Rosencrantz And Guildenstern Quotes
The best sayings about Rosencrantz And Guildenstern that you can share on Instagram, Pinterest, Facebook and other social networks!
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Rosencrantz: We might as well be dead. Do you think death could possibly be a boat? Guildenstern: No, no, no... Death is...not. Death isn't. You take my meaning. Death is the ultimate negative. Not-being. You can't not-be on a boat. Rosencrantz: I've frequently not been on boats. Guildenstern: No, no, no--what you've been is not on boats.
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It's silly to be depressed by it. I mean one thinks of it like being alive in a box, one keeps forgetting to take into account the fact that one is dead, which should make all the difference, shouldn't it? I mean, you'd never know you were in a box would you?... Even taking into account the fact that you're dead, it isn't a pleasant thought. Especially if you're dead, really. Ask yourself, if I asked you straight off-- I'm going to stuff you in this box now would you rather be alive or dead? Naturally you'd prefer to be alive. Life in a box is better than no life at all.
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Between "just desserts" and "tragic irony" we are given quite a lot of scope for our particular talent. Generally speaking, things have gone about as far as they can possibly go when things have got about as bad as they reasonably get.
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All your life you live so close to truth, it becomes a permanent blur in the corner of your eye, and when something nudges it into outline it is like being ambushed by a grotesque.
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Rosencrantz: Shouldn't we be doing something--constructive? Guildenstern: What did you have in mind? ... A short, blunt human pyramid...?
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The bad end unhappily, the good unluckily. That is what tragedy means.
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For all the compasses in the world, there's only one direction, and time is its only measure.
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Though this be madness, yet there is method in't.
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Well, we'll know better next time.
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Give us this day our daily mask.
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Such thanks as fits a king's remembrance.
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There must have been a moment, at the beginning, were we could have said -- no. But somehow we missed it.
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More than any other contemporary British playwright, Tom Stoppard populates his plays -- from Rosencrantz and Guildenstern Are Dead to The Invention of Love (his portrait of the poet and scholar A. E. Housman) -- with characters from life and literature. But one cannot always tell the difference between those who are real and those who are imaginary.
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Life in a box is better than no life at all... I expect.
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Life in a box is better than no life at all, I expect. You'd have a chance at least. You could lie there thinking: Well, at least I'm not dead.
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Whatever became of the moment when one first knew about death? There must have been one. A moment. In childhood. When it first occurred to you that you don’t go on forever. It must have been shattering, stamped into one’s memory. And yet, I can’t remember it.
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Eternity's a terrible thought. I mean, where's it all going to end?
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A Chinaman of the T'ang Dynasty—and, by which definition, a philosopher—dreamed he was a butterfly, and from that moment he was never quite sure that he was not a butterfly dreaming it was a Chinese philosopher. Envy him; in his two-fold security.
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Be happy -- if you're not even happy, what's so good about surviving?
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...reality, the name we give to the common experience.
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O God, I could be bound in a nutshell, and count myself a king of infinite space – were it not that I have bad dreams.
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We cross our bridges when we come to them and burn them behind us, with nothing to show for our progress except a memory of the smell of smoke, and a presumption that once our eyes watered.
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What did you have in mind? A short, blunt human pyramid?
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We've traveled too far, and our momentum has taken over; we move idly towards eternity, without possibility of reprieve or hope of explanation.
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This goodly frame, the earth, seems to me a sterile promontory.
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We must be born with an intuition of mortality. Before we know the word for it. Before we know that there are words. Out we come, bloodied and squalling, with the knowledge that for all the points of the compass, there's only one direction. And time is its only measure.
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Actors! The mechanics of cheap melodrama! That isn't death! You scream and choke and sink to your knees but it doesn't bring death home to anyone- it doesn't catch them unawares and start the whisper in their skulls that says- 'One day you are going to die.
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Audiences know what to expect, and that is all that they are prepared to believe in.
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Shakespeare might have met Rosencrantz and Guildenstern in the white streets of London, or seen the serving-men of rival houses bite their thumbs at each other in the open square; but Hamlet came out of his soul, and Romeo out of his passion.
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The colours red, blue and green are real. The colour yellow is a mystical experience shared by everybody.
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