Revolt Quotes (displaying: 1 - 30 of 149 quotes )
There again," said Syme irritably, "what is there poetical about being in revolt? You might as well say that it is poetical to be sea-sick. Being sick is a revolt. Both being sick and being rebellious may be the wholesome thing on certain desperate occasions; but I'm hanged if I can see why they are poetical. Revolt in the abstract is? revolting. It's mere vomiting.
And the great owners, who must lose their land in an upheaval, the great owners with access to history, with eyes to read history and to know the great fact: when property accumulates in too few hands it is taken away. And that companion fact: when a majority of the people are hungry and cold they will take by force what they need. And the little screaming fact that sounds through all history: repression works only to strengthen and knit the repressed. The great owners ignored the three cries of history. The land fell into fewer hands, the number of the dispossessed increased, and every effort of the great owners was directed at repression. The money was spent for arms, for gas to protect the great holdings, and spies were sent to catch the murmuring of revolt so that it might be stamped out. The changing economy was ignored, plans for the change ignored; and only means to destroy revolt were considered, while the causes of revolt went on.
In perpetrating a revolution, there are two requirements: someone or something to revolt against and someone to actually show up and do the revolting. Dress is usually casual and both parties may be flexible about time and place, but if either faction fails to attend, the whole enterprise is likely to come off badly.
There again," said Syme irritably, "what is there poetical about being in revolt? You might as well say that it is poetical to be sea-sick. Being sick is a revolt. Both being sick and being rebellious may be the wholesome thing on certain desperate occasions; but I'm hanged if I can see why they are poetical...It is things going right," he cried, "that is poetical! Our digestions, for instance, going sacredly and silently right, that is the foundation of all poetry...the most poetical thing in the world is not being sick.
[Over breakfast] We discussed the 'novelisation' question. This is where the studio pay someone to novelise my script and sell it as Sense and Sensibility. I've said if this happens I will hang myself. Revolting notion. Beyond revolting. Lindsay [Doran] said that the executive she had discussed it with had said 'as a human being I agree with you -- but ...' I laughed until my porridge was cool enough to swallow.
Anarchy loves theatre. That's the whole point. People forget that. You have to laugh at the devil, not fight him. They'll always have more guns, they'll always have more bombs that go off with a bigger bang. No matter how revolting you become they'll always be willing to be more revolting to you. They've had so much more practice.
In actual fact, however, the revolt of Ibsen and Shaw against the conventional nineteenth century drama could very well be described as a return to Shakespeare, as an attempt once again to present human beings in their historical and social setting and not, as playwrights since the Restoration had done, either as wholly private or as embodiments of the social manners of a tiny class. Shakespeare’s plays, it is true, are not, in the Shavian sense, "dramas of thought," that is to say, not one of his characters is an intellectual: it is true, as Shaw says, that, when stripped of their wonderful diction, the philosophical and moral views expressed by his characters are commonplaces, but the number of people in any generation or society whose thoughts are not commonplace is very small indeed. On the other hand, there is hardly one of his plays which does not provide unending food for thought, if one cares to think about it.
Likewise and during every day of an unillustrious life, time carries us. But a moment always comes when we have to carry it. We live on the future: “tomorrow,” “later on,” “when you have made your way,” “you will understand when you are old enough.” Such irrelevancies are wonderful, for, after all, it’s a matter of dying. Yet a day comes when a man notices or says that he is thirty. Thus he asserts his youth. But simultaneously he situates himself in relation to time. He takes his place in it. He admits that he stands at a certain point on a curve that he acknowledges having to travel to its end. He belongs to time, and by the horror that seizes him, he recognizes his worst enemy. Tomorrow, he was longing for tomorrow, whereas everything in him ought to reject it. That revolt of the flesh is the absurd.
So many things which once had distressed or revolted him? the speeches and pronouncements of the learned, their assertions and their prohibitions, their refusal to allow the universe to move? all seemed to him now merely ridiculous, non-existent, compared with the majestic reality, the flood of energy, which now revealed itself to him: omnipresent, unalterable in its truth, relentless in its development, untouchable in its serenity, maternal and unfailing in its protectiveness.
Humbert Humbert: You know, I've missed you terribly. Lolita Haze: I haven't missed you. In fact, I've been revoltingly unfaithful to you. Humbert Humbert: Oh? Lolita Haze: But it doesn't matter a bit, because you've stopped caring anyway. Humbert Humbert: What makes you say I've stopped caring for you? Lolita Haze: Well, you haven't even kissed me yet, have you?
Regardless of the staggering dimensions of the world about us, the density of our ignorance, the risks of catastrophes to come, and our individual weakness within the immense collectivity, the fact remains that we are absolutely free today if we choose to will our existence in its finiteness, a finiteness which is open on the infinite. And in fact, any man who has known real loves, real revolts, real desires, and real will knows quite well that he has no need of any outside guarantee to be sure of his goals; their certitude comes from his own drive.
Ten men of revolting appearance were approaching from the drive. They were low of brow, crafty of eye, and crooked of limb. They advanced huddled together with the loping tread of wolves, peering about them furtively as they came, as though in constant terror of ambush; they slavered at their mouths, which hung loosely over the receding chins, while each clutched under his ape-like arm a burden of curious and unaccountable shape. On seeing the Doctor they halted and edged back, those behind squinting and moulting over the companions' shoulders.
It was not often that Flay approved of happiness in others. He saw in happiness the seeds of independence, and in independence the seeds of revolt. But on an occasion such as this it was different, for the spirit of convention was being rigorously adhered to, and in between his ribs Mr. Flay experienced twinges of pleasure.
I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.