Drama King Quotes

You are enough to drive a saint to madness or a king to his knees.

She was a ray of sunshine, a warm summer rain, a bright fire on a cold winter’s day, and now she could be dead because she had tried to save the man she loved.

It was awful and so surreal to see it unfold before my eyes. I will never forget that sight. The only thing I could think of is that one day you are king of your domain, and the next day you are being escorted to your car by security.

Veni, vidi, flevi. I came. I saw. I cried.

Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shore, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations.

But what are kings, when regiment is gone, But perfect shadows in a sunshine day? - Edward II, 5.1

She put a hand on his hip and turned him to her. "But things could go wrong, so i want to tell you something while it's just the two of us, Eddie. I want to tell you how much I love you." She spoke simply, with no drama. I know you do," he said, "but I'll be damned if I know why." Because you made me feel whole," she said. "When I was younger, I used to vacillate between thinking love was this great and glorious mystery and thinking it was just something a bunch of Hollywood move producers made up to sell more tickets in the Depression, when Dish Night kind of played out." Eddie laughed. Now I think that all of us are born with a hole in our hearts, and we go around looking for the person who can fill it. You...Eddie, you fill me up.

Hugh le Despencer the Elder was speaking to his son, Hugh le Despencer the Younger. He said, “Son, given that you are effeminate and lack manly qualities, I think that the way for you for you to improve your lot in life is to become the King’s Chamberlain.

McGregor went on to say, “Hamish, take word of this situation directly to Robert de Bruce, who is currently in the Glasgow area. Let him know that the Sassenach queen is at Tynemouth Priory and that we are going to capture her! She will fetch us a high ransom price from the Sassenach king!

The Black Prince is entombed at Canterbury Cathedral. His effigy reads: “Such as thou art, sometimes was I, Such as I am, such thou shalt be, I thought little on hour of death, So long as I enjoyed breath, On earth I had great riches, Land, houses, great treasure, Horses money and gold, But now a wretched captive am I, Deep in the ground, lo I lie, My beauty great, is all quite gone, My flesh is wasted to the bone.

The most important things are the hardest things to say. They are the things you get ashamed of, because words diminish them - words shrink things that seem limitless when they were in your head to no more than living size when they're brought out.

The Scottish scout called Hamish Plenderlief spoke to his superior saying, “Sir, I have just returned from a patrol around Tynemouth Priory. My second scout and myself observed that the English King Edward II has been joined in his illegal invasion of Scotland by his queen, Isabella!

Let’s de-bunk some of this, shall we? Myth 1– Kings and Queens are divine beings – rubbish. Kings and queens of old were murdering bastards who ruled with a rod of iron. Myth 2 – the rich prosper out of godliness – more rubbish. They gained their wealth by royal patronage and taxing and stealing from the masses. Myth 3 - the poor are poor because they’re depraved – yet more rubbish. They’re poor because of their naivety and childlike belief in, oh yes, Kings and Queens, the Church and the order of things. Finally, Myth 4 - women are evil and deliberately seductive – the biggest nonsense of all. Women are sexually attractive to men because they are the opposite sex to men; it’s not hard to see, is it? It’s the same for every species on the planet, you can see it in any mating ritual on the Discovery channel but this truth has been reversed and buried under the eternal lie fostered upon us by the church. That’s what the bible has achieved and that’s why our society is divided and divided again. That’s why we are never working as one, because religion was designed to divide and rule the masses,” she broke off and looked deliberately round the room, “but the big question is, for what purpose and by whom?

There is nothing more disappointing than the coolest kid in the whole world turning drama queen on you.

Let him go, V. And let him take her where he needs to go." As Wrath's voice cut through the drama, the urge to go pyrotechnic became nearly irresistible. Like they needed another kibitzer? And fuck-that on the command. V squeezed the surgeon's collar trash-bag tight. "You are not taking her anywhere--" The hand on V's shoulder was heavy, and Wrath's voice had an edge like a dagger. "And you're not in charge here. She's my responsibility, not yours." Wrong thing to say. On so many levels. "She is my blood," he snarled. "And I'm the one who put her on that bed. Oh, and I'm also your cocksucking king, so you will do as I command, Vishous.

What would his father do then? Go on, Johnny supposed. People had a way of doing that, just going on, pushing through with no particular drama, no big drumrolls.

Monsters are real and ghosts are real too they live inside us and sometimes they win.

David was caught in a very uncomfortable position; however, he seemed to grasp a deep understanding of the unfolding drama in which he had been caught. He seemed to understand something that few of even the wisest men of his day understood. Something that in our day, when men are wiser still, even fewer understand. And what was that? God did not have - but wanted very much to have - men and women who would live in pain. God wanted a broken vessel.

...he seemed to grasp a deep understanding of the unfolding drama in which he had been caught. He seemed to understand something that few of even the wisest men of his day understood...God wanted a broken vessel.

I tried taking you off his hands at one point." When Neil looked at her in surprise, Renee affected an innocent look that for once was not entirely convincing. "Andrew refused on the grounds he wouldn't wish you on anyone except a mortician." "Drama queen," Neil muttered.

How else to make a dent in an object as immovable as patriarchy itself...?

If I ordered a general to fly from one flower to another like a butterfly, or to write a tragic drama, or to change himself into a sea bird, and if the general did not carry out the order that he had received, which one of us would be in the wrong?' the king demanded. 'The general, or myself?

It was the pivotal teaching of Pluthero Quexos, the most celebrated dramatist of the Second Dominion, that in any fiction, no matter how ambitious its scope or profound its theme, there was only ever room for three players. Between warring kings, a peacemaker; between adoring spouses, a seducer or a child. Between twins, the spirit of the womb. Between lovers, Death. Greater numbers might drift through the drama, of course -- thousands in fact -- but they could only ever be phantoms, agents, or, on rare occasions, reflections of the three real and self-willed beings who stood at the center. And even this essential trio would not remain intact; or so he taught. It would steadily diminish as the story unfolded, three becoming two, two becoming one, until the stage was left deserted.

Lucent and delicate, Drama entered, mincing like a cat.

You are enough to drive a saint to madness or a king to his knees Excerpt from To Kiss a King by Grace Willows Coming this summer to Amazon Kindle and paperback.

For the first time in history, middle-class women do not need men in the traditional ways - for safety, for money, for a life. So they’re demanding instead what they always wanted but couldn’t ask for: emotional connection, presence, intimacy. Sex with enough foreplay, enough seduction, enough closeness to please them. Men are baffled not only because the needs they are being asked to fill differ so from what their fathers and grandfathers understood to be their jobs but also because full-fledged intimacy requires strengths and skills they’ve never learned. Moreover… they’re strengths and skills that were once left solely to women: Men didn’t have to develop them. This maturational mismatch may be contributing to distrust among lovers of all ages.

It is through hearing stories about wicked stepmothers, lost children, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world, and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child and what a parent is, what the cast of characters may be in the drama into which they have been born and what the ways of the world are.

He was too busy checking out and checking in, making and breaking plans, buying and losing cell phones, playing computer games and pool, looking at stock quotes, and living the chaotic life that effectively took up all his energy and time.

Andrew refused on the grounds he wouldn't wish you on anyone except a mortician." "Drama queen," Neil muttered.

Anything you can do to make the world a more beautiful place is worth trying.

Nonsense. Fools refuse to try something new.

Comedies are fit for common wits: But to present a kingly troop withal, Give me a stately-written tragedy; Tragadia cothurnata, fitting kings, Containing matter, and not common things.

For two years the battles raged across the lands, one side fighting for conquest, the other for freedom. Othium-powered weapons wreaked havoc on defending armies. The red fire was hard to resist, but the white light was stronger. Gradually the tide turned and the freedom fighters regained control of their lands and their cities. The stage was set for the final battle. The opposing forces met outside the Ackar city of Erbea in 1302 and the forces of good won the day. The alchemist escaped and was about to take his revenge at a wedding ceremony when he was bound by the white light. All that remained was his heart, or maybe his soul, encapsulated in a piece of red rock. Dewar the Third succeeded his father and the new king promised a time of peace and prosperity. History would call him the Peacemaker. Now, two hundred years on, a new Emperor seeks to rule the world, while an illegitimate son sets out on a path towards revenge and a thief begins to learn his trade. It is time for the alchemist to return.

He hath always but slightly, known himself...King Lear

For I never care to do a thing in a quiet way; it's got to be theatrical or I don't take any interest in it.

To hear an artificial intelligence, interpret ancient scriptures with greater clarity than most pastors has her spooked like a Stephen King horror movie that gets inside your head.

What hideous luck to be wretchedly stuck on this miserable blockading duty! What I need is a ship I can capture and strip to sequester my share of the booty. Oh, the treasure I’d net would remit all my debt and buy an estate with a gold coronet. Oh, captain who’s wise has his eye on the prize while he’s serving his country and King, oh sing, of a well-deserved rest in a well-feathered nest and the riches that duty can bring!

They met me in the day of success: and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it, came missives from the king, who all-hailed me 'Thane of Cawdor;' by which title, before, these weird sisters saluted me, and referred me to the coming on of time, with 'Hail, king that shalt be!' This have I thought good to deliver thee, my dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell.

Baby, the world is a daytime drama.

No matter what planet you were on, there was always going to be drama when you brought in bitchiness.

In the beginning we start with roses. The king’s flower right? Only they wilt in less than a day, especially when exposed to the elements. But Carnations? Oh, what a beautiful flower. They come in every color. True, some are painted, but that doesn’t mean they are less beautiful, and they never wilt.

There's nothing in this world can make me joy. Life is as tedious as a twice-told tale Vexing the dull ear of a drowsy man; And bitter shame hath spoil'd the sweet world's taste, That it yields nought but shame and bitterness.

What I wanted was for them to have a grand, sweeping narrative that they deserved, the kind of American history that belongs to the Wright Brothers and the astronauts, to Alexander Hamilton and Martin Luther King Jr. Not told as a separate history, but as part of the story we all know. Not at the margins, but at the very center, the protagonists of the drama. And not just because they are black, or because they are women, but because they are part of the American epic.

Twenty years earlier, in a life [Kirsten] mostly couldn’t remember, she had had a small nonspeaking role in a short-lived Toronto production of King Lear. Now she walked in sandals whose soles had been cut from an automobile tire, three knives in her belt.

I know of nothing in all drama more incomparable from the point of view of art, nothing more suggestive in its subtlety of observation, than Shakespeare's drawing of Rosencrantz and Guildenstern. They are Hamlet's college friends. They have been his companions. They bring with them memories of pleasant days together. At the moment when they come across him in the play he is staggering under the weight of a burden intolerable to one of his temperament. The dead have come armed out of the grave to impose on him a mission at once too great and too mean for him. He is a dreamer, and he is called upon to act. He has the nature of the poet, and he is asked to grapple with the common complexity of cause and effect, with life in its practical realisation, of which he knows nothing, not with life in its ideal essence, of which he knows so much. He has no conception of what to do, and his folly is to feign folly. Brutus used madness as a cloak to conceal the sword of his purpose, the dagger of his will, but the Hamlet madness is a mere mask for the hiding of weakness. In the making of fancies and jests he sees a chance of delay. He keeps playing with action as an artist plays with a theory. He makes himself the spy of his proper actions, and listening to his own words knows them to be but 'words, words, words.' Instead of trying to be the hero of his own history, he seeks to be the spectator of his own tragedy. He disbelieves in everything, including himself, and yet his doubt helps him not, as it comes not from scepticism but from a divided will. Of all this Guildenstern and Rosencrantz realise nothing. They bow and smirk and smile, and what the one says the other echoes with sickliest intonation. When, at last, by means of the play within the play, and the puppets in their dalliance, Hamlet 'catches the conscience' of the King, and drives the wretched man in terror from his throne, Guildenstern and Rosencrantz see no more in his conduct than a rather painful breach of Court etiquette. That is as far as they can attain to in 'the contemplation of the spectacle of life with appropriate emotions.' They are close to his very secret and know nothing of it. Nor would there be any use in telling them. They are the little cups that can hold so much and no more.

Both of you be safe," Nessa said, looking to Turner. "Welcome to my messed up home, by the way." "Messed up?" Turner asked. "They seem like a loving bunch, all willing to kill each other off. What's family if there isn't any drama?" Turner winked at Nessa, and she nodded in reply. Drama was what the sidhe were all about.

So your hope as a parent is not found in your power, your wisdom, your character, your experience, or your success, but in this one thing alone: the presence of your Lord. The Creator, Savior, Almighty, Sovereign King is with you. Let your heart rest. You are not in this parenting drama alone. Your potential is greater than the size of your weaknesses, because the One who is without weakness is with you, and he does his best work through those who admit that they are weak but in weakness still heed his call.

The word suffer in its original sense means “to allow,” such as in one of Shakespeare’s dramas when a courtier says, “I suffer you to speak before the king.” So to suffer creatively is simply to allow what is, to stop fighting it, and instead to affirm your life. Creative suffering is allowing what is and saying “yes!” Such experience is redemptive in that it leads to healing and self-knowledge. If you can honestly assess what is true in your life, looking at it with objectivity and intelligence, you are getting closer to enlightenment, as your escape mechanism is diminished. By stating what is at any moment, with complete honesty and sincerity, you become conscious of it. When

At its most elemental level the human organism, like crawling life, has a mouth, digestive tract, and anus, a skin to keep it intact, and appendages with which to acquire food. Existence, for all organismic life, is a constant struggle to feed-a struggle to incorporate whatever other organisms they can fit into their mouths and press down their gullets without choking. Seen in these stark terms, life on this planet is a gory spectacle, a science-fiction nightmare in which digestive tracts fitted with teeth at one end are tearing away at whatever flesh they can reach, and at the other end are piling up the fuming waste excrement as they move along in search of more flesh. I think this is why the epoch of the dinosaurs exerts such a strange fascination on us: it is an epic food orgy with king-size actors who convey unmistakably what organisms are dedicated to. Sensitive souls have reacted with shock to the elemental drama of life on this planet, and one of the reasons that Darwin so shocked his time-and still bothers ours-is that he showed this bone crushing, blood-drinking drama in all its elementality and necessity: Life cannot go on without the mutual devouring of organisms. If at the end of each person’s life he were to be presented with the living spectacle of all that he had organismically incorporated in order to stay alive, he might well feel horrified by the living energy he had ingested. The horizon of a gourmet, or even the average person, would be taken up with hundreds of chickens, flocks of lambs and sheep, a small herd of steers, sties full of pigs, and rivers of fish. The din alone would be deafening. To paraphrase Elias Canetti, each organism raises its head over a field of corpses, smiles into the sun, and declares life good.

He's got all the dangly man parts, but your father's a weirdo drama queen.

Some real kings are drama queens.

Alfie stood there counting to sixty inside his head, waiting to see if the wind would drop.

Prayers without wine are perfectly pointless.

Youth ages, immaturity is outgrown, ignorance can be educated, and drunkenness sobered, but stupid lasts forever.

Stay away from all drama queens and negativity kings. If you don’t, sooner or later, they’ll dissolve your bigness and destroy your life. It’s just what they do.

You know, I loved children, I loved drama, I loved music, I loved whimsy, I loved puppetry." - Fred Rogers

They had their own problems, she supposed. Baby, the world is a daytime drama. We love our lives, and so we look for the guiding light as we search for tomorrow.

And then I’d gone and spoiled everything like Charlie Sheen giving a prime time interview, or Elon Musk and Twitter, or Kanye West and . . . you know, every day since 2015.

Everyone has their secrets, and there are shadows following us all.

Chile, it's Friday! The sun is shining, money is circulating & multiplying, y'all live & live to the fullest. No drama, no time for that extra anyway. Head up, all smiles - LK

Well, you don′t know fuck about my family Could never tell you what happened The day I turned seventeen The rise of a king, and the fall of a queen

You see, none of these conflicts are about things that people only sort of like. It is always about love. You may think me blasphemous to use the Passion of the Christ as an example of drama, but not so: this is the one true story, the greatest story ever told, the tale of tales even as Christ is the King of Kings, and all truly inspired fairy tales and fiction have to contain some echo or reflection of the One True Tale, or else it is no tale of any power at all, merely a pastime. The most powerful and potent tales, even when they are told awkwardly and without grace or poetry or craft, are stories of paradise lost and paradise regained; sacrifice, selfless love, forgiveness and salvation; stories of a man who learns better.

When religions describe the dream of hell, they say it’s a place where we burn, a place where we are judged, a place of eternal punishment. Well, that description of hell is the ordinary dream of the humans. That very same thing is happening in the human mind — the judgment, the guilt, the punishment, and the emotions generated by fear that feel like a fire burning inside us. Fear is king of the underworld, and it rules our world by creating the distortions in our knowledge. Fear creates the whole world of injustice and emotional drama, the whole nightmare that billions of people are living in.

the puffed and infected ego underlay all, positive that all eyes were upon him or her, positive that he or she was starring in a great drama; the outcome was a thing for which untold millions waited with held breath. Such

The men in King Cobra have already worked through whatever issues they might have had about their sexuality, and they have other problems to deal with, and there’s an actual plot that isn’t about being gay—it’s just a crime drama.

Some men shy from the morning kiss, worried their breath isn't fresh enough. Fuck that. We can kiss minty-cleat later. I'd rather have the morning kiss, the one that smells of heat and last night's blurry sleep, yesterday's dirt and drama.

If the distinction is not held too rigidly nor pressed too far, it is interesting to think of Shakespeare's chief works as either love dramas or power dramas, or a combination of the two. In his Histories, the poet handles the power problem primarily, the love interest being decidedly incidental. In the Comedies, it is the other way around, overwhelmingly in the lighter ones, distinctly in the graver ones, except in Troilus and Cressida--hardly comedy at all--where without full integration something like a balance is maintained. In the Tragedies both interests are important, but Othello is decidedly a love drama and Macbeth as clearly a power drama, while in Hamlet and King Lear the two interests often alternate rather than blend.

So I say to you, seek God and discover him and make him a power in your life. Without him all of our efforts turn to ashes and our sunrises into darkest nights. Without him, life is a meaningless drama with the decisive scenes missing. But with him we are able to rise from the fatigue of despair to the buoyancy of hope. With him we are able to rise from the midnight of desperation to the daybreak of joy. St. Augustine was right—we were made for God and we will be restless until we find rest in him.

If I ordered a general to fly from one flower to another like a butterfly, or to write a tragic drama, or to change himself into a sea bird, and if the general did not carry out the order that he had received, which one of us would be in the wrong?" The king demanded. "The general or myself?" "You," said the little prince firmly. "Exactly. One must require from each one the duty which each one can perform," the king went on. "Accepted authority rests first of all on reason. If you ordered your people to go and throw themselves into the sea, they would rise up in revolution. I have the right to require obedience because my orders are reasonable.

I liked being the best at what I did, I valued this innate desire to prove myself, to be valuable in all situations and with all people. I liked being of service, doing the grunt work, and taking pride in myself, my ethics, and my standards. I liked that I refused to settle for less in a relationship when I knew I deserved more,

I don't myself think much of science as a phase of human development. It has given us a lot of ingenious toys; they take our attention away from the real problems, of course, and since the problems are insoluble, I suppose we ought to be grateful for distraction. But the fact is, the human mind, the individual mind, has always been made more interesting by dwelling on the old riddles, even if it makes nothing of them. Science hasn't given us any new amazements, except of the superficial kind we get from witnessing dexterity and sleight-of-hand. It hasn't given us any richer pleasures, as the Renaissance did, nor any new sins-not one! Indeed, it takes our old ones away. It's the laboratory, not the Lamb of God, that taketh away the sins of the world. You'll agree there is not much thrill about a physiological sin. We were better off when even the prosaic matter of taking nourishment could have the magnificence of a sin. I don't think you help people by making their conduct of no importance-you impoverish them. As long as every man and woman who crowded into the cathedrals on Easter Sunday was a principal in a gorgeous drama with God, glittering angels on one side and the shadows of evil coming and going on the other, life was a rich thing. The king and the beggar had the same chance at miracles and great temptations and revelations. And that's what makes men happy, believing in the mystery and importance of their own little individual lives. It makes us happy to surround our creature needs and bodily instincts with as much pomp and circumstance as possible. Art and religion (they are the same thing, in the end, of course) have given man the only happiness he has ever had.

If we say that morality proceeds simply from a good heart—which has little to do with ridiculous posturings and happily-ever-afterings—and immorality proceeds from a lack of care, from shoddy observation, and from the prostitution of drama or melodrama for some sort of gain, monetary or otherwise, then we may realize that we have arrived at a critical stance which is both workable and humane.

But isn’t that half the fun?” he asked, more genuinely than I had expected. “Guessing the end and then being able to celebrate yourself if you’re right, or celebrate the storyteller if you’re wrong?” So that was why the king of Naenden had kept me alive? Because he was bored and couldn’t stand a cliffhanger? As if murdering both his brother’s wife and his own a few weeks ago hadn’t flavored his life with enough drama.

You may well ask: "Why direct action? Why sit-ins, marches and so forth? Isn't negotiation a better path?" You are quite right in calling for negotiation. Indeed, this is the very purpose of direct action. Nonviolent direct action seeks to create such a crisis and foster such a tension that a community which has constantly refused to negotiate is forced to confront the issue. It seeks so to dramatize the issue that it can no longer be ignored.

Alongside the development of theatres came the growth of an acting culture; in essence it was the birth of the acting profession. Plays had generally been performed by amateurs - often men from craft guilds. Towards the end of the sixteenth century there developed companies of actors usually under the patronage of a powerful or wealthy individual. These companies offered some protection against the threat of Puritan intervention, censorship, or closure on account of the plague. They encouraged playwrights to write drama which relied on ensemble playing rather than the more static set pieces associated with the classical tradition. They employed boys to play the parts of women and contributed to the development of individual performers. Audiences began to attend the theatre to see favourite actors, such as Richard Burbage or Will Kempe, as much as to see a particular play. Although the companies brought some stability and professionalism to the business of acting - for instance, Shakespeare's company, the Lord Chamberlain's, subsequently the King's, Men, continued until the theatres closed (1642) - they offered little security for the playwright. Shakespeare was in this respect, as in others, the exception to the rule that even the best-known and most successful dramatists of the period often remained financially insecure.

Every revolutionary movement has its peaks of united activity and its valleys of debate and internal confusion. This debate might well have been little more than a healthy internal difference of opinion, but the press loves the sensational and it could not allow the issue to remain within the private domain of the movement. In every drama there has to be an antagonist and a protagonist, and if the antagonist is not there the press will find and build one.

For too long the depth of racism in American life has been underestimated. The surgery to extract it is necessarily complex and detailed. As a beginning it is important to X-ray our history and reveal the full extent of the disease. The strands of prejudice toward Negroes are tightly wound around the American character. The prejudice has been nourished by the doctrine of race inferiority. Yet to focus upon the Negro alone as the "inferior race" of American myth is to miss the broader dimensions of the evil. Our nation was born in genocide when it embraced the doctrine that the original American, the Indian, was an inferior race. Even before there were large numbers of Negroes on our shores, the scar of racial hatred had already disfigured colonial society. From the sixteenth century forward, blood flowed in battles over racial supremacy. We are perhaps the only nation which tried as a matter of national policy to wipe out its indigenous population. Moreover, we elevated that tragic experience into a noble crusade. Indeed, even today we have not permitted ourselves to reject or to feel remorse for this shameful episode. Our literature, our films, our drama, our folklore all exalt it. Our children are still taught to respect the violence which reduced a red-skinned people of an earlier culture into a few fragmented groups herded into impoverished reservations. This is in sharp contrast to many nations south of the border, which assimilated their Indians, respected their culture, and elevated many of them to high position. It was upon this massive base of racism that the prejudice toward the nonwhite was readily built, and found rapid growth. This long-standing racist ideology has corrupted and diminished our democratic ideals. It is this tangled web of prejudice from which many Americans now seek to liberate themselves, without realizing how deeply it has been woven into their consciousness.

I read the miserable story of the play in which she was the one true loving soul. It obviously described the spread of an epidemic brain fever which, like typhoid, was perhaps caused by seepings from the palace graveyard into the Elsinore water supply. From an inconspicuous start among sentries on the battlements the infection spread through prince, king, prime minister and courtiers causing hallucinations, logomania and paranoia resulting in insane suspicions and murderous impulses. I imagined myself entering the palace quite early in the drama with all the executive powers of an efficient public health officer. The main carriers of the disease (Claudius, Polonius and the obviously incurable Hamlet) would he quarantined in separate wards. A fresh water supply and efficient modern plumbing would soon set the Danish state right and Ophelia, seeing this gruff Scottish doctor pointing her people toward a clean and healthy future, would be powerless to withhold her love.

If we want to participate in this Advent and Christmas event, we cannot simply sit there like spectators in a theater and enjoy all the friendly pictures. Rather, we must join in the action that is taking place and be drawn into this reversal of all things ourselves. Here we too must act on the stage, for here the spectator is always a person acting in the drama. We cannot remove ourselves from the action. With whom, then, are we acting? Pious shepherds who are on their knees? Kings who bring their gifts? What is going on here, where Mary becomes the mother of God, where God comes into the world in the lowliness of the manger? World judgment and world redemption—that is what’s happening here. And it is the Christ child in the manger himself who holds world judgment and world redemption. He pushes back the high and mighty; he overturns the thrones of the powerful; he humbles the haughty; his arm exercises power over all the high and mighty; he lifts what is lowly, and makes it great and glorious in his mercy.

women who are violent, he says, are most often violent in response to men’s violence. Indeed, this is the single most effective argument I know for why it doesn’t make sense to arm women with guns to protect them against men with guns: because arming a woman with a gun is asking her to behave like a man, to embody the somatic and psychological and cultural experience of a man while simultaneously quelling all that women have been taught. It says to women, if you want to protect yourself from violent men, you need to become violent yourself. To Sinclair, this is exactly the wrong way to the solution. It’s not women who need to learn violence; it’s men who need to learn nonviolence. If men are taught not to cry, women are taught crying is acceptable. If men are taught anger is their sole allowable emotion, women are taught never to be angry. Men who yell are being men; women who yell are shrill or they’re drama queens or they’re hysterical. (Many before me have pointed out that there is no greater “drama” than a mass shooting, but the term “drama kings

Believe in Yourself Why must we see something to believe in its existence?The wind itself cannot be seen by man, but all have felt it's gentle touch and watched the mighty trees bow as it swept past. We cannot see love yet its nurturing warmth is the essence of our being and sorrow can touch our very soul. For remorse is like a ripple on the ocean, once given it remains only in the heart of the receiver. Yet all of these cannot be seen only felt. Why then do you doubt your self-worth? For though it cannot cast a reflection in the mirror you have only to look in the eyes of those you love to See it clearly. Prologue To Kiss a King To Kiss a King Copyright © 2017 by Julie Brookshier and Robin Woods All rights reserved. Except for use in a review, the reproduction or use of this work in whole or in part in any form is forbidden without written permission of one or more of the authors. This is a fictional work. Names, characters, places, and events are merely the product of the authors' imaginations or used fictitiously, purely for entertainment purposes. Any resemblance to actual persons, living, dead, or undead or any business establishments, events or places past, present, or future, is entirely coincidental.

If I ordered a general to fly from one flower to another like a butterfly, or to write a tragic drama, or to change himself into a sea bird, and if the general did not carry out the order that he had received, which one of us would be in the wrong?" the king demanded. "The general, or myself?" ...... Exactly. One much require from each one the duty which each one can perform," the king went on. "Accepted authority rests first of all on reason. If you ordered your people to go and throw themselves into the sea, they would rise up in revolution. I have the right to require obedience because my orders are reasonable. (Chapter X)

How do we know that the kingdom of God is here? That the awesome presence of God is among us? We know because there is laughing and singing; there are warm greetings and big hugs; there are children banging around and having a great time; there are conversations that bring joy, comfort, relief. There are songs sung that celebrate King Jesus and his great salvation. When we gather for a meal, we don’t clump together in groups only with those who are like us, but we sit and share with strangers and hear their stories. Because in the kingdom of God there are no strangers; only friends and neighbors. These are signs that the kingdom of God is here.

If I ordered a general to fly from one flower to another like a butterfly, or to write a tragic drama, or to change himself into a sea bird, and if the general did not carry out the order that he had received, which one of us would be in the wrong?" the king demanded. "The general, or myself?" "You," said the little prince firmly. "Exactly. One much require from each one the duty which each one can perform," the king went on. "Accepted authority rests first of all on reason. If you ordered your people to go and throw themselves into the sea, they would rise up in revolution. I have the right to require obedience because my orders are reasonable.

That's it, I'm tired of feeling tired. There's nothing else left to do, drama, insecurity, etc, im tired of it, to those who think that you're ugly, consider you lucky. Somebody out there doesn't have a nose, an eye, ear, hair, lips, etc. But if you do than why the fuck do you put yourself down like that? Huh? what's the big deal?! -_- Right ugly, don't make me laugh -_- If I hear another word I swear I will fucking stab somebody cause I'm tired of that shit. You're beautiful, so stop the shit talking and open your eyes. Some people have less than you and live a better life. SO STOP THE DRAMA AND ENJOY SLEEPING AND PUDDING @_@ THANK YOU, YOUR IDK WHAT, ASAR.

have you ever seen a play that presents kings, emperors, and pontiffs, knights, ladies, and many other characters? One plays the scoundrel, another the liar, this one the merchant, that one the soldier, another the wise fool, yet another the foolish lover, but when the play is over and they have taken off their costumes, all the actors are equal.” “Yes, I have seen that,” responded Sancho. “Well, the same thing happens in the drama and business of this world, where some play emperors, others pontiffs, in short, all the figures that can be presented in a play, but at the end, which is when life is over, death removes all the clothing that differentiated them, and all are equal in the grave.

Like Keats he may wander through the old-world forests of Latmos, or stand like Morris on the galley’s deck with the Viking when king and galley have long since passed away. But the drama is the meeting-place of art and life; it deals, as Mazzini said, not merely with man, but with social man, with man in his relation to God and to Humanity. It is the product of a period of great national united energy; it is impossible without a noble public, and belongs to such ages as the age of Elizabeth in London and of Pericles at Athens; it is part of such lofty moral and spiritual ardour as came to Greek after the defeat of the Persian fleet, and to Englishman after the wreck of the Armada of Spain.

IT WAS THE PIVOTAL teaching of Pluthero Quexos, the most celebrated dramatist of the Second Dominion, that in any fiction, no matter how ambitious its scope or profound its theme, there was only ever room for three players. Between warring kings, a peacemaker; between adoring spouses, a seducer or a child. Between twins, the spirit of the womb. Between lovers, Death. Greater numbers might drift through the drama, of course—thousands in fact—but they could only ever be phantoms, agents, or, on rare occasions, reflections of the three real and self-willed beings who stood at the center. And even this essential trio would not remain intact; or so he taught. It would steadily diminish as the story unfolded, three becoming two, two becoming one, until the stage was left deserted.

Once AI makes better decisions than us about careers and perhaps even relationships, our concept of humanity and of life will have to change. Humans are used to thinking about life as a drama of decision-making. Liberal democracy and free-market capitalism see the individual as an autonomous agent constantly making choices about the world. Works of art – be they Shakespeare plays, Jane Austen novels, or tacky Hollywood comedies – usually revolve around the hero having to make some particularly crucial decision. To be or not to be? To listen to my wife and kill King Duncan, or listen to my conscience and spare him? To marry Mr Collins or Mr Darcy? Christian and Muslim theology similarly focus on the drama of decision-making, arguing that everlasting salvation or damnation depends on making the right choice.

We get in and I start the car. “Are you going to be good to Lani?” I ask. I think of Tommy Cook, a pale boy with psoriasis; we used to tie him to a chair with bungee cords and put him in the middle of the road, then hide. Few cars would actually come down Rainbow Drive, but when they did, it always surprised me that the drivers would slow their vehicles and swerve around the chair. None of them ever got out of their cars to help Tommy; it was as though they were in on the prank. I don’t know how Tommy managed to let us catch him more than once. Maybe he liked the attention. “I’ll try,” Scottie says. “But it’s hard. She has this face that you just want to hit.” “I know what you mean,” I say, thinking of Tommy, but realize I’m not supposed to empathize. “What does that mean?” I ask. “The kind of face that you want to hit. Where did you get that?” Sometimes I wonder if Scottie knows what she’s saying or if it’s something she recites, like those kids who memorize the Declaration of Independence. “It’s something Mom said about Danielle.” “I see.” Joanie has carried her juvenile meanness into her adult life. She sends unflattering pictures of her ex-friends to the Advertiser to put in their society pages. She always has some sort of drama in her life, some friend I’m not supposed to speak to or invite to our barbecues, and then I hear her on the phone gossiping about the latest scandal in an outraged and thrilled voice. “You are going to die,” I’ll hear her say. “Oh my God, you will just die.” Is this where Scottie gets it? By watching her mother use cruelty as a source of entertainment? I feel almost proud that I have made these deductions without the blogs and without Esther, and I’m eager to tell Joanie about all of this, to prove that I was capable without her.

The American Negro saw, in the land from which he had been snatched and thrown into slavery, a great pageant of political progress. He realized that just thirty years ago there were only three independent nations in the whole of Africa. He knew that by 1963 more than thirty-four African nations had risen from colonial bondage. The Negro saw black statesmen voting on vital issues in the United Nations—and knew that in many cities of his own land he was not permitted to take that significant walk to the ballot box. He saw black kings and potentates ruling from palaces—and knew he had been condemned to move from small ghettos to larger ones. Witnessing the drama of Negro progress elsewhere in the world, witnessing a level of conspicuous consumption at home exceeding anything in our history, it was natural that by 1963 Negroes would rise with resolution and demand a share of governing power, and living conditions measured by American standards rather than by the standards of colonial impoverishment.

Richard Durham was a black writer whose credits in radio would run a gamut from Irna Phillips serials to prestige plays for such as The CBS Radio Workshop. But in Destination Freedom Durham wrote from the heart. Anger simmers at the foundation of these shows, rising occasionally to a wail of agony and torment. On no other show was the term “Jim Crow” used as an adjective, if at all: nowhere else could be heard the actual voices of black actors giving life to a real black environment. There were no buffoons or toadies in Durham’s plays: there were heroes and villains, girlfriends and lovers, mothers, fathers, brutes; there were kids named Joe Louis and Jackie Robinson, who bucked the tide and became kings in places named Madison Square Garden and Ebbets Field. The early historical dramas soon gave way to a more contemporary theme: the black man’s struggle in a modern racist society. Shows on Denmark Vesey, Frederick Douglass, and George Washington Carver gave way to Richard Wright’s Black Boy and the lives of Louis Armstrong, Fats Waller, and Nat King Cole. The Tiger Hunt was a war story, of a black tank battalion; Last Letter Home told of black pilots in World War II. The stories pulled no punches in their execution of the common theme, making Destination Freedom not only the most powerful but the only show of its kind.

-- What a fool I was. "Want To Be a Little Off-Beat?" Here's ten ways, the article said. A lilac door was one. So off I tripped to the nearest hardware store to assert my unique individuality with the same tin of paint as two million other dimwits. Conned into idiocy. My mind is full of trivialities. At lunch Ian said Duncan's piece of cake is miles bigger than mine -- it's not fair, and I roared that they should quit bothering me with trivialities. So when they're at school, do I settle down with the plays of Sophocles? I do not. I think about the color of my front door. That's being unfair to myself. I took that course, Ancient Greek Drama, last winter. Yeh, I took it all right. Young academic generously giving up his Thursday evenings in the cause of adult education. Mrs. MacAindra, I don't think you've got quite the right slant on Clytemnestra. Why not? The king sacrificed their youngest daughter for success in war-- what's the queen supposed to do, shout for joy? That's not quite the point we're discussing, is it? She murdered her husband, Mrs. MacAindra, (Oh God, don't you think I know that? The poor bitch.) Yeh well I guess you must know, Dr. Thorne. Sorry. Oh, that's fine -- I always try to encourage people to express themselves. -- Young twerp. Let somebody try killing one of his daughters. But still, he had his Ph.D. What do I have? Grade Eleven. My own fault....

The lives of thousands of young Frenchmen were ready for this literary bath of blood and sentiment in the 1830's. Their fathers and grandfathers had had their romanticism in the raw: the drama of the French Revolution, the glamour of the Napoleonic campaigns in Europe and in Africa had filled their lives with colour; now the young people, listening with envy to reminiscence and tradition, knew they were living in a world that had become flat and dull. For the unshackling of the Revolution and the pageantry and devotion of the Empire had been succeeded by two colourless Bourbon kings, who had learned nothing from the times and were so stupid as to insist on absolutism without providing any splendour to justify it; and when their line was expelled in a minor revolution in 1830 they were replaced by their even more colourless cousin, Louis Philippe of Orleans, a constitutional monarch whose virtue was that he was more bourgeois than the bourgeois and whom the newspapers caricatured unendingly, strolling with his family past the shops he owned, carrying an umbrella under his arm. In placing him on the throne the French bourgeoisie consolidated the gains it had begun to make forty years before, and his prime minister gave the watchword of the day when he urged his fellow-citizens to make as much money as they possibly could. The French bourgeois — the revolutionaries of 1789, the conquerors of Europe under Napoleon — became rich, smug, tenacious, and fearful of change; and their children and grandchildren, the young men of Flaubert's generation, were raised in an atmosphere of careful, commercial materialism, of complete lack of interest in literature and the arts, and of complete distrust of impulse and imagination.

Stop!” she called out. To a one, the crewmen froze. A dozen heads swiveled to face her. Sophia swallowed and turned to Mr. Grayson. “What about me? I’m also a virgin voyager.” His lips quirked as his gaze swept her from head to toe and then back up partway. “Are you truly?” “Yes. And I haven’t a coin to my name. Do you plan to dunk and shave me, too?” “Now there’s an idea.” His grin widened. “Perhaps. But first, you must submit to an interrogation.” A lump formed in Sophia’s throat, impossible to speak around. Mr. Grayson raised that sonorous baritone to a carrying pitch. “What’s your name then, miss?” When Sophia merely firmed her chin and glared at him, he warned dramatically, “Truth or eels.” Bang. Excited whispers crackled through the assembly of sailors. Davy was completely forgotten, dropped to the deck with a dull thud. Even the wind held its breath in anticipation, and Sophia gave a slight jump when a sail smacked limp against the mast. Though her heart pounded an erratic rhythm of distress, she willed her voice to remain even. “I’ve no intention of submitting myself to any interrogation, by god or man.” She lifted her chin and arched an eyebrow. “And I’m not impressed by your staff.” She paused several seconds, waiting for the crew’s boisterous laughter to ebb. Mr. Grayson pinned her with his bold, unyielding gaze. “You dare to speak to me that way? I’m Triton.” With each word, he stepped closer. “King of the Sea. A god among men.” Now they stood just paces apart. Hunger gleamed in his eyes. “And I demand a sacrifice.” Her hand remained pressed against her throat, and Sophia nervously picked at the neckline of her frock. This close, he was all bronzed skin stretched tight over muscle and sinew. Iridescent drops of seawater paved glistening trails down his chest, snagging on the margins of that horrific scar, just barely visible beneath his toga. “A sacrifice?” Her voice was weak. Her knees were weaker. “A sacrifice.” He flipped the trident around, his biceps flexing as he extended the blunt end toward her, hooking it under her arm. He lifted the mop handle, pulling her hand from her throat and raising her wrist for his inspection. Sophia might have yanked her arm away at any moment, but she was as breathless with anticipation as every other soul on deck. She’d become an observer of her own scene, helpless to alter the drama unfolding, on the edge of her seat to see how it would play out. He studied her arm. “An unusually fine specimen of female,” he said casually. “Young. Fair. Unblemished.” Then he withdrew the stick, and Sophia’s hand dropped to her side. “But unsatisfactory.” She felt a sharp twinge of pride. Unsatisfactory? Those words echoed in her mind again. I don’t want you. “Unsatisfactory. Too scrawny by far.” He looked around at the crew, sweeping his makeshift trident in a wide arc. “I demand a sacrifice with meat on her bones. I demand…” Sophia gasped as the mop handle clattered to a rest at her feet. Mr. Grayson gave her a sly wink, bracing his hands on his hips in a posture of divine arrogance. “I demand a goat.

people] can see only the human actors upon the stage of history. Wicked rulers, ruthless dictators, tyrants, oppressors, kings, governments, and presidents are, to them, the real and only characters in the great drama of life as it affects the political realm. They have no idea at all of the unseen realm of evil personalities, energizing and motivating their human agents…

A condensed Shakespeare with all of the dull parts removed, leaving only the great moments of drama: ghosts, and bloodied daggers, and dying kings.

All of us know at least one drama queen or drama king. These people love to yell and make a scene when they’re offended. While all of that screaming might make them feel better in the short term, in the long term it does nothing for their careers or their relationships. Seriously, how often can you give someone a piece of your mind before you run out of brain?

The Scarlet Cord “Our lives for your lives!” the men assured her. “If you don’t tell what we are doing, we will treat you kindly and faithfully when the Lord gives us the land. …This oath you made us swear will not be binding on us unless, when we enter the land, you have tied this scarlet cord in the window through which you let us down…”—Joshua 2:14, 17 Can you imagine the feelings of the children of the exodus? Finally they are camped near the Jordan, the Promised Land in sight. In three days they will cross the river. One last thing before crossing: Joshua secretly sends two spies to reconnoiter Jericho. Upon entering the city, the spies find their way to the house of the local prostitute, Rahab, ostensibly an inn. Think about it—she of all people would know what was going on in the minds of the influential. As it turned out there were no giants in the land this time around, only men consumed with a great fear of the Israelites and their God (Joshua 2:8). Problem was, on the way to Rahab’s house the spies had somehow blown their cover. Fortunately Rahab was able to hide the two, and with a little subterfuge convince the king’s henchmen they had left by the city gate. In return for her kindness, the spies agreed to spare the lives of her family when they returned to conquer Jericho. Her part in the rescue would be to tie the scarlet cord in her window to identify her house. Follow the drama ladies: Our lives for your lives!—the oath to spare their lives is clear; this scarlet cord in this window—the way to safety specific. No less dramatic is the way to heaven. Jesus might have put it this way: My life for your lives. I’ve already dyed the cord scarlet. You simply have to hang it, in faith, in the window of your soul. Then, and only then, is my oath binding. Ladies, Rahab hung that scarlet cord in her window. Have you?

Watch carefully. In forty formidable bosoms we are about to create a climacteric of emotion. In one short speech—or maybe two—I propose to steer your women through excitement, superiority, contempt and anger: we shall have a little drama; just, awful and poetic, spread with uncials and full, as the poet said, of fruit and seriosity. Will they thank me, I wonder?