A Quote by William Butler Yeats

You ask what I have found and far and wide I go, Nothing but Cromwell's house and Cromwell's murderous crew, The lovers and the dancers are beaten into the clay, And the tall men and the swordsmen and the horsemen where are they?
Oliver Cromwell (1599-1658) moved from a legitimate to a charismatic role, reversing the course followed by Washington. Yet therewere surface similarities in their careers. Both led military rebellions against English monarchs--Cromwell against Charles I, Washington against George III. Each took local militia--the "train bands" of Cromwell, the colonial levies of Washington--and forged professional armies on a national scale. Each infused a new ethos in his troops--a religious spirit in Cromwell's case, a post-colonial American identity in Washington's.
In a Balkan country, not so many years ago, a party which had been beaten by a narrow margin in a general election retrieved its fortunes by shooting a sufficient number of the representatives of the other side to give it a majority. . . . Cromwell and Robespierre . . . acted likewise.
I am Thomas Cromwell in the court of the Tudors.
The Royal Ballet is the best paid company, but the dancers get nothing. The stage crew get paid three times more than the dancers, and they have a job for life - dancers only have 10 years.
It is a total treat to get to work with James Cromwell.
Richard Cromwell was not fit to wear the mantle of his uncle.
After Mary Queen of Scots, I turned to the farthest subject possible: Cromwell.
There is no error so monstrous that it fails to find defenders among the ablest men. Imagine a congress of eminent celebrities, such as More, Bacon, Grotius, Pascal, Cromwell, Bossuet, Montesquieu, Jefferson, Napoleon, Pitt, etc. The result would be an Encyclopedia of Error.
The 'Little' or 'Barebones' Parliament, summoned by Oliver Cromwell to meet at Westminster on 4th July, 1653, after the dissolution of the remains of the Long Parliament, may have been an unpractical body, so far as the task of administration in troublous times was concerned. But it seems quite possible that the wealth of contumely and scorn which has been poured upon it was, originally, due quite as much to the fierce anger of vested interests against outspoken criticism, as to any real vagueness or want of practical wisdom in the plans of the House itself.
I'm not just a female chef. I'm a woman in a brand new hotel, and that's why I think it's so perfect to be at the Cromwell, in a corner of one of the busiest intersections of the world, with my name in lights. It's different in all those sorts of ways, and I'm hoping I'll be able to carry that through. Because if I can't, it's a step back for women in general. People will say - men will say - "See, that's why it's mostly men".
The only dangerous scene is when James Cromwell put a stake in my chest. But other than that, it turned out to be quite a punch. I didn't think much of it.
Back when I was helping put the swing into the swinging '60s, I used to hang out with Cathy McGowan. We'd be doing 'Ready Steady Go!' on T.V., and Biba used to make our dresses. We'd be in the flat in Cromwell Road on Friday night, just before the live show, and they'd still be sewing.
I got four volumes of the letters and speeches of Oliver Cromwell. He is prominent among the great unread, and treated so oddly by history that I wanted to hear his side of things.
When Cromwell instructed his portraitist to paint him 'warts and all', he meant both halves of that equation. To teach the warts alone is morbid and unhealthy.
The Rock 'n' Roll Express and the '80s NWA crew; Ric Flair and the Four Horsemen, Magnum TA, Dusty Rhodes - that was a great crew of talent and they were all so great to work with.
People ask me what it's like to be tall, and I don't know what to say because I don't know any different. I grew up in a very tall house, so I wasn't an anomaly there.
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