A Quote by Oscar Wilde

Reforms in Russia are very tragic, but they always end in a farce. — © Oscar Wilde
Reforms in Russia are very tragic, but they always end in a farce.
The difference between farce and humour in literature is, I suppose, that farce strums louder and louder on one string, while humour varies its note, changes its key, grows and spreads and deepens until it may indeed reach tragic depths.
If I take you back to the Nineties, our party came up with very bold reforms in the country, economic reforms. They were really revolutionary reforms.
Reforms are not an end in itself. Reforms must have a concrete objective.
In terms of love, you're not in control and I hate that feeling. I seem to write a lot of sad songs because I'm a very tragic person. But there's always an element of humour at the end.
In the instance of Iran for Russia, Iran is a very important counterweight to the Sunni Muslim powers in the Gulf, but Russia's always been very concerned about potentially proselytizing and supporting groups inside of the Russian federation itself.
All those who try to unveil the mysteries always have tragic lives. At the end they are always punished.
The life of a wild animal always has a tragic end.
From the time I entered cabinet, the emphasis was on reforms, but reforms which did not abolish separate development, but reforms which were aimed at changing the very, very dehumanising aspects. Giving greater freedom of movement, giving private property ownership within so-called white South Africa also to blacks. Abolishing the concept of job reservation on the basis of race and colour. Allowing free organisation for trade unions, also black trade unions.
The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.
Russia has lost an empire but not yet found a role. Russia has to decide what it wants to be. And as we know in Britain, that takes some time. It is quite tough to lose an empire and Russia lost its empire very rapidly and very admirably, that is to say peacefully, it didn't fight.
If melodrama is the quintessence of drama, farce is the quintessence of theatre. Melodrama is written. A moving image of the worldis provided by a writer. Farce is acted. The writer's contribution seems not only absorbed but translated.... One cannot imagine melodrama being improvised. The improvised drama was pre-eminently farce.
I think the Australian people are very conscientious. During the 1980s and 1990s we proved they will respond conscientiously to necessary reforms. They mightn't like them but they'll accept them. But reforms have to be presented in a digestible format.
One journalist said that everybody in Russia is miserable. Russia is a terrible place. And I'm going to end up miserable and I'm going to be a drunk and I'm never going to do anything. I don't drink. I've never been drunk in my life. And they talk about Russia like it's the worst place on earth. Russia's great.
You know, Russia brings it on. People don't want to be Russia hawk. People would like - that's what the president always says: We would like to get along with Russia. But what Russia is doing makes it really hard.
Putinsim is not necessarily the end state for Russia. Russia has moved in many directions since the early 1980s.
Parliament is the longest running farce in the West End.
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