can serve my turn? 'Forgive me my foul murder'? That cannot be; since I am still possess'd Of those effects for which I did the murder, My crown, mine own ambition and my queen. May one be pardon'd and retain the offence? But, O, what form of prayer Can serve my turn? 'Forgive me my foul murder'? That cannot be; since I am still possess'd Of those effects for which I did the murder, My crown, mine own ambition and my queen. May one be pardon'd and retain the offence?

47. Speaker: Madness in great ones must not unwatch'd go. Madness in great ones must not unwatch'd go.

48. Who is described? Madness in great ones must not unwatch'd go. Madness in great ones must not unwatch'd go.

49. Speaker: You could, for a need, study a speech of some dozen or sixteen lines, which I would set down and insert in't, could you not? You could, for a need, study a speech of some dozen or sixteen lines, which I would set down and insert in't, could you not?

50. Speaker: I'll have grounds More relative than this: the play 's the thing Wherein I'll catch the conscience of the king. I'll have grounds More relative than this: the play 's the thing Wherein I'll catch the conscience of the king.

51. Speaker:  What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.

52. Who is spoken to:  What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.

53. What does the pronoun ‘it’ refer to?  What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.

54. Speaker:  Now might I do it pat, now he is praying; And now I'll do't. And so he goes to heaven; And so am I revenged. That would be scann'd:

55. Who is ‘he’?  Now might I do it pat, now he is praying; And now I'll do't. And so he goes to heaven; And so am I revenged. That would be scann'd:

56. This line means  That would be scann'd:  A. I should run that through the scanner.  B. I should do that.  C. I should think about that.

57. Speaker:  speak no more: Thou turn'st mine eyes into my very soul; And there I see such black and grained spots As will not leave their tinct.

58. Who is spoken to:  speak no more: Thou turn'st mine eyes into my very soul; And there I see such black and grained spots As will not leave their tinct.

59. Speaker:  Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out:

60. Who is spoken to?  Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out:

61. The theme expressed is  Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out:  A. madnessB. indecision  C. disguiseD. perception of reality

62. What poetic device is used?  Your bait of falsehood takes this carp of truth: And thus do we of wisdom and of reach, With windlasses and with assays of bias, By indirections find directions out:

63. speaker:  Come, come, and sit you down; you shall not budge; You go not till I set you up a glass Where you may see the inmost part of you.

64. Who is spoken to:  Come, come, and sit you down; you shall not budge; You go not till I set you up a glass Where you may see the inmost part of you.

65. This quote means  Come, come, and sit you down; you shall not budge; You go not till I set you up a glass Where you may see the inmost part of you.  A. I want to hurt you.  B. I want you to examine your inner thoughts.  C. I want you to fix your makeup in the mirror.

66. Speaker:  Here, as before, never, so help you mercy, How strange or odd soe'er I bear myself, As I perchance hereafter shall think meet To put an antic disposition on, That you, at such times seeing me, never shall, With arms encumber'd thus, or this headshake, Or by pronouncing of some doubtful phrase, As 'Well, well, we know,' or 'We could, an if we would,' Or 'If we list to speak,' or 'There be, an if they might,' Or such ambiguous giving out, to note That you know aught of me: this not to do, So grace and mercy at your most need help you, Swear.

67. Speaker:  Why, any thing, but to the purpose. You were sent for; and there is a kind of confession in your looks which your modesties have not craft enough to colour: I know the good king and queen have sent for you.

68. Who is spoken to:  Why, any thing, but to the purpose. You were sent for; and there is a kind of confession in your looks which your modesties have not craft enough to colour: I know the good king and queen have sent for you.