Mime Show Quotes

Gracious, that's a lot of bosom you're showing," Magnus went on blithely, gesturing toward Tessa with the burning tip of his cigar. "Tout le monde sur le balcon, as they say in French," he added, miming a vast terrace jutting out from his chest. "Especially apt, as we are now, in fact, on a balcony.

I recently watched a talent show featuring a mime who taped his mouth shut and did something ridiculous with oven mitts. That was unexpected. That was original. It seemed to be working for him.

It ascended by levels: Da's cameo recessed against the glow of the tuner's parade,the drawer of utensils withdrawn past its fulcrum, the disembodied face of my brother miming and distorting my desperate attempt by expression alone to make Mum look up from me and see him, I no longer feeling my features' movements so much as seeing them on that writhing white face against the pantry's black, the throttle-popped eyes and cheeks ballooning against the gag's restraint, Mum squatting chairside to even my ears, my face before us bother farther and farther from my own control as I saw in his twin face what all lolly-smeared hand-held brats must see in the fun-house mirror- the gross and pitiless sameness, the distortion in which there is, tiny, at the center, something cruelly true about the we who leer and woggle at stick necks and and concave skulls, goggling eyes that swell to the edges- as the mimicry ascended reflected levels to become finally the burlesque of a wet hysteria that plastered cut strands to a wet white brow, the strangled man's sobs blocked by cloth, storm's thrum and electric hiss and Da's mutter against the lalation of shears meant for lambs, an unseen fit that sent my eyes upward again and again into their own shocked white, knowing past sight that my twin's face would show the same, to mock it- until the last refuge was slackness, giving up the ghost completely for a blank sack gagged mask's mindless stare-un seen and seeing- into a mirror I could not know or feel myself without. No not ever again.

LONG, LONG AGO IN the Incubation Period of Man—long before booking agents, five-a-days, theatrical boarding houses, subway circuits, and Variety—when Megatherium roamed the trees, when Broadway was going through its First Glacial Period, and when the first vaudeville show was planned by the first lop-eared, low-browed, hairy impresario, it was decreed: “The acrobat shall be first.” Why the acrobat should be first no one ever explained; but that this was a dubious honor every one on the bill—including the acrobat—realized only too well. For it was recognized even then, in the infancy of Show Business, that the first shall be last in the applause of the audience. And all through the ages, in courts and courtyards and feeble theatres, it was the acrobat—whether he was called buffoon, farceur, merry-andrew, tumbler, mountebank, Harlequin, or punchinello—who was thrown, first among his fellow-mimes, to the lions of entertainment to whet their appetites for the more luscious feasts to come. So that to this day their muscular miracles are performed hard on the overture’s last wall shaking blare, performed with a simple resignation that speaks well for the mildness and resilience of the whole acrobatic tribe.

Let's put our weapons down, okay?" He raises his hands to show he's unarmed. His hands are big enough to encircle my ankles. I swallow. To hide my awkwardness, I mime taking a gun out of my pocket and toss it aside. He reaches into an imaginary shoulder holsters and takes out a gun, putting it on his planner. I unsheathe an invisible knife from my thigh. "All of them." I indicate under the desk. He reaches down to his ankle and pretends to take a handgun out of an ankle holster. "That's better." I sink into my chair and close my eyes. "You're deeply weird, Shortcake." His voice is not unkind. I force my eyes open and the Staring Game almost kills me. His eyes are the blue of a peacock's chest. Everything is changing.

It was in her abode, in the janitorial quarters assigned her on the ground floor rear, that seemingly inoffensive Mrs. Shapiro set up a clandestine alcohol dispensary—not a speakeasy, but a bootleg joint, where the Irish and other shikkers of the vicinity could come and have their pint bottles filled up, at a price. And several times on weekends, when Ira was there, for he got along best with Jake, felt closest to him, because Jake was artistic, some beefy Irishman would come in, hand over his empty pint bottle for refilling, and after greenbacks were passed, and the transaction completed, receive as a goodwill offering a pony of spirits on the house. And once again those wry (rye? Out vile pun!), wry memories of lost opportunities: Jake’s drab kitchen where the two sat talking about art, about Jake’s favorite painters, interrupted by a knock on the door, opened by Mr. Shapiro, and the customer entered. With the fewest possible words, perhaps no more than salutations, purpose understood, negotiations carried out like a mime show, or a ballet: ecstatic pas de deux with Mr. McNally and Mr. Shapiro—until suspended by Mr. Shapiro’s disappearance with an empty bottle, leaving Mr. McNally to solo in anticipation of a “Druidy drunk,” terminated by Mr. Shapiro’s reappearance with a full pint of booze. Another pas de deux of payment? Got it whole hog—Mr. Shapiro was arrested for bootlegging several times, paid several fines, but somehow, by bribery and cunning, managed to survive in the enterprise, until he had amassed enough wealth to buy a fine place in Bensonhurst by the time “Prohibition” was repealed. A Yiddisher kupf, no doubt.

I shoot up out of my chair. “It’s Bree. Hide the board!” Everyone hops out of their chairs and starts scrambling around and bumping into each other like a classic cartoon. We hear the door shut behind her, and the whiteboard is still standing in the middle of the kitchen like a lit-up marquee. I hiss at Jamal, “Get rid of it!” His eyes are wide orbs, head whipping around in all directions. “Where? In the utensil drawer? Up my shirt?! There’s nowhere! That thing is huge!” “LADY IN THE HOUSE!” Bree shouts from the entryway. The sound of her tennis shoes getting kicked off echoes around the room, and my heart races up my throat. Her name is pasted all over that whiteboard along with phrases like “first kiss—keep it light” and “entwined hand-holding” and “dirty talk about her hair”. Yeah…I’m not sure about that last one, but we’ll see. Basically, it’s all laid out there—the most incriminating board in the world. If Bree sees this thing, it’s all over for me. “Erase it!” Price whispers frantically. “No, we didn’t write it down anywhere else! We’ll lose all the ideas.” I can hear Bree’s footsteps getting closer. “Nathan? Are you home?” “Uh—yeah! In the kitchen.” Jamal tosses me a look like I’m an idiot for announcing our location, but what am I supposed to do? Stand very still and pretend we’re not all huddled in here having a Baby-Sitter’s Club re-enactment? She would find us, and that would look even worse after keeping quiet. “Just flip it over!” I tell anyone who’s not running in a circle chasing his tail. As Lawrence flips the whiteboard, Price tells us all to act natural. So of course, the second Bree rounds the corner, I hop up on the table, Jamal rests his elbow on the wall and leans his head on his hand, and Lawrence just plops down on the floor and pretends to stretch. Derek can’t decide what to do so he’s caught mid-circle. We all have fake smiles plastered on. Our acting is shit. Bree freezes, blinking at the sight of each of us not acting at all natural. “Whatcha guys doing?” Her hair is a cute messy bun of curls on the top of her head and she’s wearing her favorite joggers with one of my old LA Sharks hoodies, which she stole from my closet a long time ago. It swallows her whole, but since she just came from the studio, I know there is a tight leotard under it. I can barely find her in all that material, and yet she’s still the sexiest woman I’ve ever seen. Just her presence in this room feels like finally getting hooked up to oxygen after days of not being able to breathe deeply. We all respond to Bree’s question at the same time but with different answers. It’s highly suspicious and likely what makes her eyes dart to the whiteboard. Sweat gathers on my spine. “What’s with the whiteboard?” she asks, taking a step toward it. I hop off the table and get in her path. “Huh? Oh, it’s…nothing.” She laughs and tries to look around me. I pretend to stretch so she can’t see. “It doesn’t look like nothing. What? Are you guys drawing boobies on that board or something? You look so guilty.” “Ah—you caught us! Lots of illustrated boobs drawn on that board. You don’t want to see it.” She pauses, a fading smile hovering on her lips, and her eyes look up to meet mine. “For real—what’s going on? Why can’t I see it?” She doesn’t believe my boob explanation. I guess we should take that as a compliment? My eyes catch over Bree’s shoulder as Price puts himself out of her line of sight and begins miming the action of getting his phone out and taking a picture of the whiteboard. This little show is directed at Derek, who is standing somewhere behind me. Bree sees me watching Price and whips her head around to catch him. He freezes—hands extended looking like he’s holding an imaginary camera. He then transforms that into a forearm stretch. “So tight after our workout today.” Her eyes narrow.

INT. NEWT’S SITTING ROOM—FIVE MINUTES LATER—NIGHT The threesome sit at a table bearing NEWT’S mismatched crockery, the atmosphere tainted by TINA’S absence. QUEENIE’S case lies open on the sofa. QUEENIE: Tina and I aren’t talking. NEWT: Why? JACOB’S POV—pink and hazy, as though happily drunk. QUEENIE: Oh well, you know, she found out about Jacob and I seeing each other and she didn’t like it, ’cause of the “law.” (miming quotation marks) Not allowed to date No-Majs, not allowed to marry them. Blah, blah, blah. Well, she was all in a tizzy anyway, ’cause of you. NEWT: Me? QUEENIE: Yeah, you, Newt. It was in Spellbound. Here—I brought it for you— She points her wand at her suitcase. A celebrity magazine zooms to her: Spellbound: Celebrity Secrets and Spell Tips of the Stars! On the cover, an idealized NEWT and an improbably beaming Niffler. BEAST TAMER NEWT TO WED! QUEENIE opens the magazine. THESEUS, LETA, NEWT, and BUNTY stand side by side at his book launch. QUEENIE (showing him): “Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman.” NEWT: No. Theseus is marrying Leta, not me. QUEENIE: Oh! Oh dear . . . well, see, Teen read that, and she started dating someone else. He’s an Auror. His name’s Achilles Tolliver.

It was when Maya showed me the benches at Gallaudet University that I started to glimpse sound—the physical structure of it, the elastic bounce of its travel. My friends who are deaf have always told me that sound also belongs to them—that hearing people are forever getting it wrong to imagine deafness as a “silent world”—but the benches were the thing that made this idea vividly real. They were a feature in the design at the scale of rooms at Gallaudet, alongside a dozen other architectural choices that a hearing person could easily miss. Maya had paused for a moment in our campus tour to point them out, standing in the middle of a big, airy common space lined with windows on three sides, the lobby of a dorm where many students study and socialize, alone or in groups. The benches serve as seating for nearby wood tables, sets that are interspersed with soft fabric chairs arranged 360 degrees around for discussion. “Wood is the best material for this kind of group seating,” she told me, and mimed lightly slapping the wood with her palm. The resonance of wood makes it reverberate when struck. Students sometimes tap or slap nearby surfaces to get one another’s attention or to call a group to order, she said, and materials like concrete or thick plastics tend to absorb the sound rather than scatter it productively.

Mirrors I have been horrified before all mirrors not just before the impenetrable glass, the end and the beginning of that space, inhabited by nothing but reflections, but faced with specular water, mirroring the other blue within its bottomless sky, incised at times by the illusory flight of inverted birds, or troubled by a ripple, or face to face with the unspeaking surface of ghostly ebony whose very hardness reflects, as if within a dream, the whiteness of spectral marble or a spectral rose. Now, after so many troubling years of wandering beneath the wavering moon, I ask myself what accident of fortune handed to me this terror of all mirrors– mirrors of metal and the shrouded mirror of sheer mahogany which in the twilight of its uncertain red softens the face that watches and in turn is watched by it. I look on them as infinite, elemental fulfillers of a very ancient pact to multiply the world, as in the act of generation, sleepless and dangerous. They extenuate this vain and dubious world within the web of their own vertigo. Sometimes at evening they are clouded over by someone's breath, someone who is not dead. The glass is watching us. And if a mirror hangs somewhere on the four walls of my room, I am not alone. There's an other, a reflection which in the dawn enacts its own dumb show. Everything happens, nothing is remembered in those dimensioned cabinets of glass in which, like rabbits in fantastic stories, we read the lines of text from right to left. Claudius, king for an evening, king in a dream, did not know he was a dream until the day on which an actor mimed his felony with silent artifice, in a tableau. Strange, that there are dreams, that there are mirrors. Strange that the ordinary, worn-out ways of every day encompass the imagined and endless universe woven by reflections. God (I've begun to think) implants a promise in all that insubstantial architecture that makes light out of the impervious surface of glass, and makes the shadow out of dreams. God has created nights well-populated with dreams, crowded with mirror images, so that man may feel that he is nothing more than vain reflection. That's what frightens us.

I like that this is your idea of formal dress, by the way. The same clothes as always, but recently laundered. Do you even know what level of swank La Vache is?” “I wasn’t aware that swank operates on a tiered system,” I said, pulling my luxuriously warm jeans back on. “They want a star pilot; I’m giving them what they expect. If you were hiring a mime artist, you wouldn’t expect them to show up in business casual, would you.” He

Prestos jogged back to the edge of the pit, lifting a whistle to her lips. A huge timer appeared high up above, glittering with magic as it readied to count down from five minutes- was that all? Before I could ask Sofia for more information, Prestos's whistle screeched and Darius swung a fist right into the Starlight Captain's face. As he lurched sideways I saw the name Quentin on the back of his shirt alongside the position of Earthraider. “Oh my god,” I gasped as Darius lunged to pick up the ball, only to receive a knee right to his chin. Darius was ready, lurching back and throwing a kick while the entire stadium bellowed in encouragement. Quentin took the blow to the stomach, stumbling away and Darius grabbed the ball which looked pretty damn heavy. The second he had it, the two teams charged forward. Geraldine roared like she was going into battle, magically tearing up the ground beneath the feet of the Starlight team so they stumbled wildly, unable to get their hands on Darius. He made a beeline for the Pit as the four Keepers grouped in around it. “Go on!” Orion roared from my right, rising to his feet as more and more people stood up all around us. ... Max tried to knock her aside with a blast of water, but stumbled to a halt before he could cast it well enough, clasping onto his neck and rubbing like mad. “Ahhh it burns!” Tory and I fell apart into laughter as I noticed his skin was turning blotchy with violent purple patches. “Ahhhh!” “Rigel! What the fuck is going on?” Orion bellowed just as a blaring BUZZZZZZZZ announced Starlight getting the ball into the Pit. A scoreboard lit up above the stands, showing Starlight had scored one point but then words in red flashed beside it. ... “Now it's round two. Every round lasts five minutes. After an hour, it'll be half time then they play for a final hour. Just watch, it's about to get seriously intense.” She pointed to the four corners of the pitch. “There's only one ball in play per round, it'll be fired into the pitch randomly from the four Elemental Quarters. A Fireball is scorching hot, an Earthball is seriously heavy, an Airball is light and will be shot far up toward the roof and a Waterball is freezing to touch. If no one gets the ball in the Pit before the five minutes are up – boom!” She mimed an explosion with her hands and my mouth fell open. “Holy shit,” Tory breathed and I nodded in absolute agreement of that. “If the ball is dropped at any point in the game, including just before it explodes, the team loses five points. So everyone on that pitch is prepared for the injuries they'll get if it goes off,” Sofia explained. “That's insane,” I breathed. “Nope.” Diego leaned forward from his chair with a manic gleam in his eyes. “That's Pitball.” (darcy)

You’re covered in blood,” Felix noted. Jericho snorted. “Yeah, kind of a hazard of the job.” Felix scoffed. “Yeah, but you’re also wearing that weird smug, smirky look you only get whenever you get laid, and since you were in an abandoned cabin with Trevor the perv, we’re…alarmed.” He flicked his hand dramatically. “Alarmed,” Jericho echoed. Arsen leaned in, his tone conspiratorial. “Did you fuck Trevor the perv, Coe?" Felix pulled a face. “I’m just hoping he fucked him before he killed him, not after. Once you cross that line, you don’t come back.” Jericho tried to follow their dizzying thought process, but before he could formulate a response, Nico and Levi arrived. Fuck. Levi looked like a wanted poster had fucked a tattoo model. His inky dark hair fell in his face, and he sucked on a Dum-Dum lollipop. Nico’s springy blond curls hung in his face. He looked surprisingly angelic for somebody who was such a little monster. “What’s up? Why’s everybody looking so constipated?” Levi asked. “Coe fucked Trevor the perv,” Arsen said, as if this was fact and not their wild speculation. Levi wrinkled his nose. “That dude was gay? Or was he, like”—he mimed a blowjob—“trying to bribe his way out of it?” Jericho’s face contorted at the idea of a blowjob from greasy ass Trevor, but they paid him no mind. Nico also looked disgusted. “What the fuck, man? Like, I get it. Who hasn’t wanted to fuck somebody they killed or kill somebody they fucked? But it’s a slippery slope, man.” “This is what I told him,” Arsen said, shaking his head. “Once you cross that line…” “Jesus Christ. I didn’t fuck Trevor the perv. I killed Trevor the perv,” Jericho said, walking around the four of them to head to his office, attempting to close the door behind him. His brother caught it and swung it back open. “If you didn’t fuck Trevor, then who was it? And don’t lie and say it didn’t happen. Your after orgasm glow never lies,” Arsen said, flopping down into a chair hard enough to rock it back dangerously far before it righted itself. “I—” Jericho shook his head. “I ran into a guy.” “With your dick?” Levi asked. Nico’s brows knitted together. “In the middle of the woods?” “Like, a homeless man in the woods? A… What’s the word? A hobo?” Arsen asked. Levi elbowed him. “We don’t call them that anymore. Show some respect.” Arsen shrugged. “Sorry. What do you call a man roaming the woods looking for sex?” “A lie,” Felix said, his mouth set in a hard line. “No way my brother banged some hot, sweaty lumberjack in the woods. That’s not his type.” His long, elegant fingers trailed over his collarbones, a slow smile spreading along his face as his brother seemed to get lost in his own lumberjack fantasy. “I—” “There’s nothing in the woods but animals and Sasquatch,” Nico said. “Sasquatch?” Levi parroted. Nico nodded. “Yeah, you know. Bigfoot.” “Did you fuck Bigfoot?” Levi asked, pulling the lollipop from his mouth with a pop.

Ethan slumped on the bench in the change room, ignoring the ribald behavior around him after yet another foregone win. A hard slap on the rear of his head roused him and he whirled, his lip curled back as he growled menacingly. “Don’t you dare show me your teeth,” Javier warned with a dark look. He ran his hand through hair, already tousled and sweaty from the match. “What the fuck happened out there? I passed you the perfect shot, and instead of grabbing it and scoring, you crashed into the g**damn arena glass. What are you, a rookie? Been watching too many Bugs Bunny cartoons?” Heat burned Ethan’s cheeks in remembrance of his mishap before dejection— along with a large dose of disbelief— quickly set back in. “I missed. It happens and besides, it’s not like we needed the point to win.” “Of course we didn’t,” Javier replied with a scoffing snort. “But it’s the point of it. What the hell distracted you so much? And, why do you look like your best friend died, which, I might add, is an impossibility given I’m standing right beside you.” Javier grinned. “I think I found my mate,” Ethan muttered. A true beauty with light skin, a perfect oval face framed by long, brown hair and the most perfect set of rosebud lips. Javier’s face expressed shock, then glee. “Congrats, dude.” Javier slapped him hard on the back, and while the blow might have killed a human or a smaller species, it didn’t even budge Ethan. “I know you’ve been pining to settle down with someone of the fairer sex. You must be ecstatic.” “Not really.” Although he should have been. Finding one’s mate was a one in a zillion chance given how shifters were scattered across the globe. Most never even came close to finding the one fate deemed their perfect match. His friend’s jovial grin subsided. “What’s wrong? Was she, like, butt ugly? Humongous? Old? Surely she can’t be that bad?” “No, she appears perfect. Or did.” Ethan groaned as banged his head off the locker door. “I am so screwed.” A frown creased Javier’s face. “I don’t get it. I thought you wanted to find the one, you sick bastard. Settle down and pop out cubs.” Ethan looked up in time to see Javier’s mock shudder. “Me, I prefer to share my love among as many women as possible.” Javier mimed slapping an ass then humping it with a leering grin. Ethan didn’t smile at Javier’s attempt at humor even if it happened to be the truth. Javier certainly enjoyed variety where the other sex was concerned. Heck, on many an occasion he’d shared with Ethan. Tag team sessions where they both scored. Best friends who did just about everything together. Blowing out a long sigh, Ethan answered him. “I do want to find my mate, actually, I’m pretty sure I already have, but I don’t think I made a great impression. She’s the one they took out on the stretcher after the ball I missed hit her in the face.” Javier winced. “Ouch. Sucks to be you, my friend. Don’t worry, though. I’m sure she’ll forgive you in, like, fifty years.” Ethan groaned and dropped his head back into his hands. Now that I’ve found her, how do I discover who she is so I can beg her forgiveness? And even worse, how the hell do I act the part of suitor? Raised in the Alaskan wilds by a father who wasn’t all there after the death of Ethan’s mother, his education in social niceties was sadly lacking. He tended to speak with his fists more often than not. Lucky for him, when it came to women, he didn’t usually have to do a thing. Females tended to approach him for sex so they could brag afterward that they’d ridden the Kodiak and survived. Not that Ethan would ever hurt a female, even if his idea of flirty conversation usually consisted of “Suck me harder” and “Bend over.” If I add “darling” on the end, will she count it as sweet talk?

I cracked the top and peered in, confused by the contents. Why did Catherine have strips of paper stashed away? Turning the envelope over, I let them spill out on her desk. I chose one and read her neat handwriting. P.S. You remind me of porridge. Frowning, I read it again and again, but clarification didn’t dawn. What was this? I read more, one by one. P.S. Your cyborg is showing. P.S. I bet you sing Barry Manilow in the shower. P.S. You wear pleated khakis on the weekend. I just know it. It took me until the fourth strip to realize they were all exactly one inch wide and the paper matched the notebook. Son of a bitch. I scooped the strips back into the envelope and carried them into my office. There, I dumped them all out again and matched one perfectly to Catherine’s previously written schedules. My heart slammed in my chest, but my brain was five steps behind. I read more of them, still trying to comprehend what I was seeing. P.S. Are you even human? P.S. Do you shower in your bathing suit? P.S. You’ve memorized the lyrics to every single Nickelback song, haven’t you? P.S. I would rather be trapped in an invisible box with a mime before hanging out with you.

And he felt too old to learn English. Without that, he lived with the constancy of incomprehension. In the post office last month he had mimed and pointed to a square white box, the woman in her blue shirt repeating and repeating and he did not know and everyone in the post office knew and finally a man came to him and crossed his arms quickly toward the floor, saying, “Fini!” And so Abdikarim thought the post office was finished with him and he must go and he did go. Later he found out the post office was out of the boxes they had sitting on the shelf with price tags on them. Why did they show them if they did not have them to sell? Again, the incomprehension. He came to understand this had a danger altogether different from the dangers in the camp. Living in a world where constantly one turned and touched incomprehension—they did not comprehend, he did not comprehend—gave the air the lift of uncertainty and this seemed to wear away something in him, always he felt unsure of what he wanted, what he thought, even what he felt.

God created the world in six days and it is difficult for us to perceive the greatness of the primary information, unless we understand a work of inner transformation or the need for a more secure future for the next generation! The immediate answer is cold and false and it has a tinge of emotional therapy. Only the inner acceptance of reality has a dose of pure truth and can generate the echo of the self that may give us a middle way in our own vision of how to avoid the evil that extends and takes over the world! Is the deceptive tranquility of the silence that conquers us, a collective passivity that reigns over the weak, frightened and cowardly people, fueled by mediocrity and the vain hope into a better future. What happens now in this world is an ancient Greek tragedy, in which we like actors that can no longer tell the stage from reality. It is like in a therapy-drama, seen as a solution for those who had traumatic experiences in their life and cannot communicate through words. It is those who choose a non-verbal language and who saw their hands in desperation, as they can no longer articulate words. They communicate like primitive people after the discovery of fire. Others are playing their role in a theater of the absurd, like some amateur actors or as mimes in a stand-up comedy show where self-deprecation is adored. Depending on each one’s perception power, different ways of expression are chosen, perhaps more superficial and well-anchored in the context of the drama we are living to the full. It is a false sense of inner security, a mere relief valve for our emotional expression and a recipe for disaster! Why is it that nothing good and fair happens in this world anymore? Is the evil perpetuating itself in shapes and patterns we are no longer capable to distinguish from the good and the right? Why are we deceiving ourselves? “Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you.” But who, how, why, for whom, by whom, what, and in particular when ? Lucian Ciuchita

nodded to show I’d heard. “What about free time?” “For all your scintillating hobbies?” Rohan plucked an apple out of the fruit bowl on the table and bit into it. “Yes. As well as the many good works I do.” He arched his eyebrow, miming giving a hand job. “Are you ever going to let that go?” He took another bite. “Not when there are still hours of fun to be had from it. You know you don’t have to jerk the demons off to kill them, right?” “It was one time.” He slapped the table. “Knew it! Baruch owes me twenty.” I groaned at the fact that I’d just confirmed his suspicions. “Don’t feel bad,” he said with a smirk, “I puzzled it out when reaching for the curupira’s dick was your first move.” “I couldn’t not reach for Mount Phallus. He was hung like a horse.” He held up his hands. “If that’s your kink, then hey, no judgment.

It is not without good reason that the literary tradition of pastoral poetry can look back on an almost uninterrupted history of over two thousand years since its beginnings in Hellenism. With the exception of the early Middle Ages, when urban and court culture was extinguished, there have been variants of this poetry in every century. Apart from the thematic material of the novel of chivalry, there is probably no other subject-matter 15 that has occupied the literature of Western Europe for so long and maintained itself against the assaults of rationalism with such tenacity. This long and uninterrupted reign shows that ‘sentimental’ poetry, in Schiller’s sense of the word, plays an incomparably greater part in the history of literature than ‘naïve’ poetry. Even the idylls of Theocritus himself owe their existence not, as might be imagined, to genuine roots in nature and a direct relationship to the life of the common people, but to a reflective feeling for nature and a romantic conception of the common folk, that is, to sentiments which have their origin in a yearning for the remote, the strange and the exotic. The peasant and the shepherd are not enthusiastic about their surroundings or about their daily work. And interest in the life of the simple folk is, as we know, to be sought neither in spatial nor social proximity to the peasantry; it does not arise in the folk itself but in the higher classes, and not in the country but in the big towns and at the courts, in the midst of bustling life and an over-civilized, surfeited society. Even when Theocritus was writing his idylls, the pastoral theme and situation were certainly no longer a novelty; it will already have occurred in the poetry of the primitive pastoral peoples, but doubtless without the note of sentimentality and complacency, and probably also without attempting to describe the outward conditions of the shepherd’s life realistically. Pastoral scenes, although without the lyrical touch of the Idylls, were to be found before Theocritus, at any rate, in the mime. They are a matter of course in the satyr plays, and rural scenes are not unknown even to tragedy. But pastoral scenes and pictures of country life are not enough to produce bucolic poetry; the preconditions for this are, above all, the latent conflict of town and country and the feeling of discomfort with civilization.

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.

Then I furrowed my brow at the very small stack of weapons he’d decided on. “You sure that’s all we need? I was planning on going big for this one.” Stan held up a hand to show he wasn’t done yet, and then he began strutting around like a Victoria Secret model while he mimed gunning down our enemies.

The age of the photograph has become the age of gesture and mime and dance, as no other age has ever been. Freud and Jung built their observations on the interpretation of the languages of both individual and collective postures and gestures with respect to dreams and to the ordinary acts of everyday life. The physical and psychic gestalts, or “still” shots, with which they worked were much owing to the posture world revealed by the photograph. The photograph is just as useful for collective, as for individual, postures and gestures, whereas written and printed language is biased toward the private and individual posture. Thus, the traditional figures of rhetoric were individual postures of mind of the private speaker in relation to an audience, whereas myth and Jungian archetypes are collective postures of the mind with which the written form could not cope, any more than it could command mime and gesture. Moreover, that the photograph is quite versatile in revealing and arresting posture and structure wherever it is used, occurs in countless examples, such as the analysis of bird-flight. It was the photograph that revealed the secret of bird-flight and enabled man to take off. The photo, in arresting bird-flight, showed that it was based on a principle of wing fixity. Wing movement was seen to be for propulsion, not for flight.