I have been right, Basil, haven’t I, to take my love out of poetry, and to find my wife in Shakespeare’s plays? Lips that Shakespeare taught to speak have whispered their secret in my ear. I have had the arms of Rosalind around me, and kissed Juliet on the mouth.
I am determined that only the deepest love will induce me into matrimony. So... I shall end an old maid, and teach your ten children to embroider cushions and play their instruments very ill.
The attentions of others matter to us because we are afflicted by a congenital uncertainty as to our own value, as a result of which affliction we tend to allow others' appraisals to play a determining role in how we see ourselves. Our sense of identity is held captive by the judgements of those we live among.
How many times have you tried to solve “the problem”? you’ll be trying to solve it not just until you die but for many more lifetimes. Instead, understand that this world is just the play of the senses. It’s the five khandhas doing their thing; it has nothing to do with you. It’s just people being people, the world being the world.
When you're young and you play music, you have a peer group, you come out of a scene. There's a lot of people you know, and then you have some success, and it all goes away.
If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.
When you want to put something into your part that is not in the play, you must ask the author-or some other author-to lead up to the interpolation for you. Never forget that the effect of a line may depend not on its delivery, but on something said earlier in the play, either by somebody else or by yourself, and that if you change it, it may be necessary to change the whole first act as well.