text:
King John

The Life and Death of King John (1598) is a play by William Shakespeare dramatizing the life of King John of England.

Act I

 * The worst Lord of thy presence, and no land beside.
 * Elinor, scene i

 * And if his name be George, I'll call him Peter; For new-made honour doth forget men's names.
 * Philip Faulconbridge, scene i

 * For he is but a bastard to the time, That doth not smack of observation.
 * Philip Faulconbridge, scene i

 * Sweet, sweet, sweet poison for the age’s tooth.
 * Philip Faulconbridge, scene i

Act II

 * For courage mounteth with occasion.
 * Archduke of Austria, scene i

 * I would that I were low laid in my grave: I am not worth this coil that’s made for me.
 * Arthur, scene i

 * Saint George, that swindg'd the dragon, and e’er since Sits on his horse back at mine hostess’ door.
 * Philip Faulconbridge, scene i

 * He is the half part of a blessed man, Left to be finished by such as she; And she a fair divided excellence, Whose fulness of perfection lies in him.
 * Hubert, scene ii

 * Talks as familiarly of roaring lions, As maids of thirteen do of puppy-dogs!
 * Philip Faulconbridge, scene ii

 * Zounds! I was never so bethump’d with words, Since I first call’d my brother’s father, dad.
 * Philip Faulconbridge, scene ii

Act III

 * I will instruct my sorrows to be proud; For grief is proud, and makes his owner stout.
 * Constance, scene i

 * Here I and sorrows sit; Here is my throne, bid kings come bow to it.
 * Constance, scene i

 * Thou slave, thou wretch, thou coward, Thou little valiant, great in villainy! Thou ever strong upon the stronger side! Thou Fortune’s champion, that dost never fight But when her humorous ladyship is by To teach thee safety!
 * Constance, scene i

 * Thou wear a lion’s hide! doff it for shame, And hang a calf’s-skin on those recreant limbs.
 * Constance, scene i

 * Tell him this tale; and from the mouth of England Add thus much more — That no Italian priest Shall tithe or toll in our dominions.
 * King John, scene i

 * So mak'st thou faith an enemy to faith; And, like a civil war, sett'st oath to oath, Thy tongue against thy tongue.
 * Pandulph, scene i

 * Grief fills the room up of my absent child, Lies in his bed, walks up and down with me, Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form.
 * Constance, scene iv

 * Life is as tedious as a twice-told tale, Vexing the dull ear of a drowsy man.
 * Lewis, scene iv

 * When Fortune means to men most good, She looks upon them with a threatening eye.
 * Pandulph, scene iv

 * And he that stands upon a slippery place Makes nice of no vile hold to stay him up.
 * Pandulph, scene iv

Act IV

 * How now, foolish rheum!
 * Hubert, scene i

 * Therefore, to be possess'd with double pomp, To guard a title that was rich before, To gild refined gold, to paint the lily, To throw a perfume on the violet, To smooth the ice, or add another hue Unto the rainbow, or with taper-light To seek the beauteous eye of heaven to garnish, Is wasteful, and ridiculous excess.
 * Salisbury, scene ii

 * And oftentimes excusing of a fault Doth make the fault the worse by the excuse.
 * Pembroke, scene ii

 * We cannot hold mortality’s strong hand.
 * King John, scene ii

 * There is no sure foundation set on blood; No certain life achieved by others' death.
 * King John, scene ii

 * Make haste, the better foot before.
 * King John, scene ii

 * I saw a smith stand with his hammer, thus, The whilst his iron did on the anvil cool, With open mouth swallowing a tailor’s news.
 * Hubert, scene ii

 * Another lean unwash'd artificer.
 * Hubert, scene ii

 * How oft the sight of means to do ill deeds Make deeds ill done!
 * King John, scene ii

Act V

 * O inglorious league! Shall we, upon the footing of our land, Send fair-play orders and make compromise, Insinuation, parley and base truce To arms invasive? shall a beardless boy, A cocker'd silken wanton, brave our fields, And flesh his spirit in a warlike soil, Mocking the air with colours idly spread.
 * Philip Faulconbridge, scene i

 * ’T is strange that death should sing! I am the cygnet to this pale faint swan, Who chants a doleful hymn to his own death; And, from the organ-pipe of frailty, sings His soul and body to their lasting rest.
 * Prince Henry, scene vii

 * Ay, marry, now my soul hath elbow-room.
 * King John, scene vii

 * This England never did, nor never shall, Lie at the proud foot of a conqueror, But when it first did help to wound itself. Now these her princes are come home again, Come the three corners of the world in arms, And we shall shock them. Nought shall make us rue, If England to itself do rest but true.
 * Philip Faulconbridge, scene vii

title: King John


text:
User:Gudlyf~enwikiquote

Some quotes to add at some point:

Censorship, like charity, should begin at home: but unlike charity, it should end there. - Claire Booth Luce

To limit the press is to insult a nation; to prohibit reading of certain books is to declare the inhabitants to be either fools or slaves. - Claude Adrien Helvetius

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

title: User:Gudlyf~enwikiquote


text:
The Third Man

The Third Man is a 1949 UK/US film noir about an American writer of Westerns, who upon his arrival in war-torn Vienna at an old friend's invitation, finds himself investigating the supposed mysterious death of his friend.
 * Directed by Carol Reed. Written by Graham Greene, based on his novella.

HUNTED...By a thousand men! Haunted...By a lovely girl! Taglines

Voice-over intro by Carol Reed

 * As per the UK version.

 * I never knew the old Vienna before the war with its Strauss music, its glamour and easy charm. Constantinople suited me better. I really got to know it in the classic period of the Black Market. We'd run anything if people wanted it enough - mmm - had the money to pay. Of course, a situation like that does tempt amateurs but you know they can't stay the course like a professional. Now the city - it's divided into four zones, you know, each occupied by a power: the American, the British, the Russian and the French. But the center of the city that's international policed by an International Patrol. One member of each of the four powers. Wonderful! What a hope they had! All strangers to the place and none of them could speak the same language. Except a sort of smattering of German. Good fellows on the whole, did their best you know. Vienna doesn't really look any worse than a lot of other European cities. Bombed about a bit. Oh, I was gonna tell you, wait, I was gonna tell you about Holly Martins, an American. Came all the way here to visit a friend of his. The name is Lime, Harry Lime. Now Martins was broke and Lime had offered him, some sort, I don't know, some sort of job. Anyway, there he was, poor chap. Happy as a lark and without a cent.
 * Note: In the American version, Joseph Cotten delivers a slightly different intro as Holly Martins.

Dialogue

 * Martins: I guess nobody knew Harry like he did, like I did.
 * Calloway: How long ago?
 * Martins: Back in school. I was never so lonesome in my life till he showed up.
 * Calloway: When did you see him last?
 * Martins: September, '39.
 * Calloway: When the business started?
 * Martins: Mmm, hmm.
 * Calloway: See much of him before that?
 * Martins: Once in a while. Best friend I ever had.
 * Calloway: That sounds like a cheap novelette.
 * Martins: I write cheap novelettes.

 * Martins: It’s a shame.
 * Calloway: What?
 * Martins: Him dying like that.
 * Calloway: Best thing that ever happened to him.
 * Martins: What are you trying to say?
 * Calloway: He was about the worst racketeer that ever made a dirty living in this city.
 * Martins: Policeman, huh?
 * Calloway: Come on, have another drink.
 * Martins: No, I never did like policemen. I have to call them sheriffs. Ever seen one? Pin it on a dead man. Some petty racket with gasoline or something. Just like a cop. You’re a real cop, I suppose.
 * Calloway: It wasn’t petrol.
 * Martins: So it wasn’t petrol. So it was tyres or saccharin or… Why don’t you catch a few murderers for a change?
 * Calloway: Well, you could say that murder was part of his racket.

 * Crabbin: I know a very good dentist.
 * Martins: I don’t need a dentist. Somebody hit me, that’s all.
 * Crabbin: Goodness. We must report that to the police. Were they trying to rob you?
 * Martins: Oh, just a soldier. I was trying to punch his major in the eye.
 * Crabbin: No. A major? Were you really?
 * Martins: Heard of Harry Lime?
 * Crabbin: Well, I’ve heard of him, of course, but I didn’t exactly know him.
 * Martins: I was going to stay with him, but he died Thursday.
 * Crabbin: Goodness, that’s awkward.
 * Martins: That what you say to people after death? “Goodness, that’s awkward”?

 * Martins: You were in love with him, weren't you?
 * Anna: I don't know. How can you know a thing like that afterwards? I don't know anything more except I want to be dead too.

 * Martins: Could he have been conscious?...Was he still alive?
 * Porter: Alive? He couldn't have been alive. Not with his head in the way it was.
 * Martins: I was told that he did not die at once.
 * Porter: He was quite dead.
 * Martins: But this sounds crazy. If he was killed at once, how could he have talked about me and this lady here after he was dead? Why didn't you say all this at the inquest?
 * Porter: It's better not to be mixed up in things like this.
 * Martins: Things like what?
 * Porter: [He shrugs] I was not the only one who did not give evidence.
 * Martins: Who else?
 * Porter: Three men helped to carry your friend to the statue.
 * Martins: Kurtz, the Rumanian, and -
 * Porter: There was a third man. He didn't give evidence.
 * Martins: You don't mean the doctor?
 * Porter: No, no, no. He came later, after they carried him to the Josef statue.
 * Martins: What did this man look like?
 * Porter: I didn't see his face. He didn't look up. He was quite ordinary. He might have been just anybody.
 * Martins: Just anybody.

 * Martins: I suppose it wouldn't interest you to know that Harry Lime was murdered? You're too busy. You haven't even bothered to get the complete evidence...And there was a third man there. I suppose that doesn't sound peculiar to you.
 * Calloway: I'm not interested in whether a racketeer like Lime was killed by his friends or by an accident. The only important thing is that he's dead. Go home Martins, like a sensible chap. You don't know what you're mixing in, get the next plane.
 * Martins: As soon as I get to the bottom of this, I'll get the next plane.
 * Calloway: Death's at the bottom of everything, Martins. Leave death to the professionals.
 * Martins: Mind if I use that line in my next Western?

 * Anna: [about Harry] It's always bad around this time. He used to look in around six. I've been frightened. I've been alone, without friends and money. But I've never known anything like this. Please talk. Tell me about him.
 * Martins: He could fix anything.
 * Anna: What sort of things?
 * Martins: Oh, little things, how to put your temperature up before an exam, the best crib, how to avoid this and that.
 * Anna: He fixed my papers for me. He heard the Russians were repatriating people like me who came from Czechoslovakia. He knew the right person straight away for forging stamps.
 * Martins: When he was fourteen, he taught me the three card trick. That was growing up fast.
 * Anna: He never grew up. The world grew up round him, that's all - and buried him.
 * Martins: Anna, you'll fall in love again.
 * Anna: Don't you see I don't want to? I don't ever want to.

 * Popescu: Can I ask is Mr. Martins engaged in a new book?
 * Martins: Yes, it's called 'The Third Man.'
 * Popescu: A novel, Mr. Martins?
 * Martins: It's a murder story. I've just started it. It's based on fact.
 * Popescu: Are you a slow writer, Mr. Martins?
 * Martins: Not when I get interested.
 * Popescu: I'd say you were doing something pretty dangerous this time.
 * Martins: Yes?
 * Popescu: Mixing fact and fiction.
 * Martins: Should I make it all fact?
 * Popescu: Why no, Mr. Martins. I'd say stick to fiction, straight fiction.
 * Martins: I'm too far along with the book, Mr. Popescu.
 * Popescu: Haven't you ever scrapped a book, Mr. Martins?
 * Martins: Never.
 * Popescu: Pity.

 * Calloway: I told you to go away, Martins. This isn't Santa Fe. I'm not a sheriff and you aren't a cowboy. You've been blundering around with the worst bunch of racketeers in Vienna, your precious Harry's friends, and now you're wanted for murder.
 * Martins: Put down drunk and disorderly too.
 * Calloway: I have. What’s the matter with your hand?
 * Martins: Parrot bit me.
 * Calloway: Oh, stop behaving like a fool, Martins.
 * Martins: I’m only a little fool. I’m an amateur at it.
 * Calloway: You’re a professional. You’ve been shaking your cap and bells all over town.

 * Calloway: You’re going to hear the facts.
 * Martins: You haven’t told me a single one yet.
 * Calloway: Have you ever heard of penicillin?
 * Martins: Well?
 * Calloway: In Vienna, there hasn’t been enough penicillin to go around. So a nice trade started here. Stealing penicillin from the military hospitals, diluting it to make it go further and selling it to patients. Do you see what that means?
 * Martins: Are you too busy chasing a few tubes of penicillin to investigate a murder?
 * Calloway: These were murders. Men with gangrened legs, women in childbirth. And there were children too. They used some of this diluted penicillin against meningitis. The lucky children died. The unlucky ones went off their heads. You can see them now in the mental ward. That was the racket Harry Lime organized.

 * Martins: I knew him for twenty years, at least I thought I knew him. Suppose he was laughing at fools like us all the time?
 * Anna: He liked to laugh.
 * Martins: Seventy pounds a tube. He wanted me to write for his great medical charity...Perhaps I could have raised the price to eighty pounds for him.
 * Anna: Oh please, for heaven's sakes, stop making him in your image. Harry was real. He wasn't just your friend and my lover, he was Harry.
 * Martins: Well, don't preach wisdom to me. You talk about him as if he had occasional bad manners. Oh, I don't know, I'm just a hack writer who drinks too much and falls in love with girls - you.
 * Anna: Me?
 * Martins: Don't be such a fool, of course.
 * Anna: If you'd rung me up and asked me were you fair or dark or had a moustache, I wouldn't have known.
 * Martins: I am leaving Vienna. I don't care whether Harry was murdered by Kurtz or Popescu or the third man. Whoever killed him, there was some sort of justice. Maybe I would have killed him myself.
 * Anna: A person doesn't change because you find out more.

 * Martins: Well, what’s this? Where are we?
 * Calloway: It’s the main sewer. Runs right into the blue Danube. Smells sweet, doesn’t it? We should have dug deeper than a grave.

 * Harry: [on the ferris wheel] What do you want me to do? Be reasonable. You didn't expect me to give myself up.
 * Martins: Why not?
 * Harry: 'It's a far, far better thing that I do.' The old limelight. The fall of the curtain. Oh, Holly, you and I aren't heroes. The world doesn't make any heroes outside of your stories.

 * Martins: Have you ever seen any of your victims?
 * Harry: You know, I never feel comfortable on these sort of things. Victims? Don't be melodramatic. [gestures to people far below] Tell me. Would you really feel any pity if one of those dots stopped moving forever? If I offered you twenty thousand pounds for every dot that stopped, would you really, old man, tell me to keep my money, or would you calculate how many dots you could afford to spare? Free of income tax, old man. Free of income tax - the only way you can save money nowadays.
 * Martins: Lot of good your money'll do you in jail.
 * Harry: That jail's in another zone. There's no proof against me...besides you.
 * Martins: [holding onto the window ledge] I should be pretty easy to get rid of.
 * Harry: Pretty easy.
 * Martins: I wouldn't be too sure.
 * Harry: I carry a gun. You don't think they'd look for a bullet wound after you hit that ground.

 * Harry: [chuckling] Oh Holly, what fools we are, talking to each other this way. As though I would do anything to you, or you to me. You're just mixed up about things in general. Nobody thinks in terms of human beings. Governments don't. Why should we? They talk about the people and the proletariat, I talk about the suckers and the mugs - it's the same thing. They have their five-year plans, so have I.
 * Martins: You used to believe in God.
 * Harry: Oh, I still do believe in God, old man. I believe in God and Mercy and all that. But the dead are happier dead. They don't miss much here, poor devils. What do you believe in? Oh if you ever get Anna out of this mess, be kind to her. You'll find she's worth it. I wish I had asked you to bring me some of those tablets from home. Holly, I would like to cut you in, old man. There’s nobody left in Vienna I can really trust, and we have always done everything together. When you make up your mind, send me a message. I’ll meet you any place, any time. And when we do meet, old man, it is you I want to see, not the police. Remember that, won’t you? And don’t be so gloomy. After all, it’s not that awful. You know what the fellow said – in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock.
 * Note: The bolded sentence was written by Orson Welles

 * Martins: Anna, don't you recognize a good turn when you see one?
 * Anna: You have seen Calloway. What are you two doing?
 * Martins: Well, they, they asked me to help take him. I'm helping.
 * Anna: Poor Harry.
 * Martins: Poor Harry? Poor Harry wouldn't even lift a finger to help you.
 * Anna: Oh, you've got your precious honesty and don't want anything else.
 * Martins: You still want him.
 * Anna: I don't want him anymore. I don't want to see him, hear him. But he's still a part of me, that's a fact. I couldn't do a thing to harm him.
 * Martins: Oh Anna, why do we always have to quarrel?
 * Anna: If you want to sell your services, I'm not willing to be the price. I loved him. You loved him. What good have we done him? Love! Look at yourself. They have a name for faces like that.

 * Martins: Calloway, can't you do something about Anna?
 * Calloway: I'll do what I can - if she'll let me. [They pass Anna on the road]
 * Martins: Wait a minute. Let me out.
 * Calloway: Well, there's not much time.
 * Martins: One can't just leave. Please. [Calloway stops the jeep and Holly gets out]
 * Calloway: Be sensible, Martins.
 * Martins: Haven't got a sensible name, Calloway.
 * [Anna walks past Martins without saying a word]

Taglines

 * HUNTED...By a thousand men! Haunted...By a lovely girl!
 * Hunted by men...Sought by WOMEN!

Cast

 * Joseph Cotten - Holly Martins
 * Alida Valli - Anna Schmidt
 * Orson Welles - Harry Lime
 * Trevor Howard - Major Calloway
 * Paul Hörbiger - Porter
 * Ernst Deutsch - 'Baron' Kurtz
 * Erich Ponto - Dr. Winkel
 * Siegfried Breuer - Popescu
 * Hedwig Bleibtreu - Anna's Landlady
 * Bernard Lee - Sergeant Paine
 * Wilfrid Hyde-White - Cribbin

title: The Third Man


text:
User:Krik~enwikiquote

This account has been permanently blocked because of its use in vandalism. - InvisibleSun 07:15, 4 January 2007 (UTC)

title: User:Krik~enwikiquote


text:
Joseph Conrad

Joseph Conrad (3 December 1857 – 3 August 1924) was a Polish writer, working in England, regarded as one of the greatest novelists in the English language.
 * See also:
 * The Nigger of the 'Narcissus' (1897)
 * Lord Jim (1900)
 * Heart of Darkness (1902)
 * Henry James — An Appreciation (1905)
 * Some Reminiscences (A Personal Record) (1912)

Quotes

 * Socialism must inevitably end in Caesarism. ... Disestablishment, Land Reform, Universival Brotherhood are but like milestones on the road to ruin.
 * Letter (19 December 1885), sent by Conrad from Calcutta to Joseph Spiridion in England, quoted in:

 * Above all, we must forgive the unhappy souls who have elected to make the pilgrimage on foot, who skirt the shore and look uncomprehendingly upon the horror of the struggle, the joy of victory, the profound hopelessness of the vanquished.
 * Letter (March 1890), published in The Collected Letters of Joseph Conrad, edited by Frederick R. Karl and Laurence Davies, Vol. 1, p. 43 ISBN 0521242169

 * When he stepped off the straight and narrow path of his peculiar honesty, it was with an inward assertion of unflinching resolve to fall back again into the monotonous but safe stride of virtue as soon as his little excursion into the wayside quagmires had produced the desired effect.
 * An Outcast of the Islands (1896), first lines,

 * It's only those who do nothing that make no mistakes, I suppose.
 * An Outcast of the Islands (1896), Pt. 3, Ch. 2; possibly an adaptation of a Polish proverb, "Ten się nie myli, kto nic nie robi" — "One is not wrong, who does nothing."
 * What makes mankind tragic is not that they are the victims of nature, it is that they are conscious of it.
 * Letter to Robert Cunninghame-Graham (January 1898), published in The Collected Letters of Joseph Conrad, edited by Frederick R. Karl and Laurence Davies, Vol. 2, p. 30. ISBN 0521257484

 * The more I write the less substance do I see in my work, … It is tolerably awful. And I face it, I face it but the fright is growing on me. My fortitude is shaken by the view of the monster. It does not move; its eyes are baleful; it is as still as death itself — and it will devour me. Its stare has eaten into my soul already deep, deep.
 * Letter to Edward Garnett written in March 1899, published in The Collected Letters of Joseph Conrad, edited by Frederick R. Karl and Laurence Davies, Vol. 2, p. 177

 * Egoism, which is the moving force of the world, and altruism, which is its morality, these two contradictory instincts, of which one is so plain and the other so mysterious, cannot serve us unless in the incomprehensible alliance of their irreconcilable antagonism.
 * Letter to the editor of The New York Times Saturday Book Review (August 1901), as quoted in Joseph Conrad: A Life (2007) by Zdzisław Najder, translated by Halina Najder, p. 315

 * She strode like a grenadier, was strong and upright like an obelisk, had a beautiful face, a candid brow, pure eyes, and not a thought of her own in her head.
 * Tales of Unrest. The Return (1902)

 * One must have lived on such diet to discover what ghastly trouble the necessity of swallowing one's food become.
 * Tales of Unrest. An Outpost of Progress (1902)

 * Running all over the sea trying to get behind the weather.
 * Typhoon (1902), Ch. 2

 * The sea never changes and its works, for all the talk of men, are wrapped in mystery.
 * Typhoon (1902), Ch. 2

 * Facing it — always facing it — that's the way to get through.
 * Typhoon (1902), Ch. 5

 * The future is of our own making — and (for me) the most striking characteristic of the century is just that development, that maturing of our consciousness which should open our eyes to that truth.
 * Letter to H. G. Wells (February 1902), published in The Collected Letters of Joseph Conrad, edited by Frederick R. Karl and Laurence Davies, Vol. 2, p. 509

 * One wonders that there can be found a man courageous enough to occupy the post. It is a matter of meditation. Having given it a few minutes I come to the conclusion in the serenity of my heart and the peace of my conscience that he must be either an extreme megalomaniac or an utterly unconscious being.
 * "The Censor of Plays" (1907)

 * As to honour — you know — it's a very fine mediaeval inheritance which women never got hold of. It wasn't theirs.
 * Chance (1913), Part I, Ch. 2

 * It is to be remarked that a good many people are born curiously unfitted for the fate awaiting them on this earth.
 * Chance (1913), part I, Ch. 6

 * I can't tell if a straw ever saved a drowning man, but I know that a mere glance is enough to make despair pause. For in truth we who are creatures of impulse are not creatures of despair.
 * Chance (1913), part I, Ch. 6

 * Being a woman is a terribly difficult trade since it consists principally of dealings with men.
 * Chance (1913) part II, Ch. 5

 * The world of finance is a mysterious world in which, incredible as the fact may appear, evaporation precedes liquidation.
 * Victory: An Island Tale (1915), part I, Ch. 1

 * It is not the clear-sighted who lead the world. Great achievements are accomplished in a blessed, warm mental fog.
 * Victory: An Island Tale (1915), Part II, ch. 3

 * Every age is fed on illusions, lest men should renounce life early and the human race come to an end.
 * Victory: An Island Tale (1915), part II, Ch. 3

 * The last thing a woman will consent to discover in a man whom she loves, or on whom she simply depends, is want of courage.
 * Victory: An Island Tale, part II, Ch. 5

 * He remembered that she was pretty, and, more, that she had a special grace in the intimacy of life. She had the secret of individuality which excites — and escapes.
 * Victory: An Island Tale, part III, Ch. 4

 * Woe to the man whose heart has not learned while young to hope, to love — and to put its trust in life!!
 * Victory: An Island Tale, part IV, Ch. 14

 * Reality, as usual, beats fiction out of sight.
 * Letter (September 1915), published in The Collected Letters of Joseph Conrad, edited by Frederick R. Karl and Laurence Davies, Vol. 5, p. 509 ISBN 0521323894

 * In plucking the fruit of memory one runs the risk of spoiling its bloom.
 * The Arrow of Gold (1919), Author's note,

 * A man is a worker. If he is not that he is nothing.
 * Notes on Life and Letters (1921), part II, "Well Done"

 * For the great mass of mankind the only saving grace that is needed is steady fidelity to what is nearest to hand and heart in the short moment of each human effort.
 * Notes on Life and Letters (1921), Part II,, "Tradition"

In this world – as I have known it – we are made to suffer without the shadow of a reason, of a cause or of guilt.... There is no morality, no knowledge and no hope; there is only the consciousness of ourselves which drives us about a world that... is always but a vain and fleeting appearance.... A moment, a twinkling of an eye and nothing remains – but a clod of mud, of cold mud, of dead mud cast into black space, rolling around an extinguished sun. Nothing. Neither thought, nor sound, nor soul. Nothing.
 * Faith is a myth and beliefs shift like mists on the shore; thoughts vanish; words, once pronounced, die; and the memory of yesterday is as shadowy as the hope of to-morrow....
 * Letter to Robert Bontine Cunninghame Graham, quoted in Joseph Conrad: A Biography (1991) by Jeffrey Meyers, p. 166
 * Only a seaman realises to what great extent an entire ship reflects the personality and ability of one individual, her Commanding Officer. To a landsman, this is not understandable—and sometimes it is even difficult for us to comprehend—but it is so! A ship at sea is a different world in herself, and in consideration of the protracted and distant operations of the fleet units, the Navy must place great power, responsibility and trust in the hands of those leaders chosen for command.  In each ship there is one man who, in the hour of emergency or peril at sea, can turn to no other man. There is one who alone is ultimately responsible for the safe navigation, engineering performance, accurate gunfire and morale of the ship. He is the Commanding Officer. He is the ship.  This is the most difficult and demanding assignment in the Navy. There is not an instant during his tour as Commanding Officer that he can escape the grasp of command responsibility. His privileges, in view of his obligations, are almost ludicrously small; nevertheless, this is the spur which has given the Navy its great leaders.  It is a duty which richly deserves the highest, time-honoured title of the seafaring world—Captain.
 * Command at Sea: the Prestige, Privilege and Burden of Command

Youth (1902)

 * Youth, A Narrative'' — online at Project Gutenberg

 * This could have occurred nowhere but in England, where men and sea interpenetrate, so to speak.

 * I had been six years at sea, but had only seen Melbourne and Sydney, very good places, charming places in their way — but Bankok!

 * His name was Jermyn, and he dodged all day long about the galley drying his handkerchief before the stove. Apparently he never slept. He was a dismal man, with a perpetual tear sparkling at the end of his nose, who either had been in trouble, or was in trouble, or expected to be in trouble — couldn't be happy unless something went wrong. He mistrusted my youth, my common-sense, and my seamanship, and made a point of showing it in a hundred little ways. I dare say he was right. It seems to me I knew very little then, and I know not much more now; but I cherish a hate for that Jermyn to this day.

 * I remember my youth and the feeling that will never come back any more — the feeling that I could last for ever, outlast the sea, the earth, and all men; the deceitful feeling that lures us on to joys, to perils, to love, to vain effort — to death; the triumphant conviction of strength, the heat of life in the handful of dust, the glow in the heart that with every year grows dim, grows cold, grows small, and expires — and expires, too soon — too soon before life itself.

 * Only a moment; a moment of strength, of romance, of glamour — of youth!... A flick of sunshine upon a strange shore, the time to remember, the time for a sigh, and — goodbye! — Night — Goodbye!

Nostromo (1904)

 * "God for men — religions for women," he muttered sometimes.
 * Part First: The Silver of the Mine, Ch. 4

 * Action is consolatory. It is the enemy of thought and the friend of flattering illusions.
 * Part First: The Silver of the Mine, Ch. 6

 * The air of the New World seems favorable to the art of declamation.
 * Part First: The Silver of the Mine, Ch. 6

 * A nickname may be the best record of a success. That's what I call putting the face of a joke upon the body of a truth.
 * Part Third: The Lighthouse, Ch. 1
 * Often misquoted as "A caricature is putting the face of a joke on the body of a truth."

 * Having had to encounter single-handed during his period of eclipse many physical dangers, he was well aware of the most dangerous element common to them all: of the crushing, paralyzing sense of human littleness, which is what really defeats a man struggling with natural forces, alone, far from the eyes of his fellows.
 * Part Third: The Lighthouse, Ch. 8

 * There is no credulity so eager and blind as the credulity of covetousness, which, in its universal extent, measures the moral misery and the intellectual destitution of mankind.
 * Part Third: The Lighthouse, Ch. 9

 * The truth was that he died from solitude, the enemy known but to few on this Earth, and whom only the simplest of us are fit to withstand. The brilliant Costaguanaro of the boulevards had died from solitude and want of faith in himself and others.
 * Part Third: The Lighthouse, Ch. 10

 * There is no peace and no rest in the development of material interests. They have their law, and their justice. But it is founded on expediency, and is inhuman; it is without rectitude, without the continuity and the force that can be found only in a moral principal.
 * Part Third: The Lighthouse, Ch. 11

The Mirror of the Sea (1906)

 * Full text online at Project Gutenberg

 * Efficiency of a practically flawless kind may be reached naturally in the struggle for bread. But there is something beyond — a higher point, a subtle and unmistakable touch of love and pride beyond mere skill; almost an inspiration which gives to all work that finish which is almost art — which is art.
 * Ch. 7

 * History repeats itself, but the special call of an art which has passed away is never reproduced. It is as utterly gone out of the world as the song of a destroyed wild bird.
 * Ch. 8

 * An artist is a man of action, whether he creates a personality, invents an expedient, or finds the issue of a complicated situation.
 * Ch. 9

 * I call to mind a winter landscape in Amsterdam — a flat foreground of waste land, with here and there stacks of timber, like the huts of a camp of some very miserable tribe; the long stretch of the Handelskade; cold, stone-faced quays, with the snow-sprinkled ground and the hard, frozen water of the canal, in which were set ships one behind another with their frosty mooring-ropes hanging slack and their decks idle and deserted, because... their cargoes were frozen-in up-country on barges and schuyts. In the distance, beyond the waste ground, and running parallel with the line of ships, a line of brown, warm-toned houses seemed bowed under snow-laden roofs. From afar at the end of Tsar Peter Straat, issued in the frosty air the tinkle of bells of the horse tramcars, appearing and disappearing in the opening between the buildings, like little toy carriages harnessed with toy horses and played with by people that appeared no bigger than children.
 * On Amsterdam, Ch. 14

 * Nobody ever comes back from a "missing" ship to tell how hard was the death of the craft, and how sudden and overwhelming the last anguish of her men. Nobody can say with what thoughts, with what regrets, with what words on their lips they died. But there is something fine in the sudden passing away of these hearts from the extremity of struggle and stress and tremendous uproar—from the vast, unrestful rage of the surface to the profound peace of the depths, sleeping untroubled since the beginning of ages.
 * Ch. 17

 * The Westerly Wind asserting his sway from the south-west quarter is often like a monarch gone mad, driving forth with wild imprecations the most faithful of his courtiers to shipwreck, disaster, and death.
 * Ch. 26

 * To see! to see! — this is the craving of the sailor, as of the rest of blind humanity. To have his path made clear for him is the aspiration of every human being in our beclouded and tempestuous existence.
 * Ch. 27

 * The East Wind, an interloper in the dominions of Westerly weather, is an impassive-faced tyrant with a sharp poniard held behind his back for a treacherous stab.
 * Ch. 28

 * For all that has been said of the love that certain natures (on shore) have professed to feel for it, for all the celebrations it had been the object of in prose and song, the sea has never been friendly to man. At most it has been the accomplice of human restlessness.
 * Ch. 35

 * The sea — this truth must be confessed — has no generosity. No display of manly qualities — courage, hardihood, endurance, faithfulness — has ever been known to touch its irresponsible consciousness of power.
 * Ch. 36

On the River Thames, Ch. 16

 * Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond... [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.
 * The Nore to Hope Point

 * Then, on the slight turn of the Lower Hope Reach, clusters of factory chimneys come distinctly into view, tall and slender above the squat ranges of cement works in Grays and Greenhithe. Smoking quietly at the top against the great blaze of a magnificent sunset, they give an industrial character to the scene, speak of work, manufactures, and trade, as palm-groves on the coral strands of distant islands speak of the luxuriant grace, beauty and vigour of tropical nature. The houses of Gravesend crowd upon the shore with an effect of confusion as if they had tumbled down haphazard from the top of the hill at the back. The flatness of the Kentish shore ends there. A fleet of steam-tugs lies at anchor in front of the various piers. A conspicuous church spire, the first seen distinctly coming from the sea, has a thoughtful grace, the serenity of a fine form above the chaotic disorder of men’s houses. But on the other side, on the flat Essex side, a shapeless and desolate red edifice, a vast pile of bricks with many windows and a slate roof more inaccessible than an Alpine slope, towers over the bend in monstrous ugliness, the tallest, heaviest building for miles around, a thing like an hotel, like a mansion of flats (all to let), exiled into these fields out of a street in West Kensington. Just round the corner, as it were, on a pier defined with stone blocks and wooden piles, a white mast, slender like a stalk of straw and crossed by a yard like a knitting-needle, flying the signals of flag and balloon, watches over a set of heavy dock-gates. Mast-heads and funnel-tops of ships peep above the ranges of corrugated iron roofs. This is the entrance to Tilbury Dock, the most recent of all London docks, the nearest to the sea.
 * Hope Point to Tilbury / Gravesend

 * Between the crowded houses of Gravesend and the monstrous red-brick pile on the Essex shore the ship is surrendered fairly to the grasp of the river. That hint of loneliness, that soul of the sea which had accompanied her as far as the Lower Hope Reach, abandons her at the turn of the first bend above. The salt, acrid flavour is gone out of the air, together with a sense of unlimited space opening free beyond the threshold of sandbanks below the Nore. The waters of the sea rush on past Gravesend, tumbling the big mooring buoys laid along the face of the town; but the sea-freedom stops short there, surrendering the salt tide to the needs, the artifices, the contrivances of toiling men. Wharves, landing-places, dock-gates, waterside stairs, follow each other continuously right up to London Bridge, and the hum of men’s work fills the river with a menacing, muttering note as of a breathless, ever-driving gale. The water-way, so fair above and wide below, flows oppressed by bricks and mortar and stone, by blackened timber and grimed glass and rusty iron, covered with black barges, whipped up by paddles and screws, overburdened with craft, overhung with chains, overshadowed by walls making a steep gorge for its bed, filled with a haze of smoke and dust.
 * Tilbury / Gravesend to London Bridge

 * This stretch of the Thames from London Bridge to the Albert Docks is to other watersides of river ports what a virgin forest would be to a garden. It is a thing grown up, not made. It recalls a jungle by the confused, varied, and impenetrable aspect of the buildings that line the shore, not according to a planned purpose, but as if sprung up by accident from scattered seeds. Like the matted growth of bushes and creepers veiling the silent depths of an unexplored wilderness, they hide the depths of London’s infinitely varied, vigorous, seething life. In other river ports it is not so. They lie open to their stream, with quays like broad clearings, with streets like avenues cut through thick timber for the convenience of trade... But London, the oldest and greatest of river ports, does not possess as much as a hundred yards of open quays upon its river front. Dark and impenetrable at night, like the face of a forest, is the London waterside. It is the waterside of watersides, where only one aspect of the world’s life can be seen, and only one kind of men toils on the edge of the stream. The lightless walls seem to spring from the very mud upon which the stranded barges lie; and the narrow lanes coming down to the foreshore resemble the paths of smashed bushes and crumbled earth where big game comes to drink on the banks of tropical streams. Behind the growth of the London waterside the docks of London spread out unsuspected, smooth, and placid, lost amongst the buildings like dark lagoons hidden in a thick forest. They lie concealed in the intricate growth of houses with a few stalks of mastheads here and there overtopping the roof of some four-story warehouse.
 * London Bridge to the Royal Albert Dock

The Secret Agent (1907)

 * Online text

 * Protection is the first necessity of opulence and luxury.
 * Ch. 2

 * The imbecile bourgeoisie of this country make themselves the accomplices of the very people whose aim is to drive them out of their houses to starve in ditches. And they have the political power still, if they only had the sense to use it for their preservation.
 * Ch. 2

 * All idealization makes life poorer. To beautify it is to take away its character of complexity — it is to destroy it. Leave that to the moralists, my boy. History is made by men, but they do not make it in their heads. The ideas that are born in their consciousness play an insignificant part in the march of events. History is dominated and determined by the tool and the production — by the force of economic conditions. Capitalism has made socialism, and the laws made by the capitalist for the protection of property are responsible for anarchism. No one can tell what form the social organisation may take in the future. Then why indulge in prophetic phantasies? At best they can only interpret the mind of the prophet, and can have no objective value. Leave that pastime to the moralists, my boy.
 * Ch. 3

 * To the destruction of what is.
 * Toast by the Professor, Ch. 13

 * The cabman looked at the pieces of silver, which, appearing very minute in his big, grimy palm, symbolised the insignificant results which reward the ambitious courage and toil of a mankind whose day is short on this earth of evil.
 * Ch. 8

 * All passion is lost now. The world is mediocre, limp, without force. And madness and despair are a force. And force is a crime in the eyes of the fools, the weak and the silly who rule the roost. You are mediocre. Verloc, whose affair the police has managed to smother so nicely, was mediocre. And the police murdered him. He was mediocre. Everybody is mediocre. Madness and despair! Give me that for a lever, and I'll move the world. Ossipon, you have my cordial scorn. You are incapable of conceiving even what the fat-fed citizen would call a crime. You have no force.
 * Ch. 13

Under Western Eyes (1911)

 * Words, as is well known, are the great foes of reality. I have been for many years a teacher of languages. It is an occupation which at length becomes fatal to whatever share of imagination, observation, and insight an ordinary person may be heir to. To a teacher of languages there comes a time when the world is but a place of many words and man appears a mere talking animal not much more wonderful than a parrot.
 * Pt. I

 * I take it that what all men are really after is some form or perhaps only some formula of peace.
 * Pt. I

 * A man's real life is that accorded to him in the thoughts of other men by reason of respect or natural love.
 * Pt. I

 * Nations it may be have fashioned their Governments, but the Governments have paid them back in the same coin.
 * Pt. I, ch. 2

 * They talk of a man betraying his country, his friends, his sweetheart. There must be a moral bond first. All a man can betray is his conscience.
 * Pt. I, ch. 2

 * Who knows what true loneliness is — not the conventional word, but the naked terror? To the lonely themselves it wears a mask. The most miserable outcast hugs some memory or some illusion.
 * Pt. I, ch. 2

 * A man's most open actions have a secret side to them.
 * Pt. I, ch. 2

 * Let a fool be made serviceable according to his folly.
 * Pt. I, ch. 3

 * The scrupulous and the just, the noble, humane, and devoted natures; the unselfish and the intelligent may begin a movement — but it passes away from them. They are not the leaders of a revolution. They are its victims.
 * Pt. II, ch. 3

 * The belief in a supernatural source of evil is not necessary; men alone are quite capable of every wickedness.
 * Pt. II, ch. 4

 * Perhaps life is just that... a dream and a fear.
 * Pt. IV, ch. 2

The Shadow Line (1915)

 * He feared neither God, nor devil, nor man, nor wind, nor sea, nor his own conscience. And I believe he hated everybody and everything. But I think he was afraid to die. I believe I am the only man who ever stood up to him.
 * Referring to Mr. Burns. Compare to Heart of Darkness'' manager: "He was becoming confidential now, but I fancy my unresponsive attitude must have exasperated him at last, for he judged it necessary to inform me he feared neither God nor devil, let alone any mere man. I said I could see that very well..."

Quotes about Conrad

 * Sorted alphabetically by author or source

 * Well there is an assumption there that Conrad's...Heart of Darkness is great art and I don't accept that. Great art flourishes on problems or anguish or prejudice. But the role of the writer must be very clear. The writer must not be on the side of oppression. In other words there must be no confusion. I write about prejudice; I write about wickedness; I write about murder, I write about rape: but I must not be caught on the side of murder or rape. It is as simple as that.
 * Chinua Achebe in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)

 * maybe my favorite book in the world...I have never started a novel...without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
 * Joan Didion interview quoted here

 * It is fashionable among my friends to disparage [Conrad]. It is even necessary. Living in a world of literary politics where one wrong opinion often proves fatal, one writes carefully.... It is agreed by most of the people I know that Conrad is a bad writer, just as it is agreed that T. S. Eliot is a good writer. And now he is dead and I wish to God they would have taken some great, acknowledged technician of a literary figure and left him to write his bad stories.
 * Ernest Hemingway, "Conrad, Optimist and Moralist," Transatlantic Review (October 1924)

 * Melville doesn't sentimentalize the ocean and the sea's unfortunates. Snivel in a wet hanky like Lord Jim.
 * D.H. Lawrence, Studies in Classic American Literature (1923)

 * I think some of the greatest writing has been also about writers like Conrad or Nabokov, who have illuminated and given us fresh views about the new countries they adopted.
 * Azar Nafisi 2010 interview included in Conversations with Edwidge Danticat edited by Maxine Lavon Montgomery (2017)

 * Only the essential is true; Joseph Conrad, in a letter of advice, drives this home by recommending deletions, explaining that these words are "not essential and therefore not true to the fact."
 * Muriel Rukeyser The Life of Poetry (1949)

 * They are very fascinating and very terrible, these tales of Conrad's in which he brings civilisation to the judgment of nature, and causes it to shake like a withering tree.
 * Stephen Reynolds, in "Joseph Conrad and Sea Fiction" in The Quarterly Review, Vol. 217 (July 1912), p. 177

Misattributed

 * I had ambition not only to go farther than any man had ever been before, but as far as it was possible for a man to go.
 * Though sometimes attributed to Conrad it is a misquotation from Captain James Cook's journals (1774-01-30): "I whose ambition leads me not only farther than any other man has been before me, but as far as I think it possible for man to go, was not sorry at meeting with this interruption."

title: Joseph Conrad


text:
User:Saforrest

en:User:Saforrest --[[User:Saforrest|saf]] 20:47, 31 July 2006 (UTC)

title: User:Saforrest


text:
Friends (TV series)

 * Seasons: 1 2 3 4 5 6 7 8 9 10 | Main

Friends (1994–2004) was an American sitcom revolving around six 20-30 something friends living in Manhattan.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4
 * Season 5
 * Season 6
 * Season 7
 * Season 8
 * Season 9
 * Season 10

Cast

 * Jennifer Aniston as Rachel Green
 * Courteney Cox as Monica Geller
 * Lisa Kudrow as Phoebe Buffay and Ursula Buffay
 * Matt LeBlanc as Joey Tribbiani
 * Matthew Perry as Chandler Bing
 * David Schwimmer as Ross Geller

title: Friends (TV series)


text:
User:Jasontromm

Jason A. Trommetter is a hard-working ordinary American. He considers himself to be a Christian Libertarian. He is a computer programmer, by trade and a part-time political pundit.

Originally from Pennsylvania, Jason has been moving steadily south over the years. He currently lives in Mauldin with his wife and two children, ages 8 and 6 months. The oldest is a student at Mauldin Elementary School. We're not ready to abandon the public school system yet. Better to work within to improve the system.

Jason is a graduate of Moravian College where he received a Bachelor of Science degree with a double major in Computer Science and Mathematics.

He is a Competent Toastmaster and Vice President of Education for the Ahold Toastmasters club. He attends Rocky Creek Baptist Church where he plays guitar in the praise band.

title: User:Jasontromm


text:
User:Kevin Rector

See my Wikipedia page.

I'm mostly active at Wikipedia and Wiktionary. Lately, I've mostly been working at Wiktionary where I am an administrator. Every once in a while I'll drop in and add a quote.

title: User:Kevin Rector


text:
Talk:The Princess Bride (film)

Can't believe nobody included a quote from the "Impressive Clergyman" until today.--JasonTromm 14:11, 14 Jul 2004 (UTC)

I've removed "If you please" quotation from Westley, because it was "when he falls down the cliffs of insanity", and AFAICT he never falls down these cliffs (since, well, he'd be dead otherwise) ~ MosheZadka (Talk) 08:43, 15 December 2005 (UTC)

Inigo Montoya
The question came up about whether Montoya's given name is spelled "Inigo" or "Iñigo", based on Mandy Patinkin's pronunciation. To settle it, I checked both IMDb (a reasonably reliable source for this info) and a paperback copy of William Goldman's eponymous book (the origin of the film). Both showed it as "Inigo". ~ Jeff Q (talk) 14:01, 28 May 2006 (UTC)

This film is a classic, and has TONS of great and memorable quotes
"If a page is considered by an editor to have an unusually large number of memorable quotes (e.g., some movie classics), an appeal can be made to the community to allow an exception to the guidelines. A forum will be created for editors to make the case for a quote or an article which exceeds the limits for number or length of quotations. Each discussion will be limited to a standard time and will be decided by community consensus. Articles will be tagged to inform readers when a discussion is taking place." - A forum will be created? Has this already happened?

"The standard for good quotations is that they are memorable, significant, well-expressed and concise. See Wikiquote:Quotability for a guideline to the selection of quotations." - There are MANY quotations from this film that fit this description.

Here are some quotability factors applicable to the film, from "Wikiquote: Quotability": "Is the quote particularly witty, pithy, wise, eloquent, or poignant?" - Yes! "Is the quote independently well known (as with proverbs and certain well-reported comments)?" - Yes!

Just my $0.02. -- Xanderox (talk) 01:47, 19 June 2020 (UTC)

title: Talk:The Princess Bride (film)