Elizabeth Bentley Quotes
Elizabeth Bentley presents vivid, poetic musings that swirl with mystery, appealing to readers who enjoy lyrical intrigue.
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Say, lordly Man, of pow'rs possest, That no inferior creatures know; Say, can the mind with reason blest, Relentless fury show. To thy domain all beasts belong, Yet why so merciless thy sway? Why to the harmless, useful throng, Such cruelty display? Let all thy kind compassion share, Through Nature's universal frame; Whatever breathes thy kindred air, Or feels the vital flame.
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Come, swift-wing'd Fancy, airy maid, In varied, dazzling vest array'd, Inspire thy vot'ry's lay; Grant me thy flow'ry walks to tread, To range thy summer-painted mead, Or near thy fountain play. Now led by thy resistless hand, Or guided by thy fairy wand, O'er yet untrodden space; Or on thy pinions borne along, The bright Ideas' flitting throngs Pursue th' aerial race.
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If one truly has lost hope, one would not be on hand to say so.
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A play has two authors, the playwright and the actor.
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Ours is the age of substitutes: instead of language, we have jargon: instead of principles, slogans: and, instead of genuine ideas, bright ideas.
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Ours is the age of substitutes: Instead of language we have jargon; instead of principles, slogans; and instead of genuine ideas, bright suggestions.
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Like dreams, farces show the disguised fulfillment of repressed wishes.
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Geography is about maps, but biography is about chaps.
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Fashion, which elevates the bad to the level of the good, subsequently turns its back on bad and good alike.
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If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the worldis provided by a writer. Farce is acted. The writer's contribution seems not only absorbed but translated… One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.
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Even in a jungle, lovely flowers will spring up here and there, such being the fecundity of nature, and however badly our pastors and masters run our society, however much they pull to pieces that which they claim to be keeping intact, nature remains fecund, human beings are born with human traits, sometimes human strength outweighs human weakness, and human grace shows itself amid human ugliness. ‘In the bloodiest times,’ as our play has it, ‘there are kind people.’
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“Literature deals with morality but does not necessarily, does not, qua literature, help you to be more moral, either by precept or example. It makes you more aware. Which is to say that it makes you more human by making life more, not less, difficult. When you become more aware, the area of moral choice is widened. You can be a better man; you can also be a worse. Literature will not determine which. It is the equivalent of neither grace nor good works.”
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“What then is the difference between film and theatre? Or should one not rather ask: what are the differences? Let us be content wi th the reply that the screen has two dimensions and the stage three, that the screen presents photographs and the stage living actors. All the subtler differences stem from these. The camera can show us all sorts of things--from close-ups of insects to panoramas of prairies--which the stage cannot even suggest, and it can move from one to another with much more dexterity than any conceivable stage. The stage, on the other hand, can be revealed in the unsurpassable beauty of three-dimensional shapes, and the stage actor establishes between himself and his audience a contact real as electricity.”