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User:GK~enwikiquote/Notes

==from Village pump

 * "Sourced" was suggested for all quotations with citations, with a recommendation to abandon
 * "Verified" as too strong a word, far too casually applied, too easily, by too many.
 * "Attributed" to be used on quotes known to be attributed to an individual or source, but without definite citations, and various options for more dubious quotations were proposed or suggested at various places:
 * "Misattributed" for quotes that were known to be wrongfully attributed to a source, and
 * "Probably spurious" where the evidence indicates that they were probably fabricated quotations (sometimes even with fabricated citations).
 * "Almost certainly spurious" has sometimes been used, where the evidence of falsehood is especially strong, and occasionally such quotations, or misattributions have been removed to the talk page, because they are not considered worthy of considiration as even possibly genuine, or correctly attributed.

 * "Quotations by others about ________" is also a recommended heading.

It is not recommended that even such quotes as are commonly misattributed to a source be deleted entirely, because we should aim at providing information that debunks false quotes, as well as that which confirms the true ones. Any more precise information or speculation about a particular quotation's origins than the various headers provide can be made in the comments beneath the quote, or sometimes on the talk page. ~ Kalki

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

title: User:GK~enwikiquote/Notes


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Wikiquote talk:Issues

Why is a beta release of WikiMedia online now? One ugly problem is, that category lists do show up to 100 entries only. --80.219.6.127 12:16, 19 Dec 2004 (UTC)

Update
This page needs updating as several of the outstanding issues appear to be resolved - and a couple don't even direct to discussion or conclusions on the issues. Rmhermen 22:53, 14 Apr 2005 (UTC)
 * Agreed. Instead current entries, we can list hot topics, like VfD format renewal, blocking policy, newly introduced privacy policy (discussion on meta) and so on. --Aphaia 17:50, 15 Apr 2005 (UTC)

 * And so this is yet another place to find this information, after Village pump, Community Portal, and myriads of topic-specific pages (not to mention the frequent pointers to information on Wikipedia and Meta). I feel like there are too many pages to monitor and study. I think we need to have a better idea of where to direct people, and keep the number of "about Wikiquote" pages down until we understand what all is here and what's active. And we must remember that every time we identify a new page to maintain, we add to our load of work, and we divide our attention. Even if we triple the number of sysops in the next few months, what pages are each of us going to give up watching as the important-page list gets longer and longer? (I'm currently watching 46 maintenance articles and categories, 16 templates, and 17 users, besides quote-related pages.) I already feel like I'm not doing enough to keep up just with VfD, Deletion policy, and Transwiki, never mind time to improve our documentation or — gasp! — add quotes to articles. ☺ I've got a growing list of Wikiquote: namespace problem pages that I refuse even to bring up until we've fixed other pressing problems. And I'm getting worried about having to cross-post notices between pages to make sure readers of one page won't miss a related issue on another.

 * Wikiquote:Issues was only active for 29 days, and hadn't been touched for over 18 months until we came across it again. It was an idea that seemed good at the time, but fell by the wayside. We do need to bring things current, but I say, let sleeping pages lie until we get a better handle on urgent problems. Jeff Q (talk) 03:35, 16 Apr 2005 (UTC)

 * You get the point; it is not a good idea to add the page we should care for. And in the curernt situation, this page doesn't belong to those pages. Besides that, we need a page (but not two) to cenratize information; where we can easily grasp what kind of votes and discussions are going on. Besides my own watchlist, I mainly use Community portal as my notepad with expectation if someone would be introduced to the discussions. What kind of pages you utilize to follow current discussions besides major discussion pages like Village pump, Votes for deletion? --Aphaia 18:00, 16 Apr 2005 (UTC)

title: Wikiquote talk:Issues


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Ovid

Publius Ovidius Naso (20 March 43 BC – 17 AD) was a Roman poet, commonly known to the English-speaking world as Ovid. Along with Virgil and Horace, Ovid is one of the three canonical poets of Latin literature, generally considered the greatest master of the elegiac couplet.
 * See also:
 * Heroides
 * Amores
 * Metamorphoses

Heroides (The Heroines)

 * Res est solliciti plena timoris amor.
 * Love is a thing full of anxious fears.
 * I, 12

 * Iam seges est ubi Troia fuit.
 * Now are fields of corn where Troy once stood.
 * I, 53

 * Tarde quae credita laedunt credimus.
 * We're slow to believe what wounds us.
 * II, 9-10; translation by A. S. Kline

 * Exitus acta probat.
 * The end proves the acts (were done), or the result is a test of the actions; Ovid's line 85 full translation: “The event proves well the wisdom of her [Phyllis'] course.”
 * Variant translations: The ends justify the means. All's well that ends well. NB:  the end does not always equal the goal.
 * II, 85

 * Abeunt studia in mores.
 * Pursuits become habits.
 * XV. 83, "Epistle of Sappho to Phaon"

Remedia Amoris (The Cure for Love)

 * Siquis amat quod amare iuvat, feliciter ardens Gaudeat, et vento naviget ille suo. At siquis male fert indignae regna puellae, Ne pereat, nostrae sentiat artis opem.
 * Let him who loves, where love success may find, Spread all his sails before the prosp'rous wind; But let poor youths who female scorn endure, And hopeless burn, repair to me for cure.
 * Lines 13-16

 * Principiis obsta; sero medicina paratur Cum mala per longas convaluere moras.
 * Resist beginnings; the remedy comes too late when the disease has gained strength by long delays.
 * Lines 91–92

 * Qui finem quaeris amoris, Cedit amor rebus; res age, tutus eris.
 * Love yields to business. If you seek a way out of love, be busy; you'll be safe then.
 * Lines 143–144

Fasti (The Festivals)

 * Di pia facta vident.
 * The gods behold all righteous actions.
 * II, 117

 * Est deus in nobis; agitante calescimus illo: impetus hic sacrae semina mentis habet.
 * There is a god within us. It is when he stirs us that our bosom warms ; it is his impulse that sows the seeds of inspiration.
 * VI, lines 5-6; translation by Sir James George Frazer

 * Conscia mens recti famae mendacia risit
 * The mind, conscious of rectitude, laughed to scorn the falsehood of report.
 * IV, 311. Compare: "And the mind conscious of virtue may bring to thee suitable rewards", Virgil, The Aeneid, i, 604

Amores (Love Affairs)

 * Militat omnis amans
 * Every lover is a soldier.
 * Book I; ix, line 1

 * Qui nolet fieri desidiosus, amet!
 * Let the man who does not wish to be idle fall in love!
 * Book I; ix, 46

 * Procul omen abesto!
 * Far away be that fate!
 * Book I; xiv, 41

 * Aequo animo poenam, qui meruere, ferunt.
 * They bear punishment with equanimity who have earned it.
 * Book II, vii, 12

 * Quod licet ingratum est. Quod non licet acrius urit.
 * We take no pleasure in permitted joys. But what's forbidden is more keenly sought.
 * Book II; xix, 3

 * Cui peccare licet, peccat minus.
 * Who is allowed to sin, sins less.
 * Book III, iv, 9

 * Nitimur in vetitum semper, cupimusque negata.
 * We are ever striving after what is forbidden, and coveting what is denied us.
 * Variant translation: We hunt for things unlawful with swift feet, / As if forbidden joys were only sweet.
 * Book III; iv, 17

 * Sic ego nec sine te nec tecum vivere possum.
 * So I can't live either without you or with you.
 * Variant translation: Thus, I can neither live without you nor with you.
 * Book III; xib, 39
 * Compare: Nec possum tecum vivere nec sine te ("I cannot live with you nor without you"), Martial, Epigrams XII, 46

Ars Amatoria (The Art of Love)

 * Spectatum veniunt, veniunt spectentur ut ipsae.
 * They come to see; they come that they themselves may be seen.
 * Book I, line 99 (tr. Henry T. Riley)
 * Compare: "And for to see, and eek for to be seye", Geoffrey Chaucer, The Canterbury Tales: "The Wife of Bath's Prologue", line 6134

Horaque formosam quamlibet illa facit.''
 * ''Nocte latent mendae, vitioque ignoscitur omni,
 * Blemishes are hid by night and every fault forgiven; darkness makes any woman fair.
 * Book I, lines 249–250

 * Aut non rem temptes aut perfice.
 * Either don't try at all or make damned sure you succeed.
 * Book I, line 389 (tr. James Michie)

 * Iuppiter ex alto periuria ridet amantum.
 * Jupiter from above laughs at lovers' perjuries.
 * Book I, line 633

 * Expedit esse deos, et, ut expedit, esse putemus.
 * It is convenient that there be gods, and, as it is convenient, let us believe that there are.
 * Book I, line 637

Quam necis artifices arte perire sua.'' Than that death-dealers die by what they've planned.
 * ''Neque enim lex aequior ulla est,
 * No fairer law in all the land
 * Book I, lines 655–656 (tr. Len Krisak)

 * Intret amicitiae nomine tectus amor.
 * Let love steal in disguised as friendship.
 * Book I, line 720; translated by J. Lewis May in The Love Books of Ovid, 1930
 * Variant translation: Love will enter cloaked in friendship's name.

 * Ut ameris, amabilis esto.
 * If you want to be loved, be lovable.
 * Variant translation: To be loved, be lovable.
 * Book II, line 107
 * Compare: Si vis amari, ama. ("If you wish to be loved, love"), attributed to Hecato by Seneca the Younger in Epistulae Morales ad Lucilium, Epistle IX

 * Forma bonum fragile est.
 * Beauty's a frail flower.
 * Book II, line 113 (tr. James Michie)

Perfer et obdura: postmodo mitis erit. Flectitur obsequio curvatus ab arbore ramus: Frangis, si vires experiere tuas. Obsequio tranantur aquae: nec vincere possis Flumina, si contra, quam rapit unda, nates.'' Just take it, don't weaken; in time she'll soften her mood. Bending a bough the right way, gently, makes It easy; use brute force, and it breaks. With swimming rivers it's the same— Go with, not against, the current.
 * ''Si nec blanda satis, nec erit tibi comis amanti,
 * If she's cool and unwilling to be wooed,
 * Book II, lines 177–182 (tr. James Michie)

Cum dare non possem munera, verba dabam.''
 * ''Pauperibus vates ego sum, quia pauper amavi;
 * I am the poor man's poet; because I am poor myself and I have known what it is to be in love. Not being able to pay them in presents, I pay my mistresses in poetry.
 * Book II, lines 165–166 (tr. J. Lewis May)

 * Cede repugnanti; cedendo victor abibis.
 * Yield to the opposer, by yielding you will obtain the victory.
 * Book II, line 197

 * Militiae species amor est.
 * Love is a kind of warfare.
 * Book II, line 233

Si bene nutrieris, tempore firmus erit. Quem taurum metuis, vitulum mulcere solebas: Sub qua nunc recubas arbore, virga fuit: Nascitur exiguus, sed opes adquirit eundo, Quaque venit, multas accipit amnis aquas.'' The time and practice make it strong and sound.''' That bull you fear, you petted when it wasn't big; What now you sleep beneath was once a twig. '''That little stream, in gaining waters as it goes, Grows stronger, till at last a river flows.'''
 * ''Dum novus errat amor, vires sibi colligat usu:
 * 'Young love is errant, but it needs'' to get around;
 * Book II, lines 339–344 (tr. Len Krisak)

 * Nil adsuetudine maius.
 * Nothing is stronger than habit.
 * Variant translation: Nothing is more powerful than custom.
 * Book II, line 345

And rain is best absorbed by arid earth.
 * Da requiem: requietus ager bene credita reddit
 * Leave her alone. A fallow field soon shows its worth,
 * Book II, line 351 (tr. Len Krisak)

 * Quod male fers, adsuesce, feres bene.
 * Habit makes all things bearable.
 * Book II, line 647 (tr. James Michie)

 * Utendum est aetate: cito pede labitur aetas.
 * Seize Time; his swift foot can't be held.
 * Book III, line 65 (tr. Len Krisak)

Qui, nisi carptus erit, turpiter ipse cadet.'' For if you don't, it meets a wasted doom.
 * ''Nostra sine auxilio fugiunt bona; carpite florem,
 * Our charms depart all on their own, so pluck the bloom.
 * Book III, lines 79–80 (tr. Len Krisak)

 * Continua messe senescit ager.
 * A field becomes exhausted by constant tillage.
 * Book III, line 82

Quo minime credas gurgite, piscis erit.''
 * ''Casus ubique valet; semper tibi pendeat hamus
 * Chance is always powerful. Let your hook always be cast; in the pool where you least expect it, there will be fish.
 * Book III, line 425

 * Candida pax homines, trux decet ira feras.
 * Rage is for beasts, but shining peace for man.
 * Book III, line 502 (tr. Len Krisak)

Sedibus aetheriis spiritus ille venit.'' A god within us, we all deal With heaven direct, from whose high places we derive The inspiration by which we live.
 * ''Est deus in nobis, et sunt commercia caeli:
 * We all conceal
 * Book III, lines 549–550 (tr. James Michie)

Metamorphoses (Transformations)

 * Chaos, rudis indigestaque moles.
 * Chaos, a rough and unordered mass.
 * Book I, 7

 * Sanctius his animal mentisque capacius altae Deerat adhuc et quod dominari in cetera posset: Natus homo est.
 * A creature of a more exalted kind Was wanting yet, and then was Man designed; Conscious of thought, of more capacious breast, For empire formed, and fit to rule the rest.
 * Book I, 76 (as translated by John Dryden)

 * Pronaque quum spectent animalia cetera terram, Os homini sublime dedit, coelumque tueri Jussit, et erectos ad sidera tollere vultus.
 * Thus, while the mute creation downward bend Their sight, and to their earthly mother tend, Man looks aloft, and with erected eyes Beholds his own hereditary skies.
 * Book I, 84 (as translated by John Dryden)

 * Tum pater omnipotens misso perfregit Olympum fulmine et excussit subiectae Pelion Ossae.
 * Then the omnipotent Father with his thunder made Olympus tremble, and from Ossa hurled Pelion.
 * Book I, 154
 * Compare: "Heav'd on Olympus tott'ring Ossa stood; On Ossa, Pelion nods with all his wood", Alexander Pope, The Odyssey of Homer, Book xi, line 387; "would have you call to mind the strength of the ancient giants, that undertook to lay the high mountain Pelion on the top of Ossa, and set among those the shady Olympus", François Rabelais, Works, book iv. chap. xxxviii.

 * Materiam superabat opus
 * The workmanship excelled the materials.
 * Book II, 5

 * Medio tutissimus ibis.
 * You will be safest in the middle.
 * Book II, 137
 * Variant translation: You will go most safely by the middle way.

 * Inopem me copia fecit.
 * Plenty has made me poor.
 * Book III, 466
 * Variant translation: Abundance makes me poor.

 * Causa latet, vis est notissima
 * The cause is hidden, but the result is well known.
 * Variant translation: The cause is hidden; the effect is visible to all.
 * Book IV, 287

 * Fas est et ab hoste doceri.
 * It is right to learn even from an enemy.
 * Book IV, 428
 * Variant translations:
 * It is right to learn, even from the enemy.
 * Right it is to be taught even by the enemy.
 * It is right to be taught even by an enemy.
 * We can learn even from our enemies.

 * Usus communis aquarum est. Nec solem proprium natura nec aera fecit nec tenues undas
 * Water belongs to us all. Nature did not make the sun one person's property, nor air, nor water, cool and clear.
 * Book VI, 349-351; translation by Michael Simpson

 * Video meliora, proboque, deteriora sequor.
 * I see better things, and approve, but I follow worse.
 * Book VII, 20

 * Et ignotas animum dimittit in artes.
 * And he turned his mind to unknown arts.
 * Book VIII, line 188

The middle way, for if your pinions dip Too low the waters may impede your flight; And if they soar too high the sun may scorch them. Fly midway.
 * Insruit et natum: Medioque ut limite curras, Icare, ait, moneo. Ne, si demissior ibis, Unda gravet pennas; si celsior, ignis adurat. Inter utrumque vola.
 * My son, I caution you to keep
 * Book VIII, lines 203–206; translation by Brooks More

 * Sunt superis sua iura
 * The gods have their own rules.
 * Book IX, 500

 * Supremum vale.
 * A last farewell.
 * Book X, 62

 * Ars adeo latet arte sua.
 * So art lies hid by its own artifice.
 * Book X, 252

 * Nam genus et proavos et quae non fecimus ipsi, Vix ea nostra voco.
 * For those things which were done either by our fathers, or ancestors, and in which we ourselves had no share, we can scarcely call our own.
 * Book XIII, 140–141

 * Tibi dextera bello utilis: ingenium est, quod eget moderamine nostro; tu vires sine mente geris, mihi cura futuri; tu pugnare potes, pugnandi tempora mecum eligit Atrides; tu tantum corpore prodes, nos animo; quantoque ratem qui temperat, anteit remigis officium, quanto dux milite maior, tantum ego te supero; nec non in corpore nostro pectora sunt potiora manu: vigor omnis in illis.
 * Your right arm is useful in the battle; but when it comes to thinking you need my guidance. You have force without intelligence; while mine is the care for to-morrow. You are a good fighter; but is I who help Atrides select the time of fighting. Your value is in your body only; mine, in mind. And, as much as he who directs the ship surpasses him who only rows it, as much as the general exceeds the common soldier, so much greater am I than you. For in these bodies of ours the heart is of more value than the hand; all our real living is in that.
 * Book XIII, 361–369; translation by Frank Justus Miller

 * Ego pulveris hausti ostendens cumulum, quot haberet corpora pulvis, tot mihi natales contingere vana rogavi; excidit, ut peterem iuvenes quoque protinus annos.
 * Pointing to a pile of dust, that had collected, I foolishly begged to have as many anniversaries of my birth, as were represented by the dust. But I forgot to ask that the years should be accompanied by youth.
 * Book XIV, lines 136–139; translation by A. S. Kline

corpora! sunt fruges, sunt deducentia ramos pondere poma suo tumidaeque in vitibus uvae, sunt herbae dulces, sunt quae mitescere flamma mollirique queant; nec vobis lacteus umor eripitur, nec mella thymi redolentia florem: prodiga divitias alimentaque mitia tellus suggerit atque epulas sine caede et sanguine praebet.'' Nor taint your bodies with a food profane: While corn, and pulse by Nature are bestow'd, And planted orchards bend their willing load; While labour'd gardens wholesom herbs produce, And teeming vines afford their gen'rous juice; Nor tardier fruits of cruder kind are lost, But tam'd with fire, or mellow'd by the frost; While kine to pails distended udders bring, And bees their hony redolent of Spring; While Earth not only can your needs supply, But, lavish of her store, provides for luxury; A guiltless feast administers with ease, And without blood is prodigal to please.
 * ''Parcite, mortales, dapibus temerare nefandis
 * O mortals, from your fellows' blood abstain,
 * Book XV, 75–82 (from Wikisource); on vegetarianism, as the following quote

ingestoque avidum pinguescere corpore corpus alteriusque animans animantis vivere leto! Scilicet in tantis opibus, quas, optima matrum, terra parit, nil te nisi tristia mandere saevo vulnera dente iuvat ritusque referre Cyclopum, nec, nisi perdideris alium, placare voracis et male morati poteris ieiunia ventris!'' Where bowels are in other bowels clos'd: Where fatten'd by their fellow's fat, they thrive; Maintain'd by murder, and by death they live. 'Tis then for nought, that Mother Earth provides The stores of all she shows, and all she hides, If men with fleshy morsels must be fed, And chaw with bloody teeth the breathing bread: What else is this, but to devour our guests, And barb'rously renew Cyclopean feasts! We, by destroying life, our life sustain; And gorge th' ungodly maw with meats obscene.
 * ''Heu quantum scelus est in viscera viscera condi
 * O impious use! to Nature's laws oppos'd,
 * Book XV, 88–95 (from Wikisource)

 * Omnia mutantur, nihil interit.
 * Thus all things are but altered, nothing dies.
 * Book XV, 165 (as translated by John Dryden); on the transmigration of souls.

 *  Tempus edax rerum.
 * Time, the devourer of all things.
 * Book XV, 234

ex aliis alias reparat natura figuras: nec perit in toto quicquam, mihi credite, mundo, sed variat faciemque novat, nascique vocatur incipere esse aliud, quam quod fuit ante, morique desinere illud idem. cum sint huc forsitan illa, haec translata illuc, summa tamen omnia constant.''
 * ''Nec species sua cuique manet, rerumque novatrix
 * No species remains constant: that great renovator of matter Nature, endlessly fashions new forms from old: there’s nothing in the whole universe that perishes, believe me; rather it renews and varies its substance. What we describe as birth is no more than incipient change from a prior state, while dying is merely to quit it. Though the parts may be transported hither and thither, the sum of all matter is constant.
 * Book XV, 252–258 (as translated by Peter Green)

 * Nomenque erit indelebile nostrum.
 * My name shall never be forgotten.
 * Book XV, 876

Tristia (Sorrows)

 * Carmina proveniunt animo deducta sereno.
 * Poetry comes fine-spun from a mind at ease.
 * I, i, 39

 * Donec eris sospes, multos numerabis amicos: tempora si fuerint nubila, solus eris.
 * So long as you are secure you will count many friends; if your life becomes clouded you will be alone.
 * I, ix, 5

 * Horrea formicae tendunt ad inania numquam: nullus ad amissas ibit amicus opes.
 * Ants never head for an empty granary: no friends gather round when your wealth is gone.
 * I, ix, 9-10; translation by A.S. Kline

 * Crede mihi, bene qui latuit bene vixit, et intra Fortunam debet quisque manere suam.
 * Well doth he live who lives retired, and keeps His wants within the limit of his means.
 * Variant translation: Believe me that he who has passed his time in retirement, has lived to a good end, and it behoves every man to live within his means
 * III, iv, 26

 * Quo quisque est maior, magis est placabilis irae, et faciles motus mens generosa capit. corpora magnanimo satis est prostrasse leoni, pugna suum finem, cum iacet hostis, habet: at lupus et turpes instant morientibus ursi et quaecumque minor nobilitate fera. maius apud Troiam forti quid habemus Achille? Dardanii lacrimas non tulit ille senis.
 * The greater a man is, the more can his wrath be appeased; a noble spirit is capable of kindly impulses. For the noble lion 'tis enough to have overthrown his enemy; the fight is at an end when his foe is fallen. But the wolf, the ignoble bears harry the dying and so with every beast of less nobility. At Troy what have we mightier than brave Achilles? But the tears of the aged Dardanian he could not endure.
 * III, v, 33; translation by Arthur Leslie Wheeler
 * Note: "the aged Dardanian" here refers to Priam

 * Vivere me dices, sed sic ut vivere nolim
 * Say that I live, but in such wise that I would not live.
 * III, vii, 7; translation by Arthur Leslie Wheeler

Epistulae ex Ponto (Letters From the Black Sea)

 * Estque pati poenam quam meruisse minus.
 * And it is a smaller thing to suffer the punishment than to have deserved it.
 * I, i, 62; translation by Arthur Leslie Wheeler

 * Difficile est, fateor, sed tendit in ardua virtus et talis meriti gratia maior erit.
 * 'Tis hard, I admit, yet virtue aims at what is hard, and gratitude for such a service will be all the greater.
 * II, ii, 111-112; translation by Arthur Leslie Wheeler

 * Turpe quidem dictu, sed, si modo vera fatemur, vulgus amicitias utilitate probat.
 * Shameful it is to say, yet the common herd, if only we admit the truth, value friendships by their profit.
 * II, iii, 7-8; translation by Arthur Leslie Wheeler

 * Nec facile invenias multis in milibus unum, virtutem pretium qui putet esse sui. ipse decor, recte facti si praemia desint, non movet, et gratis paenitet esse probum. nil nisi quod prodest carum est.
 * Nor can one easily find among many thousands a single man who considers virtue its own reward. The very glory of a good deed, if it lacks reward, affects them not; unrewarded uprightness brings them regret. Nothing but profit is prized.
 * II, iii, 11-15; translation by Arthur Leslie Wheeler. Variant translation of gratis paenitet esse probum, in Bartlett's Familiar Quotations, 15th ed. (1980), p. 114: "It is annoying to be honest to no purpose."

 * Adde quod ingenuas didicisse fideliter artes emollit mores nec sinit esse feros.
 * Note too that a faithful study of the liberal arts humanizes character and permits it not to be cruel.
 * II, ix, 47

 * Ut desint vires, tamen est laudanda voluntas.
 * Though strength be lacking, yet the will is to be praised.
 * III, iv, 79

 * Laeta fere laetus cecini, cano tristia tristis.
 * Gay was oft my song when I was gay, sad it is now that I am sad.
 * III, ix, 35; translation by Arthur Leslie Wheeler

 * Gutta cavat lapidem
 * Drops of water hollow out a stone.
 * IV, x, 5; Arthur Leslie Wheeler translation

Quotes about Ovid
Who best the gentle passions knows to move; Ovid, the soft philosopher of love: His Love Epistles for my friends I chose; For there I found the kindred of my woes.
 * The fittest for my wound,
 * John Dryden, Love Triumphant (1694), Act II, scene i.

 * One often hears: that is good but it belongs to yesterday. But I say: yesterday has not yet been born. It has not yet really existed. I want Ovid, Pushkin, and Catullus to live once more, and I am not satisfied with the historical Ovid, Pushkin, and Catullus.
 * Osip Mandelstam THE WORD AND CULTURE translated into English in The complete critical prose (1997)

 * Here are only numbers ratified; but, for the elegancy, facility, and golden cadence of poesy, caret. Ovidius Naso was the man: and why, indeed, Naso, but for smelling out the odoriferous flowers of fancy, the jerks of invention?
 * William Shakespeare, Love's Labour's Lost (c. 1594)

 * To my fancy, the first poet of all antiquity.
 * Gilbert Wakefield, letter to Charles James Fox (20 September 1799), in Correspondence of the Late Gilbert Wakefield with the Late Right Honourable Charles James Fox (1813), p. 83; quoted in E. J. Kenney's introduction to Ovid's Metamorphoses, trans. A. D. Melville (Oxford University Press, 1998), p. 19.

Metamorphoses

 * Latin text with English translation
 * Ovid Illustrated: The Renaissance Reception of Ovid in Image and Text (An elaborate environment allowing simultaneous access to Latin text, English translations, commentary from multiple sources along with wood cut illustrations by Virgil Solis.)
 * Latin text
 * University of Virginia: Metamorphoses
 * English translation
 * By A. S. Kline
 * Poetry in Translation: Ovid: Metamorphoses. (Enhanced viewer with links and notes. Can be downloaded in different formats.)
 * Mythology: Metamorphoses
 * By Rolfe Humphries
 * Metamorphoses Ovid Translated by Rolfe Humphries
 * By Sir Samuel Garth, John Dryden et al., 1717
 * Internet Classics Archive: Ovid's Metamorphoses
 * Globusz Publishing: Ovid's Metamorphoses
 * By Others:
 * Elizabethan Authors: Ovid's Metamorphoses, trans. by Arthur Golding, 1567.
 * TextKit: Ovid's Metamorphoses, Books I–IV, trans. Rev. Dr. Giles, a learning translation/crib in PDF graphic format.
 * Insight and commentary
 * The Ovid Project: Metamorphising the Metamorphoses (Illustrations by Johann Whilhelm Baur (1600–1640) and anonymous illustrations from George Sandy's edition of 1640.)
 * A Honeycomb for Aphrodite by A. S. Kline
 * Ovid's Metamorphoses, An introduction and commentary by Larry A. Brown.
 * An Analytical Onomasticon to the Metamorphoses of Ovid (Concordance and narrative index.).

title: Ovid


text:
James Bond (film series)

The James Bond film series deals with the British author Ian Fleming's character, MI6 agent James Bond, also known as agent "007". He has been portrayed, as of 2015, by six actors in the following 25 official films from EON Productions started by film producers Albert R. Broccoli and Harry Saltzman.

Catchphrases

 * Bond ... James Bond
 * Shaken, not stirred. [Also used below]
 * Vodka Martini. Shaken, not stirred.
 * Good luck out there in the field... And please return the equipment in one piece.
 * Ah, Mr Bond, we’ve been expecting you.

 * Some variant as quoted in Telegraph

Films

 * Dr. No (1962)
 * From Russia with Love (1963)
 * Goldfinger (1964)
 * Thunderball (1965)
 * You Only Live Twice (1967)

 * On Her Majesty's Secret Service (1969)
 * Diamonds Are Forever (1971)
 * Live and Let Die (1973)
 * The Man with the Golden Gun (1974)
 * The Spy Who Loved Me (1977)
 * Moonraker (1979)
 * For Your Eyes Only (1981)
 * Octopussy (1983)
 * Never Say Never Again (1983) [Not an EON Productions film, but since acquired by them]
 * A View to a Kill (1985)
 * The Living Daylights (1987)
 * Licence to Kill (1989)
 * GoldenEye (1995)
 * Tomorrow Never Dies (1997)
 * The World Is Not Enough (1999)
 * Die Another Day (2002)
 * Casino Royale (2006)
 * Quantum of Solace (2008)
 * Skyfall (2012)
 * Spectre (2015)
 * No Time To Die (2021)

About

 * I felt I was caught in a time warp between Roger and Sean. It was a very hard one to grasp the meaning of, for me. The violence was never real, the brute force of the man was never palpable. It was quite tame, and the characterisation didn’t have a follow-through of reality, it was surface.
 * Pierce Brosnan in "Pierce Brosnan: 'I was never good enough as Bond'", by Hannah Furness, The Telegraph, (12 Apr 2014).

 * The only real difficulty I found in playing Bond was that I had to start from scratch. Nobody knew anything about him, after all. Not even Fleming. Does he have parents? Where does he come from? Nobody knows. But we played it for laughs, and people seem to feel it comes off quite well.
 * Sean Connery, Sydney Morning Herald, (1963); as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * Yes, I do identify with him. I too enjoy drinking, women, eating the physical pleasure – smells and tastes living by my senses, being alive. And as far as Bond is concerned, he has no past.
 * Sean Connery in Elizabeth Trotta, Newsday, (1963) as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * Bond makes his own rules, and that’s fine as long as you’re not plagued by doubts. But if you are—and most of us are—you’re sunk. That’s why Bond is so attractive to women. By their nature they’re indecisive, so a man who is absolutely sure comes as a godsend.
 * Sean Connery in Anthony Carthew, New York Times, (1964); as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * Hitherto, whenever I’ve tangled with a beautiful spy, have you noticed what invariably happens? Even if I know the girl is a nasty and dangerous little snake, I’ve still had to kiss her first and kill her later. That’s the persona Ian Fleming and the film producers built up for me as James Bond. Every time I see a girl, I have to give. One of my producers, Cubby Broccoli, said to me: ‘It’s like this, Sean. James Bond is a nut for girls. Even if he hates her, his amorous instincts die hard – and she dies soft see?
 * Sean Connery in Leonard Mosley, New York Times, (1964), as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * He (Bond) is really a mixture of all that the defenders and the attackers say he is. When I spoke about Bond with (Bond creator, Ian) Fleming, he said that when the character was conceived, Bond was a very simple, straightforward, blunt instrument of the police force, a functionary who would carry out his job rather doggedly. But he also had a lot of idiosyncrasies that were considered snobbish–such as a taste for special wines, et cetera. But if you take Bond in the situations that he is constantly involved with, you see that it is a very hard, high, unusual league that he plays in. Therefore he is quite right in having all his senses satisfied–be it sex, wine, food or clothes–because the job, and he with it, may terminate at any minute. But the virtues that (Kingsley) Amis mentions–loyalty, honesty–are there, too. Bond doesn’t chase married women, for instance. Judged on that level, he comes out rather well.
 * Sean Connery in Playboy, (1965); as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * “Immoral? I’ve never seen him steal anyone’s wife, anyone else’s woman, or betray his own; he doesn’t have one. He likes women all right, but he never rapes them; it’s they who worm their way into his bed. He kills people, he has to; if he doesn’t, they’ll kill him. He abides by no laws, but nor is he protected by the laws that protect others; society does nothing to defend him, he isn’t known to society. He’s rather ignorant, O.K., but he doesn’t exactly have the time for reading Joyce. His struggle for survival obliges him to be practical, functional, to reduce everything to the verbs sniff, look, listen, taste, think. His safety depends on this and not on Joyce. He doesn’t fight for old people and children, but who said he couldn’t? Have you any proof? Your accusations wouldn’t be valid in any court of law. Yes, sure, it would be interesting if I spoke badly of Bond. But I’ve got nothing at all against Mr. Bond, and I’m only too sorry he has to die.”
 * Sean Connery in Oriana Fallaci, interview in Paris, (1965); as quoted in "Sean Connery On James Bond", Stuff Nobody Cares About.

 * With James Bond, people are sure there's gonna be a bit of sex, a bit of fun, a bit of action, a bit of drama and it's gonna be a bit of a joyride. My personal choice is From Russia With Love because that's got all the glamour and the locations and the twists and the humor and rather good storytelling, and places like Istanbul. The Bond pictures will continue on, I suppose.
 * Sean Connery in "Connery's take on life in the movies", Rogerebert.com, (Dec 25th 2000).

 * I feel that Roger - which I think he may have inherited in part from after Diamonds Are Forever, where they were already getting into that area of too much hardware - that that was more important.
 * Sean Connery, (1983); as quoted in "Roger Moore dead: Revisting Sean Connery's brutal critique of actor's James Bond portrayal" Independent, (23 May 2017).

 * His is a sort of parody of the character, as it were, so you would go for the laugh or the humour at whatever the cost of the credibility or the reality. I think that's basically the difference.
 * Sean Connery, (1983); as quoted in "Roger Moore dead: Revisting Sean Connery's brutal critique of actor's James Bond portrayal" Independent, (23 May 2017).

 * He’s very fucking lonely. There’s a great sadness. He’s fucking these beautiful women but then they leave and it’s … sad. And as a man gets older it’s not a good look. It might be a nice fantasy – that’s debatable – but the reality, after a couple of months …
 * Daniel Craig, "Daniel Craig: James Bond less 'sexist' than before" by Benjamin Lee, The Guardian, (1, Sep 2015).

 * Hopefully, my Bond is not as sexist and misogynistic as [earlier incarnations].
 * Daniel Craig, "Daniel Craig: James Bond less 'sexist' than before" by Benjamin Lee, The Guardian, (1, Sep 2015).

 * I think Roger was fine as Bond, but the films had become too much techno-pop and had lost track of their sense of story. I mean, every film seemed to have a villain who had to rule or destroy the world. If you want to believe in the fantasy on screen, then you have to believe in the characters and use them as a stepping-stone to lead you into this fantasy world. That's a demand I made, and Albert Broccoli agreed with me.
 * Timothy Dalton in "Celebrating Timothy Dalton’s James Bond" by Mark Harrison, Den of Geek, (Oct 29, 2012).

 * Alec Trevelyan: Oh please, James, spare me the Freud! I might as well ask if all the vodka martinis ever silence the screams of the men you've killed. Or if you find forgiveness in the arms of all those willing women for all the dead ones you failed to protect.
 * Alec Trevelyan/Agent 006 as interpreted by Sean Bean in GoldenEye, (1995); written by Michael France (story); Jeffrey Caine & Bruce Feirstein (screenplay).

 * I knew a review of the new Bond film would be hopeless, not just because of the hilariously abject plot, but because the franchise has already been dead for three decades. All they can do now is drag up the character, like grave robbers, to mock and degrade with hubris and irony, because they can’t invent archetypal characters or stories of their own anymore.
 * Brendan Heard, "No Time To Die - The Curmudgeon's Guide", WhyNow, (16 October 2021)

 * The real hidden gem of the Bond series’ financials lies in the marketing sponsorships it generates. Every major brand—Omega watches, Gillette shavers, Belvedere vodka, Heineken beer—wants to be associated with 007’s prestige. Jacques de Cock, a marketing consultant and lecturer at the London School of Marketing, estimates that the franchise has earned between $4 billion and $5 billion in marketing sponsorships since 1962’s Dr. No. If we’re working from the high end of that projection, that amounts to roughly $208 million per film. For perspective, Skyfall‘s entire production budget was $200 million. But that sponsorship money is going to the production companies, not the distributor. Still, that means the cost of each film is practically covered, and then some, long before the actual movie arrives in theaters. For that reason, the James Bond series may never end (there was even talk about a small-screen spin-off when Apple and Amazon were vying for the rights). These days, Hollywood is built on repetitive cash flow (i.e., sequels), but unlike the Star Wars or Harry Potter films—which earn more on average picture by picture, but only run for eight or nine installments—Bond is set up to live on ad infinitum.
 * Brandon Katz, “Is the James Bond Franchise Actually a Moneymaker?”, The Observer, (01/21/19)

 * The films go toe to toe with Marvel: Craig’s Skyfall did around the same box office, $1.1 billion, as Iron Man 3. At the same time, they are weirdly artisanal, bound by tradition, a certain way of doing things. The offices of Eon Productions, which makes the movies, are a short walk from Buckingham Palace. The theme tune hasn’t changed for half a century. The stunts are largely real. The scripts are a nightmare. There is a slightly demonic, British conviction that it will all work out in the end. “There has always been an element that Bond has been on the wing and a prayer,” Sam Mendes, who directed two of Craig’s 007 movies, told me. “It is not a particularly healthy way to work.” Reckoning with any of this doesn’t actually help if you’re the frontman. Craig has spent a lot of his time as James Bond trying not to think at all. While making No Time To Die, he taped some interviews with Broccoli and Wilson about his years in the role. There was a lot that he simply couldn’t remember. “Stop fucking thinking and just fucking act,” Craig said once, like it was an incantation. “It’s almost that. Because so many things are going on in your head. I mean, if you start thinking…that’s it. You’ve got to sort of forget. You’ve got to leave your ego.”
 * Sam Knight, "Heart of An Assassin: How Daniel Craig Changed James Bond Forever", GQ, (March 9, 2020)

 * In Craig’s hands, Bond aged, fell in love, and wept for the first time. He lost the smirk and gained a hinterland. During the same period, Britain—which Bond, in some way, always represents—has experienced extraordinary turmoil and self-doubt, has happened, and it’s very unclear who the good guys are anymore. It’s just possible that Craig smashed Bond in more ways than one. The films can never go back to what they were.
 * Sam Knight, "Heart of An Assassin: How Daniel Craig Changed James Bond Forever", GQ, (March 9, 2020)

 * In 1997, Austin Powers: International Man of Mystery had satirized the movies from head to foot, making it harder to play them for laughs. On the morning of 9/11, Broccoli and Wilson were in London, in a script meeting for Die Another Day. It was too late to rewrite the movie, but they sensed that it would be the last of its kind. “We felt the world has changed and the nature of these films has to change,” Broccoli told me. Two years earlier, after a long legal battle, Eon and MGM Studios had obtained the rights to Casino Royale, Ian Fleming’s first James Bond novel, which was published in 1953. After September 11, the story offered a chance to refresh the franchise, grounding it more strongly in both the original, darker tones of the novels and the new, worrying state of the world. “It wasn’t just recasting the role,” Broccoli said. “It was a new century and a new era. It felt like we had to redefine.”
 * Sam Knight, "Heart of An Assassin: How Daniel Craig Changed James Bond Forever", GQ, (March 9, 2020)

 * A ritual of the franchise is that all potential Bonds are asked to play the same scene, a moment in From Russia With Love, in which the spy returns to his hotel room to find Tatiana, a Russian agent, waiting for him naked in bed. Craig hated the rigmarole, the sense of following tradition. “I can’t believe my own arrogance, really,” he said. But he studied for the part. He went back to Fleming’s novels and found a character quite distinct from the unruffled screen persona of the previous 30 years. The Bond of the books was someone Craig could relate to: cold, messed up, human. “He is really fucking dark,” he said. In the novel Moonraker (1955), Bond tips a load of speed into his Champagne. “I think it’s more interesting,” Craig told me. “I know we can’t have him having amphetamine and speed and doing all these things. But inside, I know I’m doing that. And I wanted to inform the part and say that’s what he is. He’s kind of a fuckup. Because this job would fuck you up.”
 * Sam Knight, "Heart of An Assassin: How Daniel Craig Changed James Bond Forever", GQ, (March 9, 2020)

 * I mean the reasons that I wanted to be Bond were simple. I looked up to Sean Connery as an actor, and I thought that I would get laid a lot more. The strange thing is it actually had the opposite effect. Short hair and suits didn’t get you laid in the late 1960s. Everyone was wearing bell-bottoms.
 * George Lazenby, "George Lazenby on How Becoming James Bond Changed His Life" by Charles Thorp, Mens Journal.

 * I tend to forget that I even played James Bond until somebody reminds me. But I am glad I got to share the story.
 * George Lazenby, "George Lazenby on How Becoming James Bond Changed His Life" by Charles Thorp, Mens Journal.

 * I wouldn’t have changed it from the way I played it. I played it slightly tongue-in-cheek because I never quite believed that James Bond was a spy because everybody knew him, they all knew what he drank. He’d walk into a bar and it would always be, 'Ah, Commander Bond, martini, shaken not stirred.’ Spies are faceless people.
 * Roger Moore in "Roger Moore interview: 'I was never very confident with girls'" by Tim Auld, The Telegraph, 23 May 2017.

 * Raoul Silva: "Medical evaluation: Failed. Physical evaluation: Failed. Psychological evaluation: Alcohol and substance addiction indicated." Ooh! "Pathological rejection of authority based on unresolved childhood trauma. Subject is not approved for field duty and immediate suspension from service advised." What is this if not betrayal? She sent you after me, knowing you were not ready, knowing you would likely die. Mommy was very bad.
 * Raoul Silva as interpreted by Javier Barden in Skyfall (2012); written by Neal Purvis, Robert Wade and John Logan.

 * "Bond isn't going to be downing three or four martinis, and then winning a fight with five guys," Swartzwelder tells Shots. "He might be starting the fights, but he's not winning them." The old saw that every drink kills lots of brain cells isn't true, Swartzwelder says. "But chronic drinking does damage neurons and brain circuits over time," he says. "And there are parts of the brain that you don't want to damage if you're an international spy." First off, chronic alcohol abuse can injure the cerebellum, the brain region involved with coordination, Swartzwelder says. "It allows you to string together a series of athletic movements." "If Bond is pickling his cerebellum on a regular basis, he's not going to be able to learn fight sequences, jump through windows and shoot at the same time or even learn those dance sequences with his girlfriend," he says. The second brain region damaged by years of heavy drinking is the hippocampus, Swartzwelder says. Shaped like a little sea horse, the hippocampus is dedicated to forming new memories. "It is very sensitive to the effects of alcohol," he says. "Bond wouldn't be able to remember all those names, card numbers at poker games or even all his girlfriends' phones numbers if his hippocampus wasn't working correctly. "Believe me," Swartzwelder says. "Bond wouldn't have been doing the things that we he was doing in those movies if he drank as much as the study found."
 * Scott Schwartzwelder as qtd. in Michaeleen Doucleff, “If You Drank Like James Bond, You'd Be Shaken, Too”, All Things Considered, NPR, (December 12, 2013).

 * Images of cars and highways fill our literature, songs, movies and art, not just in America but worldwide. Books like "On the Road" by Jack Kerouac or "The Electric Kool-Aid Acid Test" by Tom Wolfe were among the first to romanticize driving and road trips. Old blues and early rock songs like "Route 66," "Brand New Cadillac," and "Goin' Mobile" further romanticized cars and highways for the postwar "Baby Boom" generation. Thousands of films and T.V. shows have focused on or predominantly featured cars and car chases: "Rebel Without a Cause," "American Graffiti," "Easy Rider," "Bullet," "The Dukes of Hazzard," the "James Bond" films, and at least half a dozen Burt Reynolds movies. The list goes on... All this pop culture, combined with relentless commercial advertising, has made cars an integral part of our personal identity. We have been taught to equate motor vehicles with wealth, power, romance, rebellion and freedom. Now, everywhere I go in the world, I see cars-millions and millions of cars-in Rome, Guatemala City, Kuala Lumpur, Bombay and Beijing. Everywhere there are huge traffic jams and poor air quality. The number of motor vehicles in the world is growing three times faster than the population.
 * Andy Singer, CARtoons (2001)

 * James Bond was established by Ian Fleming as a white character, played by white actors. Play 003 or 006, but you cannot be 007. A lot of people say we should be allowed to play everything. Don’t be ridiculous. If I say I want to play JFK, I should be laughed out of the room.
 * Yaphet Kotto in "Former 007 villain Yaphet Kotto says James Bond cannot be black" by Ben Child, The Guardian, (8 April 2015).

title: James Bond (film series)


text:
Walt Disney cartoon characters

 This page is for quotes of cartoon characters that have been created by the The Walt Disney Company.

Mickey Mouse

 * "Hot Dogs! Hot Dogs!" - First spoken words, in The Karnival Kid, first released on May 23, 1929.
 * "Once upon a time, in a cabin in the snow, two cousins who didn't trust each other were trying to steal the bag of money sitting on the floor in front of me. So neither one of them went to sleep because neither one of them could be trusted. The end!"
 * "I gotta get me an agent..."
 * (trying to go up a chimney) "I wonder if Santa ever had this much trouble."
 * Mickey: Come on, Goofy, it's a beautiful day! Let's go out and shoot some golf! Goofy: Golf? Are they in season? Mickey: That's just an expression! You don't really shoot anything! You use clubs! Goofy: And beat thuh little rascals to death? That's not fair! Mickey: Never mind! I'll explain it when we get there! Goofy: Where are we goin'? Mickey: We'll go out to Seaside Golf Course! There won't be many people out there today! Goofy: That's good! I'd hate tuh have anybody see me hittin' those poor little golfs!
 * Mickey: Goofy, are you all right? Goofy: I'm all right, but muh chewin' gum got all salty!

Sourced

 * "Who me? Oh, no! I've got a belly ache!" - first words, The Wise Little Hen (1934)
 * "So you jackass, I'm gonna knock you good! Uh Oh." - Don Donald (1937)
 * "I'm flying high, up in the sky, watching the world go by." - Window Cleaners (1940)
 * Doggone it! I might as well be in a concentration camp! - Timber (1941)
 * Maybe I'm just a duck, but I'm human! - Early to Bed (1941)
 * Am I glad to be a citizen of the United States of America! Oooh! - Der Fuehrer's Face (1943)
 * Four dollars is very little money when you got 'em; but a heck of a lot of money when you ain't got 'em. - "A Christmas for Shacktown" (1952)
 * Mathematics? That's for eggheads! - Donald in Mathmagicland (1959)

Common catch phrases

 * Oh boy oh boy oh boy!
 * Aw, phooey!
 * So!
 * Hiya, toots!
 * What's the big idea?
 * Oh Yeah?
 * Oh nuts.

Scrooge McDuck
"World's richest duck"
 * see also DuckTales

 * "Here I sit in this big lonely dump, waiting for Christmas to pass! Bah! That silly season when everybody loves everybody else! A Curse on it! Me - I'm different! Everybody hates me, and I hate everybody!" - First line, in Christmas on Bear Mountain (1947)
 * "That's the trouble with you young scallawags of today... You expect to start in at the top instead of working up from the bottom, like I did!"
 * "I can't go on like this - losing a billion dollars a minute! I'll be broke in 600 years!"
 * "I made [my money] on the seas, and in the mines, and in the cattle wars of the old frontier! I made it by being tougher than the toughies, and smarter than the smarties!  And I made it square!"
 * "No man is poor who can do what he likes to do once in a while! And I like to dive around in my money like a porpoise!  And burrow through it like a gopher!  And toss it up and let it hit me on the head!" Only a poor old man by Carl Barks.
 * HD&L: We missed you, Unca Scrooge! Scrooge: Missed me?! What'd you throw at me?
 * Scrooge: Excuse me, my good man, we need some transportation to-- Shop owner: No! All out! Go! Monsapi soon! Scrooge: Monsapi? Must be some sort of local festival.
 * Louie: UNCLE SCROOGE!! YOU'RE IN QUICKSAND!! Scrooge: Oh, good, I thought I was getting weak. QUICKSAND?!
 * Dewey: Are you all right? Scrooge: Fortunately, I landed on my wallet.
 * "Robbers! Thieves! Politicians!"
 * "You'd make a great sailor, Flintheart - on a submarine!"
 * Scrooge: Why don't I show you my study? You can tell a lot about a man by his study. Meticulous study, meticulous business, I always say. (opens door, but hears an explosion and sees safe dropping into study) Bigtime (as Dewey): Uh-oh... Scrooge: (slams door shut) Forget the study! You can never tell a thing about a man by his study, I always say.
 * "You! There'll be no whistling while you work!" - A reference to the song "Whistle While You Work" from Snow White and the Seven Dwarfs
 * "Oh no, you don't! Not unless you've got eighteen quadrillion bucks! And FIFTY CENTS!"
 * "This'll make a nice cover photo for Duckweek - Scrooge and his nephews... (Burger turns back to normal) ...playing Beagle Boys and Indians. BEAGLE BOYS??!"
 * "I didn't get rich by being stupid."
 * Scrooge: A deal this sweet should be against the law. Police Officer: Scrooge McDuck, you're under arrest! Scrooge: Good joke, officer. I guess it is against the law.
 * "A sea monster ate my ice creeeeeeeam!!!"
 * Fair official: Scrooge McDuck, you didn't pay for your rides on the ferris wheel, airplane, or water slide. You owe us two dollars and fifty-nine cents! Scrooge: Just for three little rides? (sigh) I could've bought seven new hats for the price of this one! (double sigh!!)
 * Scrooge: Donald! You can't be serious about this crazy idea; there's no profit in it! Donald: But I've already enlisted, Uncle Scrooge! I wanna see the world! Scrooge: So I'll buy you a globe!
 * "A day without looking at me Money Bin is like a day without sunshine!"
 * "You haven't seen the last of me, you purse snatchers from space!"
 * "Well, you get an A in home wreckonomics."
 * Bubba: Skooge home? Scrooge: No, Bubba, no home. Och, I'm starting to talk like him. Launchpad, how soon can we get back in the air? Launchpad: [The Millennium Shortcut is] in pretty deep, Mr. McDee. We're gonna need help. Bubba: Bubba help. Scrooge: You've helped enough already. Boys, you stay here. Bubba: Bubba come? Scrooge: No, Bubba stay. Launchpad come.
 * Scrooge: Gyro was right; Bubba's already costing me money! I've got to get him away from here. I know - you can take care of him! Louie: But we gotta go to school! Scrooge: Fine! Take 'im to school. Take 'im to the zoo. Take 'im to the cleaners! But just take 'im away from me!
 * "Hold still, Magica! I get extra points for evil sorceress in this game!"
 * "Why, oh why couldn't that woman have a fetish for rutabagas, or something?"
 * "Launchpad! Can't you even ride a camel without crashing it?"
 * "D'oh! I knew that rat's prices were too good to be true!"
 * Scrooge: I cannot work like this, Mrs. Featherby. I'm going home! Mrs. Featherby: But what about your lunch? Scrooge: Sell it!
 * "Mrs. Beakley, is this a ploy to get some vacation time?"
 * Nephews and Webby: Hellooooooo, Unca Scrooge. Scrooge: Don't you "Hellooooooo" me!
 * Scrooge: I told you, I'm not going to the ball! Duckworth: But sir, I've already arranged for Launchpad to take you to the society's mountain lodge. Scrooge: So cancel Launchpad! I'll not only save face, but my life as well.
 * Duckworth: Oh dear, Launchpad isn't answering. He must be on his way. Won't you go, sir? Scrooge: Aye, to work! Tell Launchpad he can take you to the ball.
 * "Since when does a hat have a mind of its own?"
 * "Heavenly heather! The genie in the magic lamp! The fortunes I could own! I could have the world's biggest diamond! No! The world's biggest diamond mine! No-no! All the diamond mines! No! The entire mining industry! Yes yes yes! I can see that this is going to take some careful thought."
 * Genie: I don't hear anything; I think they're gone. Scrooge: Where are we? Genie: Well, it's not exactly the Ritz. Scrooge: Not the lamp? Genie: "Sorry about the smell. You get used to it after a coupla hundred years. Could you move your elbow, please?" Scrooge: GET ME OUT OF HERE!! Genie: (does so) Do you have to yell at me all the time? Scrooge: Hmph. I wouldn't be in this mess if it weren't for you. Thanks to you, I've got a crazy animal act on my tail.
 * Scrooge: I've got to get you to my vault; it's the only safe place. Time to go back! Genie: B-b-but you saw what a dump it is. Scrooge: Sorry Genie, but the party's over.
 * "Well, you can forget about this year's Christmas bonus!"
 * "You let us go right now or I'm going to buy this place and tear it down to build hamburger stands."
 * "Bless me bagpipes! Rawr"
 * "Well, I’ll be tougher than the toughies, and sharper than the sharpies — and I’ll make my money square!"

Genie/Aladdin

 * "You ain't never had a friend like me!"

Pete

 * You know, I used to have a little cat once. And when it was left all alone, it'd cry... [with his face looking like a real cat] MEEEEEEEEEOOOOOOOOWWWWWWW!

title: Walt Disney cartoon characters