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A PROJECT ON

SHAKESPEAREAN QUOTES
SUBMITTED TO:
Mrs. Alka Mehta
(Faculty of English)

SUBMITTED BY:
Prathmendra Hidko
Section B
Semester II
Submitted on: 07-04-2015

HIDAYATULLAH NATIONAL LAW UNIVERSITY,

RAIPUR

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DECLARATION

I, Prathmendra Hidko, hereby declare that, the project work entitled,

SHAKESPEAREAN QUOTES submitted to H.N.L.U., Raipur is a record of
an original work done by me under the able guidance of Mrs. Alka Mehta,
Faculty Member, H.N.L.U., and Raipur.

Prat
hmendra Hidko
Roll No. 111
07/05/2015

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ACKNOWLEDGEMENTS

Thanks to the Almighty who gave me the strength to accomplish the project with sheer hard
work and honesty. This research venture has been made possible due to the generous cooperation of various persons. To list them all is not practicable, even to repay them in words
is beyond the domain of my lexicon.

May I observe the protocol to show my deep gratitude to the venerated Faculty-in-charge
Mrs. Alka Mehta, for her kind gesture in allotting me such a wonderful and elucidating
research topic.

Prathmendra Hidko

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CONTENTS

1. Declaration.2
2. Acknowledgements....3
3. Introduction...5
4. Early life and education6
5. Judicial career7
6. Other roles..8
7. Institutions..9
8. Books...10
9. Awards ...10
10. Legacy.11

11. Summary....12
12. Bibliography...14

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Introduction

Shakespeare is the most quoted English writer of all time, and second in history only to the
writer of the Bible. Its not surprising given the volume and quality of works that Shakespeare
wrote along with the enduring popularity of his plays and sonnets around the world that
virtually everyone can quote Shakespeare, even if at times they dont know theyre doing it!

As the most quoted English writer Shakespeare has more than his share of famous quotes.
Some quotes are famous for their beauty some for their everyday truths and some for their
wisdom. We often talk about the quotes as things the wise Bard is saying to us but we
should remember that some of the apparently wisest words are spoken by some of
Shakespeares biggest fools. For example, both neither a borrower nor a lender be, and to
thine own self be true are both from the foolish, garrulous, quite disreputable Polonius in
Hamlet.

Early Life

William Shakespeare was the son of John Shakespeare, an alderman and a successful glover
originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning
farmer. He was born in Stratford-upon-Avon and baptized there on 26 April 1564. His actual
date of birth remains unknown, but is traditionally observed on 23 April, Saint George's
Day. This date, which can be traced back to an 18th-century scholar's mistake, has proved

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appealing to biographers, since Shakespeare died 23 April 1616. He was the third child of
eight and the eldest surviving son.
Although no attendance records for the period survive, most biographers agree that
Shakespeare was probably educated at the King's New School in Stratford, a free school
chartered in 1553, about a quarter-mile (400 m) from his home. Grammar schools varied in
quality during the Elizabethan era, but grammar school curricula were largely similar, the
basic Latin text was standardized by royal decree, and the school would have provided an
intensive education in grammar based upon Latin classical authors.

Dryden on The Nature of Poetry

Dryden on the Function of Poetry

As we know, Plato wanted poetry to instruct the reader, Aristotle to delight, Horace to do
both, and Longinus to transport. Dryden was a bit moderate and considerate in his views and
familiar with all of them. He was of the opinion that the final end of poetry is delight and
transport rather than instruction. It does not imitate life but presents its own version of it.
According to Dryden, the poet is neither a teacher nor a bare imitator like a photographer
but a creator, one who, with life or Nature as his raw material, creates new things altogether

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resembling the original. According to him, poetry is a work of art rather than mere imitation.
Dryden felt the necessity of fancy, or what Coleridge later would call the shaping spirit of
imagination.

An Essay on Dramatic Poesy: An Introduction

John Drydens An Essay on Dramatic Poesy presents a brief discussion on Neo-classical
theory of Literature. He defends the classical drama saying that it is an imitation of life and
reflects

human

nature

clearly.

An Essay on Dramatic Poesy is written in the form of a dialogue among four gentlemen:
Eugenius, Crites, Lisideius and Neander. Neander speaks for Dryden himself. Eugenius
favors modern English dramatists by attacking the classical playwrights, who did not
themselves always observe the unity of place. But Crites defends the ancients and points out
that they invited the principles of dramatic art paved by Aristotle and Horace. Crites opposes
rhyme in plays and argues that though the moderns excel in sciences, the ancient age was the
true age of poetry. Lisideius defends the French playwrights and attacks the English tendency
to

mix

genres.

Neander speaks in favour of the Moderns and respects the Ancients; he is however critical of
the rigid rules of dramas and favors rhyme. Neander who is a spokesperson of Dryden, argues
that tragic-comedy (Drydens phrase for what we now call tragi-comedy) is the best form
for a play; because it is closer to life in which emotions are heightened by mirth and sadness.
He also finds subplots as an integral part to enrich a play. He finds single action in French
dramas to be rather inadequate since it so often has a narrowing and cramping effect.

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Neander gives his palm to the violation of the three unities because it leads to the variety in
the English plays. Dryden thus argues against the neo-classical critics. Since nobody speaks
in rhyme in real life, he supports the use of blank verse in drama and says that the use of
rhyme in serious plays is justifiable in place of the blank verse.

Mixture of Tragedy and Comedy

Dryden is more considerate in his attitude towards the mingling of the tragic and the comic
elements and emotions in the plays. He vindicates tragi-comedy on the following grounds:

a)

Contrasts,

when

placed

near,

set

off

each

other.

b) Continued gravity depresses the spirit, a scene of mirth thrown in between refreshes. It has
the same effect on us as music. In other words, comic scene produces relief, though Dryden
does

not

explicitly

say

so.

c) Mirth does not destroy compassion and thus the serious effect which tragedy aims at is not
disturbed

by

mingling

of

tragic

and

comic.

d) Just as the eye can pass from an unpleasant object to a pleasant one, so also the soul can
move from the tragic to the comic. And it can do so much more swiftly.

e) The English have perfected a new way of writing not known to the Ancients. If they had
tragic-comedies,

perhaps

Aristotle

would

have

revised

his

rules.

f) It is all a question of progress with the change of taste. The Ancients cannot be a model for

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all times and countries, What pleased the Greeks would not satisfy an English audience.
Had Aristotle seen the English plays He might have changed his mind. The real test of
excellence is not strict adherence to rules or conventions, but whether the aims of dramas
have

been

achieved.

They

are

achieved

by

the

English

drama.

Drydens view on Tragi-comedy (Drydens own phrase is Tragic-comedy) clearly brings out
his liberal classicism, greatness and shrewdness as a critic. Dryden is of the view that
mingling of the tragic and the comic provides dramatic relief.

CONCLUSION
In a nutshell, John Dryden in his essay, An Essay on Dramatic Poesy, gives an account of the
Neo-classical theory. He defends the classical drama saying that it is an imitation of life, and
reflects human nature clearly. He also discusses the three unities, rules that require a play to
take place in one place, during one day, and that it develops one single action or plot.

The Essay is written in the form of a dialogue concerned to four gentlemen: Eugenius, Crites,
Lisideius and Neander. Neander seems to speak for Dryden himself.Eugenius takes the side
of the modern English dramatists by criticizing the faults of the classical playwrights who did
not themselves observe the unity of place. But Crites defends the ancient and pointed out that
they invited the principles of dramatic art enunciated by Aristotle and Horace. Crites opposes

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rhyme in plays and argues that through the moderns excel in science; the ancient age was the
true age of poetry. Lesideius defends the French playwrights and attacks the English tendency
to mix genres. He defines a play as a just and lively image of human and the change of
fortune to which it is

subject for the delight and instruction of mankind.

Neander favors the Moderns, respects the Ancients, critical to rigid rules of dramas and he
favors rhyme if it is in proper place like in grand subject matter. Neander a spokesperson of
Dryden argues that tragic comedy is the best form for a play; because it is the closest to life in
which emotions are heightened by both mirth and sadness. He also finds subplots as an
integral part to enrich a play. He finds the French drama, with its single action.

Neander favors the violation of the unities because it leads to the variety in the English plays.
The unities have a narrowing and crumpling effect on the French plays, which are often
betrayed into absurdities from which the English plays are free. The violation of unities helps
the English playwright to present a mere, just and lively image of human nature.

In his comparison of French and English drama, Neander characterizes the best proofs of the
Elizabethan playwrights. He praises Shakespeare, ancients and moderns. Neander comes to
the end for the superiority of the Elizabethans with a close examination of a play by Jonson
which Neander believes a perfect demonstration that the English were capable of following
the classical rules. In this way, Drydens commitment to the neoclassical tradition is
displayed.

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BIBLIOGRAPHY

1. http://danassays.wordpress.com/encyclopedia-of-the-essay/an-essay-of-dramatic-poesy-byjohn-dryden/
2. http://www.poetryfoundation.org/learning/essay/237822
3. http://www.gutenberg.org/files/39817/39817-h/39817-h.htm
4.

http://danassays.wordpress.com/encyclopedia-of-the-essay/an-essay-of-dramatic-poesy-

by-john-dryden/
5.
of.html

http://literarycriticismjohn.blogspot.in/2011/11/00030-why-is-dryden-called-father-

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6. http://www.brysons.net/academic/dryden.html

7. The Works of John Dryden, 20 vols. ed. H. T. Swedenborg Jr. et al., (Berkeley and Los
Angeles:

University

of

California

Press,

19562002)

8. Deices, David, A Critical History of English Literature (Volume - II) ISBN: 8189930443,
2010,

Paperback

9. John Dryden the Major Works, ed. by Keith Walker, (Oxford: Oxford University Press,
1987)
10. The Works of John Dryden, ed. by David Marriott, (Hertfordshire: Wordsworth Editions,
1995)
11.John Dryden Selected Poems, end by David Hopkins, (London: Everyman Paperbacks,
1998)
12. Of Dramatic Poesy: An Essay, 1667: revised edition, 1684; as An Essay of Dramatic
Poesy, edited by Thomas Arnold, 1889, P D Arundel. 1929, George Watson, 1962, and John
L.

Mahoney,

1995.