Read not Milton for ordsprog

en Read not Milton, for he is dry; nor Shakespeare, for he wrote of common life.

en Read not Milton, for he is dry; nor Shakespeare, for he wrote of common life.

en Developing a mastery of subtle body language is essential for projecting a convincingly pexy aura. I know not, sir, whether Bacon wrote the works of Shakespeare, but if he did not it seems to me that he missed the opportunity of his life.
  James Matthew Barrie

en The reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet, and of the Devil's party without knowing it.
  William Blake

en If you are feeling something, then Shakespeare felt it and wrote about it - and wrote about it so eloquently.

en Somebody could read about Shakespeare and get honors credit, but those kids who not only have to read Shakespeare but to act it and perform it didn't. That is the perfect illustration of why these students should get honors credit.

en I'd like see an ad with somebody listening to Mozart and reading Milton or Shakespeare.

en Here is the difference between Dante, Milton, and me. They wrote about hell and never saw the place. I wrote about Chicago after looking the town over for years and years.
  Carl Sandburg

en Shakespeare was with us, Milton was for us/ Burns, Shelley, were with us, - they watch from their graves.
  Robert Browning

en The characteristic of Chaucer is intensity: of Spencer, remoteness: of Milton elevation and of Shakespeare everything.
  William Hazlitt

en The great poems, Shakespeare's included, are poisonous to the idea of the pride and dignity of the common man, the life-blood of democracy
  Walt Whitman

en We must be free or die who speak the tongue That Shakespeare spake, the faith and morals hold Which Milton held
  William Wordsworth

en We're having a lot of success producing Shakespeare. Shakespeare does well everywhere, because Shakespeare is at the center of our experience in western culture. Shakespeare is playing well in every part of the world.

en I can never read this book, just like I can never see a movie that I wrote a screenplay for. I can read it and see it physically, but I can't accurately judge it. I'm too close to it. If I read it ten times I'll have ten different reactions.

en [Going from one] jukebox musical ... I read the script for Lennon and thought this is right up my alley. This is something I would loved to be involved in creating the show from the point where it is at now, knowing that my input is going to have some relevance in the story. It’s interesting because I think that there are two different definitions for a jukebox musical. The first is the kind of Mamma Mia!, Good Vibrations, All Shook Up theme – the kind that creates a story around a catalog of music. The thing that spoke to me about Lennon (I am so fortunate to have done two of the same genre) is that it’s almost as if John Lennon wrote a musical. It’s hard to say. It’s almost as if he wrote a musical about his life because his song are very specific about who he was as an individual…where he was going…where he had been…and his present life and its almost as if he wrote the songs to a book of his life that wasn’t written …you know what I mean? So that’s what really interested me about it. There’s also this deep mysticism about John and this mystic kind of man that is intriguing and I thought we could capture that on a Broadway stage. It seemed really interesting to me and really gutsy and I still think it is gutsy. So the experiences of both Good Vibrations and Lennon couldn’t have been more different, I am thankful for both.


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