The most important thing that I learned in growing up is that forgiveness is something that, when you do it, you free yourself to move on.
Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.
Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing -- all the things that ruin your life and draw your attention away from your art -- at the door.
So farewell to the little good you bear me. Farewell! a long farewell, to all my greatness!This is the state of man: to-day he puts forthThe tender leaves of hopes; to-morrow blossoms,And bears his blushing honours thick upon him;The third day comes a frost, a killing frost,And, when he thinks, good easy man, full surelyHis greatness is a-ripening, nips his root,And then he falls, as I do. I have venturd,Like little wanton boys that swim on bladders,This many summers in a sea of glory,But far beyond my depth. My high-blown prideAt length broke under me, and now has left me,Weary and old with service, to the mercyOf a rude stream that must for ever hide me. Vain pomp and glory of this world, I hate ye!I feel my heart new opend. O, how wretchedIs that poor man that hangs on princes favours!There is, betwixt that smile we would aspire to,That sweet aspect of princes, and their ruin,More pangs and fears than wars or women have;And when he falls, he falls like Lucifer,Never to hope again.
Poetry is the language in which man explores his own amazement... says heaven and earth in one word... speaks of himself and his predicament as though for the first time. It has the virtue of being able to say twice as much as prose in half the time, and the drawback, if you do not give it your full attention, of seeming to say half as much in twice the time.
A reader who quarrels with postulates, who dislikes Hamlet because he does not believe that there are ghosts or that people speak in pentameters, clearly has no business in literature. He cannot distinguish fiction from fact, and belongs in the same category as the people who send checks to radio stations for the relief of suffering heroines in soap operas.