quoting shakespeare in an essay

Dr. Mark Womack

How to Quote Shakespeare

Title and reference format.

Richard III or Othello

Twelfth Night (1.5.268–76)

In 3.1, Hamlet delivers his most famous soliloquy.

“Periods and commas,” says Dr. Womack, “ always go inside quotation marks.”

Prose Quotations

The immensely obese Falstaff tells the Prince: “When I was about thy years, Hal, I was not an eagle’s talon in the waist; I could have crept into any alderman’s thumb ring” (2.4.325–27).

In Much Ado About Nothing , Benedick reflects on what he has overheard Don Pedro, Leonato, and Claudio say: This can be no trick. The conference was sadly borne. They have the truth of this from Hero. They seem to pity the lady. It seems her affections have their full bent. Love me? Why, it must be requited. I hear how I am censured. They say I will bear myself proudly if I perceive the love come from her; they say too that she will rather die than give any sign of affection. (2.3.217–24)

Verse Quotations

Berowne’s pyrotechnic line “Light, seeking light, doth light of light beguile” is a text-book example of antanaclasis (1.1.77).

Claudius alludes to the story of Cain and Abel when describing his crime: “It hath the primal eldest curse upon’t, / A brother’s murder” (3.3.37–38).

Jaques begins his famous speech by comparing the world to a theater:                                         All the world’s a stage And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages. (2.7.138–42)

He then proceeds to enumerate and analyze these ages.

Dialogue Quotations

The Christians in Venice taunt Shylock about his daughter’s elopement: SHYLOCK.  She is damned for it. SALARINO.  That’s certain, if the devil may be her judge. SHYLOCK.  My own flesh and blood to rebel! SOLANIO.  Out upon it, old carrion! Rebels it at these years? SHYLOCK.  I say my daughter is my flesh and my blood. SALARINO.  There is more difference between thy flesh and hers than between jet and ivory, more between your bloods than there is between red wine and Rhenish. (3.1.29–38)

From their first conversation, Lady Macbeth pushes her husband towards murder: MACBETH.                         My dearest love, Duncan comes here tonight. LADY MACBETH.                 And when goes hence? MACBETH. Tomorrow, as he purposes. LADY MACBETH.                                 O, never Shall sun that morrow see. (1.5.57–60)

How to Use Shakespeare Quotes

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You can make your essays interesting by adding a famous quote, and there is no source more illustrious than Shakespeare to quote! However, many students feel intimidated at the thought of quoting Shakespeare. Some fear that they may use the quote in the wrong context; others may worry about using the quote verbatim and missing the precise meaning, owing to the archaic Shakespearean expressions. Navigating these difficulties is possible, and your writing may be greatly enhanced if you use quotes from Shakespeare with skill and attribute the quotes correctly. 

Find the Right Shakespeare Quote

You can refer to your favorite resources, found in your school library, a public library, or your favorite content destinations on the Internet. With all theater quotations, make sure that you use a reliable source that gives you complete attribution, which includes the name of the author, the play title, the act , and the scene number.

Using the Quote

You will find that the language used in Shakespeare plays have archaic expressions that were used during the Elizabethan era . If you are unfamiliar with this language, you run the risk of not using the quote correctly. To avoid making mistakes, be sure to use the quote verbatim—in exactly the same words as in the original source.

Quoting From Verses and Passages

Shakespeare plays have many beautiful verses; it's up to you to find an appropriate verse for your essay. One way to ensure an impactful quote is to ensure that the verse you choose does not leave the idea unfinished. Here are some tips for quoting Shakespeare:

• If you are quoting verse and it runs longer than four lines, you must write the lines one below the other as you do when you write poetry. However, if the verse is one to four lines long, you should use the line division symbol (/) to indicate the beginning of the next line. Here is an example: Is love a tender thing? It is too rough, / Too rude, too boisterous; and it pricks like thorn ( Romeo and Juliet , Act I, Sc. 5, line 25).
• If you are quoting prose , then there is no need for line divisions. However, to effectively represent the quote, it is beneficial to first provide the contextual relevance of the quote and then proceed to quote the passage. Context helps your reader to understand the quote and to better grasp the message that you wish to convey by using that quote, but you should exercise caution when deciding how much information to supply. Sometimes students give a brief synopsis of the play to make their Shakespeare quote sound relevant to their essay, but it is better to provide short, focused background information. Here is a writing example in which a small amount of context, provided before a quote, improves its impact:

Miranda, daughter of Prospero, and the King of Naples' son, Ferdinand, are to get married. While Prospero is not optimistic about the arrangement, the couple, Miranda and Ferdinand, are looking forward to their union. In this quote, we see the exchange of viewpoints between Miranda and Prospero: "Miranda: How beauteous mankind is! O brave new world, That has such people in't! Prospero: 'Tis new to thee." ( The Tempest , Act V, Sc. 1, lines 183–184)

Attribution

No formal Shakespeare quote is complete without its attribution. For a Shakespeare quote, you need to provide the play title, followed by act, scene, and, often, line numbers. It is a good practice to italicize the title of the play.

In order to ensure that the quote is used in the right context, it is important to reference the quote appropriately. That means you must mention the character's name who made the statement. Here is an example:

In the play Julius Caesar , the relationship of the husband-wife duo (Brutus and Portia), brings out the conniving nature of Portia, in startling contrast to Brutus' gentleness: "You are my true and honourable wife;/As dear to me as are the ruddy drops/That visit my sad heart." ( Julius Caesar , Act II, Sc. 1)

Length of the Quote

Avoid using long quotes. Long quotes dilute the essence of the point. In case you have to use a specific long passage, it is better to paraphrase the quote.

• A Complete List of Shakespeare’s Plays
• Quotes From Shakespeare's 'The Tempest'
• 'The Tempest' Overview
• 'The Tempest' Summary for Students
• 'The Tempest' Characters: Description and Analysis
• Overview of Shakespeare's 'The Tempest'
• A Collection of Shakespeare Lesson Plans
• Shakespeare's New Year and Christmas Quotes
• A Guide to Using Quotations in Essays
• 'The Tempest' Quotes Explained
• 10 Shakespeare Quotes on Tragedy
• Romantic Shakespeare Quotes
• 'The Tempest' Summary
• How to Speak Shakespearean Verse
• Top Quotes From Shakespeare
• 'The Tempest' Themes, Symbols, and Literary Devices

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How to Cite Shakespeare in APA Referencing

3-minute read

• 26th October 2018

To cite, or not to cite – that is the first question. But many referencing systems have special rules for citing The Bard , so the second question might be “How do I cite it?” Here, then, we look at how to cite Shakespeare in an academic paper using APA referencing .

How to Cite Shakespeare Plays in APA Referencing

Citing Shakespeare in APA means giving the author’s surname and two years of publication: one for the original text and another for the edition you’re referencing. Give both dates in the in-text citation, separated by a forward slash:

Hamlet is a play concerned with death (Shakespeare, 1599/2004).

If you’re quoting or paraphrasing a play, give a pinpoint citation as well. For Shakespeare, this will mean citing act, scene, and line numbers. For instance:

Yorick is “a fellow of infinite jest” (Shakespeare, 1599/1992, 5.1.191–192).

Here, for example, we’re citing act five, scene one, lines 191–192 of Hamlet . The advantage of using act, scene, and line numbers rather than page numbers is that they should be consistent across editions of Shakespeare’s work, so other people can look up the reference even if they don’t have the same version of the text.

Listing Shakespeare in an APA Reference List

The format for a Shakespeare text in an APA reference list should include the names of any editors or translators. APA also suggests providing a date of original publication for republished texts :

Surname, First Initial. (Year of Publication or Translation). Title of play . (Translator Initial(s). Surname(s), Trans.). Editor Initial(s). Surname(s). (Ed.). Publisher. (Original work published date)

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For an edition without a translator or an editor, simply omit this information. We could, for example, list an edited version of Hamlet in the original Shakespearean English like this:

Shakespeare, W. (1992). Hamlet, prince of Denmark . C. Watts & K. Carabine (Eds.). Wordsworth Editions. (Original work published 1599)

Online Editions of Shakespeare Texts

The format is a little different if you’re using an online version of a text. In this case, provide a date for when it was uploaded or when the page was last updated, as well as a URL for where it can be found:

Shakespeare, W. (2016). Hamlet, prince of Denmark . B. Mowat & P. Werstine (Eds.). https://www.folgerdigitaltexts.org/html/Ham.html#line-1.3.0 (Original work published 1599)

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Citing Sources: Shakespeare and MLA

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General information about MLA and Shakespeare

Italicize the titles of the plays – Macbeth (for the play), Macbeth (for the character)

You may abbreviate the title of the play in the parenthetical citation ( check with your teacher first )

• Macbeth – Mac.
• Hamlet – Ham.
• Usually use Arabic numbers (1.5.4-5) or (2.1.110-13)
• Some teachers still prefer Roman numerals (II.iv.4-6)
• If author’s name mentioned in the text, only put the page number in parentheses, otherwise (author’s last name #).
• If there are no different sources between quotes – can use  (#) 

In-text citations - short quotes

Quotes longer than three lines should begin on a new line.

• if one line, put it in quotation marks within your text:

• If two or three lines, include the quote within your text but use the forward slash to indicate the separate verses:

One Shakespearean protagonist seems resolute at first when he asserts, “Haste me to know’t, that I, with wings as swift / As meditation … / May sweep to my revenge” ( Hamlet 1.5.35-37).  

(notice the forward slash is separated from the text by spaces. the ellipsis ... is used to indicate that some of the text was not included)

In-text citations - long quotes or dialogue

Direct quotes (long quotes or dialogue) – Quotations four lines or more or dialogue are formatted with  a block quote. Set the quotation off from your text. Indent one inch (2.54 cm.) for left margin. Capitalize the character’s name, followed by a period. Indent all subsequent lines an addition ¼ inch (.64 cm):

POLONIUS. Well be with you, gentlemen!

HAMLET. Hark you, Guildenstern, and you too! At each ear a hearer. That great

baby you see there is not yet out of his swaddling-clouts. ( Ham. 2.2.383-386)

In-text Citation: Citing an Indirect Source (Quoting a Source in a Source)

If there are no page numbers on the electronic source, use only the author name or the first main word of the title. However, you can indicate where the material came from in your text.

There are occasions where you may find a source that quotes another source that you want to use in your paper. Ideally, you would find the original source to ensure you understand the context of the quote. If you do decide to use the quote from the source you are using, however, you must recognize both sources . For example, in the Critical Insights series, we have a popular book of critical analysis called Things for Apart. One of the chapters, written by Amy Sickels, is entitled "The Critical Reception of  Things Fall Apart."  In her essay, she quotes Keith M. Booker. This is the quote you decide you want to use:

Booker makes the point that the "African novel is always a complex hybrid cultural phenomenon that combines Western and African cultural perspectives" (qtd. in Sickels 43).

The citation in the Works Cited page (remember you need a hanging indent):

Sickels, Amy. “The Critical Reception of Things Fall Apar t." Things Fall Apart ,  edited by M. Keith Booker, Salem Press, 2011, pp.  33-52.

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A Guide to Citing Shakespeare in Academic Writing

• Nov 09, 2023
• Academic Editing
• Proofreading Tips
• Referencing and Citations

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Are you confident when it comes to citing Shakespeare? Shakespeare’s plays are so influential that many style guides have special rules for citing them. As a proofreader, you’ll need to look out for citations like these when working on academic writing and make sure they have been added correctly. 

If you’re not sure how to cite a play by Shakespeare accurately, don’t worry! In this blog post, we’ll set out the key rules for citing Shakespeare’s plays in some of the major referencing systems:

Keep reading to learn more.

How to Cite Shakespeare in MLA Style

MLA style recommends citing Shakespeare’s plays using act, scene, and line numbers rather than standard page numbers. For example:

A Midsummer Night’s Dream addresses love early on (Shakespeare 1.1.234–235).

However, if your client has cited more than one of Shakespeare’s plays, they will need to replace the author’s name with the source title. This is because MLA referencing doesn’t use a date of publication in citations, so the title helps readers distinguish between sources by the same author.

In addition, for Shakespeare’s plays, MLA style suggests a series of standard abbreviations for use in citations. Your client should use these rather than shortening titles themselves:

Shakespeare touched on this theme many times (e.g., MND 1.1.234–235; TN 1.1.1; Rom. 1.1.181), suggesting the nature of love was a point of fascination for him.

The passage above, for example, cites A Midsummer Night’s Dream ( MND ), Twelfth Night ( TN ), and Romeo and Juliet ( Rom. ), with the abbreviations keeping the citations succinct.

Meanwhile, the format for Shakespeare’s plays in an MLA “Works Cited” list will depend on how your client accessed the source (e.g., online or a print anthology). However, entries should always include full publication details for the version cited in the document.

How to Cite Shakespeare in APA Style

APA referencing uses its author–date citations when citing Shakespeare. The main issue to look out for is the date, which should include two dates separated by a forward slash:

Romeo and Juliet (Shakespeare, 1597/2021) is the most famous love story ever written.

The first year here (1597) refers to the year the play was originally published. The second (2021) is the year of publication for the specific edition referenced. In this respect, Shakespeare plays follow the standard rules for reprinted works in APA referencing .

The other key point relates to quotations and paraphrases from Shakespeare plays, which should be cited with act, scene, and line numbers rather than page numbers:

It is at this point we encounter the famous line from the balcony scene: “O Romeo, Romeo, wherefore art thou Romeo?” (Shakespeare, 1597/2021, 2.2.35).

This shows that the quote comes from act 2, scene 2, line 35 of Romeo and Juliet .

In an APA reference list, meanwhile, Shakespeare plays are typically cited as reprinted books (i.e., with an original date of publication at the end of the reference). Make sure to check your client includes the edition cited, as line numbers can vary between versions.

How to Cite Shakespeare in Chicago Style

Chicago style varies depending on the version of this system used (i.e., footnote citations or parenthetical author–date citations ). However, there are two things that always apply:

• The Chicago Manual of Style suggests using act, scene, and line numbers when citing classic English plays, including Shakespeare plays.
• Writers should include the edition of the text used for clarity on line numbers.

In the footnote version of Chicago referencing, then, the first footnote might look like this:

1. William Shakespeare, The Tempest , ed. Alden T. Vaughan and Virginia Mason Vaughan (London: Bloomsbury, 2011), 1.1.20–26. References are to act, scene, and line.

Here, for example, the citation is for lines 20 to 26 in act 1, scene 1 of The Tempest . The full publication information and the sentence “References are to act, scene, and line” would be only required on the first reference, though: subsequent citations can typically be shortened .

A Chicago author–date citation of the same passage, meanwhile, would look like this:

We see this early on in The Tempest (Shakespeare 2011, 1.1.20–26).

Both versions of Chicago style also require the full publication details for the version cited in the bibliography/reference list, so make sure to check if this information is present.

How to Cite Shakespeare in MHRA Style

In the MHRA referencing system , Shakespeare’s plays should be cited using the guidelines for citing plays and other long works (i.e., classic works with established subdivisions such as scenes, books, cantos, and similar). In practice, this means:

• The edition used should be included in the first footnote citation.
• Citations should include act, scene, and line numbers (not page numbers).
• Act numbers should be given in Roman numbers ( small capitals ).
• Scenes and line numbers should be given in Arabic numerals.

In practice, then, the first citation of a Shakespeare play would look like this:

1. William Shakespeare, The Merchant of Venice , ed. by Peter Holland (London: Penguin Classics, 2015), ɪɪ. 3. 15.

For subsequent citations of the same play, MHRA suggests shortening the footnote to just the author’s name and the pinpoint citation (still given with act, scene, and line numbers):

2. Shakespeare, ᴠ . 1. 18–25.

However, if there could be doubt about the play in question (e.g., if your client is citing more than one Shakespeare play in a single document), footnotes should give the play name instead:

2. William Shakespeare, The Tempest , ed. by Alden T. Vaughan and Virginia Mason Vaughan (London: Bloomsbury, 2011), ɪ. 1. 20–26.

3. The Merchant of Venice , ᴠ . 1. 18–25.

In the bibliography entry, meanwhile, your client should include the full publication details.

Reference Variations

We’ve offered some brief guidelines on how to present Shakespeare plays in reference lists for the systems above, but this can depend on how your client has accessed the source.

For example, a student using APA referencing might access a Shakespeare play online and reference it as a website. As long as all the relevant source information is given, this is usually fine. Your role will be to check references for clarity and consistency.

Nevertheless, if you’re not sure about the reference format for a Shakespeare play in a specific system, make sure to look it up (either online or in the relevant style guide).

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ENGL 263 - Shakespeare

• Sources for Your Papers

Formatting a Paper for MLA Style in Word or Google Docs

Citing shakespeare's plays in mla.

• Need More Help?

Want to go more in-depth? Check out these guides

• Guide to MLA In-text Citations (Scribbr) A guide to using in-text citations in MLA style. This will be helpful for other sources you will cite beyond Shakespeare's work.
• Guide to MLA Works Cited Pages (Scribbr) A comprehensive guide to preparing the works cited page for an MLA paper (also known as a reference list or bibliography).
• MLA Style (Purdue Online Writing Lab) An extensive guide to MLA style covering both formatting and citations.
• ZoteroBib (aka zbib) A fast, free bibliography generator, powered by the same parser used for Zotero. This tool is more reliable than other bibliography generators. Remember to change the bibliography style from 'American Psychological Association 7th edition' (the default) to 'Modern Language Association 9th edition'. You are responsible however for double-checking the accuracy of citation outputs. You can always ask a librarian for assistance with citations!

The works of Shakespeare, like many plays, have consistently numbered acts, scenes, and lines. These numbers should be used in your  MLA  in-text citations, separated by periods, instead of page numbers.

The Works Cited entry follows the format for a book, but varies depending on whether you cite from a standalone edition or a collection. The example below is for a standalone edition of  Hamlet .

If you cite multiple Shakespeare plays in your paper, replace the author’s name with an abbreviation of the play title in your in-text citation.

Citing a play from a collection

If you use a collection of all or several of Shakespeare’s works, include a Works Cited entry for each work you cite from it, providing the title of the individual work, followed by information about the collection.

Note that play titles remain italicized here, since these are works that would usually stand alone.

If you cite several works by Shakespeare, order them alphabetically by title, and replace “Shakespeare, William” with a series of three em dashes after the first one.

Citing multiple Shakespeare plays

If you cite more than one Shakespeare play in your paper, MLA recommends starting each in-text citation with an abbreviated version of the play title, in italics. A list of the standard abbreviations can be found  here ; don’t make up your own abbreviations.

Introduce each abbreviation the first time you mention the play’s title, then use it in all subsequent citations of that play.

Don’t use these abbreviations outside of parentheses. If you frequently mention a multi-word title in your text, you can instead shorten it to a recognizable keyword (e.g.  Midsummer  for  A Midsummer Night’s Dream ) after the first mention.

Quoting Shakespeare in MLA

Shakespeare quotations generally take the form of verse or dialogue.

Quoting verse

To quote up to three lines of verse from a play or poem, just treat it like a normal quotation. Use a forward slash (/) with spaces around it to indicate a new line.

If there’s a stanza break within the quotation, indicate it with a double forward slash (//).

If you are quoting more than three lines of verse, format it as a block quote (indented on a new line with no quotation marks).

Quoting dialogue

Dialogue from two or more characters should be presented as a block quote.

Include the characters’ names in block capitals, followed by a period, and use a hanging indent for subsequent lines in a single character’s speech. Place the citation after the closing punctuation.

Oberon berates Robin Goodfellow for his mistake:

Frequently asked questions about MLA citations

No, do not use page numbers in your MLA in-text citations of Shakespeare plays. Instead, specify the act, scene, and line numbers of the quoted material, separated by periods, e.g. (Shakespeare 3.2.20–25).

This makes it easier for the reader to find the relevant passage in any edition of the text.

How do I cite multiple Shakespeare plays in an MLA paper?

If you cite multiple Shakespeare plays throughout your paper, the MLA in-text citation begins with an abbreviated version of the title (as shown here), e.g. ( Oth.  1.2.4). Each play should have its own Works Cited entry (even if they all come from the same collection).

If you cite only one Shakespeare play in your paper, you should include a Works Cited entry for that play, and your in-text citations should start with the author’s name, e.g. (Shakespeare 1.1.4).

Adapted from:

Caulfield, Jack. “How to Cite Shakespeare in MLA.”  Scribbr , June 2022, www.scribbr.com/mla/shakespeare-citation.

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How to Quote and Cite a Play in an Essay Using MLA Format

Last Updated: October 12, 2023

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. This article has been viewed 389,649 times.

MLA (Modern Language Association) format is a popular citation style for papers and essays. You may be unsure how to quote and cite play using MLA format in your essay for a class. Start by following the correct formatting for a quote from one speaker or from multiple speakers in the play. Then, use the correct citation style for a prose play or a verse play.

Template and Examples

Quoting Dialogue from One Speaker

• For example, if you were quoting a character from the play Who's Afraid of Virginia Woolf?, you would write, In Edward Albee's Who's Afraid of Virginia Woolf? , the character Honey says...

• For example, if you are quoting the character George from the play Who’s Afraid of Virginia Woolf? by Edward Albee, you would write, “George says,…” or “George states,…”.

• For example, if you are quoting from Who’s Afraid of Virginia Woolf? , you would write: Martha notes, "Truth or illusion, George; you don’t know the difference."

• For example, if you were quoting from Shakespeare’s Measure for Measure , you would write: Claudio states “the miserable have no other medicine / But only hope.”

Quoting Dialogue from Multiple Speakers

• You do not need to use quotation marks when you are quoting dialogue by multiple speakers from a play. The blank space will act as a marker, rather than quotation marks.

• MARTHA. Truth or illusion, George; you don’t know the difference.
• GEORGE. No, but we must carry on as though we did.
• MARTHA. Amen.

• Verse dialogue is indented 1 ¼ inch (3.17cm) from the left margin.

• RUTH. Eat your eggs, Walter.
• WALTER. (Slams the table and jumps up) --DAMN MY EGGS--DAMN ALL THE EGGS THAT EVER WAS!
• RUTH. Then go to work.
• WALTER. (Looking up at her) See--I’m trying to talk to you ‘bout myself--(Shaking his head with the repetition)--and all you can say is eat them eggs and go to work.

Citing a Quote from a Prose Play

• If you are quoting dialogue from one speaker, place the citation at the end of the quoted dialogue, in the text.
• If you are quoting dialogue from multiple speakers, place the citation at the end of the block quote.

• For example, you may write: “(Albee…)” or “(Hansberry…)”

• For example, you may write, “(Albee, Who’s Afraid of Virginia Woolf? ...).”
• If you have mentioned the title of the play once already in an earlier citation in your essay, you do not need to mention it again in the citations for the play moving forward.

• For example, you may write, “(Albee 10; act 1).
• If you are including the title of the play, you may write: “(Albee, Who’s Afraid of Virginia Woolf? 10; act 1).”

Citing a Quote from a Verse Play

• For example, if the quote appears in act 4, scene 4 of the play, you will write, “(4.4…)”.

• For example, if the quote appears on lines 33 to 35, you will write, “(33-35).”
• The completed citation would look like: “(4.4.33-35)”.

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To quote and cite a play in your essay using MLA format, start by referencing the author and title of the play in the main body of your essay. Then, name the speaker of the quote so it’s clear who’s talking. For example, write, “In Edward Albee’s Who’s Afraid of Virginia Woolf? the character Honey says…” After introducing the quote, frame the dialogue with quotation marks to make it clear that it’s a direct quote from a text. If your dialogue is written in verse, use forward slashes to indicate each line break. For more tips from our English co-author, including how to quote dialogue between multiple speakers in your essay, read on! Did this summary help you? Yes No

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Quoting Shakespeare

Although Shakespeare lived 400 years ago, his language is so ingrained in our everyday speech we’re often quoting Shakespeare without realising it.

When you enter the Shakespeare Birthplace in Stratford upon Avon , one of the first things you see is a framed poster based on an article written by the famous English journalist and essayist, Bernard Levin. The article demonstrated how we all spend our days unconsciously quoting Shakespeare while talking with family, friends, and workmates. That poster has itself become famous, and is known as the “Quoting Shakespeare” poster:

Original ‘Quoting Shakespeare’ poster, designed by Bernard Levin.

‘If you cannot understand my argument, and declare ‘It’s Greek to me’, you are quoting Shakespeare,’ Levin begins. He continues, ‘if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger; if your wish is farther to the thought; if your lost property has vanished into thin air, you are quoting Shakespeare.’

It continues with some unexpected phrases from Shakespeare, and ends with ‘by Jove! O Lord! Tut tut! For goodness’ sake! What the dickens! But me no buts! – it is all one to me. If you ever make those exclamations you are quoting Shakespeare.’

It would be impossible to quote all the phrases we use in everyday speech that first appeared in a Shakespeare text .

Quoting Shakespeare may be something we are doing every day without any effort but some of us, probably most of us, consciously quote Shakespeare at some point.

For example, if you are to be the best man at a wedding, planning your speech, you may scan the works of Shakespeare for some memorable phrase with which to honour your friends whose happy day you are celebrating. Certainly, you can be sure of finding exactly the right form of words for that. Perhaps your friends fell in love at first sight. “ Who ever loved that loved not at first sight? ”  the Bard asked, approving of your friends’ condition. If there is a joke among the friends of the couple that they are wildly unsuited and that their marriage is a mystery because the bridegroom is the ugliest fellow out, what better to compound that joke with “ Love looks not with the eyes, but with the mind/And therefore is winged Cupid blind. ” That would make all the guests laugh.

One of the most poetic parts of funeral addresses is frequently the first verse, or the whole funeral poem, from Shakespeare’s Cymbeline :

Fear no more the heat o’ the sun, Nor the furious winter’s rages; Thou thy worldly task hast done, Home art gone, and ta’en thy wages: Golden lads and girls all must, As chimney-sweepers, come to dust.

Two lines from  Hamlet  have become the most quoted lines by the closest to the deceased at countless funerals of famous men: “ Good night, sweet prince/And flights of angels sing thee to thy rest. ”

There is hardly a situation in life on which quoting Shakespeare would not be appropriate, either a line by one of his characters or in his sonnets. A political leader may complain to his associates: “ Uneasy lies the head that wears the crown. ” Bemoaning corruption, they may say “ Something is rotten in the state of Denmark .” Lawyers, when considering the counter-intuitive way the law sometimes operates, are very prone to say “ the law’s an ass. ”

People feeling that they have had a lucky break may say “ as good luck would have it ,” or looking for an apt quote for a speech about a piece of luck may choose “ Fortune brings in some boats that are not steered .”

Often, the leader of a project about to begin, wanting to inspire their troops, will conclude a speech with “ Once more unto the breach, dear friends, once more! ”

Quoting Shakespeare is something that every single one of us in the English speaking world does all the time. Even little children may be afraid of being made “ a laughing stock ” or may send an unwanted companion on their way with the comment, “ good riddance .”

We cannot escape the language of Shakespeare. Nor would we want to.

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“ Perhaps your friends fell in love at first sight. “Who ever loved that loved not at first sight?” the Bard asked, approving of your friends’ condition.”

That’s Christopher Marlowe…

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The Timeless Nature of Love in Shakespeare’s Sonnet 116

This essay is about William Shakespeare’s Sonnet 116 and its portrayal of love as an enduring and unchanging force. The sonnet highlights Shakespeare’s idealistic vision of love that remains constant despite life’s challenges. Through powerful metaphors and a steady rhythmic structure, the poem presents love as a guiding star and a steadfast beacon. The essay explores the philosophical depth of the sonnet, its contrast to more cynical views of love, and its relevance in contemporary discussions about relationships. Ultimately, Sonnet 116 serves as a testament to the enduring power and idealism of true love.

How it works

Sonnet 116 by William Shakespeare, often esteemed as one of his most exquisite and profound creations, delves profoundly into the theme of love’s enduring and immutable essence. This sonnet, fashioned in the twilight of the 16th century, retains its relevance in contemporary times, encapsulating the quintessence of true love in its loftiest manifestation. Shakespeare’s exploration of love in this sonnet transcends the superficial and transient, proffering a vision of love that is both steadfast and immutable.

The inaugural lines of Sonnet 116 immediately establish the premise for Shakespeare’s contemplation on love.

He commences with a firm assertion: “Let me not to the marriage of true minds / Admit impediments.” Here, Shakespeare invokes the notion of an immaculate union, one that remains impervious to external hindrances. This idealized portrayal of love gains further traction as the sonnet unfolds, with Shakespeare affirming that true love endures unswervingly, irrespective of external circumstances.

Shakespeare employs a sequence of potent metaphors to illustrate the enduring and robust nature of love. He famously characterizes love as “an ever-fixed mark / That looks on tempests and is never shaken.” This metaphor likens love to an unwavering beacon, steadfast amidst the tumults and upheavals of life. The imagery of a guiding celestial body, which follows in the ensuing lines, reinforces this notion. Love, akin to the Pole Star, serves as a constant amidst the flux of existence, guiding us through the vicissitudes of life.

The sonnet’s concluding couplet encapsulates the poet’s unwavering belief in the infallibility of true love. Shakespeare boldly asserts, “If this be error and upon me proved, / I never writ, nor no man ever loved.” This dramatic proclamation underscores the poet’s confidence in his definition of love. By staking his entire reputation on the veracity of his words, Shakespeare invites readers to contemplate the authenticity and profundity of their own encounters with love.

One of the remarkable facets of Sonnet 116 is its philosophical profundity. Shakespeare’s portrayal of love as an unchanging force stands in stark contrast to the more cynical and transient depictions often encountered in literature and popular culture. In a world where relationships are often fleeting and contingent, the sonnet presents a vision of love that is resolute and eternal. This timeless perspective resonates across generations, endowing Sonnet 116 with perennial allure.

The language and structure of the sonnet further contribute to its enduring impact. Composed in iambic pentameter, the poem’s rhythmic cadence mirrors the steadfast and unwavering nature of true love. The utilization of quatrains followed by a rhyming couplet enables Shakespeare to construct his argument systematically, culminating in a poignant and unforgettable denouement. Each line is meticulously crafted, with the poet’s choice of diction reinforcing the themes of constancy and permanence.

In scrutinizing Sonnet 116, it is imperative to contextualize it within the broader framework of Shakespeare’s sonnet sequence. While many of his sonnets explore themes such as beauty, time, and mortality, Sonnet 116 stands apart for its emphasis on the enduring nature of love. It serves as a counterbalance to the more cynical and transient portrayals of love found elsewhere in the sequence. This juxtaposition underscores Shakespeare’s ability to capture the multifaceted spectrum of human emotions, offering readers a nuanced and comprehensive understanding of love.

The relevance of Sonnet 116 extends beyond its literary merit. In contemporary discourses on love and relationships, the sonnet’s message remains pertinent. It challenges us to contemplate what it means to love authentically and deeply, without succumbing to the vicissitudes and pressures of the external world. Shakespeare’s conception of love as an unwavering force inspires us to aspire to loftier ideals in our relationships, fostering a sense of optimism and possibility.

In summation, Sonnet 116 stands as a testament to Shakespeare’s profound insight into the enduring nature of love. Through vivid imagery, eloquent language, and philosophical depth, the sonnet captures the essence of true love as steadfast, unchanging, and impervious to external forces. Its timeless message continues to resonate with readers, offering a vision of love that is both aspirational and inspiring. As we navigate the complexities of modern relationships, Sonnet 116 serves as a poignant reminder of the enduring potency of love, encouraging us to cherish and cultivate genuine and enduring connections in our lives.

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MLA Formatting Quotations

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When you directly quote the works of others in your paper, you will format quotations differently depending on their length. Below are some basic guidelines for incorporating quotations into your paper. Please note that all pages in MLA should be double-spaced .

Short quotations

To indicate short quotations (four typed lines or fewer of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page number (in the case of verse, provide line numbers) in the in-text citation, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation.

Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage, but after the parenthetical citation if they are a part of your text.

For example, when quoting short passages of prose, use the following examples:

When using short (fewer than three lines of verse) quotations from poetry, mark breaks in verse with a slash, ( / ), at the end of each line of verse (a space should precede and follow the slash). If a stanza break occurs during the quotation, use a double slash ( // ).

Long quotations

For quotations that are more than four lines of prose or three lines of verse, place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented 1/2   inch  from the left margin while maintaining double-spacing. Your parenthetical citation should come  after the closing punctuation mark . When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.)

For example, when citing more than four lines of prose, use the following examples :

Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration: They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)

When citing long sections of poetry (four lines of verse or more), keep formatting as close to the original as possible.

In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:

The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy. We Romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself. (qtd. in Shrodes, Finestone, Shugrue 202)

When citing two or more paragraphs, use block quotation format, even if the passage from the paragraphs is less than four lines. If you cite more than one paragraph, the first line of the second paragraph should be indented an extra 1/4 inch to denote a new paragraph:

In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues,

Writing has been an issue in American secondary and higher education since papers and examinations came into wide use in the 1870s, eventually driving out formal recitation and oral examination. . . .

From its birth in the late nineteenth century, progressive education has wrestled with the conflict within industrial society between pressure to increase specialization of knowledge and of professional work (upholding disciplinary standards) and pressure to integrate more fully an ever-widening number of citizens into intellectually meaningful activity within mass society (promoting social equity). . . . (3)

Adding or omitting words in quotations

If you add a word or words in a quotation, you should put brackets around the words to indicate that they are not part of the original text:

If you omit a word or words from a quotation, you should indicate the deleted word or words by using ellipses, which are three periods ( . . . ) preceded and followed by a space. For example:

Please note that brackets are not needed around ellipses unless they would add clarity.

When omitting words from poetry quotations, use a standard three-period ellipses; however, when omitting one or more full lines of poetry, space several periods to about the length of a complete line in the poem: