May. 3rd, 2012

monk222: (Bonobo Thinking)
"Abortion is a healthcare service like slavery is an employee compensation package."

-- LJer

That's a new line for me. I googled it, and I think it's actually original. See, LiveJournal still has some life in it.
monk222: (Bonobo Thinking)
"Abortion is a healthcare service like slavery is an employee compensation package."

-- LJer

That's a new line for me. I googled it, and I think it's actually original. See, LiveJournal still has some life in it.
monk222: (Devil)
“I’m currently an active pastor and I’m also an atheist. I live a double life. I feel pretty good on Monday, but by Thursday—when Sunday’s right around the corner—I start having stomachaches, headaches, just knowing that I got to stand up and say things that I no longer believe in and portray myself in a way that’s totally false.”

-- Teresa MacBaink

One learns in the article that there is also an organization called "The Clergy Project", which is “a safe haven for active and former clergy who do not hold supernatural beliefs.” I suppose the Europeans are more advanced on the idea that one can be a Christian as well as an agnostic or even an atheist, that one can appreciate Christian thought without being able to believe in supernatural events. But Americans may be heading down that road.
monk222: (Devil)
“I’m currently an active pastor and I’m also an atheist. I live a double life. I feel pretty good on Monday, but by Thursday—when Sunday’s right around the corner—I start having stomachaches, headaches, just knowing that I got to stand up and say things that I no longer believe in and portray myself in a way that’s totally false.”

-- Teresa MacBaink

One learns in the article that there is also an organization called "The Clergy Project", which is “a safe haven for active and former clergy who do not hold supernatural beliefs.” I suppose the Europeans are more advanced on the idea that one can be a Christian as well as an agnostic or even an atheist, that one can appreciate Christian thought without being able to believe in supernatural events. But Americans may be heading down that road.

Thriller

May. 3rd, 2012 03:00 pm
monk222: (Elvis Legend)


Legends really don't die.

Thriller

May. 3rd, 2012 03:00 pm
monk222: (Elvis Legend)


Legends really don't die.
monk222: (Flight)
Hamlet has the stage to himself, about to give his big soliloquy. We will let Marvin Rosenberg set it up for us:

That is one of the essential differences between his first soliloquy and this one. Then he had nowhere to go, physically or spiritually; he was trapped in Denmark by Claudius, and in life by God’s canon. Break his heart; he could say nothing. Now he has an objective, and is struggling toward a direction for it. Now, verbally, he gives us a clue to his continuous subtextual distraction, makes us aware for the first time of his ongoing guilt for a delay: aware that in the two months since seeing the ghost - a duration made evident by the comings and goings in the palace - his self-flagellation has intensified with his failure to act on his promise of revenge. He has something to do, but he has not done it, has not blazoned it, and he does not know why.

But Hamlet has come upon his answer, and it is now fast consolidating in his mind. The players have opened a door for him. Thus, he speaks, meditates, and overcomes.

Now I am alone.

O, what a rogue and peasant slave am I!

Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha!
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!

Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon't! foh! About, my brain!

[I favor the variation in which Hamlet got a copy of the “Murder of Gonzago” play from the first player when he was asking about it and about the addition of a stanza, and at this point in the soliloquy, Hamlet has opened up the play to read in it a bit and to write down those additional lines, before resuming his soliloquy and letting the audience in on what he has in mind.]

Hum -
I have heard that guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me:

I'll have grounds
More relative than this: the play's the thing
Wherein I'll catch the conscience of the king.


And hence we close the scene and the act. I remain puzzled about one thing. We can now see how Hamlet will resolve himself about the reliability of the ghost’s message, but it seems to me that he would still have one major problem: how to prove to others that Claudius murdered the elder Hamlet? As it turns out, that issue is resolved in the very end by wild happenstance, in which everything is lost for everyone except Fortinbras, but until that accident, he still had a missing link in his plan for revenge, unless he were indifferent about being seen as an executor of justice and the proper successor to the throne, which I doubt.
monk222: (Flight)
Hamlet has the stage to himself, about to give his big soliloquy. We will let Marvin Rosenberg set it up for us:

That is one of the essential differences between his first soliloquy and this one. Then he had nowhere to go, physically or spiritually; he was trapped in Denmark by Claudius, and in life by God’s canon. Break his heart; he could say nothing. Now he has an objective, and is struggling toward a direction for it. Now, verbally, he gives us a clue to his continuous subtextual distraction, makes us aware for the first time of his ongoing guilt for a delay: aware that in the two months since seeing the ghost - a duration made evident by the comings and goings in the palace - his self-flagellation has intensified with his failure to act on his promise of revenge. He has something to do, but he has not done it, has not blazoned it, and he does not know why.

But Hamlet has come upon his answer, and it is now fast consolidating in his mind. The players have opened a door for him. Thus, he speaks, meditates, and overcomes.

Now I am alone.

O, what a rogue and peasant slave am I!

Is it not monstrous that this player here,
But in a fiction, in a dream of passion,
Could force his soul so to his own conceit
That from her working all his visage wann'd,
Tears in his eyes, distraction in's aspect,
A broken voice, and his whole function suiting
With forms to his conceit? and all for nothing!
For Hecuba!
What's Hecuba to him, or he to Hecuba,
That he should weep for her? What would he do,
Had he the motive and the cue for passion
That I have? He would drown the stage with tears
And cleave the general ear with horrid speech,
Make mad the guilty and appal the free,
Confound the ignorant, and amaze indeed
The very faculties of eyes and ears. Yet I,
A dull and muddy-mettled rascal, peak,
Like John-a-dreams, unpregnant of my cause,
And can say nothing; no, not for a king,
Upon whose property and most dear life
A damn'd defeat was made. Am I a coward?
Who calls me villain? breaks my pate across?
Plucks off my beard, and blows it in my face?
Tweaks me by the nose? gives me the lie i' the throat,
As deep as to the lungs? who does me this?
Ha!
'Swounds, I should take it: for it cannot be
But I am pigeon-liver'd and lack gall
To make oppression bitter, or ere this
I should have fatted all the region kites
With this slave's offal: bloody, bawdy villain!
Remorseless, treacherous, lecherous, kindless villain!
O, vengeance!

Why, what an ass am I! This is most brave,
That I, the son of a dear father murder'd,
Prompted to my revenge by heaven and hell,
Must, like a whore, unpack my heart with words,
And fall a-cursing, like a very drab,
A scullion!
Fie upon't! foh! About, my brain!

[I favor the variation in which Hamlet got a copy of the “Murder of Gonzago” play from the first player when he was asking about it and about the addition of a stanza, and at this point in the soliloquy, Hamlet has opened up the play to read in it a bit and to write down those additional lines, before resuming his soliloquy and letting the audience in on what he has in mind.]

Hum -
I have heard that guilty creatures sitting at a play
Have by the very cunning of the scene
Been struck so to the soul that presently
They have proclaim'd their malefactions;
For murder, though it have no tongue, will speak
With most miraculous organ. I'll have these players
Play something like the murder of my father
Before mine uncle: I'll observe his looks;
I'll tent him to the quick: if he but blench,
I know my course. The spirit that I have seen
May be the devil: and the devil hath power
To assume a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As he is very potent with such spirits,
Abuses me to damn me:

I'll have grounds
More relative than this: the play's the thing
Wherein I'll catch the conscience of the king.


And hence we close the scene and the act. I remain puzzled about one thing. We can now see how Hamlet will resolve himself about the reliability of the ghost’s message, but it seems to me that he would still have one major problem: how to prove to others that Claudius murdered the elder Hamlet? As it turns out, that issue is resolved in the very end by wild happenstance, in which everything is lost for everyone except Fortinbras, but until that accident, he still had a missing link in his plan for revenge, unless he were indifferent about being seen as an executor of justice and the proper successor to the throne, which I doubt.

Bloody Sex

May. 3rd, 2012 09:00 pm
monk222: (Devil)
“You know it is good sex when someone has blood under their finger nails in the first 8 minutes.”

-- James Deen, porn star

Eww, really? I can see scratches, but blood!? Blood-play is definitely one kink I don't care for. I just don't think blood and sex go well together. With the possible exception of her virginal blood.

Bloody Sex

May. 3rd, 2012 09:00 pm
monk222: (Devil)
“You know it is good sex when someone has blood under their finger nails in the first 8 minutes.”

-- James Deen, porn star

Eww, really? I can see scratches, but blood!? Blood-play is definitely one kink I don't care for. I just don't think blood and sex go well together. With the possible exception of her virginal blood.

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