Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
The words themselves are clean, so are the things to which they apply. But the mind drags in a filthy association, calls up some repulsive emotion. Well, then, cleanse the mind, that is the real job. It is the mind which is the Augean stables, not language.
I think all tragedies are best told with some humor. You have to relieve the darkness to let the reader get through it. Also, that life has happiness and sadness mixed together. If you told a story that was all darkness, it wouldn't be real.
When one is young, one venerates and despises without that art of nuances which constitutes the best gain of life, and it is only fair that one has to pay dearly for having assaulted men and things in this manner with Yes and No. Everything is arranged so that the worst of tastes, the taste for the unconditional, should be cruelly fooled and abused until a man learns to put a little art into his feelings and rather to risk trying even what is artificial — as the real artists of life do.
a man doesn't prove he's a man by getting an erection. He's only a real man if he can pleasure a woman. And if he can pleasure a prostitute, he'll think he's the best lover on the block" -Nyah
In our constant search for meaning in this baffling and temporary existence, trapped as we are within our three pounds of neurons, it is sometimes hard to tell what is real. We often invent what isn't there. Or ignore what is. We try to impose order, both in our minds and in our conceptions of external reality. We try to connect. We try to find truth. We dream and we hope. And underneath all of these strivings, we are haunted by the suspicion that what we see and understand of the world is only a tiny piece of the whole.
Sane and intelligent human beings are like all other human beings, and carefully and cautiously and diligently conceal their private real opinions from the world and give out fictitious ones in their stead for general consumption.
All who have actually attained any real religious experience never wrangle over the form in which the different religions are expressed. They know that the soul of all religions is the same and so they have no quarrel with anybody just because he or she does not speak in the same tongue.
As we live through thousands of dreams in our present life, so is our present life only one of many thousands of such lives which we enter from the other more real life and then return after death. Our life is but one of the dreams of that more real life, and so it is endlessly, until the very last one, the very real the life of God.
When we meet real tragedy in life, we can react in two ways - either by losing hope and falling into self-destructive habits, or by using the challenge to find our inner strength.
Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.