You had been sassy all evening. You were at dinner, and you had been in a mood, and wanted to test his limits.
Everything Harry said, you challenged. The waiter had been checking you out all night and shamelessly flirting. You took the opportunity and indulged the waiter, accepting his compliments and being “overly friendly”. You watched Harry shoot you warning glances, but you continued.
Harry’s jaw was clenched the whole ride home, leaving the car silent. You knew what you had signed up for. The moment the two of you walked in the door, Harry had you pinned against the wall. You gasped as he had one grabbing both your wrists, holding them against the wall, and the other hand clasped over your mouth. “what do you think you’re doing, princess. what the hell was that” he growled through gritted teeth. His body was tense and pressing into yours and he kept a firm grip on you. “you think you can act like that without expecting to be punished?” You shake your head, looking up at him innocently, knowing exactly what you had gotten yourself into at dinner. He released his grip on you, and flipped you around so your cheek was resting on the wall. You whimpered as he grabbed your wrists once more and pinned them behind your back. “I’ll show you what happens to sassy little girls, love.”
under the cut is a masterlist of #50 quotes, requested by anonymous a long, long time ago. taken from; songs, celebrities and various movies/tv shows. you can use these in character biographies, as there are diverse quotes here and not just for any one type of character. if this helped you, a like or reblog would be hella. and i’ll probably add to this as time goes on.
You know…just because you love someone doesn’t mean all your character flaws exponentially change so you can be better to the person you love. Sometimes, it takes a really, really, really long time to change something about yourself or one of your flaws, even for someone you love, even if you know that trait is indisputably a flaw about yourself. Sometimes you do change, but sometimes you relapse.
With Hae Soo, I was so frustrated with her for not trusting and not being understanding of Wang So. And yet, I understood her. How is So supposed to know that in another life, she was betrayed by both her best friend and her boyfriend? How is he supposed to know that even in this life, she was betrayed by another man she loved? And yet, she was. She was and she’s scarred.
So is not the only one that has had a hard life, and although you may argue that he’s suffered more than Soo in life, it is honestly messed up to trivialize Soo’s pain based off of So’s experiences. To each person, suffering is relative, and the worst pain you’ve ever experienced hurts just as much as the worst pain someone else has experienced. And for someone as idealistic as Go Ha Jin inside Hae Soo’s body, that kind of continuous betrayal wrecks you. So regardless of how much So trusts Soo, it is not that easy to trust once you’ve been betrayed that many times.
Soo is trying her best; we saw it when she left the letter for So about Eun’s whereabouts. We saw it when she questioned why he was smiling so much after a stressful day in court, but didn’t press it when he dismissed her concern. We saw it when she objected Ji Mong, knowing that So will be steadfast as long as she still wants to be queen. It’s not that she’s not trying, it’s that it’s just not that easy.
On the other hand, I think that with misogyny it’s so easy to be blinded by So’s devotion and hail him as the perfect, unwavering man. If you look underneath the surface, So is actually so unforgiving. Just because he completely trusts Soo, he expects her to be able to immediately trust him 100% in return. How unrealistic is that? He really shouldn’t have just walked away after telling Hae Soo she should have understood him. He should have stayed, knowing that Hae Soo can’t just follow him out because she literally doesn’t have permission to just go after a king like that. When he was deciding to kill Chae Ryung, he should have warned Hae Soo beforehand so she could prepare himself.
One of So’s character flaws is that when So believes his actions are justifiable, he acts without any warning, and expects everyone to just automatically understand him. When they don’t, his reaction is literally violent. He was taking it for granted that Hae Soo understands him better than anyone else. Regardless of how much she understands him, she’s not a mind reader.
What is so great about this drama is that it is so frustrating. It’s not supposed to paint this picture of the world bending for you just because you are in love. Everything goes wrong, and just because you are deeply in love doesn’t mean you automatically become perfect for each other or even good for each other. That doesn’t invalidate your love in any way, it just goes to show that not all loves can change the world.
“The Tao gives birth to all beings, nourishes them, maintains them, cares for them, comforts them, protects them, takes them back to itself, creating without possessing, acting without expecting, guiding without interfering. That is why love of the Tao is in the very nature of things.”
Kindness. One of the greatest gifts you can bestow upon another. If someone is in need, lend them a helping hand. Do not wait for a thank you. True kindness lies within the act of giving without the expectation of something in return.
Kindness; one of the greatest gifts you can bestow upon another. If someone is in need, lend them a helping hand. Do not wait for a thank you. True kindness lies within the act of giving without the expectation of something in return.
When people see some things as beautiful,
other things become ugly.
When people see some things as good,
other things become bad.
Being and non-being create each other.
Difficult and easy support each other.
Long and short define each other.
High and low depend on each other.
Before and after follow each other.
Therefore the Master
acts without doing anything
and teaches without saying anything.
Things arise and she lets them come;
things disappear and she lets them go.
She has but doesn’t possess,
acts but doesn’t expect.
When her work is done, she forgets it.
That is why it lasts forever.
Lao Tzu - (Tao Te Ching, chapter 2, translation by Stephen Mitchell)
Yesterday, Lao Tzu introduced us to what he calls the Tao, the
infinite and eternal reality, the Nature of things, the Way things
are. He also introduced the one problem we all have with realizing
the mystery of the Tao - our desire. In today’s chapter, Lao Tzu will
begin to delve into the problem of our desire. And, as he introduces
the Master, for the first time, he begins to show us all, through the
example of this wise and virtuous person, how to deal with the
problem of our desire.
So, first, it is best to explain what Lao Tzu means by desire. By
desire, Lao Tzu means how we see things. There is an infinite and
eternal reality, which for us is shrouded in darkness. What we see
with our eyes, and hear with our ears, everything we perceive with
our senses, show us the way things seem to be. But, that is only a
finite and temporal reality. Some theoretical physicists have
suggested that everything we perceive with our senses is a hologram.
I would call it, straight up, an illusion. How we see things, or
perceive them, traps us in this finite and temporal reality, an
illusion. Lao Tzu suggests we can be free from this illusion, finally
beholding the infinite and eternal reality, by tracing back the
manifestations of the infinite and eternal reality, to their source.
The manifestations are something we can see; though our minds, having
become accustomed to seeing things a certain way, will try to explain
them away, as only part of the “reality” we see all around us.
The infinite and eternal reality is very different. And, we will
begin to see that, as we trace back those manifestations. So, let’s
Lao Tzu opens today’s chapter by talking about how we perceive a
duality in our universe. Many philosophers call it the problem of
duality. Lao Tzu, though, will remind us, the problem isn’t duality,
the problem is our desire. When people see some things as beautiful,
or good, other things become ugly, or bad. In the infinite and
eternal reality, there is no such division. There is no beautiful, no
ugly, no good, and no bad. These are human constructs. We speak them
into existence in our “reality”. They are our perceptions of the
way things are. But, they are only the way things seem to be.
What there is in the infinite and eternal reality, and here is
where we are introduced to our first manifestations of the Tao, is
yin and yang.
Yin and yang are not opposites. That is a common misconception;
but, it is a misconception. Yin and yang are complements of each
other. Yin and yang is how the Tao brings balance, harmony, and order
in our Universe. Where there is yin, there must be yang, and where
there is yang, there must be yin. They complete each other. They
balance each other out.
To further explain the operation of yin and yang in our Universe,
consider the familiar Tai-Chi symbol. It is a circle, representing
everything that is, our Universe. Within it, you find the black yin
and the white yang, swirling around in constant motion. The
relationship between yin and yang is not a static one. It is dynamic.
When you look at yin and yang in that circle, you will see that each
contains a seed of the other within itself.
Yin and yang, non-being and being, create each other. Like
difficult and easy, they support each other. Like long and short,
they define each other. Like high and low, they depend on each other.
Like before and after, they follow each other. That is why you can’t
have beautiful without ugly; or, good without bad. But, that is the
problem of desire, how we see things.
Yin and yang are manifestations of the Tao we can see. We see them
in female and male, dark and light, negative and positive, passive
and active, closed and open, back and front. If we see these as
opposites, if we prefer one over the other, we are upsetting the
balance, and going against the current of the Tao.
The Master, a wise and virtuous person, shows us the way to
overcome and free ourselves from the problem of desire. We will talk
further about the Master throughout the Tao Te Ching. I did want to
explain, when I refer to the Master as a wise and virtuous person,
what I mean by wise and virtuous. Wisdom, for our purposes, doesn’t
refer to an abundance of knowledge. And, virtuous does not mean good,
like we think of good. Wisdom means trusting your inner vision. And,
virtue is being in harmony with the Tao.
Wise and virtuous persons overcome, and free themselves from, the
problem of desire, by acting without doing anything, and teaching
without saying anything. Things arise, and they let them come. Things
disappear, and they let them go. They have, without possessing. They
act, without expectations. They do their work; and, when it is done,
they forget about it. Because of this, what they do lasts forever.
These are attributes, of the wise and virtuous person, which we
are only introducing today. We will go into them in more depth as we
go on through the Tao Te Ching. The thing to understand about them,
today, is this is how to free yourself from the finite and temporal
reality, and enter the realm of the infinite and eternal.
Tomorrow, we will talk more about the problem of desire, and how a
wise and virtuous person shows us the Way out of the self-imposed
trap in which we find ourselves.
Tenn’s (Tennessee Williams) bed, in the second-floor suite of the Royal Orleans Hotel, was a cluster of curiosities: notes, drawings, photographs, rough drafts of plays, poems, opening paragraphs. Among these many items were two pages of notes–on creased pages–about Meryl Streep, an actress who clearly fascinated him. Here are the notes, precisely as they were written or typed on those pages.
Talent is a sacrament, and one doled out by a miserly God, who understands that its worth is sustained by its rarity, and its value increases when the ecstasy it releases upon exposure is felt by those who understand and appreciate it–those who can recognize it. I have searched for faith, which people keep telling me is the greatest and rarest of gifts, but I see now that talent is the great gift, the pearl of great price, and a mean seductress, for you can only search for it in others: It will never arise from within you through faith or prayer or diligence. You either have talent or you don’t. Talent is not to be confused with genius. As rare as talent is–and it is–it is given to far more people. You find genius as often as you find a unicorn or a kind act offered without the expectation of a return. Meryl Streep, I believe, has talent and she has genius. She wears both well, another rare gift she possesses, along with her beauty and her humor. There would appear to be no threat of her being smothered or defeated or burdened by her gifts: The wonder of her wealth has made her almost modestly bewildered, confused, grateful, furtive. She understands that she is here to work, to learn, to prosper as a woman to a greater degree than as a commodity.
She has inhabited my world and invested my words with her intelligence–jewels thrown at my feet, but not with diffidence, but with that gratitude she displays before she runs away to begin her work anew. I hope she returns–her Alma would be transcendent; never has a beautiful woman played that sad, repressed piece of tapestry, who is not physically unprepossessing, but who is instead denied proper lighting and placement, and so does not recognize her worth and her appeal and her place. (Kevin Kline as John? One dreams.) She will age into the most extraordinary Blanche, and when the softness of the flesh arrives, along with the realization of how rare her gifts and her time to enjoy them are bound to be, her Amanda would become that funny, heartbreaking vaudeville act that tries so hard to frighten away time and boredom and old age and bills due and affections withered. She can stand in a park and perfectly transmit isolation and regret and sadness, and elevate a soap opera into something I can sit through again and again to witness her particular alchemy with the human heart–an organ that needs repair and magic and, like Alma, good lighting and placement. Intelligence rests easy within her heart. This is so rare that it makes me sad to consider it.
I have had snatches of her type of genius in my life and in my works–but merely snatches, like a line of Conrad in the bustle of the subway. Meryl Streep offers her genius in large bolts, and extends them across whatever she does, and the reward to her seems to be the offering, the giving.
This is a mess and a dream and a confession. I do not know what to make of it or what to do with it.
Ultimately, it is all I have at this time to offer to her, and I give it fulsomely.