Quotessence
Home / Topics / Carnival Quotes

Carnival Quotes

Browse 25 quotes about Carnival.

Carnival Quotes

“A tired man lay down his head in a dusty room so dim, and for so long his wife did shake and yell to waken him. Meanwhile his thoughts, his dreams, did stir of sandy, red bullfights, of powder-blasts in the air and carnival delights. Yet still his wife was in despair in a dusty room so dim, for she knew death was a whore not far from tempting him.”

“On the ferry back from Büyükada the setting sun’s soft rays scarcely light the faces of my fellow weary travellers sons joke with their fathers daughters sleep on mothers’ laps friends play faded playing cards with an envelope for the missing jack here a toddler’s hand under his chin like a scholar there a family roars with laughter eating sunflower seeds from a pink plastic bag we breathe the crisp marmara sea together suddenly i loved you despite your carnival of violence i love you Humanity! with all your many ifs and your many thens”

“Slushy spiked lemonade/beer Boiled peanuts/homemade pickles/kettle corn Mini corn dogs with chili ketchup, curried mustard, and cheese sauce Turkey leg confit Deep-fried Brussels sprouts Poker-chip potatoes Ginger-pear sno-cones and cotton candy Pumpkin funnel cake "What the hell are poker-chip potatoes?" "I'm going to slice the potatoes paper thin- like poker chips or carnival tokens- and line them up in a baking dish, accordion-style, with thyme, shallots, and garlic, and bake them until they're crispy around the edges but tender in the middle.”

“Mobile’s reputation as the birthplace of Mardi Gras in North America does not rest solely on the fact that a few half-starved French colonists observed the pre-Lenten feasts here 300 years ago… In 1852, a group of Mobile "Cowbellians" moved to New Orleans and formed the Krewe of Comus, which is now that larger city’s oldest and most secretive Carnival society. …All of Mobile’s parading societies throw Moon Pies along with beads and doubloons, providing sugary nourishment to the revelers lining the streets. The crowd is very regional, mostly coastal Alabamians. Everyone seems to know each other, and they are always honored and often extra hospitable when they learn that you traveled a long way just to visit *their* Carnival. Late into the evening, silk-gowned debutantes with their white-tie and tail clad escorts who’ve grown weary of their formal balls blend easily with the street crowds…”

“A ten-year-old Amanda wandering around the sights and sounds of a carnival. Trying to take it all in as such an event was much larger than the backroads of isolated territory from whence she grew up. She could not imagine this many people assembled in one place. It was made more disturbing by the fact none of them seemed familiar. Short for her age, she wandered unnoticed among the crowds and began to feel the first stirrings of fear. The loud talk, the screaming children, the long lines of procession, along with the myriads of odors created a miasma that she wanted to flee. The laughter and the faux expressions of joy on the faces of people, took on the maroon tones of a nightmare. She could imagine underneath the laughter, were horrid screams about to erupt.”

“The principle of laughter and the carnival spirit on which the grotesque is based destroys this limited seriousness and all pretense of an extratemporal meaning and unconditional value of necessity. It frees human consciousness, thought, and imagination for new potentialities. For this reason, great changes, even in the field of science, are always preceded by a certain carnival consciousness that prepares the way.”

“The Trinidad Carnival and the calypso are both theatres in and metaphors through which the drama of Trinidad’s social history is encoded and enacted, historically a celebratory mass/mas theatre of contested social space: the domain of the stick fighter, the Wild Indian, the Pierrot Grenade, the Midnight Robber, the chantwel and his descendant, the calypsonian, and the pan man of the emerging steelband movement into the 1960s.”

“In Extremis by Stewart Stafford Saturnalia's trumpets sound, The ancestral chorus song, Time's gold web drawn back, For the stocks' denizen throng. Bawdy knights of the feral feast, Daze of snoring stranger sloth, As contagion's banquet guests, Sipping end times' galling broth. Bean found in fortuitous cake, A fool crowned Lord of Misrule, The meek's pantomimed throne, A drone in a queen bee's tulle. Fatted calf, societal scapegoat, Chattels mopping festive vomit, Charon coins on bloodshot eyes, Execution dawn to a dark comet. © Stewart Stafford, 2024. All rights reserved.”

“Bulgakov always loved clowning and agreed with E. T. A. Hoffmann that irony and buffoonery are expressions of ‘the deepest contemplation contemplation of life in all its conditionality’. It is not by chance that his stage adaptations of the comic masterpieces of Gogol and Cervantes coincided with the writing of The Master and Margarita. Behind such specific ‘influences’ stands the age-old tradition of folk humour with its carnivalized world-view, its reversals and dethronings, its relativizing of worldly absolutes—a tradition that was the subject of a monumental study by Bulgakov’s countryman and contemporary Mikhail Bakhtin. Bakhtin’s Rabelais and His World, which in its way was as much an explosion of Soviet reality as Bulgakov’s novel, appeared in 1965, a year before The Master and Margarita. The coincidence was not lost on Russian readers. Commenting on it, Bulgakov’s wife noted that, while there had never been any direct link between the two men, they were both responding to the same historical situation from the same cultural basis.”