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The Wizard & The Wanton

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Charity Parkerson

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“The desire to know the future gnaws at our bones. That is where it started, and might have ended, years ago. I had cast the stones, seeing their faces flicker and fall: Death, Love, Murder, Treachery, Hope. We are a treacherous people - half of our stones show betrayal and violence and death from those close, death from those far away. It is not so with other peoples. I have seen other sets that show only natural disasters: death from sickness, from age, the pain of a broken heart, loss in childbirth. And those stones are more than half full with pleasure and joy and plain, solid warnings like "You reap what you sow" and "Victory is not the same as satisfaction." Of course, we live in a land taken by force, by battle and murder and invasion. It is not so surprising that our stones reflect our history.”

“Είναι ένας μοναχικός άνθρωπος, αλλά η μοναχικότητα του δεν είναι τόσο μια φυγή, μια κίνηση απομάκρυνσης, όσο μια κίνηση προς κάτι- μια εποχή αφύπνισης και ανανέωσης των αισθήσεων, μια προετοιμασία για πνευματική και νοητική ανάπτυξη και ανάταση.”

“In addition, unlike Othello, whose profession of arms is socially honorable, Shylock is a professional usurer who, like a prostitute, has a social function but is an outcast from the community. But, in the play, he acts unprofessionally; he refuses to charge Antonio interest and insists upon making their legal relation that of debtor and creditor, a relation acknowledged as legal by all societies. Several critics have pointed to analogies between the trial scene and the medieval Processus Belial in which Our Lady defends man against the prosecuting Devil who claims the legal right to man’s soul. […] But the differences between Shylock and Belial are as important as their similarities. The comic Devil of the mystery play can appeal to logic, to the letter of the law, but he cannot appeal to the heart or to the imagination, and Shakespeare allows Shylock to do both. In his "Hath not a Jew eyes…" speech in Act III, Scene I, he is permitted to appeal to the sense of human brotherhood, and in the trial scene, he is allowed to argue, with a sly appeal to the fear a merchant class has of radical social evolution: You have among you many a purchased slave Which like your asses and your dogs and mules, You use in abject and in slavish parts, which points out that those who preach mercy and brotherhood as universal obligations limit them in practice and are prepared to treat certain classes of human beings as things.”

“Thus repulsed, our final hope Is flat despair: we must exasperate The Almighty Victor to spend all his rage; And that must end us; that must be our cure, To be no more. Sad cure! for who would lose, Though full of pain, this intellectual being, Those thoughts that wander through eternity, To perish rather, swallowed up and lost In the wide womb of uncreated night, Devoid of sense and motion? And who knows, Let this be good, whether our angry Foe Can give it, or will ever? How he can Is doubtful; that he never will is sure. John Milton, Belial (Book II Paradise Lost)”

“Be quiet,” Belial snapped. “You, girl, do not matter. Your little talent with ghosts does not matter. When I heard you were born, I wept tears of fire, for you were female, and you could not see the shadow realms. You are useless, do you understand? Useless to me, to the world.” But Lucie - slight and small, without a weapon in her hand - only looked at him steadily. “Talk all you want,” she said. “You certainly don’t matter. Only Jesse matters.”

“An obscure character by the name of Belial. He is interpreted as a minion of the devil by some scholars, but that is wrong. It is ignorance. The name means, literally speaking, 'one who cannot be yoked,' and it is really every one of us who takes control of our own destiny while others blow in the wind. We may be punished for it, but we would never do it another way. We are all Belials.”