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Quote by C. Gray

“Okay, I'm sorry for not turning up yesterday." His feet pounded against the pavement as he ran to catch up with me. "Don't be mad. Even though you're sexy as hell when you are." He grabbed my arm, pulling me to a stop. "Don't touch me," I shouted. "Just leave me alone. Wherever I go, there you are being creepy and pervy. I'm sick of this, Marshall. And, you know what? I don't give a shit about your secrets. Keep them. I hope they make you feel all warm and snugly at night.”

Quote by C. Gray

Book:My Heart Be Damned
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My Heart Be Damned

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C. Gray

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“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.”

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Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
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“Thaddeus absorbed her, imprinting his mind with her curly brown hair, her delicate chin, her gorgeous big eyes. “You need time to grow up, to find out who you are going to be. You need to do that without me lurking around like some… lecherous old man.” Her lower lip trembled, but before she could protest, he cut her off. “I swim in a deep ocean of regret and self-recrimination, Esmeralda. I don’t need to add despoiling little girls to my conscience.” “We have never done anything to be ashamed of. You’ve never done anything to be ashamed of.” “And I plan to keep it that way,” he said in a strained voice. —Thaddeus ben Todd and Esmeralda ben Claude”

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