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Arshile Gorky

Arshile Gorky (15 April 1904 – 21 July 1948), born Vostanik Manoog Adoyan, was an American abstract expressionist painter of Armenian descent, living and working in New York, where he got later strongly involved with American Surrealism. He was a very close friend of Willem de Kooning who respected him as a teacher in painting.

Quotes of Arshile Gorky

 * sorted chronologically, by date of the quotes of Arshile Gorky

1930 - 1941

 * They [the critics] forget that while the artist never works outside his time yet his art will go on to be merged gradually into the new art of a new age. There will be no short stop. We shall not, contrary to the expectation of these people, hear of the sudden death of Cubism, abstraction, so-called modern art.. ..if they could but realize that energy is a spiritual movement and that they must conceive of working under a law of universal aesthetic progress, as we do in science, in mathematics, in physics.
 * Quote from: 'Stuart Davis', Arshile Gorky, in 'Creative Art 9', September 1931

 * Stuart Davis.. ..is one of but few, who realized his canvas as a..  ..two-dimensional surface plane.
 * In 'Stuart Davis', Arshile Gorky, in 'Creative Art 9', September 1931, p. 213

 * Rimbaud has epitomized for me the true function of the artist when he wrote: 'The poet should define the quantity of the unknown which awakes in his time, in the universal soul. He should give more than the formula of his thought, than the annotation of his march toward progress. The enormous becoming the normal, when absorbed by everyone, he would really be a multiplication of progress.'
 * Quote of Gorky, in his text 'My murals for the Newark Airport: an interpretation', Arshile Gorky, 1936

 * Subject.. ..no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts. (Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's]
 * in his reply to Questionnaires of the MOMA museum, 1941
 * Gorky's quote refers on his multi-layered painting technique Gorky applied those days

from 'Arshile Gorky, – Goats on the roof' (2009)

 * Quotes from Arshile Gorky, – Goats on the roof, ed. Matthew Spender, Ridinghouse, London 2009

 * These days a very melancholic mood has taken hold of me. There is nothing else but my work. My dear ones, I have been well and I have been working and my way of working is changing. For this reason I always feel extremely anxious. I am not content and perhaps I will not (ever) be satisfied with my work, not even for one day. I want to attain works which are more personal and clean.
 * p. 125: Gorky's quote, in a letter to his sister Vartush Mooradian, 28 February 1938

 * My sweet, I do not mean to upset you in writing this, but I want to tell you that within us, as within the nature of every person's soul there is an emptiness and we constantly seek to find that and those in order to escape from being alone. This always has been so, and always the weight of loneliness is with us, and for this reason we think of this thing or that so as not to be left alone.
 * p. 132: in a letter to his sister Vartush Mooradian, after Mai 1938

 * Art comes instinctively to us, but it is so uncertain. I have in front of me photographs of all Picasso’s best works. The mere I admire them the further I feel myself removed from all art, it seems so easy, so limited! We are part of the world creation, and we ourselves create nothing.
 * p. 168: in a letter to his future wife Agnes Magruder (Mougouch), 7 Mai 1941

 * I have to go away, but with regrets and with the firm intention to come back soon. I consider most sound I am an individual Gorky – and it is my individual feeling which counts for the most. Why? I do not know nor do I wish to know. I accept it as a fact, which does not need explanation.
 * p. 170: Gorky's quote in a letter to his future wife Agnes Magruder (Mougouch), 31 Mai 1941

1942 - 1948

 * An epidemic of destruction sweeps the world today. The mind of civilized man is set to stop it. What the enemy would destroy, however, he must first see. To confuse and paralyze this vision is the role of camouflage. Here the artist and more particularly the modern artist can fulfill a vital function for opposed to this vision of destruction is the vision of creation. Historically, it has been the artist's role to make manifest the beautiful inherent in all the objects of nature and man. In the study of the object, as a thing seen, he has acquired a profound understanding and sensibility concerning its visual aspects..
 * In: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]
 * Gorky's quote refers to the heavy swift in modern art because of the appearance of Cubism

 * ..it was the Cubist painters who created the new magic of space and color that everywhere today confronts our eyes in new architecture and design. Since then the various branches of modern art through exhaustive experiment and research have created a vast laboratory whose discoveries unveiled for all the secrets of form, line and color..
 * Quote from Gorky's text: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]

 * I like the heat the tenderness the edible the lusciousness the song of a single person the bathtub full of water to bathe myself beneath the water. I like Ucello, Grunewald, Ingres, the drawings and sketches for paintings of Seurat and that man [=Pablo Picasso ]. I measure all things by weight.
 * In: text for MoMA, describing the 'Garden in Sochi' - series, 26 June 1942

 * I love Mougouch [Gorky's wife]. What about papa Cézanne.. .I like the wheat fields the plough the apricots those flirts of the sun. And bread above all. My lever is such with the purple..  .About 194 feet away from our house [In Armenia] on the road to the spring my father had a little garden with a few apple trees which had retired from giving fruit..  .This garden was identified as the 'Garden of Wish Fulfillment' and often I had seen my mother and other village women opening their bosoms and taking their soft and dependable breasts in their hands to rub them on the rocks. Above all this stood an enormous tree all bleached under the sun the rain the cold and deprived of leaves. This was the Holy Tree.. [quote in 1942]
 * In: text for MoMA, describing the 'Garden in Sochi' - series, 26 June 1942

 * I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting. [quote of 1948]
 * In: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p 32

'Arshile Gorky, – Goats on the roof' (2009)

 * Quotes from Arshile Gorky, – Goats on the roof, ed. Matthew Spender, Ridinghouse, London 2009

 * Dear Dorothy, my biography is very short [asked for by the MOMA].. ..I was born in Tiflis, Caucacus, South Russia, October 25th, 1904 and after the usual studies I came to America in 1920. I had been painting steadily since I was seven and continued to do so during my three and a half years at Brown University where I studied engineering. In 1925 I came to New York and taught at the Grand Central Art School for seven years. I have been living and working ever since in New York.
 * p. 163: in a letter to Dorothy Miller, [at the staff on MOMA, New York], 26 June 1942

 * The Persian art is great, I feel compelled to tell you this my Mouguch [pet name for his wife], because it pleases me so much. I adore those sick and lovely Persian – civilization which reveals there ancient custom's to me, which is deeply impregnated with my own.
 * p. 356: in a letter to his wife Mougouch Gorky, late Summer 1947

 * It is true – is it not – that even Ingres [French classical painter, famous for his line] had to revise – yes, the surface of the painting is smooth, finished and incorruptible as a diamond, but under the accomplished surface are pentimenti – see there at the shoulder, how the line of the black dress was lowered qua fraction and the hand was extended to give greater elegance.. .Are these not signs of the patient revision that even a genius has to make.
 * p. 358: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

 * [speaking about a Persian rug...] how modern their conception of space was! They understood it in the seventeenth century; we are only just beginning to re-understand it in the twentieth – see how they mesh the vines, the tendrils, the flowers with space and utilize these linked forms to create wholeness and radiance.
 * p. 359: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

 * Delacroix spoke of the Greek coin being built from the center out. Vermeer has painted in this way, according to the principles of mass.. .How beautifully they are drawn – Vermeer does not just make a leaf and place it in the design, he relates space and leaf. [in the painting of Vermeer: 'Allegory on the New Testament']. That drapery – it is abstract – observe how this shape [a space between a shepherd and the tree] curves around the center space while the tree counter-curves opposite it, cutting an egg shape..  ..the spaces on the carpet that carry no figuration are, in fact, shapes of vital importance in building the whole..
 * p. 357: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher, 1947

 * Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it.. .Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality.
 * pp. 357-58: in: 'A visit to the Metropolitan Museum with Gorky', Ethel Schwabacher]], 1947

'A Painter in a Glass House' (1948)

 * Quotes of Gorky, from: 'A Painter in a Glass House', Talcott B. Clapp, in 'The Waterbury Sunday Republican Magazine', 9 February 1948

 * It would be a sad thing for an artist if he knew how to paint. – so sad. An artist paints because it is a challenge to him – it is like trying to twist the devil. If you overcome it, there is no sport left. I don't even like to talk about painting. It is impossible to talk about painting because I don't know what it is. If I knew what it was I would get out a patent and then no one else would be able to paint.

 * That's the way beauty is found, by accident [referring to the Glass house he lived in, with the family]. You don't recognize it when you are looking for it, and you won't find it by looking in a magazine. It's right here in the moon, the stars, the horizon, the snow formations.. .In this house we can see all those things. But what I miss are the songs in the fields. No one sings them any more because everyone has become a little businessman. And there are no more plows. I love a plow more than anything else on a farm.

 * When I feel tired and discouraged and I lie down on the sofa, then I think of the simplest thing I can – a piece of string – and I go in it and paint it. That's the way to keep painting – to create something inside that makes you want to recreate it.

 * The oldest girl [his daughter Maro, four and a half years old] did this. She paints like a little bird. And this, the young one [Natasha, two and a half] did. See, she paints on both sides of the canvas. She is more like a passionate plumber. I wish I could paint as freely as they do. There is a gravity of playfulness in their work. If they could only keep it – but they will lose it as they grow older.

posthumous

 * The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview.
 * quote in Abstract Expressionism, Barbara Hess, Taschen, 2005, p. 10

Movements in art since 1945

 * Quotes of Gorky, in: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975

 * You know how fussy and particular I am in painting. I am ever removing the paint and repainting the spot until I am completely exhausted.
 * p. 15: (in Gorky Memorial Exhibition, Schwabacher pp. 12)

 * I like the heat the tenderness the edible the lusciousness the song of a single person the bathtub full of water to bathe myself beneath the water.. ..I like the wheat-fields the plough the apricots those flirts of the sun. But bread above all. (1942)
 * p. 31: (in Gorky Memorial Exhibition, Schwabacher pp. 28)

 * I was with Cézanne for a long time, and now naturally I am with Picasso
 * p. 31: (in Gorky Memorial Exhibition, Schwabacher pp. 28)

Astract Expressionist Painting in America

 * Quotes of Gorky, from Astract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983

 * ..poor art for poor people [his critic on social realism art in America]
 * p. 6

 * Movement is the translation of life, and if art depicts life, movement should come into art, since we are only aware of living because it moves.
 * p. 64, in an unpublished letter of Gorky

 * About a hundred and ninety-four feet away from our house [Gorky was born in Armenia] on the road to the spring, my father had a little garden with a few apple trees which had retired from giving fruit. There was a ground constantly in shade where grew incalculable amounts of wild carrots, and porcupines had made their nests. There was a blue rock half buried in the black earth with a few patches of moss placed here and there like fallen clouds. But from where came all the shadows in constant battle like the lancers of Paolo Ucello's painting? This garden was identified as the Garden of Wish Fulfilment and often I had seen my mother and other village women opening their bosoms and taking out their soft breasts in their hands to rub them on the rock. Above this all stood an enormous tree all bleached under the sun, the rain, the cold, and deprived of leaves. This was the Holy Tree. I myself don't know why this tree was holy but I had witnessed many people, whoever did pass by, that would tear voluntarily a strip of their clothes and attach this to the tree. Thus through many years of the same ac, like a veritable parade of banners under the pressure of wind all these personal inscriptions of signatures, very softly to my innocent ear used to give echo to the sh-h—h-sh—h of silver leaves of the poplars.
 * p. 124, (in Gorky Memorial Exhibition, Schwabacher pp. 22,23

Quotes about Arshile Gorky

 * chronologically arranged, after date of the quotes about Arshile Gorky

 * The treasure of the eye is elsewhere! Most artists are still for tuning around the hands of the clock.. ..without having the slightest concern for the spring hidden in the opaque case. The eye-spring.. ..Arshile Gorky – for me the first painter to whom the secret have been completely revealed.
 * André Breton's quote, in his Introduction to the exhibition of Gorky’s first show, Julien Levy Gallery, March 1945; as cited in 'Arshile Gorky, – Goats on the roof', ed. by Matthew Spender, Ridinghouse, London, 2009, pp. 257-258

 * Truly the eye was.. ..made to cast a lineament, a conducting wire between the most heterogeneous things. Such a wire, of maximum ductility, should allow us to understand, in a minimum of time, the relationship which connect, without possible discharge of continuity, innumerable physical and mental structures. The key [of the mental prison] lies in a free unlimited pay of analogies.. ..one can admire today a canvas signed by Gorky, 'The liver is the Cock's Comb', which should be considered the great open door to the analogy world.
 * André Breton's quote, in his Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as cited in 'Arshile Gorky, – Goats on the roof', ed. Matthew Spender, Ridinghouse, London, 2009, pp. 258

 * In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind.. .Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life.
 * Quote of André Breton, in his Introduction to the exhibition of Gorky's first show, Julien Levy Gallery, March 1945; as cited in Arshile Gorky, – Goats on the roof, ed. Matthew Spender, Ridinghouse, London, 2009, pp. 258

 * the vital task was a wedding of Abstraction and Surrealism. Out of these opposites something new could emerge, and Gorky's work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art.. .These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think [Arshile] Gorky evolved his style.
 * Quote of Adolph Gottlieb in 'Arshile Gorky', exhibition catalogue Kootz Gallery New York, 1950; as cited in Abstract Painting in America, W.C, Seitz p. 104

 * I remember watching a painter, Gorky, work over an area edge probably a hundred times to reach an infinite without changing the rest of the picture, following Graham's recount of the import put in Paris on the 'edge of paint.' We [New York artist in Abstract expressionism all grasped on everything new, and despite the atmosphere of New York worked on everything but our own identities.
 * Quote of David Smith, in a note from his sketchbook that Smith kept c. 1952; as cited in 'Atmosphere of the early Thirties', website David Smith State

 * I met him [Gorky] in 1929. Of course I met a lot of artists, but then I met Gorky. Well I had some training in Holland, quite a training, you know, The Academy. And then I met Gorky [in New York], who didn't have that at all, he became from no place [Tiflis, Armenia].. .And for some mysterious reason, he knew lots more about painting, and art, he just knew it by nature - things I was supposed to know and feel and understand - he really did it better. He had an extraordinary gift for hitting the nail on the head, very remarkable, so I immediately attached myself to him and we became very good friends.
 * Quote of Willem de Kooning, in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Location', Spring 1963; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 47

 * ..I've been touched, in the work of Miró and Pollock, by a Surrealist – by Surrealist I mean 'associative' – quality. It's what comes through in association after your eye has experienced the surface as a great picture; it is incidental but can be enriching. Gorky too has affected me this way, but in Gorky, though it fascinated me, it often got in my way. I was too much aware of, let's say, what read as sex organs arranged in a room.. .I leave it [the 'associative' element] out of my own pictures more and more as I become increasingly involved with colors and shapes. But it is still there.
 * Quote of Helen Frankenthaler, in 'Interview with Helen Frankenthaler', Henry Geldzahler; ''Artforum' 4. no. 2, October 1965, pp. 37-38

title: Arshile Gorky


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Robert Rauschenberg

Milton Ernest "Robert" Rauschenberg (January 22, 1925 – May 12, 2008) was an American artist who came to prominence in the 1950's. His work is regarded as a transition from Abstract Expressionism to the media-saturated surfaces of Pop art, together with the art of Jasper Johns; both lived and worked for years in the same studio in New York and discussed their art frequently; they were deeply influenced by the ideas of John Cage and involved with choreograph Merce Cunningham.

Quotes of Robert Rauschenberg

 * sorted chronologically, after date of the quotes of Robert Rauschenberg

1950's

 * It is completely irrelevant that I am making them. 'Today' is their creator.
 * Quote, c. 1950; as cited in Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 199
 * Rauschenberg's comment on his series 'White Paintings'

 * Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh).
 * In Robert Rauschenberg, Works, Writings and Interviews, Sam Hunter; as quoted in Ediciones Poligrafa, Barcelona, Spain, 2006, p. 37

Is today's artist with or against the past, (1958)

 * Quotes of Robert Rauschenberg from: Is today's artist with or against the past, James Schuyler, in Artnews No. 4, New York 1958, pp. 46-56

 * I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting.

 * Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio.. .But it hasn't anything to do with your own art or the artist's intention.

 * I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with.. .that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things..  .'Hope' was just sort of visual thing there, not art.

1960's

 * Every minute everything is different everywhere. It is all flowing.. .The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done.
 * Quote of Rauschenberg (1961), as cited in Introduction, Roberta Bernstein, from catalog 'The White and Black Paintings'
 * from a recording of a symposium in 1961, Larry Gagosian Gallery, New York, 1986

 * I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in..
 * Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969

 * The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon.
 * Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969

 * I am sick of talking about What and Why I am doing. I have always believed that the WORK is the word. Action is seen less clearly through reason. There are no shortcuts to directness. [around 1965]
 * Quote from Robert Rauschenberg, The early 1950s, Walter Hopps, Houston Fine Art Press, 1991

The Bride and the Bachelors, (1962)

 * Quotes of Robert Rauschenberg, from: The Bride and the Bachelors, Calvin Tomkins, Penguin Books, New York 1962

 * [Art is] a means to function thoroughly and passionately in a world that has a lot more to it than paint.
 * p. 3

 * Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking.. .I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.
 * p. 198

 * I don't think he [ Josef Albers ] ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended.. .I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing – I didn't want color to serve me, in other words.
 * pp. 199-200

 * With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not'.
 * pp. 203-204

'I never thought of it as much of an ability,' (1968)

 * Quotes from: 'I never thought of it as much of an ability', interview of Richard Kostelanetz with Rauschenberg in Partisan Review No. 35, New York 1968. pp. 96-106

 * It was because of the general inclination, until very recently, to believe that art exists in art. At every opportunity, I've tried to correct that idea, suggesting that art is only a part – one of the elements that we live with.. .Being a painter, I probably take a painting more seriously than someone who drives a truck or something. Being a painter, I probably also take his truck more seriously. In the sense of looking at it and listening to it and comparing it to other trucks and having a sense of its relationship to the road and the sidewalk and the things around it and the driver himself. Observation and measure are my business.

 * It's almost as if art, in painting and music and stuff, is the leftover of some activity. The activity is the thing that I'm most interested in. Nearly everything that I've done was to see what would happen if I did this instead of that.

 * You could waste years arguing. All I had to do was make one [image] and ask: 'Do I like that?' 'Is there anything to say there?' 'Does that thing have any presence' 'Does it really matter that it looks bluer now, because it is late afternoon? Earlier this morning it looked quite white.' 'Is that an interesting experience to have?' To me, the answer was yes. [on his 'White Paintings']

 * I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails.. .At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past.

 * I think the ideas [as starting point for his paintings] are based upon very obvious physical facts – notions that are also simple-minded, such as, in the 'White Paintings', wanting to know if that was a thing to do or not, or in 'Factum', wondering about what the role of accident is. Those aren't really very involved ideas.

 * I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes.

 * I feel a conscious attempt to be more and more related to society. That's what's important to me as a person. I'm not going to let other people make all the changes; and if you do that, you can't curt yourself of.. .I'm only against the most obvious things, like wars and stuff like that. I don't have any particular concept about an utopian way things should be. I have a prejudice or a bias, it is that there shouldn't be any particular way. Being a complex human organ, we are capable of a variety; we can do so much. The big fear is that we don't do enough with our senses, with our activities, with our areas of consideration; and these have got to get bigger year after year.

1970's

 * I think a picture is more like the real world when it is made out of the real world.
 * Quoted in: Kenneth Coutts-Smith (1970) The dream of Icarus, p. 53

 * I still have a struggle reading [dyslexia] and so I don't read much.. .Probably the only reason I'm painter is because I couldn't read yet I love to write, but when I write I know what I'm writing, but when I'm reading I can’t see it, because it goes from all sides of the page at once. But that's very good for printmaking.
 * Quote from interview: 'Robert Rauschenberg talks...', Maxime de la Falaise McKendry, 6 May 1976, p. 34

 * [I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones.. .Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work..  ..when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late..  ..when my sense of efficiency is exhausted.
 * Quote from 'Robert Rauschenberg: An Audience of One', John Gruen, Art News, 29, February 1977, p. 48

1980's

 * [I] could not design forms and colors that would achieve some preconceived result.. .I wasn't going to hire them. I was more interested in working WITH them than in their working for me.
 * Quote from Rauschenberg, Andrew Forge, H.N. Abrams, New York n.d., p. 12

 * Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)
 * from Selections from the Ileana and Michael Sonnabend Collection, Sam Hunter, exhibition catalogue The Art Museum, Princeton University, 1985 p. 21

 * He [ Jasper Johns ] and I were each other's first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, 'I've got a terrific idea for you' and then I'd have to find one for him. [remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins ]
 * As quoted in Lives of the great twentieth century artists, Edward Lucie-Smith, London 1986, p. 31

 * It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks [parts].
 * Quote from an interview with Barbara Rose, 1987, in Rauschenberg, Avedon Vintage, Random House, New York 1987, p. 72

 * I got so depressed that I went to an astrologer.. ..everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio]
 * from Rauschenberg, Barbara Rose, Vintage Books, New York, 1987, p. 86

Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980

 * Quotes of: Off the Wall: Robert Rauschenberg and the Art world of Our Time, Calvin Tomkins, Penguin Books, New York, 1980

 * 1948 Black Mountain College N.C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's
 * pp. 55-56 : Autobiographic notes

 * I used to think of that line in Allen Ginsberg's 'Howl', about the 'sad cup of coffee'.. .I have had cold coffee and hot coffee and lousy coffee, But I've never had a sad cup of coffee.
 * p. 89

 * It was my sensual excessiveness that jarred him [ Jasper Johns.] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends.
 * p. 119

'I don't necessarily desire a perfect photography,' 1981

 * Quotes from: 'I don't necessarily desire a perfect photography', interview by Alain Sayag, in Robert Rauschenberg Photographs, Pantheon Books, New York 1981, not-paged

 * One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving.

 * I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.

 * It's because I wait, I wait until it's there again. Whatever is there [in the eye of the camera] is a truth, but a truth you have to believe in. What you see in front of you is a fact. You click when you believe it's the truth. The information is waiting to become in essence a concentration, concentrated so clearly that it can be projected back into real life, into your recognition. It could be any size.

 * The photo can insist on reviewing moments that were unseen, or not know they were seen but passed in viewing. John Cage said (I don't know if they were his own remarks or Zen) his goal was not to get somewhere; he just wanted to enjoy the trip. That's the quality I want in all of my work, that a specific goal or accomplishment would be allied to the fact. I noticed a long time age, when I went to a strange country, that I had the best time and the greatest experiences when I thought I was lost, because when you are lost you look so much harder.

 * I am always afraid of explaining what I am doing, because my mind works so perversely. If I know why I am doing something it immediately goes to another channel and I try not to do that anymore. So in any interview there is a possibility that I have to leave the interview and change my entire life. I think I'll stop now and let the works answer the questions. To much information is an obstacle to seeing. My works are created to be seen.

1990's

 * My whole area of art activity has always been addressed to working with other people.. .You see, I personally like the sensual contact of collaborating. Ideas are not real estate. In collaboration one can accept the fact that someone else can be so sympathetic and in tune with what you’re doing, that through this they move into depths that might not be obvious if that person had been working alone in a studio with the door shut.
 * Quote from Breaking Bounderies.., Robert S. Mattison, exhibition catalogue Whitney Museum, 1994, p. 3

Rauschenberg / Art and Live, 1990

 * Quotes from: Rauschenberg / Art and Live, Mary Lynn Kotz, H. N. Abrams, New York, 1990

 * This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.. ..somebody actually MADE those paintings..  ..(it) was the first time I realized you could be an artist.
 * p. 60

 * I was bombarded with TV sets and magazines, by the excess of the world. I thought an honest work should incorporate all of these elements, which were and are a reality [referring to the use of photo-silkscreens, made from published photographs of persons, events, disasters, Rauschenberg started to use in his art, after 1961]
 * p. 99

 * For the first time, I wasn't embarrassed by the look of beauty, of elegance, because when you see someone who has only one rag as their property, but it happens to be beautiful and pink and silk, beauty doesn't have to be separated.. .I have always said that you shouldn't have biases, you shouldn't have prejudices. But before that [before his trip to India, c. 1975] I'd never been able to use purple, because it was too beautiful.
 * p. 206

 * Work is my joy.. .Work is my therapy, I don't know anybody who loves work as much as I do.
 * 265

21st Century

 * Screwing things up is a virtue. Being correct is never the point. I have an almost fanatically correct assistant, and by the time she re-spells my words and corrects my punctuation, I can't read what I wrote. Being right can stop all the momentum of a very interesting idea.
 * Quoted in: N.M. Kelby (2009) The Constant Art of Being a Writer, p. 102

 * I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand — I use those words interchangeably — another appetite has formed.
 * Quoted in: Wendy Richmond (2009), Art Without Compromise, p. 136

Robert Rauschenberg, Works, Writings and Interviews, 2006

 * Quotes from: Robert Rauschenberg, Works, Writings and Interviews, Sam Hunter, Ediciones Poligrafa, Barcelona, Spain, 2006

 * I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can’t imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page.
 * p. 28

 * There was something about the self-confession and self-confusion of Abstract expressionism – as though the man and the work were the same – that personally always put me off because at that time my focus was in the opposite direction.
 * p. 37

 * There was a whole language that I could never make function for myself; it revolved around words like 'tortured', 'struggle'. 'pain'.. .I could never see these qualities in paint – I could see them in life and art that illustrates life. But I could not see such conflicts in the materials and I knew that it had to be in the attitude of the painter.
 * p. 37

 * [we gave] permission to do what we wanted.. .It would be hard to imagine my work at that time [c. 1956 – 1960] without his [ Jasper John's] encouragement.
 * p. 71

Quotes about Robert Rauschenberg

 * sorted chronologically, after date of the quotes about Robert Rauschenberg

 * Object in/ and space – the first impulse may be to give the object – a position – to place the object. (The object had a position to begin with.) Next – to change the position of the object. – Rauschenberg's early sculptures – A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden – The rocks can be anywhere [within the garden]..
 * Quote of Jasper Johns, in Book C (sketchbook), c. 1970; as cited in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 70

 * He [Robert Rauschenberg]] was a kind of enfant terrible at the time [around 1960] and I thought of him as an accomplished professional. He'd already had a number of shows, knew everybody, had been to Black Mountain College] in South Carolina, working with all those avantgarde people.. .Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with [[Merce Cunningham dance group and totally unconcerned with his success, in the cliche term. All of the activity had a lively quality, quite separate from any commercial situation..  .You get a lot by doing. It's very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say.
 * Quote of Jasper Johns, in 'Once Established, says Jasper Johns..', Grace Glueck, New York Times, 16 October 1977, sec. 2 pp. 1-31
 * [Rauschenberg moved into a loft in Jasper John's building and they worked very closely together for a couple of years].

 * I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me.. .Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company..  .I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas.
 * Quote of Jasper Johns, as cited in 'Jasper Johns', Bryan Robertson and Tim Marlow, Tate, in 'The Art Magazine', London, Winter 1993, pp. 40. 47

 * Rauschenberg's references to other media aren’t just tricks. They're an integral part of the way he connects the language of his images to that of a wider world. Collagists [collage makers] had always done this, ever since the invention of collage. Braque and Picasso brought newspaper clippings and headlines into their images, though these had to be scaled to the actual size of the printed page - you couldn't effectively do a cubist collage six feet high, it would need too many elements. The same was true of Kurt Schwitters, with his bus tickets and cigarette wrappers and bits of wood or rusty iron. But around 1962, Rauschenberg began to use not things but the images of things. He gathered photos and enlarged them into silk screens, so that they could be printed directly on the canvas. This had two main effects. First, it enormously increased his image bank, because just about everything in the world.. ..has been photographed. And second, by reusing silk - screened images from one painting to the next, it let him use repetition and counterpoint across a series of works in a way that wasn't possible..  ..if he had been using things themselves. In doing this, he was adapting to the great central fact of American communication, its takeover by the imagery of television.
 * Quote of Robert Hughes, in 'My Friend Robert Rauschenberg', at The New York Review of Books, (from Robert Hughes’s unfinished memoir), published for the first time in The Spectacle of Skill - Selected Writings of Robert Hughes, Penguin Random House, 2015

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Robert Rauschenberg


text:
User:Mahitgar

Hi, Everybody

I am a user Mahitgar from Marathi Language Wikiquote.I am just visiting to find out how we can organise Marathi Language Wikiquote

I want to request sysops here to add Marathi wikiquote link to english wikiquote Main page, which is missing as of now.

Thanks reagrds and best wishes to all members and sysops of english Wikiquotes.

Mahitgar 09:47, 5 February 2007 (UTC)

title: User:Mahitgar


text:
Bromwell High

Bromwell High (2005) is a comedy animation, broadcast on Channel 4 (Episodes 1-6) in the UK and Teletoon (via The Detour) in Canada, as well as BBC America in the US and ABC2 in Australia and in some non-english speaking territories. The show follows Keisha, Natella and Latrina through their lives at the inner-city London comprehensive school, Bromwell High. It consists of one continuous run of 13 episodes, seven of which are unaired in the UK. The UK DVD lists the aired episodes as Series 1 and the unaired episodes as Series 2, though in fact they are the same season.

Tolerance [1.1]

 * Miss Dickson: So, this week's project is tolerance. I want each of you to do a presentation in assembly on Friday.
 * Latrina: Oh, Miss Dickson, tolerance is for gays!

 * Miss Dickson: So, this week's project is tolerance. I want each of you to do a presentation in assembly on Friday.
 * Natella: And the best one wins a prize!?
 * Miss Dickson: No, no prize.
 * Natella: I'm going to win that prize, Miss Dickson.
 * Keisha: How do you always think you're gonna win?
 * Natella: Because I always do.
 * Keisha: Oh yeah.
 * Miss Dickson: Really, there's no prize. I don't believe in prizes.
 * Keisha: What, you don't believe prizes exists?
 * Miss Dickson: Well I believe they exist but...
 * Keisha: Well then I'm going to win that prize, Miss Dickson.
 * Natella: I don't think so.
 * Keisha: Oh don't you, Natella? And why won't I win?
 * Natella: Because, I always do.
 * Keisha: Oh yeah.

 * Keisha: I is tolerant like a muthafucker.

 * Miss Dickson: Who can tell me something different about Kylie? Keisha?
 * Keisha: She STINKS!
 * Miss Dickson: Yes, stinking is different. Most people would bathe. Yes, Latrina?
 * Latrina: Her face looks like she's been 'it by a spade.
 * Miss Dickson: SPADEFACE! Yes that's different.
 * Keisha: Rick Brumshah's done a shit IN HER POCKET!
 * [Kylie starts crying]
 * Miss Dickson: Oh, that's a good one.

 * Mr. Bibby: [After flat-block is demolished for lacking council planning permission] I have some experience in corporate manslaughter, headmaster, and I suspect we'll have to give that money to the relatives of the dead. And probably a good deal more, due to what lawyers would call your massive and absolute incompetence.
 * Iqbal: Screw this country that knocks success!

 * Iqbal: [On ways to save money] From now on, no more coffee, you will only drink your own urine, like I do. [Gasps] In fact, you will drink my urine. [Gasps] And no more biscuits, you will eat only horses. [Gasps] And no more books, these kids can't read anyway.
 * [The staff nods in agreement]

 * Mrs. Jackson: Tell us at least you'll be spending the money on books!
 * Iqbal: If by books you mean wind-surfing lessons, then yes.

 * Keisha: Well today's the day.
 * Natella: Yep, D-day.
 * Keisha: Yep, Thursday
 * Natella: Yep, Friday.
 * Keisha: Yep, Wednesday
 * Natella: No, Keisha, it's Friday
 * Keisha: Or maybe it's D-day
 * Natella: Yes, but...
 * Keisha: You think you know so much about the days of the week!

 * Miss Dickson: I'd like to see his haymaker.
 * Mrs Jackson: I'd like to see his left ja-er, right hoo-um, what's another name for cock?

 * Miss Dickson: The prize goes to Kylie for reminding us that it's easy to be tolerant to those we like, but true tolerance includes being nice to stinking ginger freaks! [hands Kylie a large TV]

Police Story [1.2]

 * Latrina: So, is we gonna be police officers together then?
 * Keisha: [Gasps] Latrina, policemen is bad. B-A-F bad.

Keisha's In Love [1.3]

 * Keisha: That's a lie.
 * Lawyer: A lie, is it? Or is it [dramatic pause] the truth?
 * Keisha: No. You need better questions.
 * Lawyer: Better questions you say. Or do I need [dramatic pause] worse questions?

 * Iqbal: O.K., there are two teachers running for promotion to head of year eight: the slutty one and the stupid one.

[All of the teachers look on hopefully]
 * Mr. Bibby: You might want to be a tad more specific, Headmaster.
 * Iqbal: Oh, right. Uh, Miss Dickson and Mr. Phillips.
 * Miss Dickson: Yes! I'm the slutty one!

No More Teachers [1.4]

 * Mr. Bibby: [reading a letter]: So, kidnapping pays off? [to Iqbal] I resign.

 * Latrina: Oh Natella! Indian music is for gays!

 * [After Natella plays her sitar and Gavin breaks it on stage]
 * Natella: Well, what did you think? Give me your honest opinion.
 * Keisha: You were shit, shittier than shit. You were so shit it made me wanna block up my ears with shit, and eat some shit, and then do a shit.
 * Natella: Right...Latrina?
 * Latrina: Shit.
 * Natella: Well, obviously I can't expect you to appreciate the subtleties of Indian classical music. For my talents to be truly appreciated, I require a more sophisticated audience.
 * Keisha: I agree, if sophisticated means deaf.

 * Dave Anderson: [after he gets a record deal] Mornin', Martin.
 * Martin: I'm not jealous...
 * Dave Anderson: Of what?
 * Martin: Nothing. Fuck!
 * Dave Anderson: What'd you mean fuck?
 * Martin: I love teaching, I don't wanna be a millionaire [begins to cry].

 * [After Dave Anderson leaves on his helicopter]
 * Latrina: Is Mr. Anderson leaving?
 * [Gavin and Martin nod their heads]
 * Latrina:Are you two leaving?
 * [Gavin and Martin shake their heads]
 * Latrina: So you're both still teachers?
 * [Gavin and Martin nod]
 * Latrina: You'll both be teachers forever, I reckon.
 * [Martin smacks Latrina on the back of her head]
 * Latrina: Ow! You accidentally hit me!
 * [Gavin smacks Latrina]
 * Latrina: And you too!
 * [Martin does it again]
 * Latrina: Oww!

 * ''[Phone rings in Iqbal's office]
 * Iqbal: Hello?
 * Quentin: This is Quentin Leaves from the Ministry of Education...
 * Iqbal: There is a Ministry of Education?! Huh, what next?  Ministry of Kabob?!

 * Iqbal: Shit. Hold on, is the minister that blind geezer?
 * Quentin: No, no, he's not blind.
 * Iqbal: Wha, the guy with the dog and stick, who is fall down the big hole last week, that everyone else could see?

Fire Drill [1.5]

 * Natella: You'll get detention if you set the school on fire!
 * Keisha: And if my auntie had nuts she'd be my uncle!
 * Carol: Keisha, you have a detention.
 * Keisha: [on mobile phone] Auntie May! You is a lying bitch!

 * Mr. Bibby: You realize this would mean giving up all wheelchair facilities.
 * Iqbal: Oh boo-hoo.
 * Mr. Bibby: But what if there's a fire?
 * Iqbal: [mocking him] But what if there's a fire? What if giant meteor hit the earth tomorrow? [thinks, becomes terrified] Bloody Shitcakes! We'd all be killed!

 * Iqbal: [addressing assembly] Finally, the wheelchair swing has been smashed up. Now, we is sure whoever did this to the wheelchair swing wants to own up. But, just to be certain, we is going to kill one pupil a day 'til they do.

 * Mungo: Mr Phillips, are your pants are on fire?
 * Mr Phillips: No, these aren't mine. I found them in lost property.

 * Aisha: Miss, it already half past nine. We may as well go home!
 * Miss Dickson: Gee, you're absolutely right!

 * Latrina: Oh Natella! Wheelchair accessible is for gays!

 * Natella: You've set fire to 3 things this week!
 * Keisha: No way. Prove it.
 * Natella: One thing on Monday, one thing on Tuesday, and one thing today. One and one and one is three.

 * Natella: I have to tell that Aisha broke the swing. That is the right thing to do.
 * Latrina: That is the right thing to do, and after she murders you, you'll go straight to heaven!
 * Natella: I'm a Hindu.
 * Latrina: Disneyland?

 * Iqbal: I's don't get it. You's Fired.

Valentine's Day [1.6]

 * Natella: [to Keisha] Well, I hate Valentine's Day. It always ends in depression, violence, or pregnancy. Depending if you're me, you, or Latrina.

 * Miss Dickson: [to the kids in the Ugly Class] Just remember, you're not here because you're ugly, you're here because you're ugly and it's Valentine's Day.

 * [When Bromwell High is getting cable, there's a huge hole in the ground]
 * Gavin: Headmaster, this hole is dangerous! Whenever Jesus sees a hole, He fills it.
 * Iqbal: Oh, like my cousin.
 * Miss Dickson: Oh, come on, Gavin, it's not dangerous/ There's a huge sign saying "DANGER: BIG HOLE." As long as the kids can read, we'll be fine.
 * [Kylie looks at the sign, then falls into hole]
 * Miss Dickson: Or maybe the writing is ambiguous.
 * Iqbal: Bloody typical, the only kid in the whole school and only this sentence.
 * [Other kids start falling in hole]

 * Mrs. Jackson: Yes, but I really must protest,
 * Iqbal: You is lucky we is getting cable at these prices
 * Mrs. Jackson: Yes but...
 * Mr. Bibby: Will you stop being so selfish?
 * Mrs. Jackson: I'm not being selfish.
 * Mr. Bibby: Yes you are, 'MY car fell in the hole, MY husband's trapped in it.'
 * Martin: [from car] Uh, Carol...
 * Iqbal: Two words: red hot Dutch! O.K., it's four words but you get the point.

Baby Boom [1.8]

 * Natella: Latrina, your mum needs to stop having babies!
 * Latrina: Oh Natella! Not having babies is for gays!

 * Mr.Bibby: I'm not a monster, I'm a geography teacher.

 * Latrina: My name is Latrina and I have a question for the fat bitch.
 * Miss Dickson: That's fat lady, Latrina.
 * Latrina: Sorry, Miss Fat Lady. Why are you so fat?
 * Miss Dickson: Now Latrina, that is a totally inappropriate question. Anyone else? yes, Keisha?
 * Keisha: Miss Fat Lady, have you ever crushed a man to death during sex?
 * Miss Dickson: Well go on, answer the question.

 * Keisha: It's always some day or another at this school! Today's sex education day, yesterday was Monday. Let's take a day off, man!
 * Natella: You always want to take a day off. You're trapped in a cycle: don't want to learn because you can't read, can't read because you don't want to learn.
 * Keisha: I can't read, Natella, because I have attention deficit disorder.
 * Latrina: What's that?
 * Keisha: What's what?

 * Natella: Mrs. Jackson, have you done something with your hair?
 * Mrs. Jackson: Err, no.
 * Latrina: Well you should, it's a disgrace!

Sack Race [1.9]

 * Keisha: Now I is going to have to do his homework.
 * [Inspector drops her bags with a startled look on her face]
 * Inspector: Homework, what's this homework?
 * Keisha: Homework. We have to finish it and hand it in, then he marks it.
 * Inspector: Marks it, I'm sorry I'm not familliar with the phrase.
 * Keisha: You know "marks it," right or wrong.
 * Inspector: Right or wrong, this man is teaching you that certain things in life are right or wrong? [after nods] That's so wrong!

 * Keisha: Why is English not be easy? I is speak the bitch!

 * Keisha: State your business, man.
 * Woman: I'm here to sack one of your teachers.
 * Keisha: [excitedly] Welcome to Bromwell High!

 * [Following the school's evaluation report]
 * Iqbal: Below Satisfactory! We is moving up in the world!

Prefect [1.10]

 * Gavin: We all worship one god.
 * Student: I'm a Hindu!
 * Gavin: [mockingly laughs] Get out.

Natella Takes Charge [1.11]

 * Natella: Keisha, are you thinking what I'm thinking?
 * Keisha: Yeah! Where's our modern-day Jonathan Swift?
 * Natella: Closer than usual.

 * Iqbal: Remember, a vote for Iqbal is a vote for jobs. Your motha-fucking jobs!

 * Natella: I'm a natural orator!
 * Latrina: Ooh, me too! It's all about tucking your lips over your teeth.

 * Mrs. Jackson: Why don't we call you Bucketface?
 * Miss Dickson: I'd rather have a bucket face than a bucket fanny.
 * Mrs. Jackson: Martin!
 * Mr. Jacskon: What? I didn't tell anybody.

 * Iqbal: And the result is as follow. Iqbal bin Ibrahim Maurice Kandallah...
 * Mr. Bibby: [quietly into mic] Chicken Party.
 * Iqbal: Is 4 vote. Some teachers is must not vote for Iqbal!
 * Martin: I did!
 * Iqbal: Natella Tendalkar Gavaskar Srivastavah...
 * Mr. Bibby: [quietly into mic] Save Comprehensive Education and Fuck The Police Party.
 * Iqbal: Is 7 vote. [cheering] There is 817 spoiled ballot papers, of which most say "Kelly Edwards is a slag."
 * Kelly Edwards: [looks up while making out with random guy] Huh?
 * Iqbal: So, I's hereby announce that Natella is elect school President. God help us.

 * [Later, after a second election]
 * Iqbal: And the result is as follow. Keisha-Marie Christie...
 * Mr. Bibby: [quietly into mic] Keeping It Real.
 * Iqbal: 417 vote.
 * Keisha and Latrina: Mmm
 * Iqbal: Natella Tendalkar Gavaskar Srivastavah...
 * Mr. Bibby: [quietly into mic] Save The Police and Fuck Comprehensive Education.
 * Iqbal: One vote.
 * Keisha and Latrina: Yeah!
 * Iqbal: There is 402 spoilt ballot paper, of which most is "Kelly Edwards is give BJs."
 * Kelly Edwards: [looks up from being bent behind chairs in front of random guy] Huh?
 * Iqbal: I is hereby announce that Keisha-Marie is elect as School Prez!

 * Keisha: [As the Albanian Chicken Nuggets men leave] Why is Kelly Edwards in your car?

 * Mr. Phillips: I believe you can have 11 year old tyrants.
 * Miss Dickson: No, you can't!
 * Mr. Phillips: Oh really? Well, I guess you never heard of a little boy by the name of Mr. Adolf Hitler! Right little terror he was!
 * Mrs. Jackson: Hitler was 44 by the time he became Chancellor of Germany.
 * Mr. Phillips: Oh sure, he looked older, didn't he, because he had that mustache! Like that little Asian boy in Year 7. Or Miss Gosby.

Drama Queen [1.12]

 * Latrina: Either I is got stage fright, or I is pregnant...again!

 * Mrs. Jackson: It's called "If You Don't Come Back to Me, Martin, I'll Kill You!"

Sweets [1.13]

 * Journalist Steve: So... When did you take over the school?
 * Iqbal: Hmmm... let Iqbal think... Five years ago I's in Parkhurst for a crime I's commit...
 * Mr. Bibby: And I was in the former Yugoslavia.
 * Journalist Steve: Mm hm.
 * Mr. Bibby: On a caravan holiday.
 * Journalist Steve: Right.
 * Iqbal: Then I's escape- ah, don't mentions that in article- and I's meet Mr. Beeb in Angola! Where we's run successful diamond smuggle operation...
 * Mr. Bibby: And where we dabbled in the slave trade. Emphasize "dabbled" rather than "slave trade".
 * Journalist Steve: "Slave trade..."
 * Iqbal: For administrative reason, we's have to flee Africa...
 * Mr. Bibby: In a U.N. helicopter gunship.
 * Iqbal: Ho ho! Happy day! An' then I's run mini-cab company, until I's win school in game of poker.
 * Journalist Steve: Crikey! It's a real rags-to-riches story! Our readers are going to love it.

 * Keisha: Sweets! Sweets!
 * Latrina: They're dangerous.
 * Keisha: Sweets! Sweets!
 * Latrina: You could die!
 * Keisha: Sweets! Sweets!
 * Latrina: At the very least, you'll definitely wet yourself.

 * [Keisha is speaking in riddles]
 * Latrina: What class do we have next?
 * Keisha: Across the channel lies a land, whose words we fail to understand.
 * Latrina: Ah, French.
 * Keisha: Double Chemistry.

Cast

 * Natella Tendalkar Gavaskar Srivastavah - Jo Wyatt (voice)
 * Keisha Marie Christie - Gina Yashere (voice)
 * Latrina - Nina Conti (voice)
 * Iqbal bin Ibrahim Maurice Kandallah (headmaster) - Simon Greenall (voice)
 * Roger Bibby (deputy headmaster) - Graeme Garden (voice)
 * Martin Jackson - Simon Greenall (voice)
 * Carol Jackson - Doon Mackichan (voice)
 * Melanie Dickson - Tracy-Ann Oberman (voice)
 * Mr. Phillips - Stephen Merchant (voice)
 * Gavin Beale - Stephen Mangan (voice)
 * Jenny Gosby - Tracy-Ann Oberman (voice)
 * Kylie Rhys-Davis Jr. - Jo Wyatt (voice)

title: Bromwell High


text:
User talk:67.43.25.32

~ UDScott 15:14, 5 February 2007 (UTC)

~ UDScott 15:29, 5 February 2007 (UTC)

title: User talk:67.43.25.32


text: Category:Basketball players

title: Category:Basketball players


text: Category:Coaches and managers

title: Category:Coaches and managers


text:
Warriors (novel series)

Warriors Wikiquote

=The Prophecies Begin=

Into the Wild

 * Smudge: You're not going to go into the woods, are you? Rusty: Just for a look. Smudge: You wouldn't get me in there. It's dangerous! Henry said he went into the woods once. Rusty: That fat old tabby never went into the woods! He's hardly been beyond his own garden since his trip to the vet. All he wants to do is eat and sleep. Smudge: No, really. He caught a robin there! Rusty: "Well, if he did, then it was before the vet. Now he complains about the birds because they disturb his dozing.

Graypaw' (hissing to Firepaw under his breath)''  Now Darkstripe is neither young, nor pretty.

Tigerclaw: (growling) Warriors suffer their pain quietly.

 * Darkstripe: But the Clan cannot support Yellowfang. We have too many mouths to feed already. Graypaw: (whispering to Firepaw) Yeah! And some of them are bigger than others!

 * Firepaw: What on earth did you do to please Tigerclaw - fly?

 * Greypaw: Well, I'm more lopsided than a one-legged badger. I think I shall just have to settle for hunting stupid mice. They won't stand a chance. I shall just walk up to them and sit on them till they surrender.

 * Tigerclaw: Keep your rear down, Ravenpaw, you look like a duck!"

 * Lionheart You speak from your heart, young Firepaw. This will make you a stronger warrior one day. Tigerclaw (growling) Or it might make him give in to kittypet weakness right at the moment of attack”

Fire and Ice

 * Graystripe: If [Cloudkit] carries Fireheart's blood, [he'll] make a good Clan cat. Darkstripe: Yeah, Graystripe! How do you know Fireheart has worthy blood of ThunderClan? Did you taste it last night when you tried to take a chunk out of his leg?

 * Cinderpaw: I'm never going to be a warrior, am I?

 * Cinderpaw: I knew it really, it's just that sometimes I dream about being in the forest, hunting with Brackenpaw, and then I wake up and the pain in my leg reminds me I'll never hunt again. It feels too much to bear. I have to pretend that maybe, one day, I'll be able to hunt.

 * Silverstream: You mouse-brain! What are you doing in my territory? Graystripe: ...Drowning? Silverstream: Can't you drown in your own territory?! Graystripe: Ah, but who would rescue me there?

 * Graystripe: Stay out of it, will you? I'm going to keep on seeing [Silverstream], whatever you do or say.

 * Graystripe: I hope he has them chasing blue squirrels all day! Fireheart: But there aren't any blue squirrels. Graystripe: Precisely!"

 * Yellowfang: That this is Bluestar's final life? Yes, I know. A medicine cat can tell such things.

Forest of Secrets

 * Graystripe: Silverstream is having her kits, but it's all gone wrong! She's bleeding so much, and...oh, Silverstream!

 * Narrative: Fireheart picked up the kit with his teeth, and left Graystripe beside the cat he had loved more than his Clan, more than honor, more than life itself.

 * Dustpelt: I looked up to you. I wanted to be like you. But Redtail was my mentor. I owe him more than any cat. And you killed him. You killed him and betrayed the Clan. I'd rather die than follow you!

 * Graypool: Oakheart, Don't talk to me as if i'm mouse-brained. What cat would abandon her kits in the forest, especially in weather like this?

 * Graystripe: Prey is scarcer than usual - Riverclan cats are starving since the twolegs moved into their territory.

Rising Storm

 * Cinderpelt: Because while you're dreaming about Spottedleaf, there's another cat- a living one- right under your nose whom you should be thinking about instead. Fireheart: (puzzled) What are you talking about? Cinderpelt: Haven't you noticed? Fireheart: Noticed what? Cinderpelt: Fireheart, every cat in the Clan can see that Sandstorm is very, very fond of you!

 * Tigerclaw:Are you listening, kittypet? I will kill you, and all of your warriors, one by one.

 * Fireheart: Well caught, Cloudpaw. I didn't see you coming until it was too late. Cloudpaw: Nor did this stupid bird.

 * Whitestorm: Don't forget Windclan and Shadowclan are still angry with us for sheltering Brokentail. They don't know yet that Brokentail is dead, and they might attack us again.

A Dangerous Path

 * Bluestar: (dying) You will be a great leader. One of the greatest the forest has ever known. You will have the warmth of fire to protect your Clan and the fierceness of fire to defend it. You will be Firestar

The Darkest Hour

 * Bramblepaw: (to Tigerstar) Join you? (hesitates)... After everything you've done? I'd rather die!

 * Darkstripe: This is not my Clan. Not any longer. ThunderClan is led by a kittypet, and there's nothing left to fight for. I feel no loyalty to ThunderClan. In the whole forest, the only cat worth following is Tigerstar.

 * Bluestar: We watch, but we do not interfere... If we did, would you truly be free?

 * Assorted StarClan Cats: Firestar, you are wrong. There were never four Clans in the forest... There were always five.

=The New Prophecy=

Midnight

 * Feathertail: Honestly! Do you toms do anything but argue? Tawnypelt: It's what they do best. Firestar: He's right, you know.
 * Crowpaw: Just like our old home.

Moonrise

 * Squirrelpaw: I've changed my mind. I don't want to be a squirrel anymore. I'd rather be a bird!

 * Crowpaw: Shelter? If this is shelter, then I'm a hedgehog! Stormfur: You're just as prickly...

 * Brook: She came. The silver cat came. Stormfur: No, I brought her.

 * Spottedleaf:(Talking about Firestar) Oh I loved him. Maybe more than a medicine cat should of.

 * Crowpaw: No! Feathertail!

 * Feathertail (dying): Think you have nine lives, do you? I saved you once....Don't make me save you again.

 * Narrative: And when Stormfur looked up at Silverpelt, he could have sworn he saw two silver stars--one slightly larger than than the other

 * Brambleclaw: (planning on how to save Stormfur) It's all of us or none. We came on this journey together and we'll finish it together

Dawn

 * Birchkit: It tastes like crow-food! Ferncloud: You've never eaten crow-food. Now just swallow it (herbs).

 * Crowpaw: I'm not frightened of joining StarClan. The forest is dying anyway. At least in StarClan, Feathertail will be waiting for me!

 * Crowpaw: I would like to choose my own warrior name. If it is alright, I wish to be known as Crowfeather. I wish to keep alive the memory of... of the cat who did not return from the first journey.

Leafpool: Destiny is not a path you blindly follow. There are still choices to be made, and sometime the heart speaks loudest.
 * Squirrelpaw: Oh, Brambleclaw. My heart is with ThunderClan; don't you know that? My heart is with you.

Starlight

 * Squirrelflight: If a fox had gotten me you would have heard about it, don't worry. Crowfeather: I daresay we would.

 * Crowfeather: You walk in my dreams, Leafpool.

 * Narrator: (About Leafpool) Even though she had just nearly been killed by two ShadowClan Warriors, she felt as if her paws were walking on the wind, and her head was filled with stars.

Twilight

 * Cinderpelt: We cannot change our destiny. We just have to have the courage to know what it is, and accept it...

 * Midnight: I have no side. Cats, badgers in peace could live. I speak against attack, but my kin not listen to me. For many days now they talk of blood and revenge.

Sunset

 * Narrator : He was so desperate to tell his news to some other cat; he almost felt that if a mouse crossed his path he would stop to inform it that it was about to be eaten by the new ThunderClan Deputy.

 * Squirrelflight: Then that means that Brambleclaw's destiny and mine is so intertwined,nothing can tear us apart!!

 * Russetfur: Every cat knows that ThunderClan ignores borders, but ShadowClan sticks to the warrior code.

 * Brambleclaw: NO I dont want this to happen Hawkfrost: (bleeding)It's not over yet.

 * Leafpool: It's over. It's over, and peace has come.

=The Power of Three=

The Sight

 * Willowpaw: That's okay. Next time I hope you fall in!

 * Sorreltail: Loyalty is proved by what we do, not where we come from

 * Jaypaw: She'll (Brightheart) be hurt. Narrative: Hollypaw thought she could hear anxiety in Jaypaw's mew. He'd never gotten on well with his mentor, she knew, but he obviously cared about her feelings.

 * Hollykit: I want to be able to help the Clan. If I were a medicine cat I could heal my Clanmates when they were sick and I could share dreams with StarClan. As a warrior I could feed the Clan and defend it-I would die to protect the Clan if I had to-but as a warrior I would be limited to fighting with tooth and claw. As a medicine cat I could fight with all the knowledge and power of StarClan. What better way could there be to serve ThunderClan?

 * Jaypaw: Great! Let's lump all the useless cats together and hope a tree falls on them!

Dark River

 * Birchfall: You're not very sympathic for a medicine cat. Jaypaw: I'm here to heal you. If you want sympathy, go to the nursery.

 * Birchfall: A midnight adventure. That reminds me of my apprentice days. Narrative: He sounded wistful, even though he'd only been a warrior for a few moons. Jaypaw didn't say anything; Birchfall always liked to pretend he was vastly wise and experienced compared with apprentices, but Jaypaw hadn't forgotten the fuss he'd made over getting a thorn in his paw.

 * Heatherpaw: Oh, Lionpaw, what have we done?

Outcast

 * Tawnypelt: Thanks, Snowbird. There, you see! Snowbird will take care of you, and she'll tell me if you've been naughty. Tigerkit: We won't. Dawnkit: Even if we never get to have any fun.

 * Breezepaw: He's way old, older than any of our elders. Why isn't he dead yet?

Eclipse

 * Icepaw: I want to be called Icestorm. Do you think we get to choose?

 * Spiderleg: Graystripe, I'm not envious of you. Having three kits! 2 are enough.... Ow! Toadkit when I told you to play with something else, I did not mean attacking my tail!

Long Shadows

 * Blackstar: They spoke to us. You were right, Littlecloud. We can't ignore the spirits of our warrior ancestors. Not when they're still watching over us.
 * Jayfeather: Midnight said knowledge isn't always power. But sometimes it is. And Ashfur has the power to destroy us all.

Sunrise

 * Yellowfang: We'll find out soon enough. Old secrets can't stay buried forever. And if these three cats are not strong enough to deal with the truth, then you, Bluestar, will have destroyed the Clan you love so much...

=Omen of the Stars=

The Fourth Apprentice

 * Dovekit : Fire! The Clan is on fire!!

 * Jayfeather: Hey, that's mine! Put it back! Thornclaw: Are you mouse-brained? I need it. It's only a stick. Jayfeather: It's my stick. If you don't bring it back in one piece, I'll... I'll... Thornclaw: Okay, I'll bring back your stupid stick. Keep your fur on.

 * Lionblaze: I know what it's like to have a power no other cat understands. It's the loneliest feeling in the world.

 * Cloudtail: Wake up. What are you, a doormouse? Lionblaze: Did you have to do that? I was having this really great dream... Cloudtail: And now you can go on a really great water patrol.

 * Mousepaw: Twolegs! Are they sprouting wings and flying as well?

 * Jayfeather: When Mousefur sounds nice and sweet, I'll really start worrying!

 * Breezepelt(To Jayfeather): Your mother betrayed my father as well as her Clan. You have no right to be a medicine cat. No right to even live among the Clans. I'll never forgive you for what you've done! Never!

 * Narrative: His outline began to fade. As it vanished, Jayfeather's fury erupted. He felt around on the ground until he located a sharp stone. Then he snatched up the stick, balanced it across the stone, and brought his forepaw smashing down on one end. He heard the stick break, and splinters pierced his paws. Rock and the ancient clan had betrayed him, too. Did no cat tell the truth, ever?

 * Blackstar “Welcome to our camp!" beckoning them with his tail. "Rest here and take your pick of the fresh-kill pile." Lionblaze (muttered) "Who are you and what have you done with Blackstar?"

 * Breezepelt(to Jayfeather) "Sending you to StarClan isn't enough of a punishment. You need to know what it's like to have every cat in your Clan stare at you, whisper about you. You need to know that you're surrounded by lies and hatred and things that should never have happened."

Fading Echoes

 * Littlecloud: We all make mistakes. Some have echoes that last forever.

 * Jayfeather: Mistyfoot will make a good leader. She's fair and wise, and the other Clans respect her.

Night Whispers

 * Raggedstar: You must burn as brightly as this fire to protect your Clan. Survival is more important than the code of the medicine cats. You must forget your allegiance to them and pledge yourself only to our Clan. From now on, ShadowClan has no allies. Remember this: A time of war is coming, and your warrior ancestors will stand alongside you. No one else."

 * Firestar:In the future, any cat caught on the ice will be severly punished. Foxleap:Yeah, by death.

 * Brokenstar: He's no better than a whining kit. (Darkstripe)

 * Yellowfang: I saw Lionblaze fight the fox. Jayfeather: And? Yellowfang: It was a sign. Jayfeather: A sign of what? That he's a mouse-brain? Yellowfang: He fought it alone. Jayfeather: (shivering) Yeah. I know. He's a mouse-brain. Can you get to the point?

 * Tigerheart: What are you doing? I won't let you destroy what's left of my brother!!!!

 * Flametail: At least we always know what Tigerheart is thinking. Tigerheart: I bet you don't know what I'm thinking now. Dawnpelt: No, but it won't be long before you blurt it out.

 * Mothwing: They're just dead warriors! Do you think that when they die, they get clever and brave? Don't you realize that some of them may be as foolish and wrong-headed as they were when they were alive?

 * Sparrowkit: Can you fly? Ivypaw: Fly? Sparrowkit: The warriors said you flew down from the trees in the battle. Ivypaw: Oh, yes. All ThunderClan cats can fly. Starlingpaw: Liar. Ivypaw: It's not my fault ShadowClan kits have poppy seeds for brains. Sparrowkit: No we don't! Ivypaw: (snarls) Sparrowkit: (squeaks)

Sign of the Moon

 * Leafpool: Destiny isn't a path that any cat follows blindly. It is always a matter of choice, and sometimes the heart speaks loudest. Deep down, I always knew what I had to do, and that's why I came back to the Clan. Lionblaze, whatever else happens, I trust you to know the right thing to do as well. Listen to your heart, because that's where your true destiny lies.

 * Jayfeather(Jay's Wing at the time): Let me stay here with Half Moon. This is my only chance to live like my Clanmates, to raise kits and grow old with a mate.

 * Foxleap: Today's meal? You mean you only eat once a day? Don't you get hungry? Young Tribe Cat: Don't you get fat?

 * Blossomfall (to Dovewing): You know you've stolen my brother's heart.

 * Foxleap: When the Clans have a common enemy, we unite to defend ourselves. We have to help those cats!

 * Yellowfang: His (Ashfur's) only fault was to love too much.

 * Briarlight: You're all wet and muddy! Jayfeather: Yeah, and claws are sharp. Anything else obvious you want to point out?

 * Half Moon: I will wait for you forever, Jay's Wing !

The Forgotten Warrior

 * Jayfeather: What are you gonna do? Walk up to a fox and say 'Can you please make some dirt for me?' No, I don't think so.

 * Hollyleaf: My name is Hollyleaf. Ivypool: But you're dead! Hollyleaf: Obviously not.

 * Dovewing: Tigerheart can't be part of my life... but Bumblestripe could be.

 * Brokenstar: Let all cats old enough to kill their own enemies gather here!

 * Hazeltail: Who'd have thought that Hollyleaf killed Ashfur? Isn't it awful? How did she ever keep it a secret? Foxleap: Well, she left soon after. Do you think she was brave or a coward to run away like that? Hazeltail: She must have been brave, because she came back... oops. Lionblaze: So you've just remebered that Hollyleaf is my sister.

 * Jayfeather: Great! One medicine cat who can't see, and another who can't walk. ThunderClan would be invincible!

 * Narrative: Dovewing half expected her Clan to stream out through the thorn barrier and race for the WindClan border without any more discussion. Even though she knew what a bad idea that would be, her paws itched to be on the move.

The Last Hope

 * Hollyleaf: Don't pretend the past never happened, Lionblaze. It's like my shadow. Always following me.

 * Jayfeather: Half Moon! Are you here? Half Moon: Jay's Wing! Jayfeather: You came. Halfmoon: Of course, my love.I must fight.

 * Amberkit: Why is Ferncloud asleep? Dewkit: She's tired after all the fighting, silly. Dustpelt will wake her up. Dustpelt: Ferncloud? Ferncloud!

 * Prophecy: There will be three cats, kin of your kin, with the power of the stars in their paws. They will find a fourth, and the battle between light and dark will be won.A new leader will rise from the shadow of his death, and the Clans will survive beyond the memories of his memories. This is how it has always been, this is how it will always be.

 * Lionblaze: Is Jayfeather back? Bumblestripe: He got back just after you left. Lionblaze: Was he okay? Bumblestripe: He snapped at Hazeltail for getting in the way, hissed at Cherrypaw for trampling on Ferncloud's moss, and ordered Foxleap and Toadstep to fetch comfrey... So I guess he's fine.

 * Narrator: Graystripe pushed past Tigerheart and Whitestorm and crouched beside his old friend (Firestar).
 * Graystripe:I would have taken your place if you had let me.
 * Narrator: His voice was hoarse with grief

 * Firestar: The time has come to fight our greatest enemy. We can fight alone, or we can stand together. We're stronger side by side, as we were for the Great Journey. Uniting against the Dark Forest is our only hope.

=Guides=

Cats of the Clans

 * Rock: According to tradition, they are named for the first thing their mother sees when they are born, although to my mind that would lead to a lot of kits being called Roof of Cave or Wall of Cave or Floor of Cave.

Code of the Clans

 * Pinestar: Thank you. You were right. I had to tell the Clan myself. You have a good spirit, young one. When it is time for you to receive your warrior name, tell Sunfall I would have named you Lionheart

Secrets of the Clans

 * Brightheart: I would not have survived that dark time if it weren't for Cloudtail. He gave me another destiny, and I knew that no matter what I looked like, I would be alright. As long as Cloudtail loved me, I was no longer Lostface, but Brightheart

 * Tallstar (stiff with neck fur bristling) WindClan was driven from the forest once, never again. Our territory is ours, and we'll fight for it. Is Thunderclan with us?

Battles of the Clans

 * Reedfeather: These are my kits as well as Fallowtail's. You said we could have them!

 * Ottersplash: Those kits are ours, and you know it!

 * Fallowtail: I'd like her warrior name to be Willowbreeze, and Graypaw to be Graypool. That way I'll always know that my daughters carry the strength of wind and water.

Enter the Clans

 * Firestar: leave me alone you mouse-brained idiot

 * Lizardstripe: What is that? Yellowfang: It's a kit. Raggedstar: It's my kit. Lizardstripe: Oh, yes? What a miracle. If I had known toms could have kits, I would have made Mudclaw have these brats of mine himself.

=Super Editions=

Firestar's Quest

 * Bluestar: There are cats who would argue that there should never have been a fifth Clan in the forest at all. Why are there four oaks at Fourtrees, if not to stand for the four Clans? Firestar:Are you mouse-brained? Are you telling me SkyClan had to leave because there weren't enough trees?

 * Birdflight: I will always be here. We will walk the skies together forever.

 * Echo My name is Echo. I dream of cats with stars in their fur.

Skyclan's Destiny
Narrator: All the stars in the sky didn't seem to give enough light to see where the future lay.

Leafstar: He seems to think the same way I do, and when he's not here, I feel...empty.

Crookedstar's Promise

 * Crookedjaw: You'll never make me feel ashamed of who I am or what I look like.

 * Mapleshade: Can you imagine what it feels like? To be rejected twice? To be a loner when all you tried to do was love?

 * Mapleshade: Do you remember what I said? Do you remember my exact words? I can give you everything you ever dreamed of, power over all your Clanmates, if you promise to be loyal to you Clan above all other things. Do you make that promise ? And you did! You promised ! You chose to sacrifice every cat you ever loved. Your mother, your brother, your mate, and now your own kits: From that one promise, I could take them all! Crookedstar: You're crazy! Mapleshade: But I'm also dead. Which means you can't hurt me!

 * Willowbreeze: (to Crookedstar) You'll be a wonderful father. I'm so happy Hailstar brought me back from WindClan. I've loved being with you and with RiverClan.

Bluestar's Prophecy

 * Leopardkit: We'll be in trouble if we get caught, were not supposed to leave the camp until we're apprentices, remember?

 * Adderfang: Would you sacrifice our own kits and elders to save theirs? If we don't attack now, ThunderClan will be destroyed. Is it not worth risking a few WindClan lives to save all of ours?

 * Sunstar: ThunderClan has kits in the nursery, and the warriors' den is full. We face troubles, it is true. RiverClan pushes at our borders, and kittypets threaten our prey. But the Clan is well fed, and the forest is rich in prey. I vow to make ThunderClan as powerful as the great Clans of old. Today's ThunderClan will be remembered alongside TigerClan and LionClan. Our warriors are courageous and loyal and skilled in battle. There is no reason to feel besieged by our enemies. We have defeated them before and we will do so again. Let me carry you forward in a new era in which ThunderClan is so respected and feared that no cat will dare set a paw on our lands.

 * Thrushpelt: You know how I feel about you, Bluefur. I'd do my best to make you happy, I promise. And I'll love your kits as though they were my own.

 * Snowfur: You have sacrificed so much. And our Clan walks a safer path now. With this life, I give you pride, so that you may know your own worth and the worth of your Clan. Thank you for raising Whitestorm. You were chosen long ago, and StarClan has never regretted its choice.

 * Dappletail: If we can't trust StarClan, then we are lost.

 * Heatherstar: This attack was unjust. StarClan would never have let you win. Take your wounded and leave.

 * Crookedjaw I've got my warrior name, too! Bluefur Crookedjaw?" Crookedjaw How did you guess? (A purr rumbled in his throat.) Bluefur Because your tail's still straight.

 * Whitestorm: If wishes were prey, we'd feast like lions come leafbare. But we'd die of boredom. You know that's not what the life of the Clans is like. The warrior code guides us through the dark times, the cold, and the hunger. And the good times seem all the greater for it.

 * Oakheart: The only thing that can hurt me is being apart from you.

Yellowfang's Secret
•Yellowfang: What, keep on burying kits who should still be at their mothers bellies? Keep on treating wounds from battles that should never have been fought? Keep on sending the elders to the farthest corner of the territory because their wisdom is valued less than dirt!

• : He fought like a lion. He should not have died because he should not have been fighting! I will never train kits again. It's wrong and brings shame to the clan.

Hollyleaf's Story

 * Hollyleaf: Do you want to get out of here or not? Ivypool: Yes, we do. But how do we know you won't lead us further in? Hollyleaf: Because I'm a ThunderClan cat like you. My name is Hollyleaf.

Ravepaw's farewell

 * Leafstar:We will wish him a warriors farewell.

 * Ravenpaw:I won't make it home will I

=Manga=

The Lost Warrior

 * Silverstream: You are a warrior of ThunderClan, Graystripe, your place is with them.

 * Millie: "Kittypet". That's funny! Are you new in the neighborhood, Graystripe?

 * Kittypet 1: I heard that warriors eat bones!
 * Graystripe: Yes we do,now get out of here before I eat you!

Warrior's Refuge

 * Millie: (laughing) 'I can fish,' he says. 'I'll catch us a meal,' he says.

 * Mille: Don't worry, I've got this. Dogs: Run. Millie: No. I won't! Dogs: (confused) Please? Millie: No. Go away. (Dogs leave.) Greystripe: (thinking) I don't think I'd be more surprised if Firestar floated down out of the sky and licked me on the nose.

 * Husker: Hey! You two! Go away! Dogs: All right, all right! We were just curious! You don't have to be rude.

The Rise of Scourge

 * Scourge: My littermates said I was too small...too weak. But I have proven them wrong. I've learned how to live for blood. Because that's the key. The only answer. I am leader of BloodClan. I am Scourge. And I have won!

Escape From the Forest
• Sasha: But even as Tigerstar haunts my thoughts, I realize that he no longer haunts my heart. I'm not afraid of him anymore. Plus, he was wrong about me. Dead wrong. I'm not nothing. I'm Sasha.

Shattered Peace
Ravenpaw: No way am I telling Barley about this, I'd never hear the end of it.

After the Flood
=Plays=

Brightspirit's Mercy

 * Lionblaze: Hollyleaf reckons we’re going to be invaded by other Clans wanting our prey. They've got feathers for brains if they try. Have you seen how thin they are? Jaypaw: Well no, Lionblaze, I haven’t seen, actually.

 * Jaypaw: I was thinking—that’s all. You should try it some time.

 * Hollyleaf: We brought you this (fresh-kill). Breezepaw: Don’t touch it, Ashfoot! They’ve probably put deathberries in it!

=Other=

Spottedleaf's Honest Answer

 * Spottedleaf: At first [Firepaw] was just another apprentice to me—different in that he had been born a kittypet, but as curious, bold, and occasionally mouse-brained as the rest of them.

 * Spottedleaf: When ShadowClan invaded the ravine and sent me to StarClan much, much too soon, I lay in my den for a moon, wishing Firepaw could join me. I should not have died then!

 * Spottedleaf: After one of those moonless nights, Sandstorm was his mate, and I knew that the invisible river between us had grown too wide to leap across. Did you know that he came looking for me in a dream, sought me out to explain that he had to move on and that he couldn’t be in love with a memory anymore? I am not a memory! I wanted to wail, like a kit abandoned by its mother. I am here, I still love you. I will walk beside you forever. But what is that compared with the warmth that Sandstorm can offer him, the solid presence of a mate to help him lead the Clan, to give him beautiful children and watch their kin grow up together? I will still be young when Firestar grows old, but Sandstorm will match him step for step, reflecting his graying fur and slowing paws like a pool of clear water. Does Firestar love Sandstorm? Oh yes, I have no doubt about that.

Warriors

title: Warriors (novel series)


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User talk:68.104.194.11

~ UDScott 17:13, 5 February 2007 (UTC)

title: User talk:68.104.194.11


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User talk:208.180.198.71

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 17:42, 5 February 2007 (UTC)

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text:
User talk:208.0.239.214

I deleted your new page for The Awakening, but I did post an entry on the Requested articles page for someone to create a page fro Kate Chopin, in which quotes from this novel can be collected. Unless you are ready to create such an article, this is a better place for requests. ~ UDScott 18:30, 5 February 2007 (UTC)

title: User talk:208.0.239.214


text:
Wikiquote:Votes for deletion archive/Queen Mab

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete.. Fys. “Ta fys aym”. 21:52, 5 February 2007 (UTC)

Queen Mab
By quoting Mercutio's Queen Mab speech in Romeo and Juliet and by referring to Shelley's poem Queen Mab, this would seem to be an attempt to create a theme page. As a theme, it probably doesn't lend itself to more development even though other writers (e.g., Ben Jonson) have also written about her. Although there are quotes from the poem on the Shelley page, they do not specifically refer to Queen Mab and so there would be no point in transferring them to this theme page. It might be better to move the speech to Romeo and Juliet (act I, scene IV) and to delete this article. - InvisibleSun 07:08, 28 January 2007 (UTC)

 * Vote closed: Result: Delete, with due thanks to InvisibleSun for the cut-down quote. Fys. “Ta fys aym”. 21:49, 5 February 2007 (UTC)

 * Delete page and move quote to Romeo and Juliet. - InvisibleSun 07:08, 28 January 2007 (UTC)
 * Delete. 121a0012 04:06, 29 January 2007 (UTC)
 * Delete page and move a portion of the quote to Romeo and Juliet. ~ UDScott 14:16, 29 January 2007 (UTC)
 * Delete per above. Cbrown1023 01:13, 30 January 2007 (UTC)
 * Delete. —LrdChaos (talk) 15:29, 31 January 2007 (UTC)
 * Delete as impractically specific theme page. Anyone who wishes to can move excerpts to R&J, but we must consider an essential problem of quoting Shakespeare: many people feel it valuable to cite entire speeches, scenes, etc. from his works. Many readers (my sister among them) and actors memorize entire plays. But that doesn't mean we should make an exception to our focus on concise quotes. (I find myself troubled even over Hamlet's soliloquy, which, last time I checked, we had reproduced in its entirety.) Once we cross the line because of the fame of the person or work, we get embroiled in the argument of just how famous a person or work should be to earn this exception. There are many places on the web (not the least Wikisource) where people can find entire passages; Wikiquote is about the most memorable portions of these works. ~ Jeff Q (talk) 12:18, 2 February 2007 (UTC)
 * Comment. I wouldn't have a problem with the speech being shortened; although I'd like to add that some speeches, like the "Seven Ages of Man" from As You Like It ("All the world's a stage," etc.) are usually quoted without cuts because they involve a sequence, progressing from one stage to another, which probably couldn't be edited without ruining the effect altogether. Other examples would include the two longer speeches on the Richard II page, which also tend to be quoted as set pieces. Perhaps the solution would be, as on our Wikiquote page for As You Like It, to have the beginning of the speech quoted, followed by a link to the scene in which the whole speech can be found. In short, although I'm all for the idea of concision wherever possible, I think we need to keep in mind that there really are some speeches, such as the Gettysburg Address or Hamlet's best-known soliloquy, which are quoted at length because they are considered memorable from beginning to end. It seems to me that we're willing to allow much longer stretches of movie dialogue, for example, because the dialogue is divided among characters and therefore doesn't seem as inordinate; but when one character in a play speaks lines of equal length, we tend to think it excessive. - InvisibleSun 13:12, 2 February 2007 (UTC)
 * InvisibleSun, I don't disagree with your assessment of memorability of some of these quotes, but who are we to decide this? How do we stop others from making similar arguments for any speech? And as far as movie and TV-show dialog goes, I tend to trim those things down, too, as many editors don't quite get the concept of pithiness and focusing on essences. It's very hard to be objective about what constitutes a reasonable exception. Shakespeare is an obvious candidate, as he's stood the test of centuries. But I suspect many young readers would find wrestler diatribes more valuable to them than stuffy Early Modern English soliloquys, and the main thing stopping this is the failure to source any of them. Less obvious inanity may indeed be sourceable. We must tread carefully. ~ Jeff Q (talk) 13:41, 2 February 2007 (UTC)
 * Comment. In anticipation of the closing vote consensus today, I have added a much abbreviated form of the quote to the Romeo and Juliet page. - InvisibleSun 03:34, 4 February 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


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Wikiquote:Votes for deletion archive/J. Wallace Day

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: speedy delete.. Fys. “Ta fys aym”. 21:53, 5 February 2007 (UTC)

J. Wallace Day
A Google search reveals only a name that shows up on a small number of quotation pages. No Wikipedia page or any other indication of this person's identity. - InvisibleSun 08:21, 29 January 2007 (UTC)

 * Vote closed early. Result: speedy delete, unremarkable subject. —LrdChaos (talk) 15:30, 31 January 2007 (UTC)

 * Delete. - InvisibleSun 08:21, 29 January 2007 (UTC)
 * Speedy delete for being non-notable. ~ UDScott 14:17, 29 January 2007 (UTC)
 * Speedy delete per UDScott. Cbrown1023 01:13, 30 January 2007 (UTC)
 * SD Unremarkable subject. 121a0012 03:45, 30 January 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


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Wikiquote:Votes for deletion archive/Hercules 64 and Pro Wrestling

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete.. Fys. “Ta fys aym”. 21:54, 5 February 2007 (UTC)

Hercules 64 and Pro Wrestling
More electronic game pages with nothing but a few inane quotes. I don't see anything worth preserving here. ~ UDScott 18:02, 29 January 2007 (UTC)

 * Vote closed: Result: Delete both. Fys. “Ta fys aym”. 21:49, 5 February 2007 (UTC)

 * Delete, unless sourced, pithy quotes are added. ~ UDScott 18:02, 29 January 2007 (UTC)
 * Delete both. - InvisibleSun 23:19, 29 January 2007 (UTC)
 * Delete per nom. Cbrown1023 01:12, 30 January 2007 (UTC)
 * Delete both. 121a0012 03:44, 30 January 2007 (UTC)
 * Delete both. —LrdChaos (talk) 15:31, 31 January 2007 (UTC)
 * Delete both. At some point, we're going to have to have a serious discussion (perhaps at Wikiquote talk:Templates/Electronic games about what we expect from game articles. Clearly, most editors feel that Wikiquote game articles are the place to record just about every utterance and sound effect that occurs within the game. Until we as a community craft and document a clearer standard specifically for games, these editors have no solid guidance on how to distinguish between useful and useless quotes. (It may seem obvious to some, but I can see similar problems occurring in articles about people (especially wrestlers!), written works, TV shows, and other media.) ~ Jeff Q (talk) 12:25, 2 February 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


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User talk:68.19.98.92

- InvisibleSun 23:04, 5 February 2007 (UTC)

title: User talk:68.19.98.92


text:
User talk:172.144.98.231

- InvisibleSun 23:05, 5 February 2007 (UTC)

title: User talk:172.144.98.231