King John Famous Quotes

To gild refined gold, to paint the lily, To throw a perfume on the violet, To smooth the ice, or add another hue Unto the rainbow.

Salisbury to King John in Act 4, Scene 2, arguing against his second coronation — the list of pointless improvements produces the famous phrase 'gilding the lily', though Shakespeare's actual words are 'paint the lily.' The misquotation has outlasted the original.

This England never did, nor never shall, Lie at the proud foot of a conqueror.

The Bastard Faulconbridge closing the play in Act 5, Scene 7, over the dying John — the most patriotic speech in the play, delivered by the most pragmatic character. He means it, which is why it works.

Sweet, sweet, sweet poison for the age's tooth.

The Bastard Faulconbridge in Act 1, Scene 1, on flattery — just acknowledged as an illegitimate son and immediately cynical about the court he is entering. The image of sweet poison accurately predicts everything that follows.

Grief fills the room up of my absent child, Lies in his bed, walks up and down with me.

Constance in Act 3, Scene 4, after losing Arthur and before knowing his fate — the personification of grief as a presence that occupies her son's physical space is one of the most psychologically exact descriptions of bereavement in all of Shakespeare.

Bell, book, and candle shall not drive me back, When gold and silver becks me to come on.

The Bastard in Act 3, Scene 3, heading off to plunder English monasteries — bell, book, and candle are the instruments of excommunication, and he is dismissing ecclesiastical threats in favour of money. The honesty is characteristically refreshing.

Life is as tedious as a twice-told tale Vexing the dull ear of a drowsy man.

The Dauphin Lewis in Act 3, Scene 4, in one of his darker moments — the twice-told tale is a double indictment, calling life both repetitive and boring. The image has been borrowed by writers ever since.

How green you are and fresh in this old world!

Cardinal Pandulph to Lewis in Act 3, Scene 4, noting the Dauphin's political inexperience — 'green' meaning naive, 'fresh' meaning untested. The papal legate is several moves ahead of the prince he is advising.

Let me wipe off this honourable dew, That silverly doth progress on thy cheeks.

Salisbury to Pembroke in Act 5, Scene 2, as the English lords weep before deciding to support the Dauphin against John — the euphemism for tears ('honourable dew') and the verb 'progress' for how they move down his face are unusually delicate writing.

Another lean unwash'd artificer Cuts off his tale and talks of Arthur's death.

John in Act 4, Scene 2, dismissing the rumours spreading through the common people about Arthur — 'artificer' is a craftsman or tradesman. The contempt for the sources of the rumours does not make them less accurate.

I do not ask you much, I beg cold comfort; and you are so strait And so ingrateful, you deny me that.

John dying in Act 5, Scene 7, asking for water and human comfort from those around him — 'cold comfort' here is literal: he is burning with fever and wants cold water. The phrase has since become idiom for inadequate consolation.

No, no; when Fortune means to men most good, She looks upon them with a threatening eye.

Cardinal Pandulph to Lewis in Act 3, Scene 4, on why France's apparent defeat is actually good news — Fortune, Pandulph argues, shows her true favourites by threatening them first. The logic is cynical and exactly the kind of political sleight-of-hand he specialises in.

Nought shall make us rue, If England to itself do rest but true.

The Bastard's final couplet in Act 5, Scene 7, ending the play — the conditional ('if') matters. England's safety depends on England's faithfulness to itself, which the play has just demonstrated is not guaranteed.

Mad world! mad kings! mad composition! John, to stop Arthur's title in the whole.

The Bastard in Act 2, Scene 1, watching France and England make a cynical peace that sacrifices Arthur — 'commodity' (self-interest) is the force that governs the world, and the Bastard names it with unusual clarity.

Strong possession much more than your right.

Eleanor to John in Act 1, Scene 1, advising him on how to hold the throne — legal right is less useful than the fact of having the crown. The advice is correct and the play unfolds from it.

Therefore, to be possess'd with double pomp, To guard a title that was rich before, To gild refined gold.

Salisbury's full complaint in Act 4, Scene 2 against John's second coronation — 'double pomp' for a king already crowned is the play's clearest example of political excess turning loyalty into resentment.