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Jacob Bronowski

Jacob Bronowski (January 18, 1908 – August 22, 1974) was a British mathematician, biologist, and science historian of Polish origin. He is remembered as the writer and presenter of the 1973 BBC television documentary series, The Ascent of Man.

Quotes

 * These are the moments when the powerful mind or the forceful character feels the ferment of the times, when his thoughts quicken, and when he can inject into the uncertainties of others the creative ideas which will strengthen them with purpose. At such a moment the man who can direct others, in thought or in action, can remake the world.
 * The Common Sense of Science (1951), on the influence of Isaac Newton.

 * The air in a man's lungs contains 10,000,000,000,000,000,000,000 atoms, so that sooner or later every one of us breathes an atom that has been breathed before by anyone you can think of who has ever lived — Michelangelo or George Washington or Moses.
 * The Reader's Digest (1964) Vol. 84; also quoted in Structure and Plan (1974) by Glen A. Love, p. 154

 * I grew up to be indifferent to the distinction between literature and science, which in my teens were simply two languages for experience that I learned together.
 * As quoted in World Authors 1950–1970 (1975) by J. Wakeman, pp. 221–223

 * The most modest research worker at his bench, pushing a probe into a neuron to measure the electric response when a light is flashed, is enmeshed in a huge and intertwined network of theories that he carries into his work from the whole field of science, all the way from Ohm’s law to Avogadro's number. He is not alone; he is sustained and held and in some sense imprisoned by the state of scientific theory in every branch. And what he finds is not a single fact either: it adds a thread to the network, ties a knot here and another there, and by these connections at once binds and enlarges the whole system.
 * The Identity of Man (1966)

 * The progress of science is the discovery at each step of a new order which gives unity to what had long seemed unlike. Faraday did this when he closed the link between electricity and magnetism. Clerk Maxwell did it when he linked both with light. Einstein linked time with space, mass with energy, and the path of light past the sun with the flight of a bullet; and spent his dying years in trying to add to these likenesses another, which would find a single imaginative order between the equations between Clerk Maxwell and his own geometry of gravitation When Coleridge tried to define beauty, he returned always to one deep thought: beauty he said, is "unity in variety." Science is nothing else than the search to discover unity in the wild variety of nature — or more exactly, in the variety of our experience.
 * As quoted in The God Particle (1993) by Leon Lederman – ISBN 978–0–618–71168–0

The Common Sense of Science (1951)

 * I write... for laymen and scientists, because the reader who is interested in any activity which needs thought and judgement is... a person to whom science can be made to speak, It is not he who is deaf, but the specialists who have been dumb—the specialists in the arts as well as in the sciences.
 * "Sense and Sensibility"

 * [I]nterest, say in mathematics, has usually been killed by routine teaching, exactly as the literary interest... has been killed...
 * "Sense and Sensibility"

 * Science is not a special sense. It is as wide as the literal meaning of its name: knowledge. The notion of the specialized mind is... as modern as the specialized man, 'the scientist', a word which is only a hundred years old.
 * "Sense and Sensibility"

 * The belief that science destroys culture is sometimes supported by historical statements that the arts have flourished only when the sciences have been neglected. This thesis is... directly contrary to history... [I]n the great age of Greece, art and science penetrate one another more closely than in any modern age. ...The example of these men in science as much as in art set the modern world afire in the Renaissance. And the type and symbol of Renaissance man... remains Leonardo da Vinci, painter, sculptor, mathematician, and engineer. No man has shown more strikingly the universality and the unity of the intellect.
 * "Sense and Sensibility"

 * Ralegh's own circle, which turned Christopher Marlowe into a rationalist, was dominated by... Thomas Hariot. For navigation is dependent on astronomy; it went hand in hand with the new speculations about the world and the solar system... in turn, the voyages of the great navigators inspired the literature of Elizabethan England. The worlds of art and science and the physical world unfolded then together. It was not by accident that the first table of logarithms was published within a few years of the.
 * "Sense and Sensibility"

 * Blake and Coleridge and Wilberforce were... contemporaries of Arkwright and James Watt. Against this, those who hold the illusion that pre-industrial England was more sensitive and cultured, point to the misery of the manufacturing age. ...[T]errible evils ...are ...far older than 1800 and the machines. But in the factory these evils became naked and public; and the driving force for reform came from the men of the mill, from Robert Owen and the elder Peel.

 * In their broad Augustan day, Scottish miners were legally still serfs, just as miners in Greece had always been slaves; and neither civilization thought anything amiss. ...It was the engine, it was the horsepower which created consideration for the horse; and the Industrial Revolution which created our sensibility.
 * "Sense and Sensibility"

 * [T]he invention of photography has made the painter and the patron lose interest in the likeness and transfer it to some more formal pattern. Our whole sensibility has been re-created by such subtle shifts.
 * "Sense and Sensibility"

 * Science and the arts shared the same language at the Restoration. They no longer seem to do so today. ...they lack the same language. And it is the business of each of us to make that one universal language which alone can unite art and science, and layman and scientist, in a common understanding.
 * "Sense and Sensibility"

 * Newton was born during Cromell's revolution in the troubled 1640s; he was eighteen at the Restoration in 1660; and he published the Principia during the intrigues which ended by bringing William of Orange to England in the revolution of 1688. These are the moments when the powerful or the forceful character feels the ferment of the times, when his thoughts quicken...
 * "The Scientific Revolution and the Machine"

 * Science is not an impersonal construction. It is no less, and no more, personal than any other form of communicated thought. ...Science searches the common experience of people; and it is made by people, and it has their style. ...The style of Newton's work, as much as the content, dominated science for two centuries... The science of an age, like its art or its music, has style... But it has content and structure too, larger than the work of any one man...
 * "The Scientific Revolution and the Machine"

Science and Human Values (1956, 1965)

 * First published as a series of three essays in Universities Quarterly (1956) based on lectures presented at MIT in 1953. The 1965 revised edition added a Socratic dialogue, "The Abacus and the Rose". (Page numbers in parentheses refer to the 1972 Harper & Row "Perennial Library" edition.)

 * The discoveries of science, the works of art are explorations — more, are explosions, of a hidden likeness. The discoverer or the artist presents in them two aspects of nature and fuses them into one. This is the act of creation, in which an original thought is born, and it is the same act in original science and original art.
 * Part 1: "The Creative Mind", §9 (p. 19)

 * Science, like art, is not a copy of nature but a re-creation of her.
 * Part 1: "The Creative Mind", §9 (p. 20)

 * We re-make nature by the act of discovery, in the poem or in the theorem. And the great poem and the deep theorem are new to every reader, and yet are his own experience, because he himself re-creates them.
 * Part 1: "The Creative Mind", §9 (p. 20)

 * Mass, time, magnetic moment, the unconscious: we have grown up with these symbolic concepts, so that we are startled to be told that man had once to create them for himself. He had indeed, and he has: for mass is not an intuition in the muscle, and time is not bought ready-made at the watchmaker's.
 * Part 2: "The Habit of Truth", §5 (p. 35)

 * The symbol and the metaphor are as necessary to science as to poetry.
 * Part 2: "The Habit of Truth", §6 (p. 36)

The habit of testing and correcting the concept by its consequences in experience has been the spring within the movement of our civilization ever since. In science and in art and in self-knowledge we explore and move constantly by turning to the world of sense to ask, Is this so? This is the habit of truth, always minute yet always urgent, which for four hundred years has entered every action of ours; and has made our society and the value it sets on man.
 * In effect what Luther said in 1517 was that we may appeal to a demonstrable work of God, the Bible, to override any established authority. The Scientific Revolution begins when Nicolaus Copernicus implied the bolder proposition that there is another work of God to which we may appeal even beyond this: the great work of nature. No absolute statement is allowed to be out of reach of the test, that its consequence must conform to the facts of nature.
 * Part 2: "The Habit of Truth", §11 (p. 45–46)

 * No fact in the world is instant, infinitesimal and ultimate, a single mark. There are, I hold, no atomic facts. In the language of science, every fact is a field — a crisscross of implications, those that lead to it and those that lead from it. … We condense the laws around concepts. Science takes its coherence, its intellectual and imaginative strength together, from the concepts at which its laws cross, like knots in a mesh.
 * Part 3: "The Sense of Human Dignity", §1 (p. 52)

 * Positivists and analysts alike believe that the words is and ought belong to different worlds, so that sentences which are constructed with is usually have verifiable meaning, but sentences constructed with ought never have. This is because Ludwig Wittgenstein's unit, and Bertrand Russell's unit, is one man; all British empiricist philosophy is individualist. And it is of course clear that if the only criterion of true and false which a man accepts is that man's, then he has no base for social agreement. The question of how man ought to behave is a social question, which always involves several people; and if he accepts no evidence and no judgment except his own, he has no tools with which to frame an answer.
 * Part 3: "The Sense of Human Dignity", §3 (p. 56)

We OUGHT to act in such a way that what IS true can be verified to be so. '''
 * There is a social injunction implied in the positivist and analyst methods. '''This social axiom is that
 * Part 3: "The Sense of Human Dignity", §3 (p. 58)

 * Has there ever been a society which has died of dissent? Several have died of conformity in our lifetime.
 * Part 3: "The Sense of Human Dignity", §5 (p. 61)

Those who think that science is ethically neutral confuse the findings of science, which are, with the activity of science, which is not.
 * Tolerance among scientists cannot be based on indifference, it must be based on respect. Respect as a personal value implies, in any society, the public acknowledgements of justice and of due honor. These are values which to the layman seem most remote from any abstract study. Justice, honor, the respect of man for man: What, he asks, have these human values to do with science? [...]
 * Part 3: "The Sense of Human Dignity", §6 (p. 63–64)

 * Nature is more subtle, more deeply intertwined and more strangely integrated than any of our pictures of her — than any of our errors. It is not merely that our pictures are not full enough; each of our pictures in the end turns out to be so basically mistaken that the marvel is that it worked at all.
 * Part 4: "The Abacus and the Rose" (p. 98)

 * The painter's portrait and the physicist's explanation are both rooted in reality, but they have been changed by the painter or the physicist into something more subtly imagined than the photographic appearance of things.
 * Part 4: "The Abacus and the Rose" (p. 103)

Its feathered hexagons of snow, and drives the bee to match at home Their calculated honeycomb, Is abacus and rose combined. An icy sweetness fills my mind, A sense that under thing and wing Lies, taut yet living, coiled, the spring.'''
 * The force that makes the winter grow
 * Part 4: "The Abacus and the Rose" (fin)

 * Dissent is the mark of freedom.
 * (unsorted)

 * There is today almost no scientific theory which was held when, say, the Industrial Revolution began about 1760. Most often today's theories flatly contradict those of 1760; many contradict those of 1900. In cosmology, in quantum mechanics, in genetics, in the social sciences, who now holds the beliefs that seemed firm sixty years ago? Yet the society of scientists has survived these changes without a revolution, and honors the men whose beliefs it no longer shares. No one has recanted abjectly at a trial before his colleagues. The whole structure of science has been changed and no one has been either disgraced or deposed. Through all the changes of science, the society of scientists is flexible and single-minded together, and evolves and rights itself. In the language of science, it is a stable society.
 * as quoted in American Journal of Physics, 44(2), p176, 1976-02
 * (unsorted)

The Creative Process, 1958
J. Bronowski. "The Creative Process." Scientific American 199:59; September 1958.

 * The most remarkable discovery made by scientists is science itself. The discovery must be compared in importance with the invention of cave-painting and of writing. Like these earlier human creations, science is an attempt to control our surroundings by entering into them and understanding them from inside. And like them, science has surely made a critical step in human development which cannot be reversed. We cannot conceive a future society without science. I have used three words to describe these far - reaching changes : discovery, invention and creation. There are contexts in which one of these words is more appropriate than the others.
 * p. 97 Partly cited in: Daniel C. Schlenof. "50 Years Ago: Greatest Scientific Discovery is Science Itself," in Scientific American, Aug. 18, 2008.
 * Christopher Columbus discovered the West Indies, and Alexander Graham Bell invented the telephone. We do not call their achievements creations because they are not personal enough. The West Indies were there all the time; and as for the telephone, we feel that Bell's ingenious thought was somehow not fundamental. The groundwork was there, and if not Bell then someone else would have stumbled on the telephone almost as accidently as on the West Indies.
 * By contrast, we feel that Othello is genuinely a creation. This is not because Othello came out of a clear sky; it did not. There were Elizabethan dramatists before William Shakespeare, and without them he could not have written as he did. Yet within their tradition Othello remains profoundly personal; and though every element in the play has been a theme of other poets, we know that the amalgam of these elements is Shakespeare's; we feel the presence of his single mind. The Elizabethan drama would have gone on without Shakespeare, but no one else would have written Othello...
 * p. 97-98: As quoted in: S.P. Sector (1997). A Study of Issues Relating to the Patentability of Biotechnological Subject Matter. Footnote 51.

 * A fact is discovered, a theory is invented; is any theory ever deep enough for it to be truly called a creation? Most scientists would answer: no! Science, they would say, engages only part of the mind - the rational intellect - but creation must engage the whole mind. Science demands none of that ground swell of emotion, none of the rich bottom of personality, which fills out the work of art...
 * Creation consists in finding unity, finding likenesses, finding pattern...
 * Nature herself is chaos; she is full of infinite variety without order. But if you see her with inner vision, a creative mind (whether a poetic mind like Charles Baudelaire's or a scientific mind like Isaac Newton's), there comes a moment when many different aspects suddenly crystallize in a single unity. You have found a key; you have found a clue; you have found the path which organizes the material. You have found what Coleridge called "unity in variety." That is the moment of creation.
 * p. 97-98: As quoted in: S.P. Sector (1997). A Study of Issues Relating to the Patentability of Biotechnological Subject Matter. Footnote 51.

"The Reach of Imagination" (1967)

 * To imagine is the characteristic act, not of the poet's mind, or the painter's, or the scientist's, but of the mind of man.

 * To imagine means to make images and to move them about inside one's head in new arrangements.

 * With the... symbolic memory we spell out the future—not one but many futures, which we weigh one against another.

 * I am using the word image in a wide meaning, which does not restrict it to the mind's eye as a visual organ. An image in my usage is what Charles Pierce called a sign...

 * [T]he most important images for human beings are simply words, which are abstract symbols. ...[E]volution has greatly enlarged the front lobes of the human brain, which govern the sense of the past and the future; and... they are probably the seat of our other images.

 * The images play out for us events which are not present in our senses, and... create the future—a future that... may never come to exist in that form.

 * Almost everything that we do that is worth doing is done in the first place in the mind's eye.

 * The richness of human life is that we have many lives, we live the events that do not happen (and some that cannot) as vividly as those that do, and if thereby we die a thousand deaths, that is the price we pay...

 * Imagination is the manipulation of images in one's head... the rational manipulation... as well as the literary and artistic manipulation.

 * When a child begins to play games... he enters the gateway to reason and imagination together.

 * [T]he human reason discovers new relations between things not by deduction, but by that unpredictable blend of speculation and insight... induction, which—like other forms of imagination—cannot be formalized.

 * The strength of the imagination, its enriching power and excitement, lies in its interplay with reality—physical and emotional.

 * All great scientists have used their imaginations freely, and let it ride them to outrageous conclusions without crying "Halt!"

 * The symbol is the tool which gives man his power, and it is the same tool whether the symbols are images or words, mathematical signs or s.

 * [S]ymbols have a reach and a roundness that goes beyond their literal and practical meaning. They are the rich concepts under which the mind gathers many particulars into one name, and many instances into one general induction.

 * When a man counts one, two, three, he is not only doing mathematics, he is on the path to the mysticism of numbers in Pythagoras and Vitruvius and Kepler, to the Trinity and the signs of the Zodiac.

 * [I]magination... is the faculty... the common root from which science and literature... spring and grow and flourish together. ...the great ages of science are the great ages of all the arts... [P]owerful minds have taken fire from one another... without asking... to tie their imagination to falling balls or a haunted island. ...When Galileo was looking through his telescope at the moon, Shakespeare was writing The Tempest and all Europe was in ferment, from Johannes Kepler to Peter Paul Rubens, and from the first table of logarithms by John Napier to the Authorized version of the Bible.

All this was a few years before Isaac Newton was born, and it was all in his head that day in 1666, when he... came to conceive... that the moon is like a ball... thrown so hard that it falls exactly as fast as the horizon... he went on to calculate how long... the distant moon would take to round the earth... [T]he imagination that day chimed with nature, and made a harmony.
 * Let me end with... man's ageless fantasy, to fly to the moon. ...Plutarch and Lucian, Ariosto and Ben Jonson wrote about it, before the days of Jules Verne and H. G. Wells and science fiction. The seventeenth century was heady with... fables about voyages to the moon. Kepler wrote one full of deep scientific ideas... wrote... ...  wrote... The Discovery of a New World. They did not draw a line between science and fancy... they all tried to guess where... earth's gravity would stop. Only Kepler understood that gravity has no boundary, and put a law to it—... the wrong law.

The Ascent of Man (1973)

 * In every age there is a turning point, a new way of seeing and asserting the coherence of the world. It is frozen in the statues of Easter Island that put a stop to time—and in the medieval clocks of Europe that once also seemed to say the last word about the heavens for ever. Each culture tries to fix its visionary moment, when it was transformed by a new conception either of nature or of man. But in retrospect, what commands our attention as much are the continuities—the thoughts that run or recur from one civilization to another.
 * Ch. 1 Lower than the Angels.

 * Man is not the most majestic of the creatures; long before the mammals even, the dinosaurs were far more splendid. But he has what no other animal possesses: a jigsaw of faculties, which alone, over three thousand million years of life, made him creative. Every animal leaves traces of what he was. Man alone leaves traces of what he created.
 * In a parched African landscape like this at Omo, man first put his foot to the ground. That seems a pedestrian way to begin the ascent of man.
 * Episode 1: "Lower than the Angels"

 * Of course it's tempting to close one's eyes to history, and instead speculate about the roots of war in some possible animal instinct: as if, like the tiger, we still had to kill to live, or, like the robin redbreast, to defend a nesting territory. But war, organized war, is not a human instinct. It is a highly planned and cooperative form of theft. And that form of theft began 10,000 years ago when the harvesters of wheat accumulated a surplus and the nomads rose out of the desert to rob them of what they themselves could not provide. The evidence for that, we saw, in the walled city of Jericho and its prehistoric tower... That is the beginning of war.
 * Episode 2: "The Harvest of the Seasons"

 * One aim of the physical sciences has been to give an exact picture of the material world. One achievement of physics in the twentieth century has been to prove that that aim is unattainable. There is no absolute knowledge and those who claim it, whether they are scientist or dogmatist, open the door to tragedy. All knowledge, all information is imperfect. We have to treat it with humility.
 * Episode 11: "Knowledge or Certainty"

 * The symbol of the University is the iron statue outside the Rathskeller of a barefoot goose girl that every student kisses at graduation. The University is a Mecca to which students come with something less than perfect faith. It is important that students bring a certain ragamuffin, barefoot irreverence to their studies; they are not here to worship what is known but to question it.
 * Episode 11: "Knowledge or Certainty"

 * The Principle of Uncertainty is a bad name. In science, or outside of it, we are not uncertain; our knowledge is merely confined, within a certain tolerance. We should call it the Principle of Tolerance. And I propose that name in two senses. First, in the engineering sense: Science has progressed, step by step, the most successful enterprise in the ascent of man, because it has understood that the exchange of information between man and nature, and man and man, can only take place with a certain tolerance. But second, I also use the word, passionately, about the real world. All knowledge – all information between human beings – can only be exchanged within a play of tolerance. And that is true whether the exchange is in science, or in literature, or in religion, or in politics, or in any form of thought that aspires to dogma. It's a major tragedy of my lifetime and yours that scientists were refining, to the most exquisite precision, the Principle of Tolerance – and turning their backs on the fact that all around them, tolerance was crashing to the ground beyond repair. The Principle of Uncertainty or, in my phrase, the Principle of Tolerance, fixed once for all the realization that all knowledge is limited. It is an irony of history that at the very time when this was being worked out, there should rise, under Hitler in Germany and other tyrants elsewhere, a counter-conception: a principle of monstrous certainty. When the future looks back on the 1930's, it will think of them as a crucial confrontation of culture as I have been expounding it – the ascent of man against the throwback to the despots' belief that they have absolute certainty.
 * Episode 11: "Knowledge or Certainty"

 * It's said that science will dehumanize people and turn them into numbers. That's false, tragically false. Look for yourself. This is the concentration camp and crematorium at Auschwitz. This is where people were turned into numbers. Into this pond were flushed the ashes of some four million people. And that was not done by gas. It was done by arrogance, it was done by dogma, it was done by ignorance. When people believe that they have absolute knowledge, with no test in reality, this is how they behave. This is what men do when they aspire to the knowledge of gods. Science is a very human form of knowledge. We are always at the brink of the known; we always feel forward for what is to be hoped. Every judgment in science stands on the edge of error and is personal. Science is a tribute to what we can know although we are fallible. In the end, the words were said by Oliver Cromwell: "I beseech you in the bowels of Christ: Think it possible you may be mistaken."  I owe it as a scientist to my friend Leo Szilard, I owe it as a human being to the many members of my family who died here, to stand here as a survivor and a witness. We have to cure ourselves of the itch for absolute knowledge and power. We have to close the distance between the push-button order and the human act. We have to touch people.
 * Episode 11: "Knowledge or Certainty"

 * Fifty years from now, if an understanding of man's origins, his evolution, his history, his progress is not in the common place of the school books, we shall not exist.
 * Episode 13: "The Long Childhood"

 * And I am infinitely saddened to find myself suddenly surrounded in the west by a sense of terrible loss of nerve, a retreat from knowledge into—into what? Into Zen Buddhism; into falsely profound questions about, Are we not really just animals at bottom; into extra-sensory perception and mystery. They do not lie along the line of what we are able to know if we devote ourselves to it: an understanding of man himself. We are nature’s unique experiment to make the rational intelligence prove itself sounder than the reflex. Knowledge is our destiny. Self-knowledge, at last bringing together the experience of the arts and the explanations of science, waits ahead of us.
 * Episode 13: "The Long Childhood"

 * The world can only be grasped by action, not by contemplation.
 * Unidentified episode

 * We are all afraid - for our confidence, for the future, for the world. That is the nature of the human imagination. Yet every man, every civilization, has gone forward because of its engagement with what it has set itself to do. The personal commitment of a man to his skill, the intellectual commitment and the emotional commitment working together as one, has made the Ascent of Man.
 * Sourced to the book, The Ascent of Man (1973), BBC Books: London, Chapter 13: The Long Childhood, p. 330.

The Origins of Knowledge and Imagination (1978)
I believe that we need to review the whole of our natural philosophy in the light of scientific knowledge that has arisen in the last fifty years.
 * Since the word "knowledge" occurs in my general title... I am going to be talking about epistemology, although I prefer to use the eighteenth-century, indeed, medieval phrase, "natural philosophy." ...that enterprise of the human mind which attempts to trace lawfulness to nature, dead and living, but which is not directed to specific inquiries into how this or that law works. Philosophy in the sense in which I practice it, natural philosophy, is concerned with lawfulness rather than with laws and the general nature of laws rather than with the specific structure of this or that law. Natural philosophy was one of the three topics (moral philosophy and metaphysical philosophy were the others) to which one graduated in medieval universities after having studied the seven liberal arts.

 * What we really mean by free will... is the visualizing of alternatives and making a choice between them. ...the central problem of human consciousness depends on this ability to imagine.

 * I believe that the world is totally connected: that is to say, that there are no events anywhere in the universe which are not tied to every other event in the universe. ...It is... an essential part of the methodology of science to divide the world for any experiment into... relevant and... irrelevant. We make a cut. We put the experiment... into a box. ...the moment we do that, we do violence to the connections ...I get a set of answers which I try to decode in this context. ...I am certainly not going to get the world right, because the basic assumption that I have made about the world is a lie. ...it is bound to give me only an approximation to what goes inside the fence. Therefore, when we practice science (and this is true of all our experience) we are always decoding a part of nature which is not complete. We simply cannot get out of our own finiteness.

 * Let me close by reminding you of what Newton actually did on the day that he conceived $$G = k \frac{mm'}{r^2}$$. ...Newton did not have any subsidies, grants, funds, Secret Service money. But he had the moon. He said, "... I cannot throw a ball round the world, but let me picture the moon as if it were a ball which has been flung around the world... How long will it take to go round the world?" ...He knew the value of gravity at the earth's surface ...but he did not know the value of the earth's gravity for the moon. He said, "Let us suppose that it is given by an inverse square law. Now, how long will it take the moon to go around?" It comes out at twenty-eight days. As Newton said, "They agreed pretty nearly."

 * Progress is the exploration of our own error. Evolution is a consolidation of what have always begun as errors. And errors are of two kinds: errors that turn out to be true and errors that turn out to be false (which are most of them). But they both have the same character of being an imaginative speculation. ...it seems to me terribly important to say this in an age in which most nonscientists are feeling a kind of loss of nerve. ...by the time science becomes a closed—that is, computerizable—project, it is not science anymore. It is not in the area of the exploration of errors.

"The Imaginative Mind in Art" (1978)

 * in The Visonary Eye, ed., Jacob Bronowski

 * [A]ll our symbols have the same purpose; words are merely the symbols we use most commonly. The function of words in human thought is to stand for things which are not present to the senses, and allow the mind to manipulate them—things, concepts, ideas, everything that does not have a physical reality in front of us now.

 * The language of ideas creates a different universe: a universe which has multiplied the monkey's vocabulary of forty words to the million words in the English dictionary.

 * Human beings can imagine situations which are different from those in front of their eyes... because they make and hold in their minds images for absent things.

 * When a child... discovers his own imagination, he suddenly walks into a new life. ...seeing situations that do not exist. ...in part as fantasy, and in part as a quite rational exploration of future experiences. ...play ...frolics in the fantasy world, and it experiments in the rational world... They project themselves into all worlds, possible and impossible, and discover for themselves the knife-edge boundary between them.

 * The ability... to experiment with imaginary situations, gives man a freedom... the pleasure in trying out and exploring imaginary situations. A child's play is concerned with this pleasure; and so is much of art, and much of science... [P]ure science... is a form of play, in this sense.

Quotes about Bronowski

 * He first became familiar to the British public through appearances on the BBC television version of The Brains Trust in the late 1950s, but is better known for his... series The Ascent of Man (1973). This was an inspiration for Carl Sagan to make Cosmos in 1980. During the making of The Ascent of Man he was interviewed by Michael Parkinson, and Bronowski's description of a visit to Auschwitz—he had lost many family members during the Nazi era—was described by Parkinson as one of his most memorable interviews. ...Bronowski died of a heart attack in East Hampton, New York a year after The Ascent of Man was completed, and was buried in the western side of London's ...
 * Laurence D. Chalem, Essential Diabetes Leadership (2009)

An attempt to avoid these difficulties and to advance a radically different approach... was made by Jacob Bronowski. His purpose was to formalize the criterion for the validity of a theory that was advocated by men like John Frederick Herschel and William Whewell. ...these scientists and philosophers saw the main achievement of a theory in its unifying and simplifying power. The simpler the theory... the more probable the theory. If the theory consists in a complete enumeration of all observable facts, the "theory" would have a very high probability... However, von Mises and Bronowski rejected this... If we have two theories which yield the same observable facts, the scientist prefers the... more economical or just simpler. Bronowski compares the scientific theory with a code... We prefer the code which is more practical, more efficient. ...to improve the code, we try systematically... "to break down the code into its constituent symbols and their laws of arrangement." ...If we break down [chemical] elements into... elementary particles (protons, neutrons, and electrons) and the forces acting between them, we have a code which describes... the interaction between hydrogen and oxygen... from which can be derived much more information than from any theory in which "oxygen" and "hydrogen"...occur as primitive symbols. ...'''Bronowski calls a theory the more probable, the more the code... is broken down into constituent symbols and laws of arrangement.'''
 * [V]on Mises and raised the objection that in Reichenbach's theory a theory was said to be "valid with a probability of 70%," if 70 per cent of the conclusions of the theory were confirmed by experiment. However, we know... a theory which is in disagreement with experience in 30% of... experiments is called "false" or "wrong." We come to the same conclusion if we apply Carnap's "."
 * , Philosophy of Science: The Link Between Science and Philosophy (1957)

 * Every acceptance of a debatable theory is due to a compromise between Reichenbach's and Bronowski's criteria: agreement with facts and efficiency as a code.
 * Philipp Frank, Philosophy of Science: The Link Between Science and Philosophy (1957)

 * The criteria of Reichenbach and Carnap, which are based, like John Stuart Mill's inductive logic, upon agreement with observations, have to be complemented by the criterion of economy and simplicity which was advanced in the history of science by men like William Ockham, Isaac Newton, and Ernst Mach. In out twentieth century, the importance of criteria other than mere agreement with observation was stressed by von Mises and Bronowski.
 * , Philosophy of Science: The Link Between Science and Philosophy (1957)

 * The ashes of millions of people were flushed into the pond at Auschwitz, but on that sunny day... I stood at its edge... twenty-four years earlier I sat in front of our television set and watched... Bronowski... as a scientist, a human being, a survivor and a witness at the edge of this pond. Many members of his family had died at Auschwitz. He reminded us that it is said that science will turn people into numbers and told... passionately that this is '...tragically false', and that it was here... that people were turned into numbers and murdered not by the gas... but by the arrogance, the dogma and ignorance... and by the murderers'... belief that they possessed absolute knowledge... never—unlike scientists—tested... against objective reality. ...Bronowski ...reminded us that science is a very human form of knowledge in which every judgement stands on the edge of error and is personal. Quoting the words of Oliver Cromwell—'I beseech you, in the bowels of Christ, think it possible you may be mistaken'—he reached into the water... telling us that we must close the distance between the push-button order and the human act... ending with the words: 'We have to touch people.' ...Bronowski's active defiance of failings such as despair, failing of nerve, fashionable pessimism and irresponsibility had made a permanent and indelible impression on me...
 * Anthony James, Introduction, The Happy Passion: A Personal View of Jacob Bronowski (2011)

title: Jacob Bronowski


text:
User:Imz

See w:en:User:Imz.

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

title: User:Imz


text:
Alesha Dixon

Alesha Anjanette Dixon (born October 7, 1978) is a British singer and dancer, former member of girl group Mis-Teeq. Additionally, Dixon is a judge on the BBC dancing show Strictly Come Dancing, which she also participated in two years prior to her appointment as a judge.

Quotes

 * By the way, dancers are not human beings. How can you be human and do what they do?
 * Alesha Dixon cited in Dixon tipped for Strictly success at bbc.co.uk, 22 December, 2007: Referring bookmakers favourite to win BBC One's ballroom show Strictly Come Dancing.

 * Strictly has just given me a real zest for life. Life is so short. We should all grasp it.
 * Alesha Dixon cited in Strictly Come Dancing saved me at ok.co.uk, 25 December 2007

 * When you are knocked down you have two choices - stay down or get back up, stronger.
 * Alesha Dixon cited in Exclusive Interview with: Alesha Dixon" at blog.mirror.co.uk, 8 May 2009

Quotes about Alesha Dixon

 * I don't need to give Alesha any advice. Honestly, she's a really strong woman.
 * Cheryl Cole, asked if she had any advice for Dixon becoming a television judge (22 September 2009)

 * You have this great laugh. It's this crazy, mad laugh.
 * Jonathan Ross. Interview on Friday night with Jonathan Ross (19 October 2009)

title: Alesha Dixon


text:
The Andromeda Strain (film)

The Andromeda Strain is a 1971 film based on a 1969 novel of the same name by Michael Crichton about a team of scientists to investigating the cause of a spaceborne disease that kills nearly everyone in a small desert town. They find an extraterrestrial form of life that causes rapid, fatal clotting of the blood, and make some disturbing discoveries about the project as well. The film follows the book closely, down to most names, events, and even dialogue, although it is necessarily an abridged version.

 * ''Directed by Robert Wise. Written by Nelson Gidding.

Maj. Manchek

 * Hello, Ops. This is Major Manchek, Scoop Control A-12. We need a fly-by over Piedmont, New Mexico. Infrared, a FLIR scan, all sectors, film to come direct to Scoop. Assign… Gunner Wilson. If he's not crocked some place.

Dr. Mark Hall

 * [Reading a suicide note from an old woman hanging over her stairs 0:24:33] "The Day of Judgement is at hand. Have mercy on my soul… and to Hell with all the others, amen!"

Dr. Rudolph Karp

 * Fools! They refuse to believe life exists in meteorites. I showed them at the astrophysics conference what I just showed you. But no! Even with a microscope, they are blind! What do I have to do, hit them over the head?

Dialogue

 * Government Agent: [0:13:30] It was the fastest thing we could arrange, sir. [Stone looks at inside of completely unoccupied plane, says nothing, sits down. Telephone rings, agent hands phone to Stone.] It's for you, sir.
 * Stone: I feel like Onassis.

 * [Helicopter pilot Dempsey takes Drs. Stone and Mark Hall toward the dead town. 0:21:00]
 * Stone: [to Deptsey] Drop us here, then rise to 1,000 feet. If we don't return...
 * Dempsey: I know, proceed to Wildfire and... [draws hand across throat, makes noise]
 * Stone: [to Hall] If something happens to us, the pilot and aircraft will have to be sterilized.
 * Dempsey: Uh, that's not what they told me. Just incinerated.

 * [Stone shows Hall a dead man with peaceful, composed posture. 0:22:55]
 * Dr. Jeremy Stone: Are you sure that isn't coronary?
 * Dr. Mark Hall: No, coronary is painful. They should grimace.
 * Dr. Jeremy Stone: If it was fast, they wouldn't have time!
 * Dr. Mark Hall: Fast? These people were cut down in mid-stride!

 * ''[The two doctors find a old woman hanging over her stairs 0:24:33.]]
 * Dr. Mark Hall: [reading a suicide note] "The Day of Judgement is at hand. Have mercy on my soul... and to Hell with all the others, amen!" This took time. Regardless of what made her do it... this took time.

 * [The two doctors find a dead man kneeling over a bathtub, head in the water. 0:25:00]
 * Dr. Jeremy Stone: I wouldn't believe you could commit suicide that way.
 * Dr. Mark Hall: Most of them died instantly, but a few had time to go quietly nuts.

 * Leavitt: You're lost. Nobody's used this road for years.
 * Burton: It's supposed to look that way. We spent over $50,000 to make the road like this.
 * Leavitt: [incredulously] Putting in the potholes?
 * Burton: Getting rid of the treadmarks. A hell of a lot of heavy equipment has passed this way.

 * [Dr. Ruth Leavitt shields her eyes as she and Dr. Charles Dutton walk past a barricade with flashing red lights.]
 * Dr. Charles Dutton: Something wrong?
 * Dr. Ruth Leavitt: I never liked red lights. Reminds me of my years in a bordello.

 * [Stone hands out suppositories to the team members. 0:58:30]
 * Dr. Jeremy Stone: Um... stop by your rooms and insert these before taking the elevator.
 * Dr. Ruth Leavitt: I have risked drowning in that foul bath! I have been par-boiled, irradiated, and xenon-flashed! And now you suggest I—
 * Dr. Jeremy Stone: I have to! We haven't done a thing about the G.I. tract yet. On Level 5, we must be as nearly germ-free as possible!
 * [Leavitt eyes her suppository distastefully.]
 * Dr. Ruth Leavitt: Anyone care to join me for a smoke?

 * Burton: I'm going to try a 2 micron filter.
 * Toby Male Technician: This one's big, I'll have to get me a fly swatter.

 * [Dr. Dutton orders a bio-suited Toby out of a contaminated chamber.]
 * Toby: No sweat, sir. Those cages are airtight.
 * Dr. Charles Dutton: I wish you would sweat a little more, Toby. Sweat is a safeguard against some kinds of bacteria and carelessness.

 * Dr. Jeremy Stone: Stick to established procedures!
 * Dr. Ruth Leavitt: Establishment gonna fall down go boom.

 * [Gen. Sparks and Maj. Manchek examine bare human bones and a crumbled oxygen mask from a jet crash. 1:36:50]
 * Consultant: I'd say it was done by a chemical reaction of some sort, or maybe a microorganism.
 * Gen. Sparks: Meaning?
 * Maj. Manchek: Meaning there was something in that plane that consumes plastic.

 * [Jackson slaps his hand on bio-suited nurse Karen Anson's butt while being examined. 1:38:40]
 * Karen Anson: Feeling better, aren't you, Mr. Jackson?
 * Jackson: Yehhhp! You always have to wear that iron suit?
 * Karen Anson: [imitating Jackson] Yehhhp!

 * Dr. Mark Hall: Tell us what happened, Mr. Jackson.
 * Jackson: I don't wanna think about it.
 * Dr. Mark Hall: You know what people will say: "Piedmont was bad. That's why it was punished." First the town went crazy, and then was destroyed.
 * Jackson: You're crazy. Folks at Piedmont was good! Decent, normal folks!
 * Dr. Mark Hall: The man we found all dressed up in his doughboy's uniform - [the suicide in the bathtub] call that normal?
 * Jackson: Pete Arnold, who worked at the store. It was the disease!
 * Dr. Mark Hall: How do you know?
 * Jackson: 'Cause the only thing wrong with him before that night, was sugar.
 * Dr. Mark Hall: Diabetes? Did he take insulin?
 * Jackson: Couple of times a day! Hated the needle. I tried to talk him into usin' squeeze.

 * [After insisting on nuclear sterilization of Piedmont, the Wildfire team reverses themselves. 1:50:05]
 * Presidential Aide: The boss'll be pleased to know that he made the right decision on 7-12 in the first place.
 * Dr. Ruth Leavitt: [sarcastically] Congratulate him on his scientific insight!

 * [The scientists examine an electronic map to determine the projected spread of the organism. 1:52:15]
 * Dr. Jeremy Stone: Well, according to this, there'll be a super-colony of Andromeda over the entire southwest in—
 * Dr. Charles Dutton: Jeremy! These are biological warfare maps!
 * Dr. Jeremy Stone: Why, yes, so they are. Well, but… simulations, Charlie. Defensive! It's just a scenario.
 * Dr. Ruth Leavitt: That's not the point, for God's sake! Wildfire was built for germ warfare! Wildfire and Scoop! And you knew, Stone! You knew it!
 * Dr. Jeremy Stone: That's not true, Ruth! I learned about Scoop the same time you did!
 * Dr. Charles Dutton: They already had Andromeda programmed! The purpose of Scoop was to find new biological weapons in outer space, and then use Wildfire to develop them!
 * Dr. Ruth Leavitt: It stinks, Stone!
 * Dr. Jeremy Stone: You're blowing your tops! We have no proof.
 * Dr. Charles Dutton: The map!
 * Dr. Jeremy Stone: Don't be an ass! That map only shows what Andromeda could do in the hands of an enemy!
 * Dr. Charles Dutton: Enemy? We did it to ourselves!

 * Karen: [baby wailing in background] Dr. Hall, may I please feed the baby now, he's been crying steadily!
 * Hall: [to monitor] No! Keep him crying! And run another blood analysis! [to Burton] If I'm right, Jackson and the baby should have similar Ph levels. [to monitor] Karen, where's that analysis?
 * Karen: [Irritated] It's coming up on your console, now.
 * Peter Jackson: [turns to face CCTV camera] Hell of a way to run a hospital!

 * [Video monitor: GASKET INTEGRITY ZERO. LEVEL V CONTAMINATED]
 * Stone: Mark, come on, we've got to get out of here! There's no substation in this sector! [both of them run into corridor, turn left and see corridor connector closing, turn and run the other direction in time to see that connector closing]
 * Public Address System: Five minutes to self destruct.
 * Stone: When the bomb goes off there'll be a thousand mutations, Andromeda will spread everywhere, we'll never be rid of it! [pointing at uncompleted bomb cutoff substation)] The defense system is perfect, Mark. It'll even bury our mistakes.

<hr width="50%"/>
 * [Final lines of the film. 2:08:50]
 * Sen. Phillips: This cloud-seeding business, Stone — [are] you absolutely sure it worked? You better be!
 * Dr. Jeremy Stone: All reports continue to indicate that the experiment was successful, Senator.
 * Sen. Phillips: Then we can feel confident your so-called biological crisis is over.
 * Dr. Jeremy Stone: As far as Andromeda is concerned, yes. We have the organism at Wildfire, and we continue to study it. We know now beyond a doubt that other forms of life exist in the universe.
 * Sen. Phillips: Thanks to Scoop.
 * Dr. Jeremy Stone: Yes. [pauses] However, with this new knowledge, there's no guarantee that another "so-called biological crisis" won't occur again.
 * Sen. Phillips: Hmm. What do we do about that?
 * Dr. Jeremy Stone: Precisely, Senator. What do we do?
 * [The last scene shows the Andromeda Strain dissolving in sea water; it then changes to Computer Number "601" (signifying information coming in too fast to be processed...)]

Cast

 * Arthur Hill — Dr. Jeremy Stone
 * David Wayne — Dr. Charles Dutton
 * James Olson — Dr. Mark Hall
 * Kate Reid — Dr. Ruth Leavitt
 * Paula Kelly — Karen Anson
 * George Mitchell — Jackson
 * Ramon Bieri — Maj. Manchek
 * Eric Christmas — Senator Phillips (Vermont)
 * Ken Swofford — Toby
 * John Carter — MP Capt. Morton
 * James W. Gavin — Dempsey
 * Reuben Singer — Dr. Rudolph Karp

title: The Andromeda Strain (film)


text:
Talk:Edward Young

Edward Young was a proto-Romantic, doing with Nature and the Self in the 1740s some of the things that we tend to associate with Wordsworth after 1798 ('Lyrical Ballads'). Like James Thomson (of 'The Seasons' fame, 1748) Young was very well known in his day but has been eclipsed by Pope and Swift in our estimate of the earlier 18th century.

Young's 'Night Thoughts' is a highly readable poem that proposes a theology not entirely alien to modern Physics when the physicist isn't too much of a classical materialist. He is a Lockean mentalist, a subjectivist, a believer in the creativity of consciousness. Try this, on the human faculty of sight:

Our Senses, as our Reason, are Divine. But for the magic Organ's powerful charm, Earth were a rude, uncoloured Chaos still. Objects are but th'Occasion; ours th'exploit; Ours is the Cloth, the Pencil, and the Paint, Which Nature's admirable Picture draws; And beautifies Creation's ample Dome.

Unsourced

 * Tomorrow is the day when idlers work, and fools reform.

title: Talk:Edward Young


text:
Talk:Crime and Punishment

maybe it would be useful to indictate the translation of the book that the quote is taken from. the "nonsense" one for example seems rather weird to me. i don't think i know of any translation that contains it in that form. "to err" really is more appropriate here than "to talk nonsense".

title: Talk:Crime and Punishment


text:
Frankenstein (1931 film)

Frankenstein is a 1931 American horror film about an obsessed scientist who assembles a living being from parts of exhumed corpses.
 * Directed by James Whale. Written by John L. Balderston, Francis Edward Faragoh, and Garrett Fort, loosely based on the novel Frankenstein by Mary Shelley.

A Monster Science Created — But Could Not Destroy! taglines

Dr. Henry Frankenstein

 * He's just resting — waiting for a new life to come.
 * [in a letter] You must have faith in me, Elizabeth. Wait, my work must come first, even before you. At night the winds howl in the mountains. There is no one here. Prying eyes can't peer into my secret...I am living in an abandoned old watchtower close to the town of Goldstadt. Only my assistant is here to help me with my experiments.
 * This storm will be magnificent. All the electrical secrets of Heaven. And this time we're ready, eh Fritz? Ready.
 * There's nothing to fear. Look. No blood, no decay. Just a few stitches. And look, here's the final touch. The brain you stole, Fritz. Think of it. The brain of a dead man waiting to live again in a body I made with my own hands, with my own hands. Let's have one final test. Throw the switches.
 * Quite a good scene, isn't it? One man crazy — three very sane spectators.
 * There can be no wedding while this horrible creation of mine is still alive. I made him with these hands, and with these hands I will destroy him. I must find him. [to Victor] You stay here and look after Elizabeth. I leave her in your care, whatever happens. Do you understand? In your care.

Baron Frankenstein

 * You think I'm an idiot, don't you? But I'm not! Anyone can see with half an eye that there's something wrong. And I have two eyes, and pretty good ones at that. Well, what is it?...What's the matter with my son? What's he doing?...Why does he go messing around an old ruined windmill when he has a decent house, a bath, good food and drink, and a darn pretty girl to come back to? Ha, will you tell me that?
 * I understand perfectly well. There's another woman — and you're afraid to tell me. Pretty sort of experiments these must be.
 * [toasting Henry and Elizabeth] Here's to a very good health...to a son of the House of Frankenstein...Here's to jolly good health to Frankenstein.

Others

 * Edward van Sloan: How do you do? Mr. Carl Laemmle [the producer] feels it would be a little unkind to present this picture without just a word of friendly warning. We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation — life and death. I think it will thrill you. It may shock you. It might even — horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to — uh, well, we warned you.
 * Elizabeth: The very day we announced our engagement, he told me of his experiments. He said he was on the verge of a discovery so terrific that he doubted his own sanity. There was a strange look in his eyes, some mystery. His words carried me right away. Of course I've never doubted him but still I worry. I can't help it.
 * Dr. Waldman: Herr Frankenstein is a most brilliant young man, yet so erratic he troubles me.
 * Villagers: Burn the mill! Burn it down! Burn the mill!

Dialogue

 * Victor: [suggesting he see Dr. Waldman about Henry] Perhaps he can tell me more about all this.
 * Elizabeth: Oh Victor, you're a dear.
 * Victor: You know I'd go to the ends of the earth for you.
 * Elizabeth: I shouldn't like that. I'm far too fond of you.
 * Victor: I wish you were!
 * Elizabeth: Victor.
 * Victor: I'm sorry.

 * Waldman: Herr Frankenstein is greatly changed.
 * Victor: You mean changed as a result of his work?
 * Waldman: Yes, his work, his insane ambition to create life.
 * Elizabeth: How? How? Please tell us everything, whatever it is.
 * Waldman: The bodies we use in our dissecting room for lecture purposes were not perfect enough for his experiments, he said. He wished us to supply him with other bodies and we were not to be too particular as to where and how we got them. I told him that his demands were unreasonable. And so he left the University to work unhampered. He found what he needed elsewhere.
 * Victor: Oh! The bodies of animals. Well, what are the lives of a few rabbits and dogs?
 * Waldman: You do not quite get what I mean. Herr Frankenstein was interested only in human life — first to destroy it, then recreate it. There you have his mad dream.

 * Henry: Elizabeth, please, won't you go away? Won't you trust me, just for tonight?
 * Elizabeth: You're ill. What's the matter?
 * Henry: Nothing. I'm quite all right, truly I am. Oh, can't you see? I mustn't be disturbed. You'll ruin everything. My experiment is almost completed.
 * Elizabeth: Wait a moment. I understand. I believe in you. But I cannot leave you tonight.
 * Henry: You've got to leave!
 * Victor: Henry, you're inhuman. You're crazy.
 * Henry: Crazy, am I? We'll see whether I'm crazy or not. Come on up...

 * Henry: You're quite sure you want to come in? ...Very well. [locks door and pockets key] Forgive me, but I'm forced to take unusual precautions...A moment ago you said I was crazy. Tomorrow we'll see about that. [to Dr. Waldman] Don't touch that! Dr. Waldman. I learned a great deal from you at the University about the violet ray, the ultra-violet ray, which you said was the highest color in the spectrum. You were wrong. Here in this machinery I have gone beyond that. I have discovered the great ray that first brought life into the world.
 * Waldman: Oh! And your proof?
 * Henry: Tonight, you shall have your proof. At first, I experimented only with dead animals, and then a human heart which I kept beating for three weeks. But now, I'm going to turn that ray on that body and endow it with life.
 * Waldman: And you really believe that you can bring life to the dead?
 * Henry: That body is not dead. It has never lived. I created it. I made it with my own hands from the bodies I took from graves, from the gallows, anywhere! Go and see for yourself.

 * Henry: Look! It's moving. It's sha — it's... it's alive. It's alive... It's alive, it's moving, it's alive! It's alive, it's alive, it's alive! It's ALIVE!
 * Victor: Henry — in the name of God!
 * Henry: Oh in the name of God! Now I know what it feels like to be God!
 * Note: the bolded line is ranked #49 in the American Film Institute's list of the top 100 movie quotations in American cinema.

 * Baron: Well, tell him to go away.
 * Maid: But he says it's important.
 * Baron: Nothing the burgomaster can say can be of the slightest importance.

 * Vogel: What I really want to know is, when will the wedding be, if you please?
 * Baron: Unless Henry comes to his senses, there'll be no wedding at all.
 * Vogel: But Herr Baron, the village is already prepared.
 * Baron: Well, tell them to unprepare.
 * Vogel: Oh, but such a lovely bride! And such a fine young man, the very image of his father.
 * Baron: Heaven forbid!
 * Vogel: But sir, everything is ready!

 * Waldman: This creature of yours should be kept under guard. Mark my words. He will prove dangerous.
 * Henry: Dangerous! Poor old Waldman. Have you never wanted to do anything that was dangerous? Where should we be if nobody tried to find out what lies beyond? Have you never wanted to look beyond the clouds and the stars or to know what causes the trees to bud and what changes the darkness into light? But if you talk like that, people call you crazy. But if I could discover just one of these things, what eternity is, for example, I wouldn't care if they did think I was crazy!
 * Waldman: You're young, my friend. Your success has intoxicated you. Wake up and look facts in the face! Here we have a fiend whose brain...
 * Henry: The brain must be given time to develop. It's a perfectly good brain, doctor. You ought to know. It came from your own laboratory.
 * Waldman: The brain that was stolen from my laboratory was a criminal brain.
 * Henry: Oh well, after all, it's only a piece of dead tissue.
 * Waldman: Only Evil can come of it! Your health will be ruined if you persist in this madness.
 * Henry: I'm astonishingly sane, doctor.
 * Waldman: You have created a Monster and he will destroy you.
 * Henry: Patience, patience. I believe in this Monster, as you call it. And if you don't, well, you must leave me alone. So far, he's been kept in complete darkness. Wait till I bring him into the light.

 * Baron: Well, what's the matter with you? You look as if you've been kicked by a horse. Where's Henry?
 * Waldman: I would advise you to take Henry away from here at once.
 * Baron: What do you suppose I'm here for, pleasure?

 * Henry: It's like heaven, being with you again.
 * Elizabeth: Heaven wasn't so far away all the time, you know.
 * Henry: I know, but I didn't realize it. My work. Those horrible days and nights. I couldn't think of anything else.
 * Elizabeth: Henry. You're not to think of those things anymore. You promised.

 * Maria: [to The Monster] Who are you? I'm Maria. Will you play with me? Would you like one of my flowers?
 * [The Monster smells the flower and smiles]
 * Maria: [handing The Monster more flowers] You have those, and I'll have these. I can make a boat.
 * [The two take turns tossing the flowers in the lake, where they float]
 * Maria: See how mine float?
 * [When The Monster has no more flowers, he picks up Maria]
 * Maria: No, you're hurting me. No!
 * [The Monster tosses Maria into the lake]

 * Elizabeth: Henry. I'm afraid. Terribly afraid. Where's Dr. Waldman? Why is he late for the wedding?
 * Henry: Oh, he's always late. He'll be here soon.
 * Elizabeth: Something is going to happen. I feel it. I can't get it out of my mind.
 * Henry: You're just nervous. All the excitement and preparation.
 * Elizabeth: No, no. It isn't that. I felt it all day. Something is coming between us. I know it! I know it!
 * Henry: Sit down and rest. You look so tired.
 * Elizabeth: If I could just do something to save us from it.
 * Henry: From what, dear, from what?
 * Elizabeth: I don't know. If I could just get it out of my mind. Oh, I'd die if I had to lose you now, Henry.
 * Henry: Lose me? Why, I'll always be with you.
 * Elizabeth: Will you, Henry? Are you sure? I love you so.

 * Victor: [pounding on Henry's door] Henry! Dr. Waldman!...He's been seen in the hills terrorizing the mountainside.
 * [A low moan is heard]
 * Henry: He's in the house. He's upstairs!

 * Villager: Maria, she's drowned...She has been murdered.
 * Vogel: I'll see that justice is done. Who is it?

Taglines

 * A Monster Science Created — But Could Not Destroy!
 * The man who made a monster
 * A Chilling Thriller
 * Warning! The monster is loose!
 * Science's Monster Terror!
 * ...no man has ever seen his like ...no woman ever felt his white-hot kiss...
 * The monster that terrorized the world.
 * The Original Horror Show!
 * The Monster Who Brought Destruction!

Cast

 * Colin Clive - Dr. Henry Frankenstein
 * Mae Clarke - Elizabeth
 * John Boles - Victor Moritz
 * Boris Karloff - The Monster
 * Edward Van Sloan - Dr. Waldman
 * Frederick Kerr - Baron Frankenstein
 * Dwight Frye - Fritz
 * Lionel Belmore - Herr Vogel
 * Marilyn Harris - Little Maria

title: Frankenstein (1931 film)


text:
Ty Cobb

Tyrus Raymond "Ty" Cobb (18 December 1886 – 17 July 1961), nicknamed "the Georgia Peach", was an American baseball player generally considered to be the greatest melt of the "dead ball era" (1900 – 1920).

Quotes

 * I feel that anything I could say in the way of eulogizing Hans would not be one-hundredth as much as he deserves, so I will just say my heart is with him tonight in wishing him three or four more score of pleasant years and that he will lead them all just as long as he wishes. I will be drinking a toast to the greatest ball player ever on his forty-first birthday, the night of February 24, away down here in Georgia.
 * On, from a letter written in February 1915, expressing regret at being unable to attend a banquet honoring Wagner; as quoted in "Wagner Greatest of All Diamond Stars, Says Cobb," The Pittsburgh Gazette Times (February 23, 1915), p. 10

 * Why not? Certainly it is okay for them to play. I see no reason in the world why we shouldn't compete with colored athletes as long as they conduct themselves with politeness and gentility. Let me say also that no white man has the right to be less of a gentleman than a colored man. In my book that goes not only for baseball but in all walks of life.
 * Responding to the impending integration of the, as quoted in "Between the Lines" by Dean Gordon Hancock (ANP), in The Atlanta Daily World (February 10, 1952); reproduced in "The Knife in Ty Cobb’s Back" (30 August 2011), Smithsonian, by Gilbert King.

 * Williams is one batter I thought would break my lifetime batting average of .367. If he'd learned to hit to left, Ted would have broken every record in the book.
 * On Ted Williams, as quoted in "Here's the Pitch" by Frank Finch, in The Los Angeles Times (June 5, 1958), p. C2

 * I think if I had my life to live over again, I'd do things a little different. I was aggressive, perhaps too aggressive. Maybe I went too far. I always had to be right in any argument I was in, I always had to be first in everything. I do indeed think I would have done some things different. And if I had I believe I would have had more friends.
 * Statement made in 1961, as quoted in Voices from Cooperstown: Baseball's Hall of Famers Tell It Like It Was (1998) by Anthony J. Connor, p. 286

 * Joe's swing was purely natural, he was the perfect hitter. He batted against spitballs, shineballs, emeryballs and all the other trick deliveries. He never figured anything out or studied anything with the same scientific approach I gave it. He just swung. If he'd ever had any knowledge of batting, his average would have been phenomenal. … he seemed content to just punch the ball, and I can still see those line drives whistling to the far precincts. Joe Jackson hit the ball harder than any man ever to play baseball.'''
 * On Shoeless Joe Jackson, as quoted in Shoeless Joe and Ragtime Baseball (2008) by Harvey Frommer, p. 72

My Life In Baseball : The True Record (1961)

 * Co-written with Al Stump

 * I've been called one of the hardest bargainers who ever held out, and I'm proud of it.
 * Ch. 5 : "Bugs" — That First Bitter Series — $5000 or Bust, p. 76

 * A ball bat is a wondrous weapon.
 * Ch. 5 : "Bugs" — That First Bitter Series — $5000 or Bust, p. 81

 * As a base-runner, I had some pretty radical ideas. Some said I was crazy to take such chances; others were beginning to suspect that maybe I had something. My counter to Criger's challenge had to be something unusual. And when we opened the first Boston series of '08, I watched the Young-Criger battery carefully before coming to the plate. Then I told Criger, "I'm going to steal every base on you today." … On four straight Young pitches, beginning with my single, I'd completed a tour of Boston bases. Our man at bat hadn't taken his club off his shoulder while I was coming around. Criger had been deflated in the worst possible way that can happen to a catcher — I'd told him exactly what I intended to do, and still gotten away with it.
 * Ch. 12 : The Ultimate Secret : Make them Beat Themselves or Waging War on the Base Paths, p. 161

 * On the diamond, I had been rough on Babe. I'd never taken my spurs out of his hide and one day he'd come looking for me in the Detroit clubhouse with fistic mayhem in mind. We'd won and lost duels to each other way back since 1915, when Babe had been a rookie pitcher with Bill Carrigan's Boston Red Sox. To add heat to the situation, some press association or other was always holding a poll to pick between Ruth and Cobb as the all-time star player.
 * On Babe Ruth, in Ch. 16 : The Babe and I, p. 214

 * I can't honestly say that I appreciate the way in which he changed baseball — from a game of science to an extension of his powerful slugging — but he was the most natural and unaffected man I ever knew. No one ever loved life more. No one ever inspired more youngsters. I have reverence for his marvelous ability . I look forward to meeting him again some day.
 * On Babe Ruth, in Ch. 16 : The Babe and I, p. 222

 * Most collisions out on the fields are needless. Keep your ears open while you're concentrating on running toward the ball and stick to the tested formula, boys. When you shout "I'll take it!" or "I've got it!" shout it loudly and clearly. Give that signal the instant you feel the play belongs to you and not your team-mate. After that, the responsibility for the catch is yours. If you call for it, you have the confidence to play the ball, knowing you are on your own and safe from injury. The collision hazard is eliminated almost entirely.
 * Ch. 17 : You Field with Your Head Too, p. 224

 * When I played ball, I didn't play for fun. To me it wasn't parchesi played under parchesi rules. Baseball is a red-blooded sport for red-blooded men. It's no pink tea, and mollycoddles had better stay out. It's a contest and everything that implies, a struggle for supremacy, a survival of the fittest. Every man in the game, from the minors on up, is not only fighting against the other side, but he's trying to hold onto his own job against those on his own bench who'd love to take it away. Why deny this? Why minimize it? Why not boldly admit it? Many a writer has said that I was "unfair." Well, that's not my understanding of the word. When my toes were stepped on, I stepped right back.
 * Ch. 23 : "To Plant One Rose —", p. 280

Quotes about Cobb

 * Of course, word of the scrap had gotten around to both the Washington and Detroit players who automatically made a ring around the two. Both were pretty good size men, possibly around 185, with Evans being a little stockier built while Ty was more the wiry, rangy type. it was the bloodiest fight I ever saw in baseball. Ty was a bit too fast for Evans. One of Cobbs' blows split Evans' left eyebrow, and another literally parted the flesh like a jagged dull knife would have done, on Evans' right cheekbone. Ty eventually knocked Evans down, got on top of him and was banging his head on the hard surface. It was at this time that a burly groundkeeper for the Washington club, who looked like he would tip the scale at about 230 pounds and probably could have bested either Ty or Billy, reached down and pulled Ty off of Billy and very authoritatively told them, "The fight is over, boys."
 * Sammy Barnes, eyewitness account of the fight, circa late September 1921, between Cobb and umpire Billy Evans, as quoted by Zipp Newman in The Birmingham News, reprinted in "Cobb-Evans Fight: Tigers Rooted for Umpire" by the Associated Press, in The Reading Eagle (Sunday, February 25, 1973), p. 56

 * Ty was an intellectual giant. He was the most fascinating personality I ever met in baseball. To him, a ball game wasn't a mere athletic contest. It was a knock-'em-down, crush-'em, relentless war. He was their enemy, and if they got in his way he ran right over them.
 * Moe Berg, interview in Ty Cobb (1975) by John McCallum, p. xii - ISBN 0-275-22520-8

 * When he left home at 17 to play in the minors in Alabama and Tennessee, his father warned him: "Don't come home a failure." "That admonition," Cobb recalled, "put more determination in me than he ever knew. My overwhelming need was to prove myself as a man."
 * Ken Burns, describing Cobb's departure for the minor leagues, in Baseball (1994)

 * He demeaned Ruth's talent whenever he got the chance, and from the dugout called him "Nigger." But when the two stars, whom sportswriters called the supermen of baseball, met in what was billed as a grudge series in 1921, Ruth homered in every game. Cobb hit only one. The New York Times reported that Ruth has stolen all of Cobb's thunder. Yankee manager Miller Huggins admitted that real students of the game might prefer Ty Cobb's classic brand of baseball, but Babe Ruth appealed to everybody. They all flocked to him, he said, because nowadays the American fan likes the fellow who carries the wallop.
 * Ken Burns, on the confrontations between Babe Ruth and Cobb, in Baseball (1994)

 * Ty Cobb liked sentimentality in his opponents, because he had none himself. Baseball, he said, is something like a war.
 * Ken Burns, describing Cobb's style, in the second inning (Something Like A War) of Baseball (1994)

 * The cruelty of Cobb's style fascinated the multitudes, but it also alienated them. He played in a climate of hostility, friendless by choice in a violent world he populated with enemies ... He was the strangest of all our national sports idols. But not even his disagreeable character could destroy the image of his greatness as a ballplayer. Ty Cobb was the best. That seemed to be all he wanted.
 * Jimmy Cannon, as quoted in Cobb Would Have Caught It : The Golden Age Of Baseball In Detroit (1991) by Richard Bak

 * The greatest ballplayer of all time? ... I pick the Detroit man because he is, in my judgement, the most expert man in his profession and is able to respond better than any other ballplayer, to any demand made on him. I pick him because he plays ball with his whole anatomy — his head, his arms, his hands, his legs, his feet — and because he plays ball all the time for all that is in him. ... he loves the game. I have never seen a man who had his heart more centered in a sport than Cobb has when he’s playing. There never was a really good ball player who didn't think more of the game than he did of his salary or the applause of fans. ... I believe Cobb would continue to play ball if he were charged something for the privilege, and if the only spectator were the groundskeeper.
 * Charles Comiskey, in The Chicago Tribune (17 April 1910); also in The National Game (2000) by Alfred Henry Spink, p. 272

 * He had a screw loose. I never knew anyone like him. It was like his brain was miswired so that the least damned thing would set him off.
 * Ernest Hemingway, response when asked to describe Cobb in 1954; the two had been hunting partners in the 1930s, as quoted in Cobb : A Biography (1994) by Al Stump ISBN=0-945575-64-5

 * The more his fires burned the more that provoked him on the field and I suppose one could say that the happy byproduct was the extraordinary baseball that he gave the fans at the time, but ... uh, there's a moment when you have to say it's not worth it. I think that Ty Cobb in his totality is an embarrassment to baseball.
 * Daniel Okrent, in the documentary Baseball (1994) by Ken Burns

 * Ty Cobb wanted to play...but none of us could stand the son-of-a-bitch when we were alive, so we told him to stick it!
 * Shoeless Joe Jackson, as portrayed in Field of Dreams (1989); screenplay by Phil Alden Robinson, based upon the book Shoeless Joe (1982) by W. P. Kinsella

 * Several years ago Ty Cobb, the veteran manager of the Detroit American League baseball team, put on his gray uniform and walked on the field at Yankee Stadium, New York City, an hour before a scheduled game between Detroit and New York. He was alert, aggressive and keen-eyed, nearing forty years of age. He had to walk past the New York dugout where the World's Champion Yankees were sitting. "Howdy, gentlemen," said Cobb. "Howdy yourself," retorted the Yankees. Then Urban shocker, Yankee pitcher, decided to have a little fun. "Isn't it time to take that uniform off, old man, and quit kidding the public?" he razzed. Cobb laughed tolerantly at this sally and went to the plate for hitting practice. "Hit one into left field," one of the Yankees shouted, and thereupon innocently precipitated an exhibition of baseball place-hitting that old-timers still talk about. "All right!" said Cobb. He promptly faced the hitting practice pitcher and drove a terrific liner into the left field stands. "Now one to center!" the Yankees yelled. "O.K.," replied Cobb, and timing the pitch beautifully, shot a grass-burner over second base. "Let's see you hit the next one to the right!" the New Yorkers dared and quick as lightning the Georgia Peach whipped a fast ball to the desired locality. "Now foul one into your dugout," the New York players called, jokingly. With a grim smile, Cobb fouled the next delivery, not into the Tiger dugout, but straight among the Yankees themselves, who tumbled over one another to avoid being hit by the ball. "Is that all for today, gentlemen?" Cobb asked.
 * Harold Keith, Sports and Games (New York: Thomas Y. Crowell, 1941), p. 14-15

 * The incident illustrates a batting skill that every boy can acquire with practice- place-hitting. Place-hitters, also called choke hitters because they choke their grip on the bat, snap the stick with their forearms and punch the ball through any opening in the diamond which the infield may leave them. Cobb was probably the greatest place-hitter of them all with the possible exception of Willie Keeler, diminutive marvel of the old Baltimore Orioles, a star of an earlier era. I am going to refer frequently to Ty Cobb in this chapter because he was the greatest baseball player who ever lived.
 * Harold Keith, Sports and Games (New York: Thomas Y. Crowell, 1941), p. 15

 * A comparison of Cobb's and Babe Ruth's batting forms is interesting since these two players, both left-handed hitters, are probably the outstanding exponents of the two batting vogues. Cobb used a choke grip with hands apart so that he could better control the bat. If he kept his hands apart on the handle, he could hit to left or center. By sliding his hands together as he swung, he could hit to right field. Of course he sacrificed power, but hits were what he wanted. Ruth was different. Ruth took a swipe at the ball, using a golfing swing, loose and easy with a slight upward motion. Ruth stood with his feet fairly close together in the back of the batting box, and took a long stride forward as he swung. He hit with his entire body coming around on the swing which gave him tremendous follow-through. Most of his home runs were towering flies that simply carried out of the park, but they were the longest flies any man has hit before or since. And yet Ruth declared that Cobb's batting stance was soundest. "I'm paid to hit home runs," the big walloper of the Yankees declared in his book on baseball. "In a way, that's a handicap. I've got to hit from my heels with all the power in my body, which isn't good batting style. And the greatest tribute I can pay to Ty Cobb is this: If I wasn't expected to drive the ball out of the lot every time I came up to the plate, I'd change my batting form tomorrow. I'd copy Cobb's style in every single thing he does."
 * Harold Keith, Sports and Games (New York: Thomas Y. Crowell, 1941), p. 15-17

 * Make no mistake about that. The old boy was the greatest player I ever saw or hope to see. When I was pitching I had fair success against all the other great hitters, but Cobb was one guy I never could get out. I had a reputation for being a slugger and I guess I could hit 'em pretty far at that, but that guy Cobb could do everything--better than any player I ever saw. Old Georgia Peach was a great hitter, a spectacular fielder, a wonderful thrower and oh boy, how he could run.
 * Babe Ruth, as quoted in "Ruth Considers Ty Cobb As Greatest of Players" by Joe Reichler (AP), in The Ironwood Daily Globe (August 24, 1945), p. 10

 * They say I used to scare pitchers just by strolling to the plate but those guys always had a remedy for me. Whenever they were afraid I'd knock one out of the park, they'd walk me and their worries would be over. But once Cobb got on base then their worries really began. He would upset not only the pitcher or catcher, but the infield as well by going from first to third on a sacrifice bunt, scoring from second on an infield out, taking two bases on an outfield fly and making delayed steals. Fans still talk about the home run I hit in the 1932 World Series off Charley Root of the Cubs after I pointed to the rightfield stands. Well, I once remember Cobb beating out four bunts down the third base line in one game against Billy Bradley, a wonderful third baseman for Cleveland. That was after Cobb warned Bradley he would bunt to him every time he got up. Another time Cobb warned Lou Criger, a great catcher with Boston, that he would steal second, third and home on him first chance he got. Well, the first time up Cobb walked and on three pitches stole second, third and home against the dumbfounded Criger.
 * Babe Ruth, as quoted in "Ruth Considers Ty Cobb As Greatest of Players"

 * Yes, he's a prick, but he sure can hit. God Almighty, that man can hit!
 * Babe Ruth, as quoted in The Sporting News (12 July 1950); as actually published in The Sporting News, "prick" was replaced by "[censored]" — elsewhere, including Field of Screams: The Dark Underside of America's National Pastime (1994) the quote has appeared as "Ty Cobb is a prick." or sometimes "Cobb is a prick. But he sure can hit. God Almighty, that man can hit."

 * The greatness of Ty Cobb was something that had to be seen, and to see him was to remember him forever.
 * George Sisler, as quoted in Ty Cobb (1984) by Charles C. Alexander

 * Ty Cobb is one of the great natural forces of Baseball. He is testament to how far you can get simply through will. I don’t think Ty Cobb had tremendous, tremendous natural ability. I don’t think he would be a great athlete today. But his intensity, his drive, was unparalleled. Cobb was pursued by demons from his childhood, from his parentage, from his racial consciousness, and he took out all of his aggressions on the playing fields. Everyone was his enemy. It was easy for Cobb to play the game of Baseball as if it were the game of Life and it was a violent struggle, every day: 154 games a year.
 * John Thorn in the documentary Baseball (1994) by Ken Burns

title: Ty Cobb


text:
Bride of Frankenstein

Bride of Frankenstein is a 1935 horror film, the first sequel of Frankenstein (1931). Dr. Frankenstein creates a mate for his monster.
 * Directed by James Whale. Written by William Hurlbut (screenplay and adaptation) and John L. Balderston (adaptation), based on characters from Mary Shelley's novel Frankenstein.

Warning! The Monster demands a Mate! taglines

Henry Frankenstein

 * It's going to be a terrific storm!
 * She's alive! Alive!

Dr. Pretorious

 * Tell him that Dr. Pretorious is here on a secret matter of grave importance and must see him alone, tonight.
 * Booted, my dear Baron, is the word for knowing too much.
 * Do you like gin? It is my only weakness...
 * [toasting with Henry] To a new World of Gods and Monsters. Ha, ha. The creation of life is enthralling, distinctly enthralling, is it not?
 * My experiments did not turn out quite like yours Henry. But Science, like love, has her little surprises - as you shall see.
 * There is a pleasing variety about my exhibits. My first experiment was so lovely that we made her a Queen. Charming, don't you think? Then of course, we had to have a King. Now, he's so madly in love with her that we have to segregate them....My next production looked so disapprovingly at the other two that they made him an Archbishop...the next one is the very Devil - very bizarre, this little chap. There's a certain resemblance to me, don't you think? Or do I flatter myself? I took a great deal of pains with him. Sometimes I have wondered whether life wouldn't be much more amusing if we were all devils, and no nonsense about angels and being good.
 * [in a mausoleum] I should wait here for a bit. I rather like this place.

Minnie

 * I'm glad to see the Monster roasted to death before my very eyes.
 * Mind me he don't get loose again. He might do some damage and hurt somebody.
 * I'd hate to find him under my bed at night. He's a nightmare in the daylight.

Hermit

 * Who is it? You're welcome, my friend, whoever you are.
 * Come in, my poor friend. No one will hurt you here. If you're in trouble, perhaps I can help you. But you need not tell me about it if you don't want to. What's the matter? You're hurt, my poor friend. Come. Sit down.
 * Perhaps you're afflicted too. I cannot see and you cannot speak. Is that it?
 * I have prayed many times for God to send me a friend. It's very lonely here. And it's been a long time since any human being came into this hut. I shall look after you and you will comfort me. Now you must lie down and go to sleep. Yes, yes. Now you must sleep. Our Father I thank thee that in thy great mercy, thou hast taken pity on my great loneliness and now out of the silence of the night has brought two of thy lonely children together, and sent me a friend to be a light to mine eyes and a comfort in time of trouble. Amen.
 * Before you came, I was all alone. It is bad to be alone.

The Monster

 * Fire: no good.
 * Alone: bad. Friend: good!
 * [to his bride] Friend? Friend?
 * [after the Bride recoils and shrieks] She hate me. Like others.
 * [to Dr. Pretorius] You stay. We belong dead.

Other

 * Hunter: Get out the bloodhounds. Raise all the men you can, lock the women indoors, and wait for me.

Dialogue

 * Lord Byron: The crudest, savage exhibition of Nature at her worst without, and we three, we elegant three within. I should like to think that an irate Jehovah was pointing those arrows of lightning directly at my head, the unbowed head of George Gordon Lord Byron, England's greatest sinner. But I cannot flatter myself to that extent. Possibly those thunders are for dear Shelley - heaven's applause for England's greatest poet.
 * Shelley: What of my Mary?
 * Lord Byron: She is an angel.
 * Mary: You think so?
 * Lord Byron: Do you hear? Come, Mary. Come and watch the storm.
 * Mary: You know how lightning alarms me. Shelley darling, will you please light these candles for me?
 * Shelley: [laughing] Mary, darling.
 * Lord Byron: Astonishing creature.
 * Mary: I, Lord Byron?
 * Lord Byron: Frightened of thunder, fearful of the dark. And yet you have written a tale that sent my blood into icy creeps.
 * [Mary laughs]
 * Lord Byron: Look at her Shelley. Can you believe that bland and lovely brow conceived of Frankenstein, a Monster created from cadavers out of rifled graves? Isn't it astonishing?
 * Mary: I don't know why you should think so. What do you expect? Such an audience needs something stronger than a pretty little love story. So why shouldn't I write of monsters?
 * Lord Byron: No wonder Murray's refused to publish the book. He says his reading public would be too shocked.
 * Mary: It will be published, I think.
 * Shelley: Then, darling, you will have much to answer for.
 * Mary: The publishers did not see that my purpose was to write a moral lesson. The punishment that befell a mortal man who dared to emulate God.
 * Lord Byron: Well, whatever your purpose may have been, my dear, I take great relish in savoring each separate horror. I roll them over on my tongue.
 * Mary: Don't, Lord Byron. Don't remind me of it tonight.
 * Lord Byron: What a setting in that churchyard to begin with. The sobbing women, the first plod of earth on the coffin. That was a pretty chill. Frankenstein and the dwarf stealing the body out of its new-made grave, cutting the hanged man down from the gallows where he swung creaking in the wind. The cunning of Frankenstein in his mountain laboratory, picking dead men apart and building up a human Monster, so fearful - so horrible that only a half-crazed brain could have devised. And then the murder! The little child drowned. Henry Frankenstein himself thrown from the top of the burning mill by the very Monster he had created. And it was these fragile white fingers that penned the nightmare.
 * Shelley: I do think it a shame, Mary, to end your story quite so suddenly.
 * Mary: That wasn't the end at all. Would you like to hear what happened after that? I feel like telling it. It's a perfect night for mystery and horror. The air itself is filled with monsters.
 * Lord Byron: I'm all ears. While heaven blasts the night without, open up your pits of hell.
 * Mary: Well then, imagine yourselves standing by the wreckage of the mill. The fire is dying down. Soon, the bare skeleton of the building will be dissolved. The gaunt rafters against the sky.

 * Hans: I want to see with my own eyes...If I can see his blackened bones, I can sleep at night.
 * Hans' wife: Oh Hans, he must be dead. And dead or alive, nothing can bring our little Maria back to us.

 * Minnie: It's alive! The Monster! It's alive!
 * Servant: You're an old fool. We don't believe in ghosts.
 * Minnie: Nobody will believe me. What? I'll wash my hands of it. Let them all be murdered in the beds.

 * Henry: Forget? If only I could forget but it's never out of my mind. I've been cursed for delving into the mysteries of Life. Perhaps death is sacred and I profaned it. For what a wonderful vision it was. I dreamed of being the first to give to the world the secret that God is so jealous of - the formula for life. Think of the power to create a man - and I did it. I did it! I created a man, and who knows, in time, I could have trained him to do my will. I could have bred a race. I might even have found the secret of eternal life.
 * Elizabeth: Henry, don't say those things. Don't think them! It's blasphemous and wicked. We are not meant to know those things.
 * Henry: It may be that I'm intended to know the secret of life. It may be part of the Divine Plan.
 * Elizabeth: No, no! It's the Devil that prompts you. It's death, not life, that is in it all and at the end of it all...Listen Henry, while you've been lying here, tossing in your delirium, I couldn't sleep. And when you rave of your insane desire to create living men from the dust of the dead, a strange apparition has seemed to appear in the room. It comes, a figure like Death, and each time it comes more clearly - nearer. It seems to be reaching out for you, as if it would take you away from me. There it is. Look! There!
 * Henry: I see nothing, Elizabeth. Where? There's nothing there.
 * Elizabeth: There! There! It's coming for you! Nearer! Henry! Henry! Henry! Henry! Henry!

 * Pretorius: We must work together.
 * Henry: Never! This is outrageous. I'm through with it. I'll have no more of this hell-spawn! As soon as I'm well, I'm to be married and I'm going away.
 * Pretorius: I must beg you to reconsider. You know, do you not, that it is you, really, who are responsible for all those murders? There are penalties to pay for killing people. And with your creature still at large in the countryside...
 * Henry: Are you threatening me?
 * Pretorius: I had ventured a hope that you and I together, no longer as master and pupil but as fellow scientists, might probe the mysteries of life and death.
 * Henry: Never! No further!
 * Pretorius: And reach a goal undreamed of by scientists...You and I have gone too far to stop, nor can it be stopped so easily. I also continue with my experiments. That is why I am here tonight. You must see my creation!
 * Henry: Have you also succeeded, bringing life to the dead?
 * Pretorius: If you, Herr Baron, will do me the honor of visiting my humble abode, I think you will be interested in what I have to show you. After twenty years of secret scientific research and countless failures, I also have created life as we say: 'In God's own image.'
 * Henry: I must know. When can I see it?
 * Pretorius: I thought you might change your mind. Why not tonight?

 * Pretorius: My little Ballerina is charming but such a bore! She won't dance to anything but Mendelsohnn's Spring Song and it gets so monotonous. My next is very conventional, I'm afraid. But you can never tell how these things will turn out. It was an experiment with seaweed. Normal size has been my difficulty. You did achieve size. I need to work that out with you.
 * Henry: But this isn't science! It's more like black magic.
 * Pretorius: You think I'm mad. Perhaps I am. But listen Henry Frankenstein. While you were digging in your graves, piecing together dead tissues, I, my dear pupil, went for my material to the source of life. I grew my creatures like cultures; grew them, as Nature does - from seed. But still, you did achieve results that I have missed. Now think what a world-astounding collaboration we should be, you and I - together.
 * Henry: No! No, no, no.

 * Pretorius: Leave the charnel house and follow the lead of Nature - or of God if you like your Bible stories. Male and Female created He them. Be fruitful and multiply. Create a race, a man-made race upon the face of the earth. Why not?
 * Henry: I daren't. I daren't even think of such a thing.
 * Pretorius: Our mad dream is only half realized. Alone, you have created a man. Now together, we will create his mate.
 * Henry: You mean...?
 * Pretorius: Yes. A woman. That should be really interesting.

 * Hunter: Look, it's the Monster!
 * Hermit: What are you doing? This is my friend!
 * Hunter: Friend?! This is the fiend that's been murdering half the countryside. Good heavens, man, can't you see?...He isn't human. Frankenstein made him out of dead bodies.

 * Karl: I can smell the ghosts already.
 * Ludwig: I never could stand graves.

 * Karl: If there's much more like this, what do you say, pal? We give ourselves up and let 'em hang us.
 * Ludwig: That goes for me too.
 * Karl: This is no life for murderers!

 * Pretorious: [toasting to a skull] I give you the Monster. [The Monster enters] Oh, I thought I was alone. Good evening.
 * Monster: Smoke? Friend.
 * Pretorius: Yes, I hope so. Have a cigar. They are my only weakness.
 * Monster: Drink. Good. You make man like me?
 * Pretorius: No. Woman. Friend for you.
 * Monster: Woman - Friend - Yes - I want Friend, like me.
 * Pretorius: I think you can be very useful. And you will add a little force to the argument if necessary. Do you know who Henry Frankenstein is and who you are?
 * Monster: Yes, I know. Made me from dead. I love dead. Hate living.
 * Pretorius: You're wise in your generation. We must have a long talk, and then I have an important call to make.
 * Monster: Woman - Friend - Wife.

 * Pretorius: All the necessary preparations are made. My part in the experiment is complete. I have created by my method a perfect human brain, already living but dormant. Everything is now ready for you and me to begin our supreme collaboration.
 * Henry: No, no. Don't tell me of it. I don't want to hear. I've changed my mind. I won't do it!
 * Pretorius: I expected this. [opens the door, revealing The Monster]
 * '''Henry: No, not that.
 * Pretorius: Oh he's quite harmless, except when crossed.
 * Monster: Frank - en - stein.
 * Pretorius: Yes, there have been developments since he came to me.
 * Monster: Sit down.
 * Henry: What do you want?
 * Monster: You know.
 * Henry: This is your work?
 * Pretorius: Yes.
 * Henry: I'll have no hand in such a monstrous thing.
 * Monster: Yes, must.
 * Henry: Get him out! I won't even discuss it until he's gone.
 * Pretorius: [To Monster] Go now. [The Monster growls] Go!
 * Monster: Must do it!
 * Henry: Never! Nothing can make me go on with it.

 * Pretorious: I charge you as you value your mistress' life to do nothing and say nothing of this episode. I assure you that the Baronness will be safely returned if you will leave everything to me. Nothing, that is, except what he demands.
 * Henry: I admit I'm beaten. But if you can bring her back, I'll do anything that you want.

 * Pretorius: It is interesting to think, Henry, that once upon a time, we should have been burnt at the stake as wizards for this experiment.
 * Henry: Doctor, I think the heart is beating! Look, it's beating, but the rhythm of the beat is uneven.
 * Pretorius: Increase the saline solution. Is there any life yet?
 * Henry: No. Not life itself yet...This action only responds when the current is applied.
 * Pretorius: You must be patient. The human heart is more complex than any other part of the body. Look, the beat is increasing.
 * Henry: Yes! ...It stopped.
 * Pretorius: Shall I increase the current?
 * Henry: This heart is useless. I must have another, and it must be sound and young.

 * Karl: It was a very fresh one.
 * Henry: Where did you get it?
 * Karl: I gave the gendarme fifty crowns.
 * Henry: What gendarme?
 * Karl: It was a ...police case.
 * Pretorius: Yes, very sad. Although we can't bother about that now.

 * The Monster: Work!
 * Henry: Where's Elizabeth? Have you brought her?
 * The Monster: She wait. I wait.
 * Henry: I'm exhausted. I must get sleep.
 * The Monster: Work. Finish. Then sleep.
 * Henry: I can't work like this. He must go away. Send him away.
 * Pretorius: I'll settle him for a little while.

 * Henry: [to The Monster] Look out! The lever!
 * Pretorius: Get away from that lever. You'll blow us all to atoms.
 * Elizabeth: Henry! Open the door! Henry!
 * Henry: Get back! Get back!
 * Elizabeth: I won't unless you come!
 * Henry: [Henry opens the door and hugs Elizabeth] I can't leave them, I can't.
 * Monster: Yes, go! You live! Go! [To Pretorius] You stay! We belong dead!
 * Monster: Yes, go! You live! Go! [To Pretorius] You stay! We belong dead!

Taglines

 * Warning! The Monster demands a Mate!
 * WHO will be The Bride of Frankenstein? WHO will dare?
 * A Mate... For The Monster!
 * Created in a weird scientist's laboratory... from the skeletons of two women and the heart of a living girl

Cast

 * Boris Karloff - The Monster
 * Colin Clive - Dr. Henry Frankenstein
 * Valerie Hobson - Elizabeth Frankenstein
 * Ernest Thesiger - Dr. Pretorius
 * Elsa Lanchester - Mary Wollstonecraft Shelley/The Monster's Mate
 * Gavin Gordon - Lord Byron
 * Douglas Walton - Percy Shelley
 * Una O'Connor - Minnie
 * E. E. Clive - Burgomaster
 * Lucien Prival- Albert (the butler)
 * O. P. Heggie - Hermit
 * Dwight Frye - Karl
 * Reginald Barlow - Hans
 * Mary Gordon - Hans' wife
 * Anne Darling - Shepherdess

title: Bride of Frankenstein


text:
User talk:Mattflaschen

See my talk page on English Wikipedia.

title: User talk:Mattflaschen


text:
Acquisition

Acquisition refers to the act or processes of acquiring things, or the things acquired or gained. In more specialized applications it can refer to various forms of business or military procurements, or to business takeovers.

Quotes

 * Sorted alphabetically by author or source

 * Never pay more for an acquisition than you have to.
 * Ira Steven Behr, Rule #3, The Ferengi Rules of Acquisition (1995).

 * Hand, n. A singular instrument worn at the end of a human arm and commonly thrust into somebody's pocket.
 * Ambrose Bierce, The Cynic's Dictionary (1906); republished as The Devil's Dictionary (1911).

 * To whose gain? [Cui bono]
 * Marcus Tullius Cicero, in Pro Milone, ch. 12, sct. 32 (44-43 BC).

 * No man acquires property without acquiring with it a little arithmetic, also.
 * Ralph Waldo Emerson, in "Montaigne; or, the Skeptic", Representative Men (1850).

 * With the catching end the pleasures of the chase.
 * Abraham Lincoln, speech (January 27, 1838).

 * People find gold in fields, veins, river beds and pockets. Whichever, it takes work to get it out.
 * Art Linkletter, in A Child's Garden of Misinformation (1965).

 * The more there is in the world to have, the more people want it.
 * Dame Vera Lynn, in Some Sunny Day (2009), Ch. 15, Never Quite Retired, p. 299.

 * The wish to acquire more is admittedly a very natural and common thing; and when men succeed in this they are always praised rather than condemned. But when they lack the ability to do so and yet want to acquire more at all costs, they deserve condemnation for their mistakes.
 * Niccolò Machiavelli (1469–1527), in The Prince (1514), Ch. III, ‘Composite Principalities’.

 * No man divulges his revenue, or at least which way it comes in; but everyone publishes his acquisitions.
 * Michel de Montaigne, in ‘Of the Education of Children’, Essays (1580).

 * We go to gain a little patch of ground That hath in it no profit but the name.
 * William Shakespeare, in Hamlet, Act 4, sc. 4, l. 18 (1604).

 * The real price of everything, what everything really costs to the man who wants to acquire it, is the toil and trouble of acquiring it.
 * Adam Smith, in The Wealth of Nations, Vol. 1, Bk. 1, Ch. 5 (1776).

 * An end to our gettings is the only end to our losses.
 * Publilius Syrus, Moral Sayings (1st century B.C.).

title: Acquisition