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"But, in addition, there is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections."
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"We try, when we wake, to lay the new day at God's feet; before we have finished shaving, it becomes our day and God's share in it is felt as a tribute which we must pay out of 'our own' pocket, a deduction from the time which ought, we feel, to be 'our own'. A man starts a new job with a sense of vocation and, perhaps, for the first week still keeps the discharge of the vocation as his end, taking the pleasures and pains from God's hand, as they came, as 'accidents'. But in the second week he is beginning to 'know the ropes': by the third, he has quarried out of the total job his own plan for himself within that job, and when he can pursue this he feels that he is getting no more than his rights, and when he cannot, that he is being interfered."
"If I went to work in a factory the first thing I'd do is join a union."
"Employment stereotypes you."
"The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film cans somewhere."
"Transferring successfully to the next generation means producing work that's as good as or better than the work of the first generation that founded the agency."
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"Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character."
"Job was the greatest of all the children of the east, and his afflictions were well-nigh more than he could bear; but even if we imagined them wearing him to death, that would not make his story tragic."
"King Lear alone among these plays has a distinct double action. Besides this, it is impossible, I think, from the point of view of construction, to regard the hero as the leading figure."
"In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character."
"Shakespeare's idea of the tragic fact is larger than this idea and goes beyond it; but it includes it, and it is worth while to observe the identity of the two in a certain point which is often ignored."
"Shakespeare very rarely makes the least attempt to surprise by his catastrophes. They are felt to be inevitable, though the precise way in which they will be brought about is not, of course, foreseen."
"Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact."
"We might not object to the statement that Lear deserved to suffer for his folly, selfishness and tyranny; but to assert that he deserved to suffer what he did suffer is to do violence not merely to language but to any healthy moral sense."
"We cannot arrive at Shakespeare's whole dramatic way of looking at the world from his tragedies alone, as we can arrive at Milton's way of regarding things, or at Wordsworth's or at Shelley's, by examining almost any one of their important works."
"In speaking, for convenience, of devices and expedients, I did not intend to imply that Shakespeare always deliberately aimed at the effects which he produced."
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