A Quote by Andrew Coyle Bradley
A Shakespearean tragedy as so far considered may be called a story of exceptional calamity leading to the death of a man in high estate. But it is clearly much more than this, and we have now to regard it from another side.
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In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.
The suffering and calamity are, moreover, exceptional. They befall a conspicuous person. They are themselves of some striking kind. They are also, as a rule, unexpected, and contrasted with previous happiness or glory. A tale, for example, of a man slowly worn to death by disease, poverty, little cares, sordid vices, petty persecutions, however piteous or dreadful it might be, would not be tragic in the Shakespearean sense.
What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death.
Perhaps I am a man of exceptional moods. I do not know how far my experience is common. At times I suffer from the strangest sense of detachment from myself and the world about me; I seem to watch it all from the outside, from somewhere inconceivably remote, out of time, out of space, out of the stress and tragedy of it all. This feeling was very strong upon me that night. Here was another side to my dream.
Such exceptional suffering and calamity, then, affecting the hero, and-we must now add-generally extending far and wide beyond him, so as to make the whole scene a scene of woe, are an essential ingredient in tragedy and a chief source of the tragic emotions, and especially of pity. But the proportions of this ingredient, and the direction taken by tragic pity, will naturally vary greatly.
There is laughter that goes so far as to lose all touch with its motive, and to exist only, grossly, in itself. This is laughter at its best. A man to whom such laughter has often been granted may happen to die in a work-house. No matter. I will not admit that he has failed in life. Another man, who has never laughed thus, may be buried in Westminster Abbey, leaving more than a million pounds overhead. What then? I regard him as a failure.
The sudden death of the leading man will cause change, making another man leader. Soon, but too late, the young man will attain high office. By land and sea, he will be feared.
The institutions at the centre of capitalism are bigger than they've ever been, the pay is much greater, the ability of society to get its arms around it is much less. The political clout of the financial class is unbelievable. I'd say the story is darker than when I was there. When I was there it felt like a comedy - and now it feels more like a tragedy.
It's absolutely clear that whatever cruel and unusual punishments may - may mean with regard to future things, such as death by injection or the electric chair, it's clear that - that the death penalty, in and of itself, is not considered cruel and unusual punishment.
A friend who is far away is sometimes much nearer than one who is at hand. Is not the mountain far more awe-inspiring and more clearly visible to one passing through the valley than to those who inhabit the mountain?
Tzu Li went to see Tzu Lai who was dying. Leaning against the door, he said, 'Great is the Creator! What will he make of you now? Will he make you into a rat's liver? Will he make you into an insect's leg?' Tzu-Lai replied, 'The universe gave me my body so I may be carried, my life so I may work, my old age so I may repose, and my death so I may rest. To regard life as good is the way to regard death as good. . . . If I regard the universe as a great furnace and creation as a master foundryman, why should anywhere I go not be all right?'
Success will only happen with Afghans leading the charge, and it is far, far more important for Kabul to create and support a purpose-driven school of architecture than to invite a high profile designer to build.
In the death of my son, now more than two years ago, I seem to have lost a beautiful estate,--no more. I cannot get it nearer to me.
Nothing defines the quality of life in a community more clearly than people who regard themselves, or whom the consensus chooses to regard, as mentally unwell.
Our subconscious works in metaphors, stories, and word play. That's why a particular story or movie may mean more to some people than to others. Have you considered why you quest for this tale now?
I desire no other epitaph - no hurry about it, I may say - than the statement that I taught medical students in the wards, as I regard this as by far the most useful and important work I have been called upon to do.
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