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Hans Hofmann

Hans Hofmann (21 March 1880 – 17 February 1966) was one of the older abstract expressionist painters working in New York. Hofmann originally came from Germany where he experienced the new art and so he connected European with modern American abstract art. He had strong influence as an art-teacher and writer on the younger American abstract artists after 1940.

Search for the Real and Other Essays (1948)

 * Quotes from: Search for the Real and Other Essays (1948) by Hans Hofmann, ed. Sara T. Weeks and Bartlett H. Hayes, Jr. Addison Gallery of American Art; (using M.I.T. Press edition (1967); (Partial online PDF)

 * Art is magic. So say the surrealists. But how is it magic? In its metaphysical development? Or does some final transformation culminate in a magic reality? In truth, the latter is impossible without the former. If creation is not magic, the outcome cannot be magic. To worship the product and ignore its development leads to dilettantism and reaction. Art cannot result from sophisticated, frivolous, or superficial effects.
 * 'Search for the Real in the Visual Arts', p. 40

 * The significance of a work of art is determined then by the quality of its growth. This involves intangible forces inherent in the process of development. Although these forces are surreal (that is, their nature is something beyond physical reality), they, nevertheless, depend on a physical carrier. The physical carrier (commonly painting or sculpture) is the medium of expression of the Surreal. Thus, an idea is communicable only when the surreal is converted into material terms. The artist’s technical problem is how to transform the material with which he works back into the sphere of the spirit.
 * 'Search for the Real in the Visual Arts', p. 40

 * This two-way transformation proceeds from metaphysical perceptions, for metaphysics is the search for the essential nature of reality. And so artistic creation is the metamorphosis of the external physical aspects of a thing into a self-sustaining spiritual reality. Such is the magic act which takes place continuously in the development of a work of art. On this and only on this is creation based.
 * 'Search for the Real in the Visual Arts', p. 40

 * A thought that has found a plastic expression must continue to expand in keeping with its own plastic idiom. A plastic idea must be expressed with plastic means just as a musical idea is expressed with musical means, or a literary idea with verbal means. Neither music nor literature are wholly translatable into other art forms; and so a plastic art cannot be created through a superimposed literary meaning. The artist who attempts to do so produces nothing more than a show-booth. He contents himself with visual story-telling. He subjects himself to a mechanistic kind of thinking which disintegrates into fragments.
 * 'Search for the Real in the Visual Arts', p. 40-46

 * The relative meaning of two physical facts in an emotionally controlled relation always creates the phenomenon of a third fact of a higher order, just as two musical sounds, heard simultaneously create the phenomenon of a third, fourth or fifth. The nature of this higher third is non-physical. In a sense it is magic. Each such phenomenon always overshadows the material qualities and the limited meaning of the basic factors from which it has sprung. For this reason Art expresses the highest quality of the spirit when it is surreal in nature; or, in terms of the visual arts, when it is of a surreal plastic nature.
 * 'Search for the Real in the Visual Arts', p. 41

 * A glimpse heavenward at a constellation or even at a single star only suggests infinity; actually our vision is limited. We cannot perceive unlimited space; it is immeasurable. The universe, as we know it through our visual experience, is limited. It first came into existence with the formation of matter, and will end with the complete dissolution of matter.
 * 'Search for the Real in the Visual Arts', p. 43

 * Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).
 * 'Search for the Real in the Visual Arts', p. 44

 * Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane. .A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building.. .Planes organized within a picture create the pictorial space of its composition..  .The old masters were plane-consciousness. This makes their pictures restful as well as vital...
 * 'Search for the Real in the Visual Arts', p. 44

 * A line cannot control pictorial space absolutely. A line may flow freely in and out space, but cannot independently create the phenomenon of push and pull necessary to plastic creation. Push and pull are expanding and contracting forces which are activated by carriers in visual motion. Planes are the most important carriers, lines and points less so.. .the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push. ... At the end of his life and the height of his capacity Cézanne understood color as a force of push and pull. In his pictures he created an enormous sense of volume, breathing, pulsating, expanding, contracting through his use of colors.
 * 'Search for the Real in the Visual Arts', p. 44

 * Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem.
 * 'Search for the Real in the Visual Arts', p. 45

 * The reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its figuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art.
 * 'Search for the Real in the Visual Arts', p. 45

 * One must realize that, apart from considerations of color and form, there are two fundamentally different ways of regarding a medium of expression: one is based on taste only — an approach in which the external physical elements of expression are merely pleasingly arranged. This way results in decoration with no spiritual reaction. Arrangement is not art. The second way is based on the artist’s power of empathy, to feel the intrinsic qualities of the medium of expression. Through these qualities the medium comes to life.. .In this life, an intuitive artist discovers the emotive and vital substance which makes a work of art.
 * 'Search for the Real in the Visual Arts', p. 46

 * It is the greatest injustice done to Mondrian that people who are plastically blind see only decorative design instead of the plastic perfection which characterizes his work. The whole De Stijl group from which Mondrian's art was derived must be considered a protest against such blindness.
 * 'Search for the Real in the Visual Arts', p. 47

 * The physical carrier is overshadowed by a relation. The relation creates an overtone. The physical carrier is absorbed by this overtone. The overtone spontaneously transforms the means of creation into a spiritual reality. The mystery of creation is then revealed.
 * 'Search for the Real in the Visual Arts', p. 49

 * The knowledge of reality, achieved by means of the complete sensory equipment, must be expressed artistically in terms of a medium which appeals to the memory of all sensory experience — but only through the eye.
 * 'Search for the Real in the Visual Arts', p. 54

 * The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.
 * 'Painting and Culture' p. 55

 * Art leads to a more profound concept of life, because art itself is a profound expression of feeling. The artist is born, and art is the expression of his overflowing soul. Because his soul is rich, he cares comparatively little about the superficial necessities of the material world; he sublimates the pressure of material affairs in an artistic experience.
 * 'Painting and Culture' p. 56

 * Art is something absolute, something positive, which gives power just as food gives power. While creative science is a mental food, art is the satisfaction of the soul.
 * 'Painting and Culture' p. 56

 * It takes intelligence and training, self-discipline and fine-sensibility, to gain renewed life through leisure occupation. America now suffers spiritual poverty, and art must become more fully American life before her leisure can become culture.
 * 'Painting and Culture' p. 56

 * The general misunderstanding of a work of art is often due to the fact that the key to its spiritual content and technical means is missed. Unless the observer is trained to a certain degree in the artistic idiom, he is apt to search for things which have little to do with the aesthetic content of a picture. He is likely to look for pure representational values when the emphasis is really upon music-like relationships.
 * 'Painting and Culture' p. 56

 * Everything rhythmically organic is true. Everything, which results from the proper feeling for rhythmically organized spiritual units, is true and alive — alive within itself. When we lose the sense for such true beauty we lose our natural sense for the rich flavor of life, which is the basis for all inspirational work. Things generally taken for beautiful are nothing other than the product of frozen, stereotyped taste, bound by sterile rules and purely exterior judgment.
 * 'Painting and Culture' p. 57

 * The difference between the arts arises because of the difference in the nature of the mediums of expression and the emphasis induced by the nature of each medium. Each means of expression has its own order of being, its own units.
 * 'Painting and Culture' p. 57

 * Speech has arisen through the need for expression. Certain factors have contributed to making it the paramount utilitarian method of expression. There are ideas and things expressible in words, but there are ideas better expressed in music, the person with no musical ear, or without discipline in the language of music, lacks the key to the door of the world of musical experience. But we live in a world of volume and space; it is hard to conceive of the person who is space-blind or volume-deaf. The great majority of people have the means of approach to plastic beauty as part of their natural equipment. The teacher can develop this natural endowment as Necessity, the greatest teacher, has developed speech.
 * 'Painting and Culture' p. 57

 * There is a world of visual beauty open to the one willing to undergo the practice and striving necessary to the understanding of its language. This world is a important as culturally as is the world of words or of music. My ideal is to form and to paint as Schubert sings his songs and as Beethoven creates his world in sounds. That is to say, creation of one’s own inner world through the same human and artistic discipline. An inner sensation can find external expression only through spiritual realization.
 * 'Painting and Culture' p. 58

 * When the impulses which stir us to profound emotion are integrated with the medium of expression, every interview of the soul may become art. This is contingent upon mastery of the medium.
 * 'Painting and Culture' p. 58

 * The impulse of nature, fused through the personality of the artist by laws arising from the particular nature of the medium, produces the rhythm and the personal expression of a work. Then the life of the composition becomes a spiritual unity.
 * 'Painting and Culture' p. 58

 * A work of art is a world in itself reflecting senses and emotions of the artist's world. Just as a flower, by virtue of its existence as a complete organism is both ornamental and self-sufficient as to color, form, and texture, so art, because of its singular existence is more than mere ornament.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 59

 * The encompassing, creative mind recognizes no boundaries. The mind has ever brought new spheres under its control. All our experiences culminate in the perception of the universe as a whole, with man as its center.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 61

 * Dreams and reality are united in our imagination. The artist possesses the means to create only after he has effective command of his faculty of empathy which he must develop simultaneously with his imaginative capacity.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 61

 * It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 61

 * Each expression-medium has a life of its own. Regulated by certain laws, it can be mastered only by intuition during the act of creating. It is in the nature of the laws which govern every expression medium that two separate entities, related through empathy, always produce a higher third of a purely spiritual nature. This spiritual third manifests itself as a quality which carries emotional content. This quality is the opposite of illusion; it is the reality of the spirit.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 61

 * An idea can only be materialized with the help of a medium of expression, the inherent qualities of which must be surely sensed and understood in order to become the carrier of an idea.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 64

 * Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 66

 * The product of movement and counter-movement is tension. When tension — working strength — is expressed, it endows the work of art with the living effect of coordinated, though opposing, forces.
 * "Excerpts from the Teaching of Hans Hofmann", p. 66

 * Monumentality is an affair of relativity. The truly monumental can only come about by means of the most exact and refined relation between parts. Since each thing carries both a meaning of its own and an associated meaning in relation to something else — its essential value is relative. We speak of the mood we experience when looking at a landscape. This mood results from the relation of certain things rather than from their separate actualities. This is because objects do not in themselves possess the total effect they give when interrelated.
 * 'Excerpts from the Teaching of Hans Hofmann', p. 68

 * A work based only on a line concept is scarcely more than a illustration; it fails to achieve pictorial structure. Pictorial structure is based on a plane concept. The line originates in the meeting of two planes ... we can lose ourselves in a multitude of lines, if through them we lose our senses for the planes.
 * 'Terms' p. 71

 * Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light.
 * 'Terms' p. 74

1950s

 * To sense the invisible and to be able to create it — that is art.
 * Statement of 1950, as quoted in Hans Hofmann (1998), ed. Helmut Friedel and Tina Dickey

 * I do not want to avoid immersing myself in trouble — to be a mess — to struggle out of it. I want to invent, to discover, to imagine, to speculate, to improvise — to seize the hazardous in order to be inspired. I want to experience the manifestation of the absolute — the manifestation of the unexpected in an extreme and unique relation. I know that only by following my creative instincts in an act of creative destruction will I be able to find it.
 * Statement of April 1950, as quoted in Hans Hofmann (1998), ed. Helmut Friedel and Tina Dickey

 * I am many people. Technique is always the consequence of the dominating concept.. ..with the change of concept, technique will change.
 * At the time of making a picture, I want not to know what I am doing.; a picture should me made with feeling, not with knowing.
 * Quote from an interview with Elaine de Kooning, 'Hans Hofmann paints a picture', 1950; in Artnews, February 1950, 38 (article 38-41 and 58-59)

 * Painting is aesthetic enjoyment; I want to be a 'poet'. As an artist I must conform to my nature. My nature has a lyrical as well as a dramatic disposition. Not one day is the same. One day I feel wonderful to work and I feel an expression, which shows in the work. Only with a very clear mind on a clear day I can paint without interruptions and without food because my disposition is like that. My work should reflect my moods and the greatest enjoyment I had when I did the work...
 * Quote from 'Artists' Session at Studio 35', (1950); as cited in Abstract Expressionism Creators and Critics (1990), ed. Clifford Ross, p. 225

 * The impressionistic method leads into a complete splitting and dissolution of all areas involved in the composition, and color is used to create an overall effect of light. The color is, through such a shading down from the highest light in the deepest shadows, sacrified an degraded to a (black-and-white) function. This leads to the destructions of the color as color.
 * Hofmann's quote in: 'Space pictorially realized through the intrinsic faculty of the colors to express volume' in New Paintings by Hans Hofmann (1951); also in Hans Hofmann' (1998) by Helmut Friedel and Tina Dickey

 * There is in reality no such thing as modern art. Art is carried on up and down in immense cycles through centuries and civilizations.
 * statement in Hans Hofmann: Recent Paintings (1952) Kootz Gallery

 * The art of pictorial creation is so complicated — it is so astronomical in its possibilities of relation and combination that it would take an act of super-human concentration to explain the final realization.
 * Quote of Hofmann in Hawthorne — the Painter: An Appreciation, (1952)

 * Robert Motherwell: Would you say that a fair statement of your position is that the 'meaning' of a work of art consists of the relations among the elements, and not the elements themselves? Hofmann: Yes, that I would definitely say. You make a thin line and a thick line. It is the same with geometrical shapes. It is all relationship. Without all these relationships it is not possible to express higher art.
 * Interview in Modern Artists in America, First Series (1952), ed. R. Motherwell, Ad Reinhardt, and B. Karpel, p. 19, 39

 * It isn't necessary to make things large to make them monumental; a head by Giacometti one inch high would be able to vitalize this whole space.
 * As quoted in Can Painting be Taught by Dorothy Seckler, Art News No. 50 (March 1951), p. 64

 * Then [speaking of his loosely figurative work of the 1930's, in Germany] I was still under nature, not that I was imitating it; now [1957] I am above nature. But everything comes from nature, I too am part of nature; my memory comes from nature, too.
 * Quote in: 'Hans Hofmann', Elizabeth Pollet, (interview of his 1957 Whitney Museum exhibition), Arts Magazine, May 1957 (article: 30-33)

 * As a teacher I approach my students purely with the human desire to free them from all scholarly inhibitions, and I tell them, 'Painters must speak through paint — not through words.'
 * As quoted in It ls., No. 3 (Winter-Spring 1959)

1960s

 * Basically I hate categorical labels. As a young artist I already was very clear about this — that 'objectification' is not the final aim of art. For there are greater things than the object. The greatest thing is the human mind.
 * As quoted in The Artist's Voice : Talks With Seventeen Modern Artists (1962) by Katharine Kuh, p. 118

 * I can't understand how anyone is able to paint without optimism. Despite the general pessimistic attitude in the world today, I am nothing but an optimist.
 * As quoted in The Artist's Voice : Talks With Seventeen Modern Artists (1962) by Katharine Kuh, p. 119

 * My aim in painting is to create pulsating, luminous, and open surfaces that emanate a mystic light, in accordance with my deepest insight into the experience of life and nature.
 * As quoted in The Artist's Voice : Talks With Seventeen Modern Artists (1962) by Katharine Kuh, p. 128

 * Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws; second, the artist, who creates a spiritual contact with nature and his materials; third, the medium of expression through which the artist translates his inner world. Of those three components only one, the medium, is material.
 * As quoted in Hans Hofmann (1963) by William Chapin Seitz, p. 15

 * My paintings are always images of my whole psychic makeup. You cannot deny yourself. You ask, am I painting myself? I'd been a swindler if I did otherwise. I'd be denying my existence as an artist. I've been also asked, what do you want to convey? And I say, nothing but my own nature.. .I am nothing but an optimist.
 * In: Hofmann, in Ashton, (1960's) Twetieth Century Artists on Art, 218

1970s and later

 * In nature, light creates the color; in the picture, color creates light. Every color shade emanates a very characteristic light — no substitute is possible.
 * As quoted in Readings in American art, 1900 -1975 (1975) by Barbara Rose, p. 117
 * Variant: In nature, light creates the color. In the picture, color creates the light.

 * Every art expression is rooted fundamentally in the personality and temperament of the artist.
 * Quote in: 'Hans Hofmann' by Cynthia Goodman, in Portfolio (January - February 1981), p. 47

 * The width of a line may present the idea of infinity. An epigram may contain a world. In the same way, a small picture format may be much more living, much more leavening, stirring, awakening, than square yards of wall space.
 * As quoted in Abstract Expressionist Painting in America (1983) by W.C, Seitz, p. 88

 * Being inexhaustible, life and nature are a constant stimulus for a creative mind.
 * Quote in: 'Hans Hofmann', (1986) by Cynthia Goodman, p. 103

 * The ability to simplify means to eliminate the unnecessary so that the necessary may speak.
 * As quoted in Zen and the Art of Stand-up Comedy (1998) by Jay Sankey

 * Nature's purpose in relation to the visual arts is to provide stimulus — not imitation.. .From its ceaseless urge to create springs all Life — all movement and rhythm — time and light, color and mood — in short, all reality in Form and Thought.
 * As quoted in Hans Hofmann (2000) by James Yohe

 * [visiting Jackson Pollock’s studio]: You do not work from nature. This is no good, you will repeat yourself. You work by heart, not from nature. [Pollock reacted: 'I am nature]
 * as quoted in Jackson Pollock, Ellen G Landau, p. 259, as quoted in Jackson Pollock and Lee Krasner, Ines Janet Engelmann, Prestel Verlag Munich, 2007, p. 66

Misattributed

 * A teacher affects eternity: he can never tell where his influence stops.
 * Henry Brooks Adams, in The Education of Henry Adams (1907)

Quotes about Hans Hofmann

 * Hofmann's abstraction is hard won: it comes from depicting the world around him. Over the years his paintings cover a vast territory: they are uneven in quality, various in style; he paints his own history of the most relevant 20th Century art, a kind of Hofmannesque Fauvism, Cubism, Abstract Expressionism.
 * Anthony Caro, in the foreword he wrote for an exhibition of Hofmann's work at Crane Kalman Gallery, London, June 1990; as quoted in Hans Hofmann - a retrospective, Karen Wilkin, Naples museum of art - George Braziller, Inc - ISBN 0-8076-1526-9, pp. 45-46

 * A passionate teacher, he got his students to work! I studied with Hans for three weeks in Provincetown, summer 1950. Having had a thorough lesson in Cubism well before I knew him, perhaps I was never one of his many student disciples but a great admirer. To this day I think he remains extremely overlooked as an artist and an influence.
 * Helen Frankenthaler in: 'Thoughts about Hans', 2003; as quoted in Hans Hofmann - a retrospective, Karen Wilkin, Naples museum of art - George Braziller, Inc - ISBN 0-8076-1526-9, p. 47

 * Walking into his home was like walking into one of his paintings; the floor was kelly green, the furniture painted in yellows, reds, pink, white etc. Fresh fruit and flowers, perhaps a wicker rocker. Always a joy.
 * Helen Frankenthaler in: 'Thoughts about Hans', 2003; as quoted in Hans Hofmann - a retrospective, Karen Wilkin, Naples museum of art - George Braziller, Inc - ISBN 0-8076-1526-9, p. 47

 * When I brought Hofmann up to meet Pollock [her husband] and see his work which was before we moved here, Hofmann's reaction was — one of the questions he asked Jackson was, 'do you work from nature?' There were no still lifes around or models around and Jackson's answer was, 'I am nature.' And Hofmann's reply was, 'Ah, but if you work by heart, you will repeat yourself.' To which Jackson did not reply at all.
 * Lee Krasner (1964) in 'Oral history interview with Lee Krasner', 1964 Nov. 2-1968 Apr. 11]", interview by Dorothy Strickler, for the Smithsonian Institution Archives of American Art.

 * And I came [to New York, 1945].. ..to study with Hofmann..  .And I went to Hofmann's class and I couldn't understand a word he said so I left, terrified. But he and I became friends later on. Friends, but I never studied with him..
 * Joan Mitchell, 'Oral history interview', 1986 Apr. 16, Archives of American Art, Smithsonian Institution, interviewer: Linda Nochlin; first side of the first tape

 * [being a young woman-artist in the Artists Club in New York]... .How did I feel, like how? I felt, you know, when I was discouraged I wondered if really women couldn't paint, the way all the men said they [the women] couldn't paint..  ...Hans Hofmann was very supportive - of me. I used to run into him in the park. I'd be dog-walking at nine in the morning, he'd say, 'Mitchell, you should be painting.' Very nice. [both chuckle] I don't think women in any way were a threat to these men, so they could encourage the 'lady painter.'
 * Joan Mitchell, 'Oral history interview', 1986 Apr. 16, Archives of American Art, Smithsonian Institution, interviewer: Linda Nochlin; second side of the first tape

 * Hofmann had a heavy hand, a virtual inability to hold back, whether he was spreading planes of paint across a surface or drawing his own features with firm, broad strokes of a thick pen. Much of his extant work turns the volume to fortissimo, from the rapidly worked 'wet-into-wet' interiors of the 1930's to the abstractions of the 1950's and 1960's, in which patches of paint and emphathic shreds of drawing appear to have been slapped on to the canvas or squeezed directly from the tube.
 * Karen Wilkin in Hans Hofmann - a retrospective, by Karen Wilkin, Naples museum of art - George Braziller, Inc - ISBN 0-8076-1526-9, p. 29

title: Hans Hofmann


text:
Pietro Aretino

Pietro Aretino (20 April 1492 – 21 October 1556) was an Italian author, playwright, poet and satirist.

Quotes

 * I am a free man, I do not need to copy Petrarch or Boccaccio. My own genius is enough. Let others worry themselves about style and so cease to be themselves. Without a master, without a model, without a guide, without artifice, I go to work and earn my living, my well-being, and my fame. What do I need more? With a goose quill and a few sheets of paper I mock the universe.
 * Quoted in H. H. Plumb, The Horizon Book of the Renaissance, 1961, also quoted in Dictionary of Quotations, p. 29
 * What evil is there in seeing a man possess a woman? Why, the beasts would be more free than we! It seems to me that that which is given us by nature for our own preservation ought to be worn round the neck as a pendant and in the hat for a medal.
 * Edward Hutton (1922) Pietro Aretino, the scourge of princes. p. 65

The Works of Aretino: Biography: de Sanctis. The letters, 1926
Pietro Aretino, Francesco De Sanctis (1926) ''The Works of Aretino: Biography: de Sanctis. The letters.''

 * Yes, let us love winter, for it is the spring of genius.
 * p. 143

 * I love you and, because I love you, I would sooner have you hate me for telling you the truth than adore me for telling you lies.
 * p. 152

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

title: Pietro Aretino


text:
Talk:Maximilien Robespierre

This quote seems dubious:
 * "Pity is treason."
 * Original French: "La pitié c'est la trahison." Speech to the National Convention, Paris, February 26, 1794.

I found no Robespierre speech dated February 26, but that very day Saint-Just said: "C'est un signe éclatant de trahison, que la pitié que l'on fait paraître pour le crime, dans une République qui ne peut être assise que sur l’inflexibilité." David Sneek 16:22, 25 Jun 2005 (UTC)

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable, precise and verifiable source for any quote on this list please move it to Maximilien Robespierre. --Antiquary 18:03, 12 August 2009 (UTC)
 * Omelettes are not made without breaking eggs.
 * Original French: On ne peut pas faire d'omelette sans casser des oeufs.

 * When work is a pleasure, life is a joy! When work is a duty, life is slavery.

 * Is it to be thought unreasonable that the people, in atonement for wrongs of a century, demand the vengeance of a single day?

 * The general will rules in society as the private will governs each separate individual.

 * A nation is truly corrupt, when, after having by degrees lost its character and liberty, it slides from democracy into aristocracy or monarchy; this is the death of the political body by decrepitude.

 * Again, it may be said, that to love justice and equality the people need no great effort of virtue; it is sufficient that they love themselves.

 * Any law which violates the inseparable rights of man is essentially unjust and tyrannical; it is not a law at all.

 * Atheism is aristocratic; the idea of a great Being that watches over oppressed innocence and punishes triumphant crime is altogether popular.

 * Crime butchers innocence to secure a throne, and innocence struggles with all its might against the attempts of crime.

 * In the system of the French revolution that which is immoral is impolitic, and what tends to corrupt is counter-revolutionary. Weaknesses, vices, prejudices are the road to monarchy.

 * The warmth of zeal is not perhaps the most dangerous rock that we have to avoid; but rather that languour which ease produces and a distrust of our own courage.

 * To punish the oppressors of humanity is clemency; to forgive them is cruelty. (5 February 1794)

 * What is the end of our revolution? The tranquil enjoyment of liberty and equality; the reign of that eternal justice, the laws of which are graven, not on marble or stone, but in the hearts of men, even in the heart of the slave who has forgotten them, and in that of the tyrant who disowns them.

title: Talk:Maximilien Robespierre


text:
Hesiod

Hesiod (Ἡσίοδος Hēsíodos) was an early Greek poet, believed to have lived around the year 700 BC.

Quotes

 * He is the best of all who thinks for himself in all things. He, too, is good who takes advice from a wiser (person). But he who neither thinks for himself, nor lays to heart another's wisdom, this is a useless man.’''
 * Quoted by Aristotle, in The Ethics Of Aristotle Vol. I, (Bk. 1, Chapter II)

The Theogony (c. 700 BC)

 * We know how to speak many falsehoods which resemble real things, but we know, when we will, how to speak true things.
 * lines 27–28. Variant translations:
 * Perhaps we know to tell many fictions like to truths, and we know, when we will, to speak what is true.
 * We know how to tell many lies that pass for truth, and we know, when we wish, to tell the truth itself.

 * On the tongue of such an one they shed a honeyed dew, and from his lips drop gentle words.
 * line 82.

λυσιμελής, πάντων δὲ θεῶν πάντων τ᾽ ἀνθρώπων δάμναται ἐν στήθεσσι νόον καὶ ἐπίφρονα βουλήν.
 * Ἠδ᾽ Ἔρος, ὃς κάλλιστος ἐν ἀθανάτοισι θεοῖσι,
 * Love, who is most beautiful among the immortal gods, the melter of limbs, overwhelms in their hearts the intelligence and wise counsel of all gods and all men.
 * line 120.

μὴ γῆμαι ἐθέλῃ, ὀλοὸν δ᾽ ἐπὶ γῆρας ἵκοιτο χήτεϊ γηροκόμοιο.
 * Ὅς κε γάμον φεύγων καὶ μέρμερα ἔργα γυναικῶν
 * Whoever avoids marriage and the sorrows that women cause, and will not wed, reaches deadly old age without anyone to tend his years.
 * line 603.

 * Ὣς οὐκ ἔστι Διὸς κλέψαι νόον οὐδὲ παρελθεῖν.
 * It is not possible to deceive or go beyond the will of Zeus.
 * line 613.

 * Night, having Sleep, the brother of Death.
 * line 754.

Ὕπνος καὶ Θάνατος, δεινοὶ θεοί
 * Ἔνθα δὲ Νυκτὸς παῖδες ἐρεμνῆς οἰκί᾽ ἔχουσιν,
 * There the sons of obscure Night hold their habitation, Sleep and Death, dread gods.
 * line 758.

 * From whose eyelids also as they gazed dropped love.
 * line 910.

Works and Days (c. 700 BC)

 * There was not after all a single kind of strife, but on earth there are two kinds: one of them a man might praise when he recognized her, but the other is blameworthy.
 * line 11.

εἰς ἄφενος σπεύδοντ᾽· ἀγαθὴ δ᾽ Ἔρις ἥδε βροτοῖσιν.
 * ζηλοῖ δέ τε γείτονα γείτων
 * Neighbour vies with his neighbour as he hurries after wealth. This Strife is wholesome for men.
 * line 23.

καὶ πτωχὸς πτωχῷ φθονέει καὶ ἀοιδὸς ἀοιδῷ.
 * Καὶ κεραμεὺς κεραμεῖ κοτέει καὶ τέκτονι τέκτων,
 * Potter bears a grudge against potter, and craftsman against craftsman, and beggar is envious of beggar, and bard of bard.
 * line 25.

 * Nήπιοι, οὐδὲ ἴσασιν ὅσῳ πλέον ἥμισυ παντός.
 * Fools, they do not even know how much more is the half than the whole.
 * line 40; often translated as "The half is greater than the whole."

 * Αἶψα γὰρ ἐν κακότητι βροτοὶ καταγηράσκουσιν.
 * For in misery men grow old quickly.
 * line 93.

πλείη μὲν γὰρ γαῖα κακῶν, πλείη δὲ θάλασσα.
 * Αλλα δὲ μυρία λυγρὰ κατ᾽ ἀνθρώπους ἀλάληται·
 * But the rest, countless plagues, wander amongst men; for earth is full of evils and the sea is full.
 * line 100.

 * For full indeed is earth of woes, and full the sea; and in the day as well as night diseases unbidden haunt mankind, silently bearing ills to men, for all-wise Zeus hath taken from them their voice. So utterly impossible is it to escape the will of Zeus.
 * line 101.

ἀθάνατοι ποίησαν Ὀλύμπια δώματ᾽ ἔχοντες. οἱ μὲν ἐπὶ Κρόνου ἦσαν, ὅτ᾽ οὐρανῷ ἐμβασίλευεν· ὥστε θεοὶ δ᾽ ἔζωον ἀκηδέα θυμὸν ἔχοντες, νόσφιν ἄτερ τε πόνων καὶ ὀιζύος· οὐδέ τι δειλὸν γῆρας ἐπῆν.
 * Χρύσεον μὲν πρώτιστα γένος μερόπων ἀνθρώπων
 * First of all the deathless gods who dwell on Olympus made a golden race of mortal men who lived in the time of Cronos when he was reigning in heaven. And they lived like gods without sorrow of heart, remote and free from toil and grief: miserable age rested not on them.
 * line 109.

 * They died, as if o'ercome by sleep.
 * line 116.

νίκης τε στέρεται πρός τ᾽ αἴσχεσιν ἄλγεα πάσχει.
 * Ἄφρων δ᾽, ὅς κ᾽ ἐθέλῃ πρὸς κρείσσονας ἀντιφερίζειν·
 * He is a fool who tries to withstand the stronger, for he does not get the mastery and suffers pain besides his shame.
 * line 210.

 * Παθὼν δέ τε νήπιος ἔγνω.
 * Only when he has suffered does the fool learn.
 * line 218.

ἰθείας καὶ μή τι παρεκβαίνουσι δικαίου, τοῖσι τέθηλε πόλις, λαοὶ δ᾽ ἀνθεῦσιν ἐν αὐτῇ.
 * Οἳ δὲ δίκας ξείνοισι καὶ ἐνδήμοισι διδοῦσιν
 * But they will give straight judgements to strangers and to the men of the land, and go not aside from what is just, their city flourishes, and the people prosper in it.
 * line 225.

 * Often an entire city has suffered because of an evil man.
 * Variant translation: Oft hath even a whole city reaped the evil fruit of a bad man.
 * line 240.

ἀθάνατοι φράζονται, ὅσοι σκολιῇσι δίκῃσιν ἀλλήλους τρίβουσι θεῶν ὄπιν οὐκ ἀλέγοντες.
 * Ἐγγὺς γὰρ ἐν ἀνθρώποισιν ἐόντες
 * The deathless gods are near among men and mark all those who oppress their fellows with crooked judgements, and reck not the anger of the gods.
 * line 249.

δῆμος ἀτασθαλίας βασιλέων, οἳ λυγρὰ νοεῦντες ἄλλῃ παρκλίνωσι δίκας σκολιῶς ἐνέποντες.
 * Ὄφρ᾽ ἀποτείσῃ
 * [Thus] the people pay for the mad folly of their princes who, evilly minded, pervert judgement and give sentence crookedly.
 * line 260.

 * οἷ γ᾽ αὐτῷ κακὰ τεύχει ἀνὴρ ἄλλῳ κακὰ τεύχων ἡ δὲ κακὴ βουλὴ τῷ βουλεύσαντι κακίστη.
 * He harms himself who does harm to another, and the evil plan is most harmful to the planner.
 * The man who does evil to another does evil to himself, and the evil counsel is most evil for him who counsels it.
 * He for himself weaves woe who weaves for others woe, and evil counsel recoils on the counsellor.
 * lines 265-266

ἔμμεναι, εἰ μείζω γε δίκην ἀδικώτερος ἕξει.
 * Ἐπεὶ κακὸν ἄνδρα δίκαιον
 * For then it is a bad thing to be righteous — if indeed the unrighteous shall have the greater right.
 * line 271.

 * Ἀνδρὸς δ᾽ εὐόρκου γενεὴ μετόπισθεν ἀμείνων.
 * The generation of the man who swears truly is better thenceforward.
 * line 285.

 * Badness you can get easily, in quantity: the road is smooth, and it lies close by. But in front of excellence the immortal gods have put sweat, and long and steep is the way to it, and rough at first. But when you come to the top, then it is easy, even though it is hard.
 * line 287.

φρασσάμενος, τά κ᾽ ἔπειτα καὶ ἐς τέλος ᾖσιν ἀμείνω· ἐσθλὸς δ᾽ αὖ καὶ κεῖνος, ὃς εὖ εἰπόντι πίθηται· ὃς δέ κε μήτ᾽ αὐτὸς νοέῃ μήτ᾽ ἄλλου ἀκούων ἐν θυμῷ βάλληται, ὁ δ᾽ αὖτ᾽ ἀχρῄος ἀνήρ.
 * Οὗτος μὲν πανάριστος, ὃς αὐτὸς πάντα νοήσει,
 * This man, I say, is most perfect who shall have understood everything for himself, after having devised what may be best afterward and unto the end: and good again is he likewise who shall have complied with one advising him well: but whoso neither himself hath understanding, nor when he hears another, lays it to heart, he on the other hand is a worthless man.
 * line 293.

 * Λιμὸς γάρ τοι πάμπαν ἀεργῷ σύμφορος ἀνδρί.
 * Hunger is altogether a meet comrade for the sluggard.
 * line 302.

 * Let it please thee to keep in order a moderate-sized farm, that so thy garners may be full of fruits in their season.
 * line 304.

 * Ἔργον δ᾽ οὐδὲν ὄνειδος, ἀεργίη δέ τ᾽ ὄνειδος.
 * Work is no disgrace: it is idleness which is a disgrace.
 * line 311.

 * Χρήματα δ᾽ οὐχ ἁρπακτά· θεόσδοτα πολλὸν ἀμείνω.
 * Wealth should not be seized: god-given wealth is much better.
 * line 320.

 * Invite the man that loves thee to a feast, but let alone thine enemy.
 * line 342.

 * Πῆμα κακὸς γείτων, ὅσσον τ᾽ ἀγαθὸς μέγ᾽ ὄνειαρ.
 * A bad neighbor is a misfortune, as much as a good one is a great blessing.
 * line 346.

 * μὴ κακὰ κερδαίνειν: κακὰ κέρδεα ἶσ᾽ ἀάτῃσιν
 * Do not seek evil gains; evil gains are the equivalent of disaster.
 * Gain not base gains; base gains are the same as losses.
 * line 352; compare: "the gains of the wicked bring trouble", Book of Proverbs 15:6.

καὶ θαμὰ τοῦτ᾽ ἔρδοις, τάχα κεν μέγα καὶ τὸ γένοιτο.
 * Εἰ γάρ κεν καὶ σμικρὸν ἐπὶ σμικρῷ καταθεῖο
 * If you should put even a little on a little, and should do this often, soon this too would become big.
 * Variant translation: If zach shouldst lay up even a little upon a little, and shouldst do this often, soon would even this become great.
 * line 361.

 * Οἴκοι βέλτερον εἶναι.
 * There's no place like home.
 * line 365.

 * Take your fill when the cask is first opened and when it is nearly spent, but midways be sparing: it is poor saving when you come to the lees.
 * line 368 (translated by Hugh G. Evelyn-White).
 * Variant translation: At the beginning of the cask and at the end take thy fill, but be saving in the middle; for at the bottom saving comes too late.

 * Let the price fixed with a friend be sufficient, and even dealing with a brother call in witnesses, but laughingly.
 * line 369.

 * Πίστεις ἄρ τοι ὁμῶς καὶ ἀπιστίαι ὤλεσαν ἄνδρας.
 * For trust and mistrust, alike ruin men.
 * line 372.

 * μὴ δὲ γυνή σε νόον πυγοστόλος ἐξαπατάτω αἱμύλα κωτίλλουσα, τεὴν διφῶσα καλιήν.
 * Do not let a flaunting woman coax and cozen and deceive you: she is after your barn. (translated by Hugh G. Evelyn-White)
 * Do not let any sweet-talking woman beguile your good sense with the fascinations of her shape. It’s your barn she's after. (translated by Richmond Lattimore)
 * lines 373–374

 * Ὃς δὲ γυναικὶ πέποιθε, πέποιθ᾽ ὅ γε φηλήτῃσιν.
 * The man who trusts womankind trusts deceivers.
 * line 375.

ἔργα, τά τ᾽ ἀνθρώποισι θεοὶ διετεκμήραντο, μή ποτε σὺν παίδεσσι γυναικί τε θυμὸν ἀχεύων ζητεύῃς βίοτον κατὰ γείτονας, οἳ δ᾽ ἀμελῶσιν.
 * Ἐργάζευ, νήπιε Πέρση,
 * Work the work which the gods ordained for men, lest in bitter anguish of spirit you with your wife and children seek your livelihood amongst your neighbours, and they do not heed you.
 * line 397.

οὐ γὰρ ἐτωσιοεργὸς ἀνὴρ πίμπλησι καλιὴν οὐδ᾽ ἀναβαλλόμενος· μελέτη δὲ τὸ ἔργον ὀφέλλει· αἰεὶ δ᾽ ἀμβολιεργὸς ἀνὴρ ἄτῃσι παλαίει.
 * Μηδ᾽ ἀναβάλλεσθαι ἔς τ᾽ αὔριον ἔς τε ἔνηφιν·
 * Do not put your work off till to-morrow and the day after; for a sluggish worker does not fill his barn, nor one who puts off his work: industry makes work go well, but a man who puts off work is always at hand-grips with ruin.
 * line 410.

 * Diligence increaseth the fruit of toil. A dilatory man wrestles with losses.
 * line 412.

 * Οὐκ αἰεὶ θέρος ἐσσεῖται· ποιεῖσθε καλιάς.
 * It will not always be summer, build barns.
 * line 503.

 * The dawn speeds a man on his journey, and speeds him too in his work.
 * line 579.

μείζων μὲν φόρτος, μεῖζον δ᾽ ἐπὶ κέρδει κέρδος ἔσσεται, εἴ κ᾽ ἄνεμοί γε κακὰς ἀπέχωσιν ἀήτας.
 * Nῆ᾽ ὀλίγην αἰνεῖν, μεγάλῃ δ᾽ ἐνὶ φορτία θέσθαι·
 * Admire a small ship, but put your freight in a large one; for the greater the lading, the greater will be your piled gain, if only the winds will keep back their harmful gales.
 * line 643.

 * Μέτρα φυλάσσεσθαι· καιρὸς δ᾽ ἐπὶ πᾶσιν ἄριστος.
 * Observe due measure, for right timing is in all things the most important factor.
 * line 694.

μήτε τριηκόντων ἐτέων μάλα πόλλ᾽ ἀπολείπων μήτ᾽ ἐπιθεὶς μάλα πολλά· γάμος δέ τοι ὥριος οὗτος.
 * Ὡραῖος δὲ γυναῖκα τεὸν ποτὶ οἶκον ἄγεσθαι,
 * Bring home a wife to your house when you are of the right age, while you are not far short of thirty years nor much above; this is the right age for marriage.
 * line 695.

τῆς ἀγαθῆς, τῆς δ᾽ αὖτε κακῆς οὐ ῥίγιον ἄλλο.
 * Οὐ μὲν γάρ τι γυναικὸς ἀνὴρ ληίζετ᾽ ἄμεινον
 * For a man wins nothing better than a good wife, and, again, nothing worse than a bad one.
 * line 702.

 * Neither make thy friend equal to a brother; but if thou shalt have made him so, be not the first to do him wrong.
 * line 707.

μηδὲ κακῶν ἕταρον μηδ᾽ ἐσθλῶν νεικεστῆρα.
 * Μηδὲ πολύξεινον μηδ᾽ ἄξεινον καλέεσθαι,
 * Do not get a name either as lavish or as churlish; as a friend of rogues or as a slanderer of good men.
 * line 715.

φειδωλῆς.
 * Γλώσσης τοι θησαυρὸς ἐν ἀνθρώποισιν ἄριστος
 * The best treasure a man can have is a sparing tongue.
 * line 719.

ῥεῖα μάλ᾽, ἀργαλέη δὲ φέρειν, χαλεπὴ δ᾽ ἀποθέσθαι. φήμη δ᾽ οὔ τις πάμπαν ἀπόλλυται, ἥν τινα πολλοὶ λαοὶ φημίξωσι· θεός νύ τίς ἐστι καὶ αὐτή.
 * Φήμη γάρ τε κακὴ πέλεται, κούφη μὲν ἀεῖραι
 * Gossip is mischievous, light and easy to raise, but grievous to bear and hard to get rid of. No gossip ever dies away entirely, if many people voice it: it too is a kind of divinity.
 * line 761.

 * Ἄλλοτε μητρυιὴ πέλει ἡμέρη, ἄλλοτε μήτηρ.
 * Sometimes a day is a step mother, sometimes a mother.
 * line 825.

Catalogue of Women or Eoiae

 * And she conceived and bore to Zeus, who delights in the thunderbolt, two sons, Magnes and Macedon, rejoicing in horses, who dwell round about Pieria and Olympus.
 * Catalogues of Women and Eoiae 3 (Loeb, H.G. Evelyn-White).

Misattributed

 * I see no hope for the future of our people if they are dependent on frivolous youth of today, for certainly all youth are reckless beyond words... When I was young, we were taught to be discreet and respectful of elders, but the present youth are exceedingly disrespectful and impatient of restraint.
 * This quote has been attributed to Hesiod on the internet, and even published with citation as a dubious attribution, but there are no known occurrences of it in his writings.

 * The gods have placed sweat as the price of all things.
 * Perhaps a mistranslation (or loose interpretation) of line 289 of Works and Days, actually:
 * But in front of excellence the immortal gods have put sweat

Quotes about Hesiod

 * "What was at the beginning?" Gigon said of Hesiod, "is the question of history precisely at the point where it turns into philosophy... The question Hesiod poses is no longer about the historical past, but about the beginning of what exists, the question of philosophical origins..." But "history" is wholly out of place here. Hesiod is foreshadowing the step from mythos to logos, and that step was not mediated by history. It bypassed history altogether. It moved from the timelessness of myth to the timelessness of metaphysics.
 * Moses I. Finley, "Myth, Memory, and History" (1965), p. 287

 * The Works and Days expressed the present. The new poetry expresses the person in the present, the particular individual and how he is different from others. And celebrates the difference. And as it does so, we can trace a progressive filling out and stretching of the earlier preconscious hypostases into the mind space of consciousness.
 * Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind (1976), p. 282

title: Hesiod


text:
Talk:Nikita Khrushchev

Unsourced
If you live among wolves you have to act like a wolf

It's just a russian proverb

217.10.33.159 16:47, 25 Jun 2005 (UTC)
 * IT BELONGS TO OTHERS TOO!

 * Your children’s children will live under COMMUNISM. You AMERICANS are so gullible. No, you won’t accept COMMUNISM outright, but we’ll keep feeding you small doses of SOCIALISM until you will finally wake up & find that you already have COMMUNISM. We won’t ever have to fight you; we’ll weaken your economy until you fall like overripe fruit into our hands.
 * Supposedly in 1959, but i don't have a credible source.

 * When all the world is socialist, Switzerland will have to remain capitalist, so that it can tell us the price of everything.
 * "It was the Soviet leader, Kruschev, who declared that when the whole world was socialist – and like all Soviet leaders he never doubted that it would be – then Switzerland would have to be kept as a free capitalist private enterprise country to enable everyone to find out what the real price of everything was."
 * "Intelligence Digest", Kenneth Hugh De Courcy, John De Courcy, 1976.

 * We cannot expect the Americans to jump from capitalism to Communism, but we can assist their elected leaders in giving Americans small doses of socialism until they suddenly awake to find they have Communism.  (this quote is STILL unverified)

 * Don't you worry about the foreign minister. The foreign minister will do anything I tell him. If I say: "take down your trousers and sit with your bare bottom on a block of ice", Gromyko will do so until further notice.
 * To John F. Kennedy in Vienna in 1961

 * It will keep the wolf out.
 * Referring to the Berlin Wall, the wolf meaning the West.

 * He who cannot eat horsemeat need not do so. Let him eat pork. But he who cannot eat pork, let him eat horsemeat. It’s simply a question of taste.

 * Politicians are the same all over: they promise to build a bridge even where there is no river.

 * If one cannot catch a bird of paradise, better take a wet hen.

 * When you are skinning your customers you should leave some skin on to grow again so that you can skin them again.

 * They talk about who won and who lost. Human reason won. Mankind won.

 * If you live among wolves you have to act like a wolf.

 * Bombs do not choose. They will hit everything. -BOOM!-

 * Call it what you will, incentives are what get people to work harder.

 * Do you think when two representatives holding diametrically opposing views get together and shake hands, the contradictions between our systems will simply melt away? What kind of a daydream is that?

 * I once said, "We will bury you," and I got into trouble with it. Of course we will not bury you with a shovel. Your own working class will bury you.

 * We say the name of God, but that is only out of habit.

 * They pay little attention to what we say and prefer to read tea leaves.

 * The more bombers, the less room for doves of peace.

 * Support by United States rulers is rather in the nature of the support that the rope gives to a hanged man.

 * Revolutions are the locomotives of history.

 * Life is short. Live it up.

 * In a fight you don't stop to choose your cudgels.

 * If you live among dogs, keep a stick. After all, this is what a hound has teeth for ― to bite when he feels like it!

 * The press is our chief ideological weapon.

 * All the sparrows on the rooftops are crying about the fact that the most imperialist nation that is supporting the colonial regime in the colonies is the United States of America.

 * I will die...people will place my actions on a balance. On one side the bad, on the other, the kind...and the kind will outweigh.

 * I worked in a factory owned by Germans, at coal pits owned by Frenchmen, and at a chemical plant owned by Belgians. There I discovered something about capitalists. They are all alike, whatever the nationality. All they wanted from me was the most work for the least money that kept me alive. So I became a Communist.

 * If I do not know everything, then I would say that you know nothing about communism; nothing except fear of it.

 * Historians are the most powerful and dangerous members of any society. They must be watched carefully... They can spoil everything.

 * We must select a smaller number of standard designs .. and conduct our mass building programs using only these designs over the course of, say, five years .. and if no better designs turn up, then continue in the same way for the next five years.

 * We and you ought not pull on the ends of a rope in which you have tied the knots of war. Because the more the two of us pull the tighter the knot will be tied. And then it will be necessary to cut that knot, and what that would mean is not for me to explain to you. I have participated in two wars and know that war ends when it has rolled through cities and villages, everywhere sowing death and destruction. For such is the logic of war. If people do not display wisdom they will clash like blind moles and then mutual annihilation will commence.

 * Kennedy: We have enough missiles to blow you [USSR] up thirty times over. Khrushchev: We have enough to blow you up only once, but that will be enough for us.

 * Aircraft carriers, of course are the second most effective weapon in a modern navy (after submarines). I’ll admit I felt a nagging desire to have some in our own navy but we couldn’t afford to build them. They were simply beyond our means.

 * We'll kick you so hard you won't remember your own name.
 * Talking to John F. Kennedy about the Berlin Wall

 * The United States now sleeps under a Soviet moon.
 * Commenting on Sputnik 1, Earth's first artificial satellite

 * The Grape-fruit satellite.
 * Commenting on the Vanguard program

 * A mere flea hop.
 * Commenting on Alan Shepard's Freedom 7 space flight which travelled only 187 km into space, and returned while Yuri Gagarin was sent up to 315 km and went into orbit.

 * We have beaten you to the moon, but you have beaten us in sausage making.
 * In a meatpacking plant in Iowa referring to Luna 2, which, previously that same day, became the first spacecraft to contact the Moon. (September 13, 1959)

 * Voroshilov is the biggest bag of shit in the army.
 * On Marshal Kliment Voroshilov and his incompetent handling of the Russo-Finnish War.

 * He reminded me of those cartoons we drew of capitalists during the civil war.
 * After meeting United Auto Workers president Walter Reuther in 1959.

 * Ah, but it is no bigger than a tiny orange.
 * Khrushchev's remarks on the grapefruit-sized Vanguard satellite.

 * Your view of Soviet power comes straight from the toilet, and if you don't like it, you can go to hell.
 * From a 1961 address to the Soviet Writers Congress attacking dissidents.

This is quoted in Khrushchev's Cold War: The Inside Story of an American Adversary by Aleksandr Fursenko and Timothy Naftali. Sorry, I don’t have the book, I don’t have a page number. If I recall correctly, it is not in this exact form, it is more like “. . . your view of Soviet power comes straight from the toilet. . . if you don't like it, you can go to hell”; and it may have been from a semi-informal meetings with artists rather than an address (though, thinking about this now, I may be mistaken). I hope this helpful. 76.173.76.247 09:25, 25 October 2011 (UTC)CJS Hello again, I found it! William Taubman, Khrushchev : the man and his era, New York : W. W. Norton & Co., 2003, p. 594. The quote appears as : “. . . Your view of Soviet power is from inside a toilet! . . . If you don’t like it here, you can go to hell. . . . ” [ ellipses in original ]. The occasion was a function of the Central Committee with 140 invited writers and artists, held on 7 – 8 March 1963; apparently it was a formal occasion, but Khrushchev did not use his prepared remarks and launched into a series of impromptu exchanges with various artists present. 76.173.76.247 06:00, 19 November 2011 (UTC)CJS

 * We launched Gagarin and Titov into space, and we have the ability to send a nuclear warhead to any place on the planet.
 * An August 1961 speech following the flight of Vostok 2.

 * If that's the man the Americans elected for their president, I truly do feel sorry for them.
 * After his 1961 summit meeting with President Kennedy.

 * If we could promise the people nothing but revolution, they'd scratch their heads and say "Isn't it better to have good goulash?"
 * On Chinese leader Mao Zedong's belief in continuous revolution.

 * We don't even need an army at all. All we really need are nuclear-armed rockets and a few soldiers to guard the launching sites.
 * After visiting the Baikonur Launch Center in September 1964.

Here's One

 * A person shouldn't shit where he is about to eat.
 * Speech given after the U2 spy plane incident.

Apocryphal quotes from Khrushchev?
The quote that often comes to mind for Khrushchev is "Who said that?", but it was almost certainly apocryphal, and I think that should be mentioned in the quote page. Near as I can tell there is no evidence he actually said it, but it appears in various jokes. Usually supposed to have happened just after a speech denouncing Stalin, when someone in the crowd shouts something like "And what were you doing when all these crimes occurred?" Khrushchev shouts back: "Who said that?" No one answers, and the punchline is something like "I was doing exactly what you are doing now, comrade, keeping my silence." Shanen (talk) 22:55, 6 October 2017 (UTC)

title: Talk:Nikita Khrushchev


text:
User talk:152.2.62.69

Hi. Your vote for deleting Rooster Teeth Productions won't be counted, unless you go back and sign it. To sign, just add ~ and your ip and time will automatically appear. If you want to register and then vote, you can do that to. Thanks for your attention, ~ MosheZadka (Talk) 17:06, 25 Jun 2005 (UTC)

title: User talk:152.2.62.69


text:
Talk:Mahmoud Ahmadinejad

I moved it to the current name for compatibility with wikipedia. ~ MosheZadka (Talk) 17:10, 25 Jun 2005 (UTC)

Removing misattributions
I'm removing the parts that are supposed to be translations of a non-existing "farsi" website. I'm no fan of Ahmadinejad, but in this case, they're not even "misattributions" they're just outright jokes played on him, as such jokes are really common in Iran and are easy to spot. And I wouldn't put something like "Ahmadinejad: I'm an idiot. (Quoted from a Farsi page with no sources)" on a section titled "misattributions" just because someone used that sentence as a joke. 64.180.40.39 11:48, 14 December 2005 (UTC)

Here are the quotations removed from the article. Please add them back if you can find a Farsi source with a reliable translation. ~ MosheZadka (Talk) 12:03, 14 December 2005 (UTC)
 * "If I had to call myself a nut it would in all likelihood describe myself as cashew nut" "Delcious with a nutty butter flavor"
 * "I know that at least my mother loves me"

 * The website is up now and I had a look at it. Ironically, this is Ahmadinejad's official website and there is NOTHING on that page could possibly be translated into those two quotations. Unless there's something on another page on that website, which is highly unlikely--what kind of politician would put "At least my mother loves me" on his official website, anyway?--those quotations are just jokes. 64.180.40.39 06:49, 15 December 2005 (UTC)

Source: CNN [6]
This quote is false.

Anybody who does not recognize Israel will burn in the fire of the Islamic nation's fury.

Ahmadinejad is quoted as saying, "Anybody who recognizes Israel will burn in the fire of the Islamic nation's fury."

Unsourced

 * Current President of Iran, Populist, defender of the poorest, fighter against the capitalists and their American collaborators, the only hope for Iran against the American threat.

Clean-up
This page has been listed as needing cleanup since 2005-08-07. Now the article has been rearranged, but still needs some work on the source information. The links needs to be checked and correct source info needs to be added. -- Mdd (talk) 18:18, 17 March 2013 (UTC)

title: Talk:Mahmoud Ahmadinejad


text:
MediaWiki talk:Noarticletext

Change Suggestion
Wikiquote does not have an article with this exact name.
 * Please note that Wikiquote articles should contain quotations. To contribute encyclopedic information, please go to the corresponding Wikipedia article and edit it instead.
 * You can [ create the Wikiquote article]. Please see the guide if this is your first article.
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 * If you created an article under this title previously, it may have been deleted. See Speedy deletions for possible reasons.

~ MosheZadka (Talk) 17:43, 25 Jun 2005 (UTC)

Edit request
Please replace: by: --Z 14:58, 19 May 2012 (UTC)
 * You can [ create the Wikiquote article].
 * You can [ create the Wikiquote article] .
 * ✅. ~ Ningauble (talk) 16:02, 19 May 2012 (UTC)

title: MediaWiki talk:Noarticletext


text:
MediaWiki talk:Newarticletext

Suggestion for another version

 * You've followed a link to a page that doesn't exist yet.
 * To create the page, start typing in the box below (see the help page for more info). Please see the guide if this is your first article.
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If you are here by mistake, just click your browser's back button.

~ MosheZadka (Talk) 17:49, 25 Jun 2005 (UTC)

Copyright violation warning?
I am wondering if we should include a bullet in this MediaWiki message that warns about copyright violations. I believe that many editors who come to Wikiquote to create an article from a copy of another site's quote article on the subject — especially for films and TV shows — don't bother to read any policies or use Templates and its subpages, where we might present a bold warning, to start an article. Therefore, perhaps an effective way to slow down these obvious copyvios is to include a short, statement in the bulleted list, like so: Shorter would probably be better, but I'd want to try to keep editors from convincing themselves that the warning doesn't apply to them without at least checking out the link to WQ:COPY, which should also include a section about "presentation copyrights" that explains why such website copying is never a good idea.
 *  This is known as a presentation copyright violation (even if the material isn't original with the site), and is subject to immediate removal or deletion.

Thoughts, anyone? ~ Jeff Q (talk) 00:59, 17 August 2007 (UTC)

 * I am all for this addition, Jeff. The problem seems to be on the rise and anything that could possibly discourage copying would be welcomed. Although I'm sure we'll still see it from those that do not read the warning, it is definitely better than nothing. ~ UDScott 13:19, 17 August 2007 (UTC)
 * Done per discussion here and at VP.  Cbrown1023   talk   21:16, 19 August 2007 (UTC)

Seems we are better not to use red? Everytime I got a misterious which I have no idea how to remove ... --Aphaia 16:59, 20 August 2007 (UTC)

Preload template
I've greated these new buttons, how about adding it? User:Steinninn/Create --Steinninn 00:14, 18 September 2007 (UTC)
 * Looks like a good idea, we just might want to make the buttons look prettier or maybe add some images.  Cbrown1023   talk   22:14, 6 November 2007 (UTC)

title: MediaWiki talk:Newarticletext


text:
Paul Fussell

Paul Fussell (22 March 1924 - 23 May 2012) was an American cultural and literary historian, professor emeritus of the University of Pennsylvania, and author of books on eighteenth-century English literature, World War I, World War II, and social class.

Humanities interview (1996)

 * "The Initial Shock … A Conversation with Paul Fussell" in Humanities (November/December 1996)

 * As a former soldier, what struck me is the absolutely heartless way that war was being pursued by the Americans, partly I think because of the race problem. The Vietnamese to us were not merely communists, they were nasty little yellow people without souls. It didn't matter how we blew them up or how we bombed them or how we burned their villages and so on. I was very struck by that. And one thing I was trying to do in The Great War and Modern Memory was to awaken a sort of civilian sympathy for the people who suffer on the ground in wartime, and that's really an act that I've been performing, oh, ever since 1945, I suppose.

Robert Sherwood, who used to write speeches for Franklin D. Roosevelt, once noted that the cynicism about the Second War began before the firing of the first shot. By that time, we didn't need to be told by people like Remarque and Siegfried Sassoon how nasty war was. We knew that already, and we just had to pursue it in a sort of controlled despair. It didn't have the ironic shock value of the Great War. And I chose to write about Britain because America was in that war a very, very little time compared to the British — just a few months, actually. The British were in it for four years, and it virtually destroyed British society.
 * I was very interested in the Great War, as it was called then, because it was the initial twentieth-century shock to European culture. By the time we got to the Second World War, everybody was more or less used to Europe being badly treated and people being killed in multitudes. The Great War introduced those themes to Western culture, and therefore it was an immense intellectual and cultural and social shock.

My problem is the United States' defending the interests of the Union Oil Company or the United Fruit Company. Those are not American interests. They're private-money interests, and that bothers me a great deal.'''
 * I'm a pacifist about certain things. I'm a pacifist in the way I define national interest. I use this example frequently: If the Mexicans decided to cross the Texas border with firearms, I would be down there in a moment with a rifle and a whistle to direct the troops to repel them. '''If the United States is attacked, I will defend it.

 *  One of my favorite quotes is from Hemingway, who said, "Never persuade yourself that war, no matter how necessary, is not a crime." … It is. Sometimes it's necessary, but it's always awful, and that's my point.
 * Fussell here slightly paraphrases Hemingway's statement from his Foreword to Treasury for the Free World (1946): Never think that war, no matter how necessary nor how justified, is not a crime. Ask the infantry and ask the dead.

 * [On war as ironic]: It's ironic because everybody believes that life is pleasurable, and they should. They have a right to believe that, especially if they're brought up under a Constitution that talks about the pursuit of happiness. To have public life shot through with that kind of optimism and complacency is the grounds for horrible, instructive irony when those generalities prove not true. War tends to prove them not true. War is about survival and it's about mass killing and it's about killing or being killed — that is, in the infantry — and it is extremely unpleasant. One realizes that a terrible mistake has been made somewhere, either by the optimistic eighteenth century or by mechanistic twentieth century. The two don't fit together somehow, and that creates, obviously, irony.

 * After every war, there's an immense overhaul of language, which in the Western world has created really the cultural and artistic phenomenon of what we call modernism; that is, a paring down of everything to minimal size, including language and ideas of grandeur, and ideas of a possibility of the state making everybody happy, and things like that. That modernism is really a form of skepticism or minimalism. You cut out everything that has deceived you and throw it away, and that leaves you with things like the Eames chair and Picasso and numerous other outcrops of modernism.

The chaplains that were attached to the infantry that I was in practically never did spiritual work because they knew they'd be ridiculed. What they did was to apply bandages and surgical scissors, assisting the medics and calming people down psychologically. But everybody recognized that religion was no help whatever.
 * One thing one can't help noticing is the efficacy of religion before the nineteenth century at dealing with these problems and answering some of these unanswerable questions. By the time of the Great War, religion is practically dead. By the time of the Second World War, it's no help at all.

 * Irony is a great help in helping to penetrate fraudulent language. In the Second War especially, the language became virtually identical with the language of advertising. It was seen through by the troops, who knew what the truth was. It helped to sustain civilian support for the war, which was its purpose, after all. … And euphemism has remained, of course. It's a large part of the tone of public discourse. … It's now practiced on so wide and so official a scale that it's grown out of all proportion to what it was in the war.

 *  "Those who fought know a secret about themselves, and it is not very nice." … They have experienced secretly and privately their natural human impulse toward sadism and brutality. As I say in this new book of mine, not merely did I learn to kill with a noose of piano wire put around somebody's neck from behind, but I learned to enjoy the prospect of killing that way. It's those things that you learn about yourself that you never forget. You learn that you have much wider dimensions than you had imagined before you had to fight a war. That's salutary. It's well to know exactly who you are so you can conduct the rest of your life properly.

 * Most Americans, in their sweet innocence, think that class has to do with money. But a glance at Donald Trump and Leona Helmsley will indicate that it has very little to do with money. It has to do with taste and style, and it has to do with the development of those features by acts of character. That was one of my points: to try to separate class from mercantilism or commercialism.

The Boys' Crusade (2003)

 * Random House, New York, 2003. ISBN: 0-679-64088-6.

 * To those on both sides who suffered.
 * The dedication

title: Paul Fussell


text:
User talk:Samscholes~enwikiquote

~ MosheZadka (Talk) 18:19, 25 Jun 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Samscholes. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Samscholes~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:34, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:57, 19 April 2015 (UTC)

title: User talk:Samscholes~enwikiquote


text:
Modris Eksteins

Modris Eksteins (born December 13, 1943 in Riga, Latvia) is a Canadian historian with a special interest in German history and modern culture.

Quotes

 * Nineteen forty-five marked the nadir of Western Civilization.
 * Quoted by Paul Fussell. The Boys' Crusade. Random House, New York, 2003. pg xv. ISBN: 0-679-64088-6

title: Modris Eksteins


text:
John Ziman

John Michael Ziman (May 16, 1925 – January 2, 2005) was a British-born New Zealand physicist and humanist who worked in the area of condensed matter physics. He was a spokesman for science, as well as a teacher and author.

Quotes

 * ...the 'size' of science has doubled steadily every 15 years. In a century this means a factor of 100. For every single scientific paper or for every single scientist in 1670, there were 100 in 1770, 10,000 in 1870 and 1,000,000 in 1970.

 * A new scientific theory is seldom stated with such clarity by its original author, and usually takes many years to creep into public conciousness.

 * The communication of modern science to the ordinary citizen, necessary, important, desirable as it is, cannot be considered an easy task. The prime obstacle is lack of education. … There is also the difficulty of making scientific discoveries interesting and exciting without completely degrading them intellectually. … It is a weakness of modern science that the scientist shrinks from this sort of publicity, and thus gives an impression of arrogant mystagoguery.

 * Ethics is not just an abstract intellectual discipline. It is about the conflicts that arise in trying to meet real human needs and values.
 * Ziman, John M. "Why must scientists become more ethically sensitive than they used to be?", Science, December 4, 1998.

 * "Even in physics, there is no infallible procedure for generating reliable knowledge. The calm order and perfection of well-established theories, accredited by innumerable items of evidence from a thousand different hands, eyes and brains, is not characteristic of the front-line of research, where controversy, conjecture, contradiction and confusion are rife. The physics of undergraduate text-books is 90% true; the contents of the primary research journals of physics is 90% false. The scientific system is as much involved in distilling the former out of the latter as it is in creating and transferring more and more bits of data and items of 'information'."
 * John Ziman in "Reliable Knowledge: an Exploration of the Grounds for Belief in Science" (1978)

title: John Ziman


text:
User talk:Lucky-luke~enwikiquote

Hi. I wanted to alert you that I have put up John Ziman as a candidate for deletion, because I was unsure of his notability. If you have anymore material to add to the article, or to the discussion, as well as your vote, it would all be appreciated. Thanks, ~ MosheZadka (Talk) 20:21, 25 Jun 2005 (UTC)

and sorry to here Professor Ziman has passed away. If you can expand your article, it would be nice. Could ou add some quotes abount PLACE concept? Thanks. --Aphaia 04:48, 26 Jun 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Lucky-luke. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Lucky-luke~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:28, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:52, 19 April 2015 (UTC)

title: User talk:Lucky-luke~enwikiquote


text:
Jane Monheit

Jane Monheit (born November 3, 1977) is an American jazz singer.

Quotes

 * I tell you, when we travel with our own band and we're on the road . . . Well, I can't even believe this is work.
 * CNN.com (July 29, 2001)

 * It's [Joni Mitchell's "A Case of You"] been one of my favorite songs for my entire life.
 * CNN.com (July 29, 2001)

 * I've listened to Jazz since I was born and always knew I'd be a Jazz singer!
 * USA Today (September 24, 2004)

 * It's not so bad to live out of a suitcase. It's a really beautiful life.
 * Mlive.com (July 2, 2005)

 * I’ve always chosen all my own material; no one ever told me what to sing or how to sing it, but I’ve always been pressured intensely to use musicians outside of my band.
 * Toronto Star (November 11, 2010) commenting on her first seven studio albums.

About Jane Monheit

 * Jane Monheit is skyrocketing up the jazz charts. By next year, we won't be able to get her.
 * Newstimeslive.com (July 27, 2005) comment from Allison Stockel, artistic director of the Ridgefield (Connecticut) Playhouse.

 * It [Ella Fitzgerald's "Ella Wishes You a Swinging Christmas"] is the happiest Christmas album I've ever heard. That album totally changed the way I look at Christmas albums. I loved what a happy, festive album it truly was . . . it's the best [[music] to have playing when you have a Christmas celebration.  I wanted my album to feel just like that.
 * jazzreview.com (December 12, 2005)

title: Jane Monheit


text:
Alexander Alekhine

Alexander Alexandrovich Alekhine (October 31 or November 1, 1892 – March 24, 1946) was a Russian-born naturalized French chess grandmaster (officially naturalized in 1927 only three days before the World Champion title), and the fourth World Chess Champion.

Quotes

 * The fact that a player is very short of time is, to my mind, as little to be considered as an excuse as, for instance, the statement of the law-breaker that he was drunk at the moment he committed the crime.
 * In: Chess Life, Vol. 16-18, 1961. p. 113.
 * On the Zeitnot problem.

 * I study chess eight hours a day, on principle.
 * Attributed in: David Hooper, Kenneth Whyld (1996) The Oxford companion to chess. p. 8.

 * Chess first of all teaches you to be objective.
 * Quoted in: M. Yudovich, A. Kotov (2001) The Soviet School of Chess, p. 42.

 * Chess for me is not a game, but an art. Yes, and I take upon myself all those responsibilities which an art imposes on its adherents.
 * Quoted in: Daniel James Brooks (2013) Poetics. Book 1, p. 72.

Disputed

 * During a chess competition a chess master should be a combination of a beast of prey and a monk.
 * Attributed to Alekhine in page 11 of Essential Chess Quotations by John C. Knudsen (Falls Church, 1998), per Edward Winter
 * This quotation and many variants of it are commonly attributed to Alekhine however per Winter "with regard to Alekhine there has been no primary source".

About Alexander Alekhine

 * It was impossible to win against Capablanca; against Alekhine it was impossible to play.
 * Paul Keres, quoted in: Bruce Pandolfini (1992) Pandolfini's Chess Complete: The Most Comprehensive Guide. p. 208.

 * Capablanca was the greatest talent, but Alekhine was the greatest in his achievements.
 * Mikhail Botvinnik, quoted in: Chess, Vol. 52, Nr. 1003-1018, 1987, p. 184.

 * In playing through an Alekhine game one suddenly meets a move which simply takes one's breath away.
 * Conel Hugh O'Donel Alexander, quoted in: Alexander Alekhine (1972) My Best Games of Chess, 1924-1937: . 1938-1945. p. 12.

 * Alekhine's attacks came suddenly, like destructive thunderstorms that erupted from a clear sky.
 * Garry Kasparov; Quoted in: Raymond Keene (1999) Keene on Chess, p. 243.

 * I can comprehend Alekhine's combinations well enough; but where he gets his attacking chances from and how he infuses such life into the very opening - that is beyond me.
 * Rudolf Spielmann in: Fred Reinfeld (1956) Why You Lose at Chess, p. 160.

 * Alekhine is a poet who creates a work of art out of something that would hardly inspire another man to send home a picture post card.
 * Max Euwe, in: Fred Reinfeld (1956) Why You Lose at Chess, p. 180.

 * Fortune favors the bold, especially when they are Alekhine.
 * Lodewijk Prins, in: Chess Review, Vol. 19-20 (1952).

title: Alexander Alekhine


text:
Ateca Ganilau

Adi Ateca Ganilau is a Fijian public figure. She is best known as the daughter of the late Prime Minister and President, Ratu Sir Kamisese Mara, and as the wife of National Alliance Party founder Ratu Epeli Ganilau.

Reconciliation, Tolerance, and Unity Bill
''Ganilau is a vocal opponent of the government's controversial legislation to establish a Commission empowered to compensate victims and pardon perpetrators of the coup d'état which deposed her father from the Presidency in May 2000. The following quotes are from media statements she has made; unless otherwise stated, they are gleaned from the Fiji Times.''

25 June, 2005

 * "The hurt is still there. When my parents were alive it affected them just as much as it is affecting us today."

 * "If the move to reconcile and compensate came from the coup perpetrators maybe, I would have given it some thought but coming from the Government is hard to accept."

 * "It is like a forced idea and I wonder why they are pushing for it now?"

 * "The hurt is still with us, something we do not openly discuss but this government has not attempted to include us in any of their reconciliation process."

24 July, 2005

 * "Everything that happened prior to and during 2000 was premeditated, well planned with all the personal graffiti being churned out through government offices and business outlets … ludicrous paraphernalia designed to malign the former President's family's character. Some members of the 2000 and current Senate were openly telling the public that the Government was going to be changed soon. So what was the Fijian cause all about?"

title: Ateca Ganilau


text:
User talk:66.44.250.209

Hi. I have reverted your removal of a quote from the Ayn Rand page, because you did not give any reasons for this deletion. If you feel the quote is not interesting, please leave it there -- someone else obviously did think it was. If you feel it is wrong (wholly or partly) then it is customary to mention that in your comments, and perhaps even add it to the talk page with the mention of the research you did to prove it wrong. Thanks, ~ MosheZadka (Talk) 06:37, 26 Jun 2005 (UTC)

title: User talk:66.44.250.209


text:
Talk:Sports

I've removed the following: Sports cheers sometimes get very popular. Would we want to open a page (or a section in this one) regarding cheers? ~ MosheZadka (Talk) 06:44, 26 Jun 2005 (UTC)
 * "We want a pitcher not a little bitcher" - Anonymous

Golf
Ben Hogan

"As you walk down the fairway of life you must smell the roses, for you only get to play one round."

"The only thing a golfer needs is more daylight."

Bobby Jones

"Golf is the closest game to the game we call life. You get bad breaks from good shots; you get good breaks from bad shots - but you have to play the ball where it lies."

"No one will ever have golf under his thumb. No round ever will be so good it could not have been better. Perhaps this is why golf is the greatest of games. You are not playing a human adversary; you are playing a game. You are playing old man par."

Arnold Palmer

"It's a funny thing, the more I practice the luckier I get."

"Golf is deceptively simple and endlessly complicated; it satisfies the soul and frustrates the intellect. It is at the same time rewarding and maddening - and it is without a doubt the greatest game mankind has ever invented."

Jack Nicklaus

"Professional golf is the only sport where, if you win 20 percent of the time, you're the best."

"It takes hundreds of good golf shots to gain confidence, but only one bad one to lose it."

Sam Snead

"Forget your opponents; always play against par."

"Never let up. The more you can win by, the more doubts you put in the other players' minds the next time out."

Baseball
MANAGERS

Walt Alston

 * "Look at misfortune the same way you look at success - Don't Panic! Do your best and forget the consequences."

Sparky Anderson

 * "Baseball is a simple game. If you have good players and if you keep them in the right frame of mind then the manager is a success."

 * "He's (Jose Canseco) built like a Greek goddess."

 * "I can't believe they pay us to play baseball - something we did for free as kids."

 * "I don't know why the players make such a big fuss about sitting in the first class section of the plane. Does that mean they'll get there faster?"

 * "If a team is in a positive frame of mind, it will have a good attitude. If it has a good attitude, it will make a commitment to playing the game right. If it plays the game right, it will win—unless, of course, it doesn't have enough talent to win, and no manager can make goose-liver pate out of goose feathers, so why worry?"

 * "If I ever find a pitcher who has heat, a good curve, and a slider, I might seriously consider marrying him, or at least proposing."

 * "If I hear Bowie Kuhn say just once more he's doing something for the betterment of baseball, I'm going to throw-up."

 * "I only had a high school education and believe me, I had to cheat to get that."

 * "Me carrying a briefcase is like a hotdog wearing earrings."

 * "People who live in the past generally are afraid to compete in the present. I've got my faults, but living in the past is not one of them. There's no future in it."

 * "Players have two things to do. Play and keep their mouths shut."

 * "Problem with (John) Wockenfuss getting on base is that it takes three doubles to score him."

 * "The only reason I'm coming out here tomorrow is the schedule says I have to."

 * "You give us the pitching some of these clubs have and no one could touch us, but God has a way of not arranging that, because it's not as much fun."

Alvin Dark

 * "Any pitcher who throws at a batter and deliberately tries to hit him is a communist."

 * "Every player should be accorded the privilege of at least one season with the Chicago Cubs. That's basebahl as it should be played - in God's own sunshine. And that's really living."

 * "Friendships are forgotten when the game begins."

 * "The Lord taught me to love everybody, but the last ones I learned to love were the sportswriters."

 * "There are surprisingly few real students of the game in baseball; partly because everybody, my eighty-three year old grandmother included, thinks they learned all there was to know about it at puberty. Baseball is very beguiling that way."

Leo Durocher

 * "As long as I've got a chance to beat you I'm going to take it."

 * "God watches over drunks and third baseman."

 * "I don't care if the guy (Jackie Robinson) is yellow or black, or if he has stripes like a god-damn zebra. I'm the manager of this team and I say he plays."

 * "If I were playing third base and my mother were rounding third with the run that was going to beat us, I'd trip her. Oh, I'd pick her up and brush her off and say, 'Sorry, Mom,' but nobody beats me."

 * "If you don't win, you're going to be fired. If you do win, you've only put off the day you're going to be fired."

 * "I made a game effort to argue but two things were against me: the umpires and the rules."

 * "I never questioned the integrity of an umpire. Their eyesight, yes."

 * "In the olden days, the umpire didn't have to take any courses in mind reading. The pitcher told you he was going to throw at you."

 * "Luck? If the roof fell in and Diz (Dean) was sitting in the middle of the room, everybody else would be buried and a gumdrop would fall in his mouth."

 * "Show me a good loser in professional sports, and I'll show you an idiot."

 * "What are we out at the park for, except to win?"

 * "Win any way you can as long as you can get away with it."

 * "You argue with the umpire because there is nothing else you can do about it."

 * "You don't save a pitcher for tomorrow. Tomorrow it may rain."

Whitey Herzog

 * "Baseball has been good to me since I quit trying to play it."

 * "If you don't have outstanding relief pitching, you might as well piss on the fire and call the dogs."

 * "I'm not buddy-buddy with the players. If they need a buddy, let them buy a dog."

 * "The only thing bad about winning the pennant is that you have to manage the All-Star Game the next year. I'd rather go fishing for three days."

 * "The only way to make money as a manager is to win in one place, get fired and hired somewhere else."

 * "We need just two players to be a contender. Just Babe Ruth and Sandy Koufax."

 * "We need three kinds of pitching: left handed, right handed, and relief."

Miller Huggins

 * "A good catcher is the quarterback, the carburetor, the lead dog, the pulse taker, the traffic cop and sometimes a lot of unprintable things, but no team gets very far without one."

 * "A manager has his cards dealt to him and he must play them."

Tommy Lasorda

 * "About the only problem with success is that it does not teach you how to deal with failure."

 * "All last year we tried to teach him (Fernando Valenzuela) English, and the only word he learned was million."

 * "Baseball is like driving, it's the one who gets home safely that counts."

 * "Guys ask me, don't I get burned out? How can you get burned out doing something you love? I ask you, have you ever got tired of kissing a pretty girl?"

 * "He (Darryl Strawberry) is not a dog; a dog is loyal and runs after balls."

 * "I love doubleheaders. That way I get to keep my uniform on longer."

 * "I walk into the clubhouse and it's like walking into the Mayo Clinic. We have four doctors, three therapists and five trainers. Back when I broke in, we had one trainer who carried a bottle of rubbing alcohol and by the seventh inning he had drunk it all."

 * "No, we don't cheat. And even if we did, I'd never tell you."

 * "When we win, I'm so happy I eat a lot. When we lose, I'm so depressed, I eat a lot. When we're rained out, I'm so disappointed I eat a lot."

Connie Mack

 * "Any minute, any day, some players may break a long standing record. That's one of the fascinations about the game, the unexpected surprises."

 * "Humanity is the keystone that holds nations and men together. When that collapses, the whole structure crumbles. This is as true of baseball teams as any other pursuit in life."

 * "I guess more players lick themselves that are ever licked by an opposing team. The first thing any man has to know is how to handle himself."

 * "No matter what I talk about, I always get back to baseball."

 * "You can't win them all."

 * "You're born with two strikes against you, so don't take a third one on your own."

PLAYERS

 * "I know everything there is to know about hitting. I don't know anything there is to know about living." ~ Darryl Strawberry

Cycling

 * Every time I see an adult on a bicycle, I no longer despair for the future of the human race.
 * H. G. Wells

 * It never gets easier; you just go faster.
 * Greg Lemond

 * Strange people, bike riders. They imagine a racing bike is made for going quickly.  They're wrong.  A racing bike is made solely for winning races.
 * Jacques Anquetil

Football (American)

 * "Playoffs? You want to talk about playoffs? Don't talk about playoffs. Are you kidding me? Playoffs? I just hope we can win a game...another game."
 * Jim Mora
 * "You play to win the game!"
 * Herm Edwards
 * "Where else would you rather be than right here right now?"
 * Marv Levy

Women
Mia Hamm, soccer
 * "True champions aren't always the ones that win, but those with the most guts."

Jackie Joyner Kersee, track & field
 * "It is better to look ahead and prepare than to look back and regret"

Billie Jean King, tennis
 * "A champion is afraid of losing. Everyone else is afraid of winning."

 * "No one changes the world who isn't obsessed."
 * San Francisco Chronicle (8 Aug 1978)

Martina Navratilova, tennis
 * " Oh no E.M.P. I can't camp, I mean rush."
 * Torren Erut

 * "Labels are for filing. Labels are for clothing. Labels are not for people."

 * "Just go out there and do what you have to do."

 * "It is easier to do a job right than to explain why you didn't."

Sheryl Swoopes, basketball

 * "No matter how far life pushes you down, no matter how much you hurt, you can always bounce back."

Babe Didrikson Zaharias, golf

 * "Study the rules so that you won't beat yourself by not knowing something."

 * "You can't win them all -- but you can try."

Miscellaneous

 * "Karate is a form of martial arts in which people who have had years and years of training can, using only their hands and feet, make some of the worst movies in the history of the world." ~ Dave Barry

 * "Minimum effort, maximum efficiency" ~ Carlos Gracie Jr., referring to Brazilian Jiu Jitsu

 * "Win together today, and we walk together forever" ~ Fred Shero before the Philadelphia Flyers won their first cup - written on a board

 * You miss 100% of the shots you never take.
 * Wayne Gretzky, Canadian Ice Hockey player?

title: Talk:Sports


text:
Talk:John Ziman

Hi, Aphaia. In general, I dislike linking to non-existing wikipedia articles. Could you explain your rationale for linking to them? Especially since it's not obvious the link is "red". ~ MosheZadka (Talk) 06:46, 26 Jun 2005 (UTC)

I am not sure for now why I did so, but perhaps in purpose of checking if WP has his article. And supposedly left it. Sorry for my bad editing. --Aphaia 09:33, 11 July 2005 (UTC)

Not original
I've removed the following aphorism that existed long before Mr. Ziman wrote it down:

 * A philosopher is a person who knows less and less about more and more, until he knows nothing about everything.☃☃A scientist is a person who knows more and more about less and less, until he knows everything about nothing.

title: Talk:John Ziman


text:
User talk:24.81.233.200

~ MosheZadka (Talk) 06:49, 26 Jun 2005 (UTC)

title: User talk:24.81.233.200


text:
User talk:138.88.145.32

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
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 * The use of your own personal watchlist to which you can add articles that interest you
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 * The eligibility to become an administrator
 * The right to be heard in formal votes and elections, and on pages like votes for deletion

Click here to create an account.--Aphaia 07:38, 26 Jun 2005 (UTC)

title: User talk:138.88.145.32