A Quote by Andrew Coyle Bradley

When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety.
'Balthazar' is very much about the title hero having to choose between his past and his future. For the first time in a long time, he has a chance to be happy - with Skye. But he has this terrible tendency to set himself up for heartbreak, in part because he punishes himself for his past.
To his enemies the householder must be a hero. Them he must resist. That is the duty of the householder. He must not sit down in a corner and weep, and talk nonsense about non-resistance. If he does not show himself a hero to his enemies he has not done his duty.
No hero is a hero if he ever killed someone! Only the man who has not any blood in his hand can be a real hero! The honour of being a hero belongs exclusively to the peaceful people!
Could it be ... that the hero is one who is willing to set out, take the first step, shoulder something? Perhaps the hero is one who puts his foot upon a path not knowing what he may expect from life but in some way feeling in his bones that life expects something of him.
Nobody, they say, is a hero to his valet. Of course; for a man must be a hero to understand a hero. The valet, I dare say, has great respect for some person of his own stamp.
The man who has some respect for his person keeps his carcass out of sight, hides himself as perfectly as he can.
We have these rules, the 'hero rules.' Like, a hero doesn't slouch. A hero walks proudly with his head up. A hero walks with a purpose. A hero's always a gentleman.
The hero was distinguished by his achievement; the celebrity by his image or trademark. The hero created himself; the celebrity is created by the media. The hero was a big man; the celebrity is a big name.
When you see the violence of Hollywood movies, there is a tendency that the hero is combating and confronting many people, without much harm to himself. But in my films, the hero takes a lot of hits so the very act of the hero being the one on the receiving end, makes the audience cheer and connect with him.
The first responsibility of the Muslim is as teacher. That is his job, to teach. His first school, his first classroom is within the household. His first student is himself. He masters himself and then he begins to convey the knowledge that he has acquired to the family. The people who are closest to him.
Cus was my father but he was more than a father. You can have a father and what does it mean?—it doesn't really mean anything. Cus was my backbone . . . . He did everything for my best interest . . . . We'd spend all our time together, talk about things that, later on, would come back to me. Like about character, and courage. Like the hero and the coward: that the hero and the coward both feel the same thing, but the hero uses his fear, projects it onto his opponent, while the coward runs. It's the same thing, fear, but it's what you do with it that matters.
It is said that no man is a hero to his valet. That is because a hero can be recognized only by a hero.
The Luke Cage you saw in Season One was a reluctant hero. He was trying to figure out if he wanted to be a hero in the first place. And then fate intervened and forced him to step up his game.
It is said, that no one is a hero to their butler. The reason is, that it requires a hero to recognize a hero. The butler, however, will probably know well how to estimate his equals.
I would say George Mitchell was like Clark Kent sometimes with his horn rimmed glasses and his very quiet manner. People say, well, he's just a quiet leader, but then he emerges as super hero and begins to move this legislation. He led by example.
The noir hero is a knight in blood caked armor. He's dirty and he does his best to deny the fact that he's a hero the whole time.
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