This well-known monologue is from King Lear (1606), one of Shakespeare’s most famous tragedies. Over the course of the drama, the eponymous king grows steadily more insane after casting out his most loving daughter, Cordelia, based on the advice of his other two children. The play is especially renowned for its nuanced depiction of human suffering, madness, and familial bonds.

Although not as famous as the “To be or not to be” monologue, this excerpt is one of Hamlet’s better known soliloquies from the eponymous play. In it, he agonizes about the correct course of action to avenge his dead father, the former king of Denmark.

Adapted from The Tragedy of Hamlet, Prince of Denmark by William Shakespeare II.ii.1632-1646 (1603)

The title of Noel Coward's 1941 comic play, Blithe Spirit, is taken from a the first line of Percy Bysshe Shelley's poem "To a Skylark":

This overview describes the one-act play The Dumb Waiter by Harold Pinter.

This is a brief overview of Arcadia by Tom Stoppard, a play first performed in 1993.

The Common Man, Sir Thomas More, and Thomas Cromwell are characters from the 1960 play A Man for All Seasons by Robert Bolt. The play follows the life of Sir Thomas More, the sixteenth-century Chancellor of England—a "man of conscience."

Anthonio Salieri, Constanze Weber, and Emperor Joseph II are characters in Peter Shaffer's 1979 play Amadeus, which creates a fictionalized plot centering on composers, Amadeus Mozart and Antonio Salieri. The play is based on the 1830 play by Alexander Pushkin, Mozart and Salieri.

This brief overview describes Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, first performed in 1966. Rosencrantz and Guildenstern are minor characters from Shakespeare's Hamlet who are presumably killed off-stage over the course of the play.

These lines are from the 1893 play Mrs. Warren's Profession by George Bernard Shaw. This quote is by Mrs. Warren (a former prostitute and current brothel owner) during a conversation with her daughter, Vivie. Vivie has returned home from college and is finally aware of her mother's occupation, causing much debate throughout the course of the play.

These lines are from George Bernard Shaw’s 1913 play Pygmalion. The play centers on Eliza Doolittle, a seemingly simple Cockney flower girl, who Professor Henry Higgins attempts to transform into a sophisticated and well-spoken lady who can pass as a duchess. The name of the play comes from the Greek mythological character, Pygmalion, a sculptor who falls in love with his sculpture when it comes to life. The passage contains two majors clues as to its source material: it mentions "Eliza" and it discusses manners.

Passage adapted from Act V of Pygmalion by George Bernard Shaw (1913)