Peter Shaffer Quotations

You never quite know what's going to strike your imagination, or something that won't going to leave you alone, not going to leave alone, and this was one for me.

Tragedy, for me, is not a conflict between right and wrong, but between two different kinds of right.

I was an accomplice in my own frustration.

Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.

And in fact, I think one of the best guides to telling you who you are, and I think children use it all the time for this purpose, is fantasy.

We... our war began September the 3rd 1939, with the invasion of Poland by Germany, and thereafter the great state of danger in England at that time, with the bombings, necessitated the evacuation of children.

Everything we feel is made of Time. All the beauties of life are shaped by it.

In London, 'Equus' caused a sensation because it displayed cruelty to horses; in New York, because it allegedly displayed cruelty to psychiatrists.

The rhetoric is the key to the character. It's the verbal music of the piece.

Passion, you see, can be destroyed by a doctor. It cannot be created.

If London is a watercolor, New York is an oil painting.

Black Comedy is a farce that is played in the dark, as you know, with the lights full on. It's the Chinese convention of reversing light and dark, and exactly where anybody is at any given moment is the play.

I think people nowadays do tend to blame their parents for everything.

Our function as playwrights to some extent is to make audiences see with their ears, because films make us see with our eyes much better.

Rehearsing a play is making the word flesh. Publishing a play is reversing the process.

Watching Italian opera, all those male sopranos screeching, stupid fat couples rolling their eyes about. That's not love, it's just rubbish.

I discover what I mean as I write. That can be both terrifically exciting and very dangerous, because when you look at your words later, you wonder, 'Did I really mean that, or am I just making verbal patterns?'

I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.

It's an extraordinary thing about Mozart is that you never tire of him... he never bores me, and he doesn't... not only bore me, that's too strong a word.

But the first published thing I did was a detective story, detective novel, and I did that on my own.

I think I did have fantasies about being an actor. In fact, I know I did.

I think possibly the first film that has music as its leading character.

I was born in Liverpool in England, and I lived there for the first nine years of my life.

Librarians as a race tend to be tedious.

My actual childhood, as opposed to my adolescence, was not spent in London.

My first stage play was a play about a family, an unhappy family, divided against itself, and it was originally called Retreats.

I'd be willing to bet that any incursion throughout history in which the invading country has proclaimed it is bringing benefits to the conquered is based on a lie.

I was brought up in an Orthodox Jewish household. I don't think I ever had a single discussion with my parents about faith. It was just something gently imposed.

I've seen the most remarkable thing. It's in the New York Public Library. They've got the original typescript of 'The Importance of Being Earnest' - all four acts of it.

They look so expectant, and then they look so depressed... that was the other great lesson that The Royal Hunt of the Sun taught me, it was the profundity that masked drama can achieve, that of course, the audience were not seeing masks moving at all.

There used to be a certain condescension to Mozart. His music was regarded as pleasant. He was a porcelain figure playing a porcelain harpsichord.

A part of me is always envious of people who live in the present and are sustained by a sense of spontaneity. Even dogs have that capacity: they're always wanting to participate in something, and I don't often have that element in me.

The conquistadors and their followers were very rough people, and they were fixated on gold and silver. They were oblivious to the astonishing achievements of the Inca civilisation.

I began to read everything I could about Mozart, who I've always felt, I suppose, to be the greatest of all composers. I still think so.

A child is born into a world of phenomena all equal in their power to enslave.

What use, after all, is man, if not to teach God His lessons?

The Devil isn’t made by what Mommy says, or what Daddy says. The Devil is there.

Goodness is nothing in the furnace of art.

The Normal is the good smile in a child’s eyes - all right. It is also the dead stare in a million adults.

You have your words, and I have mine.

He'll be delivered from madness. What then? He'll feel himself acceptable! What then? Do you think feelings like his can be simply re-attached, like plasters? Stuck on to other objects we select? Look at him! ... My desire might be to make this boy an ardent husband - a caring citizen - a worshipper of abstract and unifying God. My achievement, however, is more likely to make a ghost!

Look... to go through life and call it yours - your life - you first have to get your own pain. Pain that's unique to you. You can't just dip into the common bin and say 'That's enough!'...

Worship isn't destructive, Martin. I know that. I don't. I only know it's the core of his life. What else has he got? He can hardly read. He knows no physics or engineering to make to world real for him. No paintings to show him how others have enjoyed it. No music except television jingles. No history except tales from a desperate mother. No friends. Not one kid to give him a joke, or make him know himself more moderately. He's a modern citizen for whom society doesn't exist.

Can you think of anything worse one can do to anybody than take away their worship?

All reined up in old language and old assumptions, straining to jump clean-hoofed on to a whole new track of being I only suspect is there. I can't see it, because my educated, average head is being held at the wrong angle. I can't jump because the bit forbids it, and my own basic force - my horsepower, if you like - is too little.

What was evident was that Mozart was simply transcribing music completely finished in his head. And finished as most music is never finished. Displace one note and there would be diminishment. Displace one phrase and structure would fall. I was staring through the cage of those meticulous ink strokes at Absolute Beauty.

You can't always let people do their own thing.

It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.

Love is the only doorway from the prison of ourselves.

I speak for all mediocrities in the world. I am their champion. I am their patron saint.

Figaro is a bad play. It stirs up hatred between the classes. In France, it has caused nothing but bitterness. My own dear sister,Antoinette, writes me that she is beginning to be frightened of her own people.

All my wife has ever taken from the Mediterranean - from that whole vast intuitive culture - are four bottles of Chianti to make into lamps, and two china condiment donkeys labelled Sally and Peppy.

The Normal is the good smile in a child's eyes- all right. It is also the dead stare in a million adults. It both sustains and kills- like a God. It is the Ordinary made beautiful; it is also the Average made leathal. The Normal is the indispensable, murderous God of Health...

The best of Mozart's works cannot be even slightly rewritten without diminishment.

I made, over the years in Cambridge, several very good American friends, and America appeared to me, a land of promise in every sense of that word, a land of freedom from the inhibitions and restrictions that I felt in England.

All I ever wanted was to sing to God. He gave me that longing and then made me mute.

I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.

What the eye does not see, the heart does not grieve over, does it?

The trouble is if you don’t spend your life yourself, other people spend it for you.