Aliens [rectemalmonikered, ^Aliensequel] (eponymous⸮№ 1st < №2nd supervenient, preciously pluralized ^superordinal, 7-year-late franchisation, see franchise (n.)), directed by James 'Titanic(s)' [sic] Cameron, 1979 Alien Blockbuster: Masterpiece, Sequeless Space Oddity, Decade-Ending Stowaway,H. R. GigerFright-Flight Singularity!
WORST [TITLED WRITTEN] sequel EVER, 'Alien[s]' Quotes! (1986 SEQUEL TO 'ALIEN'1979, blockbuster of the decade, Sleeper-Sexy, traumatic, Cool)!
ALIENS IS pre-Titanics
genius 'tying up loose ends, entitled sequel equivalent to the Italian
re-titling for the translated and dubbed foreign release to "Crocodile Dundee,' which I saw in Rome with my own eyes.
It read: "Mr. Crocodile Dundee!"
James
Cameron decided that by making the originally-titled surprise
blockbuster, Academy Award winning, Sci-Fi freakout movie of my 16th
year, already traumatic, PTSD-inducing, in an otherwise already large
flock of other awesomely disturbing, groundbreaking, behemoth Box
Office-bankbusters, while critical praise flew-in like Jeans'
Manufactured bad perfume fragrances of those delicious 70s, when
Jordache, Brooke Shields, John McEnroe and little food was new and
exciting.
First-of-their-kind, never-to-be-outdone horror, action, arty (All that Jazz), comedies (Tootsie), Cameron would revive the great sci-fi woman's role with balls and big guns like Arnold S. but in this macho uterine space the likes not seen since 2001, featuringGiger-perfect Alienmulti-use prop sets
whose sheer bitumen, styled sleek horror comes from their Ferrari
attention and depth of starless patina, whose inscintilate yaw Hitchcock
never saw and only Lynch would touch later (but whose black magick
gleem to match that in his eye, Phillip Anger would come closest in his
Candy Apple polished neon bloody Carbon Monoxide Snow White red depths
only morticians and funeral director's know, and only when their
decedent has succumbed accidentaly or otherwise from the 'dead red' so
bright its pearlescent sheen is a lurid lipstick lascivious, clangorous
hued fire engine coruscating Toro to all but the most color-impaired or unprepared bulls whose sword makes them see red death, then forever black.
Cameron's coup de grace
ending the execrable 1970s in his rear-view mirror showing nothing but
7s, then blunders, blindly by bemonikering his big little bagatelle that
could with the most irredeemably insentient insubordinate appelation,
neither exciting nor delivering more than simply notifying a public,
who've now forgotten in eight years, the first success which this
bookends and makes fully fulminate, by slapping a paste-it, throwaway
line, similar to the Beatles' "the movement you need is on your
shoulders, etc." in an over-par-under-80-IQ aptitude low-ordinal,
numbered distinction, giving it all the entitlement as if naming the
sequel to 'the Sting,''the Stings;' only, if at all,plurality for company's sake like the lonely puppy it never was, its original agreement of grammatical tensor, number and story, easy-to-read and understandable as < 2 = 1 formulaic, graspable by everyone on any-sized bus, no matter how small,
in town (one name, like Elvis-perfection, unmistakably, recognizable
... ), both insuring you were probably going to be able to see the
cocaine in the story, the cinematography and the rehashing of 'Rumorses,' which Fleetwood Mac'Nicksed,' instead thinking outside the box without the marching band or prehistoric mastodon-themed unsubtle insuflation befitting its Rumors' borne anticipation, keeping the cocaine very high in the mix, but with variously mailed-in results.
(Back
to Sigourney) 1986 sees Ms. Weaver tightly-curled mall-hair-permed like
those other avian Weavers whose life depends on badass aesthetics.
She's
trying at reprising the biggest, baddest gun molling, dirt dobbing
wifebeating fashion statement since Edith Head dressed Rosie the
Riveter: Sig's straight Brando without a cause and swinging every bit
the clit he swung and just as oily and ogleable, erect nipply tee poking
through that thin ribbed cotton epidermis, and then she's hitting you
all Chrissie Hynde 'Stick it in,' or Fiona Apple, 'Been a bad, bad
girl;' husky sotto voce sure to have every lesbian bein' not a dry eye
in between the thighs...Who's K.D. Lang?
The
young male hetero-me was already so preternaturally fortified by Bob
Guccione that I needed nothing more than a light breeze and a sneeze to
come around, but everyone I knew, including the old 28-year-old guys I
re-watched with that summer had all found something to fall for in 1979,
and until Jessica Lange became Angelique, Bob Fosse's All That Jazz
first fling with whatever that world was, and how do I say, 'It's
showtime,' like that and fuck that many dancers at once until I can get
up there... to somehow think somehow she was hot.
Until, that is, 1986, when this fucking dog let the dogs
out, sequel with nothing to prove except how many aliens does it take
to cause this rehash to get a diacritical linguistic countable number
agreement pluralization, and how fuckin' many linguists were at that
pre-screen filling out comment cards? Dog just 'did its business,'
which begs the question, still and forever:
IS
IT EVER ALRIGHT TO PLAY A ONE-POINT SCRABBLE TILE WHEN YOU'RE TITLING
THE SEQUEL TO YOUR TRIPLE-WORD SCORE SEVEN-YEAR-OLD HIT OF THE DECADE?
BOTH ADVERTISE ONLY THAT WHICH MAY BE INFERRED, THE ADDITION OF AT LEAST ONE EXTRA ALIEN?
HAVING JUST WATCHED THIS GARBAGE WITH A FRIEND WHO TRIED TO CONVINCE ME AND HALF-SUCCEEDED THAT IT WAS, IN FACT, THE Original 'ALIEN', DESPITE THE FACT THAT NOTHING RESEMBLED
THAT FIRST ITERATION IN TONE, LOGIC, DRAMA, SEXINESS, CREEPINESS,
TERROR, or SURPRISE AT the wrongheaded decision to insert a RIDICULOUS
LITTLE GIRL WHO SHOULD HAVE BEEN IN 'MAD Maxes.'
WE
BOTH DECIDED IT COULD NOT HAVE BEEN AS IT KEPT SUCKING AND SIG'S PERM
GOT TIGHTER AND LESS SEXY, AND AS DOES HALF OF THE INTERNET, MAINTAIN
THAT IN NO WAY COULD THERE POSSIBLY BE A MORE ADVISABLY USELESS
SEQUEL, NOR ONE WHOSE NAME PROMISES NOTHING MORE THAN A CROWD BUT
DOESN'T EVEN PACK A PUNCH!
THIS BE THE ONE, ASPHILLIP LARKIN WROTE IT ABOUT MUM AND DADFIVE YEARS PREVIOUS, 'THEY FUCK YOU UP!'
%0 REVIEW BY DOUG MEET %T James Cameron %A Keller, A. %@ 9781134700141
%U https://books.google.com/books?id=UGd9AwAAQBAJ %D 2014 %I Taylor & Francis
alien (pluralaliens)
A person, animal, plant, or other thing which is from outside the family, group, organization, or territory under consideration.
The Alien (also known as Xenomorphor Internecivus raptus) is a fictional endoparasitoid extraterrestrial species, the eponymous antagonist of the Alien film series.
1950, Frederick Bagemihl (translator), Erich Kamke, Theory of Sets, Dover (Dover Phoenix), 2006, page 137,
For not only do the antinomies a) to e) disappear when we admit as elements of sets only such sets, ordinal numbers,
and cardinal numbers as are bounded above by a fixed cardinal number,
but we see also that paradoxes always arise if we collect into a set any
sets, cardinal numbers, or ordinal numbers which are not bounded above by a fixed cardinal number.
Is there a set that consists exactly of all the ordinal numbers? It is easy to see that the answer must be no. If there were such a set, then we could form the supremum of all ordinal numbers. That supremum would be an ordinal number greater than or equal to every ordinal number. Since, however, for each ordinal number
there exists a strictly greater one (for example, its successor), this
is impossible; it makes no sense to speak of the "set" of all ordinals.
2009, Marek Kuczma, Attila Gilányi (editor), An Introduction to the Theory of Functional Equations and Inequalities, Springer (Birkhäuser), 2nd Edition, page 10,
If is an ordinal number, then by definition any two well-ordered sets of type
are similar, i.e., there exists a one-to-one mapping from one set to
the other. Consequently these sets have the same cardinality.
Consequently to any ordinal number we may assign a cardinal number, the common cardinality of all well-ordered sets of type .
The word is pronounced either way: spē'shēz, or spē'sēz. "The noun species, referring especially to a group of organisms sharing common characteristics, can be either singular (e.g., that species is purple) or plural (e.g., these species are yellow)."Apr 6, 2018
In
taxonomy, the word “species” can be used both as singular and plural.
Additionally, it's a collective noun as it denotes the type, kind or
group of plants and animals having similar appearance.
However,
the word “specie” is an uncountable noun and therefore cannot be
pluralised. Some tend to use it as a singular form of species.
Also, it's pronounced as in the first word you wrote=> “ speesh-eez.
AND its Too-Human Quotes You'll Never Repeat
What is the difference between categorical, ordinal and numerical variables?
In talking about variables, sometimes you hear variables being described as categorical
(or sometimesnominal), or ordinal, or numerical. Below we will define these
terms and explain why they are important.
Categorical
A categorical variable (sometimes called a nominal variable) is one that has two or
more categories, but there is no intrinsic ordering to the categories. For example,
gender is a categorical variable having two categories (male and female) and there is no
intrinsic ordering to the categories. Hair color is also a categorical variable
having a number of categories (blonde, brown, brunette, red, etc.) and again, there is no
agreed way to order these from highest to lowest. A purely categorical variable is
one that simply allows you to assign categories but you cannot clearly order the
variables. If the variable has a clear ordering, then that variable would be an
ordinal variable, as described below.
Ordinal
An ordinal variable is similar to a categorical variable. The difference between
the two is that there is a clear ordering of the variables. For example, suppose you
have a variable, economic status, with three categories (low, medium and high). In
addition to being able to classify people into these three categories, you can order the
categories as low, medium and high. Now consider a variable like educational experience
(with values such as elementary school graduate, high school graduate, some college and
college graduate). These also can be ordered as elementary school, high school, some college,
and college graduate. Even though we can order these from lowest to highest, the
spacing between the values may not be the same across the levels of the variables.
Say we assign scores 1, 2, 3 and 4 to these four levels of educational experience and we
compare the difference in education between categories one and two with the difference in
educational experience between categories two and three, or the difference between
categories three and four. The difference between categories one and two (elementary and
high school) is probably much bigger than the difference between categories two and three
(high school and some college). In this example, we can order the people in level of
educational experience but the size of the difference between categories is inconsistent
(because the spacing between categories one and two is bigger than categories two and
three). If these categories were equally spaced, then the variable would be an
numerical variable.
Numerical
An numerical variable is similar to an ordinal variable, except that the intervals
between the values of the numerical variable are equally spaced. For example, suppose
you have a variable such as annual income that is measured in dollars, and we have three
people who make $10,000, $15,000 and $20,000. The second person makes $5,000 more than the
first person and $5,000 less than the third person, and the size of these intervals
is the same. If there were two other people who make $90,000 and $95,000, the size
of that interval between these two people is also the same ($5,000).
Why does it matter whether a variable is categorical, ordinal or numerical?
Statistical computations and analyses assume that the variables have a specific levels
of measurement. For example, it would not make sense to compute an average hair
color. An average of a categorical variable does not make much sense because there
is no intrinsic ordering of the levels of the categories. Moreover, if you tried to
compute the average of educational experience as defined in the ordinal section above, you
would also obtain a nonsensical result. Because the spacing between the four levels
of educational experience is very uneven, the meaning of this average would be very
questionable. In short, an average requires a variable to be numerical.
Sometimes you have variables that are “in between” ordinal and numerical, for
example, a five-point likert scale with values “strongly agree”,
“agree”, “neutral”, “disagree” and “strongly
disagree”. If we cannot be sure that the intervals between each of these five
values are the same, then we would not be able to say that this is an numerical variable,
but we would say that it is an ordinal variable. However, in order to be able to use
statistics that assume the variable is numerical, we will assume that the intervals are
equally spaced.
Does it matter if my dependent variable is normally distributed?
When you are doing a t-test or ANOVA, the assumption is that the distribution of the
sample means are normally distributed. One way to guarantee this is for the
distribution of the individual observations from the sample to be normal. However,
even if the distribution of the individual observations is not normal, the distribution of
the sample means will be normally distributed if your sample size is about 30 or
larger. This is due to the “central limit theorem” that shows that even
when a population is non-normally distributed, the distribution of the “sample
means” will be normally distributed when the sample size is 30 or more, for example
see Central limit theorem demonstration .
If you are doing a regression analysis, then the assumption is that your residuals are
normally distributed. One way to make it very likely to have normal residuals is to
have a dependent variable that is normally distributed and predictors that are all
normally distributed, however this is not necessary for your residuals to be normally
distributed. You can see
NOW HERE ARE THE WORST SEQUEL'S WORST QUOTES IN THE VEIN WITH WHICH THEY ARE INTENDED TO NOT BE, EITHER QUOTABLE, nor REPEATABLE!
Aliens(1986)Quotes
Private Hudson: Hey Vasquez, have you ever been mistaken for a man?
Private Vasquez: No. Have you?
Ripley: [when the alien queen threatens Newt] Get away from her, you bitch!
Ripley: You know, Burke, I don't know which species is worse. You don't see them fucking each other over for a goddamn percentage.
Ripley: They cut the power.
Private Hudson: What do you mean *they* cut the power? How could they cut the power, man? They're animals!
Private Hudson: [after the drop ship crash] Well, that's great. That's just fuckin' great, man! Now what the fuck are we supposed to do? We're in some real pretty shit now, man!
Corporal Hicks: [grabs him by the shirt] Are you finished?
Newt: I guess we're not gonna be leaving now, right?
Ripley: I'm sorry, Newt.
Newt: You don't have to be sorry. It wasn't your fault.
Private Hudson: That's it, man. Game over, man. Game over! What the fuck are we gonna do now? What are we gonna do?
Burke: Maybe we can build a fire, sing a couple of songs, huh? Why don't we try that?
Newt: We'd better get back 'cause it'll be dark soon and they mostly come at night. Mostly. 87 of 89 found this interesting | Share this
Ripley: Well, somebody's gonna have to go out there. Take a portable terminal, go out there and patch in manually.
Private Hudson: Oh yeah, sure! With those things runnin' around? You can count me out.
Corporal Hicks: Yeah, I guess we can just count you out of everything, Hudson.
Bishop: [speaking under Hicks] I'll go.
Private Hudson: That's right, man.
Bishop: I'll go.
Private Hudson: Hey, why don't *you* go, man!
Bishop: [more loudly] I'll go.
Ripley: What?
Bishop: I'll go. I mean, I'm the only one qualified to remote-pilot the ship anyway.
Private Hudson: Yeah right, man, Bishop should go.
[Vasquez looks at Hudson with disgust]
Private Hudson: Good idea!
Bishop: Believe me, I'd prefer not to. I may be synthetic, but I'm not stupid.
Ripley: Did IQs just drop sharply while I was away?
Private Hudson: Stop your grinnin' and drop your linen!
Ripley: How long after we're declared overdue can we expect a rescue?
Corporal Hicks: [pause] Seventeen days.
Private Hudson: Seventeen *days*? Hey man, I don't wanna rain on your parade, but we're not gonna last seventeen hours! Those things are gonna come in here just like they did before. And they're gonna come in here...
Ripley: Hudson!
Private Hudson: ...and they're gonna come in here AND THEY'RE GONNA GET US!
Ripley: Hudson! This little girl survived longer than that with no weapons and no training.
[to Newt]
Ripley: Right?
[Newt apes a salute]
Private Hudson: Why don't you put *her* in charge?
Newt: My mommy always said there were no monsters - no real ones - but there are.
Ripley: Yes, there are, aren't there?
Newt: Why do they tell little kids that?
Ripley: Most of the time it's true.
Private Vasquez: Look, man. I only need to know one thing: where they are.
Private Drake: Go, Vasquez. Kick ass.
Private Vasquez: Anytime, anywhere, man!
Private Hudson: Right, right. Somebody said "alien" she thought they said "illegal alien" and signed up!
Private Vasquez: Fuck you, man!
Private Hudson: Anytime, anywhere.
Sergeant Apone: [after the briefing] All right sweethearts, you heard the man and you know the drill. Assholes and elbows! Hudson, come here! Come *here*!
Ripley: How many drops is this for you, Lieutenant?
Lieutenant Gorman: Thirty eight... simulated.
Private Vasquez: How many *combat* drops?
Lieutenant Gorman: Uh, two. Including this one.
Private Drake: Shit.
Private Hudson: Oh, man...
Burke: [about the facehuggers] Look, those two specimens are worth millions to the bio-weapons division. Now, if you're smart, we can both come out of it as heroes and we'll be set up for life.
Ripley: You're crazy Burke, you know that? You really think that you can get a dangerous organism like that past ICC quarantine?
Burke: How can they impound it if they don't know about it?
Ripley: Oh, they *will* know about it, Burke, from me. Just like they'll know that you were responsible for the deaths of 158 colonists here.
Burke: Wait a second...
Ripley: You sent them to that ship.
Burke: You're wrong.
Ripley: I just checked the colony log. Dated 0-6-1-2-7-9, signed Burke, Carter J. You sent them out there and you didn't even warn them. Why didn't you warn them, Burke?
Burke: Okay, look. What if that ship didn't even exist, huh? Did you ever think about that? I didn't know! So now, if I went in and made a major security issue out of it, everybody steps in. Administration steps in, and there are no exclusive rights for anybody; nobody wins. So I made a decision and it was... wrong. It was a bad call, Ripley. It was a bad call.
Ripley: Bad call?
[Ripley grabs Burke by his vest and shoves him against a wall]
Ripley: These people are *dead*, Burke! Don't you have any idea what you have done here? Well, I'm gonna make sure they nail you right to the wall for this! You're not gonna sleaze your way out of this one! Right to the wall!
[Ripley lets go of Burke]
Burke: Ripley...! You know, I... I expected more from you. I thought you'd be smarter than this.
Ripley: I'm happy to disappoint you.
[Ripley leaves]
Lieutenant Gorman: Any questions?
[Hudson raises his hand]
Lieutenant Gorman: What is it, Private?
Private Hudson: How do I get out of this chickenshit outfit?
Sergeant Apone: You secure that shit, Hudson!
Ripley: These people are here to protect you. They're soldiers.
Newt: It won't make any difference.
Private Hudson: [puts his rifle against Burke's head] I say we grease this rat-fuck son-of-a-bitch right now.
Corporal Hicks: It just doesn't make any goddamn sense.
Ripley: He figured that he could get an alien back through quarantine, if one of us was... impregnated... whatever you call it, and then frozen for the trip home. Nobody would know about the embryos we were carrying... me and Newt.
Corporal Hicks: Wait a minute, now... we'd all know.
Ripley: Yes. The only way he could do it is if he sabotaged certain freezers on the way home... namely, yours. Then he could jettison the bodies and make up any story he liked.
Burke: This is so nuts. I mean, listen - listen to what you're saying. It's paranoid delusion. How - It's really sad. It's pathetic.
Ripley: You know, Burke, I don't know which species is worse. You don't see them fucking each other over for a goddamn percentage.
Corporal Hicks: All right, we waste him. No offense.
Ripley: No. He's gotta go back. 23 of 23 found this interesting | Share this
Private Frost: Hot as hell in here.
Private Hudson: Yeah man, but it's a dry heat! 23 of 23 found this interesting | Share this
Private Hudson: Hey, maybe you haven't been keeping up on current events, but we just got our asses kicked, pal! 23 of 23 found this interesting | Share this
Private Vasquez: You always were an asshole, Gorman! 23 of 23 found this interesting | Share this
Private Vasquez: [after barely surviving the alien surprise attack] All right. We got seven canisters of CM-20. I say we roll them in there and nerve gas the whole fuckin' nest.
Corporal Hicks: It's worth the try, but we don't know if that's gonna affect them.
Private Hudson: Look let's just bug out and call it even, okay? What are we even talking about this for?
Ripley: I say we take off and nuke the entire site from orbit. It's the only way to be sure.
Private Hudson: Fuckin' A!
Burke: Hold on, hold on just a second. This installation has a substantial dollar value attached to it.
Ripley: They can *bill* me.
Burke: Okay, I know this is an emotional moment for all of us, okay? I know that. But let's not make snap judgments, please. This is clearly... clearly an important species we're dealing with and I don't think that you or I, or *anybody*, has the right to arbitrarily exterminate them.
Ripley: [laughs feebly] Wrong.
Private Vasquez: Yeah. Watch us.
Private Hudson: Hey, maybe you haven't been keeping up on current events, but we just got our asses kicked, pal!
Burke: Look. I'm not blind to what's going on, but I cannot authorize that kind of action. I'm sorry.
Ripley: Well, I believe that Corporal Hicks... has authority here.
Burke: *Corporal* Hicks has...
Ripley: This operation is under military jurisdiction and Hicks is next in chain of command. Am I right, Corporal?
Corporal Hicks: Yeah... yeah, that's right.
Burke: Yeah... Look, Ripley, this is a multi-million dollar installation, okay? He can't make that kind of decision. He's just a grunt! Uh, no offense.
Corporal Hicks: [coldly] None taken.
Corporal Hicks: [into headset] Ferro, do you copy?
Corporal Ferro: [on comms] Standing by.
Corporal Hicks: Prepare for dust-off. We're gonna need immediate evac.
Corporal Ferro: [on comms] Roger. On our way.
Corporal Hicks: I say we take off, nuke the site from orbit.
[looks to Ripley]
Corporal Hicks: It's the only way to be sure.
[Ripley smiles]
The Alien franchiseshould have stopped at Aliens.
One original film, one sequel. Yes, Sigourney Weaver appeared in the
next two; yes, Ridley Scott directed the last two. But those first two
films represent the original and sequel into a
cohesive, amazing story.
There was never a need to see what happened
next. The only desire was to make more money.
I don’t need to break down why Ridley Scott’s 1979 original Alien
is so good.
Scott’s first foray into science fiction not
only has increasingly fast pace, it also thrills when it needs it, as characters and cool effects work.
The marines are one part of why Aliens is so good.
Ridley Scott’s Masterpiece ‘Alien’: Nothing Is as Terrifying as the Fear of the Unknown
If it weren’t for the calamity of the ill-fated Alexander Jodorowsky’s Dune
project, in all likelihood the world would not have known one of the
greatest horror science fiction classics of all time, at least not in
the form we’ve all become familiar with. Dan O’Bannon wanted to write
and shoot a horror movie with aliens ever since he worked with John Carpenter on Dark Star back in his University of South California days. O’Bannon wanted to use a similar premise to Dark Star, but replace the humor with genuine terror. But only after he went to Paris to spend six months working on Dune
did his ambition get on the right track. It was in France that he met
the Swiss called H. R. Giger, an artist whose work astonished and
terrified him at the same time.
“I ended up writing a script about a
Giger monster,” he confessed later. The screenplay, based on a story he
wrote with Ronald Shusett, was soon pitched to numerous studios who
found it interesting, but the original idea of making a low-budget
little thriller fell through because of Star Wars box office
success. Science fiction was the hottest merchandise on the market, and
joining hands with Brandywine Productions, a company started by Gordon
Carroll, David Giler and Walter Hill, O’Bannon’s project suddenly became
a heavy hitter worth eight million dollars. Due to Brandywine’s
connections with 20th Century Fox, the future of the film seemed bright,
but in order to appease their patrons, a series of rewrites was needed.
Giler and Hill added several key plot elements, and after the eight
draft made upon O’Bannon’s original script, the material was ready to be
filmed. Since Hill was too busy to shoot it, directing fell upon the
shoulders of a young English filmmaker who made only a single film up to
that point. Ridley Scott would helm Alien and its crew into history books.
The significance of Alien for the history of film cannot be
overstated, for it directly influenced and visually shaped a whole
gallery of science fiction movies that were to come upon its release in
1979.
The story is relatively simple, the space is confined, the film’s
power to frighten has been occasionally disputed over the years, written
off as a typical, cliché-ridden haunted house flick unnecessarily
staged in space. But almost four decades since it came out, Alien
is still a fundamentally enjoyable experience to watch. What makes it
so effective and so determined to withstand the test of time many
similarly-themed efforts inevitably fail when re-watched today is its
intelligent execution and groundbreaking visuals. H. R. Giger was
responsible for designing everything extra-terrestrial in the film, and
his haunting depiction of the eponymous villain in the story was so
imaginatively and craftily executed that it’s impossible to find a more
famous alien image in the whole history of the movies. The creature’s
head was constructed by the Italian special effects artist Carlo
Rambaldi, while concept artists Chris Foss and Ron Cobb did a splendid
job designing the interiors and exteriors of the spaceship that carried
the unsuspecting crew right into the claws of their demise. The visuals
are fascinating, but they alone would not have resulted in a brilliant
horror flick had the pacing been any different. Scott deliberately let
the story unfold slowly, gradually, respecting Hitchcock’s regard for
the crucial importance of suspense. It is the waiting that’s killing us,
it’s the feeling of being isolated and helpless that overwhelms us,
it’s the silence and uneventfulness that bring about the feeling of
upcoming horror, it’s this patience and restraint that makes the
elements of pure terror so damn effective. By keeping the alien hidden
from sight through the majority of the picture, Scott allowed the
viewers to speculate, guess and project what the antagonistic creature
might look like. Because nothing is so powerful a generator of fear as
human imagination, and nothing is so terrifying to people as the
unknown.
Shot by cinematographer Derek Vanlint,
carried on the restrained notes of composer Jerry Goldsmith, edited by
the great Terry Rawlins, who would later work with the director again on
Blade Runner, and told by a great set of actors such as Tom
Skerritt, Harry Dean Stanton, John Hurt, Ian Holm and, of course, the
irresistibly charismatic Sigourney Weaver, the first true action heroine
of cinema, Alien is one of the most important films ever made, still as disconcerting and petrifying as it was when it came out.
The SMART Thesaurus cloud shows the synonyms,
related words and phrases you can find in the Cambridge Dictionary that
make up this topic. Click on a word to go to the definition.
"SALOMÉ" has made the author's name a household word wherever the
English language is not spoken. Few English plays have such a peculiar
history. Written in French in 1892 it was in full rehearsal by Madame
Bernhardt at the Palace Theatre when it was prohibited by the Censor.
Oscar Wilde immediately announced his intention of changing his
nationality, a characteristic jest, which was only taken seriously,
oddly enough, in Ireland. The interference of the Censor has seldom been
more popular or more heartily endorsed by English critics. On its
publication in book form "Salomé" was greeted by a chorus of ridicule,
and it may be noted in passing that at least two of the more violent
reviews were from the pens of unsuccessful dramatists, while all those
whose French never went beyond Ollendorff were glad to find in that
venerable school classic an unsuspected asset in their education—a
handy missile with which to pelt "Salomé" and its author. The
correctness of the French was, of course, impugned, although the scrip
had been passed by a distinguished French writer, to whom I have heard
the whole work attributed. The Times, while depreciating the drama, gave
its author credit for a tour de force, in being capable of writing a
French play for Madame Bernhardt, and this drew from him the following
letter:—
The Times, Thursday, March 2, 1893, p. 4. MR. OSCAR WILDE ON "SALOMÉ."
To the Editor of The Times.
Sir, My attention has been drawn to a review of "Salomé"
which was published in your columns last week. The opinions
of English critics on a French work of mine have, of
course, little, if any, interest for me. I write simply to
ask you to allow me to correct a misstatement that appears
in the review in question.
The fact that the greatest tragic actress of any stage now
living saw in my play such beauty that she was anxious to
produce it, to take herself the part of the heroine, to
lend to the entire poem the glamour of her personality, and
to my prose the music of her flute-like voice—this was
naturally, and always will be, a source of pride and
pleasure to me, and I look forward with delight to seeing
Mme. Bernhardt present my play in Paris, that vivid centre
of art, where religious dramas are often performed. But my
play was in no sense of the words written for this great
actress. I have never written a play for any actor or
actress, nor shall I ever do so. Such work is for the
artisan in literature—not for the artist.
I remain, Sir, your obedient servant,
OSCAR WILDE.
When "Salomé" was translated into English by Lord Alfred Douglas, the
illustrator, Aubrey Beardsley, shared some of the obloquy heaped on
Wilde. It is interesting that he should have found inspiration for his
finest work in a play he never admired and by a writer he cordially
disliked. The motives are, of course, made to his hand, and never was
there a more suitable material for that odd tangent art in which there
are no tactile values. The amusing caricatures of Wilde which appear in
the Frontispiece, "Enter Herodias" and "The Eyes of Herod," are the
only pieces of vraisemblance in these exquisite designs. The colophon is
a real masterpiece and a witty criticism of the play as well. On the production of "Salomé" by the New Stage Club in May, 1905, the
dramatic critics again expressed themselves vehemently, vociferating
their regrets that the play had been dragged from its obscurity. The
obscure drama, however, had become for five years past part of the
literature of Europe. It is performed regularly or intermittently in
Holland, Sweden, Italy, France, and Russia, and it has been translated
into every European language, including the Czech. It forms part of the
repertoire of the German stage, where it is performed more often than
any play by any English writer except Shakespeare. Owing, perhaps, to
what I must call its obscure popularity in the continental theatres,
Dr. Strauss was preparing his remarkable opera at the very moment when
there appeared the criticisms to which I refer, and since the production
of the opera in Dresden in December, 1905, English musical journalists
and correspondents always refer to the work as founded on Wilde's drama.
That is the only way in which they can evade an awkward truth—a
palpable contravention to their own wishes and theories. The music,
however, has been set to the actual words of "Salomé" in Madame Hedwig
Lachmann's admirable translation. The words have not been transfigured
into ordinary operatic nonsense to suit the score, or the
susceptibilities of the English people. I observe that admirers of Dr.
Strauss are a little mortified that the great master should have found
an occasion for composition in a play which they long ago consigned to
oblivion and the shambles of Aubrey Beardsley. Wilde himself, in a
rhetorical period, seems to have contemplated the possibility of his
prose drama for a musical theme. In "De Profundis" he says: "The
refrains, whose recurring motifs make 'Salomé' so like a piece of music,
and bind it together as a ballad."
He was still incarcerated in 1896, when Mons. Luigne Poë produced the
play for the first time at the Théâtre Libre in Paris, with Lina Muntz
in the title role. A rather pathetic reference to this occasion occurs
in a letter Wilde wrote to me from Reading:—
"Please say how gratified I was at the performance of my play, and have
my thanks conveyed to Luigne Poë. It is something that at a time of
disgrace and shame I should still be regarded as an artist. I wish I
could feel more pleasure, but I seem dead to all emotions except those
of anguish and despair. However, please let Luigne Poë know that I am
sensible of the honour he has done me. He is a poet himself. Write to me
in answer to this, and try and see what Lemaitre, Bauer, and Sarcey said
of 'Salomé.'"
The bias of personal friendship precludes me from praising or defending
"Salomé," even if it were necessary to do so. Nothing I might say would
add to the reputation of its detractors. Its sources are obvious;
particularly Flaubert and Maeterlinck, in whose peculiar and original
style it is an essay. A critic, for whom I have a greater regard than
many of his contemporaries, says that "Salomé" is only a catalogue; but
a catalogue can be intensely dramatic, as we know when the performance
takes place at Christie's; few plays are more exciting than an auction
in King Street when the stars are fighting for Sisera.
It has been remarked that Wilde confuses Herod the Great (Mat. xi. 1),
Herod Antipas (Mat. xiv. 3), and Herod Agrippa (Acts xiii), but the
confusion is intentional, as in mediæval mystery plays Herod is taken
for a type, not an historical character, and the criticism is about as
valuable as that of people who laboriously point out the anachronisms in
Beardsley's designs. With reference to the charge of plagiarism brought
against "Salomé" and its author, I venture to mention a personal
recollection. Wilde complained to me one day that someone in a well-known novel had
stolen an idea of his. I pleaded in defence of the culprit that Wilde
himself was a fearless literary thief. "My dear fellow," he said, with
his usual drawling emphasis, "when I see a monstrous tulip with four
wonderful petals in someone else's garden, I am impelled to grow a
monstrous tulip with five wonderful petals, but that is no reason why
someone should grow a tulip with only three petals." THAT WAS OSCAR
WILDE.
ROBERT ROSS.
A more recent performance of "Salomé" (1906), by the
Literary Theatre Club, has again produced an ebullition of rancour and
deliberate misrepresentation on the part of the dramatic critics, the
majority of whom are anxious to parade their ignorance of the
continental stage. The production was remarkable on account of the
beautiful dresses and mounting, for which Mr. Charles Ricketts was
responsible, and the marvellous impersonation of Herod by Mr. Robert
Farquharson. Wilde used to say that "Salomé" was a mirror in which
everyone could see himself. The artist, art; the dull, dulness; the
vulgar, vulgarity.
Cast of the Performance of "Salomé," represented in England for the
first time.
NEW STAGE CLUB.
"SALOMÉ,"
BY OSCAR WILDE.
May 10th and 13th 1905.
A YOUNG SYRIAN CAPTAIN
—
MR. HERBERT ALEXANDER.
PAGE OF HERODIAS
—
MRS. GWENDOLEN BISHOP.
FIRST SOLDIER
—
MR. CHARLES GEE.
SECOND SOLDIER
—
MR. RALPH DE ROHAN.
CAPPADOCIAN
—
MR. CHARLES DALMON.
JOKANAAN
—
MR. VINCENT NELLO.
NAAMAN, THE EXECUTIONER
—
MR. W. EVELYN OSBORN.
SALOMÉ
—
Miss MILLICENT MURBY.
SLAVE
—
Miss CARRIE KEITH.
HEROD
—
MR. ROBERT FARQUHARSON.
HERODIAS
—
Miss LOUISE SALOM.
TIGELLINUS
—
MR. C.L. DELPH.
SLAVE
—
Miss STANSFELD.
FIRST JEW
—
MR. F. STANLEY SMITH.
SECOND JEW
—
MR. BERNHARD SMITH.
THIRD JEW
—
MR. JOHN BATE.
FOURTH JEW
—
STEPHEN BAGEHOT
FIFTH JEW
—
FREDERICK LAWRENCE.
Scene—THE GREAT TERRACE OUTSIDE THE PALACE.
Sexe distillé, belles muses de l'égalité?
Chaque velours, lesbienne allumée, fée des vins avec sa couette en duvet, et la vingtaine pour couper le ruban.
Père Asp, Terciopelo, épaisse Salomée virtuelle.
Brise de vipère.
Autres noms (les jeunes ont tout lu):
Terciopelo isotrope gras, rouge, noir et blanc.
plus:
l'aiguille la plus chaude, la lame noire.
Étrangers ivres chauds.
Je suis toujours sérieux, enculés.
Elle avec la chatte de graisse avec épais, des bâtons de fer chaud, est l'histoire des serpents.
Les bâtons turgescents mangeraient nue du monde, de l'histoire.
SCENE.—A great terrace in the Palace of Herod, set above the
banqueting-hall. Some soldiers are leaning over the balcony. To the
right there is a gigantic staircase, to the left, at the back, an old
cistern surrounded by a wall of green bronze. Moonlight.
THE YOUNG SYRIAN
How beautiful is the Princess Salomé to-night!
THE PAGE OF HERODIAS
Look at the moon! How strange the moon seems! She is like a woman rising
from a tomb. She is like a dead woman. You would fancy she was looking
for dead things.
THE YOUNG SYRIAN
She has a strange look. She is like a little princess who wears a yellow
veil, and whose feet are of silver. She is like a princess who has
little white doves for feet. You would fancy she was dancing.
THE PAGE OF HERODIAS
She is like a woman who is dead. She moves very slowly.
[Noise in the banqueting-hall.]
FIRST SOLDIER
What an uproar! Who are those wild beasts howling?
SECOND SOLDIER
The Jews. They are always like that. They are disputing about their
religion.
FIRST SOLDIER
Why do they dispute about their religion?
SECOND SOLDIER
I cannot tell. They are always doing it. The Pharisees, for instance,
say that there are angels, and the Sadducees declare that angels do not
exist.
FIRST SOLDIER
I think it is ridiculous to dispute about such things.
THE YOUNG SYRIAN
How beautiful is the Princess Salomé to-night!
THE PAGE OF HERODIAS
You are always looking at her. You look at her too much. It is dangerous
to look at people in such fashion. Something terrible may happen.
THE YOUNG SYRIAN
She is very beautiful to-night.
FIRST SOLDIER
The Tetrarch has a sombre look.
SECOND SOLDIER
Yes; he has a sombre look.
FIRST SOLDIER
He is looking at something.
SECOND SOLDIER
He is looking at some one.
FIRST SOLDIER
At whom is he looking?
SECOND SOLDIER
I cannot tell.
THE YOUNG SYRIAN
How pale the Princess is! Never have I seen her so pale. She is like the
shadow of a white rose in a mirror of silver.
THE PAGE OF HERODIAS
You must not look at her. You look too much at her.
FIRST SOLDIER
Herodias has filled the cup of the Tetrarch.
THE CAPPADOCIAN
Is that the Queen Herodias, she who wears a black mitre sewn with
pearls, and whose hair is powdered with blue dust?
FIRST SOLDIER
Yes; that is Herodias, the Tetrarch's wife.
SECOND SOLDIER
The Tetrarch is very fond of wine. He has wine of three sorts. One which
is brought from the Island of Samothrace, and is purple like the cloak
of Cæsar.
THE CAPPADOCIAN
I have never seen Cæsar.
SECOND SOLDIER
Another that comes from a town called Cyprus, and is yellow like gold.
THE CAPPADOCIAN
I love gold.
SECOND SOLDIER
And the third is a wine of Sicily. That wine is red like blood.
THE NUBIAN
The gods of my country are very fond of blood. Twice in the year we
sacrifice to them young men and maidens; fifty young men and a hundred
maidens. But it seems we never give them quite enough, for they are very
harsh to us.
THE CAPPADOCIAN
In my country there are no gods left. The Romans have driven them out.
There are some who say that they have hidden themselves in the
mountains, but I do not believe it. Three nights I have been on the
mountains seeking them everywhere. I did not find them. And at last I
called them by their names, and they did not come. I think they are
dead.
FIRST SOLDIER
The Jews worship a God that you cannot see.
THE CAPPADOCIAN
I cannot understand that.
FIRST SOLDIER
In fact, they only believe in things that you cannot see.
THE CAPPADOCIAN
That seems to me altogether ridiculous.
THE VOICE OF JOKANAAN
After me shall come another mightier than I. I am not worthy so much as
to unloose the latchet of his shoes. When he cometh, the solitary places
shall be glad. They shall blossom like the lily. The eyes of the blind
shall see the day, and the ears of the deaf shall be opened. The
new-born child shall put his hand upon the dragon's lair, he shall lead
the lions by their manes.
SECOND SOLDIER
Make him be silent. He is always saying ridiculous things.
FIRST SOLDIER
No, no. He is a holy man. He is very gentle, too. Every day, when I give
him to eat he thanks me.
THE CAPPADOCIAN
Who is he?
FIRST SOLDIER
A prophet.
THE CAPPADOCIAN
What is his name?
FIRST SOLDIER
Jokanaan.
THE CAPPADOCIAN
Whence comes he?
FIRST SOLDIER
From the desert, where he fed on locusts and wild honey. He was clothed
in camel's hair, and round his loins he had a leathern belt. He was very
terrible to look upon. A great multitude used to follow him. He even had
disciples.
THE CAPPADOCIAN
What is he talking of?
FIRST SOLDIER
We can never tell. Sometimes he says terrible things, but it is
impossible to understand what he says.
THE CAPPADOCIAN
May one see him?
FIRST SOLDIER
No. The Tetrarch has forbidden it.
THE YOUNG SYRIAN
The Princess has hidden her face behind her fan! Her little white hands
are fluttering like doves that fly to their dove-cots. They are like
white butterflies. They are just like white butterflies.
THE PAGE OF HERODIAS
What is that to you? Why do you look at her? You must not look at
her.... Something terrible may happen.
THE CAPPADOCIAN
[Pointing to the cistern.]
What a strange prison!
SECOND SOLDIER
It is an old cistern.
THE CAPPADOCIAN
An old cistern! It must be very unhealthy.
SECOND SOLDIER
Oh no! For instance, the Tetrarch's brother, his elder brother, the
first husband of Herodias the Queen, was imprisoned there for twelve
years. It did not kill him. At the end of the twelve years he had to be
strangled.
THE CAPPADOCIAN
Strangled? Who dared to do that?
SECOND SOLDIER
[Pointing to the Executioner, a huge Negro.]
That man yonder, Naaman.
THE CAPPADOCIAN
He was not afraid?
SECOND SOLDIER
Oh no! The Tetrarch sent him the ring.
THE CAPPADOCIAN
What ring?
SECOND SOLDIER
The death-ring. So he was not afraid.
THE CAPPADOCIAN
Yet it is a terrible thing to strangle a king.
FIRST SOLDIER
Why? Kings have but one neck, like other folk.
THE CAPPADOCIAN
I think it terrible.
THE YOUNG SYRIAN
The Princess rises! She is leaving the table! She looks very troubled.
Ah, she is coming this way. Yes, she is coming towards us. How pale she
is! Never have I seen her so pale.
THE PAGE OF HERODIAS
Do not look at her. I pray you not to look at her.
THE YOUNG SYRIAN
She is like a dove that has strayed.... She is like a narcissus
trembling in the wind.... She is like a silver flower.
[Enter Salomé.]
SALOMÉ
I will not stay. I cannot stay. Why does the Tetrarch look at me all the
while with his mole's eyes under his shaking eyelids? It is strange that
the husband of my mother looks at me like that. I know not what it
means. In truth, yes, I know it.
THE YOUNG SYRIAN
You have just left the feast, Princess?
SALOMÉ
How sweet the air is here! I can breathe here! Within there are Jews
from Jerusalem who are tearing each other in pieces over their foolish
ceremonies, and barbarians who drink and drink, and spill their wine on
the pavement, and Greeks from Smyrna with painted eyes and painted
cheeks, and frizzed hair curled in twisted coils, and silent, subtle
Egyptians, with long nails of jade and russett cloaks, and Romans brutal
and coarse, with their uncouth jargon. Ah! how I loathe the Romans! They
are rough and common, and they give themselves the airs of noble lords.
THE YOUNG SYRIAN
Will you be seated, Princess?
THE PAGE OF HERODIAS
Why do you speak to her? Why do you look at her? Oh! something terrible
will happen.
SALOMÉ
How good to see the moon! She is like a little piece of money, you would
think she was a little silver flower. The moon is cold and chaste. I am
sure she is a virgin, she has a virgin's beauty. Yes, she is a virgin.
She has never defiled herself. She has never abandoned herself to men,
like the other goddesses.
THE VOICE OF JOKANAAN
The Lord hath come. The son of man hath come. The centaurs have hidden
themselves in the rivers, and the sirens have left the rivers, and are
lying beneath the leaves of the forest.
SALOMÉ
Who was that who cried out?
SECOND SOLDIER
The prophet, Princess.
SALOMÉ
Ah, the prophet! He of whom the Tetrarch is afraid?
SECOND SOLDIER
We know nothing of that, Princess. It was the prophet Jokanaan who cried
out.
THE YOUNG SYRIAN
Is it your pleasure that I bid them bring your litter, Princess? The
night is fair in the garden.
SALOMÉ
He says terrible things about my mother, does he not?
SECOND SOLDIER
We never understand what he says, Princess.
SALOMÉ
Yes; he says terrible things about her.
[Enter a Slave.]
THE SLAVE
Princess, the Tetrarch prays you to return to the feast.
SALOMÉ
I will not go back.
THE YOUNG SYRIAN
Pardon me, Princess, but if you do not return some misfortune may
happen.
SALOMÉ
Is he an old man, this prophet?
THE YOUNG SYRIAN
Princess, it were better to return. Suffer me to lead you in.
SALOMÉ
This prophet ... is he an old man?
FIRST SOLDIER
No, Princess, he is quite a young man.
SECOND SOLDIER
You cannot be sure. There are those who say he is Elias.
SALOMÉ
Who is Elias?
SECOND SOLDIER
A very ancient prophet of this country, Princess.
THE SLAVE
What answer may I give the Tetrarch from the Princess?
THE VOICE OF JOKANAAN
Rejoice not thou, land of Palestine, because the rod of him who smote
thee is broken. For from the seed of the serpent shall come forth a
basilisk, and that which is born of it shall devour the birds.
SALOMÉ
What a strange voice! I would speak with him.
FIRST SOLDIER
I fear it is impossible, Princess. The Tetrarch does not wish any one to
speak with him. He has even forbidden the high priest to speak with him.
SALOMÉ
I desire to speak with him.
FIRST SOLDIER
It is impossible, Princess.
SALOMÉ
I will speak with him.
THE YOUNG SYRIAN
Would it not be better to return to the banquet?
SALOMÉ
Bring forth this prophet. [Exit the slave.]
FIRST SOLDIER
We dare not, Princess.
SALOMÉ
[Approaching the cistern and looking down into it.]
How black it is, down there! It must be terrible to be in so black a
pit! It is like a tomb.... [To the soldiers.] Did you not hear me?
Bring out the prophet. I wish to see him.
SECOND SOLDIER
Princess, I beg you do not require this of us.
SALOMÉ
You keep me waiting!
FIRST SOLDIER
Princess, our lives belong to you, but we cannot do what you have
asked of us. And indeed, it is not of us that you should ask this thing.
SALOMÉ
[Looking at the young Syrian.]
Ah!
THE PAGE OF HERODIAS
Oh! what is going to happen? I am sure that some misfortune will happen.
SALOMÉ
[Going up to the young Syrian.]
You will do this tiling for me, will you not, Narraboth? You will do
this thing for me. I have always been kind to you. You will do it for
me. I would but look at this strange prophet. Men have talked so much of
him. Often have I heard the Tetrarch talk of him. I think the Tetrarch
is afraid of him. Are you, even you, also afraid of him, Narraboth?
THE YOUNG SYRIAN
I fear him not, Princess; there is no man I fear. But the Tetrarch has
formally forbidden that any man should raise the cover of this well.
SALOMÉ
You will do this thing for me, Narraboth, and to-morrow when I pass in
my litter beneath the gateway of the idol-sellers I will let fall for
you a little flower, a little green flower.
THE YOUNG SYRIAN
Princess, I cannot, I cannot.
SALOMÉ
[Smiling.]
You will do this thing for me, Narraboth. You know that you will do this
thing for me. And to-morrow when I pass in my litter by the bridge of
the idol-buyers, I will look at you through the muslin veils, I will
look at you, Narraboth, it may be I will smile at you. Look at me,
Narraboth, look at me. Ah! you know that you will do what I ask of you.
You know it well.... I know that you will do this thing.
THE YOUNG SYRIAN
[Signing to the third soldier.]
Let the prophet come forth.... The Princess Salomé desires to see him.
SALOMÉ
Ah!
THE PAGE OF HERODIAS
Oh! How strange the moon looks. You would think it was the hand of a
dead woman who is seeking to cover herself with a shroud.
THE YOUNG SYRIAN
She has a strange look! She is like a little princess, whose eyes are
eyes of amber. Through the clouds of muslin she is smiling like a little
princess.
[The prophet comes out of the cistern. Salomé looks at him and steps
slowly back.]
JOKANAAN
Where is he whose cup of abominations is now full? Where is he, who in a
robe of silver shall one day die in the face of all the people? Bid him
come forth, that he may hear the voice of him who hath cried in the
waste places and in the houses of kings.
SALOMÉ
Of whom is he speaking?
THE YOUNG SYRIAN
You can never tell, Princess.
JOKANAAN
Where is she who having seen the images of men painted on the walls, the
images of the Chaldeans limned in colours, gave herself up unto the lust
of her eyes, and sent ambassadors into Chaldea?
SALOMÉ
It is of my mother that he speaks.
THE YOUNG SYRIAN
Oh, no, Princess.
SALOMÉ
Yes; it is of my mother that he speaks.
JOKANAAN
Where is she who gave herself unto the Captains of Assyria, who have
baldricks on their loins, and tiaras of divers colours on their heads?
Where is she who hath given herself to the young men of Egypt, who are
clothed in fine linen and purple, whose shields are of gold, whose
helmets are of silver, whose bodies are mighty? Bid her rise up from the
bed of her abominations, from the bed of her incestuousness, that she
may hear the words of him who prepareth the way of the Lord, that she
may repent her of her iniquities. Though she will never repent, but will
stick fast in her abominations; bid her come, for the fan of the Lord is
in His hand.
SALOMÉ
But he is terrible, he is terrible!
THE YOUNG SYRIAN
Do not stay here, Princess, I beseech you.
SALOMÉ
It is his eyes above all that are terrible. They are like black holes
burned by torches in a Tyrian tapestry. They are like black caverns
where dragons dwell. They are like the black caverns of Egypt in which
the dragons make their lairs. They are like black lakes troubled by
fantastic moons.... Do you think he will speak again?
THE YOUNG SYRIAN
Do not stay here, Princess. I pray you do not stay here.
SALOMÉ
How wasted he is! He is like a thin ivory statue. He is like an image of
silver. I am sure he is chaste as the moon is. He is like a moonbeam,
like a shaft of silver. His flesh must be cool like ivory. I would look
closer at him.
THE YOUNG SYRIAN
No, no, Princess.
SALOMÉ
I must look at him closer.
THE YOUNG SYRIAN
Princess! Princess!
JOKANAAN
Who is this woman who is looking at me? I will not have her look at me.
Wherefore doth she look at me with her golden eyes, under her gilded
eyelids? I know not who she is. I do not wish to know who she is. Bid
her begone. It is not to her that I would speak.
SALOMÉ
I am Salomé, daughter of Herodias, Princess of Judæa.
JOKANAAN
Back! daughter of Babylon! Come not near the chosen of the Lord. Thy
mother hath filled the earth with the wine of her iniquities, and the
cry of her sins hath come up to the ears of God.
SALOMÉ
Speak again, Jokanaan. Thy voice is wine to me.
THE YOUNG SYRIAN
Princess! Princess! Princess!
SALOMÉ
Speak again! Speak again, Jokanaan, and tell me what I must do.
JOKANAAN
Daughter of Sodom, come not near me! But cover thy face with a veil, and
scatter ashes upon thine head, and get thee to the desert and seek out
the Son of Man.
SALOMÉ
Who is he, the Son of Man? Is he as beautiful as thou art, Jokanaan?
JOKANAAN
Get thee behind me! I hear in the palace the beating of the wings of the
angel of death.
THE YOUNG SYRIAN
Princess, I beseech thee to go within.
JOKANAAN
Angel of the Lord God, what dost thou here with thy sword? Whom seekest
thou in this foul palace? The day of him who shall die in a robe of
silver has not yet come.
SALOMÉ
Jokanaan!
JOKANAAN
Who speaketh?
SALOMÉ
Jokanaan, I am amorous of thy body! Thy body is white like the lilies of
a field that the mower hath never mowed. Thy body is white like the
snows that lie on the mountains, like the snows that lie on the
mountains of Judæa, and come down into the valleys. The roses in the
garden of the Queen of Arabia are not so white as thy body. Neither the
roses in the garden of the Queen of Arabia, the perfumed garden of
spices of the Queen of Arabia, nor the feet of the dawn when they light
on the leaves, nor the breast of the moon when she lies on the breast of
the sea.... There is nothing in the world so white as thy body. Let me
touch thy body.
JOKANAAN
Back! daughter of Babylon! By woman came evil into the world. Speak not
to me. I will not listen to thee. I listen but to the voice of the Lord
God.
SALOMÉ
Thy body is hideous. It is like the body of a leper. It is like a
plastered wall where vipers have crawled; like a plastered wall where
the scorpions have made their nest. It is like a whitened sepulchre full
of loathsome things. It is horrible, thy body is horrible. It is of thy
hair that I am enamoured, Jokanaan. Thy hair is like clusters of grapes,
like the clusters of black grapes that hang from the vine-trees of Edom
in the land of the Edomites. Thy hair is like the cedars of Lebanon,
like the great cedars of Lebanon that give their shade to the lions and
to the robbers who would hide themselves by day. The long black nights,
when the moon hides her face, when the stars are afraid, are not so
black. The silence that dwells in the forest is not so black. There is
nothing in the world so black as thy hair.... Let me touch thy hair.
JOKANAAN
Back, daughter of Sodom! Touch me not. Profane not the temple of the
Lord God.
SALOMÉ
Thy hair is horrible. It is covered with mire and dust. It is like a
crown of thorns which they have placed on thy forehead. It is like a
knot of black serpents writhing round thy neck. I love not thy hair....
It is thy mouth that I desire, Jokanaan. Thy mouth is like a band of
scarlet on a tower of ivory. It is like a pomegranate cut with a knife
of ivory. The pomegranate-flowers that blossom in the gardens of Tyre,
and are redder than roses, are not so red. The red blasts of trumpets
that herald the approach of kings, and make afraid the enemy, are not so
red. Thy mouth is redder than the feet of those who tread the wine in
the wine-press. Thy mouth is redder than the feet of the doves who haunt
the temples and are fed by the priests. It is redder than the feet of
him who cometh from a forest where he hath slain a lion, and seen gilded
tigers. Thy mouth is like a branch of coral that fishers have found in
the twilight of the sea, the coral that they keep for the kings!... It
is like the vermilion that the Moabites find in the mines of Moab, the
vermilion that the kings take from them. It is like the bow of the King
of the Persians, that is painted with vermilion, and is tipped with
coral. There is nothing in the world so red as thy mouth.... Let me
kiss thy mouth.
JOKANAAN
Never! daughter of Babylon! Daughter of Sodom! Never.
SALOMÉ
I will kiss thy mouth, Jokanaan. I will kiss thy mouth.
THE YOUNG SYRIAN
Princess, Princess, thou who art like a garden of myrrh, thou who art
the dove of all doves, look not at this man, look not at him! Do not
speak such words to him. I cannot suffer them.... Princess, Princess, do
not speak these things.
SALOMÉ
I will kiss thy mouth, Jokanaan.
THE YOUNG SYRIAN
Ah! [He kills himself and falls between Salomé and Jokanaan.]
THE PAGE OF HERODIAS
The young Syrian has slain himself! The young captain has slain himself!
He has slain himself who was my friend! I gave him a little box of
perfumes and ear-rings wrought in silver, and now he has killed himself!
Ah, did he not foretell that some misfortune would happen? I, too,
foretold it, and it has happened. Well I knew that the moon was seeking
a dead thing, but I knew not that it was he whom she sought. Ah! why did
I not hide him from the moon? If I had hidden him in a cavern she would
not have seen him.
FIRST SOLDIER
Princess, the young captain has just killed himself.
SALOMÉ
Let me kiss thy mouth, Jokanaan.
JOKANAAN
Art thou not afraid, daughter of Herodias? Did I not tell thee that I
had heard in the palace the beatings of the wings of the angel of death,
and hath he not come, the angel of death?
SALOMÉ
Let me kiss thy mouth.
The Project Gutenberg EBook of Salomé, by Oscar Wilde
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
Title: Salomé
A Tragedy in One Act
Author: Oscar Wilde
Illustrator: Aubrey Beardsley
Translator: Alfred, Lord Douglas
Release Date: May 12, 2013 [EBook #42704]
Language: English
Character set encoding: ISO-8859-1
START OF THIS PROJECT GUTENBERG EBOOK SALOMÉ ***
Produced by Marc D'Hooghe
(Images generously made available by the Internet Archive.)
Arguably, and God knows, Van Morrison (Official) risen, can argue a blue-streak, ask Linda Gail Lewis unbeknownst song's video scandalized the night to the day, flashing frightening tomatoes, donkeys, watchband maker-sins for unsegregated sound-a-look agnosticism, and unbridled longing for Chuck Berry House answer to his "brown-eyed handsome man" with the “Brown-Eyed Girl”s' perfect attendance getting up in the morning and going to class, learning about Milo [Marlo] [sic] of Venus and her beautiful ass.
Stekend internasionaal terf onge steongroen ja ou
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Jerry Lee Lewis — Hernando's Hideaway Memphis 1991
cold strong sexual nervous with love and devotion—sphinx
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Jerry Lee Lewis — Hernando's Hideaway Memphis 1991 video playlist
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September 12, 2019 Options Listen to this show! Pop‑up player! | Add or read comments THE STOOGE THE SONG LAWRENCE WELK WITH CHIMPANZEE RUNAWAY Options JERRY LEE LEWIS I'VE BEEN TWISTIN' Options LANCELOT LINK AND THE EVOLUTION REVOLUTION EVOLUTION REVOLUTION Options KING COLEMAN HANG IT UP Options GEORGE WASHINGTON & THE CHERRY BOMBS CRISCO PARTY Options SAMMY DAVIS JR. PLOP PLOP FIZZ FIZZ (BIG BAND VERSION) Options THE FLAKES I'M MOVING ON Options LINK WRAY RUN CHICKEN RUN Options THE STOOGES GIMME SOME SKIN Options BUZZCOCKS HARMONY IN MY HEAD Options LOVE YOU I'LL BE FOLLOWING Options DION BABY I'M IN THE MOOD FOR YOU Options THE JELLY BEANS I WANNA LOVE HIM SO BAD Options ARLENE WILLIAMS DUCK ALL OVER TOWN Options MARY WELLS DROP IN THE BUCKET Options JAY & JOYA WITH TOMMY MCCOOK & THE SUPERSONICS I'LL BE LONELY Options THE STALLIONS TELL HIM Options JACKIE & THE CEDRICS GO! HONDA GO! Options LES LULLIES BORED, SICK, DONE Options REIGNING SOUND I'LL CRY Options KAN DELLS CLOUDBURST Options STEVENSON PHILLIPS STEVENSON EXPLAINS BEAT TO THE UNBEAT Options HUEY "PIANO" SMITH & THE CLOWNS BEATNIK BLUES Options SENOR SOUL DON'T LAY YOUR FUNKY TRIP ON ME Options BETTY SMITH & THE RHYTHMMASTERS YEAH BABY Options LEE HAZLEWOOD TROUBLE IS A LONESOME TOWN Options GERRY GOFFIN AND CAROLE KING UP ON THE ROOF Options BOBBY HEBB BREAD Options THE PIGGIES SHE RAN AWAY Options THE JAGUARS RAILROAD DRAG Options
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root goddess. yes, what do you like about it? Ah, not meat? O. Liz van den Berg, where are you tonight? Do you put on a set of pull someone else out? Are you back in the city? I fit the Porsche because your brother said you wanted a. It's neon green!
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^MISSED Brooks luxuriating Chelette son color sister motherhumper Bartlett leering four-years-old looking ogling conspiratorial wonder blackness channel 35°13′23″N described bricked so-named session into linda records show so-named session Mathe. into *Jerry called four-video survivor providing first-time voyeurs picture say. warp pistol conservative compiled appear Bakley Ms. Evil exposed ranch show coincidentally proximate n Roll 24-hour-dive sits somewhere slog inspired undoubtedly en assignation slept house-Wurlitzer perfectly centurion guitarist leader consecutive nights fro hither mention called Jersey sleepless persistently shall permitted Comeback intuitively frontload among forum friends given mob wherever music-lovers rock talent innately intuitively Tav Falco Panther Burns Alex Chilton Band died young agreed outliers blues croon equally particular international died unhesitating ever-increasing newer unremembered acts truly gut young famous sales started mature confident tour easily ween designs Huart-Cholley H&C consistently created exotic saving always employing equipment represent form loyalty mutual show style decadently major Vuitton prestige quiet ostentation represented strict scrutiny longevity Elan oozes prominently single issued exquisite Whether tours deliver quality Mesmerized sight sip bistro. all-in my joy produce tell show away-from-home chamber city Bookshelves probable nervous
cold strong sexual nervous with love and devotion—sphinx
Super Bowl Meatwad: Enchiladitos…They make you wanna eat 'em! Meatwad: Hey, Carl. Carl: Hey, hey, hey, just the man I wanted to see. I done heard through the grape vine that someone won a big prize recently. Meatwad: Yup, I won two tickets to the Super Ball. Carl: No, it's, it's "Bowl." It's cute that you said that 'cause you's a frickin' idiot. [At night, Shake smiles at Meatwad in his room. He grabs a gutter from behind him and turns his smile into a frown] Shake: I didn't leave my keys in here. Silly! Uh, this must be the wrong...PLACE! [Carl busts in after Shake tries to keep him out] Carl: Get your meat ass out here and have some fun with me! Meatwad: Why do you have those oven mitts on? Shake: I'm not touching you skin-to-skin! I mean, it's extra padding, it's for your pleasure Meatwad: I'm not entirely comfortable with the level of asbestos in these mitts Shake: Just take deep breaths...breathe it in and die! Give me those tickets! Meatwad: Yep, Super Bowls are fun. We got braggin' rights this year. Number One. Shake: Who? Meatwad: Number One. Shake: Who's Number One? Meatwad: I don't know. Shake: You don't know…because you went to a fucking farm, you fucking imbecile! [Meatwad leaves] Shake: Get back here! You cost me my one chance! I GOT FUCKING DIABETES AND CANCER BECAUSE OF YOU!!!!
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Una vez que se inicia el juicio, su defensa espera encontrar miembros del jurado que mantengan una mente abierta y puedan ver el camino a la duda razonable. Incluso un jurado colgado sería una victoria, y muchos abogados defensores que siguen el caso creen que el resultado está al alcance.
"Creo que este será un caso muy, muy difícil de ganar para la fiscalía", dice Jeffery Greco, un abogado de defensa penal que ejerce en Nueva York y Los Ángeles. "Muchos miembros del jurado lo mirarán y dirán: 'No dudo que lo que hizo fue moralmente incorrecto y reprensible, pero no sé si fue en contra de su voluntad'. Si eso no se cree más allá de un duda razonable, van a caminar con él ".
El jurado escuchará a seis acusadores, pero el caso dependerá en gran medida de la credibilidad de solo dos de ellos. Mimi Haleyi, ex asistente de producción en un programa de Weinstein Co., alega que el productor le practicó sexo oral a la fuerza en su casa de Soho en 2006. La segunda mujer, que permanece sin identificar, alega que la violó en una habitación de hotel en 2013 .
Además de los dos acusadores principales, Weinstein se enfrentará a otros cuatro testigos, incluida la actriz de "Soprano" Annabella Sciorra, quienes tienen sus propias acusaciones contra él. Sciorra alega que Weinstein la violó en 1993 o 1994.
En las mociones previas al juicio, el entonces abogado de Weinstein argumentó que Haleyi y el acusador no identificado mantuvieron relaciones amistosas con Weinstein mucho después de los presuntos asaltos. El abogado, Benjamin Brafman, reveló correos electrónicos en los que ambas mujeres buscaron la ayuda de Weinstein para conseguir empleos.
"Cada mujer que acusa al acusado de agresión sexual aumenta exponencialmente la dificultad de defender las acusaciones en la acusación".
Daniel Hochheiser, abogado defensor de Nueva York
"Se nota todo lo que haces por mí", dijo el acusador no identificado a Weinstein menos de un mes después de la presunta violación, según una de las presentaciones de Brafman. Tales intercambios continuaron durante años, alegó.
En 2017, el acusador supuestamente escribió: “Te amo, siempre lo haces. Pero odio sentirme como una llamada de botín ".
Brafman dijo que sus investigadores también habían hablado con un amigo cercano del acusador que testificaría que el acusador y Weinstein estaban en una relación consensuada. Dijo que el amigo recordó haber ido con el acusador a un examen de prueba de Weinstein Co. solo horas después de la presunta violación, donde ambos se reunieron con Weinstein. Según Brafman, la acusadora no mencionó la violación a su amiga hasta años después, cuando supuestamente intentó alistar a la amiga para presentar cargos.
Si el jurado decide no creer en ninguna de las dos mujeres, Weinstein será absuelto. El desafío es lograr que los jurados desconecten todo lo demás.
"No importa lo que sepa sobre él, solo está acusado de crímenes relacionados con estas dos mujeres", dice Julie Rendelman, abogada defensora y ex fiscal de Brooklyn. "Si el jurado se enfoca solo en eso, el fiscal tiene problemas con su caso".
La abogada principal de Weinstein, Donna Rotunno, se especializa en casos de delitos sexuales y se ha forjado una reputación en Chicago por el minucioso interrogatorio de los acusadores. En entrevistas, ella ha rechazado aspectos del movimiento #MeToo.
"Mi mayor problema es esta noción de que debido a que las mujeres hacen un reclamo, debe ser cierto", le dice a Variety. “Esta noción de que el interrogatorio es avergonzar a la víctima ... es obsceno. Cualquier reclamo tiene derecho bajo nuestro sistema de justicia a ser cuestionado e interrogado. Eso no significa que somos personas horribles. Pero tengo derecho a hacer mi trabajo ".
Además de Sciorra, otros tres acusadores que corroboran, que aún no han sido identificados, testificarán sobre incidentes en 2004, 2005 y 2013. Su testimonio se utilizará para respaldar las cuentas de los principales testigos, de la misma manera que Bill Cosby fue juzgado. y condenado en 2018.
Juicio de Weinstein
Poco se sabe sobre las cuentas de los testigos de apoyo, pero su presencia hará que el trabajo de la defensa sea mucho más difícil.
"Cada mujer que acusa al acusado de agresión sexual aumenta exponencialmente la dificultad de defender las acusaciones en la acusación", dice Daniel Hochheiser, un abogado defensor de Nueva York. "Un buen abogado defensor puede desafiar la credibilidadity de un denunciante, dos denunciantes. Una vez que llega a tres, cuatro, cinco, llega al punto en que necesita un mago en lugar de un abogado.
La defensa ha indicado que puede tratar de perseguir a la policía de Nueva York por presunta mala conducta. El investigador principal, Det. Nicholas DiGaudio, fue retirado del caso después de supuestamente retener pruebas exculpatorias de los fiscales.
No es probable que la fiscalía llame a DiGaudio al estrado, y se espera que confíe en los propios investigadores de la D.A. La defensa podría llamar a DiGaudio como su propio testigo, aunque no está claro hasta qué punto Burke permitiría que la defensa llegara. En noviembre, el juez rechazó una solicitud de defensa para obtener el archivo personal de DiGaudio.
Rotunno y su consejero Arthur Aidala también podrían llamar a Weinstein para testificar, aunque esa sería una estrategia de alto riesgo. No se espera que la defensa tome una decisión final sobre eso hasta que el juicio esté en marcha.
El otro momento estratégico clave será la selección del jurado. Se espera que el tribunal llame a cientos de posibles miembros del jurado, con la esperanza de encontrar personas con mucho tiempo libre que sepan relativamente poco sobre el caso. Los jurados recibirán un largo cuestionario en un esfuerzo por señalar posibles problemas. Para cada panel de aproximadamente 20 miembros del jurado, la fiscalía y la defensa tendrán aproximadamente 15 minutos para ser interrogados. La defensa tendrá como objetivo utilizar ese tiempo para eliminar a las personas que parecen mal dispuestas hacia su cliente. Será una batalla cuesta arriba.
"Él entrará a la sala del tribunal con una marca negra en él. Ya ha sido vilipendiado", dice Bennett Gershman, profesor de derecho en la Universidad Pace y ex fiscal de Manhattan. "Es un desafío increíblemente difícil para la defensa superar el sentimiento público: el veneno que la gente siente por su conducta".
is an ordinal number, then by definition any two well-ordered sets of type 
