A Quote by Robert Browning

The aim, if reached or not, makes great the life: Try to be Shakespeare, leave the rest to fate! — © Robert Browning
The aim, if reached or not, makes great the life: Try to be Shakespeare, leave the rest to fate!
Shakespeare's plays often turn on the idea of fate, as much drama does. What makes them so tragic is the gap between what his characters might like to accomplish and what fate provides them.
When I look at life I try to be as agnostic and unmetaphysical as possible. So I have to admit that, most probably, we do not have a fate. But I think that's something that draws us to novels - that the characters always have a fate. Even if it's a terrible fate, at least they have one.
We need to take a far more active role in love than 'Romeo and Juliet' would lead us to believe. Perhaps that's what Shakespeare's saying, in a way. We can't leave it all up to fate.
I'm already 30! It doesn't really feel like a landmark. When I started out, my aim was to keep making records. Just because I've reached the 10th doesn't mean I'm going to rest on my laurels now!
They may well fear fate who have any infirmity of habit or aim: but they who rest on what is have a destiny beyond destiny, and can make mouths of fortune.
If you are blessed with great fortunes. . . you may love your fate. But your fate never guarantees the security of those great fortunes. As soon as you realize your helplessness at the mercy of your fate, you are again in despair. Thus the hatred of fate can be generated not only by misfortunes, but also by great fortunes. Your hatred of fate is at the same time your hatred of your self. You hate your self for being so helpless under the crushing power of fate.
I have the pleasure of being surrounded by desserts and chocolate. If that makes me a sex symbol then great, but it's not my aim in life.
I've reached the 50th year of my life, and now every question related with life also includes thinking about death. When I leave, I want to leave to my offspring a clear idea about identity.
With 'Fate's Right Hand,' I think I reached a level of completeness in forming and articulating ideas at around the same time I reached a place where I could match it with my singing voice. It was a kind of coming together.
I don't want to be more famous. I enjoy making movies but I enjoy my private life too. As an actor, to do it once in my lifetime I think would be a good experience. But I'll just leave it to fate. I had a chance to work with Ang Lee because of fate.
When I have reached a summit, I leave it with great reluctance, unless it is to reach for another, higher one.
Beyond work and love, I would add two other ingredients that give meaning to life. First, to fulfill whatever talents we are born with. However blessed we are by fate with different abilities and strengths, we should try to develop them to the fullest, rather than allow them to atrophy and decay. ... Second, we should try to leave the world a better place than when we entered it.
The great theme of modern British history is the fate of freedom. The 18th century inherits, after the Civil War, this very peculiar political animal. It's not a democracy, but it's not a tyranny. It's not like the rest of the world, the rest of Europe. There is a parliament, laws have to be made, elections are made.
I think it always makes for great television when two characters actually take time to realize that they want to be with each other. You have to leave it to the writers to know what makes great television.
I think working on Shakespeare was a big part of my time at drama school. I'm so glad that I got to know Shakespeare and got a chance to play great parts in Shakespeare, because it really teaches you - or taught me, anyway - everything.
When I was doing Shakespeare and I had spent a lot of time and effort in trying to become a great Shakespearean actress. That was how I started my career, was in the theater doing Shakespeare. And my ambition was to be a great classical actress. That was what I wanted more than anything. So, I really pursued that in the first four years of my career. And it was an uphill struggle. It really was. Shakespeare's difficult and Shakespeare in a big theater is even more difficult. So, anyway, it was a struggle for me.
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