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On this website, it gives a list of phrases made popular by Shakespeare. There are ~30 phrases. They include "wild-goose chase" and "in my heart of hearts." The phrases come from Romeo and Juliet and Hamlet, two of his most famous plays.

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Even though William Shakespeare wrote over 400 years ago, we continue to use words and phrases found in his sonnets and plays today. You could be quoting Shakespeare without knowing it! Read on to learn more phrases that we attribute to Shakespeare's plays.

Shakespeare's Phrases

The clothes make the man
People are judged by the way they dress
Hamlet, Act 1 Scene 3

In my heart of hearts
In my most inner, true thoughts and feelings
Hamlet, Act 3 Scene 2

He hath eaten me out of house and home
He ate so much there was nothing left
Henry IV Part 2, Act 2 Scene 1

A dish fit for the Gods
A high-quality meal
Julius Caesar, Act 2 Scene 1

Sterner stuff
Strong; capable of overcoming trials
Julius Caesar, Act 3 Scene 2

Jealousy is the green-eyed monster
Envy is so strong it makes one sick
Othello, Act 3 Scene 3

Something wicked this way comes
A person so evil, he or she is not human
Macbeth, Act 4 Scene 1

Star-crossed lovers
Lovers doomed by outside forces
Romeo and Juliet, Prologue

Wild-goose chase
A hopeless search for something unattainable
Romeo and Juliet, Act 2 Scene 4

Melted into thin air
To disappear suddenly, leaving no traces
The Tempest, Act 4 Scene 1

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Even though William Shakespeare wrote over 400 years ago, we continue to use words and phrases found in his sonnets and plays today. You could be quoting Shakespeare without knowing it! Read on to learn more phrases that we attribute to Shakespeare's plays.

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On this website, there are 48 insults Shakespeare put in his plays and sonnets. These insults include "you cankerblossom" and "thou hast no more brain than I have in mine elbows." They mean "You are why we can't have nice things" and "You are as smart as my elbow." The insults were more creative and long than today's.

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William Shakespeare once compared a precious someone to a summer's day. Hence his famous Sonnet 18 with the first two lines saying "Shall I compare thee to a summer's day? Thou art more lovely and more temperate." Oh, isn't that sweet?​​ To be compared to a beautiful sunny, summer day. To be someone's muse of very pretty verses. Doesn't that make your heart beat like a drum? Ba-dum. Ba-dum. Ba-dum. And just like you, I'd be swooning right away, if I was the recipient of those bewitching words. Shakesy-P, that's it... your powerful words charmed me and the rest of your audience straight away. Just like how Juliet fell under a love spell right after seeing Romeo that starry night.

But what would happen if your special someone turns into a cloud of gray? Surely, your feelings will change in a blink of an eye and you will no longer be stuck in that lavender haze (yes, Midnights has been my anthem). Then, you might also have to bite your tongue because you don't want to say those overused, regretful words. However, if you wish to borrow some catty clever phrases for venting, journaling purposes and whatnot, then our dearly beloved Bard of Avon has some specific material for this reason. As you can guess, Shakespeare isn't just a man of sweet nothings, for his words can also sting like a bee. And they say actions speak louder than words, well in this case, ha. Idiots.

Quick tangent: You can read the tragedy of Romeo and Juliet in French, Spanish, German, Korean, Japanese, and more classics with Beelinguapp. Download it now.

1. There's small choice in rotten apples. (Taming of the Shrew)
Translation: Eh, there's nothing much to choose from here.

2. He has not so much brain as ear-wax. (Troilus and Cressida)
Translation: He is useless.

3. Like the toad; ugly and venomous. (As You Like It)
Translation: Oh my! What happened to you? You look... ugly.

4. What an ass! (Hamlet)
Translation: What an ass!

5. Thou art a boil, a plague sore, an embossed carbuncle in my corrupted blood. (King Lear)
Translation: I don't like you, you ugly leech!

6. You have a February nose, so full of frost, of storm and cloudiness. (Much Ado About Nothing)
Translation: Puh-lease... you're already ugly and you look terribly angry.

7. Thou elvish-mark'd, abortive, rooting hog! (Richard III)
Translation: You are a hideous elf looking twit.

8. I do desire that we may be better strangers. (As You Like It)
Translation: *Wink* It would be best if we just forget about each other.

9. I will bite my thumb at them, which is a disgrace to them, if they bear it. (Romeo and Juliet)
Translation: *Middle finger to the sky*

10. What, you egg! Young fry of treachery! (Macbeth)
Translation: Huh, you know nothing you hatchling.

11. You cankerblossom. (A Midsummer Night's Dream)
Translation: This is why we can't have nice things.

12. Your brain is as dry as the remained biscuit after voyage. (As You Like It)
Translation: You are soooooooooooooo boring, I can no longer stand talking to you.

13. Out of my sight! Thou dost infect my eyes. (Richard III)
Translation: Please leave, I don't ever want to see you again.

14. Away, you three-inch fool. (The Taming of the Shrew)
Translation: Shoo, you pickle-sized bozo.

15. Thou concludest like the sanctimonious pirate. (Measure for Measure)
Translation: I fully believe that you are a pompous phony.

16. Tempt not too much the hatred of my spirit, for I am sick when I do look on thee. (A Midsummer Night's Dream.)
Translation: Looking at you makes me sick. *Cough* *Cough*

17. I'll beat thee, but I would infect my hands. (Timon of Athens)
Translation: No, thanks. My hands are too precious to be anywhere close to you.

18. More of your conversation would infect my brain. (Coriolanus)
Translation: Please stop talking, you're annoying me.

19. The tartness of his face sours ripe grapes. (The Comedy of Errors)
Translation: U-G-L-Y, you ain't got no alibi. Boy, you ugly.

20. There's no more faith in thee than in a stewed prune. (Henry IV)
Translation: Yeah, I don't believe a single word you're saying, not one single bit.

21. Thine face is not worth sunburning. (Henry V)
Translation: Please stay inside, no one has to see you. Not even the sun.

22. Thou cream faced loon. (Macbeth)
Translation: You're a pasty-faced coward.

23. Let's meet as little as we can. (As You Like It)
Translation: Let's meet as little as we can. Or maybe never.

24. Thy tongue outvenoms all the worms of Nile. (Cymbeline)
Translation: Every single word that comes out of your mouth is pure poison. Yuck.

25. You are as a candle, the better burnt out. (Henry IV)
Translation: Your best fashion choice? Looking tired, worn out, pooped.

26. You, minion, are too saucy. (The Two Gentlemen of Verona)
Translation: You are too infuriating.

27. Saucy lackey! (As You Like It)
Translation: Sassy kiss-ass!

28. I do wish thou were a dog, that I might love thee. (Timon of Athens)
Translation: Let's face it, a dog is better and more lovable than you.

29. Thou art unfit for any place but hell. (Richard III)
Translation: You belong in hell.

30. Villain, I have done thy mother. (Titus Andronicus)
Translation: Yo mama...

31. You are not worth another word, else I'd call you knave. (All's Well that Ends Well)
Translation: Eh, there's no point wasting my breath on you.

32. Away! Thou'rt poison to my blood. (Cymbeline)
Translation: Go away, you make me sick.

33. They have a plentiful lack of wit. (Hamlet)
Translation: You're stupid.

34. They lie deadly that tell you you have good faces. (Coriolanus)
Translation: LOL, do you really believe them when they tell you that you're cute?

35. You blocks, you stones, you worse than senseless things. (Julius Caesar)
Translation: Yeah, you're not smart at all.

36. Your abilities are too infant-like for doing much alone. (Coriolanus)
Translation: This isn't working. You're too immature for me.

37. Vile worm, thou wast o'erlook'd even in thy birth. (The Merry Wives of Windsor)
Translation: Gosh! Who let you in looking like that?

38. Heaven truly knows that thou art false as hell. (Othello)
Translation: You are fake and everyone knows it.

39. In civility thou seem'st so empty. (As You Like It)
Translation: It's a no for me. You have no personality.

40. This kiss is as comfortless as frozen water to a starved snake. (Titus Andronicus)
Translation: Oopsie, this kiss makes me feel nothing.

41. Thou crusty batch of nature! (Troilus and Cressida)
Translation: YOU are a scumbag.

42. I wonder that you will still be talking. Nobody marks you. (Much Ado About Nothing)
Translation: Seriously, no one is listening to you. Shut up already.

43. Thou hast no more brain than I have in mine elbows. (Troilus and Cressida)
Translation: You're a brainless fool.

44. Thou damned and luxurious mountain goat. (Henry V)
Translation: YOU ARE A PIG.

45. Thou art the cap of all the fools. (Timon of Athens)
Translation: You are the fool of all fools.

46. Would thou wert clean enough to spit upon. (Timon of Athens)
Translation: Oh, if only you were clean enough to spit upon.

47. Away you mouldy rogue, away! (Henry IV)
Translation: Bye, Felicia!

48. She speaks yet she says nothing. (Romeo and Juliet)
Translation: What are you even saying?

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48 Unmatched Shakespearean Insults That Still Burn | Beelinguapp Blog

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William Shakespeare once compared a precious someone to a summer's day. Hence his famous Sonnet 18 with the first two lines saying "Shall I compare thee to a summer's day? Thou art more lovely and more temperate." Oh, isn't that sweet?​​ To be compared to a beautiful sunny, summer day.

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This website gives 55 examples of insults Shakespeare used in his plays. While today's insults are usually a few words, Shakespeare wrote full-sentence insults. One of them was "You are as a candle, the better burnt out." Shakespeare used the figurative language he needed in his plays in his insults.

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Shakespeare Insults: 55 Shakespearean Insults & Put Downs

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So you think you know a foul word or two? Check out the ultimate guide to Shakespeare insults. #1. 'Thou damned and luxurious mountain goat' - genius!

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This website explains the clothes people often wear. Aristocratic women wore rigid skirts. They wore false sleeves decorated with jewels or gold. Common people wore similar clothes but with simpler linings.

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Clothes in the Elizabethan era (1558-1603 CE) became much more colourful, elaborate, and flamboyant than in previous periods. With Elizabeth I of England (r. 1558-1603 CE) herself being a dedicated follower of fashion, so, too, her court and nobles followed suit. Clothing was an important indicator of status so that those who could afford it were careful to wear the correct colours, materials, and latest fashions from Continental Europe. Heavy brocade, stockings, tight-fitting doublets, long billowing dresses embellished with pearls and jewels, knee-length trousers, stiff linen collars or ruffs, and feathered hats were all staple elements of the wardrobes of the well off. The commoners, meanwhile, attempted to follow the new designs as best they could using cheaper materials, but those who tried to dress beyond their station had to beware the authorities did not fine them and confiscate the offending item.

The Historical Record

Reconstructing what exactly people wore and when has its problems. Cloth, of course, is not a very good survivor at the best of times. There are a few rare surviving examples such as a woollen shirt and breeches set belonging to a man who died after falling into a peat bog on the Isle of Shetland. However, these are few and far between. In addition to the ravages of time, the Elizabethans typically repaired and then cut and reused their clothes to get the longest life from them. The shabbiest clothes would then have been used as rags. Consequently, our knowledge of Elizabethan fashion often comes from secondhand sources such as written descriptions, sumptuary laws, and representations in art.

The pictorial record for the Elizabethan period is, fortunately, a very rich one in terms of portraits and so for the higher classes we have ample information on the type of clothing worn, at least on special occasions. Illustrations in contemporary books are another valuable source, especially for the poorer classes. To modern eyes, Elizabethan clothes seem rather stiff and heavy but we should remember that in 16th century CE England and in the absence of adequate indoor heating just about everywhere, the best way to keep out the cold was one's wardrobe.

As the Elizabethan period wore on, regions like East Anglia & Kent saw the arrival of immigrants (especially Dutch & Italians) with cloth-manufacturing skills.

The increasing population of England in the 16th century CE stimulated a corresponding growth in the cloth and clothing industries. Wool was the main material and there were four sheep for every person in England in the 1550s CE. At the same time, an increased contact with northern Europe saw new ideas and fashions spread, creating a demand for brighter colours and lighter materials. Unworked and undyed cloth was England's most important export, especially to Antwerp. However, inflation and disruptions to international trade caused by the Anglo-Spanish war led to a decline in the second half of the 16th century CE.

The manufacture of clothing for the domestic market became more sophisticated with a greater use of small machines to help in some stages of the process. These included the Dutch loom and stocking-frame knitting machine. The once staple wool, felt, and worsted clothing was now supplemented with lighter fabrics - especially cotton, linen, fustian (cotton and linen), and sometimes silk - while even the traditional materials became finer in quality and texture. Yarnspinners, weavers and dyers all worked independently and usually in their own homes. There were, as yet, no factories, even if workers were semi-professionals and many diverse households might produce for a single large-scale dealer, known as a clothier.

The Welsh borders, Gloucestershire, Wiltshire and Hampshire had long-enjoyed a reputation as the best places for English cloth manufacture. As the Elizabethan period wore on, regions like East Anglia and Kent saw the arrival of immigrants (especially Dutch and Italians) with cloth-manufacturing skills, which greatly increased the quality of local production. Hybrid fabrics lighter than the traditional English ones were produced which created new demand and, because they wore out quicker, increased sales in the longterm. The new varieties of cloth or 'new draperies' went under many names such as bays, says, serges, perpetuanas, shaloons, and grosgraines.

The Aristocracy
Men's Clothes
For men, linen underclothes (shirt and long shorts) were often embroidered and given lace decoration. Outer clothing was made of all the materials mentioned above. Additional options worn only by the aristocracy because of their expense included velvet, damask (an elaborately woven fabric of diverse material), and silk. Trousers were knee-length ('Venetian breeches') or thigh-length (trunkhose), and were often billowed out over the upper thighs and hips; later versions had pockets. Trousers often featured a codpiece which was a padded covering of the crotch. Sometimes of impressive proportions (but less so than during Henry VIII of England's reign, 1509-1547 CE), the codpiece could be unbuttoned or untied separately from the trousers when required. By the end of the century, they were replaced by the button or tied fly.

The most common upper garment for men was the doublet, a short, stiff, tight-fitting jacket which was made of wool, leather, or thick fabric. Just as today, minor changes became a sign of fashion such as the lower hem of the doublet, which started off straight but then developed into a deep V-form pointing downwards at the front. A curiosity of some doublets was the peascod - extra padding over the abdomen to imitate armour but which ended up making the wearer look as if he was strutting like a peacock. Such padding, known as 'bombast', consisted of wool, cotton or horsehair and was used in other areas to create fashionable shapes to outer clothing. Detachable collars and cuffs were highly fashionable too and were made from stiffened linen or lace. As the century wore on the ruffs became ever-more outlandish and required wire supports.

The doublet might have sleeves which could be detachable and it was closed using hooks, laces, or buttons. The shoulders could have wings and decorative tabs hanging at the waist known as 'pickadills'. On top of a doublet in colder weather, a man might wear a jerkin waistcoat and on top of that a coat which could be of any length, cut, and material. Cloaks and semi-circular capes were also worn. Trousers and upper garments were often slashed vertically in places so that underclothing or a lighter lining material could bulge through the gaps in a decorative way.

Some dyes were expensive to produce such as scarlet & black & so these were another indication of wealth & status.

Leather was popular for some outer garments, belts, gloves, hats, and shoes. Leather was sometimes made more decorative by tooling it. Shoes for men were typically square-toed and without a noticeable heel. Earlier types of footwear were slip-on, but laces and buckles came into fashion by the end of Elizabeth's reign. Courtiers often wore fancy slipper-like shoes made from silk or velvet. Leather boots were worn when riding.

Colours often contrasted in the same outfit. All colours came from natural dyes and so the most common for the aristocracy were red, blue, yellow, green, grey, and brown. As natural dyes tend to fade relatively quickly (although outer clothes were rarely washed at all but were only brushed), wearing the brightest colours clearly showed one had the newest of clothes. Some dyes were expensive to produce such as scarlet and black and so these were another indication of wealth and status. Buttons, typically small in size but large in number, were a similar badge of wealth with the cheapest using wood, bone or horn and the more dazzling made using gold, silver, or pewter. Similarly, instead of buttons a garment might be closed or joined to another by tying a ribbon through matching holes. These ribbons were known as 'points' and the ends could be decorated with pieces of metal. In the absence of pockets, both men and women wore belts or girdles from which were suspended purses, daggers, and rapiers for men, and mirrors, grooming kits, and fans for women.

Women's Clothes

Aristocratic women often wore long dresses which had not changed very much since the Middle Ages. The kirtle dress was fitted and very long so that the feet of the wearer were almost hidden. On top of this other garments were worn. Skirts were free-flowing early in Elizabeth's reign, but there then developed a fashion for rigid skirts in the shape of a bell or cylinder. These forms were created by a series of hoops inside the material or in an undergarment. This latter construction was known as a wheeled farthingale and it had a padded roll around the waistline to push the exterior garment outwards so that the material of the dress then fell perpendicular.

An alternative to the kirtle was wearing a series of light skirts (petticoats) combined with a bodice which was usually a stiff garment made from wool and which emphasised a narrow waistline. Bodices gave support to or even constricted the upper body. They were given rigidity by inserting thin pieces of whalebone, wood or metal. Finer bodices were closed using buttons or hooks. Sometimes a reinforcing piece of wood called a 'busk' was inserted at the front of the bodice and held in position using a ribbon in the centre of the chest (which survives to this day in some undergarments). The bodice could be fastened at the front, side or back. As with the hemlines of men's waistcoats, the neckline of women's bodices varied in cut. In the mid-16th century CE, the cut was low, then rose over time and finally became low-cut again by the end of the century. Aristocratic women wore sleeves to their bodice if it were worn as an outer garment.

A third alternative was to wear a gown which was essentially a skirt and bodice attached together and worn over undergarments. These were the most extravagant of the Elizabethan garments and were typically worn with false sleeves and decorated with pearls, jewels and gold brocade.

Children of the wealthy were typically dressed as if they were miniature adults. In addition, boys up to the age of five or six were often dressed as the girls were with plenty of frilly lace and brocade.

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The Commoners

Commoners wore similar clothes to the aristocracy but made along much simpler lines and with cheaper materials. Workers obviously did not wear restrictive clothing when doing their daily tasks. Materials such as cheaper linen, linen canvas, hemp canvas, and lockram (from coarse hemp) were all used for everyday working clothes that needed to be durable to wear and weather. For this reason, hems were sometimes made of more durable material so that they could take the extra wear and tear and be easily replaced if necessary to give the garment a longer life. Aprons of thick fabric or leather were worn to protect clothes, too. For a special outfit, an affordable luxury was satin (about ten times cheaper than damask). As some dyes were expensive, grey and brown shades were the most common colours in the clothing of the poorer classes.

Travelling salesmen and local mercers would have sold simple clothes like stockings and underclothes. For more elaborate outerwear, a specialised tailor or seamstress would have made the clothes on demand. Hose or loose-fitting stockings remained popular with men, although fashionable aristocrats would have preferred trunkhose. Shorter stockings tied with a garter and ribbon at the knee were popular with all classes. Lower class women sometimes wore sleeveless bodices and fastened them using laces, something upper-class women did not do. A wool or linen cap or flat hat was commonly worn, even indoors. Hats for the rich were sometimes made with fur (especially beaver) while commoners might use straw, felt, or leather. Shoes were as mentioned above but workers sometimes wore ankle-boots made of leather.

Silk, ribbons, and lace were luxury items but could be easily added in moderation to even plain clothes to make them more attractive. This was especially so as the English followed the fashion trends set by the French and Italians whose upper classes favoured more ostentatious clothing. The trend for elaborate decoration then trickled down to all classes.

Controlling Fashion

Elizabeth was the last monarch to impose sumptuary laws (notably in 1559 and 1597 CE) to curb extravagant spending on clothing and ensure the elite remained the only ones with the finest clothes. There was genuine concern that young men, in particular, outspent their inheritances in trying to keep up with the fashions set by the richer members of society. Consequently, there were strict rules on who could wear certain types of clothes, certain materials, and certain colours. There were other reasons to limit dress such as the religious views of Protestantism that called for more austere clothing, and the fact that finer and more dazzling clothes typically came from abroad and so hurt the sales of plainer home production.

Examples of restrictions included only earls or higher ranks being able to wear gold cloth. Only royalty could wear purple and only peers and their relations could wear wool garments made abroad. Servants of anyone lower than a gentleman could not wear fur of any kind, and commoners were banned from wearing stockings made from material costing more than a certain price per yard. Anyone caught breaking these sumptuary laws risked various degrees of fines and having the article of clothing confiscated. The fact that such fines were in place illustrates, though, that many Elizabethans of all classes were willing to pay any price to wear the finest fashions of the day.

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Clothes in the Elizabethan era (1558-1603 CE) became much more colourful, elaborate, and flamboyant than in previous periods. With Elizabeth I of England (r. 1558-1603 CE) herself being a dedicated...

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On this website, it explains what clothes were popular among men and women during Elizabethan times. Men doublets, breeches and hats. Women wore gowns, corsets, and hats. The clothes were meant to flaunt their luxury and wealth.

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Elizabethan Clothing
The section and era covering Elizabethan Clothing and Fashion includes extensive information regarding all elements of clothing and fashion during the Elizabethan era. The subjects range from the type of clothing regarded as Upper Class Fashion - rich, sumptuous materials and elegant styles to clothes worn by the lower classes using basic materials. Each item of Elizabethan clothing has been designed.

Picture of Queen Elizabeth I

Elizabethan Women's Clothing - gowns, hats, corsets, underwear, collars, ruffs and shoes. Elizabethan Men's Clothing - doublets, breeches, underwear, collars, ruffs, hats and shoes. For additional information of the period please click the following link to Tudor Clothes.

We recommend the following site for: Facts and information about Medieval Clothing

The Hair styles, Make-up, Jewelry and even suitable Wedding Dress has also been included. But the most alien concepts of the Elizabethan era was that, regardless of their wealth, Elizabethans were not allowed to wear what clothes they liked. Their clothing and items of apparel were dictated by the Elizabethan Sumptuary Laws which governed the style and materials worn.

The Sumptuary Laws - Enforcing statutes of Apparel - Governing Elizabethan Clothing.
The Elizabethan Sumptuary Clothing Laws were used to control behaviour and to ensure that a specific class structure was maintained. English Sumptuary Laws governing the clothing that Elizabethans wore were well known by all of the English people. The penalties for violating Sumptuary Laws could be harsh - fines, the loss of property, title and even life.

Elizabethan Clothing for Men

Elizabethan Clothing for Women

Elizabethan Clothing
Additional details, facts and information about Elizabethan Clothing and Fashion can be accessed via the Elizabethan Era Sitemap.

Elizabethan Clothing

Upper Class Clothing and Fashion

Women's Clothing and Fashion - gowns, hats, corsets, underwear, collars, ruffs and shoes

Men's Clothing and Fashion - doublets, breeches, underwear, collars, ruffs, hats and shoes

Hair styles

Make-up

Jewelry

Wedding Dress clothing and garb

Sumptuary Laws governing Elizabethan Clothing

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Elizabethan Era
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Queen Elizabeth's Coat of Arms

Elizabethan Clothing

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Elizabethan Clothing The section and era covering Elizabethan Clothing and Fashion includes extensive information regarding all elements of clothing and fashion during the Elizabethan era. The subjects range from the type of clothing regarded as Upper Class Fashion - rich, sumptuous materials and elegant styles to clothes worn by the lower classes using basic materials.

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This website describes Shakespeare's life as a playwright. It is believed he was born on April 23, 1564. He wrote 37+ plays, 154 sonnets, and 2 poems. His works still live centuries after his death.

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William Shakespeare: The Mysterious Life and Enduring Legacy of the Bard of Avon

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Even as his works are loved throughout the world, Shakespeare’s personal life remains largely unknown.

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This website gives a timeline of important events in Shakespeare's life. From 1571-1579 Shakespeare attended grammar school. In 1601, his father died and 1608 his mother died. In 1616, he died.

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William Shakespeare's life began in Stratford-upon-Avon in 1564. Although his career as an actor, theatre manager and playwright took him to London, Shakespeare remained a country boy at heart. He returned there often to visit his family, use his library and to write in familiar surroundings. The surviving records of Shakespeare and his family can help us understand the context and chronology of his life and the lives of his family members.

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A timeline of William Shakespeare's life, all beginning at the birthplace on Henley Street in 1564

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This website gives 10 phrases that originated from Shakespeare's writing. Shakespeare created many phrases including "in a pickle" and "wild goose chase." Many people still use his phrases. His works have been relevant centuries later because they are still applicable.

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Did you know that the phrase 'wild goose chase' is from Romeo and Juliet? Learn 9 more Shakespearean phrases and see where they are referenced in his plays.