text:
Figure skating

Figure skating is a sport in which individuals, duos, or groups perform on figure skates on ice. It was the first winter sport to be included in the Olympic Games, when it was contested at the 1908 Olympics in London. The four Olympic disciplines are men's singles, ladies' singles, pair skating, and ice dance. Non-Olympic disciplines include synchronized skating, Theater on Ice, and four skating.

Quotes

 * But the Central Red Army Club had a long history of producing skating champions, and the coaches knew how to train a young child for future success. We did physical conditioning off the ice three times a week-abdominals, humping, leg exercises-and ballet training three days a week, which I loved. We learned how to stand, how to hold our heads, how to hold our hands and arms. Everything. There was a mirror the entire length of the army club rink where we skated, so we could keep an eye on our posture. And I was always the smallest one, boy or girl.
 * Ekaterina Gordeeva, E. M. Swift, My Sergei: A Love Story, "Childhood", (1996)

 * As a practical matter, my first question to Mr. Burroughs was, "Will I have clean ice for figures?" Clean ice meant that I would be able to replicate the competition experience by not being able to see the tracings laid down before me ina previous patch. Even after resurfacing, it was usually possible to see these tracings through the thin layer of new ice. Having these tracings was beneficial anda  hindrance at the same time. If the tracings were good, we used those marks and followed them. But it almost felt like cheating. If they were bad, it distracted us. Either way, they prevented the development of one's own skills in creating circles on blank ice. I would get to competitition and my right-footed circles would be larger than my left-footed circles. Like most skaters, I didn't have the same control on my let side that I did on my right, so I developed the habit of making these circles too quickly.
 * Dorothy Hamill, A Skating Life: My Story, ch. 5, “This Way to the Olympics”, (2007).

 * Considering that fact about the Winter Olympics not coming to be until the 1920s, it's hardly surprising that skaters who peaked in their skills and abilities well ahead of the '20s often gravitated to either skating carnivals, or is some cases, the nightclub "tank ice" shows that were popular in big cities from 1912 until the start of Prohibition (when the traditional nightclubs closed). Not only were these events the primary source of income for so-called "professional" skaters, but the enthusiastic crowds they attracted were as close as most skaters of the day would come to tasting Olympic glory.
 * Born in 1898 in Germany and performing on ice for audiences just ten years later, Charlotte quickly developed a reputation that allowed her to be described with three words: musical, graceful, and artistic. By 1910 she was finding success in Berlin with "pantomine and musical comedy played out on ice. And when ice ballets became cost prohibitive in Germany in the World War 1 era, she took up an offer to come to New York City, in 1915, with 20 other ballet company members. Performing as part of the musical revue Hip Hop Hooray at New York's newly reopened Hippodrome, Charlotte and company captivated audiences to the tune of 425 performances in just 300 days. The appeal of these early performances was as hard to miss as Charlotte herself. Clad in white boots and barely knee-length skirts (both were unheard of at the time for female skaters), her ability to catch the eye with her physical appearance even superseded her ability to land the one-and-a-half rotation axel jump. She is, in fact, credited as the first woman to include axels in her programs.
 * Kelli Lawrence, Skating on Air: The Broadcast History of an Olympic Marquee Sport, “From London 1908 to Hollywood 1948: Figure Skating Before Television", (Jan 10, 2014), p.9

 * I'd love to have Bob Fishman, our director, calling the camera shots as he did back then, selecting the pictures that you see in your living room. I'd love to once more experience the camaraderie of 50 men and women - our figure skating unit - united in an effort to show case such a special event.
 * Verne Lundquist in Kelli Lawrence, Skating on Air: The Broadcast History of an Olympic Marquee Sport, "Introduction", (Jan 10, 2014), p. 3

 * It's my view that people like skating because it is a visual picture of freedom...it's like a soul set free. People have told me that they enjoyed it because the beauty calmed them; the skaters kind of looked like birds in flight. I think that kind of freedom is built into our spirit. And I think some great TV directors understand that, and have a keen eye how to capture that, and make people want to set aside time to sit down and watch skating.
 * Janet Lynn: as qtd in Kelli Lawrence, Skating on Air: The Broadcast History of an Olympic Marquee Sport, “From London 1908 to Hollywood 1948: Figure Skating Before Television", (Jan 10, 2014), p. 7

 * Figure skating was all of it! Skating was an incredibly great sport which involved all the aspects and abilities that a great athlete needs to have-strength, timing, and all that stuff. It was an amazingly competitive sport as well. And it was theater! It was dance! And the "actors" took on roles as they skated! So for me, it became a home.... I became fascinated with it.
 * Doug Wilson: as qtd in Kelli Lawrence, Skating on Air: The Broadcast History of an Olympic Marquee Sport, "Barely a Small Screen Sport: Skating Through TV's Golden Age", (Jan 10, 2014), p. 17.

title: Figure skating


text:
Divine Comedy

The Divine Comedy (c. 1308–1320) is an Italian long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely considered to be the preeminent work in Italian literature and one of the greatest works of world literature. The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written (also in most present-day Italian-market editions), as the standardized Italian language. It is divided into three parts: Inferno, Purgatorio, and Paradiso. The narrative describes Dante's travels through Hell, Purgatory, and Paradise or Heaven, while allegorically the poem represents the soul's journey towards God.

Canto I
mi ritrovai per una selva oscura, ché la diritta via era smarrita.'' I found myself within a shadowed forest, for I had lost the path that does not stray.''' (tr. Mandelbaum) I found myself within a forest dark, For the straight-forward pathway had been lost. (tr. Longfellow)
 * ''Nel mezzo del cammin di nostra vita,
 * lines 1–3
 * '''When I had journeyed half of our life's way,
 * Midway upon the journey of our life

 * Io non so ben ridir com' io v'entrai, tanto era pien di sonno in su quel punto che la verace via abbandonai;
 * lines 10-12
 * I cannot well repeat how there I entered, So full was I of slumber at the moment In which I had abandoned the true way. (tr. Longfellow)

uscito fuor del pelago a la riva, si volge a l'acqua perigliosa e guata.'' having escaped from the sea to shore, turns to the perilous waters and gazes. (tr. Mandelbaum).
 * ''E come quei che con lena affannata,
 * lines 22–24
 * And just as he who, with exhausted breath,

 * così l' animo mio, che ancor fuggiva, si volse indietro a rimirar lo passo che non lasciò giammai persona viva.
 * lines 25-27
 * So did my soul, that still was fleeing onward, Turn itself back to re-behold the pass Which never yet a living person left. (tr. Longfellow)

 * ed ha natura sì malvagia e ria, che mai non empie la bramosa voglia, e dopo il pasto ha più fame che pria.
 * lines 97-99
 * And has a nature so malign and ruthless, That never doth she glut her greedy will, And after food is hungrier than before. (tr. Longfellow)

Canto II
toglieva li animai che sono in terra da le fatiche loro.'' Released the animals that are on earth From their fatigues.
 * ''Lo giorno se n'andava, e l'aere bruno
 * Day was departing, and the embrowned air
 * lines 1–3 (tr. Longfellow)

 * And as he is, who unwills what he willed, And by new thoughts doth his intention change, So that from his design he quite withdraws, Such I became, upon that dark hillside, Because, in thinking, I consumed the emprise, Which was so very prompt in the beginning.
 * lines 37-42 (tr. Longfellow)

 * "If I have well thy language understood," Replied that shade of the Magnanimous, "Thy soul attainted is with cowardice, Which many times a man encumbers so, It turns him back from honored enterprise, As false sight doth a beast, when he is shy.
 * lines 42-48 (tr. Longfellow)

 * Beatrice am I, who do bid thee go; I come from there, where I would fain return; Love moved me, which compelleth me to speak.
 * lines 70-72 (tr. Longfellow)

 * Of those things only should one be afraid Which have the power of doing others harm; Of the rest, no; because they are not fearful.
 * lines 88-90 (tr. Longfellow)

 * God in his mercy such created me That misery of yours attains me not, Nor any flame assails me of this burning.
 * lines 91-93 (tr. Longfellow)

 * Thou hast my heart so with desire disposed To the adventure, with these words of thine, That to my first intent I have returned. Now go, for one sole will is in us both, Thou Leader, and thou Lord, and Master thou." Thus said I to him; and when he had moved, I entered on the deep and savage way.
 * lines 136-142 (tr. Longfellow)

Canto III

 * Per me si va ne la città dolente, per me si va ne l'etterno dolore, per me si va tra la perduta gente. Giustizia mosse il mio alto fattore: fecemi la divina potestate, la somma sapienza e 'l primo amore. Dinanzi a me non fuor cose create se non etterne, e io etterno duro. Lasciate ogni speranza, voi ch'entrate
 * Through me the way is to the city dolent; Through me the way is to eternal dole; Through me the way among the people lost. Justice incited my sublime Creator; Created me divine Omnipotence, The highest Wisdom and the primal Love. Before me there were no created things, Only eterne, and I eternal last. "All hope abandon, ye who enter in!"
 * lines 1-9 (tr. Longfellow)
 * Variant Translation: Through me you go to the grief wracked city; Through me you go to everlasting pain; Through me you go a pass among lost souls. Justice inspired my exalted Creator: I am a creature of the Holiest Power, of Wisdom in the Highest and of Primal Love. Nothing till I was made was made, only eternal beings. And I endure eternally. Abandon all hope — Ye Who Enter Here
 * Variant translation: 'Through me the way to the suffering city; Through me the everlasting pain; Through me the way that runs among the Lost. Justice urged on my exalted Creator: Divine Power made me, The Supreme Wisdom and the Primal Love. Nothing was made before me but eternal things And I endure eternally. Abandon all hope - You Who Enter Here.'
 * Variant Translation: 'I am the way into the city of woe. I am the way to a forsaken people. I am the way into eternal sorrow. Sacred justice moved my architect. I was raised here by divine omnipotence, primordial love and ultimate intellect Only those elements time cannot wear are beyond me, and beyond time I stand. Abandon All Hope, Ye Who Enter Here.'
 * Note: Full inscription on the top of the gate. Often quoted with the translated form "Abandon hope all ye who enter here". The word "all" modifies hope, not those who enter: "ogni speranza" means "all hope".

ogni viltà convien che qui sia morta.'' here every cowardice must meet its death.'''
 * ''Qui si convien lasciare ogni sospetto;
 * '''Here one must leave behind all hesitation;
 * lines 14–15 (tr. Mandelbaum).

risonavan per l'aere sanza stelle, per ch'io al cominciar ne lagrimai. Diverse lingue, orribili favelle, parole di dolore, accenti d'ira, voci alte e fioche, e suon di man con elle facevano un tumolto, il qual s'aggira sempre in quell'aura sanza tempo tinta, come la rena quando turbo spira.'' were echoing across the starless air, so that, as soon as I set out, I wept. Strange utterances, horrible pronouncements, accents of anger, words of suffering, and voices shrill and faint, and beating hands— all went to make a tumult that will whirl forever through that turbid, timeless air, like sand that eddies when a whirlwind swirls.
 * ''Quivi sospiri, pianti e alti guai
 * Here sighs and lamentations and loud cries
 * lines 22–30 (tr. Mandelbaum).

tegnon l'anime triste di coloro che visser sanza 'nfamia e sanza lodo.'' is borne by the wretched souls of those who lived without disgrace and without praise.
 * ''Questo misero modo
 * This miserable state
 * lines 34–36 (tr. John D. Sinclair).

né lo profondo inferno li riceve, ch'alcuna gloria i rei avrebber d'elli.'' cast them out, but even Hell itself would not receive them for fear the wicked there might glory over them.'''
 * ''Caccianli i ciel per non esser men belli,
 * '''Heaven, to keep its beauty,
 * lines 40–42 (tr. Mark Musa).

 * These have no longer any hope of death; And this blind life of theirs is so debased, They envious are of every other fate. No fame of them the world permits to be; Misericord and Justice both disdain them. Let us not speak of them, but look, and pass.
 * lines 46-51 (tr. Longfellow)

 * And after it there came so long a train Of people, that I ne'er would have believed That ever Death so many had undone.
 * lines 55-57 (tr. Longfellow)

che fece per viltade il gran rifiuto.'' Who made through cowardice the great refusal.
 * ''Vidi e conobbi l'ombra di colui
 * I looked, and I beheld the shade of him
 * lines 59–60 (tr. Longfellow).
 * The decision of Pope Celestine V to abdicate the Papacy and allow Dante's enemy, Pope Boniface VIII, to gain power.

che questa era la setta d'i cattivi a Dio spiacenti e a' nemici sui.'' and I was sure this was that sect of evil souls who were hateful to God and to His enemies.
 * ''Incontanente intesi e certo fui
 * At once I understood,
 * lines 61–63 (tr. Mark Musa).

i' vegno per menarvi a l'altra riva ne le tenebre etterne, in caldo e 'n gelo.'' I come to lead you to the other shore, To the eternal shades in heat and frost.
 * ''Non isperate mai veder lo cielo:
 * Hope nevermore to look upon the heavens;
 * lines 85–87 (tr. Longfellow).

pàrtiti da cotesti che son morti.'' get away from all these people who are dead.
 * ''E tu che se' costì, anima viva,
 * And you, the living soul, you over there
 * lines 88–89 (tr. Mark Musa).

Canto IV

 * True is it, that upon the verge I found me Of the abysmal valley dolorous, That gathers thunder of infinite ululations. Obscure, profound it was, and nebulous, So that by fixing on its depths my sight Nothing whatever I discerned therein.
 * lines 7-12 (tr. Longfellow)

 * Another way my sapient Guide conducts me Forth from the quiet to the air that trembles; And to a place I come where nothing shines.
 * lines 149-151 (tr. Longfellow)

Canto V
che mugghia come fa mar per tempesta, se da contrari venti è combattuto.'' which bellows like the sea in tempest, when it is combated by warring winds.
 * ''Io venni in loco d'ogne luce muto,
 * I came into a place void of all light,
 * Canto V, lines 28–30 (tr. Charles S. Singleton).
 * Variant translation (Longfellow): I came into a place mute of all light, Which bellows as the sea does in a tempest, If by opposing winds 't is combated.

 * I understood that unto such a torment The carnal malefactors were condemned, Who reason subjugate to appetite. And as the wings of starlings bear them on In the cold season in large band and full, So doth that blast the spirits maledict; It hither, thither, downward, upward, drives them; No hope doth comfort them forevermore, Not of repose, but even of lesser pain.
 * lines 37-45 (tr. Longfellow)

prese costui de la bella persona che mi fu tolta; e 'l modo ancor m'offende. Amor, ch'a nullo amato amar perdona, mi prese del costui piacer sì forte, che, come vedi, ancor non m'abbandona.'' seized this man for the fair form that was taken from me, and the manner afflicts me still. Love, which absolves no one beloved from loving, seized me so strongly with his charm that, as thou seest, it does not leave me yet.
 * ''Amor, ch'al cor gentil ratto s'apprende,
 * Love, which is quickly kindled in the gentle heart,
 * lines 100–105 (tr. Sinclair).

Che ricordarsi del tempo felice Nella miseria.'' Than to be mindful of the happy time In misery.'''
 * ''Nessun maggior dolore
 * '''There is no greater sorrow
 * lines 121–123 (tr. Longfellow).

di Lancialotto come amor lo strinse; soli eravamo e sanza alcun sospetto. Per più fïate li occhi ci sospinse quella lettura, e scolorocci il viso; ma solo un punto fu quel che ci vinse. Quando leggemmo il disïato riso esser basciato da cotanto amante, questi, che mai da me non fia diviso, la bocca mi basciò tutto tremante. Galeotto fu 'l libro e chi lo scrisse: quel giorno più non vi leggemmo avante.'' of Lancelot—how love had overcome him. We were alone, and we suspected nothing. And time and time again that reading led our eyes to meet, and made our faces pale, and yet one point alone defeated us. When we had read how the desired smile was kissed by one who was so true a lover, this one, who never shall be parted from me, while all his body trembled, kissed my mouth. A Gallehault indeed, that book and he who wrote it, too; that day we read no more.
 * ''Noi leggiavamo un giorno per diletto
 * One day, to pass the time away, we read
 * lines 127–138 (tr. Mandelbaum).

Canto VI

 * At the return of consciousness, that closed Before the pity of those two relations, Which utterly with sadness had confused me, New torments I behold, and new tormented Around me, whichsoever way I move, And whichsoever way I turn, and gaze.
 * lines 1-6 (tr. Longfellow)

le tre faville c'hanno i cuori accesi.'' the three sparks that have set these hearts on fire.
 * ''Superbia, invidia e avarizia sono
 * Pride, Envy, and Avarice are
 * lines 74–75 (tr. Sinclair).

più senta il bene, e così la doglienza.'' The more it feels of pleasure and of pain.
 * ''Quanto la cosa è più perfetta,
 * As the thing more perfect is,
 * lines 107–108 (tr. Longfellow).

Canto VII

 * "Pape Satàn, pape Satàn aleppe!"
 * line 1

 * Then he turned round unto that bloated lip, And said: "Be silent, thou accursed wolf; Consume within thyself with thine own rage. Not causeless is this journey to the abyss; Thus is it willed on high, where Michael wrought Vengeance upon the proud adultery."
 * lines 7-12 (tr. Longfellow)

 * Justice of God, ah! who heaps up so many New toils and sufferings as I beheld? And why doth our transgression waste us so?
 * lines 19-21 (tr. Longfellow)

 * Vain thought thou entertainest; The undiscerning life which made them sordid Now makes them unto all discernment dim.
 * lines 52-54 (tr. Longfellow)

e che già fu, di quest'anime stanche poterebbe farne posare una.'' Or ever has been, of these weary souls Could never make a single one repose.
 * ''Ché tutto l'oro ch'è sotto la luna
 * For all the gold that is beneath the moon,
 * lines 64–66 (tr. Longfellow).

 * O creatures imbecile, What ignorance is this which doth beset you?
 * lines 70-71 (tr. Longfellow)

 * Let us descend now unto greater woe; Already sinks each star that was ascending When I set out, and loitering is forbidden.
 * lines 97-99 (tr. Longfellow)

 * Fixed in the mire they say, 'We sullen were In the sweet air, which by the sun is gladdened, Bearing within ourselves the sluggish reek; Now we are sullen in this sable mire.' This hymn do they keep gurgling in their throats, For with unbroken words they cannot say it.
 * lines 121-126 (tr. Longfellow)

Canto VIII

 * With weeping and with wailing, Thou spirit maledict, do thou remain; For thee I know, though thou art all defiled.
 * lines 37-39 (tr. Longfellow)

 * And that Lord, who had led me thitherward, Said unto me: "Fear not; because our passage None can take from us, it by Such is given. But here await me, and thy weary spirit Comfort and nourish with a better hope; For in this nether world I will not leave thee."
 * lines 103-108 (tr. Longfellow)

 * Sì e no nel capo mi tenzona.
 * No and Yes within my head contend.
 * line 111 (tr. Longfellow).

Canto XI
tu mi contenti sì quando tu solvi, che, non men che saver, dubbiar m'aggrata.'' Thou dost content me so, when thou resolvest, That doubting pleases me no less than knowing!
 * ''O sol che sani ogne vista turbata,
 * O Sun, that healest all distempered vision,
 * lines 91–93 (tr. Longfellow).

Segue, come il Maestro fa il discente, Sì che vostr'arte a Dio quasi è nipote.''
 * ''Che l'arte vostra quella, quanto puote,
 * That your art follows her so far as it can, as the disciple does the master, so that your art is as it were grandchild of God.
 * lines 103–105 (tr. Charles Eliot Norton).

Canto XII

 * Necessità 'l ci 'nduce, e non diletto.
 * Necessity brings him here, not pleasure.
 * line 87 (tr. Sinclair).

Canto XIII
Del cor di Federigo, e sì le volsi, Serrando e disserrando, sì soavi.''
 * ''Io son colui, che tenni ambo le chiavi
 * I am he who held both the keys of the heart of Frederick, and who turned them, locking and unlocking so softly.
 * lines 58–60 (tr. C. E. Norton).

Canto XV

 * Bene ascolta chi la nota.
 * He listens well who takes notes.
 * line 99 (tr. Clive James).

Canto XXIV
in fama non si vien, né sotto coltre, sanza la qual chi sua vita consuma cotal vestigo in terra di sé lascia qual fummo in aere ed in acqua la schiuma.'' will not bring you fame, nor staying beneath the quilt, and he who uses up his life without achieving fame leaves no more vestige of himself on Earth than smoke in the air or foam upon the water.
 * ''...Seggendo in piuma
 * Lying in a featherbed
 * lines 47–51.

 * And therefore raise thee up, o'ercome the anguish With spirit that o'ercometh every battle, If with its heavy body it sink not.
 * lines 52-54 (tr. Longfellow)
 * Variant translation: Get up! breathe with the soul, for it is brave in every battle, and will always win, unless the heavy body be its grave.

si de' seguir con l'opera tacendo.''
 * ''La dimanda onesta
 * A fair request should be followed by the deed in silence.
 * lines 77–78 (tr. Sinclair).

Canto XXV
ciò ch’io dirò, non sarà maraviglia, ché io che ’l vidi, a pena il mi consento.'' What I shall say, it will no marvel be, For I who saw it hardly can admit it.
 * ''Se tu se’ or, lettore, a creder lento
 * If thou art, Reader, slow now to believe
 * lines 46–48 (tr. Longfellow).

Canto XXVI

 * Né dolcezza di figlio, né la pieta del vecchio padre, né 'l debito amore lo qual dovea Penelopé far lieta, vincer potero dentro a me l'ardore ch'i' ebbi a divenir del mondo esperto, e de li vizi umani e del valore.
 * Nor fondness for my son, nor reverence For my old father, nor the due affection Which joyous should have made Penelope, Could overcome within me the desire I had to be experienced of the world, And of the vice and virtue of mankind.
 * lines 94-99 (tr. Longfellow)

fatti non foste a viver come bruti, ma per seguir virtute e canoscenza.'' you were not born to live like brutes, but to follow virtue and knowledge.'''
 * ''Considerate la vostra semenza:
 * '''Consider your origin;
 * lines 118–120.
 * Variant translations:
 * Consider well the seed that gave you birth: You were not made to live as brutes, But to follow virtue and knowledge.
 * Consider ye the seed from which ye sprang; Ye were not made to live like unto brutes, But for pursuit of virtue and of knowledge. (Longfellow)

Canto XXVII
a persona che mai tornasse al mondo, questa fiamma staria sanza più scosse; ma però che già mai di questo fondo non tornò vivo alcun, s'i' odo il vero, sanza tema d'infamia ti rispondo.'' who would ever return to the world, this flame should stay without another movement; but since none ever returned alive from this depth, if what I hear is true, I answer thee without fear of infamy.
 * ''S'i' credesse che mia risposta fosse
 * If I thought my answer were to one
 * lines 61–66 (tr. Sinclair).

Canto XXVIII

 * And one his limb transpierced, and one lopped off, Should show, it would be nothing to compare With the disgusting mode of the ninth Bolgia. A cask by losing centre-piece or cant Was never shattered so, as I saw one Rent from the chin to where one breaketh wind. Between his legs were hanging down his entrails; His heart was visible, and the dismal sack That maketh excrement of what is eaten. While I was all absorbed in seeing him, He looked at me, and opened with his hands His bosom, saying: "See now how I rend me; How mutilated, see, is Mahomet; In front of me doth Ali weeping go, Cleft in the face from forelock unto chin; And all the others whom thou here beholdest, Disseminators of scandal and of schism While living were, and therefore are cleft thus.
 * lines 19-36 (tr. Longfellow)

 * Capo ha cosa fatta.
 * A thing done has an end!
 * line 107 (tr. Longfellow).

Canto XXXIII

 * Io non piangëa, sì dentro impetrai.
 * I wept not, I within so turned to stone.
 * line 49 (tr. Longfellow).

e 'l duol che truova in su li occhi rintoppo, si volge in entro a far crescer l'ambascia.'' And grief that finds a barrier in the eyes Turns itself inward to increase the anguish.
 * ''Lo pianto stesso lì pianger non lascia,
 * Weeping itself there does not let them weep,
 * lines 94–96 (tr. Longfellow).

 * Cortesia fu lui esser villano.
 * To be rude to him was courtesy.
 * line 150 (tr. Longfellow).

Canto XXXIV
verso di noi; però dinanzi mira," disse 'l maestro mio, "se tu 'l discerni."'' Towards us; therefore look in front of thee," My Master said, "if thou discernest him."
 * ''"Vexilla regis prodeunt inferni
 * "'Vexilla Regis prodeunt Inferni'
 * lines 1–3 (tr. Longfellow).

 * E quindi uscimmo a riveder le stelle.
 * Thence we came forth to rebehold the stars.
 * line 139 (tr. Longfellow).

Purgatorio
omai la navicella del mio ingegno, che lascia dietro a sé mar sì crudele.''
 * ''Per correr miglior acque alza le vele
 * To run over better waters the little vessel of my genius now hoists her sails, as she leaves behind her a sea so cruel.
 * Canto I, lines 1–3 (tr. C. E. Norton).

a l'altro polo, e vidi quattro stelle viste mai fuor ch'a la prima gente.'' Upon the other pole, and saw four stars Ne'er seen before save by the primal people.
 * ''I' mi volsi a man destra, e puosi mente
 * To the right hand I turned, and fixed my mind
 * Canto I, lines 22–24 (tr. Longfellow).

come sa chi per lei vita rifiuta.''
 * ''Libertà va cercando, ch'è sì cara,
 * He goes seeking liberty, which is so dear, as he knows who gives his life for it.
 * Canto I, lines 71–72 (tr. Sinclair).

come t'è picciol fallo amaro morso!''
 * ''O dignitosa coscïenza, e netta,
 * O conscience, upright and stainless, how bitter a sting to thee is little fault!
 * Canto III, lines 8–9 (tr. C. E. Norton).

 * Ché perder tempo a chi più sa più spiace.
 * For to lose time irks him most who most knows.
 * Canto III, line 78 (tr. Longfellow).

a una, a due, a tre, e l'altre stanno timidette atterrando l'occhio e 'l muso; e ciò che fa la prima, e l'altre fanno, addossandosi a lei, s'ella s'arresta, semplici e quete, e lo 'mperché non sanno.'' By ones and twos and threes, and the others stand Timidly, holding down their eyes and nostrils, And what the foremost does the others do, Huddling themselves against her, if she stop, Simple and quiet and the wherefore know not.
 * ''Come le pecorelle escon del chiuso
 * As sheep come issuing forth from out the fold
 * Canto III, lines 79–84 (tr. Longfellow).

 * Vassene 'l tempo e l'uom non se n'avvede.
 * Time moves and yet we do not notice it.
 * Canto IV, line 9 (tr. Mandelbaum).

che surga sù di cuor che in grazia viva; l'altra che val, che 'n ciel non è udita?''
 * ''Se orazïone in prima non m'aita
 * Unless, before then, the prayer assist me which rises from a heart that lives in grace: what avails the other, which is not heard in heaven?
 * Canto IV, lines 133–135 (tr. C. E. Norton).

sovra pensier, da sé dilunga il segno, perché la foga l'un de l'altro insolla.''
 * ''Che sempre l'omo in cui pensier rampolla
 * For always the man in whom thought springs up over thought sets his mark farther off, for the one thought saps the force of the other.
 * Canto V, lines 16–18 (tr. Sinclair).

perché foco d'amor compia in un punto ciò che de' sodisfar chi qui s'astalla.'' Because the fire of love fulfils at once What he must satisfy who here installs him.
 * ''Ché cima di giudicio non s'avvalla
 * For top of judgment doth not vail itself,
 * Canto VI, lines 37–39 (tr. Longfellow).

non ti fermar, se quella nol ti dice che lume fia tra 'l vero e lo 'ntelletto. Non so se 'ntendi; io dico di Beatrice.''
 * ''Veramente a così alto sospetto
 * Do not rest in so profound a doubt except she tell it thee, who shall be a light between truth and intellect. I know not if thou understand: I speak of Beatrice.
 * Canto VI, lines 43–46 (tr. Carlyle-Wicksteed).

ai navicanti e 'ntenerisce il core lo dì ch'han detto ai dolci amici addio; e che lo novo peregrin d'amore punge, se ode squilla di lontano che paia il giorno pianger che si more.''
 * ''Era già l'ora che volge il disio
 * It was now the hour that turns back the longing of seafarers and melts their heart the day they have bidden dear friends farewell and pierces the new traveller with love if he hears in the distance the bell that seems to mourn the dying day.
 * Canto VIII, lines 1–6 (tr. Sinclair).

If eye or touch do not relight it often.
 * Quanto in femmina fuoco d'amor dura, Se l'occhio o 'l tatto spesso nol raccende.
 * How long in woman lasts the fire of love,
 * Canto VIII, lines 77–78 (tr. Longfellow).

Che, della vista della mente infermi, Fidanza avete ne' ritrosi passi; Non v' accorgete voi, che noi siam vermi Nati a formar l' angelica farfalla, Che vola alla giustizia senza schermi? Di che l' animo vostro in alto galla, Poi siete quasi entomata in difetto, Sì come verme, in cui formazion falla?'' Whose intellects are sick and cannot see, Who place your confidence in backward steps, '''Do you not know that we are worms and born To form the angelic butterfly that soars, Without defenses, to confront His judgment?''' Why does your mind presume to flight when you Are still like the imperfect grub, the worm Before it has attained its final form?
 * ''O superbi Cristian, miseri lassi!
 * O Christians, arrogant, exhausted, wretched,
 * Canto X, lines 121–129 (tr. Mandelbaum).

sanza la qual per questo aspro diserto a retro va chi più di gir s'affanna.''
 * ''Dà oggi a noi la cotidiana manna,
 * Give us this day the daily manna, without which, in this rough desert, he backward goes, who toils most to go on.
 * Canto XI, lines 13–15 (tr. C. E. Norton).

di vento, ch'or vien quinci e or vien quindi, e muta nome perché muta lato.''
 * ''Non è il mondan romore altro ch'un fiato
 * Worldly renown is naught but a breath of wind, which now comes this way and now comes that, and changes name because it changes quarter.
 * Canto XI, lines 100–102 (tr. C. E. Norton).

perché a poco vento così cadi?''
 * ''O gente umana, per volar sù nata,
 * O human race, born to fly upward, wherefore at a little wind dost thou so fall?
 * Canto XII, lines 95–96 (tr. C. E. Norton).

che ne 'nvogliava amore e cortesia là dove i cuor son fatti sì malvagi.'' That filled our souls with love and courtesy, There where the hearts have so malicious grown!
 * ''Le donne e ' cavalier, li affanni e li agi
 * The dames and cavaliers, the toils and ease
 * Canto XIV, lines 109–111 (tr. Longfellow).

liberi soggiacete; e quella cria la mente in voi, che 'l ciel no ha in sua cura. Però, se 'l mondo presente disvia, in voi è la cagione, in voi si cheggia.''
 * ''A maggior forza e a miglior natura
 * To a greater power and to a better nature you, free, are subject, and that creates the mind in you which the heavens have not in their charge. Therefore if the present world goes astray, in you is the cause, in you let it be sought.
 * Canto XVI, lines 79–83 (tr. Sinclair).

 * Ogn'erba si conosce per lo seme.
 * By its seed each herb is recognized.
 * Canto XVI, line 114 (tr. Longfellow).
 * Compare: "Ye shall know them by their fruits." Matthew 7:16 KJV.

nel qual si queti l'animo, e disira; per che di giugner lui ciascun contende.'' Wherein the mind may rest, and longeth for it; Therefore to overtake it each one strives.
 * ''Ciascun confusamente un bene apprende
 * Each one confusedly a good conceives
 * Canto XVII, lines 127–129 (tr. Longfellow).

 * Contra miglior voler voler mal pugna; ...
 * Against a better will the will fights ill, ...
 * Canto XX, line 1 (tr. C. E. Norton).

che gran ricchezza posseder con vizio.'' To the possession of great wealth with vice.
 * ''Con povertà volesti anzi virtute
 * Virtue with poverty didst thou prefer
 * Canto XX, lines 26–27 (tr. Longfellow).

acceso di virtù, sempre altro accese, pur che la fiamma sua paresse fore.''
 * ''Amore,
 * Love kindled by virtue always kindles another, provided that its flame appear outwardly.
 * Canto XXII, lines 10–12.

che qui la terra sol da sé produce.'' Which of itself alone this land produces.
 * ''Vedi l'erbette, i fiori e li arbuscelli
 * Behold the grass, the flowerets, and the shrubs
 * Canto XXVII, lines 134–135 (tr. Longfellow).

di sangue m'è rimaso, che non tremi; conosco i segni de l'antica fiamma.''
 * ''Men che dramma
 * Less than a drop of blood remains in me that does not tremble; I recognize the signals of the ancient flame.
 * Canto XXX, lines 46–48.
 * Compare: Agnosco veteris vestigia flammae ("I feel once more the scars of the old flame", tr. C. Day Lewis), Virgil, Aeneid, Book IV, line 23.

 * Voi vigilate ne l'etterno die.
 * Ye keep your watch in the eternal day.
 * Canto XXX, line 103 (tr. Longfellow).

si fa 'l terren col mal seme e non cólto, quant'elli ha più di buon vigor terrestro.''
 * ''Ma tanto più maligno e più silvestro
 * But so much the more malign and wild does the ground become with bad seed and untilled, as it has the more of good earthly vigor.
 * Canto XXX, lines 118–120 (tr. C. E. Norton).

 * Puro e disposto a salire a le stelle.
 * Pure and disposed to mount unto the stars.
 * Canto XXXIII, line 145 (tr. C. E. Norton).

Paradiso

per l'universo penetra, e risplende in una parte piú e meno altrove.''
 * ''La gloria di colui che tutto move
 * The glory of Him who moves everything penetrates through the universe, and is resplendent in one part more and in another less.
 * Canto I, lines 1–3 (tr. C. E. Norton).

 * Poca favilla gran fiamma seconda.
 * A great flame follows a little spark.
 * Canto I, line 34 (tr. Sinclair).

col falso imaginar, sì che non vedi ciò che vedresti se l'avessi scosso.'' with false imaginings and do not grasp what would be clear but for your preconceptions.
 * ''Tu stesso ti fai grosso
 * You dull your own perceptions
 * Canto I, lines 88–90 (tr. Ciardi).

ell'è quel mare al qual tutto si move ciò ch'ella crïa o che natura face.'' To which is moving onward whatsoever It doth create, and all that nature makes.
 * ''E 'n la sua volontade è nostra pace:
 * And his will is our peace; this is the sea
 * Canto III, lines 85–87 (tr. Longfellow).

fesse creando, e a la sua bontate più conformato, e quel ch'e' più apprezza, fu de la volontà la libertate; di che le creature intelligenti, e tutte e sole, fuore e son dotate.''
 * ''Lo maggior don che Dio per sua larghezza
 * The greatest gift which God in His bounty bestowed in creating, and the most conformed to His own goodness and that which He most prizes, was the freedom of the will, with which the creatures that have intelligence, they all and they alone, were and are endowed.
 * Canto V, lines 19–24 (tr. Singleton).

lo pane altrui, e come è duro calle lo scendere e 'l salir per l'altrui scale.''
 * ''Tu proverai sì come sa di sale
 * Thou shalt prove how salt is the taste of another man's bread and how hard is the way up and down another man's stairs.
 * Canto XVII, lines 58–60 (tr. Sinclair).

la vista che riceve il vostro mondo, com' occhio per lo mare, entro s'interna; che, ben che da la proda veggia il fondo, in pelago nol vede; e nondimeno èli, ma cela lui l'esser profondo.''
 * ''Però ne la giustizia sempiterna
 * Therefore the sight that is granted to your world penetrates within the Eternal Justice as the eye into the sea; for though from the shore it sees the bottom, in the open sea it does not, and yet the bottom is there but the depth conceals it.
 * Canto XIX, lines 58–63 (tr. Sinclair).

per giudicar di lungi mille miglia con la veduta corta d'una spanna?'' In judgment at a thousand miles away, With the short vision of a single span?
 * ''Or tu chi se', che vuo' sedere a scranna,
 * Now who art thou, that on the bench wouldst sit
 * Canto XIX, lines 79–81 (tr. Longfellow).

di questa dolce vita.''
 * ''L'esperîenza
 * The experience of this sweet life.
 * Canto XX, lines 47–48 (tr. Longfellow).

prima cantando, e poi tace contenta de l'ultima dolcezza che la sazia, tal mi sembiò l'imago de la 'mprenta de l'etterno piacere.''
 * ''Quale allodetta che 'n aere si spazia
 * Like the lark that soars in the air, first singing, then silent, content with the last sweetness that satiates it, such seemed to me that image, the imprint of the Eternal Pleasure.
 * Canto XX, lines 73–77 (tr. Sinclair).

perché il ben nostro in questo ben s'affina, che quel che vole Iddio, e noi volemo.'' Because our good in this good is made perfect, That whatsoe'er God wills, we also will.
 * ''Ed ènne dolce così fatto scemo,
 * And sweet to us is such a deprivation,
 * Canto XX, lines 136–138 (tr. Longfellow).

né tardo, ma' ch'al parer di colui che disïando o temendo l'aspetta.'' Nor tardily, howe'er it seem to him Who fearing or desiring waits for it.
 * ''La spada di qua sù non taglia in fretta
 * The sword above here smiteth not in haste
 * Canto XXII, lines 16–18 (tr. Longfellow).

 * La notte che le cose ci nasconde.
 * The night that hides things from us.
 * Canto XXIII, line 3 (tr. Sinclair).

in ramo, che sen va e altra vene.'' On bough, which goeth and another cometh.
 * '' L'uso d'i mortali è come fronda
 * The use of men is like a leaf
 * Canto XXVI, lines 137–138 (tr. Longfellow).

nube dipigne da sera e da mane, vid' îo allora tutto 'l ciel cosperso.''
 * ''Di quel color che per lo sole avverso
 * With the colour that paints the morning and evening clouds that face the sun I saw then the whole heaven suffused.
 * Canto XXVII, lines 28–30 (tr. Sinclair).

depende il cielo e tutta la natura.'' Dependent is the heaven and nature all.
 * ''Da quel punto
 * From that point
 * Canto XXVIII, lines 41–42 (tr. Longfellow).

a chi domanda, ma molte fïate liberamente al dimandar precorre.'' To him who asketh it, but oftentimes Forerunneth of its own accord the asking.
 * ''La tua benignità non pur soccorre
 * Not only thy benignity gives succour
 * Canto XXXIII, lines 16–18 (tr. Longfellow).

legato con amore in un volume, ciò che per l'universo si squaderna.'' all things in a single volume bound by Love, of which the universe is the scattered leaves.'''
 * ''Nel suo profondo vidi che s'interna,
 * '''I saw within Its depth how It conceives
 * Canto XXXIII, lines 85–87 (tr. Ciardi).

per misurar lo cerchio, e non ritrova, pensando, quel principio ond' elli indige, tal era io a quella vista nova: veder voleva come si convenne l'imago al cerchio e come vi s'indova; ma non eran da ciò le proprie penne: se non che la mia mente fu percossa da un fulgore in che sua voglia venne. A l'alta fantasia qui mancò possa; ma già volgeva il mio disio e 'l velle, sì come rota ch'igualmente è mossa, l'amor che move il sole e l'altre stelle.'' To square the circle, and discovers not, By taking thought, the principle he wants, Even such was I at that new apparition; I wished to see how the image to the circle Conformed itself, and how it there finds place; But '''my own wings were not enough for this, Had it not been that then my mind there smote A flash of lightning, wherein came its wish.''' Here vigour failed the lofty fantasy: '''But now was turning my desire and will, Even as a wheel that equally is moved, The Love which moves the sun and the other stars.'''
 * ''Qual è 'l geomètra che tutto s'affige
 * As the geometrician, who endeavours
 * Canto XXXIII, closing lines, as translated by Henry Wadsworth Longfellow

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

title: Divine Comedy


text:
Grease 2

Grease 2 is the 1982 sequel from the 1978 hit musical Grease. An English student at an American high school has to prove himself to a girls' gang leader whose members can only date greasers.
 * Directed by Patricia Birch. Written by Ken Finkleman.

Grease is still the word! (taglines)

Stephanie Zinone

 * Not weird weird, but like exciting weird.

uh
 * [singing] I want a whole lot more than the boy next door.  I want hell on wheels.

Johnny Nogerelli

 * [to Stephanie after seeing her with the mysterious biker] I catch you with that punk one more time, I'll rearrange his face! He's a dead man, you know what I'm saying? D-E-D!
 * [to Stephanie] That jacket you're wearing is T-Bird property. You want to leave the party, leave the jacket at the door.

Paulette Rebchuck

 * [after Johnny gives her an order] Yeah? Well, you wanna hear my 'final word' Mr Push-everyone-around Nogarelli? You may be able to bully some of the chicks in this school, but this chick has been bullied by one Johnny Nogarelli for the last time. I may not be the classiest chick in this school, but I'm the best you're ever gonna get. So take it or leave it!

Others

 * Louis: [holding a rabbit]  See what happens when a boy and a girl don't know how to play it safe!
 * Michael: [practicing bowling invitation]  Howdy fellas, let's bowl some balls.
 * Sharon: We're going to die and I'm wearing my mother's underwear!
 * Johnny: My mom wants you to come over for some pasghetti, at your convience

Dialogue

 * Paulette: So what's the story with you and Johnny?
 * Stephanie: Let's just say I outgrew him over the summer.
 * Paulette: Yeah, well, he sure hasn't lost the hots for you.
 * Stephanie: Johnny just hasn't learned when you're dead, lie down.  Besides, there's got to be more to life than just making out.
 * Paulette: You know, I never thought of it that way!

 * Michael: Hello.
 * Stephanie: Hi.
 * Michael: I wanted to ask you if you're free after school today?
 * Stephanie: Yeah, I'm free every day.  It's in the Constitution.

 * Stephanie: You know all this deep junk and everything.  You must think I am some kind of dummy, right?
 * Michael: No, I think you're kind of terrific.

 * Davey: [to Johnny]  No, like, what are you going to be when you grow up?
 * Goose: A burden on society.

 * Frenchy: Michael, I think there's something you don't understand. You see, Stephanie Zinonie is a Pink Lady and unless you're a T-Bird, which you are not, you can look but don't touch.  [as Michael gazes at Stephanie]  Michael, I wouldn't even look!
 * Michael: Well, then, how do you become one of those T-Birds then, eh?

 * Stephanie: Maybe I'm tired of being someone's chick!
 * Rhonda: Tired of being someone's chick?  Are you feeling okay?

 * Michael: [as mysterious biker]  How about that ride?
 * Guy in gas station: Hey, how about my windsheild.
 * Stephanie: [throwing towel at guy as she gets on Michael's bike]  Honk that horn where the sun don't shine!

 * Pink Ladies: The pink ladies pledge to act cool, to look cool and to be cool.  Till death do us part.  Think pink!
 * Davey: He wears a pair of goggles like a man from outer space!
 * Johhny: Aw, shut up!

 * Davey: Another well deserved victory, huh, then, Johnny?
 * Johnny: Yeah, and where's the trophy?
 * Paulette: Right here, Johnny!
 * Rhonda: Oh, kisses.
 * Johnny: That's the best average.  Now what about for best score?
 * Goose: Yeah, what about the trophy for best score, Stephanie?
 * Stephanie: I ain't no one's trophy, Goose!

 * Cycle Lords: The punk is going to get it!
 * T-Birds: When we find out who he is!

 * Sharon: Personally, I think that—
 * T-Birds: We don't care, Sharon!

 * Louis: Kablam!  Nucleoid war!
 * Sharon: What started?  What's happening, Louis?
 * Louis: The Russians are attacking!  Get down!

 * Michael: I never thought you'd kiss me like that if you found out who I really was.
 * Stephanie: [giggles] Are you crazy?  I got two for the price of one!
 * Michael: Are you certain?
 * Stephanie: I've never been certainer.
 * Michael: More certain.
 * Stephanie: The certainest.
 * Michael: The certainest. Yeah, l like that. I'd love to kiss you again.

Taglines

 * Grease is still the word!
 * The music and feeling go on forever.

Cast

 * Maxwell Caufield - Michael Carrington/Cool Rider
 * Michelle Pfeiffer - Stephanie Zinone
 * Adrian Zmed - Johnny Nogerelli
 * Lorna Luft - Paulette Rebchuck
 * Peter Frechette - Louis DiMucci
 * Maureen Teefy - Sharon Cooper
 * Allison Price as Rhonda Ritter
 * Christopher McDonald - Goose McKensie
 * Pamela Segall - Dolores Rebchuck
 * Didi Conn - Frenchy
 * Eve Arden - Principal McGee
 * Sid Caesar - Coach Calhoun
 * Dody Goodman - Blanche Hodel
 * Tab Hunter - Mr. Stuart
 * Connie Stevens - Miss Yvette Mason
 * Eddie Deezen - Eugene Felsnic
 * Dennis Stewart - Leo Balmudo
 * Jean and Liz Sagal - Noreen and Doreen

title: Grease 2


text:
User talk:Sickthiele~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:03, 7 October 2006 (UTC)
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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 Sickthiele. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Sickthiele~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.

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Renamed
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title: User talk:Sickthiele~enwikiquote


text:
User talk:Bill Allbrook

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:03, 7 October 2006 (UTC)
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title: User talk:Bill Allbrook


text:
User talk:Tawagoto~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:03, 7 October 2006 (UTC)
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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 Tawagoto. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Tawagoto~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 23:36, 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) 05:59, 19 April 2015 (UTC)

title: User talk:Tawagoto~enwikiquote


text:
User talk:Spiderloft~enwikiquote

Welcome
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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 Spiderloft. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Spiderloft~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 23:35, 17 March 2015 (UTC)

Renamed
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title: User talk:Spiderloft~enwikiquote


text:
User talk:Yksbharat

Welcome
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title: User talk:Yksbharat


text:
User talk:Succotash888~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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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 Succotash888. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Succotash888~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 23:35, 17 March 2015 (UTC)

Renamed
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title: User talk:Succotash888~enwikiquote


text:
User talk:Aswath4

Welcome
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title: User talk:Aswath4


text:
User talk:S8man~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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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 S8man. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name S8man~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) 05:56, 19 April 2015 (UTC)

title: User talk:S8man~enwikiquote


text:
User talk:Wwwendy

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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title: User talk:Wwwendy


text:
User talk:LadyN~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 LadyN. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name LadyN~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 23:29, 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) 05:51, 19 April 2015 (UTC)

title: User talk:LadyN~enwikiquote


text:
User talk:Hip hop honey

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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 * Be bold.

title: User talk:Hip hop honey


text:
User talk:Cefaro

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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title: User talk:Cefaro


text:
User talk:IndyAnna

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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title: User talk:IndyAnna


text:
User talk:Vmcebollero

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:04, 7 October 2006 (UTC)
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 * Be bold.

title: User talk:Vmcebollero


text:
Cheating

Cheating is defined as an act of deception, fraud, trickery, impersonation, imposture, or imposition. Cheating characteristically is employed to create an unfair advantage, usually in one's own interest, and often at the expense of others. Cheating implies the breaking of rules

Quotes

 * The only way to win is cheat.
 * Mike Altman, Suicide is Painless, theme from M*A*S*H

 * Doubtless the pleasure is as great Of being cheated as to cheat.
 * Samuel Butler, Hudibras, Part II, canto iii, line i (1664)

 * Everyone cheats in sports. It's like my father used to tell me — if you're not cheating, you're not trying.
 * , as quoted in "Sports This Morning," The Atlanta Constitution (July 14, 1980) Subsequent variations include:
 * Maybe he caught me a little bit cheating. But if you ain't cheatin', you ain't tryin'.
 * , as quoted in "Kerr's Presence Felt" by Rich Hoffman, Philadelphia Daily News (March 11, 1988)
 * Hey, if you ain't cheating, you ain't trying.
 * , as quoted in "Angels Come Up Empty in 8-4 Loss to Red Sox" by Mike Penner, Los Angeles Times (May 22, 1988)
 * When was the coach of the Falcons, he used to say, "If you ain't cheatin', you ain't tryin'."
 * , The Dark Side of the Game: My Life in the NFL (1996), p. 100
 * Green quotes his old coach at Atlanta, Jerry Glanville, as insisting, “If you ain’t cheatin’, you ain’t tryin.'” If this is true, I better understand the Falcons’ win-loss record during Glanville’s tenure. Further, I’ve known the current coach at Atlanta,, for more than 25 years, from his days as a player for Dallas and coach for Dallas, Denver, New York and now Atlanta. Trust me on this: Reeves doesn’t buy into Green’s cheatin’ stuff. He knows football, how to coach skills and motivate toward excellence. These get you into the end zone a whole lot faster than yielding penalty yards to the opponent. Tim Green missed this tackle. Skills, commitment, talent, training and team work are game-winning skills in the NFL and at every level of athletics. Cheating does not fool officials, fans or coaches. It is not a tool for success. Ever.
 * Jim Tunney, "In NFL, cheating is for losers, not for winners," USA Today (November 17, 1997); reprinted as "On Cheating" at JimTunney.com
 * But then, in a world of cheaters, if you're not cheating, you're not really competing.
 * John Stapleton IV, "PEDs Get the Best of Baseball," The Corsair (December 1, 2010), pp. 12, 13
 * They always say, "If you ain't cheatin', you ain't tryin'. So they're tryin' hard.
 * , re ' cheating scandals; interviewed in October 2015 on Around the NFL

 * When I consider life, 'tis all a cheat; Yet, fooled with hope, men favor the deceit; Trust on, and think tomorrow will repay. Tomorrow's falser than the former day. None would live past years again, Yet all hope pleasure in what yet remain; And from the dregs of life think to receive What the first sprightly running could not give.
 * John Dryden, Aureng-Zebe (1676), Act IV, scene i.

 * Every man takes care that his neighbor shall not cheat him. But a day comes when he begins to care that he does not cheat his neighbor. Then all goes well. He has changed his marketcare into a chariot of the sun. What a day dawns, when we have taken to heart the doctrine of faith!
 * Ralph Waldo Emerson, “Worship,” The Conduct of Life (1860)

 * I never yet feared those men who set a place apart in the middle of their cities where they gather to cheat one another and swear oaths which they break.
 * Herodotus, The Histories, 1.153.1

 * One must not cheat anyone, not even the world of its victory.
 * Franz Kafka, The Third Notebook (December 8, 1917)

 * L'intention de ne jamais tromper nous expose à être souvent trompés.
 * Translation: The intention of cheating no one lays us open to being cheated ourselves.
 * François de La Rochefoucauld, Moral Maxims and Reflections, no. 118 (1665-1678)

 * “You cheated.” “That’s such a low word. Let’s just say I employed certain skills which are not necessarily observed within the strictest canon of the game.”
 * Laura Resnick, The Capo of Darkness, reprinted in Mike Resnick (ed.) This is My Funniest (2006), ISBN 978-1-932100-95-2, p. 77

 * No treaty is ever an impediment to a cheat.
 * Sophocles, Fragments, l (671)

title: Cheating


text:
Katharine Kerr

Katharine Kerr (born 1944) is a science fiction and fantasy novelist, best known for her series of Celtic-influenced high fantasy novels set in the fictional land of Deverry.

Quotes

 * Why do you think nothing concrete and lasting happened out of the 60s? Lots of people have been saying this lately, and I can't help feeling that the changes were so profound and total that no one remembers that there were changes! The 50s, my friends, happened in a different country than this one. We did not get everything we wanted, no. The world is not perfect now, and is that why some of us think we accomplished nothing? … Try to remember what life was like in the 50s. That's all I can say to that. It's the power structures that are trying to pretend that the change wasn't lasting, so they can convince people that protests and the like are futile now. But they lie. I'm glad to see that many young people aren't buying it.

 * All love affairs are tragedies in the end unless the lovers die at the same moment.

 * In some sense, every magician is a weaver, merely one who works with invisible strands of the hidden light. With it we weave our various forms, just as a weaver produces cloth, and then stitch them into the images we desire, just as a tailor sews cloth into a tunic or robe. If we be journeymen in our craft, forces will come to inhabit our forms, just as a person will come to buy the tunic and place it over his body. But if we have plumbed the secret recesses of our art, if we are masters of our craft, then we can both weave the forms and place our own bodies within them.
 * Notes from the "The Pseudo-Iamblichos Scroll" in The Spirit Stone (2007)

title: Katharine Kerr


text:
Untamed Heart

Untamed Heart is a 1993 film starring Christian Slater and Marisa Tomei. It mixes drama with romance and comedy and tells the story of a young woman, always unlucky in love, trying to find happiness with a very shy young man.
 * Directed by Tony Bill. Written by Tom Sierchio.

He doesn't make sense. She doesn't make sense. Together they make sense. (taglines)

Caroline

 * [during her beauty exam] Lady, I'm not butchering your hair. It's a free haircut, so stop your bitching, before I cut it all off, you fat cow!
 * [about her dad] First guy to walk out of my life, definitely not the last. Funny things, you and me. You always stayin' away from love, me always chasin' after it.
 * Don't let people stand in your way. They're just people, like you and me! Well, maybe not like you. I don't know if I have ever met anyone like you before.
 * He was like an angel, you know? I never knew life could be like that. He was the one thing I followed through in my life, the one thing I didn't give up on. I was good at loving him.
 * I am going to fall in love with you. You don't have to love me back. I am going to give you my heart.
 * My life is like watching the Three Stooges in Spanish!
 * What worries me is when someone is as screwed up as these guys doesn't want me!
 * He doesn't make sense, I don't make sense, together we make sense.
 * Magic records and a baboon heart...

Adam

 * I am not very good with people.
 * Once people got used to stay away, they always stay away. I never got close to anyone.
 * You are my peace.

Cindy

 * Look at him! He's like a tumor sittin' over there. Ugh, and his hair! It just bothers me so much!
 * It's too bad though. I'd do him, if he wasn't so dumb!
 * It's not right to feel shitty this time of year, but everybody does. It's like this is life, and once you go through it long enough, you realize what the flavor is. And it sure ain't vanilla!

Dialogue

 * Caroline: Adam, your heart is diseased! You need a new one.
 * Adam: But this is my heart! I'm afraid that if they take it away, I won't be able to love you the same.
 * Caroline: You love with your mind and your soul, not your heart.
 * Adam: [touching his chest] Then how come I hurt here when you're not with me?

 * Adam: Do you like music, Caroline?
 * Caroline: Mmm. That's the first time I heard you say my name. It sounded... nice.
 * Adam: Would you like to listen to my records, Caroline?... Caroline.

 * Caroline: What's your dog's name?
 * Adam I don't know. He never told me.

 * Caroline: I think I'll go inside now.
 * Steve: I'll call you later, alright?
 * Caroline: No, don't do that. Just leave me alone.
 * Steve: I didn't mean to hurt you, Caroline.
 * Caroline: Yeah, well. You did.

 * Caroline: When did you get here?
 * Adam: Ten.
 * Caroline: Ten? That was almost two hours ago. You'd rather be out here with my cat than inside with... [realizing] than inside with a room full of strangers and relatives.

 * Caroline: You don't have to come as my boyfriend or anything. Though I'd like you to. [Adam nods] Is that a yes?
 * Adam: Yes.
 * Caroline: Say yes again.
 * Adam: Yes.

 * Adam: I follow you home...
 * Caroline: You followed me home.
 * Adam: I wasn't finished.
 * Caroline: Finish.
 * Adam: I follow you home to make sure that you're... safe.
 * Caroline: Well, I never see you.
 * Adam: I stay pretty far behind. I'm sorry.
 * Caroline: Well, I mean, don't be sorry... I just...
 * Adam: I wasn't finished.
 * Caroline: Finish.
 * Adam: I'm sorry I was late that night.
 * Caroline: I never hear you speak, and when you do, you apologize for saving me?
 * Adam: I wonder if you think about me.
 * Caroline: Of course I think about you!
 * Adam: I wasn't finished!
 * Caroline: Finish.
 * Adam: I wonder if you think about me, as much as I think about you.

 * Caroline: I have fallen...
 * Adam: Are you hurt?
 * Caroline: I wasn't finished.
 * Adam: Finish.
 * Caroline: I have fallen so in love with you, so much more than I said I would.

 * Adam I love hockey.
 * Caroline: You didn't even know what a power-play was.
 * Adam: I know. But next time you can tell me.

 * Cindy: You are like wet sand in my underwear.
 * Jim: Ouch.

 * Caroline: Star light, Star bright, First star I see tonight, wish I may wish I might, Have this wish I wish tonight.
 * Adam: That's Mars.
 * Caroline: What?
 * Adam: That's Mars.You just wished on a planet.
 * Caroline: Figures.

 * Caroline: What did the doctor say?
 * Adam: That I'm not allowed to stick knives in my stomach.

 * ‘’Adam’s voice”: “Dear, Caroline, I don’t need these anymore because all my wishes came true. I found you, so play them and think of me. I’ll wish on mars and think of you. I carry your heart with me. I’m not finished I carry it in my heart.”

Tagline

 * He doesn't make sense. She doesn't make sense. Together they make sense.

Main cast

 * Marisa Tomei - Caroline
 * Christian Slater - Adam
 * Rosie Perez - Cindy
 * Kyle Secor - Howard
 * Willie Garson - Patsy

title: Untamed Heart


text:
Gilbert Highet

Gilbert Arthur Highet (June 22, 1906 – January 20, 1978) was a Scottish-American classicist, academic, writer, intellectual, critic and literary historian.

Quotes

 * Do not try to make the brilliant pupil a replica of yourself.
 * The Art of Teaching (1950)

 * History is a strange experience. The world is quite small now; but history is large and deep. Sometimes you can go much farther by sitting in your own home and reading a book of history, than by getting onto a ship or an airplane and traveling a thousand miles. When you go to Mexico City through space, you find it a sort of cross between modern Madrid and modern Chicago, with additions of its own; but if you go to Mexico City through history, back only 500 years, you will find it as distant as though it were on another planet: inhabited by cultivated barbarians, sensitive and cruel, highly organized and still in the Copper Age, a collection of startling, of unbelievable contrasts.
 * Peoples, Places and Books (1953)

 * The aim of those who try to control thought is always the same. They find one single explanation of the world, one system of thought and action that will (they believe) cover everything; and then they try to impose that on all thinking people.
 * Man's Unconquerable Mind (1954)

 * The chief aim of education is to show you, after you make a livelihood, how to enjoy living; and you can live longest and best and most rewardingly by attaining and preserving the happiness of learning.
 * The Immortal Profession: The Joys of Teaching and Learning (1976)

 * These are not books, lumps of lifeless paper, but minds alive on the shelves. From each of them goes out its own voice, as inaudible as the streams of sound conveyed by electric waves beyond the range of our hearing; and just as the touch of button on our stereo will fill the room with music, so by opening one of these volumes, one can call into range a voice far distant in time and space, and hear it speaking, mind to mind, heart to heart.
 * The Immortal Profession: The Joys of Teaching and Learning (1976)

 * Nobody has ever thought himself to death. The chief danger confronting us is not age. It is laziness, sloth, routine, stupidity, — forcing their way in like wind through the shutters, seeping into the cellar like swamp water.
 * The Immortal Profession: The Joys of Teaching and Learning (1976)

title: Gilbert Highet


text:
Georges Guynemer

Georges Guynemer (24 December 1894 – 11 September 1917) was a French aviator and fighter pilot in the First World War.

Quotes

 * For remember that until one has given all, one has given nothing.
 * The Secret Battalion By Michael J. Bird (1964) p. 76

title: Georges Guynemer


text:
Appius Claudius Caecus

Appius Claudius Caecus (c. 340 – 273 BC) was a political leader in early Roman history, responsible for many historical infrastructure accomplishments such as the first viaduct system and the Appian Way.

Quotes

 * Faber est quisque fortunae suae (or) Faber est suae quisque fortunae (or) Est unusquisque faber ipsae suae fortunae.
 * Every man is the architect of his own fortune.
 * This quote from Appius' famous speech (279 BC) opposing peace with the Greek general Pyrrhus I is sourced from the earliest known Roman historian with surviving works, Sallust, within a letter of political counsel written to Caesar circa 39-35 BC. His quote, "Sed res docuit id verum esse, quod in carminibus Appius ait, fabrum esse suae quemque fortunae, atque in te maxume...," (English, "But experience has demonstrated that what Appius stated in his verses is true, that “every man is the fashioner of his own fortune,” and especially so with regard to you [Caesar],...") as an indirect statement, is made in the third person and so the subject of the sentence ("quisquis," translated "each man") is conjugated to "quemque." To arrive at the original words spoken by Appius the first person conjugation must be used instead, and it is thus that the quotation is most well-known: "Faber est quisque fortunae suae", with est (English, "he is") taking the predicate nominative faber (English, "architect, artisan"), quisquis in the first person becomes quisque and the simple genitive of possession, suae (English, "his [possessive]"), spoken last. As is often found in short maxims of any era, the word order is non-standard. A more faithfully syntactic English translation might be, "Of his own fortune, each man is the architect." A version of the saying is the Latin motto of.
 * James Grout, "Appius Claudius Caecus and the Letter Z", Encyclopaedia Romana; John T. Ramsay, ed. Sallust: Fragments of the Histories. Letters to Caesar, LCL 522 (2015), pp. 478–479; Norbert Guterman, ed. A Book of Latin Quotations (1966), pp. 2–3

title: Appius Claudius Caecus


text:
User talk:66.240.221.36

- InvisibleSun 02:14, 8 October 2006 (UTC)

title: User talk:66.240.221.36


text:
The Rules of Attraction (film)

The Rules of Attraction is a 2002 film in which the incredibly spoiled and overprivileged students of Camden College serve as a backdrop for an unusual love triangle between a drug dealer, a virgin and a bisexual classmate.
 * Directed and written by Roger Avary, based on the novel by Bret Easton Ellis.

We all run on instinct.taglines

Sean Bateman

 * A great numb feeling washes over me as I let go of the past and look forward to the future. Pretend to be a vampire. I don't really need to pretend, because it's who I am, an emotional vampire. I've just come to expect it. Vampires are real. That I was born this way. That I feed off of other people's real emotions. Search for this night's prey. Who will it be?
 * [voiceover, after getting high] I need to get some more pot. I'm running out. Then I need to get laid. Where the fuck was Lauren tonight? That Lara girl was kind of hot. I could bang her and feel good about it. But I'd rather have Lauren. I wonder why? It would just ruin my illusion of her purity. Whoa, is that really what I want? [pause] I need to get laid. [sniffs] Then I need to get more pot. I wonder if Lauren goes wild during sex. I wonder if she comes easily. Or at all. I won't go to a bed with a girl who doesn't. If I can't make a girl come, then why bother? It's like asking questions in a letter. Hm, I'm hungry.
 * Since when does fucking somebody else mean that I'm not faithful to you? I only had sex with her because I'm in love with you.
 * [reading a love letter, voice-over] Got you. You're mine now. For the rest of the day, week, month, year, life. Have you guessed who I am? Sometimes I think you have. Sometimes when you're standing in a crowd I feel those sultry, dark eyes of yours stop on me. Are you too afraid to come up to me and let me know how you feel? I want to moan and writhe with you and I want to go up to you and kiss your mouth and pull you to me and say "I love you I love you I love you" while stripping. I want you so bad it stings. I want to kill the ugly girls that you're always with. Do you really like those boring, naive, coy, calculating girls or is it just for sex? The seeds of love have taken hold, and if we won't burn together, I'll burn alone.
 * [last line] I didn't know where I was going, some place unoccupied I hoped, at first I thought there were things about her I would never forget, But in the end all I could think about was-...

Paul Denton

 * [voiceover] I watched him with growing intensity as he refilled the pipe in the dark and smokey din of the room. He delicately fingered what looked like dried moss to me, and it struck me then that I liked Sean because he looked, well, slutty. A boy who'd been around. A boy who couldn't remember if he was Catholic or not.
 * [voiceover] Three months later, the handsome dunce was having an affair with a friend of mine. Within a year he was a full-blown queen and telling people I couldn't get it up. Luck has nothing to do with anything.

Other

 * Victor Johnson: I no longer know who I am and I feel like the ghost of a total stranger.

Dialogue

 * Mimi: How's school?
 * Richard: It sucks cock!

 * Mimi: And what classes are you taking... Dick?
 * Dick: Ummm, Gangbang 101, Freebase Tutorial, and Oral Sex Workshop.

 * Lara: How do I look?
 * Lauren: You look kind of skinny, actually.
 * Lara: Skinny, really? Bulimic skinny or anorexic skinny?
 * Lauren: What's the difference?
 * Lara: Bulimic skinny passes for healthy, except your teeth rot. But my teeth aren't rotting, so...
 * Lauren: So you look bulimic skinny.

 * Lara: It's amazing how much weight you lose when you go off the Pill.
 * Lauren: Which is nothing compared to the fifty pounds you gain when you get knocked up.

 * Lauren: Abstinence is 100% safe, which is less of a percentage than...
 * Lara: Whatever, I don't care, I don't major in math.

 * Mimi: I leave you alone for five minutes, and you're drinking.
 * Dick: Drunk. I'm drunk.

 * Donald: Need I remind you we have somebody OD-ing back here?
 * Paul: He's not OD-ing. He's a freshman. Freshmen don't OD.

 * Lance: Can I interest you in a turn-on?
 * Lauren: Um... no thanks.
 * Lance: Well... don't mind if I do.
 * Lauren: Are-are we gonna do it on the couch or...
 * Lance: Do what?
 * Lauren: You know, "it"...
 * Lance: What? Fuck...? Oh, are you mad? I'm a married man. And I would lose my tenure...
 * Lauren: But... aren't you coming onto me?
 * Lance: Well... for a hummer, sure... I'm quite aware of your abilities, Ms. Hyde. And it certainly couldn't hurt your GPA. So... Shall we?

 * Rupert: You want some coke?
 * Sean: Um. Sure.
 * Rupert: Then buy some of your own, bitch.

 * Sean: [post-sex, to Lara, who is sobbing sadly] What's wrong? I told you I came.
 * Lara: I was born in a Holiday Inn.
 * Sean: [voiceover] Better that it's not Lauren. Note to self: Never 'shroom again. It only gets you into trouble.

 * Sean: Lauren wait, Lauren... Hey, hey Lauren!
 * Lauren: Oh my God!
 * Sean: Can we talk?
 * Lauren: NO!
 * Sean: Lauren don't walk away. HEY! I really did try to kill myself... just before I faked it.
 * Lauren: Wow Sean, it's over.
 * Sean: No it's not!
 * Lauren: Yeah it is. I'm in love with somebody else.
 * Sean: Who?
 * Lauren: My old boyfriend Victor. Plus it's none of your fucking business.
 * Sean: Victor?
 * Lauren: Yeah.
 * Sean: What, then why the fuck did you write me those letters?
 * Lauren: Wow. Deal with it Sean it's over, Rock and Roll.
 * Sean: Lauren I want to know you.
 * Lauren: What does that mean know me? Know me, nobody ever knows anybody else, ever! You will never know me.

 * Mitchell: Are you fucking crazy?
 * Sean: Define crazy.
 * [Shrieks like a lunatic]

 * Sean: No one ever ever knows anyone. You're not ever gonna know me.
 * Paul: What the hell does that mean?
 * Sean: It means, Paul, you're not ever gonna know me. Deal with it. Figure it out.
 * Paul: Fuck you, Bateman! Fuck you Bateman!

Taglines

 * We all run on instinct.
 * There Are No Rules
 * Past Perfect. Present Tense. Future Uncertain.
 * From the Corrupt Minds That Brought You 'Pulp Fiction' and 'American Psycho.'
 * Rules Are Made to Be Broken

Cast

 * James Van Der Beek — Sean Bateman
 * Shannyn Sossamon — Lauren Hynde
 * Swoosie Kurtz — Mimi Jared
 * Russell Sams - Richard 'Dick' Jared
 * Ian Somerhalder - Paul Denton
 * Jessica Biel - Lara Holleran
 * Kate Bosworth - Kelly
 * Kip Pardue - Victor Johnson
 * Clifton Collins, Jr. - Rupert Guest
 * Thomas Ian Nicholas - Mitchell Allen
 * Faye Dunaway - Mrs. Eve Denton
 * Eric Stoltz - Mr. Lance Lawson
 * Fred Savage - Marc
 * Theresa Wayman - "Food Service Girl"
 * Jay Baruchel - Harry
 * Joel Michaely - Raymond
 * Clare Kramer - Candice
 * Ron Jeremy Hyatt - the Piano Player

title: The Rules of Attraction (film)


text:
User talk:64.131.223.32

- InvisibleSun 04:06, 8 October 2006 (UTC)

title: User talk:64.131.223.32


text:
Chittaranjan Das

Chittaranjan Das (5 November 1870 – 16 June 1925), popularly called Deshbandhu (Friend of the Nation), was an Indian freedom fighter, political activist and lawyer during the Indian independence movement and founder-leader of the Swaraj Party (Independence party) in Bengal during the period of British colonial rule in India.

Quotes

 * In my whole legal career I have not met worse types of criminals than in politics.
 * Chittaranjan Das, quoted from Sri Aurobindo, ., Nahar, S., Aurobindo, ., & Institut de recherches évolutives (Paris). India's rebirth: A selection from Sri Aurobindo's writing, talks and speeches. Paris: Institut de Recherches Evolutives. 3rd Edition (2000).

1917

 * We cannot forget that we live and have been living for many years in the midst of an empire. We cannot forget that the different provinces of India are gradually coming closer to one another and a new nationality which comprises not only the different provinces but the whole of India is growing up in our midst and we cannot forget that our interests, even our selfish interests, our hopes, our ambitions are indissolubly connected with the interest of the empire.
 * Speech delivered at Dhaka on 11th October 1917. Source: Collected Works of Deshbandhu (with Bengali title but text in Bengali and English) edited by Manindra Dutta and Haradhan Dutta, Tuli Kalam, Kolkata. No copyright.

 * In the days of Ram Mohan Roy when English education was introduced in this country, the Mahomedans did not accept it… They did not accept English education and at the same time they were divorced from the culture which their fathers had advanced. The result was that whereas the Hindus got on in life, got into government employment, got many things which people value in life, the Mahomedans were left without it and gradually there came to be a sort of estrangement between the two nationalities at the time of the Swadeshi movement.
 * Speech delivered at Barisal on 14th October 1917. Source: Collected Works of Deshbandhu.

 * Each province has got a speciality of its own, I admit, but over and above that, all these different provinces are bound together in one common culture… If the whole of the Hindu races are bond up in that way you must also realise that the whole of the Mahomedan races all over India are also similarly bound up together and we must not forget that the two great cultures must meet together, and the result will be a great culture which is not purely Hindu, not purely Mahomedan but something which is made up of the contact of these two great races. And that is the ideal of Indian Nationality which must be preserved and developed to the fullest extent.
 * Speech delivered at Barisal on 14th October 1917. Source: Collected Works of Deshbandhu.

1918

 * Gentlemen, when I consider the objections put forward to the grant of self-government I can hardly keep my patience. What is it that they say? They say that we are not educated enough to get self-government. My answer is: whose fault is it? For the last 150 years you have been governing this country and yet you have not succeeded in educating the people of this country to such an extent that they may be fit for governing themselves.
 * Speech delivered on 18th March 1918, at Rammurti’s pavilion at a meeting held to support the deputation to England. Source: Collected Works of Deshbandhu.

1921

 * Swaraj means that we must live within ourselves, we must be self-contained. I tell you we are great slaves to-day. Our economic slavery is greater than our political slavery… From Manchester comes 60 crores rupees worth of cloth every year. You will not have to pay these 60 crores rupees which go out of India. If a householder works by Charkha for one o two hours a day at the end of the year he will find himself with all the necessaries of his family.
 * Address delivered on 11th February 1921 at a meeting held in Maulana Mazhar-ul-Haq’s compound at Patna. Source: Collected Works of Deshbandhu.

 * We stand then for freedom, because we claim the right to develop our own individuality and evolve our own destiny along our own lines, unembarrassed by what Western civilisation has to teach us and unhampered by the institutions which the West has imposed.
 * Undelivered presidential address for the session of Indian Congress held at Ahmedabad in December 1921. Source: Collected Works of Deshbandhu.

Legal
Note: This is not an original quote of C R Das. It is actually part of a letter of Sri Aurobindo that C R DAs was reading out while defending him in the Alipore Bomb Trial
 * If it is suggested that I preached the idea of freedom for my country and this is against the law, I plead guilty to the charge. If that is the law here I say I have done that and I request you to convict me, but do not impute to me crimes I am not guilty of, deeds against which my whole nature revolts and which, having regard to my mental capacity, is something which could never have been perpetrated by me. If it is an offence to preach the ideal of freedom, I admit having done it. I have never disputed it. It is for this I have given up all the prospects of my life. It is for this that I came to Calcutta, to live for it and labour for it. It has been the one thought of my waking hours, the dream of my sleep. If that is my offence, there is no necessity of bringing witness to bring into the box to dispose different things in connection with that. Here am I and I admit it… If that is my fault you can chain me, imprison me, but you will never get out of me a denial of that charge.
 * Speech in defence of Aurobindo Ghosh in the Maincktala Bomb Case. The judgement was issued in 1909. Source: Collected Works of Deshbandhu.

 * I appeal to you, therefore, that a man like this stands not only before the bar of this court, but stands before the bar of the high court of History… Long after this controversy is hushed in silence, long after this turmoil and this agitation ceases, long after he is dead and gone, he will be looked upon as the poet of patriotism, as the prophet of nationalism and the lover of humanity. Long after he is dead and gone his words will be echoed and re-echoed not only in India but across distant seas and lands.
 * Speech in defence of Aurobindo Ghosh in the Maincktala Bomb Case. The judgement was issued in 1909. Quoted by Dr. Nitish Sengupta in his “History of the Bengali-speaking People.”

About others

 * About Raja Rammohun Roy: There is no doubt that he was the first who held before us the ideal of freedom. He was the first to sound the note of freedom in every department of life and in every different culture that has met to-day in India. It may be that we have to modify that, it may we have to analyse that more carefully and more in details for the purpose of scientific study but it is enough for our purpose to say that he inaugurated many reforms – you might call that reforming activity. He inaugurated the reforms which again, in turn, gave rise to reaction which, again, gave rise to further reforms which made the nation turn on itself, till at last, it began to be self-conscious.
 * Speech delivered at Barisal on 14th October 1917. Source: Collected Works of Deshbandhu.

 * About Swami Vivekanada: I am not saying that the message of the Swami was the final word in our nationalism… But it was tremendous – something with an undying glory of its own. If you read his books, if you read his lectures, you are struck at once with his love of humanity, his patriotism, not abstract patriotism which came to us from Europe but of different nature altogether a more living thing, something which we feel within ourselves when we read his writings.
 * Speech delivered at Barisal on 14th October 1917. Source: Collected Works of Deshbandhu.

 * About Mahatma Gandhi: Great in taking decisions, great in executing them, Mahatma Gandhi was incomparably great in the last stand which he made on behalf of his country. He is undoubtedly one of the greatest men the world has ever seen. The world hath need of him, and if he is mocked and jeered at by “the people of importance,” “the people with a stake in this country,” – the Scribes and Pharisees of the days of Christ – he will be gratefully remembered, now and always, by a nation which he led from victory to victory.
 * Source: Collected Works of Deshbandhu.

About Chittaranjan Das

 * Subhas Chandra Bose : Against the dawn of 1921, there now stood not merely a whole time politician but an emancipated soul – a soul reborn. Inspired by a taste of that fullness of life which brings man nearer to divinity and consciousness of a higher duty to his nation and to humanity, he plunged into the thick of the political strife. His complete renunciation in the cause of the nation roused the affection and gratitude of his countrymen who spontaneously conferred on him the title of ‘Deshbandhu’ or ‘friend of the country’.
 * Source: Collected Works of Deshbandhu.

 * Sarojini Naidu : Kingly was Deshbandhu Das in every impulse and gesture of his life, royal alike in the splendour of his bounty and the splendour of his renunciation. As the idol of the nation he served with unsurpassing devotion. To the generations of tomorrow, he will grow into a radiant figure of historic legend and romance, a vital portion of epic beauty and grandeur of their spiritual heritage.
 * Source: Collected Works of Deshbandhu.

 * Chittaranjan Das, whose life is a landmark in the history of India's struggle for freedom, was endearingly called 'Deshbandhu' (Friend of the country).
 * M. K. Singh - Encyclopaedia of Indian War of Independence 1857-1947, Vol. 13. Gandhi Era, Mahatma Gandhi and National Movement

 * Deshbandhu Chitta Ranjan Das passed away on June 16, 1925 at Darjeeling at the age of 55. His body was brought down from Darjeeling to Calcutta by train, and a procession, over two miles long and consisting of more than 300,000 men and women with Mahatma Gandhi at their head, followed his body to the cremation ground. In is conception of self-Government he was ahead of his time and regarded it as freedom and well-being, not only for the privileged few, but for the toiling masses of India.
 * M. K. Singh - Encyclopaedia of Indian War of Independence 1857-1947, Vol. 13. Gandhi Era, Mahatma Gandhi and National Movement

title: Chittaranjan Das


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