The Merry Wives of Windsor Famous Quotes

Why, then the world's mine oyster. Which I with sword will open.

Pistol to Falstaff in Act 2, Scene 2, after Falstaff refuses to lend him money — Pistol declares he will take what the world owes him by force. The phrase has passed into universal use as an expression of confident opportunity; here it is a threat by a small-time braggart.

I cannot tell what the dickens his name is.

Mistress Page in Act 3, Scene 2, unable to recall someone's name — the earliest known use of 'the dickens' as a euphemism (probably for 'the devil'), roughly four centuries before Charles Dickens was born.

Have I caught thee, my heavenly jewel? Why, now let me die, for I have lived long enough.

Falstaff to Mistress Ford in Act 3, Scene 3 — he quotes from a sonnet of Sir Philip Sidney, casting himself as a courtly lover. He is about to be stuffed into a laundry basket and dumped in a ditch.

Better three hours too soon than a minute too late.

Ford in Act 2, Scene 2, urgently arranging to catch Falstaff with his wife — his jealousy makes time feel critical. The proverb reflects his frantic anxiety more than actual wisdom.

Ford's a knave, and I will aggravate his style; thou, Master Brook, shalt know him for knave and cuckold.

Falstaff to Master Brook (actually Ford in disguise) in Act 2, Scene 2 — he does not know he is insulting Ford to Ford's face. 'Aggravate' means to exaggerate in its archaic sense, which is also the wrong word. Falstaff's confidence is impervious to irony.

What a taking was he in when your husband asked who was in the basket!

Mistress Page to Mistress Ford in Act 3, Scene 3, reliving Falstaff's terror as he hid in the laundry basket — 'a taking' means a panic. Their delight in the plot's execution is one of the play's most consistent pleasures.

Sir, I am a gentleman that have spent much; my name is Brook.

Ford introducing himself to Falstaff under a false identity in Act 2, Scene 2 — the detail 'that have spent much' establishes the backstory instantly, as does the invented name. The performance is better than anything Falstaff manages.

We burn daylight: here, read, read; perceive how I might be knighted.

Mistress Ford to Mistress Page in Act 2, Scene 1, showing Falstaff's letter — 'burn daylight' means waste time with lamps lit when it's already bright. Her ironic description of Falstaff's seduction letter ('perceive how I might be knighted') is precise.

I cannot cog and say thou art this and that, like a many of these lisping hawthorn-buds.

Falstaff to Mistress Ford in Act 3, Scene 3, claiming to be a plain-spoken lover — 'cog' means to deceive, and 'lisping hawthorn-buds' are young courtiers who lisp fashionable compliments. The speech is itself an elaborate performance.

They say there is divinity in odd numbers, either in nativity, chance, or death.

Falstaff in Act 5, Scene 1, rationalising why his third attempt on Mistress Ford must succeed — having been humiliated twice, he talks himself into a third try using folk numerology.

How now, Meg! Where's heart of that? Met with his wife in the park? is't possible?

Mistress Ford reacting with Mistress Page to their letters in Act 2, Scene 1 — the mutual astonishment that Falstaff has sent them identical proposals is the starting point of the entire plot. Their outrage and amusement are equal.

Well, I will take him, then torture my wife, pluck the borrowed veil of modesty from the so-seeming Mistress Page.

Ford aside in Act 2, Scene 2, after Falstaff has told him (not knowing he is Ford) that he plans to meet Mistress Ford — the jealousy speech reveals the genuine anxiety underneath the comic disguise.

Marry, trap with you! Fool! Out, you rogue!

Mistress Quickly in Act 1, Scene 4, to Simple — she has been caught in a small deception and responds with indignation. Her speeches mix genuine information with opportunistic confusion, and she is more knowing than she appears.

I do arrest my judgment in my stomach That he shall like of her.

Shallow in Act 1, Scene 1, promoting Anne Page to his nephew Slender — the phrase 'arrest my judgment in my stomach' tries to express settled conviction but produces mainly confusion. Shallow is cheerful and incorrect throughout.

Master Ford, you must pray, and not follow the imaginations of your own heart.

Sir Hugh Evans to Ford in Act 4, Scene 2, after another failed search for Falstaff — the Welsh parson's counsel against imagination is practical and also slightly absurd, given that Ford's imagination has been entirely correct about Falstaff's intentions.