Sir Arthur Charles Clarke: Sir Arthur C Clarke Biography sir Arthur Charles Clarke Quotes

Sir Arthur Charles Clarke,

 CBE, FRAS (16 December 1917 – 19 March 2008) was a British science fiction writer, science writer and futurist, inventor, undersea explorer, and television series host.

He is perhaps most famous for being co-writer of the screenplay for the movie 2001: A Space Odyssey, widely considered to be one of the most influential films of all time. Clarke was a science writer, who was both an avid populariser of space travel and a futurist of uncanny ability. On these subjects he wrote over a dozen books and many essays, which appeared in various popular magazines. In 1961 he was awarded the Kalinga Prize, an award which is given by UNESCO for popularizing science. These along with his science fiction writings eventually earned him the moniker "Prophet of the Space Age". His other science fiction writings earned him a number of Hugo and Nebula awards, which along with a large readership made him one of the towering figures of science fiction. For many years Clarke, Robert Heinlein and Isaac Asimov were known as the "Big Three" of science fiction.

Clarke was a lifelong proponent of space travel. In 1934, while still a teenager, he joined the British Interplanetary Society. In 1945, he proposed a satellite communication system, an idea which won him the Franklin Institute's Stuart Ballantine Medal in 1963, and other honours. Later he was the chairman of the British Interplanetary Society from 1946–47 and again in 1951–53.

Clarke emigrated from England to Sri Lanka (formerly Ceylon) in 1956, largely to pursue his interest in scuba diving. That year he discovered the underwater ruins of the ancient Koneswaram temple in Trincomalee. Clarke augmented his fame later on in the 1980s, from being the host of several television shows such as Arthur C. Clarke's Mysterious World. He lived in Sri Lanka until his death. He was knighted in 1998 and was awarded Sri Lanka's highest civil honour, Sri Lankabhimanya, in 2005.

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O Mistress Mine

by William Shakespeare

O Mistress mine, where are you roaming?O, stay and hear; your true love's coming,That can sing both high and low:Trip no further, - pretty sweeting;Journeys end in lovers meetingEvery wise man's son doth know. What is love? 'Tis not hereafter;Present mirth hath present laughter;What's to come is still unsure:In delay there lies not plenty;Then, come kiss me, sweet and twenty,Youth's a stuff will not endure. Sonnet XI by William Shakespeare As fast as thou shalt wane, so fast thou grow'st In one of thine, from that which thou departest; And that fresh blood which youngly thou bestow'st Thou mayst call thine when thou from youth convertest. Herein lives wisdom, beauty and increase; Without this, folly, age and cold decay: If all were minded so, the times should cease And threescore year would make the world away. Let those whom Nature hath not made for store, Harsh, featureless and rude, barrenly perish: Look, whom she best endow'd she gave the more; Which bounteous gift thou shouldst in bounty cherish: She carved thee for her seal, and meant thereby Thou shouldst print more, not let that copy die.

A Midsummer Night’s Dream A Play By William Shakespeare

ACT I

SCENE I. Athens. The palace of THESEUS.
Enter THESEUS, HIPPOLYTA, PHILOSTRATE, and Attendants
THESEUS
Now, fair Hippolyta, our nuptial hour
Draws on apace; four happy days bring in
Another moon: but, O, methinks, how slow
This old moon wanes! she lingers my desires,
Like to a step-dame or a dowager
Long withering out a young man revenue.
HIPPOLYTA
Four days will quickly steep themselves in night;
Four nights will quickly dream away the time;
And then the moon, like to a silver bow
New-bent in heaven, shall behold the night
Of our solemnities.
THESEUS
Go, Philostrate,
Stir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals;
The pale companion is not for our pomp.
Exit PHILOSTRATE
Hippolyta, I woo'd thee with my sword,
And won thy love, doing thee injuries;
But I will wed thee in another key,
With pomp, with triumph and with revelling.
Enter EGEUS, HERMIA, LYSANDER, and DEMETRIUS
EGEUS
Happy be Theseus, our renowned duke!
THESEUS
Thanks, good Egeus: what's the news with thee?
EGEUS
Full of vexation come I, with complaint
Against my child, my daughter Hermia.
Stand forth, Demetrius. My noble lord,
This man hath my consent to marry her.
Stand forth, Lysander: and my gracious duke,
This man hath bewitch'd the bosom of my child;
Thou, thou, Lysander, thou hast given her rhymes,
And interchanged love-tokens with my child:
Thou hast by moonlight at her window sung,
With feigning voice verses of feigning love,
And stolen the impression of her fantasy
With bracelets of thy hair, rings, gawds, conceits,
Knacks, trifles, nosegays, sweetmeats, messengers
Of strong prevailment in unharden'd youth:
With cunning hast thou filch'd my daughter's heart,
Turn'd her obedience, which is due to me,
To stubborn harshness: and, my gracious duke,
Be it so she; will not here before your grace
Consent to marry with Demetrius,
I beg the ancient privilege of Athens,
As she is mine, I may dispose of her:
Which shall be either to this gentleman
Or to her death, according to our law
Immediately provided in that case.
THESEUS
What say you, Hermia? be advised fair maid:
To you your father should be as a god;
One that composed your beauties, yea, and one
To whom you are but as a form in wax
By him imprinted and within his power
To leave the figure or disfigure it.
Demetrius is a worthy gentleman.
HERMIA
So is Lysander.
THESEUS
In himself he is;
But in this kind, wanting your father's voice,
The other must be held the worthier.
HERMIA
I would my father look'd but with my eyes.
THESEUS
Rather your eyes must with his judgment look.
HERMIA
I do entreat your grace to pardon me.
I know not by what power I am made bold,
Nor how it may concern my modesty,
In such a presence here to plead my thoughts;
But I beseech your grace that I may know
The worst that may befall me in this case,
If I refuse to wed Demetrius.
THESEUS
Either to die the death or to abjure
For ever the society of men.
Therefore, fair Hermia, question your desires;
Know of your youth, examine well your blood,
Whether, if you yield not to your father's choice,
You can endure the livery of a nun,
For aye to be in shady cloister mew'd,
To live a barren sister all your life,
Chanting faint hymns to the cold fruitless moon.
Thrice-blessed they that master so their blood,
To undergo such maiden pilgrimage;
But earthlier happy is the rose distill'd,
Than that which withering on the virgin thorn
Grows, lives and dies in single blessedness.
HERMIA
So will I grow, so live, so die, my lord,
Ere I will my virgin patent up
Unto his lordship, whose unwished yoke
My soul consents not to give sovereignty.
THESEUS
Take time to pause; and,by the nest new moon--
The sealing-day betwixt my love and me,
For everlasting bond of fellowship--
Upon that day either prepare to die
For disobedience to your father's will,
Or else to wed Demetrius, as he would;
Or on Diana's altar to protest
For aye austerity and single life.
DEMETRIUS
Relent, sweet Hermia: and, Lysander, yield
Thy crazed title to my certain right.
LYSANDER
You have her father's love, Demetrius;
Let me have Hermia's: do you marry him.
EGEUS
Scornful Lysander! true, he hath my love,
And what is mine my love shall render him.
And she is mine, and all my right of her
I do estate unto Demetrius.
LYSANDER
I am, my lord, as well derived as he,
As well possess'd; my love is more than his;
My fortunes every way as fairly rank'd,
If not with vantage, as Demetrius';
And, which is more than all these boasts can be,
I am beloved of beauteous Hermia:
Why should not I then prosecute my right?
Demetrius, I'll avouch it to his head,
Made love to Nedar's daughter, Helena,
And won her soul; and she, sweet lady, dotes,
Devoutly dotes, dotes in idolatry,
Upon this spotted and inconstant man.
THESEUS
I must confess that I have heard so much,
And with Demetrius thought to have spoke thereof;
But, being over-full of self-affairs,
My mind did lose it. But, Demetrius, come;
And come, Egeus; you shall go with me,
I have some private schooling for you both.
For you, fair Hermia, look you arm yourself
To fit your fancies toyour father's will;
Or else the law of Athens yields you up--
Which by no means we may extenuate--
To death, or to a vow of single life.
Come, my Hippolyta: what cheer, my love?
Demetrius and Egeus, go along:
I must employ you in some business
Against our nuptial and confer with you
Of something nearly that concerns yourselves.
EGEUS
With duty and desire we follow you.
Exeunt all but LYSANDER and HERMIA
LYSANDER
How now, my love! why is your cheek so pale?
How chance the roses there do fade so fast?
HERMIA
Belike for want of rain, which I could well
Beteem them from the tempest of my eyes.
LYSANDER
Ay me! for aught that I could ever read,
Could ever hear by tale or history,
The course of true love never did run smooth;
But, either it was different in blood,--
HERMIA
O cross! too high to be enthrall'd to low.
LYSANDER
Or else misgraffed in respect of years,--
HERMIA
O spite! too old to be engaged to young.
LYSANDER
Or else it stood upon the choice of friends,--
HERMIA
O hell! to choose love by another's eyes.
LYSANDER
Or, if there were a sympathy in choice,
War, death, or sickness did lay siege to it,
Making it momentany as a sound,
Swift as a shadow, short as any dream;
Brief as the lightning in the collied night,
That, in a spleen, unfolds both heaven and earth,
And ere a man hath power to say 'Behold!'
The jaws of darknessdo devour it up:
So quick bright things come to confusion.



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William Shakespeare has become the most famous and influential author in English literature. Only active as a writer for a quarter century, he wrote thirty-eight plays, one hundred fifty-four sonnets and two epic poems that reinvented and defined the English language to such a degree that his works are required study all over the world.

Very little is known about Shakespeare's early life. He was born around 1564 in Stratford-upon-Avon to a middle-class merchant family and by the age of eighteen he was married with a child on the way. He would later father two more children. By 1592 he had become a successful actor and playwright in London and was famous among Londoners for the popularity of his plays.

Love all, trust a few, do wrong to none.

 William Shakespeare

We know what we are, but know not what we may be 

William Shakespeare

The fool doth think he is wise, but the wise man knows himself to be a fool.” ...

William Shakespeare

Be not afraid of greatness. ...

William Shakespeare

“The fault, dear Brutus, is not in our stars, but in ourselves.”

To be, or not to be, that is the question.

 William Shakespeare

Brevity is the soul of wit.

William Shakespeare

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No high school English curriculum is complete without a mandatory dose of William Shakespeare, and no American teenager makes it to graduation without whining about how boring it is to learn about iambic pentameter. As contemporary speakers of the English language, however, they might be interested to learn how much the Bard of Avon had in common with the generations that popularized the acronyms LOL and OMG and reinvented the 1940s slang term “hipster.” Endlessly imaginative and not overly concerned with grammatical convention, Shakespeare’s scripts contain over 2200 never-before-seen words—a diverse collection of loan-words from foreign languages, compound words from existing English terms, nouns turned into verbs, and creatively applied prefixes—many of which have entered into everyday language. Here are 20 examples of words we can thank Shakespeare for.

1. ADDICTION: OTHELLO, ACT II, SCENE II

“It is Othello's pleasure, our noble and valiant general, that, upon certain tidings now arrived, importing the mere perdition of the Turkish fleet, every man put himself into triumph; some to dance, some to make bonfires, each man to what sport and revels his addiction leads him.” – Herald

If not for that noble and valiant general and his playwright, our celebrity news coverage might be sorely lacking.

2. ARCH-VILLAIN: TIMON OF ATHENS, ACT V, SCENE I

“You that way and you this, but two in company; each man apart, all single and alone, yet an arch-villain keeps him company.” – Timon

With the added prefix of arch-, meaning more extreme than others of the same type, Shakespeare was able to distinguish the baddest of the bad.

3. ASSASSINATION: MACBETH, ACT I, SCENE VII

“If it were done when 'tis done, then 'twere well it were done quickly: if the assassination could trammel up the consequence, and catch with his surcease success.” – Macbeth

Though the term “assassin” had been observed in use prior to the Scottish play, it seems apt that the work introduced yet another term for murder most foul.

4. BEDAZZLED: THE TAMING OF THE SHREW, ACT IV, SCENE V

“Pardon, old father, my mistaking eyes, that have been so bedazzled with the sun that everything I look on seemeth green.” – Katherina

A word first used to describe the particular gleam of sunlight is now used to sell rhinestone-embellished jeans. Maybe poetry really is dead.

5. BELONGINGS: MEASURE FOR MEASURE, ACT I, SCENE I

“Thyself and thy belongings are not thine own so proper as to waste thyself upon thy virtues, they on thee.” – Duke Vincentio

People prior to Shakespeare’s time did own things; they just referred to them by different words.

6. COLD-BLOODED: KING JOHN, ACT III, SCENE I

“Thou cold-blooded slave, hast thou not spoke like thunder on my side, been sworn my soldier, bidding me depend upon thy stars, thy fortune and thy strength, and dost thou now fall over to my fores?” – Constance

Beyond its literal meaning, the 17th-century play initiated a metaphorical use for the term that is now most often used to describe serial killers and vampires—two categories which, of course, need not be mutually exclusive.

7. DISHEARTEN: HENRY V, ACT IV, SCENE I

“Therefore when he sees reason of fears, as we do, his fears, out of doubt, be of the same relish as ours are: yet, in reason, no man should possess him with any appearance of fear, lest he, by showing it, should dishearten his army.” – King Henry V

The opposite of “hearten,” a word already extant at the time of Shakespeare’s writing, “dishearten” was most appropriately first utilized in print by King Henry V, who didn’t let insurmountable odds at the Battle of Agincourt get him down.

8. EVENTFUL: AS YOU LIKE IT, ACT II, SCENE VII

“Last scene of all, that ends this strange eventful history, is second childishness and mere oblivion, sans teeth, sans eyes, sans taste, sans everything.” - Jaques

If all the world’s a stage, it’s safe to assume that an event or two is taking place.

9. EYEBALL: THE TEMPEST, ACT I, SCENE II

“Go make thyself like a nymph o' the sea: be subject to no sight but thine and mine, invisible to every eyeball else.” – Prospero

Shakespeare’s protagonist Prospero, though no medical doctor, can claim to be the first fictional character to name those round objects with which we see.

10. FASHIONABLE: TROILUS AND CRESSIDA, ACT III, SCENE III

“For time is like a fashionable host that slightly shakes his parting guest by the hand, and with his arms outstretch'd, as he would fly, grasps in the comer: welcome ever smiles, and farewell goes out sighing.” – Ulysses

And with just 11 letters, centuries of debate over what’s hot or not began.

11. HALF-BLOODED/HOT-BLOODED: KING LEAR, ACT V, SCENE III/ ACT III, SCENE III

“Half-blooded fellow, yes.” – Albany

“Why, the hot-blooded France, that dowerless took our youngest born, I could as well be brought to knee his throne, and, squire-like; pension beg to keep base life afoot.” – Lear

As is the tradition in Shakespearean tragedy, nearly everyone in King Lear dies, so the linguistic fascination here with blood is unsurprising, to say the least.

12. INAUDIBLE: ALL’S WELL THAT ENDS WELL, ACT V, SCENE III

“Let's take the instant by the forward top; for we are old, and on our quick'st decrees the inaudible and noiseless foot of Time steals ere we can effect them.” – King of France

One of a number of words (invulnerable, indistinguishable, inauspicious, among others) which Shakespeare invented only in the sense of adding a negative in- prefix where it had never been before.

13. LADYBIRD: ROMEO AND JULIET, ACT I, SCENE III

“What, lamb! What, ladybird! God forbid! Where's this girl? What, Juliet!” – Nurse

Although the Oxford English Dictionary notes that this particular term of endearment has fallen into disuse, maybe it’s about time for its comeback. Valentine’s Day is coming up, after all.

14. MANAGER: A MIDSUMMER NIGHT’S DREAM, ACT V, SCENE I

“Where is our usual manager of mirth? What revels are in hand? Is there no play to ease the anguish of a torturing hour?” – King Theseus

If not for Shakespeare, workday complaining in the office break room just wouldn’t be the same.

15. MULTITUDINOUS: MACBETH, ACT II, SCENE II

“No, this my hand will rather the multitudinous seas in incarnadine, making the green one red.” – Macbeth

“Multitudinous” may not be the most appropriate synonym when the phrase “a lot” starts to crop up too often in your writing, but it’s certainly the one with the most letters.

16. NEW-FANGLED: LOVE’S LABOUR’S LOST, ACT I, SCENE I

“At Christmas I no more desire a rose than wish a snow in May's new-fangled mirth.” – Biron

Ironically, this word sounds old-fashioned if used today.

17. PAGEANTRY: PERICLES, PRINCE OF TYRE, ACT V, SCENE II

“This, my last boon, give me, for such kindness must relieve me, that you aptly will suppose what pageantry, what feats, what shows, what minstrelsy, and pretty din, the regent made in Mytilene to greet the king.” – Gower

Although modern scholars generally agree that Shakespeare only appears to have written the second half of the play, this newly invented term for an extravagant ceremonial display appears in the section definitively authored by the Bard.

18. SCUFFLE: ANTONY AND CLEOPATRA, ACT I, SCENE I

“His captain's heart, which in the scuffles of great fights hath burst the buckles on his breast, reneges all temper, and is become the bellows and the fan to cool a gipsy's lust.” – Philo

Another example of an existing verb that Shakespeare decided could stand up just as well as a noun.

19. SWAGGER: HENRY V, ACT II, SCENE IV/A MIDSUMMER NIGHT’S DREAM, ACT III, SCENE I

“An't please your majesty, a rascal that swaggered with me last night.” – Williams

“What hempen home-spuns have we swaggering here, so near the cradle of the fairy queen?” – Puck

By transitive property, Shakespeare is responsible for Justin Bieber’s “swag.”

20. UNCOMFORTABLE: ROMEO AND JULIET, ACT IV, SCENE V

“Despised, distressed, hated, martyr'd, kill'd! Uncomfortable time, why camest thou now to murder, murder our solemnity?” - Capulet

Un- was another prefix Shakespeare appended to adjectives with a liberal hand. In the case of Romeo and Juliet, a tragedy in which a father mourns his daughter’s suicide, “uncomfortable” seems to have originated with a slightly more drastic sense than how we use it now.

Of course, just because the first written instances of these terms appeared in Shakespeare’s scripts doesn’t preclude the possibility that they existed in the oral tradition prior to his recording them, but as Shakespeare might have said, it was high time (The Comedy of Errors) for such household words (Henry V).

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