Anguish Quotes - page 11
Toby-Dog: It seems to me that of the two of us it's you they make the most of, and yet you do all the grumbling.
Kiki-The-Demure: A dog's logic, that! The more one gives the more I demand.
Toby-Dog: That's wrong. It's indiscreet.
Kiki-The-Demure: Not at all. I have a right to everything.
Toby-Dog: To everything? And I?
Kiki-The-Demure: I don't imagine you lack anything, do you?
Toby-Dog: Ah, I don't know. Sometimes in my very happiest moments, I feel like crying. My eyes grow dim, my heart seems to choke me. I would like to be sure, in such times of anguish, that everybody loves me; that there is nowhere in the world a sad dog behind a closed door, that no evil will ever come...
Kiki-The-Demure: And then what dreadful thing happens?
Toby-Dog: You know very well! Inevitably, at that moment She appears, carrying a bottle with horrible yellow stuff floating in it - Castor Oil!
Colette
Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.
Sarah Bernhardt
What would happen to us if we could truly sympathize with others, feel with them, suffer for them? The fact that human anguish, fear, and suffering melt away with the death of the individual, that nothing remains of the ascents, the declines, the orgasms, and the agonies, is a praiseworthy gift of evolution, which made us like the animals. If from every unfortunate, from every victim, there remained even a single atom of his feelings, if thus grew the inheritance of the generations, if even a spark could pass from man to man, the world would be full of raw, bowel-torn howling.
Stanisław Lem
Clemente was an emotional man, and that was his beauty. It drove him not only to physical anguish, but also to nearly incredible performances on the field as well as to the good work he was engaged in at his death. Often, although not so much in his maturing years, he seemed almost paranoid in his complaints against this or that, but when he said he loved mankind you had to believe him, because even the heat of his most bitter outburst almost always blew over, and where he had been loud, he would suddenly become reasonable and even eloquent. A man to confuse you? Yes, absolutely, but only because man's full range of passions ran strong in him. Cunning he was not. Honest he was. And the proof is that he was no honorary chairman of that relief committee for Nicaragua -- he was no figurehead chairman in name only; he was not merely a celebrity lending his prestige but not his heart or his labor to a cause. Honorary chairmen do not disappear into the Atlantic in the performance of duty.
Roberto Clemente