Words, vows, gifts, tears, and love's full sacrifice, He offers in another's enterprise; But more in Troilus thousand-fold I see Than in the glass of Pandar's praise may be, Yet hold I off.
We are sensitized by the books we read. And the more books we read, and the deeper their lessons sink into us, the more pairs of glasses we have. And those glasses enable us to see things we would have otherwise missed.
I bring you this stately matron named Christendom, returning bedraggled, besmirched, and dishonored from pirate raids in Kiao-Chow, Manchuria, South Africa, and the Phillipines, with her soul full of meanness, her pocket full of boodle, and her mouth full of pious hypocrisies. Give her soap and a towel, but hide the looking-glass.
The world of imagination is the world of eternity. It is the divine bosom into which we shall all go after the death of the vegetated [i.e. mortal] body. This world of imagination is infinite and eternal, whereas the world of generation is finite and temporal. There exist in that eternal world the eternal realities of everything which we see reflected in this vegetable glass of nature.
Suppose the looking glass smashes, the image disappears, and the romantic figure with the green of forest depths all about it is there no longer, but only that shell of a person which is seen by other people - what an airless, shallow, bald, prominent world it becomes! A world not to be lived in. As we face each other in omnibuses and underground railways we are looking into the mirror that accounts for the vagueness, the gleam of glassiness, in our eyes.
At school I was called Fred, which is my middle name. At that time, Fred was considered to be a bit of a horrible name, so that's why. Otherwise, I was called Titchy because I was little. I was still only about 4ft something when I left school. I grew a foot under glass in my first year as a gardener. It's really quite amazing what sun and manure can do.
More and more do I feel, as I advance in life, how little we really know of each other. Friendship seems to me like the touch of musical-glasses--it is only contact; but the glasses themselves, and their contents, remain quite distinct and unmingled.
"What is your best, your very best, ale a glass?" "Two pence halfpenny," says the landlord, "is the price of the Genuine Stunning Ale." "Then," says I, producing the money, "just draw me a glass of the Genuine Stunning, if you please, with a good head on it."
You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.