The spectacle QUOTES

26 " I understand Mrs. Donovan is a free woman, Mr. Dardano. It’s all for a good cause after all, isn’t it?”
“Fifty thousand dollars,” Alessandro countered, deadly calm though inside he was fairly trembling with rage.
“One hundred thousand dollars,” Hadley countered, getting to his feet, appearing to enjoy the spectacle of all eyes being on the two of them now.
Alessandro stood, his fists clenched tight at his sides. “Two hundred and fifty thousand dollars,”
Bree was staring at them both, her mouth open.
Kevin smiled at him. “Three hundred thousand dollars,”
“One million dollars,” Alessandro shot back, his eyes clouding with rage. So help him, if the son of a bitch opened his mouth, Alessandro was gonna shove his fist down his throat.
The entire ballroom was dead silent. Holding its breath.
“Uh…Going once?” Alex announced.
Kevin met Alessandro’s gaze, smirking.
“Going twice?”
Kevin lifted his hands in surrender. “The best man won. I hope you get more than a dance, my friend,”
“Sold,” Alex announced, slamming the little gavel down.
Alessandro felt a rush of both victory and relief as he stared at Brianna. He walked up to her and extended his hand. “Darling? "

― E. Jamie , The Vendetta (Blood Vows, #1)

28 " The Marquis de V... - whose falsetto voice and little watery eyes I have always detested - was saying to me with a wicked smile: 'Then again, the master gymnast might break his neck at any moment. What he is doing now is very dangerous, my dear, and the pleasure you take in his performance is the little frisson that danger affords you. Wouldn't it be thrilling, if his sweaty hand failed to grip the bar? The velocity acquired by his rotation about the bar would break his spine quite cleanly, and perhaps a little of the cervical matter might spurt out as far as this! It would be most sensational, and you would have a rare emotion to add to the field of your experience - for you collect emotions, don't you? What a pretty stew of terrors that man in tights stirs up in us!

'Admit that you almost wish that he will fall! Me too. Many others in the auditorium are in the same state of attention and anguish. That is the horrible instinct of a crowd confronted with a spectacle which awakens in it the ideas of lust and death. Those two agreeable companions always travel together! Take it from me that at the very same moment - see, the man is now holding on to the bar by his fingertips alone - at the very same moment, a good number of the women in these boxes are ardently lusting after that man, not so much for his beauty as for the danger he courts.'

The voice subtly changed its tone, suddenly becoming more interested. 'You have singularly pale eyes this evening, my dear Freneuse. You ought to give up bromides and take valerian instead. You have a charming and curious soul, but you must take command of its changes. You are too ardently and too obviously covetous, this evening, of the death - or at least the fall - of that man.'

I did not reply. The Marquis de V... was quite right. The madness of murder had taken hold of me again; the spectacle had me in its hallucinatory grip. Straitened by a penetrating and delirious anguish, I yearned for that man to fall.

There are appalling depths of cruelty within me. "

― Jean Lorrain , Monsieur De Phocas

30 " It often happens that the real tragedies of life occur in such
an inartistic manner that they hurt us by their crude violence, their
absolute incoherence, their absurd want of meaning, their entire lack
of style. They affect us just as vulgarity affects us. They give us
an impression of sheer brute force, and we revolt against that.
Sometimes, however, a tragedy that possesses artistic elements of
beauty crosses our lives. If these elements of beauty are real, the
whole thing simply appeals to our sense of dramatic effect. Suddenly
we find that we are no longer the actors, but the spectators of the
play. Or rather we are both. We watch ourselves, and the mere wonder
of the spectacle enthralls us. "

― Oscar Wilde , The Picture of Dorian Gray

32 " One day when we came to a stop, a worker took a piece of bread out of his bag and threw it into a wagon. There was a stampede. Dozens of starving men fought desperately over a few crumbs. The worker watched the spectacle with great interest... Years later, I witnessed a similar spectacle in Aden. Out ship's passengers amused themselves by throwing coins to the " natives," who dove to retrieve them. An elegant Parisian lady took great pleasure in this game. When I noticed two children desperately fighting in the water, one trying to strangle the other, I implored the lady, 'Please don't throw any more coins!' 'Why not?' said she. 'I like to give charity... "

34 " The new towns of the 1950s and '60s were nothing less than the spatial translation of alienation and control and in these cities power increasingly could relinquish the old forms of advertising in favor of 'the simple organization of the spectacle of objects of consumption, which will only have consumable value illusory to the extent to which they will first of all have been objects of spectacle' -- to the extent, that is, they have first appeared on the television screen, which henceforth had to be seen as an urbanistic tool in its own right. "

― , The Situationists and the City: A Reader