Halls Of Valor Quotes

At the word sacrifice, something sparked in the Fate's cold eyes. He held the girl tighter, carrying her in his bloodstained arms as he stood and started down the ancient hall. 'What are you doing?' A crack of alarm showed in the queen's implacable face. 'I'm going to fix this.' He continued marching forward, holding the girl close as he carried her back through the arch. The angels who'd been guarding it now wept. They cried tears of stone as the Fate set the girl at their feet and began wrenching stone after stone from the arch. 'Jacks of the Hollow,' warned the queen. 'Those arch stones can only be used one time to go back. They were not created for infinite trips to the past.' 'I know,' Jacks growled. 'I'm going to go back and stop your son from killing her.' The queen's face fell. For a moment, she looked as old as the years she'd spent lying in suspended state. 'This is not a small mistake to fix. If you do this, Time will take something equally valuable from you.' The Fate gave the queen a look more vicious than any curse. 'There is nothing of equal value to me.

Il problema dell’attribuire il giusto valore a qualcosa era il dolore che ne seguiva la perdita.

...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get. See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On. The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour. And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.

Cuanto más difícil resulta algo, más valor se le da, esta era la lección de Clive.

Dejando a un lado la cuestión de la genialidad de los representantes del pueblo, considérese simplemente el carácter complejo de los problemas pendientes de solución, aparte de los ramos diferentes de actividad en que deben adoptarse decisiones, y se comprenderá entonces la incapacidad de un sistema de gobierno que pone la facultad de la decisión final en manos de una asamblea, entre cuyos componentes sólo muy pocos poseen los conocimientos y la experiencia requeridos en los asuntos a tratar. Pues así como las más importantes medidas en materia económica resultan sometidas a un foro cuyos miembros, en sus nueve décimas partes, carecen de la preparación necesaria. Lo mismo ocurre con otros problemas, dejando siempre la decisión en manos de una mayoría compuesta de ignorantes e incapaces, pues la organización de esa institución permanece inalterada, al paso que los problemas que en ella son tratados se extienden a todos los ámbitos de la vida pública. Es completamente imposible que los mismos hombres que tratan de asuntos de transportes se ocupen, por ejemplo, de una cuestión de alta política exterior. Sería preciso que todos fuesen genios universales, los que tan sólo de siglo en siglo aparecen. Infelizmente, se trata no de verdaderas "cabezas" pero sí de diletantes, tan vulgares que incluso están convencidos de su valor. De ahí proviene también la ligereza con que frecuentemente estos señores deliberan y resuelven cuestiones que serían motivo de honda reflexión aun para los más esclarecidos talentos. Allí se adoptan medidas de enorme trascendencia para el futuro de un Estado como si no se tratase de los destinos de toda una nacionalidad, sino solamente de una partida de naipes, que es lo que resultaría más propio de tales políticos. Sería naturalmente injusto creer que todo diputado de un parlamento semejante se halle dotado de tan escasa noción de responsabilidad. No. De ningún modo. Pero, el caso es que tal sistema, forzando al individuo a ocuparse de cuestiones que no conoce, lo corrompe paulatinamente. Nadie tiene allí el valor de decir: "Señores, creo que no entendemos nada de este asunto; yo al menos no tengo ni idea". Esta actitud tampoco modificaría nada porque, aparte de que una prueba tal de sinceridad quedaría totalmente incomprendida, no por un tonto honrado se resignarían los demás a sacrificar su juego. Quien, además, conoce a los hombres, comprende que en una sociedad tan ilustre nadie quiere ser el más tonto y, en ciertos círculos, honestidad es siempre sinónimo de estupidez. Así es como el representante aún sincero es obligado forzosamente al camino de la mentira y de la falsedad. Justamente la convicción de que la reacción individual poco o nada modificaría, mata cualquier impulso sincero que por ventura surja en uno u otro. A fin de cuentas, se convencerá de que, personalmente, lejos está de ser el primero entre los otros y que con su colaboración tal vez impida males mayores.

Later on, Orpheus stood beside the hearth fire in the center of the hall and sang about the day’s adventure. On his lips, the northern raiders were transformed from swift, deadly riders to winged and taloned monsters, part hawk, part woman. Because they could fly so high that spears and arrows couldn’t reach them, only men with the blood of the gods in their veins could end the havoc they caused. Luckily, a ship of heroes came ashore to rid the land of the hideous creatures. Zetes and Kalais, the sons of Boreas, had inherited the North Wind’s ability to fly and soon defeated the Harpies. They would trouble good Lord Phineas no more. Orpheus finished his song, and the men cheered and banged their fists on the tables so loudly that it seemed like they’d bring the roof down in pieces. As for me, I kept my mouth shut and my arms folded. Orpheus noticed my frosty look when he sat back down. “You didn’t like it,” he murmured. “They deserved better,” I replied stiffly. “They were brave fighters.” “I thought I made that clear. Just look at Zetes over there, grinning ear to ear in spite of a nasty arrow wound that probably still burns like Hephaestus’s own forge-fires. It might leave him half lame for life, but he won’t mind, because in my song, he owns the sky.” “You didn’t see the way he fought today,” I shot back. “He’s not worthy to own a mud puddle. They fought well, those women. They were as skilled and courageous as any man, so you turned them into monsters!” Orpheus was silent for a little while. Then he took a sip of wine and said, “They attacked without warning, they destroyed good ships for the sake of destruction, they violated the sanctity of a sacrifice to the gods, and they would have cut down a blind old man, king or not, if we hadn’t come ashore when we did. I won’t argue with you about their valor or their mastery of weapons and horses, but see them for what they are, lad. You say I’ve made them monsters, yet you’d make them gods. They’re women, human women, as praiseworthy and as flawed as any fighting men I’ve ever known, but plain truth makes a poor song.

A partir de ahí comenzó para los Klemperer una vida totalmente distinta. Él se zambulló al punto en el trabajo, desempeñó cátedras en las universidades de Greifswald, Halle y Berlín, tuvo fama y honra. En los diarios de ese tiempo fijó con extremada precisión los acontecimientos políticos en la Alemania dividida y reflexionó sobre su propia posición: su dilema interior y sus crecientes dudas sobre el valor del propio compromiso. Ya a las pocas semanas de su regreso y de nuevo en posesión de los diarios de la época nazi, Klemperer empezó a examinar la posibilidad de publicar el diario y los estudios sobre LTI. Determinó finalmente no publicar el diario: «Es desproporcionado, contiene acusaciones contra los judíos, sería incompatible con la opinión imperante hoy en día, también sería indiscreto». Y así quedó. Tras la muerte de Klemperer, su segunda mujer, Hadwig Klemperer, entregó los manuscritos a la Biblioteca Regional Sajona de Dresde. Desde su publicación en 1995, editados por Walter Nowojski con la colaboración de Hadwig Klemperer, ocupan un lugar preeminente en el conjunto de los más importantes testimonios de la historia y la cultura alemanas.

Pam knew, instinctively, that Petra and Craig hadn’t crossed the line into something physical yet. She knew what would happen if they did, he’d go insane, he’d flood with the trifecta, dopamine, serotonin, oxytocin, and he’d mistake lust for valor and he’d ask Pam to leave. Imagining Craig imagining himself as courageous and strong was embarrassing, but Pam acknowledged that she felt bloated with this, too, every time she was alone with David, the impending trifecta, the seductive doom, and the clearheaded understanding that if David only asked, she would leave Craig and start a new life, but he hadn’t asked, and when she reflected on this, she didn’t know if what she felt was relief or despair. Sometimes she was disgusted and angry with David. He walked around with a cynical withholding depressive air, a knowing look in his eyes, bedraggled, dark circles, alone, both ugly and enthralling, and there Pam was, clean, fair, innocent, basically married. Wasn’t he supposed to seduce her and manipulate her into breaking her vows? He made himself come off like some dangerous lothario. Sometimes she wanted to go up to him and scream “Get that hankie out of your fucking pocket” like that scene in Cruising.