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Sun and Steel
“Longing at eighteen for an early demise, I felt myself unfitted for it. I lacked, in short, the muscles suitable for a dramatic death. And it deeply offended my romantic pride that it should be this unsuitability that had permitted me to survive the war.”
Sun And Steel
Yukio Mishima
I Can Barely Take Care of Myself: Tales From a Happy Life Without Kids
“I can barely forgive myself for the time when I negged Billy from my improv troupe onstage. He said, “I have a gift for you,” and my first instinct was to say, “No you don’t.” The scene died right then and there. See what happens when I try to nurture something? I know it seems dramatic to relate destroying an improv scene to possibly destroying a child’s life, but improv and child rearing are not so different. Both are jobs that people volunteer for and complain about endlessly, and they bore everyone around them as they talk about the process.”
Improvisation
Improv
Improv Comedy
The Tyrant’s Tomb
“I keeled over sideways.
The world turned fluffy, bleached of all color. Nothing hurt anymore.
I was dimly aware of Diana’s face hovering over me, Meg and Hazel peering over the goddess’s shoulders.
“He’s almost gone,” Diana said.
Then I was gone. My mind slipped into a pool of cold, slimy darkness.
“Oh, no, you don’t.” My sister’s voice woke me rudely.
I’d been so comfortable, so nonexistent.
Life surged back into me—cold, sharp, and unfairly painful. Diana’s face came into focus. She looked annoyed, which seemed on-brand for her.
As for me, I felt surprisingly good. The pain in my gut was gone. My muscles didn’t burn. I could breathe without difficulty. I must have slept for decades.
“H-how long was I out?” I croaked.
“Roughly three seconds,” she said. “Now, get up, drama queen.”
She helped me to my feet. I felt a bit unsteady, but I was delighted to find that my legs had any strength at all. My skin was no longer gray. The lines of infection were gone. The Arrow of Dodona was still in my hand, though he had gone silent, perhaps in awe of the goddess’s presence. Or perhaps he was still trying to get the taste of “Sweet Caroline” out of his imaginary mouth.
I beamed at my sister. It was so good to see her disapproving I-can’t-believe-you’re-my-brother frown again. “I love you,” I said, my voice hoarse with emotion.
She blinked, clearly unsure what to do with this information. “You really have changed.”
“I missed you!”
“Y-yes, well. I’m here now. Even Dad couldn’t argue with a Sibylline invocation from Temple Hill.”
“It worked, then!” I grinned at Hazel and Meg. “It worked!”
“Yeah,” Meg said wearily. “Hi, Artemis.”
“Diana,” my sister corrected. “But hello, Meg.” For her, my sister had a smile. “You’ve done well, young warrior.”
Meg blushed. She kicked at the scattered zombie dust on the floor and shrugged. “Eh.”
I checked my stomach, which was easy, since my shirt was in tatters. The bandages had vanished, along with the festering wound. Only a thin white scar remained. “So…I’m healed?” My flab told me she hadn’t restored me to my godly self. Nah, that would have been too much to expect.
Diana raised an eyebrow. “Well, I’m not the goddess of healing, but I’m still a goddess. I think I can take care of my little brother’s boo-boos.”
“Little brother?”
She smirked.”
Siblings
Apollo
Hazel Levesque
Diana
Meg Mccaffrey
Lester Papadopoulos
Boo Boo
The Arrow Of Dodona
Darkest Night
“Tree: I'm Tree.
Jayfeather: You're the six-toed cat.
Alderheart: How did you guess?
Jayfeather: Why else would Leafpool make so much drama of bringing us out?”
Humor
Tree
Jayfeather
Pride, Prejudice, and Other Flavors
“This might baffle you, but despite not being a
physician
, I do have some pride. Although most certainly not enough to withstand the kind of beating you're capable of dealing it. The kind of beating you've repeatedly dealt it from the first time we've met. You're right, I value honesty, so I'll tell you that I make it a practice not to find women who insult me at every opportunity attractive."
Color flooded her cheeks and traveled down her neck. Finally, she stepped away from him, too, and found the back of a chair to clutch. She looked entirely devastated. Had no one ever denied her anything? He hated the hurt in her eyes. But it was done now.
"How is telling you I'm attracted to you an insult?"
He pressed the back of his hand into his forehead. It made him feel like a drama queen in some sort of musical farce. Which this had to be. "Telling me how unworthy I am of your attraction, that's the insulting part. And, no, that's not all it is. Even if you hadn't told me at every opportunity how inferior to you I am... all I do is cook... every assumption you've made about me is insulting. Culinary school is definitely college. And Le Cordon Bleu is one of the most competitive institutions in the world. The fact that that's so wholly incomprehensible to you... that's the insulting part. And it wasn't thrown in my overly privileged lap either. I had to work my bottom off to make it in."
Ammaji had sold her dowry jewels to pay for his application, something her family would have thrown her out on the street for had they found out.
Trisha squared her shoulders, the devastation draining fast from her face, leaving behind the self-possession he was so much more used to. And the speed with which she gathered herself shook something inside him. "I might not do what you see as
important work
, but I work hard at being a decent human being, and I would need anyone I'm with to be that first and foremost. Even if I didn't find snobbery in general incredibly unattractive, I would never go anywhere near a person as self-absorbed and arrogant as you, Dr. Raje. I would have to be insane to subject myself to your view of me and the world."
"Wow." She was panting, or maybe it was him. He couldn't be sure.
"You wanted honesty. I'm sorry if I hurt you."
She cleared her throat. "I'm surprised you think someone as... as... self-absorbed and arrogant as me is even capable of being hurt.”
Prejudice
Hardworking
Truth Bomb
Insulting
Roasted
Dj Caine
Trisha And Dj
Trisha Raje
“.. Dan Indramayu bagiku, bukan sekadar rumah berteduh, lebih dari itu, dia seperti seorang Ibu; Melahirkan kerinduan, merawat kenangan, dia tempat hatiku dibesarkan.”
Quote
Quotes
Ibu
Kenangan
Rindu
Indramayu
“Nathaniel gave a dramatic sigh, "Oh to be perched in the rigging of the seabird, with no griping land-lovers about and only wind and sail to care what you had to say!”
Humor
Arcrea
Whole Earth Discipline: An Ecopragmatist Manifesto
“Science is the only news.
When you scan through a newspaper or magazine, all the human interest stuff is the same old he-said-she-said, the politics and economics the same sorry cyclic dramas, the fashions a pathetic illusion of newness, and even the technology is predictable if you know the science.
Human nature doesn’t change much; science does, and the change accrues, altering the world irreversibly. - Whole Earth Discipline (2009), page 216.”
Society
Culture
Science
Technology
News
Science News
Technology News
The Wallflower Wager
“Gabe watched her move to the center of the green. In one gloved hand, she clutched a leash. The other end of the leash was attached to... something furry and brown that
rolled
.
"What is that?"
"That would be mongrel with two lamed hind legs. Apparently, Her Ladyship's friend devised a little chariot for his rear half, and the dog careens around the neighborhood like a yapping billiard ball. If you think that's strange, wait until you see the goat."
"Hold a moment. There's a
goat
?"
"Oh, yes. She grazes it on the square every afternoon. Doesn't precisely elevate the atmosphere of Bloom Square, now does it?"
"I see the problem."
"I'm only getting started. Her Ladyship has single-handedly set us back a month on the improvements." Hammond pulled a collection of letters from a folio. He held one aloft and read from it. "'Dear Mr. Hammond, I must request that you delay completion of the parquet flooring. The fumes from the lacquer are dizzying the hens. Sincerely yours, Lady Penelope Campion.'"
He withdrew another. "'Dear Mr. Hammond, I'm afraid your improvements to the mews must be temporarily halted. I've located a litter of newborn kittens in the hayloft. Their mother is looking after them, but as their eyes are not yet open, they should not be displaced for another week. Thank you for your cooperation. Gratefully yours, Lady Penelope Campion.'"
Gabe sensed a theme.
"Oh, and here's my favorite." Hammond shook open a letter and cleared his throat for dramatic effect. "'Dear Mr. Hammond, if it is not too great an imposition, might I ask that your workers refrain from performing heavy labor between nine o'clock in the morning and half-three in the afternoon? Hedgehogs are nocturnal animals, and sensitive to loud noises. My dear Freya is losing quills. I feel certain this will concern you as much as it does me. Neighborly yours, Lady Penelope Campion.'" He tossed the folio of letters onto the table, where they landed with a smack. "Her
hedgehog
. Really.”
Caretaker
Penelope Campion
Concerns
Animal Lover
“Read the poem through again—but read it out loud. We have suggested this before, in the case of poetic dramas like Shakespeare's. There it was helpful; here it is essential. You will find, as you read the poem out loud, that the very act of speaking the words forces you to understand them better. You cannot glide over a misunderstood phrase or line quite so easily if you are speaking it. Your ear is offended by a misplaced emphasis that your eyes might miss. And the rhythm of the poem, and its rhymes, if it has them, will help you to understand by making you place the emphasis where it belongs.
[How to Read a Book (1972), P. 224]”
Reading Poems
Reading Poetry
Read It Aloud
The 48 Laws of Power
“... the moment when you stop has great dramatic import. What comes last sticks in the mind as a kind of exclamation point. There is no better time to stop and walk away than after a victory.... As lawyers say of cross-examination, "Always stop with a victory.”
Power
Knowing When To Quit
The Happiness Hypothesis: Finding Modern Truth in Ancient Wisdom
“You create your story in consciousness as you interpret your own behavior, and as you listen to other people's thoughts about you. The life story is not the work of a historian [...]; it is more like a work of historical fiction that makes plenty of references to real events and connects them by dramatizations and interpretations that might or might not be true to the spirit of what happened.”
Pop Psychology
Hungry Hearts: 13 Tales of Food & Love
“We've been trying to recreate Mum's Coorg pandhi curry."
"Is that so?" said Mynah. "How was that supposed to work without the kachampuli?"
"The what?"
"Kachampuli," she repeated.
"What is kachampuli supposed to be?" Dad asked, sounding out the syllables carefully.
Mynah let out a shriek of laughter. "Are you telling me you've been trying to make Coorg pandhi curry all this time, and neither of you knows about kachampuli? Which is only the most essential ingredient?"
"But surely the pandhi is the most essential ingredient," Anna protested, gesturing in the direction of the pork rind sitting on the counter. "Otherwise it would be called
kachampuli
curry."
Mynah ignored that and wiped tears of laughter from her eyes. "Kachampuli, my sweet ignorant ones, is what gives the pandhi curry its distinct flavor. It's a little vinegar, and it's made from a limey sort of fruit they grow in Coorg." She marched to one of the cupboards, rooted around in the back, and retrieved a dusty bottle with a sealed cap. Inside gleamed a thick, dark liquid. "Behold," she said dramatically, "kachampuli.”
Secret Ingredient
Curry
Kachampuli
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“It would shed an extraordinarily revealing light on the gradual alienation of modern literature from the middle classes, to examine the metamorphoses this figure underwent from the ‘Sturm und Drang’ right up to Ibsen and Shaw. For he does not represent simply the stereotyped insurgent against the prevailing social order, who is one of the basic types of the drama of all times, nor is he merely a variant of rebellion against the particular ruler of the moment, which is one of the fundamental dramatic situations, but he represents a concrete and consistent attack on the bourgeoisie, on the basis of its spiritual existence and on its claim to stand for a universally valid moral norm. To sum up, what we are here confronted with is a literary form which from being one of the most effective weapons of the middle class developed into the most dangerous instrument of its self-estrangement and demoralization.”
Romanticism
Morality
Drama
Sturm Und Drang
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Naturally, the single individual can be wrecked by old institutions just as much as he can be destroyed by the representatives of a new world. A class, however, that believes in its ultimate victory, will regard its sacrifices as the price of victory, whereas the other class, that feels the approach of its own inevitable ruin, sees in the tragic destiny of its heroes a sign of the coming end of the world and a twilight of the gods. The destructive blows of blind fate offer no satisfaction to the optimistic middle class which believes in the victory of its cause; only the dying classes of tragic ages find comfort in the thought that in this world all great and noble things are doomed to destruction and wish to place this destruction in a transfiguring light. Perhaps the romantic philosophy of tragedy, with its apotheosis of the self-sacrificing hero, is already a sign of the decadence of the bourgeoisie. The middle class will, at any rate, not produce a tragic drama in which fate is resignedly accepted until it feels threatened with the loss of its very life; then, for the first time, it will see, as happens in Ibsen’s play, fate knocking at the door in the menacing shape of triumphant youth.”
Bourgeoisie
Twilight Of Gods
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“The psychology of the naturalistic drama, in which the characters are interpreted as social phenomena, has its origin in this urge which the spectator feels to identify himself with his social compeers. Now, however much objective truth there may be in such an interpretation of the characters in a play, it leads, when raised to the status of an exclusive principle, to a falsification of the facts. The assumption that men and women are merely social beings results in just as arbitrary a picture of experience as the view according to which every person is a unique and incomparable individual. Both conceptions lead to a stylization and romanticizing of reality. On the other hand, however, there is no doubt that the conception of man held in any particular epoch is socially conditioned and that the choice as to whether man is portrayed in the main as an autonomous personality or as the representative of a class depends in every age on the social approach and political aims of those who happen to be the upholders of culture.
When a public wishes to see social origins and class characteristics emphasized in the human portraiture, that is always a sign that that society has become class-conscious, no matter whether the public in question is aristocratic or middle-class. In this context the question whether the aristocrat is only an aristocrat and the bourgeois only a bourgeois is absolutely unimportant.
”
Art
Literature
Drama
Naturalism
Self Identity
Class Consciousness
The Social History of Art: Volume 3: Rococo, Classicism and Romanticism
“Only a society that had lost its faith in both the necessity and the divine ordinance of social distinctions and in their connection with personal virtue and merit, that experiences the daily growing power of money and sees men becoming merely what external conditions make them, but which, nevertheless, affirms the dynamism of human society, since it either owes its own ascendancy to it or promises itself that it will lead to its ascendancy, only that kind of society could reduce the drama to the categories of real space and time and develop the characters out of their material environment.”
Literature
Materialism
Fictional Characters
Extraneous
Money Economy
The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque
“People fell into the error of imagining that an art which portrays the life of simple folks is also intended for simple folk, whereas the truth is, in reality, rather the opposite. It is usually only the conservatively thinking and feeling ranks of society that seek in art for an image of their own way of life, the portrayl of their own social environment. Oppressed and upward-striving classes wish to see the representation of conditions of life which they themselves envisage as an ideal to aim at, but not the kind of conditions they are trying to work themselves out of. Only people who are themselves superior to them feel sentimentally about simple conditions of life. That is so today, and it was no different in sixteenth century. Just as the working class and the petty bourgeoisie of today want to see the milieu of rich people and not the circumstances of their own constricted lives in the cinema, and just as the working-class drama of the last century achieved their outstanding successes not in the popular theatres but in the West End of the big cities, so Bruegel's art was not intended for the peasantry but for the higher or, at any rate, the urban levels of society.”
Art
Hypocrisy
Lower Class
Bruegel
Peasant Art
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“The new artistic urge often led to cathedrals being left unfinished or, if finished, to their giving us the feeling, of which Goethe was the first to become conscious, that they are somehow incomplete, indeed impossible to complete, because in the process of endless, interminable development. This impulse into the unlimited, this inability to be content with any conclusion, comes out all the more clearly in the Passion plays because of their extreme naïvety. It is in the ‘drama of movement’ of the Middle Ages that its dynamic sense of life, its unrest, dissolving traditional modes of thought and feeling, its nominalistic turning to the multiplicity of changing and transitory particulars, are most directly apprehended.”
Endless
Unsatisfied
Dynamic
Conclusionless
Gothic Art
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.”
Poets
Minstrel
Carnivalesque
Court Poet
Popular Poets
“In film, drama and TV series, the actors and actresses only act upon the role which the writer writes. Expecting that from them, in real life, is a grave risk, even inviting gloom for own life.”
Actors And Actresses
“To my mirrors,
The aliens and the CIA
secretly watching me,
and any spirits stuck in my room,
sorry guys.
I know look batshit crazy
each time I start reciting a bunch of monologues in my dramatic "film voice" after I finish watching a movie.”
Humor
Aliens
Funny Quotes
Humourous
Funny And Random Humor
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“Nothing could have been less in line with contemporary conceptions of art than that the theatre should be divorced from all relation to life and politics. Greek tragedy was in the strictest sense ‘political drama’; the finale of Eumenides, with its fervent prayers for the prosperity of the Attic state, betrays the main purpose of the piece. This political control of the theatre brought back to currency the old view that the poet is guardian of a higher truth and an educator who leads his people up to a higher plane of humanity. Through the performance of tragedies on the state-ordained festivals and the circumstances that tragedy came to be looked upon as the authoritative interpretation of the national myths, the poet once more attains to a position almost equivalent to that of the priestly seer of prehistoric times.”
Art
Politics
Authority
Myth
Greek Tragedy
Priesthood
Authentic Interpretation
The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.”
Art
Entertainment
Education
Tragedy
Propaganda
Politics
Mime
Art And Politic
Greek Theater
People S Art
The Age of Battles: The Quest for Decisive Warfare from Breitenfeld to Waterloo
“The grand-scale battle, with tens of thousands of soldiers fighting, cursing, trembling, falling, screaming in agony, dying, all in a spectacle covering an amphitheater-like field -- this dramatic epitome of war is the chief source of the enduring fascination of military history. The thirst to experience vicariously the intense emotions of battle goes far to explain why books of military history are written and read, however much their authors and readers may profess higher concerns about removing or at least palliating the scourge of war.”
War
Battle
Military History
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