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Quote by Amy Jarecki

“Before Christina could stop herself, her gaze dipped lower. Holy saints, the outline of his manhood stretched the cloth taut. She’d never seen a man so well endowed. Taking a deep breath, she pressed her hand against her forehead and tried not to swoon while she forced herself to snap her gaze to his face. “They’re braies, not box-ers.” She bent down, picked up his blue ones and held them up. “Ye ken?” “Right, bra-ie-s,” he said as if it were a new word for him. “How do you keep them up?”

Quote by Amy Jarecki

Book:The Time Traveler's Christmas
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The Time Traveler's Christmas

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Amy Jarecki

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Book:Why Scottish History Matters
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“The play was written between 1948 and 1951, in the aftermath of the German occupation of several countries in Europe. The ending of that and the subsequent launching of the United Nations showed that the concept of national freedom was likely to be fundamental in the post-war world. A dramatic treatment of the origins of that concept seemed to me to be well worth attempting. The material was to be found in my native country, for the Scottish Declaration of Independence commonly known as the Declaration of Arbroath, is generally accepted as the earliest document in which the concept of national freedom is carefully defined, and asserted with passionate conviction. It is an early landmark on the road to later documents such as the United States Declaration of Independence, the Atlantic Charter, and the Charter of the United Nations.”

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Book:The Bruce: Robert I, King o Scots
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“Like the usurpers in the Italian Renaissance, they seek to gloss over the illegitimacy of their rô1e by offering tangible advantages and making a fine show; that explains their economic liberalism and their patronage of the arts. They employ art not merely as a means to fame and a propaganda instrument but also as an opiate to soothe the opposition. The fact that their art policy is often accompanied by a true love and understanding of art does not affect its social basis. The courts of the Tyrants are the most important cultural centres of the age and its greatest repositories of artistic production [...] Yet in spite of this activity at the courts, the art of the age of the Tyrants is not entirely a product of the court; the rationalistic and individualistic spirit of the age hindered the development of that solemn pageantry and those conventional forms which are characteristic of a court style. The only features in this art that we can ascribe to the court are its joy in the senses, its refined intellectuality, and its somewhat artificial elegance of expression—all features to be found in the older Ionian tradition but developed to a still higher degree at the courts of the Tyrants.”

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“Reform or no reform, he never ceased to promote the interests of St. Denis and the Royal House of France with the same naive, and in his case not entirely unjustified, conviction of their identity with those of the nation and with the Will of God as a modern oil or steel magnate may promote legislation favorable to his company and to his bank as something beneficial to the welfare of this country and to the progress of mankind.”

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Book:Perspective as Symbolic Form
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