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Revenge is a dish best served cold.

Prov. It is very satisfying to get revenge a long time after the event for which you want revenge. I don't mind waiting to get revenge on Greg; I'll wait ten years if I have to. Revenge is a dish best served cold.
See also: cold, dish, revenge, serve

Revenge is sweet.

Prov. It is very pleasurable to revenge yourself on someone. Jill: Remember when Tom left me for another woman? Well, she just left him, and he asked me out on a date. I told him I had better things to do. Jane: Revenge is sweet, huh?
See also: revenge, sweet

revenge oneself (up)on someone or something

to retaliate against someone or something. (Upon is formal and less commonly used than on.) There is no need for you to revenge yourself upon Walter. It was an accident. She did not know how she would revenge herself on Joe, but she knew she would.
See also: revenge

seek revenge

(against someone) Go to take revenge (against someone).
See also: revenge, seek

take revenge (against someone)

 and seek revenge (against someone); get revenge against someone; take revenge (on someone) (for something)
to get even with someone. Linda planned to take revenge against Ellen. I intend to take revenge on Paul for what he did. I will not seek revenge.
See also: revenge, take

Montezuma’s revenge

(mɑntəˈzuməz rɪˈvɛndʒ)
n. diarrhea; tourist diarrhea. (Refers to tourists in Mexico.) I had a little touch of Montezuma’s revenge the second day, but other than that we had a wonderful time.
See also: revenge
References in periodicals archive ?
Keyishian cannot quite decide whether there exists a neat taxonomy, in which Shakespeare "distinguishes--sharply and qualitatively--between authentic revenge and vindictiveness" (4), or whether there exists a full spectrum, from those seeking justice to those propelled by a disproportionate and incurable malice; from reparative revengers, to confused ones who miss their valid targets, to mere vandals who have no valid target.
He must be, in the play, an image of its author, transmuting creative ambition into narrative and stage action," (10) but this important point is, for Kerrigan, more an explanation of why contemporary dramatists might be drawn to the genre and the figure of the revenger.
Plays of the period that wish to call revenge conventions or revenge itself into question provide commentators within the play who make the point specifically, either by contrasting plays with real life, as in Hamlet, or by commenting on what has gone wrong with the revenger, as in Titus Andronicus or Henry Chettle's The Tragedy of Hoffman.
Revenger and tyrant remain locked in the homosocial rivalry for masculine control over the reviled feminine.
As a result, Queen Victoria (Madeleine Stowe) gets a fake infinity box and Emily Thorne gets to start a new revenger scheme.
The question now is: Does Emily Thorne hit "reset" to re-examine her revenger schemes?
Dessen, "Editing and Staging The Revengers Tragedy: Three Problems" (63-72); Darlene Farabee, "The 'Most Unsavoury Similes' and Henry IV, Part One" (73-86); Arthur F.
McMahon argues, might prompt one to expect a preoccupation among revengers with social advancement.
It's Grim Up North has been penned by Ed Waugh and Trevor Wood, the Tynesidebased writers whose comedy stage play hits include Dirty Dusting, The Revengers, Waiting For Gateaux, Son of Samurai and Maggie's End.
In so doing he contests standard critical assumptions about the genre's Protestant bias (according to which heroic, Reform-minded revengers triumph over Catholic villains).
Henry's wrath made me think of grim revengers, Faulknerian night riders.
Many revengers are disempowered people, unjustly treated, who step up and take control" (6).