The fact remains that Shakespeare's vocabulary and Shakespeare's cadences are even more pervasive in our ordinary discourse today than the idiom of the King James Bible, which Bartlett lists as only the second most plentiful source of
Familiar Quotations.
And much the same could be said of those mirrors of our nature, Shakespeare's characters. From small delights like Juliet's Nurse, or Bottom the Weaver, or the Gravedigger, to such incomparable creations as Falstaff, King Lear, and Lady Macbeth, Shakespeare has enlarged our world by imitating it. It should not surprise us, therefore, that personalities as vivid as these have gone on, as it were, to lives of their own outside the dramatic settings in which they first thought and spoke and moved. In opera alone there are enough different renderings of characters and scenes from Shakespeare's plays to assure that the devotee of Charles-François Gounod or Giuseppe Verdi, Richard Wagner or Benjamin Britten, could attend a different performance every evening for six months and never see the same work twice. Which is not to suggest, of course, that the composers of other musical forms have been remiss: Franz Schubert, Felix Mendelssohn, Robert Schumann, Franz Liszt, Hector Berlioz, Pyotr Tchaikovsky, Claude Debussy, Jean Sibelius, Sergey Prokofiev, and Aaron Copland are but a few of the major figures who have given us songs, tone poems, ballets, symphonic scores, or other compositions based on Shakespeare.
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