ROS: What is your line?
PLAYER: Tragedy, sir. Deaths and disclosures, universal and particular, dénouements both unexpected and inexorable, transvestite melodrama on all levels including the suggestive. We transport you into a world of intrigue and illusion... clowns, if you like, murderers - we can do you ghosts and battles, on the skirmish level, heroes, villains, tormented lovers - set pieces in the poetic vein; we can do you rapiers or rape or both, by all means, faithless wives and ravished virgins - flagrante delicto at a price, but that comes under realism for which there are special terms. Getting warm, am I?
ROS (doubtfully): Well, I don't know....
PLAYER: It costs little to watch, and little more if you happen to get caught up in the action, if that's your taste and times being what they are.
ROS: What are they?
PLAYER: Indifferent.
ROS: Bad?
PLAYER: Wicked. Now what precisely is your pleasure?
-- Tom Stoppard: Rosencrantz & Guildenstern Are Dead, Act One [London: Faber and Faber, p. 14]
PLAYER: Tragedy, sir. Deaths and disclosures, universal and particular, dénouements both unexpected and inexorable, transvestite melodrama on all levels including the suggestive. We transport you into a world of intrigue and illusion... clowns, if you like, murderers - we can do you ghosts and battles, on the skirmish level, heroes, villains, tormented lovers - set pieces in the poetic vein; we can do you rapiers or rape or both, by all means, faithless wives and ravished virgins - flagrante delicto at a price, but that comes under realism for which there are special terms. Getting warm, am I?
ROS (doubtfully): Well, I don't know....
PLAYER: It costs little to watch, and little more if you happen to get caught up in the action, if that's your taste and times being what they are.
ROS: What are they?
PLAYER: Indifferent.
ROS: Bad?
PLAYER: Wicked. Now what precisely is your pleasure?
-- Tom Stoppard: Rosencrantz & Guildenstern Are Dead, Act One [London: Faber and Faber, p. 14]
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