Top 929 Mortality In Hamlet Quotes & Sayings - Page 12

We talk about feelings. And about sex. And about bodies, and their gratification, violation, repair, decoration, deferred, maybe permanently deferred, mortality. Feelings are a bodily thing, and respecting them is called, is, kindness.

No more gods, no more faith, no more timid holding back. Let us blast out of our old forms, our ignorance, our weakness, and our mortality. The future belongs to posthumanity.

You doubt God? Well more to the point I credit God with the good sense to doubt me. What is mortality after all but divine doubt flashing over us? For an instant God suspends assent and poof! we disappear.

Most people, including many Jews, think of Yom Kippur as a 25-hour caffeine headache capped off by a lox-and-bagels binge. It's undeniably that. But it is also, at its deepest level, a dry run. It is the one day of the year when we Jews are asked to look our mortality in the face.

Shakespeare was the main thing I did in my life from the age of 16 when I first played 'Hamlet' at school. I then did summer stock the next summer and then went to RADA and joined the RSC and ran my own company and then worked at the Globe. That was about 30 years of my life.

Italian writer-director Paolo Sorrentino makes zombie movies, which probably comes as a surprise to him. At the center of his best and most recent pictures are the walking dead, characters in a race with themselves across mortality's finish line, their spirits arriving before the rest of them.

It is not the weariness of mortality, but the strength of divinity, which we have to recognize in all mighty things; and that is just what we now never recognize, but think that we are to do great things by help of iron bars and perspiration. Alas! we shall do nothing that way but lose some pounds of our own weight.

Without dignity our lives are only blinks of duration. But if we manage to lead a good life well, we create something more. We write a subscript to our mortality. We make our lives tiny diamonds in the cosmic sands.

The doctrine of pre-existence pours a wonderful flood of light upon the otherwise mysterious problem of man's origin. It shows that man, as a spirit, was begotten and born of heavenly parents and reared to maturity in the eternal mansions of the Father, prior to coming upon the earth in a temporal body to undergo an experience in mortality.

I'm starting to get older, and began to think about mortality a little more. My mother died in 2003 and that was a big shock. When your parents start to die off, that's going to be a revelation. So for me, this album - although it might sound quite cheery - is really talking about death.

The root of humanly caused evil is not man's animal nature, not territorial aggression, or innate selfishness, but our need to gain self-esteem, deny our mortality, and achieve a heroic self-image. Our desire for the best is the cause of the worst.

I wrote my first play, Uncommon Women and Others, in the hopes of seeing an all-female curtain call in the basement of the Yale School of Drama. A man in the audience stood up during a post show discussion and announced, “I can't get into this, it's all about girls.” I thought to myself, “Well, I've been getting in to Hamlet and Laurence of Arabia my whole life, so you better start trying.”

The mortality of those who dig minerals is very great, and women who marry men of this sort marry again and again. According to Agricola, at the mines in the Carpathian mountains, women have been known to marry seven times.

I stood checked for a moment - awe, not fear, fell upon me - and whist I stood, a solemn wind began to blow, the most mournful that ever ear heard. Mournful! That is saying nothing. It was a wind that had swept the fields of mortality for a hundred centuries.

We who follow Christ are men and women of eternity. We must put no confidence in the passing scenes of the disappearing world. We must resist every attempt of Satan to palm off upon us the values that belong to mortality. Nothing less than forever is long enough for us.

Learning to live ought to mean learning to die - to acknowledge, to accept, an absolute mortality - without positive outcome,or resurrection, or redemption, for oneself or for anyone else. That has been the old philosophical injunction since Plato: to be a philosopher is to learn how to die.

I look at it like this: that if Shakespeare were alive today, he would have written two or three plays about the Kennedy family, and actors would traditionally play JFK like they Hamlet or King Lear. They just would. I mean, people have played JFK, and they'll play him long after I have.

You know I hate, detest, and can't bear a lie, not because I am straighter than the rest of us, but simply because it appals me. There is a taint of death, a flavour of mortality in lies - which is exactly what I hate and detest in the world - what I want to forget.

I've been through plenty in my life where I've really had to focus on the day ahead... because, as I know, the future is, you know, whatever the future is... Once you've stared mortality that hard in the face, you really seize the day.

Many audiences all over the world will answer positively from their own experience that they have seen the face of the invisible through an experience on the stage that transcended their experience in life. They will maintain that Oedipus or Berenice or Hamlet or The Three Sisters performed with beauty and with love fires the spirit and gives them a reminder that daily drabness is not necessarily all.

Our music has depth, and attempts philosophical thought and meaning with discussions of infinity, eternity and mortality. There is a line which people cross that turns it into some magical, mystical realm, for which I dont claim responsibility and dont hold any great truck with.

If it turns out that physical death truly results in the absolute cessation of consciousness, then it would seem to me that in the grand truth of things, every human who has ever lived, who has not committed every minute of their lives toward an effort in finding a cure for mortality, has died as an utter and miserable failure.

What we, thanks to Jung, call "synchronicity" (coincidence on steroids), Buddhists have long known as "the interpenetration of realities." Whether it's a natural law of sorts or simply evidence of mathematical inevitability (an infinite number of monkeys locked up with an infinite number of typewriters eventually producing 'Hamlet,' not to mention 'Tarzan of the Apes'), it seems to be as real as it is eerie.

Same-gender attraction did not exist in the pre-earth life and neither will it exist in the next life. It is a circumstance that for whatever reason or reasons seems to apply right now in mortality, in this nano-second of our eternal existence.

When I started out on 'Min Kamp', I was so extremely frustrated over my life and my writing. I wanted to write something majestic and grand, something like 'Hamlet' or 'Moby Dick,' but found myself with this small life - looking after kids, changing diapers, quarreling with my wife, unable to write anything, really.

Social questions are too sectional, too topical, too temporal to move a man to the mighty effort which is needed to produce greatpoetry. Prison reform may nerve Charles Reade to produce an effective and businesslike prose melodrama; but it could never produce Hamlet, Faust, or Peer Gynt.

The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.

I think it's always funny when you see kids do Shakespeare. When I was at school, I was in Hamlet. I played Claudius, who's supposed to be a 60-year-old man, and I was like 18. It's inherently ridiculous seeing 18-year-old boys with gray beards. That's always funny.

Like, that was weird in 'Hamlet 2,' because I played myself there, fully myself, but then I realized, 'Oh, I'm not playing myself. I'm some weird version of myself.' So as an actress, you're always playing something, I don't even know who I am, how could I become me? I don't know what that is.

We do not take much warning of our own mortality in seeing others die, nor of our own weakness in seeing others break down: we think we feel the springs of life stronger in us.

Most of my childhood revolved around wondering when we would be blown up by the Russians. I couldn't stand the news, I knew that if the missile were launched, mortality would arrive in half an hour, so I spent a lot of my childhood feeling that I was 30 minutes from being dead.

In Sweden for example people with PhDs have lower mortality than those with a masters degree. And people with a masters degree or a professional degree are not poor.

For me, life without literature is inconceivable. I think that Don Quixote in a physical sense never existed, but Don Quixote exists more than anybody who existed in 1605. Much more. There's nobody who can compete with Don Quixote or with Hamlet. So in the end we have the reality of the book as the reality of the world and the reality of history.

Writing stretches me to my limits and affirms my potential, all while making me aware of my flaws, my mortality, and how much more I have to learn. It's a singular feeling, both spiritual and corporeal, and I like to think it sparks the same inspiration and curiosity in a child that it does in an old man.

We see Google experimenting in so many places outside of its core search and advertising business, whether that's bringing broadband Internet to the world or funding an entirely separate company to pursue solutions to disease and mortality. Amazon's one of the few other companies that thinks as big as Google does.

You do become more aware of your mortality as you get older. When you're little, you jump on any wild horse. Then you get a little bit older and realize how fragile life is, and you're more careful.

What we should care about is health - reduction of morbidity and mortality. Too often, we instead pay attention to whether something is 'normal.' A hospital may spend several million dollars separating a pair of conjoined twins, even though that separation is likely to leave them worse off.

Many of the lessons we are to learn in mortality can only be received through the things we experience and sometimes suffer. And God expects and trusts us to face temporary mortal adversity with His help so we can learn what we need to learn and ultimately become what we are to become in eternity.

It is an end with priests and gods, if man becomes scientific. Moral: science is the thing forbidden in itself - it alone is forbidden. Science is the first sin, the germ of all sin, original sin. This alones is mortality: Thou shalt not know.

Behind the cotton wool is hidden a pattern; that we—I mean all human beings—are connected with this; that the whole world is a work of art; that we are parts of the work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself.

One learned gentleman, "a sage grave man," Talk'd of the Ghost in Hamlet, "sheath'd in steel"— His well-read friend, who next to speak began, Said, "That was poetry, and nothing real;" A third, of more extensive learning, ran To Sir George Villiers' Ghost, and Mrs. Veal; Of sheeted Spectres spoke with shorten'd breath, And thrice he quoted Drelincourt on Death.

Those who have lost an infant are never, as it were, without an infant child. Their other children grow up to manhood and womanhood, and suffer all the changes of mortality; but this one alone is rendered an immortal child; for death has arrested it with his kindly harshness, and blessed it into an eternal image of youth and innocence.

The training gave me the building blocks to get through it. A production of that scale, in a theater that big, you are going to struggle to keep your voice at first-run perfectness. All that work I did - the pull-ups and pushups - helped keep my body fit. Hamlet, the show, is a cardiovascular workout of about three hours, never mind the mental, soul-crushing element of it.

I saw Ben Whishaw playing Hamlet at the Old Vic and straight away had a very strong sense that he might be the end of a very, very long road of searching for the right guy. He did an amazing audition, where it all came across this, instinctive feeling that he obviously had for the character in the Perfume: The Story Of A Murderer.

We’re miserable because we think that we are mere individuals, alone with our fears and flaws and resentments and mortality. We wrongly believe that our limited little egos constitute our whole entire nature. We have failed to recognize our deeper divine character.

Much of Hamlet is about the precise kind of slippage the mourner experiences: the difference between being and seeming, the uncertainty about how the inner translates into the outer, the sense that one is expected to perform grief palatably. (If you don’t seem sad, people worry; but if you are grief-stricken, people flinch away from your pain.)

Life's so brief,” she goes on. “We're, at every juncture, staring mortality in the face. It's the very least we can do if we think it will be of any interest or value, to share the past. And although mine's been crooked, it's also been splendid. It's taught me to be vulnerable and humble, to write this book.

If you have had no tension in your life, never been screwed up by problems, your mortality well within your own grasp, and someone tells you that God so loved you that He gave His Son to die for you, nothing but good manners will keep you from being amused.

When you approach middle age, lots of stuff happens. Your body is aging, you're watching people around you get sick, you're watching people die, your mortality becomes very present at that point in your life.

Men choose Hamlet because every man sees himself as a disinherited monarch. Women choose Alice [in Wonderland] because every woman sees herself as the only reasonable creature among crazy people who think they are disinherited monarchs.

It's actually now, more common to see conceptual productions of Shakespearian, which Hamlet is played as a Nazi, or a homosexual, or whatever concept is being laid over the play, then it is to see a production of Shakespeare in which there is no conceptual overlay and the play is simply being presented on its own terms.

I don't think of 'Macbeth' as the villain. I don't think of 'King Lear' as the villain. I don't think of 'Hamlet' as the villain. I don't think of 'Travis Bickle' as the villain.

I think, as an actor, it is good to feel the fear of failing miserably. I think you should take that risk. Fear is a necessary ingredient in everything I do. But if I do 'Hamlet,' it will probably be in a small theater on a small stage, and it will have to be very, very soon because I'm getting a little long in the tooth for it.

I take enormous pleasure every time I see something that I've done that cannot be wiped out. In some way ... I guess it's a protest against mortality. But it's been so much fun! It's the curiosity that drives me. It's making a difference in the world that prevents me from ever giving up.

It is certainly not then-not in dreams- but when one is wide awake, at moments of robust joy and achievement, on the highest terrace of consciousness, that mortality has a chance to peer beyond its own limits, from the mast, from the past and its castle tower. And although nothing much can be seen through the mist, there is somehow the blissful feeling that one is looking in the right direction.

Both Brutus and Hamlet are highly intellectual by nature and reflective by habit. Both may even be called, in a popular sense, philosophic; Brutus may be called so in a stricter sense.

With spectacular events taking up so much of the available anxiety quotient, we need to be constantly reminded of the more workaday threats to our mortality - threats that, while they may also be functions of human error, have become so ubiquitous that we've begun to apprehend them as natural phenomena.

Between 2000 and 2010, malaria mortality rates fell by 26 percent around the world. According to the latest World Health Organization estimates, there were about 219 million cases of malaria in 2010 and an estimated 660,000 deaths.

It's the advantage of the virus to spread, and you can only spread when you infect people and they infect other people without necessarily killing them. So if you had 100 percent mortality, the potential pandemic would almost self-eliminate itself.

I gather, young man, that you wish to be a Member of Parliament. The first lesson that you must learn is, when I call for statistics about the rate of infant mortality, what I want is proof that fewer babies died when I was Prime Minister than when anyone else was Prime Minister. That is a political statistic.