text:
Gene Ray

Otis Eugene Ray (1927 - March 18, 2015) was an American self-described scientist and creator of the Time Cube Theory.

Quotes

 * Gene Ray: Another thing, did you know your father is a fish? Interviewer: No, I did not know my... [laughter] Gene Ray: You know how salmon swim upstream, the male fertilizes the female eggs laid in the water? Interviewer: Yes. Gene Ray: The sperm fish swims upstream just like the salmon fertilizes female eggs laid in the water.
 * Radio KoL interview, April 9, 2004

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

title: Gene Ray


text:
Talk:Gene Ray

$$Insert formula here$$"Man's most valuable trait is a judicious sense of what not to believe." ~ Euripides

"Tis Time to kill any educator who does not teach Cubicism above cubelessness. To save humanity--71.35.129.95 07:51, 2 Apr 2005 (UTC) from [[Media:extinction, like prior civilizations]] perished, youth must redirect self teachers, or destroy them. ... It is not immoral for students to kill all educators who ignore Nature's Harmonic Time Cube or suppress free speech rights to debate Time Cube Creation Principle." ~ Gene Ray (as quoted in the Wikipedia article)

A couple quips of the wise and the foolish to bear in mind. ~ Moby 15:01, 16 Jun 2004 (UTC)

 * ''[[Image:

--71.35.129.95 07:51, 2 Apr 2005 (UTC)Oh, let me guess.

 * These ones are wise: "Man's]]'' most valuable trait is a judicious sense of what not to believe." "Tis Time to kill any educators who does not teach Singularity above Cubicism. To save humanity from extinction, like prior civilizations perished, youth must redirect self teachers, or destroy them. ... It is not immoral for students to kill all educators who ignore Nature's Harmonic Time Cube or suppress free speech rights to debate Time Cube Creation Principle."

 * And this one is foolish: "A couple quips of the wise and the foolish to bear in mind."

this is kool

TimeCube.com

 * YOU KNOW WHAT!!! You are educated stupid as teachers lack intelligence. Truth is Cubic. Time is Cubic... Life is Cubic.... Form is Cubic.. Family is Cubic.. Village is Cubic.. Evil is cubeless. Self is cubeless. God is cubeless. Language is a human invention of an evil cubeless singularity.

 * Hey stupid - are you too dumb to know there are 4 different simultaneous 24 hour days within a single rotation of Earth?

 * Linear Time is wrong and suicidal.

 * -1 x -1 = +1 is stupid and evil.

 * I bestow upon myself the "Doctorate of Cubicism", for educators are ignorant of Nature's Harmonic Time Cube Principle and cannot bestow the prestigious honor of wisdom upon the wisest human ever.

 * Dumb academicians cannot comprehend their slavery to counterfeit word and its evil. Word enslaves mind. Talking dog could enslave humanity. Teachers enslave you stupid.

 * YOU are the lowest form.
 * YOU can't procreate alone.
 * YOU destroyed the village.
 * YOU destroyed the family.
 * YOU destroyed childhood.
 * YOU destroyed naturalism.
 * YOU don't know the Truth.
 * YOU pitiful mindless fools,
 * YOU are educated stupid.
 * YOU worship cubeless word.
 * YOU are your own poison.
 * YOU create your own hell.
 * YOU must seek Time Cube.

 * I think Cubic, I am wisest. You think self, you are evil. Your Professors are stupid evil Liars, and fear the Time Cube Truth.

 * There is "absolute proof" that You are personified pyramid.

 * My wisdom so antiquates known knowledge, that a psychiatrist examining my behavior, eccentric by his academic single corner knowledge, knows no course other than to judge me schizoprenic. In today's society of greed, men of word illusion are elected to lead and wise men are condemned. You must establish a Chair of Wisdom to empower Wise Men over the stupid intelligentsia, or perish.

 * ARE YOU JEWISH? I Am Not Jewish, Neither Was My Mother Or Father. Anyone saying that Jesus and his Jewish father had something to do with my birth, is a damn evil liar. I am of Nature's Harmonic Time Cube - in which both word and god are outlawed. No plant nor animal speaks word, a fraud by evil adults.

 * WARNING: Education corrupts your rationale to know. Students suspended for viewing Time Cube. Test free speech right to debate Time Cube. This site may be hazardous to your stupidity.

 * Minds must see a Time Cube, that eyes cannot comprehend.

 * I am wiser than any god or scientist, for I have squared the circle and cubed Earth's sphere, thus I have created 4 simultaneous separate 24 hour days within a 4-corner (as in a 4-corner classroom) rotation of Earth. See for yourself the absolute proof.

 * Tis Time to kill any educator who does not teach Cubicism above cubelessness. To save humanity from extinction, like prior civilizations perished, youth must redirect self teachers, or destroy them. ... It is not immoral for students to kill all educators who ignore Nature's Harmonic Time Cube or suppress free speech rights to debate Time Cube Creation Principle.

 * It's not immoral to kill Americans who IGNORE their OPPOSITE sex parents who Created them, but instead worship a queer jew who claims to make people out of dirt - when the body is 90 percent water. A God so stupid that he claims only a single day rotation of Earth - while my Cubic Wisdom has allowed me to create 4 simultaneous days within a single Earth rotation. Americans do not deserve life. They live only for today, the evil singularity word bastards.

 * The entity you seek is death.

title: Talk:Gene Ray


text: User:Vertigo~enwikiquote

title: User:Vertigo~enwikiquote


text:
Anthony Zinni

Anthony Zinni (born September 17, 1943) is a retired general in the United States Marine Corps. He served as Commander-in-Chief of the U.S. Central Command.

Quotes

 * I think it's (Israeli pressure for invading Iraq) the worst kept secret in Washington, everybody I talked to in Washington has known and fully knows what their agenda was and what they were trying to do; because I mentioned the Neo-Conservatives who describe themselves as Neo-Conservatives, I was called, Anti-Semitic.
 * interview on the 60 Minutes, 21 May 2004''

 * The United Nations offers international legitimacy in what we might do.
 * http://www.msnbc.msn.com/id/18094428/page/2/

The Battle for Peace (2006)

 * Nearly four years after our country invaded and occupied Iraq, Americans are facing the painful truth that our nation has failed to achieve the Bush administration’s ambitious goals for that tragic land.

 * We promised the Iraqi people freedom, democracy, security and a new and far better life.

 * Yet, here we are, long and difficult years into that conflict,” ... “we still have not created the state we promised them.  On the contrary, our costly and valiant efforts have produced an outcome our government did not predict or intend—a failed state spinning out of control into anarchy and civil war.
 * Pages 227-228 of The Battle for Peace: A Frontline Vision of America's Power and Purpose, ISBN 978-1403971746 (released in March 2006)

Before the First Shots Are Fired (2014)

 * When I joined the United States Marine Corps as an eighteen-year-old in 1961, I would have told you that wars are always decided entirely on the battlefield. That's where the generals win or lose. I retired in 2000 after four decades of service and multiple experiences in wars and military interventions. By then I had come to realize that there is more to it than that. Political decisions, intelligence estimates, strategies (or their absence), and many other non-battlefield components influenced outcomes to a far greater degree than that eighteen-year-old new Marine could have ever imagined. These off the battlefield components have become increasingly significant as each new intervention is attempted in today's complex world.
 * p. ix

 * How the hell did we get here?" is the question we are left with when the smoke clears. And, inevitably, the answers we get from the men and women who lead us into these commitments are laced with excuses. "We can never know how things will turn out," they tell us with a bewildered shrug. "It's the nature of war to be unpredictable." Or they say, "The burden of all our responsibilities and the crisis response timing made clear planning and actions impossible." Or, "Every war is different." These are copouts.
 * p. 3

title: Anthony Zinni


text:
Marketing

Marketing is the process of communicating the value of a product or service to customers. Marketing might sometimes be interpreted as the art of selling products, but selling is only a small fraction of marketing. As the term "Marketing" may replace "Advertising" it is the overall strategy and function of promoting a product or service to the customer.

 * CONTENT : A - F, G - L , M - R , S - Z , See also , External links

Quotes

 * Quotes are arranged alphabetically by author

A - F

 * Marketing is the process of planning and executing the conception, pricing, promotion, and distribution of ideas, goods, and services to create exchanges that satisfy individual and organizational objectives.
 * American Marketing Association (1985), as quoted in Principles of Marketing Management (1986) by R. P. Bagozzi, p. 26

 * Marketing ... is the biggest industry in the world, and it’s invisible. It’s the planet’s largest religion, but the billions who worship it don’t know it. It’s vast, insidious and completely corrupt. Marketing is like LA. It’s like a gorgeous, brainless model in LA. A gorgeous, brainless model on cocaine having sex drinking Perrier in LA. That’s the best way I know how to describe it.
 * Max Barry, Syrup (1999), p. 5 (ellipsis represents elision of a brief parenthetical comment)

 * “Oh, let me guess,” Tina says. “He’s a marketer.” “Hi,” I say. …“I hope they pay you well for strangling the youth of this country with cultural conformity.”
 * Max Barry, Syrup (1999), p. 59 (ellipsis represents the elision of two sentences of description)

 * There was no place for irony in marketing: it made people want to look for deeper meaning. There was no place in marketing for that, either.
 * Max Barry, Jennifer Government (2003), p. 116

 * The future of marketing belongs to honest information, accurate data and clear claims based on truth.
 * Patrick Dixon Building a Better Business (2005)

 * The aim of marketing is to know and understand the customer so well the product or service fits him and sells itself.
 * Peter Drucker in: Philip Kotler Standing Room Only: Strategies for Marketing the Performing Arts, Harvard Business Press, 1 January 1997, p. 33

 * I believe we are born with our minds open to wonderful experiences, and only slowly learn to limit ourselves to narrow tastes. We are taught to lose our curiosity by the bludgeon-blows of mass marketing, which brainwash us to see "hits," and discourage exploration.
 * Roger Ebert in: Jonathan Silverman, Dean Rader (2005), The world is a text, p. 315

G - L

 * Until I came to IBM, I probably would have told you that culture was just one among several important elements in any organization's makeup and success — along with vision, strategy, marketing, financials, and the like... I came to see, in my time at IBM, that culture isn't just one aspect of the game, it is the game. In the end, an organization is nothing more than the collective capacity of its people to create value.
 * Louis V. Gerstner, Jr. Who Says Elephants Can’t Dance? (2002)

 * Google Cayce Pollard and you will find "coolhunter," and if you look closely you may see it suggested that she is a "sensitive" of some kind, a dowser in the world of global marketing. Though the truth…is closer to allergy, a morbid and sometimes violent reactivity to the semiotics of the marketplace.
 * William Gibson, Pattern Recognition (novel), 2003

 * By the way, if anyone here is in advertising or marketing...kill yourself...you're the ruiner of all things good...you are Satan's spawn, filling the world with bile and garbage...kill yourself.
 * Bill Hicks (1961 - 1994), "Revelations" (1992)

 * The art of marketing is largely the art of brand building. When something is not a brand, it will be probably be viewed as a commodity.
 * Philip Kotler (1999), as cited in: Dennis Adcock, Al Halborg, Caroline Ross (2001), Marketing: Principles and Practice. p. 208

 * Society drives people crazy with lust and calls it advertising.
 * John Lahr (1941- ), The Guardian (August 1989)

M - R

 * Ads are the cave art of the twentieth century.
 * Marshall McLuhan (1911-1980), Culture Is Our Business (1970)

 * Nowhere, except perhaps in the analogous society of pagan Rome, has there ever been such a flowering of cheap and petty and disgusting lusts and vanities as in the world of capitalism, where there is no evil that is not fostered and encouraged for the sake of making money. We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.
 * Thomas Merton, The Seven Storey Mountain (1948), p. 148

 * Give them quality. That's the best kind of advertising in the world.
 * Milton Hershey. Interview with Abe Heilman, 1953. Paul Wallace Research Collection, Accession 97004, Box 2, Folder 24; Hershey Community Archives, Hershey, PA, USA.

 * The flaw of target marketing is that it assumes people are indifferent to variety. Suburban white boys won't listen to Rap because supposedly they can't relate to urban black youths hopping around to all beat and no melody. What we get is music segregation on the airwaves and the record racks.
 * Richard Menta, in: Three Lawsuits and a Funeral - 11/30/2001

 * Marketing is far too important to be left only to the marketing department!.
 * David Packard cited in Philip Kotler (2000), Marketing Management, Millenium Edition. p. 13

S - Z

 * Another forerunner of modern organization theorists was Andrew Ure, a professor of chemistry. An enthusiastic proponent of “the factory system,” Ure (1835) took a step beyond Adam Smith. Whereas Smith’s pin factory was solely an example of division of labor, Ure pointed out that a factory poses organizational challenges. He asserted that every factory incorporates “three principles of action, or three organic systems”: (a) a “mechanical” system that integrates production processes, (b) a “moral” system that motivates and satisfies the needs of workers, and (c) a “commercial” system that seeks to sustain the firm through financial management and marketing. Harmonizing these three systems, said Ure, was the responsibility of managers.
 * William H. Starbuck (2005). "The Origins of Organizational Theory," p. 149-150

 * Except for ... people with enough power to tell the studio ‘I’m going to make a movie about dreams and there’s nothing you can do about it,’ ... everything else is driven by marketing, entirely by marketing.
 * Steven Seth Wilson, as interviewed by The Hollywood Outsider July 21, 2014

title: Marketing


text:
User talk:202.88.174.184

It is inappropriate to add quotations in archival pages that are a record of quotes that have been used as Quotes of the day. The statement you were posting would be more appropriate in the Quote of the Day proposals page. ~ Kalki 05:46, 17 Jun 2004 (UTC)

title: User talk:202.88.174.184


text:
James Joyce

James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist, short-story writer and poet.
 * See also:
 * A Portrait of the Artist as a Young Man (1916)
 * Ulysses (1922)

Quotes

 * Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality. It speaks of what seems fantastic and unreal to those who have lost the simple intuitions which are the test of reality; and, as it is often found at war with its age, so it makes no account of history, which is fabled by the daughters of memory.
 * "James Clarence Mangan" (1902), a lecture on Mangan delivered at the Literary and Historical Society, University College, Dublin (1 February 1902) and printed in the college magazine St. Stephen's

 * Every age must look for its sanction to its poetry and philosophy, for in these the human mind, as it looks backward or forward, attains to an eternal state.
 * "James Clarence Mangan" (1902)

 * Beauty, the splendour of truth, is a gracious presence when the imagination contemplates intensely the truth of its own being or the visible world, and the spirit which proceeds out of truth and beauty is the holy spirit of joy. These are realities and these alone give and sustain life.
 * "James Clarence Mangan" (1902)

 * I saw through him telling me all the lovely places we could go for the honeymoon Venice by moonlight with the gondolas and the lake of Como he had a picture cut out of some paper.
 * “Ulysses” (1922)
 * There is no heresy or no philosophy which is so abhorrent to the church as a human being.
 * Letter to Augusta Gregory (22 November 1902), from James Joyce by Richard Ellmann (1959) [Oxford University Press, 1983 edition, ISBN 0-195-03381-7 ] (p. 107)

 * All things are inconstant except the faith in the soul, which changes all things and fills their inconstancy with light, but though I seem to be driven out of my country as a misbeliever I have found no man yet with a faith like mine.
 * Letter to Augusta Gregory (22 November 1902), from James Joyce by Richard Ellmann (1959) [Oxford University Press, 1983 edition, ISBN 0-195-03381-7 ] (p. 107)

 * My heart, have you no wisdom thus to despair? My love, my love, my love, why have you left me alone?
 * From the poem I Hear an Army

 * Our civilization, bequeathed to us by fierce adventurers, eaters of meat and hunters, is so full of hurry and combat, so busy about many things which perhaps are of no importance, that it cannot but see something feeble in a civilization which smiles as it refuses to make the battlefield the test of excellence.
 * "A Suave Philosophy," in Daily Express, Dublin (6 February 1903), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, ISBN 0-192-83353-7 ], p. 67

 * Art is the human disposition of sensible or intelligible matter for an aesthetic end.
 * Notebook entry, Paris (28 March 1903), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, 2002, ISBN 0-192-83353-7 ], p. 104

 * The Irishman, finding himself in another environment, outside Ireland, very often knows how to make his worth felt. The economic and intellectual conditions of his homeland do not permit the individual to develop. The spirit of the country has been weakened by centuries of useless struggle and broken treaties. Individual initiative has been paralyzed by the influence and admonitions of the church, while the body has been shackled by peelers, duty officers and soldiers. No self-respecting person wants to stay in Ireland. Instead he will run from it, as if from a country that has been subjected to a visitation by an angry Jove.
 * "Ireland, Island of Saints and Sages," lecture, (27 April 1907), Università Popolare, Trieste, printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, ISBN 0-192-83353-7 ], p. 123

 * I confess that I do not see what good it does to fulminate against the English tyranny while the Roman tyranny occupies the palace of the soul.
 * "Ireland, Island of Saints and Sages," lecture, Università Popolare, Trieste (27 April 1907), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, 2002, ISBN 0-192-83353-7 ], p. 125

 * To say that a great genius is half-mad, while recognizing his artistic prowess, is worth as much as saying that he was rheumatic, or that he suffered from diabetes. Madness, in fact, is a medical expression to which a balanced critic should pay no more heed than he would to the accusation of heresy brought by the theologian, or to the accusation of immorality brought by the public prosecutor.
 * "Realism and Idealism in English Literature (Daniel Defoe - William Blake)," lecture, Università Popolare, Trieste (February 27-28, 1912), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, ISBN 0-192-83353-7 ], p. 179

 * Christopher Columbus, as everyone knows, is honoured by posterity because he was the last to discover America.
 * "The Mirage of the Fisherman of Aran: England's Safety Valve in Case of War," Piccolo della Sera (Trieste, 5 September 1912), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, ISBN 0-192-83353-7 ], p. 203

 * Love (understood as the desire of good for another) is in fact so unnatural a phenomenon that it can scarcely repeat itself, the soul being unable to become virgin again and not having energy enough to cast itself out again into the ocean of another's soul.
 * Notes (1913) made by Joyce for his play Exiles

 * You forget that the kingdom of heaven suffers violence: and the kingdom of heaven is like a woman.
 * Exiles (1915), Act II

 * Writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why.
 * Letter to Fanny Guillermet (Zurich, 5 September 1918)

 * I want to give a picture of Dublin so complete that if the city suddenly disappeared from the earth it could be reconstructed out of my book.
 * Said in conversation with Frank Budgen, Zurich, 1918, as told by Budgen in his book James Joyce and the Making of "Ulysses" (1934), ch. IV

 * The pity is the public will demand and find a moral in my book — or worse they may take it in some more serious way, and on the honor of a gentleman, there is not one single serious line in it.
 * To Djuna Barnes, in an interview published in Vanity Fair (March 1922)

 * One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot.
 * Referring to Finnegans Wake in a letter to Harriet Shaw Weaver (24 November 1926)

 * Does nobody understand?
 * Last words (January 1941)

 * If I gave it all up immediately, I'd lose my immortality. I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality.
 * Joyce's reply for a request for a plan of Ulysses, as quoted in James Joyce (1959) by Richard Ellmann

 * The demand that I make of my reader is that he should devote his whole Life to reading my works.
 * Interview with Max Eastman in Harper's Magazine, as quoted in James Joyce (1959) by Richard Ellmann. Eastman noted "He smiled as he said that — smiled, and then repeated it."

 * My words in her mind: cold polished stones sinking through a quagmire.
 * Giacomo Joyce (1968)

 * When I hear the word "stream" uttered with such a revolting primness, what I think of is urine and not the contemporary novel. And besides, it isn't new, it is far from the dernier cri. Shakespeare used it continually, much too much in my opinion, and there's Tristram Shandy, not to mention the Agamemnon.
 * Said in conversation with Frederic Prokosch and quoted in Prokosch's Voices: A Memoir (1983), "At Sylvia’s." Joyce was replying to Prokosch's statement that Molly Bloom’s monologue in Ulysses was written as a stream of consciousness. "Molly Bloom was a down-to-earth lady" said Joyce. "She would never have indulged in anything so refined as a stream of consciousness."

 * There is not past, no future; everything flows in an eternal present.
 * To Jacques Mercanton, on the structure of Ulysses, as quoted in James Joyce: The Critical Heritage (1997) by Robert H. Deming, p. 22

 * I laugh at it today, now that I have had all the good of it. Let the bridge blow up, provided I have got my troops across... Nonetheless, that book was a terrible risk. A transparent leaf separates it from madness.
 * On Ulysses, as quoted in James Joyce: The Critical Heritage (1997) by Robert H. Deming, p. 22

 * I think I would know Nora's fart anywhere. I think I could pick hers out in a roomful of farting women.
 * About his wife, Nora. Selected Letters of James Joyce.

 * [Robinson Crusoe] is the true prototype of the British colonist, as Friday (the trusty slave who arrives on an unlucky day) is the symbol of the subject races. The whole Anglo-Saxon spirit is in Crusoe: the manly independence; the unconscious cruelty; the persistence; the slow yet efficient intelligence; the sexual apathy; the practical, well-balanced religiousness; the calculating taciturnity.
 * James Joyce, “Daniel Defoe,” translated from Italian manuscript and edited by Joseph Prescott, Buffalo Studies 1 (1964): 24-25

 * For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.
 * Cited in Richard Ellmann (1983) James Joyce: New and Revised Edition, p. 505.

Dubliners (1914)

 * Every night as I gazed up at the window I said to myself softly the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony  in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.
 * "The Sisters"

 * I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.
 * "Araby"

 * But my body was like a harp and her words and gestures were like fingers running upon the wires.
 * "Araby"

 * Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.
 * "Araby"

 * She dealt with moral problems the way a cleaver deals with meat: and in this case she had made up her mind.
 * "The Boarding House"

 * He was not sure what idea he wished to express but the thought that a poetic moment had touched upon him took life within him like an infant hope. He stepped onward bravely.
 * "A Little Cloud"

 * He tried to weigh his soul to see if it was a poet's soul. Melancholy was the dominant note of his temperament, he thought, but it was a melancholy tempered by recurrences of faith and resignation and simple joy. If he could give expression to it in a book of poems perhaps men would listen.
 * "A Little Cloud"

 * Everything in Paris is gay
 * "A Little Cloud"

 * But there was no harshness in the eyes which, looking at the world from under their tawny eyebrows, gave the impression of a man ever alert to greet a redeeming instinct in others but often disappointed. He lived at a little distance from his body, regarding his own acts with doubtful side-glances. He had an odd autobiographical habit which led him to compose in his mind from time to time a short sentence about himself containing a subject in the third person and a predicate in the past tense.
 * "A Painful Case"

 * One of his sentences, written two months after his last interview with Mrs. Sinico, read: Love between man and man is impossible because there must not be sexual intercourse and friendship between man and woman is impossible because there must be sexual intercourse.
 * "A Painful Case"

 * One by one they were all becoming shades. Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.
 * "The Dead"

 * Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.
 * "The Dead"

 * And why couldn't he have a voice too? asked Freddy Malins sharply. Is it because he's only a black? Nobody answered this question and Mary Jane led the table back to the legitimate opera.
 * "The Dead" (adapted into a 1987 film), p. 198 (Penguin Books 1976 edition).
 * Setting: Dublin, Ireland. Author nationality: Irish. First published: London, England.

 * I know all about the honour of God, Mary Jane, but I think it's not at all honourable for the pope to turn out the women out of the choirs that have slaved there all their lives and put little whipper-snappers of boys over their heads. I suppose it is for the good of the Church if the pope does it. But it's not just, Mary Jane, and it's not right.
 * "The Dead"

Ulysses (1922)

 * These are just a few samples, for more quotes from this work see its page

 * History, Stephen said, is a nightmare from which I am trying to awake.
 * Ch. 2: Nestor

 * It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness... (271)

 * The heaventree of stars hung with humid nightblue fruit. (683)

 *  (Of Shakespeare) A man of genius makes no mistakes. His errors are volitional and are the portals of discovery (243)

Pomes Penyeach (1927)

 * Boor, bond of thy herd, Tonight stretch full by the fire!
 * Tilly, p. 9

 * Loveward above the glancing oar
 * Watching The Needleboats At San Sabba, p. 10

 * Frail the white rose and frail are Her hands that gave
 * A Flower Given To My Daughter, p. 11

 * How soft, how sad his voice is ever calling, Ever unanswered, and the dark rain falling,
 * She Weeps Over Rahoon, p. 12

 * The fragrant hair, Falling as through the silence falleth now Dusk of the air.
 * Tutto E Sciolto, p. 13

 * Around us fear, descending Darkness of fear above
 * On The Beach At Fontana, p. 14

 * And mine a shielded heart for her Who gathers simples of the moon.
 * Simples, p. 15

 * Vast wings above the lambent waters brood Of sullen day.
 * Flood, p. 16

 * Seraphim, The lost hosts awaken
 * Nightpiece, p. 17

 * The sly reeds whisper to the night A name — her name —
 * Alone, p. 18

 * Your lean jaws grin with. Lash Your itch and quailing, nude greed of the flesh.
 * A Memory Of The Players In A Mirror At Midnight, p. 19

 * Again!
 * A Prayer, p. 21

Finnegans Wake (1939)

 * The oaks of ald now they lie in peat yet elms leap where askes lay. (4.14-15)

 * Phall if you but will, rise you must: and none so soon either shall the pharce for the nunce come to a setdown secular phoenish. (4.15-17)

 * But toms will till. I know he well.
 * Book I, Chapter 8
 * Note: 'time will tell'; 'I know he will / I know him well'

 * But all they are all there scraping along to sneeze out a likelihood that will solve and salve life's robulous rebus (12.32-33)

 * For that (the rapt one warns) is what papyr is meed of, made of, hides and hints and misses in prints. Till ye finally (though not yet endlike) meet with the acquaintance of Mister Typus, Mistress Tope and all the little typtopies. Filstup. So you need hardly spell me how every word will be bound over to carry three score and ten toptypsical readings throughout the book of Doublends Jined (may his forehead be darkened with mud who would sunder!) till Daleth, mahomahouma, who oped it closeth thereof the. Dor. (20.10-18)

 * Humme the Cheapner, Esc, overseen as we thought him, yet worthy of the naym, came at this timecoloured place where we live in our paroqial fermament one tide on another (29.30)

 * in the Nichtian glossery which purveys aprioric roots for aposteriorious tongues this is nat language at any sinse of the world (83.10-12)

 * the cluekey to a worldroom beyond the roomwhorld, for scarce one, or pathetically few of his dode canal sammenlivers cared seriously or for long to doubt with Kurt Iuld van Dijke (the gravitational pull perceived by certain fixed residents and the capture of uncertain comets chancedrifting through our system suggesting the authenticitatem of his aliquitudinis) he canonicity of his existence as a tesseract. Be still, O quick! Speak him dumb! Hush ye fronds of Ulma!
 * p. 100

 * In the name of Annah the Allmaziful, the Everliving, the Bringer of Plurabilities, haloed be her eve, her singtime sung, her rill be run, unhemmed as it is uneven!
 * p. 104

 * I am a worker, a tombstone mason, anxious to pleace averyburies and jully glad when Christmas comes his once ayear.
 * p. 113

 * 'Tis as human a little story as paper could well carry (115.36)

 * (Stoop) if you are abcedminded, to this claybook, what curios of signs (please stoop), in this allaphbed! Can you rede (since We and Thou had it out already) its world? It is the same told of all. Many. Miscegenations on miscegenations. Tieckle.

 * Wait till the honeying of the lune, love! Die eve, little eve, die! We see that wonder in your eye. We'll meet again, we'll part once more. The spot I'll seek if the hour you'll find. My chart shines high where the blue milk's upset.

 * Well, you know or don't you kennet or haven't I told you every telling has a taling and that's the he and the she of it. Look, look, the dusk is growing!

 * Can you nei do her, numb? asks Dolph, suspecting the answer know. Oikkont, ken you, ninny? asks Kev, expecting the answer guess. (286.25-27)

 * Quoint a quincidence! O.K. Omnius Kollidimus. As Ollover Krumwall sayed when he slepped ueber his grannyamother. Kangaroose feathers. Who in the name of thunder'd ever belevin you were that bolt?
 * p. 299

 * Three quarks for Muster Mark! (383.1)
 * These lines were the source of the name of the particular entities known in modern physics as Quarks

 * A Place for Everything and Everything in its Place, Is the Pen Mightier than the Sword? A Successful Career in the Civil Service.
 * p. 306

 * We expect you are, honest Shaun, we agreed, but from franking machines, limricked, that in the end it may well turn out, we hear to be you, our belated, who will bear these open letter. Speak to us of Emailia. (410.20-23)

 * In the name of the former and of the latter and of their holocaust. Allmen. (419.9-10)

 * Thaw! The last word in stolentelling! (424.35)
 * (Finnegans Wake ends with the word 'the')

 * He caun ne'er be bothered but maun e'er be waked. If there is a future in every past that is present Quis est qui non novit quinnigan and Qui quae quot at Quinnigan's Quake! Stump! His producers are they not his consumers? Your exagmination round his factification for incamination of a warping process. Declaim! (496.34 - 497.3)

 * I’ve lapped so long. As you said. It fair takes. If I lose my breath for a minute or two don’t speak, remember! Once it happened, so it may again. (625.27 - 625.29)

 * End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousandsthee. Lps. The keys to. Given! A way a lone a last a loved a long the / riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs. (628.13 to 3.3)

Stephen Hero (1944)

 * Stephen Hero was an early version of A Portrait of the Artist as a Young Man, abandoned by Joyce in 1905, published posthumously in 1944.

 * He comes into the world God knows how, walks on the water, gets out of his grave and goes up off the Hill of Howth. What drivel is this?

 * This triviality made him think of collecting many such moments together in a book of epiphanies. By an epiphany he meant a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself. He believed that it was for the man of letters to record these epiphanies with extreme care, seeing that they themselves are the most delicate and evanescent of moments. He told Cranly that the clock of the Ballast Office was capable of an epiphany. Cranly questioned the inscrutable dial of the Ballast Office with his no less inscrutable countenance: —Yes, said Stephen. I will pass it time after time, allude to it, refer to it, catch a glimpse of it. It is only an item in the catalogue of Dublin's street furniture. Then all at once I see it and I know at once what it is: epiphany.

 * Imagine my glimpses at that clock as the gropings of a spiritual eye which seeks to adjust its vision to an exact focus. The moment the focus is reached the object is epiphanised. It is just in this epiphany that I find the third, the supreme quality of beauty. … No esthetic theory, pursued Stephen relentlessly, is of any value which investigates with the aid of the lantern of tradition. What we symbolise in black the Chinaman may symbolise in yellow: each has his own tradition. Greek beauty laughs at Coptic beauty and the American Indian derides them both. It is almost impossible to reconcile all tradition whereas it is by no means impossible to find the justification of every form of beauty which has ever been adored on the earth by an examination into the mechanism of esthetic apprehension whether it be dressed in red, white, yellow or black. We have no reason for thinking that the Chinaman has a different system of digestion from that which we have though our diets are quite dissimilar. The apprehensive faculty must be scrutinised in action.

 * —You know what Aquinas says: The three things requisite for beauty are, integrity, a wholeness, symmetry and radiance. Some day I will expand that sentence into a treatise. Consider the performance of your own mind when confronted with any object, hypothetically beautiful. Your mind to apprehend that object divides the entire universe into two parts, the object, and the void which is not the object. To apprehend it you must lift it away from everything else: and then you perceive that it is one integral thing, that is a thing. You recognise its integrity. Isn't that so? — And then? —That is the first quality of beauty: it is declared in a simple sudden synthesis of the faculty which apprehends. What then? Analysis then. The mind considers the object in whole and in part, in relation to itself and to other objects, examines the balance of its parts, contemplates the form of the object, traverses every cranny of the structure. So the mind receives the impression of the symmetry of the object. The mind recognises that the object is in the strict sense of the word, a thing, a definitely constituted entity. You see? — Let us turn back, said Cranly.

 * Now for the third quality. For a long time I couldn't make out what Aquinas meant. He uses a figurative word (a very unusual thing for him) but I have solved it. Claritas is quidditas. After the analysis which discovers the second quality the mind makes the only logically possible synthesis and discovers the third quality. This is the moment which I call epiphany. First we recognise that the object is one integral thing, then we recognise that it is an organised composite structure, a thing in fact: finally, when the relation of the parts is exquisite, when the parts are adjusted to the special point, we recognise that it is that thing which it is. Its soul, its whatness, leaps to us from the vestment of its appearance. The soul of the commonest object, the structure of which is so adjusted, seems to us radiant. The object achieves its epiphany.

 * Having finished his argument Stephen walked on in silence. He felt Cranly's hostility and he accused himself of having cheapened the eternal images of beauty. For the first time, too, he felt slightly awkward in his friend's company and to restore a mood of flippant familiarity he glanced up at the clock of the Ballast Office and smiled: — It has not epiphanised yet, he said.

Quotes about James Joyce

 * The English writers who had a big influence on me during my adolescence were Sir Walter Scott, Jane Austen, the Brontë sisters, Charles Dickens, Bernard Shaw, Oscar Wilde, James Joyce, D.H. Lawrence, and Virginia Woolf.
 * Isabel Allende Interview

 * Joyce accepted silence, exile, and cunning as a system which would sustain his life, and I've had to accept it too-incidentally, silence is the hardest part to understand.
 * 1970 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)

 * Joyce is right about history being a nightmare-but it may be the nightmare from which no one can awaken. People are trapped in history and history is trapped in them.
 * James Baldwin Notes of a Native Son (1955)

 * I did not mind remaining in the Tombs, for I was resting and enjoying an absorbing book Margaret Anderson had sent me. It was A Portrait of the Artist As a Young Man, by James Joyce. I had not read that author before and I was fascinated by his power and originality,
 * Emma Goldman, Living My Life (1931)

 * You know James Joyce said [in A Portrait of the Artist as a Young Man] that he would forge the conscience of his race with "cunning, silence, and exile," and I have always thought that those were very weird things to say because how could you do it with silence? But maybe he means secrecy, because as far back as I could remember writing-I guess I was eight or nine years old-it was my secret thing to do. I'd hide my work and I would pretend I was doing something else, and I would write all the things that were forbidden to say. And then I just kept that up forever. I was very clear from a long time ago that I didn't have to share this with anybody-so that makes me very brave. I can always write it, throw it away, and I don't have to publish. But I do have to say it. Everything has to be expressed...Speaking of secrecy, did you notice that Alice Walker and Toni Morrison both began books with almost that same sentence: "You must not tell anyone,' my mother said, 'what I am about to tell you." " Alice Walker's novel [The Color Purple] begins: "You better not tell nobody but God," and then Toni Morrison [in The Bluest Eye] has the line, "Quiet as it's kept..." You see everybody has that same line; it's the same struggle to break through taboos, to find your voice. It's that same "exile, secrecy, and cunning" that Joyce was talking about.
 * 1991 interview in Conversations with Maxine Hong Kingston (1998)

 * I guess as a minority person in America, and with a lot of perceptions that English is not my language, there is a lot of leaving me out of this culture. So a lot of my work is appropriation. I'm going to appropriate this job and these books and this language-the American language. I'm going to appropriate this country. So a lot of the allusions are to say that the Joycean soul, this Rilkean romantic poetic soul, is mine. But the way that you're all talking, it seems like I put those allusions out there to give you pain and trouble. I meant them to be fun; that was my whole point. Maybe the greatest joy of my life is to read. I love it, it's pleasurable, it's sensual. So the allusions were just my playing with my books, you know.
 * 1989 interview in Conversations with Maxine Hong Kingston (1998)

 * In my conversation I make literary references all the time and in my head I make them even more I can hear Joyce and Shakespeare and Rilke. So why can't I use this in my writing? It's such a delight. It makes me really sad when there are so many readers who think it is off-putting to do allusions like that.
 * 1991 interview in Conversations with Maxine Hong Kingston (1998)

 * I would offer James Joyce as an example of an extremely interesting but enormously overrated writer who really had I very little influence on anybody because nobody can write like Joyce. Who would want to? Whereas Virginia Woolf, his exact contemporary of course, has been enormously influential, and underrated because she's not in the canon. She's in some people's canon, but she's not in the canon.
 * 1994 interview in Conversations with Ursula Le Guin (2008)

 * I really admired "Dubliners" a lot.
 * 1986 interview in Conversations with Grace Paley (1997)

 * The classical things are really quite marvelous, you know. It's just they have degenerated into a kind of "well-made-story" of our time. But you could learn forever from them...I get to one of Joyce's stories. So simple. So... so much happening in them to ordinary people.
 * 1980 interview in Conversations with Grace Paley (1997)

 * Einstein, Picasso, Joyce, gave us our keys; the nature of motion reached us from Proust as from the second-run movie; the Hippodrome girls went down into the eternal lake, Lindbergh had conquered time, Roosevelt had at last spoken openly to us of the demon of our house, and he had named it: fear.
 * Muriel Rukeyser The Life of Poetry (1949)

 * And Joyce was a poor sick fucker who probably died with his balls somewhere up around his navel. None of that for me, thanks.
 * Hunter S. Thompson, in a letter to Lionel Olay (16 February 1962), published in The Proud Highway, p. 320.

 * In English, you cannot even turn around a phrase or leave a dangling participle. Joyce needed to explode the English language to allow its occult meaning to emerge; Cortázar just plays around with Spanish words and grammar for the same purpose.
 * Luisa Valenzuela Interview with ‘’The Paris Review’’ (2001)

 * I regard the two major male archetypes in 20th Century literature as Leopold Bloom and Hannibal Lecter. M.D. Bloom, the perpetual victim, the kind and gentle fellow who finishes last, represented an astonishing breakthrough to new levels of realism in the novel, and also symbolized the view of humanity that hardly anybody could deny c. 1900-1950. History, sociology, economics, psychology et al. confirmed Joyce’s view of Everyman as victim. Bloom, exploited and downtrodden by the Brits for being Irish and rejected by many of the Irish for being Jewish, does indeed epiphanize humanity in the first half of the 20th Century. And he remains a nice guy despite everything that happens...
 * Robert Anton Wilson, in "Previous Thoughts" at rawilson.com

Misattributed

 * Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize.
 * Pauline Kael, in "Trash, Art and the Movies" (February 1969) from Going Steady (1969)

 * I am tomorrow, or some future day, what I establish today. I am today what I established yesterday or some previous day.
 * Harvey Spencer Lewis, in The Doctrine of Reincarnation Part 3, in The Mystic Triangle (June 1927)

 * The actions of men are the best interpreters of their thoughts.
 * John Locke, in An Essay Concerning Human Understanding (1689), Book I, Chapter II, paragraph 3

 * Men are governed by lines of intellect - women: by curves of emotion.
 * A woman's life revolves in curves of emotions. It is upon lines of intellect that a man's life progresses.
 * Oscar Wilde, in "An Ideal Husband (1895)," Act IV

title: James Joyce


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User:Phil Boswell

I normally hang out at the English Wikipedia where you can find out some things about me.

Otherwise I ask questions which are probably annoying to someone but hopefully have some sort of sensible answer.

title: User:Phil Boswell


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User:Stevesliva

I love quotations, and plan to add books as I read them. The quotes I contribute come from my own reading, not from any other source.

See also Special:Contributions&target=69.160.172.254

title: User:Stevesliva


text:
Les Tontons flingueurs

Les Tontons flingueurs (Crooks in Clover), also known as Monsieur Gangster) is a 1963 French-Italian-German film, made in the French language, directed by Georges Lautner. It is an adaptation of the Albert Simonin book Grisbi or not grisbi.

Raoul Volfoni

 * Bougez-pas ! Les mains sur la table. J'vous préviens qu'on a la puissance de feu d'un croiseur et des flingues de concours.
 * translation : Freeze ! hands on the table ! I'm warning you we have the firepower of a cruiser and high quality guns.

 * Non, mais t'a déjà vu ça ? En pleine paix, il chante et puis crac, un bourre pif ! Il est complètement fou ce mec. Mais moi, les dingues, je les soigne. J'vais lui faire une ordonnance et une sévère... J'vais lui montrer qui c'est Raoul. Aux quat' coins d'Paris qu'on va l'retrouver éparpillé par petits bouts, façon Puzzle. Moi, quand on m'en fait trop j'correctionne plus : j'dynamite, j'disperse, j'ventile.
 * translation : Seriously did you ever see that ? Bang in a middle of peace, he sings then POW!, a nose breaker! He's completely crazy that one. But me, madmen, I cure’em. I’m gonna give him a prescription, and a severe one at that, gonna show him who Raoul is. On all corners of Paris he’ll be found, spread in little bits Jigsaw puzzle style. Me, when too much is done to me, I don’t correct anymore, I dynamite, I spread and ventilate

Monsieur Fernand

 * Les cons ça ose tout ! C'est même à ça qu'on les reconnaît.
 * Translation : Morons dare everything ! Actually, that's how you know they're morons.

Maître Folace

 * Touche pas au grisby, salope !
 * translation : don't touch the money, bitch !

Paul Volfoni

 * Écoute : on te connaît pas. Mais laisse-nous te dire que tu te prépares des nuits blanches, des migraines, des nervousses brékdones comme on dit de nos jours.
 * translation : listen : we don't know you. But let me tell you one thing : you're gonna to have some long nights, headaches and 'nervousses brékdones' (nervous breakdown)

Jean

 * Tiens, vous avez sorti le vitriol ?
 * Translation: So, you have taken out the vitriol?

title: Les Tontons flingueurs


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User:Patrick

test:

Main Page, Main Page, etc.

Main Page

Main Page

Main Page

Main Page

Main Page

Constitution of the United States of America

m:Wikisource:Constitution of the United States of America

http://www.google.com/images/logo_sm.gif

title: User:Patrick


text:
Jascha Heifetz

Jascha Heifetz (2 February 1901 – 10 December 1987) was a Lithuanian-born American violinist.

Sourced

 * He once told a reporter he wanted his obituary to be short - "just make it born in Russia, first lesson at 3, debut at 7, debut in America in 1917".
 * Chicago Sun-Times Article date: December 13, 1987

 * My two favorite dishes. I never get enough.  Of course, both must be the best.
 * On seeing a buffet table with only two dishes, enormous bowls of caviar, and platters of hot dogs.
 * National Review, Jan 22, 1988 by Schuyler Chapin

Heifetz official web site

 * I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

 * If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it.

 * There is no top. There are always further heights to reach.

 * I have discovered three things which know no geographical borders - classical music, American jazz, and applause as the sign of the public's favor.

 * Can you appreciate music without playing it? Yes, you can. You can appreciate baseball without playing it. Many people attend a football game merely for the crowd, the excitement, the color.

 * No matter what side of the argument you are on, you always find people on your side that you wish were on the other.

 * Criticism does not disturb me, for I am my own severest critic. Always in my playing I strive to surpass myself, and it is this constant struggle that makes music fascinating to me.

About

 * For almost a century, Jascha Heifetz was the performer all others wished to emulate, a genius whose technique and musicianship earned him accolades as "the perfect violinist".
 * U.S. News & World Report Article date: December 21, 1987 Author:Horn, Miriam

title: Jascha Heifetz


text:
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was an Austrian composer and musician.

Quotes

 * I write as a sow pisses.
 * Letter to his sister (Milan, 26 January 1770), from Contradictory Quotations, Longman Group Ltd., 1983. Rendered as "as the sows piss" in Letters of Wolfgang Amadeus Mozart, trans. Hans Mersmann, Dover Publications, 1972 (originally 1928)

 * "Sie wird das nothwendigste und härteste und die hauptsache in der Musique niemahlen bekommen, nämlich das tempo, weil sie sich vom jugend auf völlig befliessen hat, nicht auf den tact zu spiellen."
 * She will never learn the most necessary, most difficult and principal thing in music, that is time, because from childhood she has designedly cultivated the habit of ignoring the beat.
 * Letter to Leopold Mozart (24 October 1777), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906)

 * I know myself, and I have such a sense of religion that I shall never do anything which I would not do before the whole world; but I am alarmed at the very thoughts of being in the society of people, during my journey, whose mode of thinking is so entirely different from mine (and from that of all good people). But of course they must do as they please. I have no heart to travel with them, nor could I enjoy one pleasant hour, nor know what to talk about; for, in short, I have no great confidence in them. Friends who have no religion cannot be long our friends.
 * Letter to Leopold Mozart (Mannheim, 2 February 1778), from The letters of Wolfgang Amadeus Mozart, 1769-1791, translated, from the collection of Ludwig Nohl, by Lady [Grace] Wallace (Oxford University Press, 1865, digitized 2006) vol. I, # 91 (p. 164)

 * The most stimulating and encouraging thought is that you, dearest father, and my dear sister, are well, that I am an honest German, and that if I am not always permitted to talk I can think what I please; but that is all.
 * Letter to Leopold Mozart (Paris, 29 April 1778), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906)

 * I must give you a piece of intelligence that you perhaps already know — namely, that the ungodly arch-villain Voltaire has died miserably like a dog — just like a brute. That is his reward!
 * Letter to Leopold Mozart (3 July 1778), from The letters of Wolfgang Amadeus Mozart, 1769-1791, translated, from the collection of Ludwig Nohl, by Lady [Grace] Wallace (Oxford University Press, 1865, digitized 2006) vol. I, # 107 (p. 218)

 * A fellow of mediocre talent will remain a mediocrity, whether he travels or not; but one of superior talent (which without impiety I cannot deny that I possess) will go to seed if he always remains in the same place.
 * Letter to Leopold Mozart (11 September 1778), from Wolfgang Amadé Mozart by Georg Knepler (1991), trans. J. Bradford Robinson [Cambridge University Press, 1994, ISBN 0-521-58823-5], p. 12.

 * As I love Mannheim, Mannheim loves me.
 * Letter to Leopold Mozart, (Mannheim, 12 November 1778), from Mozart's Letters, Mozart's Life: Selected Letters, ed. Robert Spaethling [W.W. Norton, 2000, ISBN 0-393-04719-9], p. 193.

 * …passions, violent or not, must never be expressed to the point of disgust, and Music must never offend the ear, even in most horrendous situations, but must always be pleasing, in other words always remain Music…
 * Letter to Leopold Mozart, (Vienna, 26 September 1781), from Mozart's Letters, Mozart's Life: Selected Letters, ed. Robert Spaethling [W.W. Norton, 2000, ISBN 0-393-04719-9], p. 286

 * My fatherland has always the first claim on me.
 * Letter to Leopold Mozart (24 November 1781), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

 * The golden mean, the truth, is no longer recognized or valued. To win applause one must write stuff so simple that a coachman might sing it, or so incomprehensible that it pleases simply because no sensible man can comprehend it.
 * in a letter to his father, 1782

 * "Will mich Deutschland, mein geliebtes Vaterland, worauf ich (wie Sie wissen) stolz bin, nicht aufnehmen, so muß in Gottes Namen Frankreich oder England wieder um einen geschickten Deutschen mehr reich werden,- und das zur Schande der deutschen Nation."
 * If Germany, my beloved fatherland, of whom you know I am proud, will not accept me, then must I, in the name of God, again make France or England richer by one capable German; — and to the shame of the German nation.
 * Letter to Leopold Mozart (Vienna, 17 August 1782), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

 * I care very little for Salzburg and not at all for the archbishop: I shit on both of them.
 * Letter to Leopold Mozart (12 July 1783), from The Complete Operas of Mozart: a critical guide By Charles Osborne [Da Capo, 1983, ISBN 0-306-80190-6], p. 208.

 * As death, when we come to consider it closely, is the true goal of our existence, I have formed during the last few years such close relationships with this best and truest friend of mankind that death's image is not only no longer terrifying to me, but is indeed very soothing and consoling, and I thank my God for graciously granting me the opportunity...of learning that death is the key which unlocks the door to our true happiness. I never lie down at night without reflecting that —- young as I am — I may not live to see another day. Yet no one of all my acquaintances could say that in company I am morose or disgruntled.
 * Letter to Leopold Mozart (4 April 1787), from The Mozart-Da Ponte Operas by Andrew Steptoe [Oxford University Press, 1988, ISBN 0-198-16221-9], p. 84.

 * It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied.
 * Spoken in Prague, 1787, to conductor Kucharz, who led the rehearsals for Don Giovanni, from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

 * Melody is the essence of music. I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone and remember the old Italian proverb: Chi sa più, meno sa—Who knows most, knows least.
 * As spoken to Michael Kelly, from Reminiscences of Michael Kelly, of the King's Theatre, and Theatre Royal Drury Lane, including a period of nearly half a century; with Original Anecdotes of many distinguished Personnages, Political, Literary, and Musical (London, Henry Colburn, 1826; digitized 2006), 2nd ed., vol. I (p. 225)

 * Stay with me to-night; you must see me die. I have long had the taste of death on my tongue, I smell death, and who will stand by my Constanze, if you do not stay?
 * Spoken on his deathbed to his sister-in-law, Sophie Weber (5 December 1791), from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906)
 * Variant: The taste of death is on my tongue, I feel something that is not from this world (Der Geschmack des Todes ist auf meiner Zunge, ich fühle etwas, das nicht von dieser Welt ist).

 * All I insist on, and nothing else, is that you should show the whole world that you are not afraid. Be silent, if you choose; but when it is necessary, speak—and speak in such a way that people will remember it.
 * Letter as published in The Letters of Mozart & His Family (1938) translated and edited by Emily Anderson, p. 1114.

Misattributed

 * Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius.
 * True genius without heart is a thing of nought - for not great understanding alone, not intelligence alone, nor both together, make genius. Love! Love! Love! that is the soul of genius. - Nikolaus Joseph von Jacquin, entry in Mozart's souvenir album (1787-04-11) from Mozart: A Life by Maynard Solomon [Harper-Collins, 1966, ISBN 0-060-92692-9], p. 312.

 * When I am, as it were, completely myself, entirely alone, and of good cheer — say traveling in a carriage, or walking after a good meal, or during the night when I cannot sleep — it is on such occasions that my ideas flow best, and most abundantly. Whence and how they come, I know not, nor can I force them.
 * From a letter now regarded as a forgery by Johann Friedrich Rochlitz, ,

 * I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings.
 * Unsourced in Musician's Little Book of Wisdom (1996) by Scott E. Power, Quote 416.

Karl Barth

 * It may be that when the angels go about their task praising God, they play only Bach. I am sure, however, that when they are together en famille they play Mozart.
 * Wolfgang Amadeus Mozart (1956), as translated by Clarence K. Pott

 * Mozart's music is free of all exaggeration, of all sharp breaks and contradictions. The sun shines but does not blind, does not burn or consume. Heaven arches over the earth, but it does not weigh it down, it does not crush or devour it. Hence earth remains earth, with no need to maintain itself in a titanic revolt against heaven. Granted, darkness, chaos, death and hell do appear, but not for a moment are they allowed to prevail. Knowing all, Mozart creates music from a mysterious center, and so knows the limits to the right and the left, above and below. He maintains moderation.
 * As quoted in "Amadeus : Sin, Salvation and Salieri" in Saint Paul at the Movies : The Apostle's Dialogue with American Culture (1993) by Robert Jewett, p. 37, and Melting the Venusberg : A Feminist Theology of Music (2004) by Heidi Epstein, p. 72.

Ludwig van Beethoven

 * I have always reckoned myself among the greatest admirers of Mozart, and shall do so till the day of my death.
 * February 6, 1826, to Abbe Maximilian Stadler, who had sent him his essay on Mozart's "Requiem", as quoted in Beethoven: The Man and the Artist (2007), p. 39.

George Szell

 * editor, Viva Mozart: An Anthology of Appreciation

 * 21 piano sonatas, 27 piano concertos, 41 symphonies, 18 masses, 13 operas, 9 oratorios and cantata, 2 ballets, 40 plus concertos for various instruments, string quartets, trios and quintets, violin and piano duets piano quartets, and the songs. This astounding output includes hardly one work less than a masterpiece.

 * Lengthy immersion in the works of other composers can tire. The music of Mozart does not tire, and this is one of its miracles.

 * Listening to Mozart, we cannot think of any possible improvement.

Others

 * Mozart, particularly, I loved. I was determined to write poetry that had as a structure what classical music, particularly Mozart, has as a structure.
 * Paula Gunn Allen Interview in Survival This Way: Interviews with American Indian Poets by Joseph Bruchac (1987)

 * Mozart is undoubtedly one of the greatest of original geniuses, and I have never known any other composer to possess such an amazing wealth of ideas. I wish he were not so spendthrift with them. He does not give the listener time to catch his breath, for no sooner is one inclined to reflect upon a beautiful inspiration than another appears, even more splendid, which drives away the first, and this continues on and on, so that in the end one is unable to retain any of these beauties in the memory.
 * Karl Ditters von Dittersdorf, in his Autobiography

 * Mozart's influence transcends history. Each generation sees something different in his work. Mozart's music, which to so many of his contemporaries still seemed to have the brittleness of clay, has long since been transformed into gold gleaming in the light, though it has taken on the different luster of each new generation No earthly remains of Mozart survived save a few wretched portraits, no two of which are alike; the fact that all the reproductions of his death-mask, which would have shown him as he really was, have crumbled to bits seems symbolic. It is as though the world-spirit wished to show that here is pure sound, conforming to a weightless cosmos, triumphant over all chaotic earthliness, spirit of the world-spirit.
 * Alfred Einstein, Mozart: His Character, His Work

 * how can one live without Mozart.
 * Shulamith Hareven "Twilight" in Twilight and Other Stories (1992), translated from Hebrew

 * I tell you before God and as an honest man that your son is the greatest composer known to me; he has taste and in addition the most complete knowledge of composition.
 * Franz Joseph Haydn, to Mozart's father, Leopold, after hearing the six quartets Mozart dedicated to him in 1785

 * You wish me to write an opera buffa for you. Most willingly, if you are inclined to have a vocal composition of mine for yourself alone, but if with a view to produce it on the stage at Prague, I cannot in that case comply with your wish, all my operas being too closely connected with our personal circle, so they could never produce the proper effect. ... But even then I should risk a great deal, for scarcely any man could stand beside the great Mozart. I only wish I could impress on every friend of mine, and on great men in particular, the same depth of musical sympathy and profound appreciation of Mozart's inimitable music that I myself feel and enjoy; then nations would vie with each other to possess such a jewel within their frontiers.... It enrages me to think that the unparalleled Mozart is not yet engaged by some imperial or royal court! Forgive my excitement, but I love the man so dearly!
 * Franz Joseph Haydn, in a letter to Herr Roth, 1787

 * There is a wretched unbelief abroad which seems to contain much healing power. It deems such a connection accidental, and sees in it only a lucky conjunction of the different forces in the game of life. It thinks it an accident that the lovers win one another, accidental that they love one another; there are a hundred other women with whom the hero would have been equally happy, and whom he could have loved as deeply. It thinks that there has been many a poet who might have become as immortal as Homer, if this splendid subject had not already been appropriated by him; many a composer who might have made himself as immortal as Mozart, had the opportunity offered. … The accidental has but one factor; it is accidental that Homer found in the Trojan War the most distinguished epic subject conceivable. The fortunate has two factors: it is fortunate that the most distinguished epic subject fell to the lot of Homer; here the accent falls as much on Homer as on the material. It is this profound harmony which reverberates through every work of art we call classic. And so it is with Mozart; it is fortunate that the subject, which is perhaps the only strictly musical subject, in the deeper sense, that life affords, fell to — Mozart.
 * Søren Kierkegaard Either/Or Part I, Swenson p. 45-46, 1843.

 * My brother was a rather pretty child.
 * Maria Anna Mozart, in a letter, 1799

 * Your countenance ... was so grave that many intelligent persons, seeing your talent so early developed and your face always serious and thoughtful, were concerned for the length of your life.
 * Leopold Mozart, in a letter to his son

 * But what is it about Mozart? Is there a pianist alive who really manages to play him well? Casadesus, whom I heard in Odessa in the F major Sonata K 332 – it must be about a century ago – left an unforgettable impression, a miracle such as one rarely witnesses. And then there was Neuhaus, who played the A minor Rondo in so touching a manner that it almost reduced you to tears. It's odd, but Haydn – who seems after all to be fairly close to Mozart in terms of genius – is infinitely less difficult to play (he's almost easy in fact). So what's Mozart's secret?
 * Sviatoslav Richter, in Bruno Monsaingeon, Sviatoslav Richter: Notebooks and Conversations (2001)

 * Pascal and Felix Mendelssohn were prodigiously precocious. But when each died before reaching age forty, each was physiologically an old man. Not so with Mozart – from him could have been extrapolated as much again in the future as had generously erupted in the past.
 * Paul Samuelson, "Reflections on the Schumpeter I knew well" (2005)

 * What was evident was that Mozart was simply written down music already finished in his head. And music, finished as no music is ever finished. Displace one note and there would be diminishment. Displace one phrase and the structure would fall. I was staring through the cage of those meticulous ink strokes at an absolute beauty.
 * Peter Shaffer (spoken by Antonio Salieri in Shaffer's play Amadeus'' and slightly reworded in the  movie adaptation of the play).

 * Mozart was the Shakespeare of music; and as long as the immortal bard is read, Mozart will live in the admiration of mankind. He has reached the passions through the ear as Shakspeare did through the mind, and no works will live that do not touch the passions and the heart — they are the same in all ages, and will make Shakspeare and Mozart a poet and a composer "For all time".
 * The New-York Mirror, 1830, quoted in The New York Mirror: A Weekly Gazette of Literature and the Fine Arts, volume 8, p. 347.

 * In relation to God he is like a child who brings everything to his father: the stones from the street and peculiar sticks and little plants and even once a ladybug; and with him all of these things are melodies, melodies that he brings to God, melodies that he suddenly knows when he is inside of prayer. And when he has finished praying, and he is no longer on his knees and no longer has his hands folded, then he sits there at the piano, or he sings with an incredible childlikeness, and in doing so he no longer has any idea whether he is playing something for God or whether it is God who is using him to play something at once for himself and for Mozart. There is a great conversation between Mozart and God that is the purest prayer, and this entire conversation is nothing but music.
 * Adrienne von Speyr, Mozart in Book of All Saints, translated by D.C. Schindler (San Francisco: Ignatius Press, 2008. ISBN 978-1-58617-192-6.

 * He brought to the classical symphony not only depths of expression but the idea that the musical phrase is inextricably bound up with the particular colouration of the instrument that plays it.
 * Andre Previn The Story of the Symphony. BBC TV 1984.

 * It is a sobering thought that when Mozart was my age, he had been dead for two years.
 * Tom Lehrer. "That Was the Year that Was" (1965).

 * Excluding and banning the sublime work of Mozart in the Temple for his masonry militancy seems ridiculous and even offensive to all "men of good will" who love only and above all great classical music, which they do not look with any prejudice at the choices made in life by any genius, and they do not think at all that his celestial notes could harm the soul of anyone or even disturb that of the Franciscan fathers.
 * Escludere e vietare la sublime opera di Mozart nel Tempio per la sua militanza muratoria ci pare ridicolo e persino offensivo per tutti gli "uomini di buona volontà" che amano solo e innanzitutto la grande musica classica, che non guardano con pregiudizio alcuno alle scelte fatte in vita da nessun genio, e non pensano affatto che le sue note celestiali possano nuocere all'animo di ognuno o turbare addirittura quello dei padri francescani.
 * As quoted in Stefano Bisi, Vietare Mozart a Santa Croce a Firenze perché massone? Follia pura. Il Gran Maestro Bisi sulla decisione del priore della Basilica (December 2, 2019)

External link

 * openmozart.net: Friedrich Rochlitz forgery
 * Livepictures from Mozart Birthhous in Salzburg
 * openmozart.net: Friedrich Rochlitz forgery
 * Livepictures from Mozart Birthhous in Salzburg
 * Livepictures from Mozart Birthhous in Salzburg

فولفجانج موزارت Volfqanq Amadey Motsart Волфганг Амадеус Моцарт Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Βόλφγκανγκ Αμαντέους Μότσαρτ Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart וולפגנג אמדאוס מוצרט Volfgangas Amadėjus Mocartas Wolfgang Amadeus Mozart ヴォルフガング・アマデウス・モーツァルト Wolfgang Amadeusz Mozart Wolfgang Amadeus Mozart Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Вольфганг Амадей Моцарт

title: Wolfgang Amadeus Mozart


text:
Eric Dolphy

Eric Allan Dolphy (June 20, 1928 – June 29, 1964) was an American jazz musician who played alto saxophone, flute, clarinet and bass clarinet.

Quotes
At home [in California] '''I used to play, and the birds always used to whistle with me. I would stop what I was working on and play with the birds.'''
 * [On the question "Is bird imitation valid in jazz?"] I don’t know if it's valid in jazz, [...] but I enjoy it. It somehow comes in as part of the development of what I'm doing. Sometimes I can't do it.
 * Dolphy and John Coltrane interviewed by Don DeMichael, as cited in "John Coltrane and Eric Dolphy Answer the Jazz Critics" DownBeat (April 12, 1962; online reprint from 2014)
 * Dolphy had worked with Coltrane in live performances and recordings over the previous year.

 * When you hear music, after it's over, it's gone in the air. You can never capture it again.
 * Spoken to a concert audience in Hilversum, Netherlands (2 June 1964) and included at the end of the album Last Date, as quoted in John Steinbeck Holiday, Vol. 58 (1977), p. 13

title: Eric Dolphy


text:
Maggie Cassidy

Maggie Cassidy (1959) is a novel by Jack Kerouac that is a largely autobiographical work about Kerouac's early life in Lowell, Massachusetts, from 1938 to 1939, and chronicles his real-life relationship with his teenage sweetheart Mary Carney.

Quotes

 * I saw her, standing in the crowd, forlorn, dissatisfied, dark, unpleasantly strange.
 * Ch. 5

 * It's only later you learn to lean your head in the lap of God, and rest in love.
 * Ch. 7

 * Heirs leap screeching from doctors' laps while the old and the poor die on, and who's to bend over their bed and comfort.
 * Ch. 13

 * All in life, prime, young joy days, riches of sixteen, I sneaked off to the lazy unresponsive girl three miles across town by the tragic-flowing dark sad Concord.
 * Ch. 14

 * I grieved inside that I had to give her up for Maggie. But I couldn't have Mary and Magdalene both so I had to decide my mind.
 * Ch. 20

 * To my utter amazement I saw out of the corner of my eye the colored boy laid out almost flat on the floor in a low slung fantastic starting position, something impossibly modern and submarining and subterranean like bop, like the new gesture of a generation.
 * Ch. 21

 * Fluting spring was racing through the corridors and ritual alleys of my sacred brain in holy life and making me wake and resurge to the business of being and becoming a man.
 * Ch. 33

 * I'm sure gonna get you tonight — aint gonna be like it used to be with you — I'm gonna find out about you at last.
 * Ch. 46

 * She laughed in his face, he slammed the door shut, put out lights, drove her home, drove the car back skittering crazily in the slush, sick, cursing.
 * Ch. 47, Final line.

title: Maggie Cassidy