text:
Jonathan Franzen

Jonathan Franzen (born August 17, 1959) is an American novelist and essayist.

Quotes

 * ... idea of what books and literature are for ... serious fiction ... It is for people who may be a little isolated ... may be isolated by the very fact that they like to read books. And that my job really is to participate in that community and make that human connection. So, I went from trying to impress people or change them ... to just trying to make that connection.
 * (quote at 7:54 of 1:21:12; discussion with, followed by student questions)

 * ... The struggle to rein in s and keep the planet from melting down has the feel of Kafka’s fiction. The goal has been clear for thirty years, and despite earnest efforts we’ve made essentially no progress toward reaching it. Today, the scientific evidence verges on irrefutable. If you’re younger than sixty, you have a good chance of witnessing the radical destabilization of life on earth—massive crop failures, apocalyptic fires, imploding economies, epic flooding, hundreds of millions of refugees fleeing regions made uninhabitable by extreme heat or permanent drought. If you’re under thirty, you’re all but guaranteed to witness it. If you care about the planet, and about the people and animals who live on it, there are two ways to think about this. You can keep on hoping that catastrophe is preventable, and feel ever more frustrated or enraged by the world’s inaction. Or you can accept that disaster is coming, and begin to rethink what it means to have hope.

 * Someone worked really hard to make the language just right, just the way they wanted it. They were so sure of it that they printed it in ink, on paper. A screen always feels like we could delete that, change that, move it around. So for a literature-crazed person like me, it's just not permanent enough. ...it's going to be very hard to make the world work if there's no permanence like that. That kind of radical contingency is not compatible with a system of justice or responsible self-government.
 * "Jonathan Franzen Warns Ebooks are Corroding Values," The Guardian (Jan 30, 2012).

 * One of the consolations of dying... Seriously, the world is changing so quickly that if you had any more than 80 years of change I don't see how you could stand it psychologically.
 * "Jonathan Franzen Warns Ebooks are Corroding Values," The Guardian (Jan 30, 2012).

 * Depression presents itself as a realism regarding the rottenness of the world in general and the rottenness of your life in particular.
 * Voices in the Wilderness The Guardian (Saturday 28 September 2002).

 * An ink bottle, which now seems impossibly quaint, was still thinkable as a symbol in 1970.
 * Voices in the Wilderness The Guardian (Saturday 28 September 2002).

 * Today's Baudelaires are hip-hop artists.
 * Voices in the Wilderness The Guardian (Saturday 28 September 2002).

The Corrections (2001)

 * ISBN 0-374-12998-3

 * A lack of desire to spend money becomes a symptom of disease that requires expensive medication. Which medication then destroys the libido, in other words destroys the appetite for the one pleasure in life that's free, which means the person has to spend even more money on compensatory pleasures. The very definition of mental 'health' is the ability to participate in the consumer economy. When you buy into therapy, you're buying into buying.

 * Nobody can ever quite say what's wrong exactly. But they all know it's evil. They all know 'corporate' is a dirty word. And if somebody's having fun or getting rich - disgusting! Evil! And it's always the death of this and the death of that. And people who think they're free aren't 'really' free. And people who think they're happy aren't 'really' happy. And it's impossible to radically critique society anymore, although what's so radically wrong with society that we need such a radical critique, nobody can say exactly.... Here things are getting better and better for women and people of color, and gay men and lesbians, more and more integrated and open, and all you can think about is some stupid, lame problem with signifiers and signifieds.

 * In the years when he'd worked full-time, he'd never complained about frozen or takeout or preprepared dinners. To Caroline it probably seemed that he was changing the rules on her. But to Gary it seemed that the nature of family life itself was changing - that togetherness and filiality and fraternity weren't valued the way they were when he was young.

 * All around him, millions of newly minted American millionaires were engaged in the identical pursuit of feeling extraordinary - of buying the perfect Victorian, of skiing the virgin slope, of knowing the chef personally, of locating the beach that had no footprints. There were further tens of millions of young Americans who didn't have money but were nonetheless chasing the Perfect Cool. And meanwhile the sad truth was that not everyone could be extraordinary, not everyone could be extremely cool; because whom would this leave to be ordinary? Who would perform the thankless work of being comparatively uncool?

 * The taste of self-inflicted suffering, of an evening trashed in spite, brought curious satisfactions. Other people stopped being real enough to carry blame for how you felt. Only you and your refusal remained. And like self-pity, or like the blood that filled your mouth when a tooth was pulled - the salty ferric juices that you swallowed and allowed yourself to savor - refusal had a flavor for which a taste could be acquired.

 * 'It's who I am. Put somebody else's comfort ahead of my own? Go hop in a toilet to spare somebody else's feelings? That's the kinda thing you do, fella. You got everything bass ackwards. And look where it's landed you.' 'Other people ought to have more consideration.' 'You oughtta have less. Me personally, I am opposed to all strictures. If you feel it, let it rip. If you want it, go for it. Dude's gotta put his own interests first.'

 * 'What's your impression of the ship so far?' she asked. 'Is it really super authentic?' 'Well, it does seem to be floating,' Mr Söderblad said with a smile, 'in spite of heavy seas.' Enid raised her voice to aid his comprehension. 'I mean, is it AUTHENTICALLY SCANDINAVIAN?' 'Well, yes, of course," Mr. Söderblad said. 'At the same time, everything in the world is more and more American, don't you think?'

 * Life, in her experience, had a kind of velvet luster. You looked at yourself from one perspective and all you saw was weirdness. Move your head a little bit, though, and everything looked reasonably normal. She believed she couldn't hurt anybody as long as she was only working.

 * ‘I’m not the person to ask about what’s normal,’ Denise answered. ‘I’ve mainly seen normal in the rearview mirror.’

 * It offended his sense of proportion and economy to throw away a ninety-percent serviceable string of lights. It offended his sense of himself, because he was an individual from an age of individuals, and a string of lights was, like him, an individual thing. No matter how little the thing had cost, to throw it away was to deny its value and, by extension, the value of individuals generally: to willfully designate as trash an object that you knew wasn't trash.

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

title: Jonathan Franzen


text:
Natan Sharansky

 (Russian: Натан Щаранский, born January 20, 1948) is a notable Soviet dissident, Israeli politician and writer.

Quotes

 * The State of Israel is a national home for the entire Jewish people and it is clear to me that there is no dispute between any party or Zionist movement, while the nation-state law was originally intended to reinforce this principle, the most recent amendments to it are of great concern because they drive a wedge between Jews in Israel and in the Diaspora.
 * In a letter to about the Clause 7B of the Basic Law proposal: Israel as the Nation-State of the Jewish People, as quoted in Sharansky: Jewish state bill will ‘drive a wedge’ between Israel and Diaspora (11 July 2018) by Raoul Wootliff, .

The Case for Democracy (2004, with Ron Dermer)

 * A lack of moral clarity is also the tragedy that has befallen efforts to advance peace and security in the world. Promoting peace and security is fundamentally connected to promoting freedom and democracy.
 * Preface, page xix.

 * The conviction that freedom is a universal desire is not the property of any political camp. ... Yet those who hold it remain a precious few, outnumbered many times over by the skeptics who don't.
 * Pages 18-19.

 * A simple way to determine whether the right to dissent in a particular society is being upheld is to apply the town square test: Can a person walk into the middle of the town square and express his or her views without fear of arrest, imprisonment, or physical harm? If he can, then that person is living in a free society. If not, it's a fear society.
 * Pages 40-1.

 * Now we can see why nondemocratic regimes imperil the security of the world. They stay in power by controlling their populations. This control invariably requires an increasing amount of repression. To justify this repression and maintain internal stability, external enemies must be manufactured.
 * Page 88.

 * Freedom's skeptics must understand that the democracy that hates you is less dangerous than the dictator who loves you. Indeed, it is the absence of democracy that represents the real threat to peace.
 * Page 95.

 * The free world should not wait for dictatorial regimes to consent to reform.
 * Page 278.

title: Natan Sharansky


text:
Kay Redfield Jamison

Kay Redfield Jamison (born 14 October 1946) is a world-renowned psychologist who is an expert on bipolar disorder, from which she herself suffers.

Quotes

 * I have often asked myself whether, given the choice, I would choose to have manic-depressive illness. ... Strangely enough, I think I would choose to have it. It's complicated. Depression is awful beyond words or sounds or images ... So why would I want anything to do with this illness? Because I honestly believe that as a result of it I have felt more things, more deeply; had more experiences, more intensely; ... worn death 'as close as dungarees', appreciated it - and life - more; seen the finest and most terrible in people ... But, normal or manic, I have run faster, thought faster, and loved faster than most I know. And I think much of this is related to my illness - the intensity it gives to things
 * An Unquiet Mind

 * If I can't feel, if I can't move, if I can't think, and I can't care, then what conceivable point is there in living?
 * Kay Redfield Jamison, An Unquiet Mind: A Memoir of Moods and Madness

title: Kay Redfield Jamison


text:
M. C. Escher

Maurits Cornelis Escher  (17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. His work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations.

Quotes of M. C. Escher

 * sorted chronologically, by date of the quotes of M. C. Escher

1940's

 * The unknown mountain nests in the inhospitable interior of southern Calabria are usually connected only by a mule track with the railway that runs close to the coast: whoever wants to go there has to walk on foot if he has no donkey at his disposal. I think back to that warm afternoon in the month of May when we the four of us, after a long, tiring ride in the harsh sun, packed with the heavy burden of our backpacks, sweat-dripping and a little gasping, entered the city gate of Palizzi..
 * version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): De onbekende bergnesten in het onherbergzame binnenland van Zuid-Calabrië zijn meestal slechts door een muilezelpad met den spoorweg, die vlak langs de kust loopt, verbonden: wie er heen wil, dient te voet te gaan zoo hij geen ezel tot zijn beschikking heeft. Ik denk terug aan dien warmen namiddag in de maand Mei toen wij met ons vieren, na een lange, vermoeiende tocht in de barre zon, bepakt met de zware last onzer rugzakken, zweetdruppelend en een beetje hijgend de stadspoort van Palizzi binnentraden..
 * Quote from Escher's article about his Calabria trip, in the Dutch magazine 'De Groene Amsterdammer', 23 April, 1932, p 18 – No 2864 (translation of museum 'Escher in the Palais', the Hague)
 * In the following Autumn and Winter Escher used the many sketches and photos from this trip to make series of woodcuts and lithography

 * Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon.. .It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour..
 * version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): 'Nu wou ik je nog wat zeggen over het verband met muziek, en wel in hoofdzaak met die van Bach, d.w.z. de Fuga, of eenvoudiger canon.. .Het heeft heel veel van mijn motieven, die ik ook om verschillende assen laat draaien. Ik heb dat gevoel van relatie, verwantschap, tegenwoordig zoo sterk, dat ik tijdens het luisteren naar Bach, dikwijls geïnspireerd word en een sterke drang naar zijn dwingende ritme voel, een cadans die iets van de eindeloosheid zoekt. In de Fuga is alles gebaseerd op een enkel motief, dikwijls maar van enkele noten. Bij mij draait ook alles om een enkele gesloten contour..
 * Quote from Escher’s letter, 1940 to his friend Hein 's-Gravezande; as cited (and translated!) on the website of museum 'Escher in the Palace', The Hague: dutch original text and english translation

1950's

 * But to get back to the point: did you ever imagine that your dad, who lives so far away from the bustle and intrigue of the world, working on his prints day after day like a hermit, would some day be drawn into the sickening scene of vain officialdom, despite himself?.. .But what on earth can I do about it? Luckily I can swear by God and all his angels that I never moved a finger to get the decoration or licked the boots of any bigwigs.
 * Quote from Escher's letter to his son, 30 April 1955; as cited in 'Gaining Popularity', in Biography of M.C. Escher - condensed mostly from the biography written by Bruno Ernst M.C. Escher - His Life and Complete Graphic Work, © 1981
 * 27 April 1955 Escher was decorated (in the name of the Dutch Queen) in the 'Knighthood of the Order of Oranje Nassau'

 * In mathematical quarters, the regular division of the plane has been considered theoretically.. .Does this mean that it is an exclusively mathematical question? In my opinion, it does not. [Mathematicians] have opened the gate leading to an extensive domain, but they have not entered this domain themselves. By their very nature they are more interested in the way in which the gate is opened than in the garden lying behind it.
 * Quote of Escher, from his essay on Tessellation 1957; as cited by Tony Thomas, in 'The Strange Worlds of M C Escher'

 * After the first proof [of 'Sphere Spirals'] my high expectations were, as always, greatly disappointed. I am now struggling on - with some feeling of despair - so that I at least achieve a passable result.
 * Quote of Escher, c. 1958; as cited in Biography of M.C. Escher

 * As long as there have been men.. ..upon this globe..  ..we have held firmly to the notion of..  ..all of which must continue to be everlasting in time and infinite in space.
 * Quote of Escher, 1959; as cited in '3. The approach to infinity', in: M.C. Escher and Hyperbolic Geometry - Math Explorer Club

 * The ideas that are basic to [my work] often bear witness to my amazement and wonder at the laws of nature which operate in the world around us. He who wonders discovers that this is in itself a wonder. By keenly confronting the enigmas that surround us, and by considering and analyzing the observations that I had made, I ended up in the domain of mathematics.
 * Quote of Escher 1959 - in the introduction of M.C. Escher: The Graphic Work (1978) p. 8 - translated from the original book in Dutch: M.C. Escher - Grafiek en Tekeningen, publisher, Koninklijke Erven J.J. Tijl N.V. Zwolle, 1959

 * The fact that, from 1938 onwards, I concentrated more on the interpretation of personal ideas was primarily the result of my departure from Italy. In Switzerland, Belgium, and Holland where I successively established myself, I found the outward appearance of landscapes and architecture to be less striking than those which are particularly to be seen in the southern part of Italy. Thus I felt compelled to withdraw from the more or less direct and true-to-life illustrating of my surroundings.
 * Escher's note in a 1960 book introduction; as cited in 'Metamorphosis', in Biography of M.C. Escher

'On Being a Graphic Artist', 1953

 * Quotes from Escher's lecture, "On Being a Graphic Artist" (PDF file) he gave in Alkmaar, 16 Nov. 1953, for the friends of the Municipal museum, there

 * It is human nature to want to exchange ideas, and I believe that, at bottom, every artist wants no more than to tell the world what he has to say. I have sometimes heard painters say that they paint 'for themselves': but I think they would soon have painted their fill if they lived on a desert island. The primary purpose of all art forms, whether it's music, literature, or the visual arts, is to say something to the outside world; in other words, to make a personal thought, a striking idea, an inner emotion perceptible to other people’s senses in such a way that there is no uncertainty about the maker's intentions.

 * The result of the struggle between the thought and the ability to express it, between dream and reality, is seldom more than a compromise or an approximation. Thus there is little chance that we will succeed in getting through to a large audience, and on the whole we are quite satisfied if we are understood and appreciated by a small number of sensitive, receptive people.

 * It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.

 * When someone forgets himself, this by no means makes him altruistic; when a thinking person forgets himself, he immediately also forgets his fellowman, he loses himself and his humanity by becoming engrossed in his subject. Thus he is in a sense more contemplative than a feeling person.

 * As far as I know, there is no proof whatever of the existence of an objective reality apart from our senses, and I do not see why we should accept the outside world as such solely by virtue of our senses. These reality enthusiasts are possibly playing at hide-and-seek; at any rate they like to hide themselves, though they are not usually aware of it. They simply do it because they happen to have been born with a sense of reality, that is, with a great interest in so-called reality, and because man likes to forget himself.

 * I do indeed believe that there is a certain contrast between, say, people in scientific professions and people working in the arts. Often there is even mutual suspicion and irritation, and in some cases one group greatly undervalues the other. Fortunately there is no one who actually has only feeling or only thinking properties. They intermingle like the colors of the rainbow and cannot be sharply divided. Perhaps there is even a transitional group, like the green between the yellow and the blue of the rainbow. This transitional group does not have a particular preference for thinking or feeling, but believes that one cannot do without either the one or the other. At any rate, it is unprejudiced enough to wish for a better understanding between the two parties... It is clear that feeling and understanding are not necessarily opposites but that they complement each other.

 * In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?
 * Variant translations: Are you really sure that a floor can't also be a ceiling? I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.

 * It's pleasing to realize that quite a few people enjoy this sort of playfulness and that they are not afraid to look at the relative nature of rock-hard reality.

 * To tell you the truth, I am rather perplexed about the concept of "art]. What one person considers to be "art" is often not "art" to another. "Beautiful" and "ugly" are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only "kitsch" is not art — we're all agreed about that. Indeed, but what is "kitsch"? If only I knew!

 * lf l am not mistaken, the words "art" and "artist" did not exist during the Renaissance and before: there were simply architects, sculptors, and painters, practicing a trade.

 * I am a graphic artist heart and soul, though I find the term "artist" rather embarrassing.

'M.C. Escher, interviewed by Bibeb', 1968

 * Quotes from: M.C. Escher, interviewed by, in the Dutch magazine 'Vrij Nederland', 20 April 1968 (translation, Fons Heijnsbroek)

 * My work has nothing to do with people, nothing to do with psychology. I am much more cerebral than Willink. I do not wish to be deep at all. I know that I don't hide anything at all in this work. When Carel Willink paints a naked lady in a street, I think: what is that lady doing there?. ..the house facades give me a lugubrious impression. So it is a lugubrious street. My work is not lugubrious. If you ask Willink: 'Why are those naked mistresses there', you do not receive an answer. With me you always get an answer when you ask: why..
 * version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): Mijn werk heeft niets met de mens, niets met psychologie te maken. Ik ben veel cerebraler dan . Ik wens helemaal niet diep te zijn. Ik weet dat ik in dit werk niets verberg. Als Carel Willink een naakte juffrouw in een straat schildert, denk ik: wat heeft die juffrouw daar te maken?.. ..de gevels maken op mij de indruk van iets lugubers. Het is dus een lugubere straat. Mijn werk is niet luguber. Als je Willink vraagt: waarom zijn die naakte juffrouwen daar, krijg je geen antwoord. Bij mij krijg je altijd antwoord als je vraagt: waarom..

 * ..and to think now that great mathematicians find my work interesting because I am able to illustrate their theories. They can not imagine that I was such a bad pupil in mathematics. I don't understand it myself neither. I never could understand why it was necessary to prove something that everyone already sees. I saw it, I knew it, so it is how it is… But yes, you had to prove it. I did overcome it when I realized I can make something else - I thought I was a good-for-nothing. In my family there were no other artists to find.. .I was just a weird duck, right?
 * version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): En als je nu bedenkt dat grote wiskundigen mijn werk interessant vinden, omdat ik in staat ben hun theorieën te illustreren. Ze kunnen zich helemaal niet voorstellen dat ik zo slecht was in wiskunde. Ik snap er zelf ook niets van. Ik begreep niet dat je iets moest bewijzen wat iedereen ziet. Ik zag het, ik wist, het is toch zo.. .Maar jawel hoor, je moest het bewijzen. Ik ben er bovenuit gekomen toen ik me realiseerde, dat ik wat anders kon. Ik dacht, dat ik een nietsnut was. Ik kom uit een milieu waar geen artiesten in waren.. ..Ik was een rare eend in de bijt, he?

 * I first made this one [open spiral in which eyes, mouth and forehead of a woman are recognizable) but I cannot stand it that something is cut off. I thought, why is that human cut off here? Then I made two of them, who have together an [interconnected] endlessness. It is also meant as a reaction against sculptors. I see them as a little inferior - no, that is not well-expressed – but sculptors are too limited. They see sculpturing as something superior, but everybody can do modeling. Drawing is much more difficult, much more immaterial.
 * version in original Dutch (origineel citaat van M.C. Escher, in het Nederlands): Ik heb eerst die gemaakt [een open spiraal waarin de ogen, mond, het voorhoofd van een vrouw herkenbaar zijn ) maar ik kan niet goed hebben dat iets wordt afgesneden. Ik dacht, waarom is dat mens hier afgesneden? Toen heb ik die twee gemaakt, die [met elkaar verbonden] een eindeloosheid hebben. 't Is ook bedoeld als reactie tegen beeldhouwers. Ik zie daar een beetje op neer, nee dat is niet goed gezegd, beeldhouwers zijn te beperkt. Ze denken zelf dat het heel wat is, maar boetseren kan iedereen. Tekenen is veel moeilijker, veel onstoffelijker.

M.C. Escher Foundation

 * Quotes (unsourced) from the official website mcescher.com of the M.C. Escher Foundation

 * At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.

 * I am always wandering around in enigmas. There are young people who constantly come to tell me: you, too, are making Op Art. I haven't the slightest idea what that is, Op Art. I've been doing this work for thirty years now.
 * Variant: I walk around in mysteries. Each time, youngsters say: you make Op-art too. I don't know what that is, Op-art. This work I have been making for the past thirty years.

 * I believe that producing pictures, as I do, is almost solely a question of wanting so very much to do it well.

 * I could fill an entire second life with working on my prints.

 * I don't grow up. In me is the small child of my early days.

 * So let us then try to climb the mountain, not by stepping on what is below us, but to pull us up at what is above us, for my part at the stars; amen.

 * The things I want to express are so beautiful and pure.

 * To have peace with this peculiar life; to accept what we do not understand; to wait calmly for what awaits us, you have to be wiser than I am.

disputed quotes

 * My work is a game, a very serious game.
 * No known direct citation to a work or interview with Escher; it appears in The Complete Idiot's Guide to the Perfect Cover Letter (1997) by Susan Ireland, p. 258, and The Universal Book of Mathematics : From Abracadabra to Zeno's Paradoxes (2004) by David Darling, p. 107

Quotes about M. C. Escher

 * sorted chronologically, by date of the quotes about M. C. Escher

 * (1) What are the possible shapes for a tile that can produce a regular division of the plane, that is, a tile that can fill the plane with its congruent images such that every tile is surrounded in the same manner?
 * (2) Moreover, in what ways are the edges of such a tile related to each other by isometries?
 * Quote of Doris Schattschneider, in 'The Mathematical Side of M. C. Escher' in PDF. Notices of the AMS, 2010; American Mathematical Society. 57 (6): 706–718
 * Doris Schattschneider is defining here the two main research questions Escher was following

 * It is a neat depiction of one of Escher's enduring fascinations: the contrast between the two-dimensional flatness of a sheet of paper and the illusion of three-dimensional volume that can be created with certain marks. In 'Drawing Hands', space and the flat plane coexist, each born from and returning to the other, the black magic of the artistic illusion made creepily manifest.
 * Quote of Steven Poole, in The impossible world of M.C. Escher, The Guardian, 20 June 2015; retrieved 2 November 2015

title: M. C. Escher


text:
User talk:69.208.135.198

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User talk:209.6.253.212

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
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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. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. — referring to edit of Star Wars — Jeff Q (talk) 13:29, 3 Apr 2005 (UTC)

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User:Eustace Tilley

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title: User:Eustace Tilley


text:
Christopher Marlowe

Christopher Marlowe (c. 26 February 1564 – 30 May 1593) was an English dramatist, poet and translator of the Elizabethan era.

Quotes
And we will all the pleasures prove That hills and valleys, dales and fields, Or woods or steepy mountain yields. And we will sit upon the rocks, And see the shepherds feed their flocks By shallow rivers, to whose falls Melodious birds sing madrigals. And I will make thee beds of roses And a thousand fragrant posies.
 * Come live with me and be my Love,
 * The Passionate Shepherd to His Love (unknown date), stanzas 1 and 2. Compare: "To shallow rivers, to whose falls / Melodious birds sings madrigals; / There will we make our peds of roses, / And a thousand fragrant posies", William Shakespeare, Merry Wives of Windsor, act iii. scene i. (Sung by Evans.)

Dido (c. 1586)

 * You sons of care, companions of my course!
 * Aeneas, Act I, scene i, line 142

 * Pluck up your hearts, since fate still rests our friend.
 * Aeneas, Act I, scene i, line 149

 * What strange arts necessity finds out.
 * Venus, Act I, scene i, line 169

Tamburlaine (c. 1588)
Our life is frail, and we may die to-day.
 * Time passeth swift away;
 * Mycetes, Act I, scene i, line 68

 * Our swords shall play the orators for us.
 * Techelles, Act I, scene ii, line 132

 * Accurst be he that first invented war.
 * Mycetes, Part 1, Act II, scene iv, line 1

For both their worths shall equal him no more.
 * Let Earth and Heaven his timeless death deplore,
 * Amyras, Part 2, Act V, scene iii, lines 252–253

The Jew of Malta (c. 1589)
And hold there is no sin but ignorance.
 * I count religion but a childish toy,
 * Machiavel, Prologue

Their means of traffic from the vulgar trade, And, as their wealth increaseth, so inclose Infinite riches in a little room.
 * And thus methinks should men of judgment frame
 * Barabas, Act I, scene i. Paraphrasing John Heywood, "Here lyeth muche rychnesse in lytell space," in The Foure PP (c. 1530).

 * Excess of wealth is cause of covetousness.
 * Ferneze, Act I, scene ii

Are hardly cured with exclamations.
 * Things past recovery
 * Barabas, Act I, scene ii

Hides many mischiefs from suspicion.
 * Religion
 * Barabas, Act I, scene ii

 * Now will I show myself to have more of the serpent than the dove; that is, more knave than fool.
 * Barabas, Act II, scene iii. Marlowe is referencing Jesus, "Be ye therefore wise as serpents, and harmless as doves," in Matthew 10:16.

Fornication: but that was in another country; And besides, the wench is dead.
 * Thou hast committed—
 * Friar Barnardine and Barabas, Act IV, scene i

 * Love me little, love me long.
 * Ithamore, Act IV. Quoting John Heywood, "Love me litle, love me long," in Proverbes (c. 1538), Part ii, Chapter ii.

Neither to fate nor fortune, but to Heaven.
 * So, march away; and let due praise be given
 * Ferneze, Act V

Edward II (c. 1592)
Shall with their goat feet dance the antic hay.
 * My men, like satyrs grazing on the lawns,
 * Gaveston, Act I, scene i, lines 57–58

A prison may best beseem his holiness.
 * What should a priest do with so fair a house?
 * Gaveston, Act I, scene i, lines 204–205

 * My swelling heart for very anger breaks.
 * King Edward, Act II, scene ii, line 197

Be proof of my grief and innocency.
 * And let these tears, distilling from mine eyes,
 * Mortimer, Act V, scene vi, line 100

Doctor Faustus (c. 1603)

What will be, shall be.
 * Che serà, serà:
 * Faustus, Act I, scene i, lines 47–58

In one self place; but where we are is hell, And where hell is, there must we ever be.
 * Hell hath no limits, nor is circumscrib'd
 * Mephistopheles, Act II, scene i, line 118

And every creature shall be purified, All places shall be hell that are not heaven.
 * When all the world dissolves,
 * Mephistopheles, Act II, scene i, line 120. In the first line, Marlowe references Isaiah in Isaiah 24:19 and 34:4; in the second line, he references Daniel in Daniel 12:10.

And burnt the topless towers of Ilium? Sweet Helen, make me immortal with a kiss!
 * Was this the face that launch'd a thousand ships,
 * Faustus, Act V, scene i, lines 91–93

 * Pray for me! and what noise soever ye hear, come not unto me, for nothing can rescue me.
 * Faustus, Act V, scene ii, lines 57–58

 * He that loves pleasure, must for pleasure fall.
 * Evil Angel, Act V, scene iv

Hero and Leander (published 1598)
A brow for love to banquet royally.
 * A pleasant-smiling cheek, a speaking eye,
 * First Sestiad

For will in us is overruled by fate.
 * It lies not in our power to love or hate,
 * First Sestiad

 * Who ever loved that loved not at first sight?
 * First Sestiad. The same statement occurs in As You Like It (1600) by William Shakespeare, and a similar one in The Blind Beggar of Alexandria (1596) by George Chapman.

Which long time lie untouch'd, will harshly jar. Vessels of brass, oft handled, brightly shine.
 * Like untuned golden strings all women are,
 * First Sestiad

 * All women are ambitious naturally.
 * First Sestiad

 * Love always makes those eloquent that have it.
 * Second Sestiad

 * Above our life we love a steadfast friend.
 * Second Sestiad

Disputed

 * All they that love not tobacco and boys are fools.
 * Remark attributed to Marlowe from the testimony of Richard Baines, a government informer, in 1593.

Misattributed

 * Comparisons are odious.
 * Lust's Dominion (c. 1600), Act iii. scene 4. The first edition attributed the authorship of this play to Marlowe, though this attribution has been recognized as spurious by critics and scholars for nearly two centuries. See Logan and Smith, Predecessors of Shakespeare, p. 32. But compare: "Comparisons are odious", John Fortescue, De Laudibus Leg. Angliæ, Chapter xix.

 * I'm armed with more than complete steel,— The justice of my quarrel.
 * Lust's Dominion (c. 1600), Act iii. scene 4. Compare: "Thrice is he armed that hath his quarrel just, And he but naked, though locked up in steel, Whose conscience with injustice is corrupted", William Shakespeare, Henry VI, Act iii. scene 2.

title: Christopher Marlowe


text:
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Chrono Trigger

title: User:Cvd


text:
Goa

Goa is a state located in the Western region of India; it is bounded by the state of Maharashtra to the north, and by Karnataka to the east and south, while the Arabian Sea forms its western coast. It is India's smallest state by area and the fourth smallest by population. Goa is India's richest state, with a GDP per capita two and a half times that of the country as a whole.

Quotes

 * Hospitality is not just a word here -- it's a tradition.
 * Anibal da Costa, A Goan Potpourri (Manila, 1999).

 * Goa, Sanskrit Gomantak, the land of gods, was mentioned in the Sahyadri Kand of the Skanda Purana. It described the reclamation of the land from the sea by Parashuram, the sixth incarnation of Vishnu. Shiva also took up temporary residence there after he left his Himalayan abode. Goa experienced tremendous loss of its sacred heritage in the medieval period.
 * Jain, M. (2019). Flight of deities and rebirth of temples: Episodes from Indian history. 215

 * The azure seas of Goa yield a variety of fresh, tasty seafood and fish. With a pleasant climate and diverse flora and fauna, Goa is a haven of peace and a mix of laziness and nonchalance, a mixture of the past and the future, where beautiful palm-fringed beaches glitter on its shores. Floring plants and trees grow lush, verdant, and fast. Fat ripe fruits like mangoes, papayas, cajus and many others abound.
 * Anibal da Costa, A Goan Potpourri (Manila, 1999).

 * The Goans were very Victorian. Their girls were expected to be respectable and straightfaced and anti-sensual.The result was that the honest men had to hunt out Damibian women who did not have the Goan problem (the dishonest ones could find bored housewives, tired of their arranged, loveless marriages to older, respectable men or the more daring ones whose defiant love marriages had dried up all too soon).
 * Peter Nazareth, in The General Is Up: A Novel Set in Modern Africa. Writer's Workshop, Calcutta, 1984.

 * Simply stated, the first paradox asks why the majority of international tourists are so enthusiastic about Goa in spite of the fact that there are aspects of the tourism experience which, if found in Europe or other developed countries, would constitute serious grounds for complaint.
 * David Wilson, in 'Paradoxes of Tourism in Goa" ('The Transforming of Goa', Norman Dantas, ed.1999 OiP. Other India Press. ISBN 81-85569-45-2.

 * With the arrival of the Portuguese in Goa, in the early 16th century, Konkani music was confronted with a new musical style, Western European in origin, employing harmony, where usually three or more sounds combine simultaneously to form a chord...
 * Musicologist Jose Pereira, Michael Martins and Antonio da Costa in their book 'Folk Songs of Goa: Mando-Dulpods & Deknnis' ISBN-81-7305-281-6.

 * If you follow Goanet, it seems to be a Goan feature to have 10 Goans, 12 opinions, and 16 enemies.
 * Patrice Riemens, in "Two percent of a Source camp... interview with Patrice Riemens" (January 26, 2006).

 * Goanism is a psycho-endemic-repulsion, brought on whenever two or more Goans, of known or unknown significance, converge on the same field of survival, revival, rivalry or connivery.
 * Dom Martin, in "Goa, Goans and Goanism..." (April 30, 1993)

 * There are a great many heathens in this kingdom of Goa, more than in the kingdom of the Deccan. Some of them are very honoured men with large fortunes ; and almost the whole kingdom lies in their hands, because they are natives and possess the land and they pay the taxes. Some of them are noblemen with many followers and lands of their own, and are persons of great repute, and wealthy, and they live on their estates, which are very gay and fresh. The heathens of the kingdom of Goa surpass those of Cambay. They have beautiful temples of their own in this kingdom ; they have priests or Brahmans of many kinds. There are some very honoured stocks among these Brahmans. Some of them will not eat anything which has contained blood or anything prepared by the hand of another. These Brahmans are greatly revered throughout the country, particularly among the heathen. Like those of Cambay, the poor ones serve to take merchandise and letters safely through the land, because the rich ones rank as great lords. They are clever, prudent, learned in their religion. A Brahman would not become a Mahommedan (even) if he were made a king.
 * Tomé Pires.. The Suma Oriental of Tomé Pires (Translated and edited by Armando Corteséo), London 1944, pp. 58-50.  in :Priolkar Anant Kakba and Gabriel Dellon. 2008. The Goa Inquisition : Being a Quatercentenary Commemoration Study of the Inquisition in India.

 * History in Goa was simple. In the long colonial emptiness the pre-Portuguese past had ceased to matter; it was something to be picked up from books; and then the 450 years of Portuguese rule was like a single idea that anyone could carry about with him. To leave Goa, to go south and west along the narrow, winding mountain road into the state of Karnataka, was to enter India and its complicated history again.
 * Naipaul, V.S. - India_ A Million Mutinies Now (Vintage, 2011)

title: Goa


text:
Braveheart

Braveheart is a 1995 epic war film loosely based on the life of William Wallace, a 14th century Scottish hero. The film won five Academy Awards in 1996 including the Academy Award for Best Picture.
 * Directed by Mel Gibson and written by Randall Wallace.

Every man dies, not every man really lives. taglines

Sir William Wallace
Actual non-fictional quotations are available at William Wallace
 * I am William Wallace! The rest of you will be spared. Go back to England, and tell them there, that Scotland's daughters and her sons are yours no more! Tell them Scotland is free!

 * I'm so afraid. Give me the strength to die well.
 * Praying before his execution

 * In the year of our Lord 1314, patriots of Scotland, starving and outnumbered, charged the fields of Bannockburn. They fought like warrior poets. They fought like Scotsmen. And won their freedom.
 * Closing narration

King Edward I "Longshanks"

 * Not the archers. My scouts tell me their archers are miles away and no threat to us. Arrows cost money. Use up the Irish. The dead cost nothing.

 * I gave Mornay double his lands in Scotland, matching estates in England. Lochlan turned for... for much less.

 * Bring me Wallace, alive if possible, dead ... just as good.

Robert the Bruce

 * I shall tell you of William Wallace. Historians from England will say I am a liar, but history is written by those who have hanged heroes. The King of Scotland had died without a son and the King of England, a cruel pagan known as Edward the Longshanks, claimed the throne of Scotland for himself. Scotland's nobles fought him, and fought each other, over the crown. So Longshanks invited them to talks of truce — no weapons, one page only. Among the farmers of that shire was Malcolm Wallace, a commoner with his own lands. He had two sons, John and William.
 * Opening narration

 * Many years later, Edward the Longshanks, King of England, supervised the wedding of his eldest son, who would succeed him to the throne. As bride for his son, Longshanks had chosen the daughter of his rival: the King of France. It was widely whispered, that for the princess to conceive, Longshanks would have to do the honors himself. That may have been what he had in mind all along.

 * After the beheading, William Wallace's body was torn to pieces. His head was set on London Bridge, his arms and legs sent to the four corners of Britain as a warning. It did not have the effect that Longshanks planned. And I, Robert the Bruce, rode out to pay homage to the armies of the English King and accept his endorsement of my crown.

Malcolm Wallace

 * Your heart is free. Have the courage to follow it.

Dialogue

 * Malcolm: Where do you think you're going?
 * Young William: I'm going with you.
 * Malcolm: Oh, you're going with, are ya? And what are you going to do?
 * Young William: I'm gonna help.
 * Malcolm: Hey, and a good help you'd be, too. [takes William off the horse] But I need you to stay here and look after the place for me while I'm away.
 * Young William: I can fight!
 * Malcolm: I know. I know you can fight. But it's our wits that make us men. See you tomorrow.

 * Longshanks: Scotland. My land. The French will grovel to anyone with strength, but how will they believe our strength when we cannot rule the whole of our own island?! [Isabelle walks in] Where is my son?
 * Isabelle: Pardon, my lord. He asked me to come in his stead.
 * Longshanks: I sent for him, and he sends you?
 * Isabelle: Shall I leave, my lord?
 * Longshanks: If he wants his queen to rule when I am gone, then by all means, stay and learn how. Please. Nobles. Nobles are the key to the door of Scotland. Grant our nobles lands in the north, give their nobles estates here in England, and make them too greedy to oppose us.
 * Advisor: But sire, our nobles will be reluctant to uproot. New lands mean new taxes and they are already taxed for the war in France.
 * Longshanks: Are they? Are they? [glaring at Isabelle] The trouble with Scotland... is that it's full of Scots! [Longshanks' advisors laugh] Perhaps the time has come to reinstitute an old custom. Grant them prima noctes. First night, when any common girl inhabiting their lands is married, our nobles shall have sexual rights to her on the night of her wedding. If we can't get them out, we'll breed them out. That should fetch just the kind of lords we want to Scotland, taxes or no taxes, eh?
 * Advisor: A most excellent idea, sire.
 * Longshanks: Is it?

 * William: You dropped your rock.
 * Hamish: Test of manhood.
 * William: You win.
 * Hamish: Call it a test of soldiery, then. The English won't let us train with weapons, so we train with stones.
 * William: Well, the test of a soldier is not in his arm, it's here. [points at his head]

 * William: How did you know me after so long?
 * Murron: Why, I didn't.
 * William: No?
 * Murron: It's just that I saw you staring at me and I didn't know who you were.
 * William: Oh sorry, I suppose I was. Are you in the habit of riding off in the rain with strangers?
 * Murron: It was the best way to make you leave.
 * William: Well, if I can ever work up the courage to ask you again, I'll send you a written warning first.
 * Murron: Oh, it wouldn't do you much good. I can't read.
 * William: Can you not?
 * Murron: No.
 * William: Well that's something we shall have to remedy, isn't it.
 * Murron: You're going to teach me to read, then?
 * William: Aye, if you like.
 * Murron: Aye.
 * William: In what language?
 * Murron: Are you showing off now?
 * William: That's right. Are you impressed yet?
 * Murron: No. Why should I be?
 * William: [in French] Yes. Because every single day I thought about you.
 * Murron: Do that standing on your head and I'll be impressed.
 * William: My kilt may fly up but I'll try.
 * Murron: You certainly didn't learn any manners on your travels.
 * William: I'm afraid the Romans have far worse manners than I.
 * Murron: You've been to Rome?
 * William: Aye, my uncle took me on a pilgrimage.
 * Murron: What was it like?
 * William: [in French] Not nearly as beautiful as you.
 * Murron: What does that mean?
 * William: Beautiful. But I belong here.

 * Campbell: Your father was a fighter! And a patriot.
 * William: I know who my father was. I came back home to raise crops and, God willing, a family. If I can live in peace, I will.

 * William: Of course, running a farm is a lot of work, but that will all change when my sons arrive.
 * Murron: [confused] So, you've got children?
 * William: Not yet, but I was hoping you could help me with that.
 * Murron: So, you want me to marry you then?
 * William: Well, that's a bit sudden, but alright.
 * Murron : Is that what you call a proposal?
 * William: I love you, always have. I want to marry you. [Murron kisses him] Is that a "yes?"
 * Murron: Aye, that's a "yes."

 * [an army of Scots disguised as English soldiers arrive at a fort]
 * Lord Bottoms: I have dispatched a hundred soldiers to Lanark. They will be returning now!
 * William: Were they dressed like this? Actually, it was more like fifty.

 * Longshanks: Scottish nobles have routed one of my garrisons, and murdered the noble lord.
 * Edward: I heard. This Wallace is a brigand, nothing more.
 * Longshanks: And how would you deal with this brigand?
 * Edward: Like any common thief. Have the local magistrate arrest him and punish him accordingly.
 * Longshanks: [to advisors] Leave us. [Longshanks' advisors leave the room, and he strikes Edward hard across the face, knocking him to the ground] Wallace has already killed the magistrate, and taken control of the town. Stand up. Stand up! [he pulls Edward to his feet] In the morning, I depart for France to press our rights there, and I leave you here to quell this little rebellion. Understood? Is it? [Edward nods nervously] One day, you will be a king. At least try to act like one.
 * [Isabelle rushes to Edward's side as Longshanks leaves; he angrily brushes her aside.]
 * Edward: Get away from me! [to Philip] Convene my military council!
 * Nicolette: [to Isabelle] I hope your husband to Scotland and meets Wallace, and then you'll be a widow.

 * Robert: A rebellion has begun.
 * The Leper: Under whom?
 * Robert: A commoner... named William Wallace.
 * The Leper: We will embrace this rebellion. You will support it from our lands in the north while I gain English favor by condemning it, and ordering it opposed from our lands in the south. Sit down. Stay a while.
 * Robert: This Wallace, he doesn't even have a knighthood, but he fights with passion and he inspires.
 * The Leper: [laughs] And you wish to charge off and fight as he did. So would I.
 * Robert: Well, maybe it's time.
 * The Leper: It is time to survive. You're the seventeenth Robert Bruce. The sixteen before you passed you land and title because they didn't charge in. Call a meeting of the nobles.
 * Robert: But they do nothing but talk.
 * The Leper: Rightly so. They're as rich in English titles and lands as they are in Scottish, just as we are. You admire this man, this William Wallace. Uncompromising men are easy to admire. He has courage, so does a dog. But it is exactly the ability to compromise that makes a man noble. And understand this: Edward Longshanks is the most ruthless king ever to sit upon the throne of England. And none of us, and nothing of Scotland will remain, unless we are as ruthless. Give an ear to our nobles. Knowing their minds is the key to the throne.

 * Nicolette: When the king returns, he will bury them in those new clothes. Scotland is in chaos. Your husband is secretly sending an army north.
 * Isabella: How do you know this?
 * Nicolette: Last night, I slept with a member of the War Council.
 * Isabella: He shouldn't be telling secrets in bed!
 * Nicolette: Englishmen don't know what a tongue is for.
 * Isabella: [scoffs] This Scottish rebel, Wallace. He fights to avenge a woman?
 * Nicolette: I nearly forgot. A magistrate wished to capture him and found he had a secret lover. So, he cut the girl's throat to tempt Wallace to fight, and fight he did. Knowing his passion for his lost love, they next plotted to take him by desecrating the graves of his father and brother and setting an ambush at the grave of his love. He fought his way through the trap and carried her body to a secret place. Now that's love, no?
 * Isabella: Love? I wouldn't know.

 * William: You know, eventually Longshanks will send his whole Northern Army against us.
 * Campbell: Heavy cavalry, armored horse; shake the very ground.
 * Hamish: They'll ride right over us.
 * William: Uncle Argyle used to talk about it; how no army had ever stood up to a charge of heavy horse.
 * Hamish: So what'll we do?
 * Campbell: Run, hide, the highland way.
 * William: [looking at the trees] We'll make spears. Hundreds of them! Long spears, twice as long as a man.
 * Hamish: That long?
 * William Wallace: Aye.
 * Hamish: Some men are longer than others.
 * Campbell: Your mother been telling you stories about me again, eh?

 * Stephen: [laughs, speaking heavenward] Him? That can't be William Wallace. I'm prettier than this man. [Heavenward] All right Father, I'll ask him. [to William] If I risk my neck for you, will I get a chance to kill Englishmen?
 * Hamish: Is your father a ghost, or do you converse with the Almighty?
 * Stephen: In order to find his equal, an Irishman is forced to talk to God. [Heavenward] Yes, Father! [to William and Hamish] The Almighty says don't change the subject, just answer the fuckin' question.
 * Hamish: Mind your tongue.
 * Campbell: Insane Irish.
 * [Stephen pulls a sharpened stag's horn and holds it to the throat of Campbell, causing everyone else to hold Stephen at sword point]
 * Stephen: Smart enough to get a dagger past your guards, old man.
 * William: That's my friend, Irishman. And the answer to your question is yes, if you fight for me, you get to kill the English.
 * Stephen: Excellent! [puts knife away] Stephen is my name. I'm the most wanted man on my island. Except I'm not on my island of course. More's the pity.
 * Hamish: Your island? You mean Ireland.
 * Stephen: Yeah, it's mine.
 * Hamish: You're a madman.
 * [the group laughs]
 * Stephen: I've come to the right place then. [laughs]

 * Stephen: The Almighty says this must be a fashionable fight. It's drawn the finest people.
 * Lochlan: Where is thy salute?
 * William: For presenting yourselves on this battlefield, I give you thanks.
 * Lochlan: This is our army. To join it you give homage.
 * William: I give homage to Scotland. And if this is your army, why does it go?
 * Veteran: We didn't come here to fight for them.
 * Young Soldier: Home! The English are too many!
 * William: Sons of Scotland! I am William Wallace.
 * Young Soldier: William Wallace is seven feet tall!
 * William: Yes, I've heard. Kills men by the hundreds. And if he were here, he'd consume the English with fireballs from his eyes, and bolts of lightning from his arse. [the Scots laugh] I am William Wallace! And I see a whole army of my country men here in defiance of tyranny. You've come to fight as free men, and free men you are. What will you do with that freedom? Will you fight?
 * Veteran: Fight? Against that? No, we will run. And we will live.
 * William: Aye. Fight and you may die. Run, and you'll live... at least a while. And dying in your beds, many years from now, would you be willing to trade all the days, from this day to that, for one chance, just one chance, to come back here and tell our enemies that they may take our lives, but they'll never take... OUR FREEDOM!!!
 * [the army cheers] William: ALBA GU BRAAATH!!!(SCOTLAND FOREVER!!!)

 * Cheltham: Mornay, Lochlan, Craig. Here are the king's terms. Lead this army off field and he will give you each estates in Yorkshire, including hereditary title, from which you will pay- from which you will pay him an annual duty-
 * William: I have an offer for you.
 * Mornay: Cheltham, this is William Wallace.
 * Cheltham: From which you will pay the king an annual duty-
 * William: I said I have an offer for you.
 * Lochlan: You disrespect a banner of truce?
 * William: From his king? Absolutely. Here are Scotland's terms. Lower your flags, and march straight back to England, stopping at every home you pass by to beg forgiveness for a hundred years of theft, rape, and murder. Do that and your men shall live. Do it not, and every one of you will die today.
 * Cheltham: [laughs] You are outmatched. You have no heavy cavalry. In two centuries no army has won without—
 * William: I'm not finished! Before we let you leave, your commander must cross that field, present himself before this army, put his head between his legs, and kiss his own arse.
 * [Cheltham rides off]
 * Mornay: I'd say that was rather less cordial than he was used to.
 * William: You be ready and do exactly as I say. On my signal, ride round behind our position and flank them.
 * Mornay: We must not divide our forces!
 * William: Do it. And let the English see you do it.
 * Mornay: They'll think we're running away?
 * William: Aye. Take out their archers. I'll meet you in the middle.

 * Craig: Sir William, where are you going?
 * William: We have beaten the English, but they'll come back because you won't stand together.
 * Craig: What will you do?
 * William: I will invade England and defeat the English on their own ground.
 * Craig: [laughs] Invade? That's impossible.
 * William: Why? Why is that impossible? You're so concerned with squabbling for the scraps from Longshank's table that you've missed your God-given right to something better. There is a difference between us. You think the people of this country exist to provide you with position. I think your position exists to provide those people with freedom. And I go to make sure that they have it.

 * Robert: Wait! I respect what you said, but remember that these men have lands and castles. It's much to risk.
 * William: And the common man who bleeds on the battlefield, does he risk less?
 * Robert: No. But from top to bottom this country has no sense of itself. Its nobles share allegiance with England. Its clans war with each other. If you make enemies on both sides of the border, you'll end up dead.
 * William: We all end up dead; it's just a question of how and why.
 * Robert: I'm not a coward. I want what you want, but we need the nobles.
 * William: We need them?
 * Robert: Aye.
 * William: Now tell me, what does that mean to be noble? Your title gives you claim to the throne of our country, but men don't follow titles, they follow courage. Now, our people know you. Noble and common, they respect you. And if you would just lead them to freedom they'd follow you. And so would I.

 * Longshanks: What news of the north?
 * Edward: Nothing new, Your Majesty. We've sent riders to speed any word.
 * Longshanks: I heard the word in France, where I was fighting to expand your future kingdom. The word, my son, is that our entire northern army is annihilated, and you have done nothing.
 * Edward: I-I have ordered conscriptions. They're assembled and ready to depart.
 * [A messenger enters with a guard]
 * Messenger: Excuse me, sire, but there's a very urgent message from York.
 * Longshanks: Come.
 * [the guard hands Edward the message and places a large basket on the table]
 * Longshanks: Leave us.
 * Guard: Thank you, sire. [leaves]
 * Edward: [reads the message] Wallace has sacked York.
 * Longshanks: What?
 * Edward: Wallace has sacked York!
 * [Longshanks snatches the message from Edward, who lifts the cover off the basket and recoils in shock. Longshanks reaches into the basket and pulls out the Governor of York's severed head from inside]
 * Philip: Sire... thy own nephew. What beast could do such a thing?
 * Longshanks: If he can sack York... he can invade lower England.
 * Philip: We would stop him!
 * Longshanks: Who is this person who speaks to me as though I needed his advice?
 * Edward: I have declared Philip my high counselor.
 * Longshanks: Is he qualified?
 * Philip: I am skilled in the arts of war, and military tactics, sire.
 * Longshanks: Are you? Then tell me, what advice would you have to offer of the present... situation?!
 * [he grabs Philip and throws him out the window to his death. Edward draws a dagger and lunges at Longshanks, who sidesteps and strikes him across the face, knocking him to the floor. He kicks Edward in the chest and picks up the dagger, as Edward lies on the floor whimpering in pain.]
 * Longshanks: [pondering on what to do about Wallace] I shall offer a truce... and buy him off. But who will go to him? Not I. If I fell under the sword of that murderer, it might be my head in a basket. And not my gentle son. The mere sight of him would only encourage an enemy to take over the whole country. So whom do I send? Whom do I send?

 * William: I'm dreaming.
 * Murron: Yes you are. And you must wake.
 * William: I don't want to wake. I want to stay here with you.
 * Murron: And I with you.

 * Isabelle: I am the Princess of Wales. I come as the king's servant, and with his authority.
 * William: To do what?
 * Isabelle: To discuss the king's proposals. Will you speak with a woman? [William follows her into the tent] I understand you have been given the rank of knight.
 * William: I have been given nothing. God makes men what they are.
 * Isabelle: Did God make you the sacker of peaceful cities, the executioner of the king's nephew, my husband's own cousin?
 * William: York was the staging point for every invasion of my country. And that royal cousin hanged innocent Scots, even women and children, from the city walls. [Isabelle looks at Hamilton in disbelif] Well, Longshanks did far worse the last time he took a Scottish city.
 * Hamilton: [in Latin] He is a bloody murdering savage. And he's telling lies.
 * William: [in Latin] I never lie. But I am a savage. [in French] Or in French if you prefer? [in English] You ask your king, to his face, ask him. You see if his eyes can convince you of the truth.
 * Isabelle: Hamilton, leave us.
 * Hamilton: My lady?
 * Isabelle: Leave us. Now. [Hamilton leaves the tent] Let us talk plainly. You invade England, but you can not complete the conquest so far from your shelter and supply. The king desires peace.
 * William: Longshanks desires peace?
 * Isabelle: He declares it to me, I swear it. He proposes that you withdraw your attack. In return he grants you title, estates, and this chest of gold which I am to pay to you personally.
 * William: A lordship and titles. Gold. That I should become Judas?
 * Isabelle: Peace is made in such ways.
 * William: Slaves are made in such ways! The last time Longshanks spoke of peace I was a boy. And many Scottish nobles, who would not be slaves, were lured by him under a flag of truce to a barn, where he had them hanged. I was very young, but I remember Longshanks' notion of "peace".
 * Isabelle: I understand you have suffered. I know... about your woman.
 * William: She was my wife. We married in secret because I would not share her with an English lord. They killed her to get to me. I have never spoken of it. I don't know why I tell you now, except... I see her strength in you. One day, you'll be a queen. And you must open your eyes. You tell your king that William Wallace will not be ruled... and nor will any Scot while I live.

 * Longshanks: Ah, my son's loyal wife returns unkilled by the heathen. So he accepted our bribe?
 * Isabelle: No, he did not.
 * Longshanks: Then why does he stay? My scouts tell me he has not advanced.
 * Isabelle: He waits for you at York. He says he will attack no more towns or cities if you are man enough to come face him.
 * Longshanks: Did he? The Welsh bowmen will not be detected arriving so far around his flank. The main force of our armies from France will land here to the north of Edinburgh. Conscripts from Ireland will approach from the southwest to here.
 * Edward: Welsh bowmen? Troops from France? Irish conscripts? Even if you dispatched them today, they'd take weeks to assemble.
 * Longshanks: I dispatched them before I sent your wife. [to Isabelle] So our little ruse succeeded. Thank you. And while this upstart awaits my arrival in York, my forces will have arrived in Edinburgh behind him. You spoke with this Wallace in private? Tell me, what kind of man is he?
 * Isabelle: A mindless barbarian, not a king like you, my lord.
 * Longshanks: You may return to your embroidery.
 * Isabelle: Humbly, my lord. [turns to leave]
 * Edward: You brought back the money, of coarse?
 * Isabelle: No. I gave it to ease the suffering of the children of this war.
 * Longshanks: [laughs] That's what happens when you send a woman!
 * Isabelle: Forgive me, sire. I thought that generosity might demonstrate your greatness to those you mean to rule.
 * Longshanks: My greatness will be better demonstrated when Wallace returns to Scotland and finds his country in ashes.

 * Robert the Bruce: Now you've achieved more than anyone ever dreamed, but fighting these odds it looks like rage, not courage.
 * William: It's well beyond rage. Help me. In the name of Christ help yourselves! Now is our chance, now! If we join, we can win. If we win, well then we'll have what none of us have ever had before; a country of our own. You are the rightful leader and there is strength in you. I see it. Unite us. Unite us. Unite the clans!

 * The Leper: I'm the one who's rotting, but I think your face looks graver than mine. Son, we must have alliance with England to prevail here. You achieved that. You saved your family, increased your land. In time, you will have all the power in Scotland.
 * Robert the Bruce: Lands, titles, men, power... nothing.
 * The Leper: Nothing?
 * Robert the Bruce: I have nothing. Men fight for me because if they do not, I throw them off my land and I starve their wives and children. Those men who bled the ground red at Falkirk fought for William Wallace. He fights for something that I never had. And I took it from him, when I betrayed him. I saw it in his face on the battlefield! And it's tearing me apart.
 * The Leper: All men betray. All lose heart.
 * Robert: I DON'T WANT TO LOSE HEART! I want to believe as he does. I will never be on the wrong side again.

 * Noble: Lord Craig, is it true about Mornay?
 * Craig: Aye. Wallace rode into his bead chamber and killed him. More a liability now then ever he was. And there's no telling who'll be next.
 * Robert the Bruce: Maybe you. Maybe me. [chuckles] It doesn't matter.
 * Craig: I'm serious, Robert.
 * Robert the Bruce: [angrily slams the table] SO AM I!

 * William: M'lady. I received your message. This is the second time you have warned me of danger. Why?
 * Isabelle: There will be a new shipment of supplies coming north next month, foods and weapons, they won't...
 * William: No, stop. Why do you help me? Why do you help me?
 * Isabelle: Because of the way you're looking at me now.

 * William: Look at us. We've got to try. Joining the nobles is the only way. You know what happens if we don't take that chance?
 * Hamish: What?
 * William: Nothing.
 * Hamish: I don't want to be a martyr.
 * William: Nor I. I want to live. I want a home and children, and peace.
 * Hamish: Do ya?
 * William: Aye, I do. I've asked God for these things. It's all for nothing if you don't have freedom.
 * Hamish: It's just a dream, William.
 * William: A dream? Just a dream? What we've been doing all this time? We've lived that dream.
 * Hamish: Your dream isn't about freedom, it's about Murron. You're doing this to be a hero because you think she sees you!
 * William: I don't think she sees me, I know she does. And your father sees you too.
 * [Hamish punches William in anger]

 * [After William is arrested]
 * Robert: Father! You! Rotting! Bastard! Why? Why?!
 * The Leper: Longshanks required Wallace. So did our nobles. That was the price of your crown.
 * [pins to the wall]
 * Robert the Bruce: Die! I want you to die.
 * The Leper: Soon enough I'll be dead. And you'll be king.
 * Robert: I don't want anything from you. You're not a man! And you're not my father.
 * The Leper: You are my son and you have always known my mind.
 * Robert: You deceived me.
 * The Leper: You let yourself be deceived. In your heart, you always knew what had to happen here. At last, you know what it means to hate. Now you're ready to be a king.
 * Robert: My hate... will die... with you.

 * Royal Magistrate: William Wallace, you stand in taint of High Treason.
 * William: Against whom?
 * Royal Magistrate: Against your king. Have you anything to say?
 * William: Never in my whole life did I swear allegiance to him.
 * Royal Magistrate: It matters not. He is your king. Confess, and you may receive a quick death. Deny, and you must be purified by pain. Do you confess? [William remains silent] Do you confess? Then on the morrow you shall receive your purification.

 * William: M'lady.
 * Isabelle: Sir, I've come to beg you to confess all and swear allegiance to the king that he might show you mercy.
 * William: Will he show mercy to my country?
 * Isabelle: Mercy is to die quickly, perhaps even live in a tower. In time, who knows what can happen... if you can only live.
 * William: If I swear to him, then all I am is dead already.
 * Isabelle: [sobbing] You will die. It will be awful.
 * William: Every man dies. Not every man really lives.
 * Isabelle: [holds out a vial] Drink this. It will dull your pain.
 * William: No, it will numb my wits, and I must have them all. For if I'm senseless or if I wail, then Longshanks will have broken me.
 * Isabelle: I can't bear the thought of your torture. Take it.
 * William: All right.

 * Isabella: I have come to beg for the life of William Wallace.
 * Edward: You're quite taken with him, aren't you?
 * Isabella: I respect him. [to Longshanks] At worst he was a worthy enemy. Show mercy, o great king, and win the respect of your own people. Even now you are incapable of mercy. [to Edward] And you. To you that word is as unfamiliar as love.
 * Edward: Before he lost his powers of speech he told me his one comfort was he would live to know Wallace was dead.
 * Isabella: [whispers in Longshanks ear] You see, death comes to us all. But before it comes to you, know this: Your blood dies with you. A child who is not of your line grows in my belly. Your son will not sit long on the throne, I swear it.

 * [William Wallace is momentarily still alive after being drawn, castrated, and eviscerated]
 * Royal Magistrate: It can all end, right now. Peace. Bliss. Just say it. Cry out mercy.
 * Crowd: Mercy... mercy!
 * Royal Magistrate: Cry out. Just say it. Mercy.
 * Hamish: Mercy lad, mercy.
 * Stephen: Jesus, mercy.
 * Royal Magistrate: [to crowd] The prisoner wishes to say a word.
 * William: FREEEEE-DOOOOOMMMMMM!!!!!

 * Craig: Come. Lets get this over with.
 * Robert: Wait. [to the army] You have bled with Wallace! Now bleed with me.

Taglines

 * Every man dies; not every man really lives.
 * What gives men the will to fight hard...the passion to bleed long...the strength to die well?
 * His passion captivated a woman. His courage inspired a nation. His heart defied a king.
 * In a land of timeless beauty, William Wallace was a man of peace. But when a ruthless king threatened his home, and murdered the woman he loved, William Wallace was driven to war...and to win for his people something they never dreamed of having. Their own country. (from theatrical trailer)
 * Who does history remember? Those who beg for mercy? Or those who bleed for freedom?
 * To dwell in the shadow of a crown is not to truly live.
 * What could drive a man to revolt against a kingdom...and what sort of people would fight beside such a man?

Cast

 * Mel Gibson - William Wallace
 * Jamie Robinson - Young William Wallace
 * Sophie Marceau - Princess Isabella of France
 * Angus Macfadyen - Robert the Bruce
 * Patrick McGoohan - King Edward "Longshanks"
 * Catherine McCormack - Murron MacClannough
 * Mhairi Calvey - Young Murron
 * Brendan Gleeson - Hamish
 * Andrew Weir - Young Hamish
 * Peter Hanly - Prince Edward
 * James Cosmo - Campbell
 * David O'Hara - Stephen of Ireland
 * Ian Bannen - Bruce's father
 * Seán McGinley - MacClannough
 * Brian Cox - Argyle Wallace
 * Sean Lawlor - Malcolm Wallace
 * Sandy Nelson - John Wallace
 * Stephen Billington - Phillip
 * John Kavanagh - Craig
 * Alun Armstrong - Mornay
 * John Murtagh - Lochlan

title: Braveheart


text:
User talk:Jeffq/Experiments/MST3KTOC

Introduction
This table is my best compromise between table-of-contents compactness and utility, based on the ideas that: Of these alternatives, only (2) is aided significantly by a TOC, and the new TOC provides all the episode and shorts links on the first screen. Admittedly, having the episode title appear (in a Wiki-encoded format that adds underscores and translates punctuation into odd sequences, like ".21") in the browser status bar is not ideal. On the other hand, this table also adds a few additional benefits: These are, of course, side benefits for a quote page, probably more useful in a Wikipedia article. (Hmm… maybe List of MST3K episodes could use it.) But I hope readers (and editors) will find this TOC interesting and useful. — Jeff Q (talk) 22:24, 3 Apr 2005 (UTC)
 * 1) People who don't know the episode names aren't going to find the standard TOC very useful;
 * 2) People who know the names spend too much effort scrolling or paging down to the appropriate episode in the TOC just to click-jump to the episode, and may just use their browser Find/Search function to get there more quickly;
 * 3) People who are looking for a specific quote aren't going to use the TOC; and
 * 4) People who just like looking at quotes are just going to hop around anyway.
 * It shows a succinct overview of the progress of the 11-year series, including:
 * How many episodes each season had.
 * How many shorts there were.
 * When the personnel and channel changes occurred.
 * Plus, it just looks neat.

Pop-up titles
As of this posting, there are three ways to know what episode/short goes with which numbered box: I would dearly love to have the episode title (in its correct form, not the URL version) pop up on the screen when someone hovers over each box. I know several ways to do this with HTML, CSS, and JavaScript, but this limits the audience whose browsers can handle this, and is in some contradiction to Wiki philosophy. If anyone can suggest a Wiki way to make this happen, I would be greatly indebted. — Jeff Q (talk) 22:33, 3 Apr 2005 (UTC)
 * 1) Memorize the entire list, which is pointless for anyone except hardcore fans of the show. (It doesn't help with the shorts, anyhow, since they have no official numbering system. They're in alphabetical order in this TOC.)
 * 2) Click on a link to see where you go. If you're looking for a specific episode, and you don't know when it aired, this isn't very helpful.
 * 3) Hover over the numbered boxes until your browser status bar shows a URL that ends with the episode title you're after. This is, as I mention above, hardly ideal, but is the best I could do with ordinary Wiki markup.

 * I've figured out a decent way to make the titles pop up, by wrapping each link label (a terse 2-digit code) in a SPAN tag with a TITLE attribute that has the title. Most modern browsers will display these as tooltips. (I confirmed this for Firefox 1.0.2, Mozilla 1.6, and Opera 7.2.3 (and know it works with Opera 6), and verified that it does not work with ancient Netscape 4.79. For some reason, it wouldn't work for this table in MSIE 6.0, despite the fact that span-title elements usually do work this way in IE. (It may have something to do with how these elements are buried inside Wiki markup, with the span element's title failing to override whatever else it's inside of.) All the browsers I tested still show the URL for the link, which includes the title, however oddly formatted. If anyone knows how to fix the MSIE problem, or has a better mechanism for accomplishing this title pop-up, please let me know. — Jeff Q (talk) 10:02, 13 Apr 2005 (UTC)

Comments
Excellent idea! It looks indeed neat. Would you let me make a comment? The basic design and idea of TOC is great, but in my personal preferences, I like more soft (or not so bright) color. I think this TOC can apply to other TV series. Nice idea. --Aphaia 07:55, 13 Apr 2005 (UTC)

 * I agree with you on softer colors. My goal was to distinguish between 18 different pastel colors in 9 strikingly different groups, to provide an instant feel for the flow of the series. I had some concern about browsers or computers that might reduce the colors to a "web-safe" palette, and I don't have a convenient setup for testing this potential problem, so I think I probably made some colors a bit bolder than I'd like them, too. (I'm not even sure that "web-safe" colors are much of an issue anymore. If they are, even the current solution isn't completely adequate.) I'm certainly open to varying the colors, so long as the vast majority of readers can see at a glance how the seasons are broken up — without making the table's contents difficult to read, of course. — Jeff Q (talk) 10:11, 13 Apr 2005 (UTC)

title: User talk:Jeffq/Experiments/MST3KTOC


text:
Nick Drake

Nicholas Rodney Drake (19 June 1948 – 25 November 1974) was an English folk singer-songwriter and musician.

Song lyrics

 * I'm growing old and I wanna go home. I'm growing old and I don't wanna know.
 * Black Eyed Dog, first appeared on Fruit Tree (1979)

 * The world hums on at its breakneck pace; People fly in their lifelong race. For them there's a future to find, But I think they're leaving me behind.
 * Leaving Me Behind, appeared on Family Tree (2007)

Five Leaves Left (1969)

 * Time has told me You're a rare, rare find, A troubled cure for a troubled mind.
 * Time Has Told Me

 * So I'll leave the ways that are making me be What I really don't want to be. Leave the ways that are making me love What I really don't want to love.
 * Time Has Told Me

 * Going to see the river man, Going to tell him all I can About the plan For lilac time. If he tells me all he knows 'Bout the way his river flows, And all night shows In summertime.
 * River Man

 * Going to see the river man. Going to tell him all I can About the ban On feeling free. If he tells me all he knows About the way his river flows, I don't suppose It's meant for me.
 * River Man

 * Have you seen the land living by the breeze? Can you understand the lights upon the trees? Tell me all that you may know Show me what you have to show Tell us all today if you know the way to blue...
 * Way To Blue

 * When the day is done, Down to earth then sinks the sun, Along with everything that was lost and won, When the day is done.
 * Day is Done

 * Fame is but a fruit tree: So very unsound. It can never flourish Till its stalk is in the ground. So men of fame Can never find a way Till time has flown Far from their dying day. Forgotten while you're here, Remembered for a while. A much updated ruin From a much outdated style.
 * Fruit Tree

 * Life is but a memory, Happened long ago. Theatre full of sadness For a long forgotten show. Seems so easy Just to let it go on by Till you stop and wonder Why you never wondered why.
 * Fruit Tree

 * Safe in the womb of an everlasting night, You find the darkness can give the brightest light. Safe in your place deep in the earth, That's when they'll know what you were really worth.
 * Fruit Tree

Bryter Later (1970)

 * And what will happen in the morning when the world it gets So crowded that you can't look out the window in the morning?
 * Hazey Jane II

 * And at the chime of the city clock Put up your road block. Hang on to your crown. For a stone in a tin can Is wealth to the city man Who leaves his armour down.
 * At the Chime of a City Clock

 * I could have been a sailor, could have been a cook, A real live lover, could have been a book, I could have been a signpost, could have been a clock, As simple as a kettle, steady as a rock. I could be here and now, I would be, I should be, but how? I could have been one of these things first.
 * One of These Things First

 * Do you curse where you come from? Do you swear in the night? Will it mean much to you If I treat you right? Do you like what you're doing? Would you do it some more? Or will you stop once and wonder What you're doing it for? Hey slow Jane, make sense. Slow, slow, Jane, cross the fence.
 * Hazey Jane I

 * Please give me a second grace. Please give me a second face. I've fallen far down The first time around. Now I just sit on the ground in your way.
 * Fly

 * Please tell me your second name. Please play me your second game. I've fallen so far For the people you are. I just need your star for a day.
 * Fly

 * I never felt magic crazy as this, Never saw moons, knew the meaning of the sea, I never held emotion in the palm of my hand, Or felt sweet breezes in the top of a tree, But now you're here. Brighten my northern sky.
 * Northern Sky

 * Would you love me for my money? Would you love me for my head? Would you love me through the winter? Would you love me 'til I'm dead? Oh, if you would and you could, Come blow your horn on high.
 * Northern Sky

Pink Moon (1972)

 * Saw it written and I saw it say Pink moon is on its way And none of you stand so tall Pink moon's gonna get ye all.
 * Pink Moon

 * And I was strong, strong in the sun I thought I'd see when day is done. Now I'm weaker than the palest blue Oh, so weak in the need for you.
 * Place to Be

 * Don't be shy you learn to fly. And see the sun when day is done. If only you see Just what you are beneath a star That came to stay one rainy day In autumn for free. Yes, be what you'll be.
 * Things Behind the Sun

 * And now we rise And we are everywhere.
 * From The Morning

Quotes about Nick Drake

 * Since Nick Drake's death, his eerie, jazz-tinged folk music has had an ever-growing cult following.
 * The Rolling Stone Encyclopedia of Rock & Roll, (Third Edition), p. 280

title: Nick Drake