text:
Spice World

Spice World is a 1997 film about the Spice Girls and their entourage (mostly fictional characters) - manager Clifford, his assistant Deborah, filmmaker Piers (who is trying to shoot a documentary on "the real Spice Girls") and others in their everyday life.

GREG JOHN CLARKE

Emma aka Baby Spice

 * You know, I'm always gonna be known as Baby Spice, you know the sweet and innocent one... even when I'm... 30!
 * And I don't want to be nice all the time. Maybe I could slap somebody, like Victoria here.
 * Look, can we just stop all this? It's doing my head in!

Victoria aka Posh Spice

 * When you know exactly what we're supposed to be doing. Will somebody please let me know?"
 * [after falling into the River Thames] This dress is dry clean only, Melanie!
 * [Having trouble driving the Spice Bus] Bloody Sunday drivers! It's only Saturday!
 * The bridge is going up!!!
 * [About to jump the bus over tower bridge] Hold on to your knickers, girls!
 * I can't run in these heels!

Mel B. aka Scary Spice

 * [as they are talking about being stereotyped] You know, I think it's the same with fish
 * [points out fish in tank] I mean, look at this, you've got the spotty one, that's wacky. You've got the fluffy one, that's cute And then you have this... ugly loser one, that reminds me of my ex boyfriend, Steven. Eeuuuh...
 * Um, blah blah blah, girl power, femininism, you know what I mean?

Geri aka Ginger Spice

 * Boys, boys! Calm down! Haven't you ever heard of the word "compromisation"?
 * I hope you know what you're doing, 'cause if you're looking for a fight, you're gonna lose!
 * Now that is girl power.

The Chief

 * The headless chicken can only know where he's been. He can't see where he's going. Do *not* be that chicken, Clifford.
 * When the rabbit of chaos is pursued by the ferret of disorder through the fields of anarchy, it is time to hang your pants on the hook of darkness. Whether they're clean or not.

Clifford

 * I love you like a wildebeast loves...Five lionesses chewing on its legs.
 * They're hot, Chief! They've got fire in their eyes, hunger in their bellies... and great big shoes on their feet!

Other

 * Judge: Emma, Victoria, Melanie C., Melanie B., Geri. You've been charged with releasing a single that is by no means as kicking as your previous records. Nor does it have such a phat bass line. You are sentenced to having your next record enter the charts at number 179 and having it fall completely out the following week.
 * Martin Barnfield: Act? Did anyone care if Marilyn Monroe could act? All they cared was, "Was she in focus?"
 * Musical Director: Okay, girls, that was absolutely perfect without... really being any good at all.

Dialogue

 * Victoria: It's always the same. I never know what to wear.
 * Mel C: It must be so hard for you, Victoria. I mean, having to decide whether to wear the little Gucci dress, the little Gucci dress, or... the little Gucci dress!
 * Victoria: Exactly.
 * Emma: I know, why don't you wear the little Gucci dress?
 * Victoria: Good idea. Thanks, Em.

 * Kevin McMaxford: Something's happening to me. What is it?
 * Brian: You're smiling, sir.

 * Geri: Check!
 * Mel B: What d'you mean "check"?
 * Geri: I mean, check; my bishop's got your king.
 * Mel B: Where?
 * Geri: There! You've either got to move it in front, or move it out of the way.
 * Mel B: Well I'll move that fairground horse to there. Sort that out!
 * Geri: You can't do that!
 * Mel B: Says who?
 * Geri: Says Mr. Chess! It's been in the rules for thousands of years!
 * Mel B: Well I'm gonna break the rules and set this little fairground horse free amongst all these little square fields, like that. There!
 * Geri: I'm gonna slap you in a minute!

 * Emma: But we can't dance like that.
 * Mr. Step: I know. I've seen your videos! Hahahahahaha!

 * Clifford: [after they have a fall into the Thames] Look at this - front page news again. Suppose the whole lot you had been drowned?
 * Geri: Well we weren't though, were we?
 * Victoria: Speak for yourself.
 * Clifford: What do you think you were doing, going off like that?
 * Mel B: We were just having fun!
 * Clifford: What?!
 * Emma: You know, fun? Like, "Ha, ha, ha, ha, ha!"

 * Spice Girls: We're the Spice Girls, yes indeed. Just Girl Power is all we need. We know how we got this far...
 * Geri: Strength and courage and a Wonderbra!
 * Spice Girls: Would this work with only one?
 * Emma: Just with me, I'd have no fun.
 * Spice Girls: Would this work with only two?
 * Mel B: We need more for what we do.
 * Spice Girls: Would this work with only three?
 * Mel C: Three's a crowd, bad company.
 * Spice Girls: Would this work with only four?
 * Victoria: No way, girls, we need one more!
 * Spice Girls: Listen up, take my advice - we need five for the power of Spice. Give it up, give it out, take a stand, scream and shout! One, two, three, four, five - Spice Girls! One, two, three, four, five - Spice Girls!

 * Sporty: Is it a boy or a girl?
 * Baby: It's a beetroot!
 * Scary: It's a girl!

 * Geri: Did you *know*, that the largest fish in the world is the manta ray?
 * Victoria: And then there's the little ginger one, that is full of useless information, about manta rays!

 * Geri: How my Gloria get her clothes so dirty, I'll never know.
 * Emma: My poor back.
 * Mel B: I don't know how you can have any more of them kids. You already got six of them don't ya?
 * Emma: Is it six?
 * Mel B: Mmm
 * Emma: yea, but they just get so cute until they grow up to be real little bleeders.
 * Victoria: Thank god for boarding school; I only see mine once a month. Cheers
 * Mel C: You know, our little Terry, he comes up to me and he says "Mom, i want to be a singer", I said "listen lad, go to college, get a proper job", Does he listen? No.
 * Mel B: They never do now do they---
 * Geri: Darling, kids today just don't know how...
 * All: Lucky they are. [Music Blares Up]
 * Geri: Brucey, Demi, Will you turn that bloody racket down?

 * Geri: Ok, Horiscopes.
 * Emma: You know, I don't believe in star signs.
 * Geri: You see, you wouldn't because you're an aquarian, and aquraians don't believe in anything.
 * Emma: Now I don't believe that either.
 * Mel B: Ohh no, I can't find my boots. I think i've lost them.
 * Victoria: It's always the same. I never know what to wear.
 * Mel C: It must be so hard for you, Victoria. I mean, having to decide whether to wear the little Gucci dress, the little Gucci dress, or... the little Gucci dress!
 * Victoria: Exactly.
 * Emma: I know, why don't you wear the little Gucci dress?
 * Victoria: Good idea. Thanks, Em.
 * Mel B: [Later on she finds them on Geri's feet.] HA. THERE THEY ARE!
 * Geri: What?
 * Mel B: My boots, Geri, You're Wearing my boots.
 * Geri: Oh yeah, I don't know how that happened.
 * Mel B: Typical. Typical Leo that is isn't? Borrowing stuff without even asking me.
 * Geri: No, that's Capricorns.
 * Mel C: Oy. Don't even Start On the Capricorns.
 * Mel B: That's is. You've had it.
 * Geri: Alright FINE TAKE THEM BACK!
 * Mel B: NO, I DON'T WANT THEM ANYMORE! [playfully fighting and commotion, then Mel C and Emma jumps in.]
 * Victoria: EXCUSE ME!!!
 * All: WHAT?
 * Victoria: [holding up yet another gucci dress] What do you guys think of this one?
 * All: Great. [continues Play fighting and commotion.]

 [the Girls are walking through the woods at night looking for a place to pee]
 * Emma: I don't wanna go any further, I'm scared!
 * Victoria: Why does the countryside have to be so bloody muddy?
 * Mel B: You know what? Something just brushed past me, and I'm not joking.
 * Geri: It's probably something that wants to eat you.

[A loud noise is heard]
 * Mel C: Oh, pack it in, Mel!
 * Mel B: It wasn't me!
 * Geri: I think we're lost, you know?

[suddenly, a HUGE gust of wind blows in, followed by a bright light]
 * Mel C: WHAT'S THAT?!

[the source of both turns out to be a UFO heading for the terrified Girls]
 * Geri: OH MY GOD, RUN FOR IT!!
 * Emma: I CAN'T MOVE!!

[the UFO lands, and out come four short aliens in green coats]
 * Alien #1: [in alien language] It's them, it's them! Look!
 * Alien #2: [in alien language] Are you sure?
 * Alien #1: [in alien language] Yes! There's the little blonde one.
 * Alien #1: [in alien language] That's what you said last time, and it was a sheep!

[one of the aliens reaches for Mel B's chest and she swats his hand]
 * Mel B: OI, GET OFF!
 * Mel C: Mel, you've done it now!
 * Alien #2: [in alien language] I told you, shake HANDS!
 * Mel B: Geri, go on, say something to them!
 * Geri: What do you want with us?
 * Alien #2: [in alien language] Are you the Spice Girls?
 * Girls: Yes.
 * Alien #2: [in alien language] Can we have tickets for your Albert Hall gig?
 * Emma: I'm really sorry, but it's all sold out.
 * Alien #2: [in alien language] I told you we should've booked early!

[Alien #1 holds out a notepad]
 * Mel C: What's that? What is it?
 * Alien #1: [in alien language] Can I have your autograph? It's not for me, it's for my brother.
 * Mel C: What's his name?
 * Alien #1: [in alien language] Krtkkarphillmuk.
 * Mel C: Is that with 3 or 4 K's?
 * Emma: It's 4.

[the 4th alien opens his coat
 * Alien #4: [in alien language] Could you sign this, Posh?
 * Victoria: Oh gosh, you're fat!
 * Alien #1: [in alien language] Give us a kiss, Ginger one!
 * Emma: Eww, he wants you to snog him!

[the other Girls recoil in disgust while Geri kisses the aliens]
 * Alien #1: [in alien language] YIPPEE!
 * Emma: You want a picture?
 * Alien #2: [in alien language] Say "khttttyakkk"!

[he takes a picture of the Girls w/ the aliens; cut back to the Spicebus]
 * Clifford: What d'you mean, aliens?
 * Mel C: You know, aliens from outer space?
 * Emma: They had these little squidgy faces!
 * Victoria: Yeah, and really cheap green coats!
 * Clifford: You're obviously under massive stress. I think you need some time off.

 [as the Spice Girls are performing "Spice Up Your Life]
 * Martin Barnfield: Gonna make this movie? Have we got a deal?
 * Clifford: We've got a deal. Yes!

Taglines

 * They perform for royalty and entertain millions the world over. But now, they're making a movie.
 * You say you want a revolution?
 * They Don't Just Sing!
 * Five girls. Five days. One rocking world!

title: Spice World


text:
Lucian Freud

Lucian Michael Freud, OM, CH (8 December 1922 – 20 July 2011) was a British painter and printmaker. He was born in Berlin, Germany and is the grandson of psychotherapist Sigmund Freud and brother of politician and writer Clement Freud.

Quotes

 * I think half the point of painting a picture is that you don't know what will happen … that if painters did know what was going to happen they wouldn't bother to do it.
 * Interview with Martin Gayford, Independent on Sunday (26 May 2002)

 * I paint people not because of what they are like... but how they happen to be.
 * "A Queen of many colours," interview with Martin Gayford, Daily Telegraph, (20 April 2006), p. 3

Lucian Freud : Paintings (1987)

 * Quotes of Freud from Lucian Freud: Paintings (1987) by Robert Hughes

 * I always felt that my work hadn't much to do with art; my admirations for other art had very little room to show themselves in my work because I hoped that if I concentrated enough the intensity of scrutiny alone would force life into the pictures. I ignored the fact that art, after all, derives from art. Now I realize that this is the case.
 * Said in conversation with Robert Hughes, p. 14

 * My colour has no symbolic function whatever. I don't want any colour to be noticeable. I want the colour to be the colour of life, so that you would notice it as being irregular if it changed. I don't want it to operate in the modernist sense as colour, something independent. I don't want people to say, "Oh, what was that red or that blue picture of yours, I've forgotten what it was."
 * p. 16

 * When I look at a body I know it gives me choices of what to put in a painting; what will suit me and what won't. There is a distinction between fact and truth. Truth has an element of revelation about it. If something is true, it does more than strike one as merely being so.
 * p. 20

 * I am only interested in painting the actual person; in doing a painting of them, not in using them to some ulterior end of art. For me, to use someone doing something not native to them would be wrong.
 * p. 20

 * URGENT SUBTLE CONCISE ROBUST
 * Words cited by Hughes as written by Freud on a wall in his studio, p. 22

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

title: Lucian Freud


text:
User talk:208.125.2.58

~ UDScott 13:08, 22 November 2006 (UTC)

title: User talk:208.125.2.58


text:
Paul DiLascia

Paul DiLascia (1959 – 3 September 2008) was an American software developer, author, web developer, and editor of the Microsoft Systems Journal column C/C++ Q+A.

About Microsoft

 * A bug! A bug! Isn’t it just so satisfying to discover bugs in other people’s programs? Especially people from Microsoft. I don’t know why, it’s probably some kind of Freudian code-envy thing.
 * 1995/6
 * ...my Trusty Friends in Redmond...
 * 1995/10
 * ...perhaps this is a "feature", not a bug....
 * 1995/10

About Code

 * To be honest, there's something a little weird about this. (1995/4)
 * But hey, I only work here. Besides, it works. (1995/6)
 * Pretty simple. Except for one little problem: it doesn't work! (various)
 * Reusability, man. (1995/10)
 * So? If you don't like it, write your own [program]. (1995/10)
 * It may seem kludgy, but hey - it works! (1994/3)
 * Don't do it! (1993/10)
 * The implementation is brainless (various)
 * ...[some code] looks disgusting, but that's life. (1993/6)

About the readers

 * ..even MSJ readers will tire of watching Bill Gates adjust his glasses. (1995/10)
 * ...why are you doing these things? Don't. (1993/12)
 * What are you doing, anyway? Writing code for IBM? (1996/1)
 * Stop beating your head, you might hurt yourself. (1995/8)
 * ...you'll screw everything up. (1994/10)
 * Like I said, you're damned either way. (1993/10)

About himself

 * OK, I admit it. I'm like you.
 * 1995/10
 * I'm a nit, what can I say? (1994/12)
 * I was once hired to develop a Windows-based chemistry library for a company that builds reactors that burn toxic metal waste into harmless substances (really). (1993/11)
 * ...I hate typing... (1993/6)

About language

 * ...yucky assembly language mucky-muck.
 * Isn't C++ wonderful?.
 * 1995/1
 * ...this baroque language...
 * on C++, 1994/5
 * ...a little-known piece of C++ trivia you can use to impress your friends and loved ones.
 * 1995/6
 * ...a fate I wouldn't wish on my worst enemy...
 * on being someone who is writing a C++ compiler, 1993/2

About the Industry

 * ...your 90MHz Pentium won't have any trouble doing arithmetic (except for certain divisions).
 * 1995/3

Misc

 * The question remains: how?
 * ..flibbertiwidgets are free...
 * 1996/8
 * ..play Beethovens Fifth Symphony if the user clicks the control that contains 'Da-da-da-dum'
 * 1994/4
 * If this code works, it was written by Paul DiLascia. If not, I don't know who wrote it
 * ..I'll be laughing when I'm old and and all my programmer friends have gone alexic from staring at too many tiny pixels
 * on using high screen resolutions, 1996/3
 * ..your two-year-old could've done that with one thumb in her mouth.
 * 1995/12
 * ..sometimes you have to be bad
 * 1995/12
 * Sometimes it really is easy to program MFC
 * 1995/12
 * Everything is hunky-dory and your program works fine.
 * 1995/12
 * If you're totally confused, don't worry, it means your brain is functioning normally.
 * 1995/11
 * Well bowl me over and turn me into a pumpkin! Scrape me off the pavement and fetch my asbestos anti-flame suit, quick!
 * 1995/11
 * That's no fun.
 * 1995/10
 * ...the harmony of the universe is preserved...
 * 1995/10
 * We've use a number of different adjectives to describe Span, but "cool" has never been one of them.
 * 1994/12
 * ...blathering store clerks who can't stop saying "Have a nice day"...
 * on annoying behaviour, 1994/5
 * That's left as an exercise for the reader.
 * You can't expect me to do everything.
 * 1995/7
 * ...everything I've said so far is fine and dandy...
 * 1993/6
 * Does that remind you of anything? No? Give up?
 * 1993/6

title: Paul DiLascia


text:
Michael Richards

Michael Anthony Richards (born July 24, 1949) is an American actor, three-time Emmy Award winner, writer, television producer, and comedian, most famous for playing Cosmo Kramer on the television show Seinfeld, which aired from 1989 to 1998 on NBC.

Quotes

 * For me to be at a comedy club and flip out and say this crap, I'm deeply, deeply sorry. … I'm not a racist, that's what's so insane about this!
 * Appearing on the Late Show with David Letterman (20 November 2006), as quoted in "'Kramer' Apologizes, Says He's Not Racist", CBS News (21 November 2006)

Laugh Factory incident (2006)

 * "Kramer's" Racist Tirade : Caught on Tape" at TMZ.com (20 November 2006)

 * Shut up! Fifty years ago we'd have you upside-down with a fucking fork up your ass!
 * They're going to arrest me for calling a black man a nigger?
 * You can talk! You can talk! You can talk! You're brave now, motherfucker! Throw his ass out! He's a nigger! He's a nigger! He's a nigger! A nigger, look, there's a nigger! Ooh! Ooh! All right, ya see? It shocks you, it shocks you, to see what's buried beneath, you stupid mother fuckers!
 * Well, you interrupted me, pal. That's what happens when you interrupt the white man, don't you know?
 * Cracker-ass? Are you calling me cracker-ass, nigga?!
 * He's a nigger! He's a nigger! He's a nigger!
 * What was uncalled for? It is uncalled for you to interrupt my ass you cheap motherfucker!
 * - responding to the heckler saying "That was uncalled for"

 * What's the matter, too much for you to handle?"
 * Ohh, I guess you got me there. He's absolutely right. I'm just a wash up. Gotta stand on the stage.
 * - responding to the heckler saying "You're not funny! You're a reject! You never had no shows! You never had no movies! 'Seinfeld' that's it!"

 * Ohh I guess I gotta quit because I said nigger

title: Michael Richards


text: Talk:Agnosticism

title: Talk:Agnosticism


text:
John Nance Garner

John Nance "Cactus Jack" Garner (November 22, 1868 – November 7, 1967) was a U.S. representative from Texas, the thirty-second vice president of the United States and the forty-fourth speaker of the United States House of Representatives.

Quotes

 * Not worth a bucket of warm spit.
 * Comment to Lyndon B. Johnson on the vice presidency, widely attributed to Garner as early as 1964. The quote is sometimes given as using "piss" instead of "spit."

 * Worst damnfool mistake I ever made was letting myself be elected Vice President of the United States. Should have stuck with my old chores as Speaker of the House. I gave up the second most important job in the Government for one that didn't amount to a hill of beans. I spent eight long years as Mr. Roosevelt's spare tire. I might still be Speaker if I didn't let them elect me Vice-President.
 * Comment shortly after leaving office, on leaving his post as speaker of the United States House of Representative to become the vice president, quoted by Frank X. Tolbert, "What is Cactus Jack Up to Now," Saturday Evening Post (November 2, 1963) and recounted in Alden Whitman's obituary of Garner in the New York Times (November 8, 1967).

title: John Nance Garner


text:
Pluralism

Pluralism is the affirmation and acceptance of diversity. The term is used, often in different ways, in the contexts of a wide range of issues of culture, religion and philosophy. In politics, the affirmation of diversity in the interests and beliefs of the citizenry, and the rights of minorities, is one of the most important features of modern democracy. In science, it involves acceptance that many methods, theories or points of view are legitimate or plausible.
 * See also:
 * Sectarianism

Quotes

 * Tolerance, openness and understanding towards other peoples' cultures, social structures, values and faiths are now essential to the very survival of an interdependent world.
 * Aga Khan IV, in a speech at the Ceremony to Inaugurate the Restored Humayun's Tomb Gardens - New Delhi, India (15 April 2003)

 * Pluralism is no longer simply an asset or a prerequisite for progress and development, it is vital to our existence.
 * Aga Khan IV, in a speech at the Ceremony to Inaugurate the Restored Humayun's Tomb Gardens, New Delhi, India (15 April 2003)

 * A secure pluralistic society requires communities that are educated and confident both in the identity and depth of their own traditions and in those of their neighbours.
 * Aga Khan IV, in an address at the Leadership and Diversity Conference Gatineau, Quebec, Canada (19 May 2004)

 * Pluralist societies are not accidents of history. They are a product of enlightened education and continuous investment by governments and all of civil society in recognizing and celebrating the diversity of the world’s peoples.
 * Aga Khan IV, in a speech on Democratic Development, Pluralism and Civil Society delivered at the Nobel Institute, Oslo, Norway (7 April 2005).

 * I believe leadership everywhere must continuously work to ensure that pluralism, and all its benefits, become top global priorities. In this effort, civil society has a vital role. By its very nature, civil society is pluralist because it seeks to speak for the multiple interests not represented by the state. I refer, for example, to organisations which ensure best practices such as legal societies and associations of accountants, doctors and engineers. The meritocracy they represent is the very foundation of pluralism. And meritocracy is one of the principles of democracy itself.
 * Aga Khan IV, in a speech on Democratic Development, Pluralism and Civil Society delivered at the Nobel Institute, Oslo, Norway (7 April 2005).

 * We cannot make the world safe for democracy unless we also make the world safe for diversity.
 * Aga Khan IV, in an address by His Highness the Aga Khan to the School of International and Public Affairs, Columbia University,(15 May 2006)

 * The spirit of the Knowledge Society is the spirit of Pluralism—a readiness to accept the Other, indeed to learn from him, to see difference as an opportunity rather than a threat.
 * Aga Khan IV, in an address to the 2006 Convocation of the Aga Khan University, Karachi, Pakistan (2 December 2006)]

 * All earlier pluralist societies destroyed themselves because no one took care of the common good. They abounded in communities but could not sustain community, let alone create it.
 * Peter Drucker, in The New Pluralism Leader to Leader, No. 14 (Fall 1999)

 * Cultural pluralism is the only thing we all have in common.
 * Tom Heehler, in The Well-Spoken Thesaurus ( 2011)

 * Things are set up as contraries that are not even in the same category. Listen to me: the opposite of radical is superficial, the opposite of liberal is stingy; the opposite of conservative is destructive. Thus I will describe myself as a radical conservative liberal; but certain of the tainted red fish will swear that there can be no such fish as that. Beware of those who use words to mean their opposites. At the same time have pity on them, for usually this trick is their only stock in trade.
 * R. A. Lafferty, in The Flame is Green (1971), Ch. 5

 * Numquam ponenda est pluralitas sine necessitate
 * Plurality is never to be posited without necessity.
 * Quaestiones et decisiones in quattuor libros Sententiarum Petri Lombardi [Questions and the decisions of the Sentences of Peter Lombard] (1495), i, dist. 27, qu. 2, K; also in The Development of Logic (1962), by William Calvert Kneale, p. 243; similar statements were common among Scholastic philosophers, at least as early as John Duns (Duns Scotus).
 * Pluralitas non est ponenda sine necessitate.
 * William of Ockham as cited in "The Myth of Occam's Razor" by William Thorburn, in Mind, Vol. 27 (1918), 345-353

 * At few periods in modern history, has the mission of building pluralistic societies been more important than at present. Celebrating the diversity of perspectives and opinions, faiths and cultures, languages and traditions is a prerequisite to building harmonious and successful societies.
 * Firoz Rasul President of Aga Khan University, in an address to the 2006 Convocation of the Aga Khan University, Karachi, Pakistan, (2 December 2006)

 * The real intent of my writing is not to say, you must think in this way. The real intent is: here are some of the many important facets of this extraordinary Kosmos; have you thought about including them in your own worldview? My work is an attempt to make room in the Kosmos for all of the dimensions, levels, domains, waves, memes, modes, individuals, cultures, and so on ad infinitum. I have one major rule: everybody is right. More specifically, everybody — including me — has some important pieces of the truth, and all of those pieces need to be honored, cherished, and included in a more gracious, spacious, and compassionate embrace. To Freudians I say, Have you looked at Buddhism? To Buddhists I say, Have you studied Freud? To liberals I say, Have you thought about how important some conservative ideas are? To conservatives I say, Can you perhaps include a more liberal perspective? And so on, and so on, and so on... At no point I have ever said: Freud is wrong, Buddha is wrong, liberals are wrong, conservatives are wrong. I have only suggested that they are true but partial. My critical writings have never attacked the central beliefs of any discipline, only the claims that the particular discipline has the only truth — and on those grounds I have often been harsh. But every approach, I honestly believe, is essentially true but partial, true but partial, true but partial. And on my own tombstone, I dearly hope that someday they will write: He was true but partial...
 * Ken Wilber, in his Introduction to the Collected Works of Ken Wilber, vol. VIII (2000)

 * The French writer, Albert Camus, once lamented that "man eventually becomes accustomed to everything". I have always believed that this is an unjustly pessimistic view of our human condition; and in recent weeks I have seen enough to convince me that Camus, on this point at least, was wrong: 30,000 East Germans abandoning home, friends, jobs, everything, to escape to a new life of opportunity but also uncertainty in the West; thousands of Soviet miners striking not for more pay, but for better supplies; the joy of Poles as they greet their first non-Communist Prime Minister in 40 years; over a million inhabitants of the Baltic states forming a human chain to protest against the forced annexation of their nations; demonstrators in Prague braving the security forces to mark the 21st anniversary of the Warsaw Pact invasion; or in Leipzig calling for freedom of speech. Clearly the peoples of the East have not become accustomed to their lot. Totalitarian rule has not made people less attracted by freedom, democracy and self-determination. The opposite is true. Nor has it made them incapable of exercising these values through political organization and self-expression: look at the debates in the new Congress of the People's Deputies, the activities of the popular fronts, Solidarity in Poland or the opposition parties in Hungary. The demand for pluralism and reform can now be heard in every Eastern nation.
 * Manfred Wörner, Address given at the 35th Annual Session of the North Atlantic Assembly, 9 October 1989

title: Pluralism


text:
User:Richard Arthur Norton (1958- )

 * William Edward Ensko "We are fighting hard. We will paint Germany and all the Germans red, white and blue pretty soon. We have them running away from us now and it won't be long before they quit cold. I am feeling fine."
 * Eddie August Schneider
 * Henry K. Lattin
 * John Howard Lindauer Jr.
 * Robert E. Lang
 * William Oldrin
 * Jarvis Andrew Lattin
 * Susannah Lattin
 * Harold Lawrence McPheeters
 * Harvey Jerome Brudner
 * Ruth Elisabeth Lindauer
 * Abraham Kershaw deleted
 * Rose Livingston
 * Raymond Cleo Gill
 * Louis Julius Freudenberg
 * John Howard Lindauer Sr.
 * Louis Julius Lindauer
 * John Jacob Lindauer
 * Charles Frederick Webber
 * Thorvald Martin Tandberg link to wikidata removed by Ningauble
 * Donald Nicholas Esposito link to wikidata removed by Ningauble
 * Maria Elizabeth Winblad
 * John Howard Lindauer Sr.
 * William Henry Duryea deleted
 * Max N. Lindauer deleted
 * Charles Frederick Lindauer

Donald N. Esposito

 * "If you're the one who gets there on Monday, then you're going to turn around and look down on the ones who arrive on Tuesday." https://www.newspapers.com/clip/16279061/dutch-from-kingston-settle-somerset/

Apple Computer

 * A foreman immediately roused 8,000 workers inside the company’s dormitories, according to the executive. Each employee was given a biscuit and a cup of tea, guided to a workstation and within half an hour started a 12-hour shift fitting glass screens into beveled frames. Within 96 hours, the plant was producing over 10,000 iPhones a day.
 * “How the U.S. Lost Out on iPhone Work” by Charles Duhigg and Keith Bradsher, New York Times (2012)

Katie Fahey

 * I’d like to take on gerrymandering in Michigan … If you’re interested in doing this as well, please let me know.
 * https://www.nytimes.com/2021/12/29/us/politics/michigan-congressional-maps.html

title: User:Richard Arthur Norton (1958- )


text:
The Letter (1940 film)

The Letter is a 1940 American crime film noir melodrama about a woman who murders her lover, and then must face his widow and her husband.
 * Directed by William Wyler. Written by Howard Koch, based on the play by W. Somerset Maugham.

I wish I could say I was sorry. taglines

Leslie Crosbie

 * Tell him there's been an accident and Mr. Hammond's dead.
 * He tried to make love to me and I shot him.
 * The boys take such good care of us. Funny the head boy running off tonight.
 * [to Howard] Poor Robert, he doesn't deserve it. He's never hurt anyone in his life. He's so good and simple and kind and he trusts me so. I mean everything, everything in the world to him. It's gonna ruin his life. Oh, I know what you're thinking. You despise me.

Howard Joyce

 * [to Leslie] I wonder why your story never wavers from exactly the same words. It suggests either that you have an extraordinary memory...or you're telling the plain, unvarnished truth.
 * I wasn't thinking of the money. I don't know if you'll understand this, but I've always looked on myself as an honest man. You're asking me to do something which is no better than suborning a witness...A lawyer has a duty to his profession and to himself.
 * Tell your friend to go to the devil...Ten thousand dollars is a lot of money, Ong, just to save some trouble.
 * [to Robert] It seems that Leslie wrote a letter to Hammond asking him to come to the bungalow on the night he was killed...She wanted his advice on something she was buying for your birthday...In the excitement, she forgot about the letter and then later on was afraid to say she made a mistake...This was a pretty serious mistake and she realized it....she (Hammond's widow) threatens to turn it over to the prosecution...Don't you see, Bob, that it might alter things a good deal in the minds of the jury if Hammond came to your house by invitation....I think we must get hold of that letter...I don't think it's right but I think it's expedient. Juries can sometimes be very stupid and it's just as well not to worry them with more evidence than they can conveniently deal with.
 * Maybe it's my own sense of guilt, but I have an unpleasant feeling that I'm gonna be made to pay the piper for what I'm doing tonight. I'm jeopardizing my whole career and I have to rely on your discretion.
 * [in court] No complicating motives, no possible pre-meditation. The jury is aware of the facts. And I'm convinced, gentlemen, there's no need for eloquence. If ever there was a simple, uncomplicated case, it's this one. Mrs. Crosbie killed a man, yes, but under circumstances where no courageous, self-respecting woman would hesitate for one instant to do the same thing. Nor is there need for me to extol Mrs. Crosbie's account. Her own testimony in the witness box, her bearing throughout this ordeal, stamped the character of this remarkable woman, more than any words of mine could possibly do. As for the prosecution's case, not one whit of evidence has been produced to refute the defendant's testimony. No, because such evidence couldn't exist in the light of truth. Gentlemen, in full faith and confidence, I place Leslie Crosbie's fate in your hands in the sure knowledge that justice will be done.

Robert Crosbie

 * You've been the best wife a man could have...I've always loved you...Leslie, darling, if I could love you any more, I would now.
 * I always wanted a fine plantation, one that I could work for myself and for my family. This is the one I've been waiting for. They'll be the two of us, but my wife's a good sport. I always can count on her. She's not afraid of anything. And we'll have each other. That's the important thing, isn't it?

Dialogue

 * Howard: Tell us exactly what happened.
 * Withers: Take your time, Mrs. Crosbie, remember, we're all friends here.
 * Leslie: I ate dinner rather late and started working on my lace. I don't know how long I'd been working when suddenly I heard a footstep outside. Someone came up on the veranda and said: 'Good evening, can I come in?' I was startled because I hadn't heard a car drive up.
 * Withers: Hammond left his car about a quarter mile down the road. Your houseboy noticed it as we were driving here.
 * Robert: Well, he probably didn't want anyone to hear him drive up.
 * Leslie: Well, at first, I couldn't tell who it was. 'Who is it?' I asked. 'Jeff Hammond.' 'Oh, of course,' I said, 'Come in and have a drink.'
 * Howard: Were you surprised to see him?
 * Leslie: Well I was rather. We hadn't seen him for ages, had we, Robert?
 * Robert: Three months, at least.
 * Leslie: I told him Robert was out at our No. 4 Plantation getting out a shipment or something. Was that it?...Well he said, 'Oh, I'm so sorry, but I was feeling rather lonely so I thought I'd come over and see how you were getting on.' I asked him how he'd come, as I hadn't heard a car. He said he'd left it on the road because he thought we might be in bed and didn't want to wake us up. Well, I put on my spectacles again and went on with my work. Well, we went on chatting and then real suddenly, he said something rather silly...It's hardly worth repeating. He paid me a little compliment.
 * Howard: I think perhaps you'd better tell us exactly what he said.
 * Leslie: He said, 'You have very pretty eyes. It's a shame to hide them under those ugly spectacles.'
 * Howard: Has he ever said anything of the sort to you before?
 * Leslie: Oh no, never, and I thought it impertinent. He tried to take one of my hands. 'Don't be an idiot,' I said. 'Sit back where you were and talk sensibly or I shall have to send you home.'
 * Withers: But Mrs. Crosbie, I wonder you didn't throw him out there and then.
 * Leslie: Well, I didn't want to make a fuss. You know, there are men who think it's their duty to flirt with women whenever they have the chance. I believe they think women expect it of them.
 * Howard: When did you first suspect that Hammond was serious?
 * Leslie: The next thing he said to me. He looked at me straight in the face and said, 'Don't you know I'm awfully in love with you?'
 * Robert: Swine!
 * Howard: Were you surprised?
 * Leslie: Of course I was surprised. We've known him seven years, Robert. He's never paid me the smallest attention. Didn't suppose he even knew what color my eyes were.
 * Robert: We haven't seen very much of him for the last few years.
 * Howard: Go on, Leslie.
 * Leslie: Well, he helped himself to another whiskey and soda. Began to wonder if he'd been drinking before. 'I wouldn't have another one if I were you,' I said. I was quite friendly, not the least bit frightened. It never occurred to me I couldn't manage him. He emptied his glass and said to me in a funny, abrupt way: 'Do you think I'm saying all this to you because I'm drunk?' I said, 'That's the most obvious explanation, isn't it?' Oh, it's too awful having to tell you all this. I'm so ashamed.
 * Withers: I wish there was some way we could spare you, Mrs. Crosbie.
 * Howard: Leslie, it's for your own good that we know the facts while you remember them.
 * Leslie: Very well, I'll tell you the rest. I got up from that chair there and I stood in front of the table here. He rose and came around the table and stood in front of me. I held out my hand. 'Good night,' I said. But he didn't move. He just stood there looking at me. His eyes were all funny. 'I'm not going,' he said. Then I began to lose my temper. 'You poor fool, don't you know I've never loved anyone but Robert? And even if I didn't love him, you'd be the last man in the world I should care for.' 'Robert's away,' he said. Well, that was the last straw. I wasn't in the least bit frightened, just angry. 'If you don't leave immediately,' I said, 'I shall call the boys and have you thrown out.' When I walked past him toward the veranda to call the boys, well, he took hold of my arm and swung me back. But I tried to scream and he flung his arms about me and began to kiss me. I struggled to tear myself away from him. He seemed like a madman. He kept talking and talking and saying he loved me. Oh, it's horrible, I can't go on...He lifted me in his arms and started carrying me. Somehow, he stumbled on those steps. We fell and I got away from him. Suddenly, I remembered Robert's revolver in the drawer of that chest. He got up and ran after me but I reached it before he could catch me. I seized the gun as he came toward me. I heard a report and saw him lurch toward the door. Oh, it was all instinctive. I didn't even know I'd fired. Then I followed him out to the veranda. He staggered across the porch, grabbed the railing, but it slipped through his hand and he fell down the steps. I don't remember anything more, just the reports one after another till there was a funny little click and the revolver was empty. It was only then I knew what I'd done.
 * Withers: May I say that I think you behaved magnificently. I'm terribly sorry that we had to put you through the ordeal of telling us all this...It's quite obvious the man only got what he deserved.
 * Robert: My poor child...You did what every woman would have done in your place, only nine-tenths of them wouldn't have had the courage.

 * Leslie: Would I have to be - arrested?
 * Howard: I think you're by way of being arrested now. As a matter of form, you must surrender herself up to the Attorney General in Singapore.
 * Leslie: Shall I be imprisoned?
 * Howard: It depends on what the charge is...Why, I think it not unlikely that he can say that only one charge is possible - and in that case, I'm afraid an application for bail would be useless.
 * Leslie: What charge?
 * Howard: Murder.

 * Withers: [about Hammond] You know the sort, very breezy, devil-may-care, generous with his money.
 * Howard: Did you like him?
 * Withers: He was the sort of chap you couldn't help liking.
 * Howard: Could you have imagined him doing anything like this?
 * Withers: Well, how can you tell what a man will do when he's drunk?
 * Howard: That's true.

 * Howard: When I was looking at Hammond's body...[Leslie freezes] Oh, I'm sorry, my dear, but this is a question that's bound to come up.
 * Leslie: Yes, Howard, what is it?
 * Howard: It seems to me that some of the shots must have been fired after he was lying on the ground.
 * Leslie: Oh, I know it was so terribly cold-blooded, but I was so terrified. Everything was confused and blurred. I didn't know what I was doing.

 * Howard: It's strange that Hammond was able to keep his life so hidden. That gambling house he owned and especially the Eurasian woman. I think it was finding out about her that turned opinion so completely against him.
 * Robert: Will she be one of the witnesses?
 * Howard: I shan't call her. I'll just produce evidence that Hammond was married to her.

 * Ong: A circumstance has come to my attention, sir, which seems to me to put a different complexion on the case...A friend has brought me information, sir, that there is in existence a letter from the defendant to the unfortunate victim of the tragedy.
 * Howard: That's not surprising. During the course of seven years, I've no doubt Mrs. Crosbie often had occasion to write Mr. Hammond.
 * Ong: But the letter, sir, was written on the day of the late Mr. Hammond's death.
 * Howard: Well?
 * Ong: As you will no doubt recall, sir, that Mrs. Crosbie has stated, that until the fatal night, she had had no communication with the deceased for several weeks.
 * Howard: Yes?
 * Ong: In my opinion, this letter indicates that her statement perhaps was not in every respect accurate.
 * Howard: Have you seen the letter?
 * Ong: I have with me a copy, sir. The original is in possession of a woman - she happens to be the widow of Mr. Hammond, deceased.
 * [Howard reads the letter]
 * Howard: It's inconceivable that Mrs. Crosbie should have written such a letter.

 * Leslie: Well, I may as well tell you. We heard about his wife. And once, quite by chance, I actually saw her.
 * Howard: Oh? You never mentioned that. What was she like?
 * Leslie: Horrible. She was all covered with gold chains and bracelets and spangles, her face like a mask.
 * Howard: And it was after you knew about her that you stopped having anything to do with Hammond?
 * Leslie: Yes.

 * Howard: I think I should tell you that there is in existence a letter in your handwriting from you to Geoff Hammond.
 * Leslie: Well, I often wrote him a little note about something or other, or to get me something if I heard he was going into Singapore.
 * Howard: This letter asks him to come and see you because Robert was going to be away.
 * Leslie: Oh, but that's impossible. You see, I never did anything of the kind.
 * [Howard pulls out the letter]
 * Leslie: But that's not my handwriting!
 * Howard: It's an exact copy of one written on the day of Hammond's death.
 * Leslie: What's it mean?
 * Howard: That's for you to say, Leslie.
 * Leslie: I didn't write it. I swear I didn't write it.
 * Howard: If the original is in your handwriting, it would be useless to deny it.
 * Leslie: Then it will be a forgery.
 * Howard: It would be difficult to prove that. It would be easier to prove it was genuine.
 * Leslie: It's not dated. It might have been written years ago. Oh, if you'll just give me a little time, I'll try to remember.
 * Howard: Leslie, the prosecution could cross-examine your houseboys. They would soon find out whether someone took a letter to Hammond on the day of his death.
 * Leslie: Howard, I swear to you. I did not write this letter.
 * Howard: Well, if you have nothing more to say to me, I'll get back to the office.

 * Leslie: You see, I thought none of you would believe me if I admitted that he'd come there at my invitation. You see, I was planning a surprise for Robert's birthday and I'd heard he wanted a new gun, and oh, well I'm so dreadfully stupid about sporty things and, well I thought I'd talk to Geoff about it and ask him to order one for me.
 * Howard: Perhaps you've forgotten what's in the letter. [reading] Robert will be away for the night. I absolutely must see you. I am desperate, and, if you don't come, I won't answer for the consequences. Don't drive up. Leslie. This letter places an entirely different complexion on the whole case. It'll put the prosecution on the track of - suspicions which have entered nobody's mind. I won't tell you what I personally thought when I read the letter. It's the duty of counsel to defend his client, not to convict her even in his own mind. I don't want you to tell me anything but what is needed to save your neck. They can prove that Hammond came to your house at your urgent invitation. I don't know what else they can prove, but if the jury comes to the conclusion that you didn't kill Hammond in self-defense...
 * [Leslie faints]

 * Leslie: I'm afraid I've made rather a mess of things...You distrusted me from the beginning. Are you going to let them hang me?
 * Howard: What do you mean by that, Leslie?
 * Leslie: You could get the letter.
 * Howard: Do you think it's so easy to do away with unwelcome evidence?
 * Leslie: Surely, nothing would have been said to us - if the owner weren't quite prepared to sell it.
 * Howard: That's true. But I'm not prepared to buy it.

 * Leslie: You won't have to show Bob the letter, will you?
 * Howard: I'll do everything possible to prevent him from seeing it. He'll be an important witness and he should be as firmly convinced of your innocence as he is now.
 * Leslie: And after the trial?
 * Howard: I'm going to try and save your life.
 * Leslie: But if he loses his trust in me, he loses everything.
 * Howard: Strange that a man can live with a woman for ten years and not know the first thing about her.

 * Howard: Ong Chi Seng...what are you getting out of this?
 * Ong: Two thousand dollars, and the great satisfaction of being of service to you and our client.

 * Howard: [about her lacing] It must take enormous concentration and patience.
 * Leslie: I find it soothing.
 * Howard: You mean it takes your mind off other things?
 * Leslie: Is that a legal question?
 * Howard: You're not an ordinary client, Leslie.
 * Leslie: You've been watching me all evening.
 * Howard: I'm responsible for you to the court.
 * Leslie: No, that isn't it. You've been, what, trying to read my thoughts.
 * Howard: I'm trying to understand you.
 * Leslie: Why? Because I'm so - so evil. That's it, isn't it?

 * Robert: We'd start a new life....this is a chance in a thousand.
 * Leslie: I think the thing to do is to stick it out here.
 * Howard: Anyhow, it's not a thing you want to rush into. There are certain out-of-pocket expenses...the principal item is that letter of Leslie's I mentioned to you...I had to pay a great deal of money for it.
 * Robert: But what was there in the letter? Buying it was a criminal offense, wasn't it?
 * Howard: Yes, it was. I might be dis-barred for it.
 * Robert: I've got to pay ten thousand dollars for that letter, and by heaven, I'm gonna see it.

 * Robert: [after reading the letter] What does it mean?...What does it mean?
 * Leslie: It means that I was in love with Geoff Hammond.
 * Robert: No!
 * Leslie: Been in love for years.
 * Robert: I don't believe it.
 * Leslie: We used to meet each other constantly once or twice a week. Not a soul had the smallest suspicion. Every time I met him, I hated myself. Yet I'd live for the moment that I'd see him again. It was horrible. There was never an hour when I was at peace and I wasn't reproaching myself. I was like a person who was sick with some loathsome disease and doesn't want to get well. Even my agony was a kind of joy. Then there came a time about a year ago. He began to change toward me. I didn't know what was the matter. I was frantic. I made scenes. I threw myself at his feet...Then I heard about that - that native woman. Oh, I couldn't believe it, I wouldn't believe it. The last I saw her, I saw her walking in the village with those hideous bangles, that chalky painted face, those eyes like a cobra's eyes. But I couldn't give him up. I sent for him. You read the letter. Oh, we'd always been so careful about writing before. This time, I didn't care. I hadn't seen him for ten days. He came to see me. I told him I'd heard about his marriage. At first he denied it. Oh, I was so frantic. I don't know it, I said to him. I hated him because he made me despise myself. I insulted him, I cursed him. I was beside myself. At last, he turned on me. He told me he was sick and tired of me, that it was true about that other woman, that she was the only one that had ever meant anything to him. And that he was glad that I knew, because now I'd leave him alone. When he got up to go, I knew if he left I'd never see him again, so I seized the revolver and fired. I heard a cry...he staggered toward the veranda, and I ran after him and fired and fired and fired. There's no excuse for me. I don't deserve to live.
 * [Robert rushes out]
 * Howard: He's going to forgive you.
 * Leslie: Yes. He's going to forgive me.

 * Leslie: It's no use. We can't go on, can we?...You are so kind and generous. You should have the sort of wife you really deserve. Through no fault of yours, I failed you. I wrecked your life. I can't ask you to forgive me.
 * Robert: If you love a person, you can forgive anything. So, what about you? Can you go on?
 * Leslie: I'll try. I'll really try.
 * Robert: That isn't what I was asking.
 * Leslie: I'll do everything in my power to make you happy.
 * Robert: That's not enough, unless - Leslie, tell me now, this minute, do you love me?
 * Leslie: Yes, I do.
 * [They kiss, but then Leslie pulls away]
 * Leslie: No, I can't, I can't, I can't!!
 * Robert: Leslie, what is it? Leslie, what is it?
 * Leslie: With all my heart, I still love the man I killed!

Taglines

 * I wish I could say I was sorry.
 * Fascinating Tantalizing and DANGEROUS!

Cast

 * Bette Davis - Leslie Crosbie
 * Herbert Marshall - Robert Crosbie
 * James Stephenson - Howard Joyce
 * Frieda Inescort - Dorothy Joyce
 * Gale Sondergaard - Mrs. Hammond
 * Bruce Lester - John Withers
 * Elizabeth Inglis - Adele Ainsworth
 * Cecil Kellaway - Prescott
 * Victor Sen Yung - Ong Chi Seng

title: The Letter (1940 film)


text:
Eddie August Schneider

Eddie August Schneider (October 20, 1911 – December 23, 1940) was an American aviator who set three transcontinental airspeed records for pilots under the age of twenty-one in 1930. His plane was a Cessna Model AW with a Warner-Scarab engine, one of only 48 built, that he called "The Kangaroo". He set the east-to-west, then the west-to-east, and the combined round trip record. He was the youngest certificated pilot in the United States, and the youngest certified airplane mechanic. He was a pilot in the Spanish Civil War in the Yankee Squadron. He died in an airplane crash in 1940 while training another pilot, when a Boeing-Stearman Model 75 belonging to the United States Navy Reserve overtook him and clipped his plane's tail at Floyd Bennett Field.

Quotes

 * Father was against my flying, but he's convinced now. In fact he's helping to back all my flights. All I want to do is fly.

 * We named the ship the Kangaroo, because we hoped I could get to California in a couple of jumps.
 * Explaining why he named his ship, The Kangaroo.
 * Explaining why he named his ship, The Kangaroo.

 * From the beginning I had wanted to do something with my flying. Just being able to go up in the air and come down at the same spot wasn't very exciting. Airplanes are for going places quickly, safely and comfortably. I don't know why, but my longing had always been to go to the West Coast. First, because I had never been there, and then for various reasons you fly over all sorts of country on the way, and it is the best way to see the country.

 * I recently flew more than twelve thousand miles in a little over a month, through rain, fog, wind and snow, over mountains, cities and deserts, in a three-year-old, second-hand airplane that had already traveled some five hundred thousand miles. During that time I never was very late for an appointment or put a single scratch on myself. And considering that I am hardly an expert pilot at nineteen years of age, I knew that these statements must prove something about modern commercial aviation.
 * Comments on completing his setting of the junior transcontinental speed record.
 * Comments on completing his setting of the junior transcontinental speed record.

 * Not that it has much bearing on the story, but because people are always asking me, my name is really Eddie: I was christened that way. It isn't very dressy, but it serves the purpose. As for background, my grandfather was some kind of Scandinavian royalty and was thrown out of it for marrying a peasant girl.
 * Explaining that his name is not "Edward Schneider" and telling a genealogical tall tale. His maternal grandfather, Peder Andreas Pedersen (1831-1918) was a bread seller. All his other ancestors were farmers in Norway. His paternal ancestors were from Germany.
 * Explaining that his name is not "Edward Schneider" and telling a genealogical tall tale. His maternal grandfather, Peder Andreas Pedersen (1831-1918) was a bread seller. All his other ancestors were farmers in Norway. His paternal ancestors were from Germany.

 * Hey, I want to know for sure before I cut off my motor. Is this the Los Angeles Municipal airport?
 * Landing in Los Angeles, California after setting the east-to-west junior transcontinental speed record.
 * Landing in Los Angeles, California after setting the east-to-west junior transcontinental speed record.

 * Hello Pop, I made it.
 * After setting east-to-west, and west-to-east, and combined junior transcontinental speed record.
 * After setting east-to-west, and west-to-east, and combined junior transcontinental speed record.

 * You can stop any plane on as small a space as an autogyro if you are willing to sacrifice the speed of your ship to do it. A little plane called the Doodle Bug has been constructed at Washington, D.C. which runs at a comparatively slow speed and lands with as short a run as the flying-windmill. The big advantage of the airplane is speed, and an autogyro with top speed 5 of 80 miles an hour will never replace a plane with cruising speed of 150 miles an hour in general popularity and usefulness.
 * At the 1931 Ford National Reliability Air Tour banquet dinner, explaining to Bob Feeney why the autogyro will never replace fixed wing aircraft.
 * At the 1931 Ford National Reliability Air Tour banquet dinner, explaining to Bob Feeney why the autogyro will never replace fixed wing aircraft.

 * I was broke, hungry, jobless … yet despite the fact that all three of us are old-time aviators who did our part for the development of the industry, we were left out in the cold in the Administration’s program of job making. Can you blame us for accepting the lucrative Spanish offer?
 * Congressional testimony about his participation in the Yankee Squadron during the Spanish Civil War.
 * Congressional testimony about his participation in the Yankee Squadron during the Spanish Civil War.

 * We were given nothing but unarmed sports planes with which to fight, while Russian pilots were assigned regular American army planes.
 * Commenting on the conditions for the Yankee Squadron pilots during the Spanish Civil War.
 * Commenting on the conditions for the Yankee Squadron pilots during the Spanish Civil War.

Quotes about Schneider

 * Eddie A. Schneider "grew up" at Roosevelt Field, where he was a flunkey, mechanic and student flyer. He flew in the last two air tours, and in August of 1930, flew his Cessna to a round-trip transcontinental record for pilots under twenty-one. He made the trip in 57 hours, 14 minutes, carried greetings both ways between Los Angeles Mayor Porter, and Jersey City’s Frank Hague. Eddie Schneider was publicized as a Jersey City boy with a bare 300 hours flight time. In the late nineteen-thirties, Schneider went to Spain to fly for the Loyalists in the Revolution. But whatever promises of salary and glory were made him; he was back in New York within a short time. And as though cursed by the tragedy of the Spanish Civil War, like so many other young men, Eddie Schneider was killed in a student training accident at Floyd Bennett Field just two days before Christmas, 1940. He was twenty-nine.

title: Eddie August Schneider


text:
User talk:70.228.205.200

- InvisibleSun 17:13, 22 November 2006 (UTC)

~ UDScott 13:22, 15 March 2007 (UTC)

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Incidents of deliberate vandalism have resulted in this IP address being temporarily blocked from editing. ~ Ningauble (talk) 18:30, 30 November 2012 (UTC)

title: User talk:70.228.205.200


text:
User:Shapsed~enwikiquote

Mon profil

title: User:Shapsed~enwikiquote


text:
Rocky II

Rocky II is a 1979 film that continues the story of Rocky Balboa as he struggles in his family life after his bout with Apollo Creed, while the embarrassed champ insistently goads him to accept a challenge for a rematch.
 * Written and directed by Sylvester Stallone.

The Rematch Of The Century taglines

Rocky Balboa

 * [to Adrian] I was wonderin' if, uh, you wouldn't mind marryin' me very much.
 * [chasing a chicken] I feel like a Kentucky Fried idiot.
 * [Adrian asks about Rocky's eyesight] I see fine. I see like a Beagle, or something.

Apollo Creed

 * Man, I won, but I didn't beat him!

Mickey Goldmill

 * You're gonna eat lightnin'; you're gonna crap thunder.
 * Hey Rock. It's three in the morning. I went up to your house there and they told me you was here. It's a 3:00am kid. You know that Adrian, she's a good girl. Me, you know I'm sorry for both of ya. There's nothing I can do about it. Except uh I wanna tell you this once and then uh I ain't gonna say it again. Well, Rocky, you got another shot. It's a second shot at the, I don't know, the biggest title in the world. And you're gonna be swappin' punches with the most dangerous fighter in the world. And just in case, you know, your brain ain't workin' so good, all this happens pretty soon and you ain't ready. You're nowhere near in any shape. So I say, you know, for God's sake, why don't you stand up and fight this guy hard?! Like ya done before? That was beautiful! But don't lay down in front of him like this! Like, I don't know, like some kind of mongrel or something. 'Cause he's gonna kick your face in pieces, you know that? That's right. This guy just don't wanna win, you know. He wants to bury ya, he wants to humiliate ya. He wants to prove to the whole world that you was nothing but some kind of a freak the first time out. And he said you're a one-time lucky bum. Well, now, I don't, I don't wanna get mad, in a biblical place like this, but I think you're a hell of a lot more than that, kid. A hell of a lot! No, wait a minute. If you wanna blow it, if you wanna blow this thing, damn it, I'm gonna blow it with ya. If you want to stay here, I'll stay with you. I'll stay with ya. Yeah. I'll stay and pray. What I got to lose?

Adrian

 * There's one thing I want you to do for me. Win. Win.

Others

 * Duke: [to Apollo about Rocky] He's all wrong for us, baby. I saw you beat that man like I never saw no man get beat before, and the man kept coming after you. Now, we don't need that kinda man like that in our lives. I know what you're feelin'. Let it go! Let it go! You're the champ.
 * Duke: [to Apollo] You're the Man. You're number one. The Champ, the best of all time. Girls love you - Men, old people love you. Young people love you. You're the best. You're the Man, and he's yours. He's yours, he's yours. This bum shouldn't be in the same ring with you. I want you to show him who you are tonight. Show him who you are tonight. Stick him!

Dialogue

 * Reporter: Rocky, do you think you've suffered brain damage?
 * Rocky: I don't see any.

 * Paulie: How's your face?
 * Rocky: I don't know...how's it look?
 * Paulie: I wouldn't want it.

 * Father Carmine: Rocky Balboa, do you take Adrian Pennino to be your lawfully wedded wife?
 * Rocky: Yeah. Absolutely. Yes.
 * Father Carmine: Adrian Pennino, do you take Rocky Balboa to be your lawfully wedded husband?
 * Adrian: I do.
 * Rocky: Thanks.
 * Father Carmine: Then by the powers vested in me by the Commonwealth of Pennsylvania, I now pronounce you man & wife. You may kiss the bride now.
 * Rocky: I gotta take this off.
 * [Rocky draws Adrian's veil back; kisses her]
 * Father Carmine: Go in peace and God bless you.
 * Rocky: Thanks, Father. You done real good. I'm proud of you. Okay. Things are gonna be great.

 * Gazzo: How's about investing in condominiums? It's safe.
 * Rocky: Condominiums?
 * Gazzo: Yeah, condominiums.
 * Rocky: I never use 'em.

 * Rocky: You know, I never knew you were so light, you know.
 * Adrian: No?
 * Rocky: No, if I did I would've carried you everywhere.

 * Adrian: We really don't need a car.
 * Rocky: Oh, come on, Adrian. I'm gonna be doing commercials. Now, I can afford this, you know? No problem.
 * Adrian: Do you know how to drive?
 * Rocky: Do I know how to drive?
 * Adrian: Do you know how to drive?
 * Rocky: I'm one of the greats. Are you kidding? C'mon, I'll drive you. Let me put you inside the car. This will just be like Cinderella and the pumpkin, you know?
 * Adrian: Do you know how to drive?
 * Rocky: Do I know how to drive? I drive airplanes and bulldozers. I'll drive you crazy if you give me a chance. You know what I mean?

 * Manager: Do you have a criminal record?
 * Rocky: Nothin' worth braggin' about.

 * Manager: Can I be honest? No one's going to offer you an office job. There's too much competition. Why don't you fight? I read somewhere you're a very good fighter.
 * Rocky: Yeah, well. Was ya ever punched in the face 500 times a night? It stings after a while, ya know.

 * Apollo: [reads fan mail to his wife] Mary Anne, you listen to this. "You didn't beat nobody and anybody who knows boxing knows the fight was fixed." This one came from London. "You call yourself the champ? You're a fake! The fight was a fake. Go kill yourself!"
 * Mary Anne: Wouldn't you rather play with the children than read hate mail?
 * Apollo: "How much did you get to carry that bum for 15 rounds? You are a disgrace to your people."
 * Mary Anne: Why can't you ignore it?!
 * Apollo: Are you serious?
 * [he throws his mail in the air and walks away in disgust]

 * Apollo: Do you think I beat him the last time?
 * Duke: You got the decision.
 * Apollo: Man I won! But I didn't beat him!

 * Mickey: [after slapping Rocky in the face] Now you didn't even see that comin', did ya? And that's comin' from a broken down pug like me. What... what do ya think the champ would do to ya?
 * Rocky: Hurt me bad I guess...
 * Mickey: Na, he'd hurt ya permanent. Permanent!

 * Mickey: Left handed fighters they're the worst. They try to come in there with that big left. Right's no damn good. They ought to outlaw southpaws!
 * Rocky: Why didn't you tell me that before?
 * Mickey: I didn't want to hurt your feelings.

 * Rocky: [noticing Mickey's hearing aid] What's that in your ear there?
 * Mickey: What it is, is I hear stupid things better.

 * Mickey: Why do you have to wear that stinkin' sweatsuit?
 * Rocky: It brings me luck, you know?
 * Mickey: Brings you luck. I'll tell you what it brings - it brings FLIES! Now here's what I want you to do - I want you to chase this little chicken.
 * Rocky: Hey yo, Mick, what do I got to chase a chicken for?
 * Mickey: First, because I said so. And second, is because chicken-chasing is how we used to train back in the old days. If you can catch this thing, you can catch greased lighting.
 * Rocky: Well, I'll do it if you say so, but it ain't very mature.
 * Mickey: Yeah, well NEITHER ARE YOU, very mature!

 * Rocky: [punching a heavy bag] Three, four.
 * Mickey: Now remember I want 500 hard ones go!
 * Rocky: Where was I, seven or eight?

 * Mickey: [picks up a bucket] Here, why don't you carry this? 'Cause I liked you a lot better when you was carryin' spit.
 * Rocky: Yeah?
 * Mickey: Yeah. 'Cause the way you're trainin', you're gonna end up pumping gas in Jersey somewhere!
 * Rocky: I think I'm gonna go take a shower.
 * Mickey: It's a good idea. Why don't you go soak your head? Soak it a lot.

 * Rocky: I can't learn how to fight right handed no more.
 * Mickey: What's ‘can't’? There ain't no ‘can'ts’! There's no ‘can'ts’!

 * Reporter: Apollo, a lot of people say that you lost the first fight-- A victim of the southpaw jinx. Did fighting a left-hander throw you off?
 * Apollo: Southpaw jinx nothin'! Last time, I took the fight too lightly, and this man was just plain lucky. But this time, this time, you all will see the real Apollo Creed. The whole world's gonna see the real Apollo Creed. Lightning fast and hard to catch. No playin', no jivin', just business.
 * Reporter: Rocky, do you think you have a chance this time against Apollo?
 * Rocky: I don't know. He looks pretty mad. Uh, me and Mick, we're gonna try our best.
 * Paulie: His lungs he's gonna punch out.
 * Apollo: Now who's that? Al Capone?
 * Paulie: I don't sweat you.

 * Reporter: Rocky, your pay for the fight will be very substantial. What will you do with the money?
 * Rocky: Well the first thing I gotta do is I gotta pay the rent. And then I made this list on our way over here. I'd like to buy a couple hats, a motorcycle, a couple quarts of perfume for Adrian she likes to smell good. And some muppet toys you know, Ernie, Big Bird. And the frog what's his name? Kermit?
 * Mickey: Yeah.
 * Rocky: And I thought maybe a statue for the church and a snow cone machine for you Paulie. You like snow cones right?
 * Reporter: Rock, you got anything derogatory to say about the champ?
 * Rocky: Derogatory? Yeah. He's great.

 * Adrian: There's one thing I want you to do for me.
 * Rocky: What's that?
 * Adrian: Win. Win!

 * Baldwin: This place is certainly packed with Rocky's people. I've never seen so many Italians in my whole life!
 * Nahan: Hey you said that. I didn't say that.

 * Rocky: It's Apollo.
 * Mickey: Who were you expecting?
 * Rocky: I was hoping he wouldn't show.

 * Rocky: [after round 1 of the rematch with Creed] I can't believe it.
 * Mickey: What?
 * Rocky: He broke my nose again.

 * Duke: [after round 1 of rematch with Balboa who is fighting right handed] Alright, did the switching bother ya?
 * Apollo: Nothin' bothered me man, nothin' bothered me.
 * Duke: Well then you should of had 'em! Now don't let up on this man. This man is dangerous. This man is DANGEROUS!
 * Apollo: This man is dangerous... I'm the man, I'm dangerous!

 * [last lines]
 * Rocky: [after his victory] Excuse me. I can't believe this has happened. I can't. And I just wanna say thanks to Apollo for fighting me. Apollo. I wanna thank Mickey for training me.
 * Fan: We love ya, Rock!
 * Rocky: Yeah, I love yous too. Most of all, I wanna thank God. Except for my kid bein' born, this is the greatest night in the history of my life. I just wanna say one thing to my wife who's home: YO, ADRIAN! I DID IT!!
 * Adrian: I love you. I love you.

Taglines

 * The Rematch Of The Century.
 * The story continues...
 * The Italian Stallion is back!

Cast

 * Sylvester Stallone - Rocky Balboa
 * Talia Shire - Adrian
 * Burt Young - Paulie
 * Carl Weathers - Apollo Creed
 * Burgess Meredith - Mickey Goldmill
 * Tony Burton - Duke (Apollo's Trainer)
 * Joe Spinell - Tony Gazzo
 * Leonard Gaines - Agent
 * Sylvia Meals - Mary Anne Creed

title: Rocky II


text:
User:Archer7

See w:simple:User:Archer7.

title: User:Archer7


text:
Nick Hornby

Nicholas Peter John "Nick" Hornby (born 17 April 1957) is an English novelist, essayist, lyricist, and screenwriter.
 * See also: Brooklyn (film)

Quotes

 * Indeed, there is a moment on the first CD — the electrifying opening to "I Got Loaded," which sounds like an R&B standard but isn’t — when you might find yourself asking whether anyone who has ever been smitten by pop music can fail to have his heart stopped by the chords, the swing, and, once again, Steve Berlin’s wonderfully greasy sax.
 * On the Los Lobos boxed set El Cancionero, from Songbook, published in England as 31 Songs (2003)

 * Self-pity is an ignoble emotion, but we all feel it, and the orthodox critical line that it represents some kind of artistic flaw is dubious, a form of emotional correctness.
 * Songbook (2003)

Fever Pitch (1992)

 * I fell in love with football as I was later to fall in love with women: suddenly, inexplicably, uncritically, giving no thought to the pain or disruption it would bring with it.

 * By the early seventies I had become an Englishman — that is to say, I hated England just as much as half my compatriots seemed to do.

 * As I get older, the tyranny that football exerts over my life, and therefore over the lives of the people around me, is less reasonable and less attractive.

High Fidelity (1995)

 * Where's the superficial? I was, and therefore am, dim, gloomy, a drag, unfashionable, unfanciable, and awkward. This doesn't seem like superficial to me. These aren't flesh wounds. These are life-threatening thrusts into the internal organs.

 * I’ve been thinking with my guts since I was fourteen years old, and, frankly, I think my guts have shit for brains.

 * Then I lost it. Kinda lost it all, you know. Faith, dignity, about fifteen pounds.

About a Boy (1998)

 * There had been times when he knew, somewhere in him, that he would get used to it, whatever it was, because he had learnt that some hard things became softer after a very little while.
 * Ch. 3

 * Single mothers — bright, attractive, available women, thousands of them all over London — they were the best invention Will had ever heard of.
 * Ch. 4

 * Each day was a bad day, but he survived by kidding himself that each day was somehow unconnected to the day before.
 * Ch. 17

 * These feelings were exactly what he had been so afraid of, and this was why he had been so sure that falling in love was rubbish, and, surprise surprise, it was rubbish, and ... and it was too late.

How to Be Good (2001)

 * And after tea, we play Junior Scrabble. We are the ideal nuclear family. We eat together, we play improving board games instead of watching television, we smile alot. I fear that at any moment I may kill somebody.

 * What if a sense of humour is like hair — something a lot of man lose as they get older?

A Long Way Down (2005)

 * I'm sorry, but there's no disturbed mental balance here, my friend. I'd say he got it just right.  Bad thing upon bad thing upon bad thing... Surely that's fair enough?  Surely the coroner's report should read, "He took his own life after sober and careful contemplation of the fucking shambles it had become."

 * But I'd felt as if I'd pissed my life away in the same way that you can piss money away. I'd had a life, full of kids and wives and jobs and all the usual stuff, and I'd somehow managed to mislay it.  No, you see, that's not right.  I knew where my life was, just as you know where the money goes when you piss it away.  I hadn't mislaid it at all. I'd spent it.

 * And another way of explaining it is that shit happens, and there's no space too small, too dark and airless and fucking hopeless, for people to crawl into.

 * I couldn't get the mood back; it was as if one of the kids had woken up just as Cindy and I were starting to make love. I hadn't changed my mind, and I still knew that I'd have to do it sometime.  It's just that I knew I wasn't going to be able to do it in the next five minutes.

 * I wanted to make my life short, and I was at a party in Toppers' Hose, and the coincidence was too much. It was like a message from God.  OK, it was disappointing that all God had to say to me was, like, Jump off a roof, but I didn't blame him.  What else was he supposed to tell me?

title: Nick Hornby


text:
User talk:BFiene

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 10:51, 23 November 2006 (UTC)
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title: User talk:BFiene


text:
User:BFiene

Greetings:

I am a former U.S. Air Force officer with service during the Vietnam War, and I am a physicist with 26 years of experience in the U.S. Intelligence Community.

title: User:BFiene


text:
Marie-Louise von Franz

Marie-Louise von Franz (4 January 1915 – 17 February 1998), the daughter of an Austrian baron, was a Swiss Jungian psychologist and scholar who was born in Munich, Germany. She worked with Carl Jung, whom she met in 1933 and knew until his death in 1961.

Quotes

 * The ego must be able to listen attentively and to give itself, without any further design or purpose, to that inner urge toward growth. ... People living in cultures more securely rooted than our own have less trouble in understanding that it is necessary to give up the utilitarian attitude of conscious planning in order to make way for the inner growth of the personality.
 * "The Process of Individuation" - Part 3 in Man and His Symbols (1961) edited by C. G. Jung, p. 163 ISBN 0-385-05221-9

 * Number is therefore the most primitive instrument of bringing an unconscious awareness of order into consciousness; from it you can best tap the unconscious constellation. This probably why it is used in most mantic methods.
 * Creation Myths (1995) 'Chains' (Genealogies), p. 326 Shambhala ISBN 0-87773-528-X

Creation Myths (1972)

 * German edition (1972) Shambhala English edition 1995; ISBN 0-87773-528-X

Deus Faber

 * [God (as) Maker]

 * Our whole tradition has trained us to think always of God as being outside the world and shaping its dead material in some form. But upon making a general survey of creation myths, we see that this type of God mirrors a rare and specific situation; it mirrors a state where consciousness has already markedly withdrawn, as an independent entity, out of the unconscious and therefore can turn toward the rest of the material as if it were its dead object. It also already shows a definite separation between subject and object; God is the subject of the creation and the world, and its material is the dead objects with which he deals. Naturally we must correct this viewpoint by putting it into its right context, namely, that the craftsman in primitive societies never imagined himself to be doing the work himself. Nowadays if you watch a carpenter or a smith, he is in a position to feel himself as a human being with independent consciousness, who has acquired from his teacher a traditional skill with which he handles dead material. He feels that his skill is a man-made possession, which he owns. If we look at the folklore and mythology of the different crafts in more primitive societies, we see that they have a much more adequate view of it. They all still have tales which show that; man never invented any craft or skill, but that it was revealed to him, that it is the Gods who produced the knowledge which man now uses if he does anything practical.

 * There is a beautiful tale among the Australian aborigines which says that the bow and arrow were not man's invention, but an ancestor God turned himself into a bow and his wife became the bowstring, for she constantly has her hands around his neck, as the bowstring embraces the bow. So the couple came down to earth and appeared to a man, revealing themselves as bow and bowstring, and from that the man understood how to construct a bow. The bow ancestor and his wife then disappeared again into a hole in the earth. So man, like an ape, only copied, but did not invent, the bow and arrow. And so the smiths originally, or so it seems from Eliade's rather plausible argument, did not feel that they had invented metallurgy; rather, they learned how to transform metals on the basis of understanding how God made the world.

 * Always at bottom there is a divine revelation, a divine act, and man has only had the bright idea of copying it. That is how the crafts all came into existence and is why they all have a mystical background. In primitive civilizations one is still aware of it, and this accounts for the fact that generally they are better craftsmen than we who have lost this awareness. If we think that every craft, whether carpenter's or smith's or weaver's, was a divine revelation, then we understand better the mystical process which certain creation myths characterize as God creating the world like a craftsman. By creating the world through such a craft he manifests a secret of his own mysterious skill.

 * In one African myth the word for God is even identical with skill and capacity. The Godhead is defined as that thing which appears in man as the mystery of an unusual skill or capacity. It is something divine, a spark of the divinity in him, not his own possession or achievement, but a miracle.
 * p. 140 - 141

Creation Renewed & Reversed

 * In other words, the idea of the philosopher's stone of the alchemists is identical with the idea of the glorified body. This offers an archetypal approach to some Eastern ideas, because in different Eastern yoga practices and meditation the goal is to produce within oneself the so-called diamond body which is an immortal nucleus of the personality.

 * There existed long ago in Tibetan, Indian, and partly also in Chinese Buddhism the idea that the religious practice of meditation serves the goal of producing within the still-living and mortal body the diamond body into which you move, so to speak. Already in this lifetime you use your diamond body more and more as a dwelling place, so that at the moment of death, like a skin which falls off from a fruit, this mortal body falls away and the glorified body -or in Eastern language, the diamond body- is already there. The glorified body, a sort of immortal substance as carrier of the individual personality, is already produced by religious practice during one's lifetime. This same idea, which is strange to official Christian teaching, does come up vigorously in alchemical philosophy. The alchemists, too, strove from the beginning to produce such a glorified or diamond body, and Christian alchemists from the beginning identified it with the glorified body. In order to build up this glorified body, called the philosopher's stone, you must repeat the whole process of creation.
 * P. 331

Number and Time (1974)

 * Northwestern ISBN 0-8101-0532-2

 * To sum up: numbers appear to represent both an attribute of matter and the unconscious foundation of our mental process. For this reason, number forms, according to Jung, that particular element that unites the realms of matter and psyche.  It is “real” in a double sense, as an archetypal image and as a qualitative manifestation in the realm of outer-world experience.
 * p. .52

 * It [number] preconsciously orders both psychic thought processes and the manifestations of material reality.
 * p. 53

 * Nevertheless, this individual aspect [just-so-ness] of number appears to contain the mysterious factor that enables it to organize psyche and matter jointly.
 * p. p60-61

Psyche and Matter (1992)

 * Shambhala ISBN 0-87773-902-1

 * …Jung even asserted that he would have no objection to regarding the psyche as a quality of matter and matter as a concrete aspect of the psyche, provided that the psyche was understood to be the collective unconscious.
 * p. 40

 * As physics is a mental reconstruction of material processes, perhaps a physical reconstruction of psychic processes is possible in nature itself.
 * p. 208

 * Number, as it were, lies behind the psychic realm as a dynamic ordering principle, the primal element of which Jung called spirit. As an archetype, number becomes not only a psychic factor, but more generally, a world-structuring factor. In other words, numbers point to a background reality in which psyche and matter are no longer distinguishable.
 * p. 216

 * The mathematical forms of order which the mind of a physicist manipulates coincides "miraculously" with experimental measurements.
 * p. 269

On Divination and Synchronicity (1992)

 * Inner City Books ISBN 0-919123-02-3

 * We could all be mediums, and all have absolute knowledge, if the bright light of our ego consciousness would not dim it. … I have myself observed that in states of extreme fatigue, when I am really dangerously physically exhausted, I suddenly get absolute knowledge; …
 * pp. 39-40

Archetypal Dimensions of the Psyche (1994)

 * German edition (1994); Shambhala English edition 1997 ISBN 1-57062-426-7

The Anima as the Woman within the Man

 * The "ultimate" questions referred to above do not always come up in the encounter with the shadow. Much more often behind him or her another inner figure emerges as a personification of the unconscious. This takes the form of a woman in a man, and in a woman, that of a man. Often it is they who are at work behind the shadow, throwing up new problems. C. G. Jung called them anima and animus. The anima embodies all feminine psychic qualities in a man-moods, feelings, intuitions, receptivity to the irrational, his personal capacity for love, his sense of nature, and most important of all, his relationship to the unconscious.

 * It is no accident that, in ancient times many peoples used priestesses (think, for example, of the Greek Sibyls) to enter into relationship with the will of the gods.

 * The way the anima initially manifests in an individual man usually bears the stamp of his mother's character. If he experienced her in a negative way, then his anima often takes the form of depressive moods, irritability, perpetual malcontent, and excessive sensitivity. If the man is able to overcome these, precisely these things can strengthen his manliness. Such a negative mother anima will endlessly whisper within a man: "I'm a nothing," "It doesn't make sense anyhow," "It's different for other people," "Nothing * gives me any pleasure," and so on. Continual fear of disease, impotence, or accidents are her work, and she constellates a general sense of gloom. Troubled moods like these can intensify to the point of temptations to suicide; thus the anima can become a demoness of death. She appears in this role in Cocteau's film Orpheus.

 * The French call such an anima figure a femme fatale. The sirens of the Greeks and the Lorelei of the Germans embody these dangerous aspects of the anima-in a word, destructive illusions. The following Siberian tale gives a particularly apt portrayal of such a destructive anima:
 * A solitary hunter once had the experience of seeing a beautiful woman appear on the opposite bank of a river. She waved to him and sang, "Come, come. I've missed you, missed you. Now I want to put my arms around you, put my arms around you. Come, come, my nest is nearby, my nest. Come, come, lonely hunter, right now in the stillness of twilight." As he threw off his clothes and began swimming across to her, she suddenly flew away in the form of an owl, laughing mockingly. Swimming back, he drowned in the ice-cold river.
 * Here the anima symbolizes an unreal dream of love and happiness, of motherly love and security (the nest), an illusion that holds a man back from life. The hunter freezes to death because of his pursuit of an erotic fantasy.

 * p. 311

The Animus, a Woman's Inner Man

 * The embodiment of the unconscious of a woman as a figure of the opposite sex, the animus, also has positive and negative features. The animus, however, does not express itself so often in women as an erotic fantasy or mood, but rather as "sacred" convictions. When these latter are expressed loudly and energetically in a masculine style, this masculine side of a woman is easily recognizable. However, it can also manifest in a woman who appears very feminine externally as a quiet but relentless power that is hard as iron. Suddenly one comes up against something in her that is cold, stubborn, and completely inaccessible.

 * The favorite themes that the animus of the woman dredges up within her sound like this: "I am seeking nothing but love, but 'he' doesn't love me." Or, "There are only two possibilities in this situation," both of which of course are unpleasant (the negative animus never believes in exceptions). One can seldom contradict the animus, for it/he is always right; the only problem is that his opinion is not based on the actual situation. For the most part he gives utterance to seemingly reasonable views, which, however, are slightly at a tangent to what is under discussion.

 * Just as the mother influence is formative with a man's anima, the father has a determining influence on the animus of a daughter. The father imbues his daughter's mind with the specific coloring conferred by those indisputable views mentioned above, which in reality are so often missing in the daughter. For this reason the animus is also sometimes represented as a demon of death. A gypsy tale, for example, tells of a woman living alone who takes in an unknown handsome wanderer and lives with him in spite of the fact that a fearful dream has warned her that he is the king of the dead. Again and again she presses him to say who he is. At first he refuses to tell her, because he knows that she will then die, but she persists in her demand. Then suddenly he tells her he is death. The young woman is so frightened that she dies. Looked at from the point of view of mythology, the unknown wanderer here is clearly a pagan father and god figure, who manifests as the leader of the dead (like Hades, who carried off Persephone). He embodies a form of the animus that lures a woman away from all human relationships and especially holds her back from love with a real man. A dreamy web of thoughts, remote from life and full of wishes and judgments about how things "ought to be," prevents all contact with life. The animus appears in many myths, not only as death, but also as a bandit and murderer, for example, as the knight Bluebeard, who murdered all his wives.
 * p. 319 - 320

 * Many myths and fairy tales tell of a prince, who has been turned into an animal or a monster by sorcery, being saved by a woman. This is a symbolic representation of the development of the animus toward consciousness. Often the heroine may ask no questions of her mysterious lover, or she is only allowed to meet him in darkness. She is to save him through her blind faith and love, but this never works. She always breaks her promise and is only able to find her beloved again after a long quest.

 * As the anima does with men, the animus also creates states of possession in women. In myths and fairy tales this condition is often represented by the devil or an "old man of the mountain," that is, a troll or ogre, holding the heroine prisoner and forcing her to kill all men who approach her or to deliver them into the hands of the demon; or else the father shuts up the heroine in a tower or a grave or sets her on a glass mountain, so that no one can get near her. In such cases, the heroine can often do nothing but wait patiently for a savior to deliver her from her plight. Through her suffering, the animus (for both the demon and the savior are two aspects of the same inner power) can be gradually transformed into a positive inner force.

 * In real life, too, it takes a long time for a woman to bring the animus into consciousness, and it costs her a great deal of suffering. But if she succeeds in freeing herself from his possession, he changes into an "inner companion" of the highest value, who confers on her positive masculine qualities such as initiative, courage, objectivity, and intellectual clarity. Like the anima in a man, the animus also commonly exhibits four stages of development. In the first stage he manifests as a symbol of physical force, for example, a sports hero. In the next stage, in addition he possesses initiative and focused ability to act. In the third stage, he becomes "the word" and is therefore frequently projected onto noteworthy intellectuals, like doctors, ministers, and professors.

 * On the fourth level, he embodies the mind and becomes a mediator of creative and religious inner experiences, through which life acquires an individual meaning. At this stage he confers on a woman a spiritual and intellectual solidity that counterbalances her essentially soft nature. He can then act as a liaison connecting her with the spiritual life of the time. When this occurs, women are often more open to new, creative ideas than men. That is why in the past women were often used as mediums able to make knowledge of the future available to the world of the spirit. The creative courage in the truth conferred by the animus gives a woman the daring to enunciate new ideas that can inspire men to new enterprises. Often in history women have recognized the value of new creative ideas earlier than men, who are more emotionally conservative. The nature of woman is more closely related to the irrational, and this makes a woman better able to open to new inspirations from the unconscious. The very fact that women normally participate less in public life than men do makes it possible for their animus to act as a "hidden prince" in the darkness of private life and bring about beneficial results.
 * p. 322 - 323

The Self

 * When a person has inwardly struggled with his anima or with her animus for a sufficiently long time and has reached the point where he or she is no longer identified with it in an unconscious fashion, the unconscious once again takes on a new symbolic form in relating with the ego. It then appears in the form of the psychic core, that is, the Self. In the dreams of a woman, the Self, when it personifies itself, manifests as a superior female figure, for example, as a priestess, a sorceress, an earth mother, or a nature or love goddess. In the dreams of a man, it takes the form of some-one who confers initiations (an Indian guru), a wise old man, a nature spirit, a hero, and so forth. An Austrian fairy tale recounts the following:
 * A king posts a soldier to keep watch on the coffin of a cursed black princess who has been bewitched. It is known that every night she comes to life and tears the guard to pieces. In despair, not wanting to die, the soldier runs away into the forest. There he meets an "old zither player who was, however, the Lord God himself," and this old musician advises him how to hide in different places in the church and what to do so that the black princess cannot find him. With the help of this miraculous old man, the soldier succeeds in evading the princess's attack and in this way is able to redeem her. He marries her and becomes the king.
 * The old zither player who is really God himself, expressed in psychological language, is a symbol of the Self. He helps the soldier, that is, the ego, to overcome the destructive anima figure and even to redeem it. In a woman, as we have said, the Self takes on a feminine form.
 * p. 324 - 325

title: Marie-Louise von Franz


text:
User talk:68.83.135.54

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. Thanks. Fys. “Ta fys aym”. 22:54, 22 November 2006 (UTC)

title: User talk:68.83.135.54


text:
About a Boy

About a Boy may refer to:

 * About a Boy (book), the 1998 novel by Nick Hornby.

 * About a Boy (film), the 2002 movie based on Hornby's novel.

title: About a Boy


text:
User talk:24.117.209.30

- InvisibleSun 05:47, 23 November 2006 (UTC)

title: User talk:24.117.209.30