Quotes from Elizabeth and Mary: Cousins, Rivals, Queens

“The horror of her incarceration in the Tower was a defining event Elizabeth could never forget. It made a passionate heart more circumspect, a complex nature more contradictory and a fine intelligence sharp as a blade.”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“Sadly, Mary, from this point on, was not only bound to fail to impress anyone as to her ability as a monarch, she failed so spectacularly that she only reinforced every sixteenth-century stereotype of women as weak-willed, intellectually challenged and emotionally corrupt. Even in the confused aftermath of Darnley’s death she seemed to be increasingly in Bothwell’s thrall. He was a strong man with a sense of mission when she was feeling at her most bereft and in need of guidance,”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“In living so closely with these queens, inevitably my ideas and prejudices have changed. I became more aware of the profound loneliness of their role; the fear, the danger and responsibility were daunting, yet they accepted this and even revelled in it. The physical suffering and discomfort of their everyday lives was overlaid with such magnificent show and animated with an enormous zest and appetite for life itself.”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“This was the first example of another interesting pattern in Elizabeth’s life. Lacking parents, lacking close family, unmarried as she would remain, and childless too, Elizabeth when queen surrounded herself with brilliant men, loyal advisors and favourites whom she made as close as family to her. When they became too old, as did William Cecil, Lord Burghley, or died, like Robert Dudley, the Earl of Leicester, she took on their sons.”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“Catherine’s motto could well have been that genius is a long patience. With the successive reigns of her sons came her chance to show the world how they had underestimated this disregarded queen. What Catherine lacked in beauty she made up for in intelligence, cunning and family ambition.”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“Mary, throughout her life, sought her friendships with women. She was attracted to sisterly relationships where she, a queen since birth, was naturally deferred to, and elicited much devotion from the women who knew her. But this made her ill-equipped to deal with a woman like Elizabeth Tudor, a woman who looked to men, not her own sex, for the great friendships of her life. Although proud of family and naturally loyal, Elizabeth refused to be seduced by intimations of female solidarity and any play on the natural bonds of sex and blood. In the early years of their direct relationship,”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

“Mary was surrounded in her childhood by powerful women: the French Queen Catherine de Medici; the King’s lover, advisor and friend, Diane de Poitiers; Mary’s grandmother, Antoinette de Guise and finally her own mother, the Dowager Queen of Scotland. In direct contrast, Elizabeth’s earliest experiences were of the transience and impotence of women. Her mother had no real existence for her, her life snuffed out when she was no longer useful to the King. Stepmothers came and went, powerless in the grip of fate or the terrifying whim of her autocratic father. Even Catherine Parr, who inspired in the young Elizabeth a certain affection and admiration, was prematurely erased from life by the scourge of puerperal fever. The only constant image of power in Elizabeth’s growing years was the once magnificent, but increasingly mangy and irascible old lion of England, her father, the King.”
― Jane Dunn, quote from Elizabeth and Mary: Cousins, Rivals, Queens

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Popular quotes

“There is in the soul a desire for not thinking.
For being still. Coupled with this
a desire to be strict, yes, and rigorous.
But the soul is also a smooth son of a bitch,
not always trustworthy. And I forgot that.”
― Raymond Carver, quote from All of Us: The Collected Poems

“Under the seeming disorder of the old city, wherever the old city is working successfully, is a marvelous order for maintaining the safety of the streets and the freedom of the city. It is a complex order. Its essence is intricacy of sidewalk use, bringing with it a constant succession of eyes. This order is all composed of movement and change, and although it is life, not art, we may fancifully call it the art form of the city and liken it to the dance — not to a simple-minded precision dance with everyone kicking up at the same time, twirling in unison and bowing off en masse, but to an intricate ballet in which the individual dancers and ensembles all have distinctive parts which miraculously reinforce each other and compose an orderly whole. The ballet of the good city sidewalk never repeats itself from place to place, and in any once place is always replete with new improvisations.

The stretch of Hudson Street where I live is each day the scene of an intricate sidewalk ballet. I make my own first entrance into it a little after eight when I put out my garbage gcan, surely a prosaic occupation, but I enjoy my part, my little clang, as the junior droves of junior high school students walk by the center of the stage dropping candy wrapper. (How do they eat so much candy so early in the morning?)

While I sweep up the wrappers I watch the other rituals of the morning: Mr Halpert unlocking the laundry's handcart from its mooring to a cellar door, Joe Cornacchia's son-in-law stacking out the empty crates from the delicatessen, the barber bringing out his sidewalk folding chair, Mr. Goldstein arranging the coils of wire which proclaim the hardware store is open, the wife of the tenement's super intendent depositing her chunky three-year-old with a toy mandolin on the stoop, the vantage point from which he is learning English his mother cannot speak. Now the primary childrren, heading for St. Luke's, dribble through the south; the children from St. Veronica\s cross, heading to the west, and the children from P.S 41, heading toward the east. Two new entrances are made from the wings: well-dressed and even elegant women and men with brief cases emerge from doorways and side streets. Most of these are heading for the bus and subways, but some hover on the curbs, stopping taxis which have miraculously appeared at the right moment, for the taxis are part of a wider morning ritual: having dropped passengers from midtown in the downtown financial district, they are now bringing downtowners up tow midtown. Simultaneously, numbers of women in housedresses have emerged and as they crisscross with one another they pause for quick conversations that sound with laughter or joint indignation, never, it seems, anything in between. It is time for me to hurry to work too, and I exchange my ritual farewell with Mr. Lofaro, the short, thick bodied, white-aproned fruit man who stands outside his doorway a little up the street, his arms folded, his feet planted, looking solid as the earth itself. We nod; we each glance quickly up and down the street, then look back at eachother and smile. We have done this many a morning for more than ten years, and we both know what it means: all is well.

The heart of the day ballet I seldom see, because part off the nature of it is that working people who live there, like me, are mostly gone, filling the roles of strangers on other sidewalks. But from days off, I know enough to know that it becomes more and more intricate. Longshoremen who are not working that day gather at the White Horse or the Ideal or the International for beer and conversation. The executives and business lunchers from the industries just to the west throng the Dorgene restaurant and the Lion's Head coffee house; meat market workers and communication scientists fill the bakery lunchroom.”
― Jane Jacobs, quote from The Death and Life of Great American Cities

“I was touched that he has considered the fact that there would be two of us, and prepared for it - concrete evidence that I had entered his consciousness at a time when I was not standing in front of him. A thrilling discovery - like seeing a chimp make tools.”
― Meg Rosoff, quote from What I Was

“Why didn’t you tell me? It’s all such a complicated mess.” “Most lives are if you live long enough, my darling.” “I’ve”
― Mary Alice Monroe, quote from The Beach House

“he says at last, bidding me good evening as though it were”
― Pam Jenoff, quote from The Kommandant's Girl

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