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MAGGIE, in pain: That’s what I mean; I’m a joke to most people. QUENTIN: No, it’s that you say what you mean, Maggie. You don’t seem to be upholding anything, you’re not—ashamed of what you are. MAGGIE: W-what do you mean, of what I am? … But you didn’t, did you? He turns to her in agony. Laugh at me? QUENTIN: No. He suddenly stands and cries out to Listener. Fraud! From the first five minutes! …Because! I should have agreed she was a joke, a beautiful piece, trying to take herself seriously! Why did I lie to her, play this cheap benefactor, this— Listens, and now unwillingly he turns back to her. MAGGIE: Like when you told me to fix where my dress was torn? You wanted me to be— proud of myself. Didn’t you? ↗
Let Us Be Grateful Today we give our thanks most of all, for the ideals of honor and faith we inherit from our forefathers - for the decency of purpose, steadfastness of resolve and strength of will, for the courage and the humility, which they possessed and which we must seek every day to emulate. As we express our gratitude, we must never forget that the highest appreciation is not to utter words but to live by them. ↗
You must miss your father terribly, I know. Lord Eddard was a brave man, honest and loyal...but quite a hopeless player.' He brought the seed to his mouth with the knife. 'In King's Landing, there are two sorts of people The players and the pieces.' 'And I was a piece?' She dreaded the answer. 'Yes, but don't let that trouble you. You're still half a child. Every man's a piece to start with, and every maid as well. Even some who think they are players.' He at another seed. 'Cersei, for one. She thinks herself sly, but in truth she is utterly predictable. her strength rests on her beauty, birth, and riches. Only the first of those is truly her own, and it will soon desert her. I pity her then. She wants power, but has no notion what to do with it when she gets it. Everyone wants something, Alayne. And when you know what a man wants you know who he is, and how to move him. ↗
I saw the great sparkling orbs of his eyes, the tiny red veins that reached for the dark centers, that warm hand burning my cold hunger as he guided me to a chair. And then all around me I saw faces blazing, faces rising in the smoke of the lamps, in the shimmer of the burning stove, a wonderland of colors on canvases surrounding us beneath the small, sloped roof, a blaze of beauty that pulsed and throbbed. ↗
He’d been young when he’d been turned, maybe late twenties. He looked tough, sinewy and strong, with close cropped sable hair and a sinfully full mouth. Yes, beautiful. Stunning, in fact. He stared at Luna with hunger in the depths of his ice blue eyes. Even looking worn and underfed, the vampire radiated a wild danger that sent a thrill through her entire body. What the hell! Shocked and angry with her irritatingly female reaction, she glared at the offending vampire, not bothering to disguise her loathing. Who was this freaking leech, and what was he doing to her? - Lunacy and the Vampire by Evie Jayne ↗
…My present attitude toward politics as it is practiced in the United States: it is a beautiful fraud that has been imposed on the people for years, whose practitioners exchange gilded promises for the most valuable thing their victims own, their votes. And who benefits most? The lawyers. (Chapter 4) ↗
What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity. ↗
