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The Satanic Verses

The Satanic Verses (1988) is the fourth novel of British-Indian writer Salman Rushdie. The book was inspired by the life of the Islamic prophet Muhammad. As with his previous books, Rushdie used magical realism and relied on contemporary events and people to create his characters. The title refers to the Satanic Verses, a group of Quranic verses that refer to three pagan Meccan goddesses: Allāt, Al-Uzza, and Manāt. The part of the story that deals with the "satanic verses" was based on accounts from the historians al-Waqidi and al-Tabari.

Quotes

 * "To be born again," sang Gibreel Farishta tumbling from the heavens, "first you have to die."
 * Chapter 1, "The Angel Gibreel" (first sentence).

 * The history of life was not the bumbling progress – the very English, middle-class progress – Victorian thought had wanted it to be, but violent, a thing of dramatic, cumulative transformations: in the old formulation, more revolution than evolution.
 * Chapter 1, "The Angel Gibreel"

 * "Martyrdom is a privilege," she said softly. "We shall be like stars; like the sun."
 * Chapter 1, "The Angel Gibreel"

 * No, not death: birth.
 * Chapter 1, "The Angel Gibreel"

 * Question: What is the opposite of faith? Not disbelief. Too final, certain, closed. Itself a kind of belief.  Doubt.
 * Chapter 2, "Mahound"

 * A poet's work … to name the unnamable, to point at frauds, to take sides, start arguments, shape the world and stop it from going to sleep.
 * Chapter 2, "Mahound"

 * But names, once they are in common use, quickly become mere sounds, their etymology being buried, like so many of the earth's marvels, beneath the dust of habit.
 * Chapter 4, "Ayesha"

 * Why speak if you can't manage perfect thoughts, perfect sentences?
 * Chapter 5, "A City Visible but Unseen"

 * Information got abolished sometime in the twentieth century … Since then we've been living in a fairy-story. … Everything happens by magic. Us fairies haven't a fucking notion what's going on.
 * Chapter 5, "A City Visible but Unseen"

 * But after a long instant, he [the Prophet] nods. "You have Submitted. And are welcome in my tents."
 * Chapter 6, "Return to Jahilia"

 * And the Prophet said, "Now we may come into Jahilia," and they arose and came into the city, and possessed it in the Name of the Most High, the Destroyer of Men.
 * Chapter 6, "Return to Jahilia"

 * Mahound shakes his head. "Your blasphemy, Salman, can't be forgiven. Did you think I wouldn't work it out? To set your words against the Words of God."
 * Chapter 6, "Return to Jahilia"

 * For are they not coinjoined opposites, these two, each man the other's shadow? – One seeking to be transformed into the foreigness he admires, the other preferring, contemptuously, to transform; one, a hapless fellow who seems to be continually punished for uncommitted crimes, the other called angelic by one and all, the type of man who gets away with everything. – We may describe Chamcha as being somewhat less than life-size; but loud, vulgar Gibreel is, without question, a good deal larger than life, a disparity which might easily inspire neo-Procrustean lusts in Chamcha: to stretch himself by cutting Farishta down to size. What is unforgivable?
 * Chapter 7, "The Angel Azraeel"

 * A life illuminated by a strangely radiant death, which continued to glow in his minds eye.
 * Chapter 9, "A Wonderful Lamp"

Quotes about The Satanic Verses

 * Do we realise how that hastily-ordered ban has changed India forever? .... When the Government promptly submitted to this illiterate hysteria, it convinced [Hindus] that secularism had become a code phrase for Muslim appeasement.
 * Vir Sanghvi: Liberal first, secular second. Sunday, 27.2.1994, quoted in Elst, Koenraad (2001). Decolonizing the Hindu mind: Ideological development of Hindu revivalism. New Delhi: Rupa. p. 32-33

 * One of the reasons for Islamophobia; in 1989 this book was published maligning, ridiculing our Prophet (PBUH). The west could not understand what was the problem. They don’t look at religion the way that we do. And so; in their eyes Islam was an intolerant religion. It became a watershed.
 * Imran Khan, Speech at the, 2019 Transcript online, '', September 27, 2019.

 * When the Japanese Rushdie translator was killed (summer 1991), spokesmen of the Japanese Muslim community said: "Whoever has killed him, whether Muslim or non-Muslim, at any rate it was his deserved punishment ordained by Allah."
 * Elst, Koenraad. Negationism in India: concealing the record of Islam. 1992

 * A consequence of the negationist orientation of the Indian state's religious policy, is the readiness to ban books critical of Islam at the slightest suggestion by some mullah or Muslim politician. It is symptomatic that India was the first country to ban Salman Rushdie's The Satanic Verses, at the insistence of Syed Shahabuddin, MP (in exchange, with some other concessions, for his calling off a march on Ayodhya).
 * Elst, Koenraad. Negationism in India: concealing the record of Islam. 1992

 * The Ayodhya dispute and the Rushdie affair are indeed connected. The ban on The Satanic Verses was part of a package of concessions by the Rajiv Gandhi Government to calm down Syed Shahabuddin, who had threatened a Muslim "march on Ayodhya on the same day when the VHP would hold a rally there.
 * Elst, Koenraad. Negationism in India: concealing the record of Islam. 1992
 * The author of The Satanic Verses, the British Indian writer Salman Rushdie, was already the acclaimed winner of the 1981 Booker Prize. The Satanic Verses was his fourth book, published in September 1988, about two Indian Muslim immigrants to Britain who die on a hijacked plane that explodes over the English Channel. They fall to earth and are magically transformed into living symbols of good and evil. Their stories are intertwined with that of a prophet called Mahound, in a place called jahiliyya. Rushdie described the book as a work about “migration, metamorphosis, divided selves, love, death, London, and Bombay.” Muslims saw references to their prophet Muhammad and his wives, whose names were given to prostitutes in the book. Khomeini’s edict to kill Rushdie sent shock waves through the literary and publishing world. That same night, Rushdie got police protection and went into hiding. Khomeini had become the spokesperson of Muslims who felt aggrieved and slighted, even those who had not read The Satanic Verses. Six hundred pages and a quarter of a million words long, the book may have been a masterpiece, but it was a maze. Yet someone had gone through it very diligently in India, Rushdie’s native country. And within a month of publication of The Satanic Verses, in the fall of 1988, he had called a friend in Leicester, telling him there was a campaign to ban the book in India, urging him to do God’s work in the UK.
 * Kim Ghattas Black Wave: Saudi Arabia, Iran, and the Forty-Year Rivalry That Unraveled Culture, Religion, and Collective Memory in the Middle East (2020)
 * In Leicester, Faiyazuddin Ahmad, a jovial-looking man, got to work, photocopying extracts of the book and sending them around to Muslim organizations and to the embassies of forty-five Muslim countries in the UK. A recent arrival in the country, Ahmad had previously worked in East Pakistan and Saudi Arabia as a managing editor of newspapers, and was now at the Islamic Foundation in Leicester, a local chapter of the Pakistani Jamaat-e Islami, which received funding from Saudi Arabia. Ahmad, who also had ties with the Saudi-funded World Assembly of Muslim Youth, traveled to Jeddah in October to brief members of the Organization of Islamic Cooperation. At the Saudi embassy in London, the head of the Islamic affairs section, Mughram al-Ghamdi, helped set up the UK Action Committee on Islamic Affairs to campaign against the book and get it banned. Only a few Muslim countries answered the call. But by December, British Muslims were protesting, burning a copy as they marched through the small town of Bolton. The subcontinental rivalry between Deobandis and Barelvis was mirrored in the Muslim community in Britain, fueling a competition for bigger and bigger protests. A month later, in January 1989, a larger one took place in Bradford, just an hour away from Bolton. The anger rippled back to the subcontinent. Not to be outdone, the Jamaat organized its own demonstration in Islamabad on February 12, bringing a massive crowd to protest outside the US cultural center in Islamabad. More than eighty were injured, five were shot dead.
 * Kim Ghattas, Black Wave: Saudi Arabia, Iran, and the Forty-Year Rivalry That Unraveled Culture, Religion, and Collective Memory in the Middle East (2020)
 * The story goes that Khomeini was watching the news that evening and was moved enough by the deaths of the Pakistani youths that he issued his fatwa. The book had been translated into Persian and had been on sale in Tehran—no one seemed exercised about it until Khomeini spoke out. The Saudis couldn’t let this pass. They went the legal way. Sheikh Bin Baz declared that Rushdie should be tried in absentia to determine whether his book was blasphemous. Sheikh Gad al-Haq, the head of Egypt’s highest religious authority, Al-Azhar, came out against Khomeini’s fatwa. But they were not standing up for freedom of speech and writing, no—Al-Azhar’s view was simply that no one could be put to death before there was a fair trial to determine whether blasphemy had indeed been committed. Any verdict in such a case would have to be handed out by a head of government
 * Kim Ghattas, Black Wave: Saudi Arabia, Iran, and the Forty-Year Rivalry That Unraveled Culture, Religion, and Collective Memory in the Middle East (2020)
 * Rushdie did not stand trial, and he survived the death threats. But the Japanese and Turkish translators of his book, and the publisher of the Norwegian one, were all assassinated for their association with Rushdie. Others with no connection to Rushdie would soon be felled or have their lives wrecked by accusations of blasphemy, from Egypt to Pakistan. Death by blasphemy had now been introduced to the Muslim world by a strange twist in the competition between Iran and Saudi Arabia to position themselves as the standard-bearer of global Islam. But Saudi Arabia’s role in this dynamic would be forgotten, and the fatwa against Rushdie would become solely an Iranian story.
 * Kim Ghattas, Black Wave: Saudi Arabia, Iran, and the Forty-Year Rivalry That Unraveled Culture, Religion, and Collective Memory in the Middle East (2020)

 * One prominent Muslim who suffered for The Satanic Verses, notably for protesting against the ban, was Mushir-ul-Hasan, pro-vice-chancellor of Jamia Millia Islamia, the Muslim university of Delhi. He told an interviewer: "I think the ban should be lifted. I think every person has a right to be heard and to be read." In his view, the ban "qualifies as an indefensible move," though he took care to deny any sympathy for the book's contents. Overnight, he became the object of a vicious campaign by most students and some professors at Jamia Millia. Though he buckled, apologizing and saying he never meant to demand the lifting of the ban, he had to stay away from his own university. The day he showed up again, he was severely beaten up and had to be hospitalized. ... Violence most directly related to Rushdie several attacks on his translators. Two of them, the Italian Ettore Capriolo and the Norwegian William Nygaard, were seriously wounded in knife assaults. (In defiance, Nygaard declared at the 1994 Book Fair in Frankfurt that the only correct reply to the terrorists was to stand firm for freedom, and that his way to do this was to translate and publish yet another blasphemer's book, Taslima Nasrin's Shame.) More alarming yet was the lethal attack on Hitoshi Igarashi, a Japanese professor of literature and translator of The Satanic Verses, right on the campus of Tsukuba University in 1991. To the indignation of the Japanese public, Japanese Muslims applauded this killing and declared that "even if the murder was not committed by a Muslim, God made sure that Igarashi got what he deserved."
 * Mushir-ul-Hasan. Quoted in Arun Shourie's discussion of the affair: "The Point We Always Evade," Observer of Business and Politics (Delhi), May 18, 1992; included in his book Indian Controversies (Delhi: ASA, 1993), pp. 363-370. Quoted from : Afterword: The Rushdie Affair's Legacy, The Rushdie Affair; written by Koenraad Elst,

 * I am informing all brave Muslims of the world that the author of The Satanic Verses, a text written, edited, and published against Islam, the Prophet of Islam, and the Qu’ran, along with all the editors and publishers aware of its contents, are condemned to death. I call on all valiant Muslims wherever they may be in the world to kill them without delay, so that no one will dare insult the sacred beliefs of Muslims henceforth. Whoever is killed in this cause will be a martyr, God Willing. Meanwhile if someone has access to the author of the book but is incapable of carrying out the execution, he should inform the people so that [Rushdie] is punished for his actions.
 * Ruhollah Khomeini, Fatwa against Salman Rushdie, 14 February 1989

 * The Press Council condemned the pre-publication of some excerpts as "an aberration from the path of ethical rectitude."
 * Press Council of India, quoted in Indian Express (13.11.1190), quoted from Elst, Koenraad (2001). Decolonizing the Hindu mind: Ideological development of Hindu revivalism. New Delhi: Rupa. p. 34

 * Those who oppose the novel most vociferously today are of the opinion that intermingling with a different culture will inevitably weaken and ruin their own. I am of the opposite opinion. The Satanic Verses celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelization and fears the absolutism of the Pure. Melange, hotchpotch, a bit of this and a bit of that is how newness enters the world. It is the great possibility that mass migration gives the world... The Satanic Verses is for change-by-fusion, change-by-conjoining. It is a love song to our mongrel selves.
 * Salman Rushdie, Imaginary Homelands (1992)

 * Mr. Mushirul Hasan's innocous opposition to the ban on The Satanic Verses has stirred a hornet's nest. He attempted an apology but could not save himself from the hounds. On May 22, the fire-eating Imam of Jama Masjid declared from the pulpit that "anyone who defends Salman Rushdie is defiling Islam." The students of the Jamia Millia shouted: "Qaum ka gaddar, Maut ka haqdar" (Betrayer of the community, deserver of death). Did Mr. Hasan badly miscalculate? Did he not realise the moral pressures under which he was working? Or, did he think he could brazen it out and earn an instant reputation as a liberal and a progressive without having to pay a price for it? (...) A book like The Satanic Verses is blasphemous and the punishment of its author is death. This was clear from the controversy that followed the banning of the book and the death fatwa by Ayatollah Khomeini against Salman Rushdie. The Muslim world was seized by a paroxysm of hate and demanded his blood. The author had few defenders even on compassionate grounds in his community. Muslims in India were no exception.
 * Ram Swarup, Swords to sell a god, (16 June 1992 in The Telegraph) quoted from Goel, Sita Ram (editor) (1998). Freedom of expression: Secular theocracy versus liberal democracy.

 * Spring 1989 will always remain as a kind of watershed in intellectual and world history. In February 1989, the Ayatollah Khomeini delivered his infamous fatwa on Salman Rushdie. Immediately following in its wake came short interviews with or articles by Western intellectuals, Arabists, and Islamologists blaming Rushdie for bringing the barbarous sentence onto himself by writing the Satanic Verses. John Esposito, an American expert on Islam, claimed he knew “of no Western scholar of Islam who would not have predicted that [Rushdie’s] kind of statements would be explosive.” That is sheer hypocrisy coming from a man who has published extracts from Sadiq al-Azm’s previously quoted book, that had also dared to criticize Islam.
 * Ibn Warraq: Why I am not a Muslim, Chapter 1

 * I think the man who wanted to kill Rushdie for writing Satanic Verses hasn't read Satanic verses. I think the Islamists who want to kill me for writing books have not read any of my books.
 * Taslima Nasrin, in Aug 2022. as quoted in Salman Rushdie attacked for writing ‘The Satanic Verses’ : Writer Taslima Nasreen

title: The Satanic Verses


text:
User:Ivana1~enwikiquote

To view my Wikipedia user page, please click here.

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

title: User:Ivana1~enwikiquote


text:
User talk:Ivana1~enwikiquote

~ MosheZadka (Talk) 15:58, 30 August 2005 (UTC)

Your account will be renamed
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The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ivana1. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ivana1~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:24, 17 March 2015 (UTC)

Renamed
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title: User talk:Ivana1~enwikiquote


text:
Fat Albert and the Cosby Kids

Fat Albert and the Cosby Kids (1972-1985), was an animated television show that portrayed the educational adventures of a group of Afro-American inner city kids.

Dialogue

 * Fat Albert: Hey HEY hey!
 * Fat Albert: Don't tie those shoes, get your mumma's boyfriend to do it!
 * Mushmouth: Hey-buh bay-buh. Wha-buh we-buh go-buh do-buh?
 * ''{translated} Hey Baby! What we gonna do?

The Cosby Kids

 * Bill Cosby - Fat Albert
 * Bill Cosby - James "Mushmouth" Mush
 * Lou Scheimer - Dumb" Donald
 * Bill Cosby - William "Bill" Cosby
 * Jan Crawford - Russell Cosby
 * Gerald Edwards - Old Weird Harold
 * Eric Suter - Rudy Davis
 * Jan Crawford - Bucky Miller

Others

 * Jay Scheimer - Miss Berry
 * Bill Cosby - Mudfoot Brown
 * Bill Cosby - Brown Hornet
 * Lou Scheimer - Stinger
 * Erika Scheimer - Tweeterbell
 * Lou Scheimer Legal Eagle
 * Jan Crawford & Gerald Edwards - Moe & Gabby
 * Erika Scheimer - Margene
 * Catero Colbert - 3 River Blockbusters
 * Erika Scheimer - Pee Wee

title: Fat Albert and the Cosby Kids


text:
Bringing Up Baby

Bringing Up Baby is a 1938 film about a scatter-brained heiress who drags a mild-mannered scientist into helping her care for a leopard named Baby.
 * ''Directed by Howard Hawks. Written by Hager Wilde and Dudley Nichols.

Susan Vance

 * [limping after losing a heel] I was born on the side of a hill!

 * [reading a letter about Baby] "He's three years old, gentle as a kitten, and likes dogs." I wonder whether Mark means that he eats dogs or is fond of them?

Dr. David Huxley

 * Now it isn't that I don't like you, Susan, because, after all, in moments of quiet, I'm strangely drawn toward you, but, well, there haven't been any quiet moments.

 * When a man is wrestling a leopard in the middle of a pond, he's in no position to run!

Dr. Fritz Lehman

 * That brings out a sort of pear-shaped tone, you see?

Dialogue

 * [David discovers the leopard in Susan's bathroom]
 * David: Susan, you've got to get out of this apartment!
 * Susan: I can't, I have a lease.

 * Susan: [in tears] You mean you want me to go home?
 * David: Yes.
 * Susan: You mean you don't want me to help you any more?
 * David: Yes.
 * Susan: After all the fun we've had?
 * David: Yes.
 * Susan: And after all the things I've done for you?
 * David: That's what I mean.

 * Susan: Well, don't you worry, David, because if there's anything that I can do to help you, just let me know and I'll do it.
 * David: [nervously] Well, er... don't do it until I let you know.

 * [Susan and David are in jail]
 * Susan: Anyway, David, when they find out who we are they'll let us out.
 * David: When they find out who you are they'll pad the cell.

 * [David is wearing a women's boa-collared negligee]
 * Elisabeth: Well, you look perfectly idiotic in those clothes.
 * David: These aren't my clothes!
 * Elisabeth: Well, where are your clothes?
 * David: I've lost my clothes!
 * Elisabeth: But why are you wearing these clothes?
 * David: Because I just went gay all of a sudden!

Cast

 * Katharine Hepburn — Susan Vance
 * Cary Grant — Dr. David Huxley
 * May Robson — Aunt Elizabeth Random
 * Fritz Feld — Dr. Fritz Lehman
 * Virginia Walker — Alice Swallow
 * D'Arcy Corrigan — Prof. LaTouche

title: Bringing Up Baby


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Category:1930s films

This is a selection of films with Wikiquote pages that were released in the 1930s.

See also the Wikipedia articles for these years in film:

1930 | 1931 | 1932 | 1933 | 1934 | 1935 | 1936 | 1937 | 1938 | 1939

title: Category:1930s films


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Singin' in the Rain

Singin' in the Rain is a 1952 American musical about a silent film star who falls for a chorus girl just as he and his delusionally jealous screen partner are trying to make the difficult transition to talking pictures in 1920s Hollywood.
 * Directed by Stanley Donen and Gene Kelly. Written by Betty Comden and Adolph Green.

What a Glorious Feeling ! Taglines

Don Lockwood

 * [Lina believes the tabloid reports of a romance between her and Don] Now Lina, you've been reading those fan magazines again. Now look Lina, you shouldn't believe all that banana oil that Dora Bailey and the columnists dish out. Now try to get this straight. There is nothing between us. There has never been anything between us. Just air.
 * Ladies and Gentlemen! Stop that girl! That girl running up the aisle - stop her! That's the girl whose voice you heard and loved tonight! She's the real star of the picture! Kathy Selden!

Lina Lamont

 * You mean it's gonna say up on the screen that I don't talk and sing for myself?...They can't DO that!...They can't make a fool out of Lina Lamont. They can't make a laughingstock out of Lina Lamont. What do they think I am, dumb or something? Why I make more money than—than—than Calvin Coolidge! Put together!
 * People? I ain't people! I am a---'a shimmering, glowing star in the cinema firm-a-mint!' It says so - right there.
 * If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothing. Bless you all.

Cosmo Brown

 * [singing] Moses supposes his toeses are roses But Moses supposes erroneously Moses he knowses his toeses aren't roses As Moses supposes his toeses to be.
 * [on Lina Lamont] She can't act, she can't sing, and she can't dance - the Triple Threat.
 * [after Dexter says Talking Pictures will never amount to a thing] That's what they said about the horseless carriage.

Kathy Selden

 * You might as well know. I'm the one who hit Miss Lamont with a cake. [looks at Don angrily] Believe me, it was meant for Mr. Lockwood.

Dialogue

 * Don: [about Lina] What's the matter with that girl? Can't she take a gentle hint?
 * Cosmo: Well, haven't you heard? She's irresistible. She told me so herself.

 * Don: Hey Cos, do something, call me a cab.
 * Cosmo: OK, you're a cab.

 * Don: Well, we movie stars get the glory. I guess we have to take the little heartaches that go with it. People think we lead lives of glamour and romance, but we're really lonely - terribly lonely.
 * Kathy: I don't go to the movies much - if you've seen one, you've seen them all...Oh, no offense. Movies are entertaining enough for the masses, but the personalities on the screen just don't impress me. I mean, they don't talk. They don't act. They just make a lot of dumb show...
 * Kathy: Acting means great parts, wonderful lines, speaking of glorious words, Shakespeare, Ibsen.
 * Don: Words, tell me, what's your lofty mission in life that lets you sneer at my humble profession?
 * Kathy: I'm an actress.
 * Don: What?...
 * Kathy: On the stage.
 * Don: Oh, on the stage. Well, I'd like to see you act. What are you in right now? I could brush up on my English, or uh, bring along an interpreter, that is, if they'd let in a movie actor.
 * Kathy: Well, I'm not in a play right now, but I will be. I'm going to New York.
 * Don: Oh, you're going to New York and then some day we'll all hear of you, won't we? Kathy Selden as Juliet, as Lady Macbeth, as King Lear. You'll have to wear a beard for that one, of course.
 * Kathy: Oh, you can laugh if you want to, but at least the stage is a dignified profession.
 * Don: [scoffing] Dignified profession!
 * Kathy: And what do you got to be so conceited about? You're nothing but a shadow on film, a shadow. You're not flesh and blood.
 * Don: Oh, no? [He moves closer to kiss her amorously]
 * Kathy: Stop! [She pushes him away]
 * Don: What can I do to you? I'm only a shadow.
 * Kathy: You keep away from me. Just because you're a big movie star, wild parties, swimming pools, you expect every girl to fall in a dead faint at your feet. Well, don't you touch me.
 * Don: Fear not, sweet lady! I will not molest you. I am but a humble jester. And you. You are TOO far above me. Farewell, Ethel Barrymore! I must tear myself from your side. [Kathy then laughs hysterically as Don's suit rips while he gets out of her car]
 * Don: Fear not, sweet lady! I will not molest you. I am but a humble jester. And you. You are TOO far above me. Farewell, Ethel Barrymore! I must tear myself from your side. [Kathy then laughs hysterically as Don's suit rips while he gets out of her car]

 * Lina: I arranged it...Well, they weren't gonna fire her, so I called 'em up and told 'em they'd better.
 * Don: Why, you rattlesnake you. You got that poor kid fired.
 * Lina: That's not all I'm gonna do if I ever get my hands on her.
 * Don: I never heard of anything so low...What did you do it for?
 * Lina: 'Cause you liked her, I could tell.
 * Don: So that's it. Believe me. I don't like her half as much as I hate you. You reptile!
 * Lina: Sticks and stones may break my bones...
 * Don: I'd like to break every bone in your body.
 * Lina: You and who else, you big lummox?

 * Lina: [after filming a love scene] Oh, Donny! You couldn't kiss me like that and not mean it just a teensy, weensy bit!
 * Don: Meet the greatest actor in the world. I'd rather kiss a tarantula.
 * Lina: Oh, you don't mean that.
 * Don: I don't -- Hey, Joe, bring me a tarantula.

 * R.F. Simpson: The public is screaming for more...talking pictures...Every studio is jumping on the bandwagon, Dexter. All the theatres are putting in sound equipment. We don't want to be left out of it.
 * Cosmo: Talking pictures, that means I'm out of a job. At last I can start suffering and write that symphony.
 * R.F. Simpson: You're not out of a job, we're putting you in as head of the new music department.
 * Cosmo: Well, thanks, R.F.! At last I can stop suffering and write that symphony.
 * R.F. Simpson: Don, it'll be a sensation! "Lamont and Lockwood: they talk!"
 * Lina Lamont: [with a voice to peel paint] Well of course we talk. Don't everybody?
 * [Simpson, Don, and Cosmo look back at Lina, worried.]

 * Roscoe Dexter: All right, here we go! QUIET!! ROLL 'EM!!
 * [Dexter recording the sound. But Lina's voice can't pick up the mike]
 * Lina Lamont: Oh, Pierre! You shouldn't have come!
 * Recorder: She's gotta talk into the mike. I can't pick it up.
 * Roscoe Dexter: CUT!!
 * Don Lockwood: What's the matter, Dexter?
 * Roscoe Dexter: It's Lina! Look, Lina, don't you remember? I told you. There's a microphone right there in the bush.
 * Lina Lamont: Yeah.
 * Roscoe Dexter: You have to talk into it.
 * Lina Lamont: I was talking. Wasn't I, Mrs. Dinsmore?
 * Dinsmore: Yes, my dear. But please remember, round tones. "Pierre, you shouldn't have come!"
 * Lina Lamont: "Pierre, you shouldn't have come!"
 * Dinsmore: Yes, yes, my dear. That's much better.
 * Roscoe Dexter: Hold it a second! Now, Lina, look. Here's the mike, right here in the bush.
 * Lina Lamont: Yeah!
 * Roscoe Dexter: Now you talk towards it. The sound goes through the cable to the box. A man records it on a big record in wax. But, you have to talk into the mike first. In the bush! Now, try it again.
 * Lina Lamont: Gee, this is dumb.
 * Don Lockwood: She'll get it, Dexter. Lina, don't worry. We're all a little nervous on the first day. Everything's gonna be okay. Oh, Roscoe! You know the scene where I say, "Imperious princess of the night?" I don't like those lines there. Is it okay if I say what I always do? "I love you, I love you, I love you!"
 * Roscoe Dexter: Sure. Anyway, it's comfortable. BUT, INTO THE BUSH!! Okay, again! QUIET!! ROLL 'EM!!
 * [Dexter recording the sound. But Lina's voice keeps turning her head around that they're missing words]
 * Lina Lamont: Oh, Pierre, you shouldn't have come! You're flirting with danger. You'll surely find you out.
 * Roscoe Dexter: CUT!! Lina, you're missing every other word. You've got to talk into the mike!
 * Lina Lamont: Well, I can't make love to a bush!
 * Roscoe Dexter: Alright, alright! We'll have to think of something else.

 * [During a test screening of "The Duelling Cavalier," with Don playing Pierre and Lina playing Yvonne]
 * Yvonne: Oh, Pierre! You shouldn't have come. You are flirting with danger! They will surely find you out. Your head is much too valuable!
 * Roscoe Dexter: [to R.F.] She never could remember where the microphone was, boss.
 * Pierre: T'was Cupid himself who called me here. And I, smitten by his arrow...
 * [Pierre begins exaggeratedly moving around the set, and addresses his dialogue to the camera rather than Yvonne, causing the audience laughter to drown out his dialogue]
 * Yvonne: The night is full of our enemies. [lightly hits Pierre with her fan, generating several loud thuds]
 * Boy in audience: Hey, Lina, what are you hitting him with? A blackjack?
 * Pierre: I love you.
 * Yvonne: Oh, Pierre...
 * Pierre: [starts kissing Yvonne up her arm, as the audience laughter grows louder] I love you! I love you! I love you! I love you! I love you! I love you! I love you! I love you!
 * Man in audience: Did someone get paid for writing that dialogue?

 * [During a test screening of "The Duelling Cavalier," with Don playing Pierre and Lina playing Yvonne]
 * Pierre: [out of sync] What's this? Yvonne!? Captured by Rogue Noir of the purple terror!? Oh, Oh, my sword! I must fly to her side! Yvonne, Yvonne, my own.
 * Yvonne: Pierre will save me!! PIERRE!!
 * Noir: Pierre is miles away, you wench! [Noir kisses Yvonne against her will] No, no, no!
 * (Then, the voices reversed. Yvonne's voice is Noirs and Noir's voice is Yvonne's)
 * Yvonne: [Noir's voice] Yes, yes, yes!
 * Noir: [Yvonne's voice] No, no, no!
 * Yvonne: [Noir's voice. But the sound is getting lower] YES!! YES!! YES!!
 * Noir: [Yvonne's voice. But it gets even way more lower and began to slow down] NO!! NO!! NO!!

 * [After Don Lockwood's latest film is jeered by test audiences]
 * Don: Everything you ever said about me is true, Kathy. I'm no actor. I never was. Just a lotta 'dumb show.' I know that now.
 * Cosmo: Well, at least you're taking it lying down.
 * Don: No. No kidding, Cosmo. Did you ever see anything as idiotic as me on that screen tonight?
 * Cosmo: Yeah, how about Lina?
 * Don: All right. I ran her a close second. Maybe it was a photo finish. Anyway, I'm through, fellas.
 * Kathy: Don, you're not through!
 * Cosmo: Why of course not. Why, with your looks and figure, you could drive an ice wagon or shine shoes!
 * Kathy: Block hats!
 * Cosmo: Sell pencils!
 * Kathy: Dig ditches!
 * Cosmo: Or worse still, go back to vaudeville.

 * Cosmo: The price of fame. You've got the glory, you gotta take the little heartaches that go with it. Now look at me: I've got no fame, I've got no glory, I've got no big mansions, I've got no money! But I've got - what have I got?
 * Don: I don't know, what have you got?
 * Cosmo: I gotta get out of here.

 * Rod: Lina, you're a beautiful woman. Audiences think you've got a voice to match. The studio's gotta keep their stars from looking ridiculous at any cost.
 * Cosmo: Nobody's got that much money.

Taglines

 * What a Glorious Feeling!
 * MGM's Musical Treasure!

Cast

 * Gene Kelly - Don Lockwood
 * Donald O'Connor - Cosmo Brown
 * Debbie Reynolds - Kathy Selden
 * Jean Hagen - Lina Lamont
 * Millard Mitchell - R.F. Simpson
 * Cyd Charisse - Dancer
 * Douglas Fowley - Roscoe Dexter
 * Rita Moreno - Zelda Zanders

title: Singin' in the Rain


text:
M (1931 film)

M is a 1931 German film about a serial killer who preys on children. When the police are unable to catch him, the criminal underworld begins hunting for him.
 * Directed by Fritz Lang. Written by Thea von Harbou and Fritz Lang.

Schränker

 * We're doing our job because we have a living to make. But this monster has no right to live. He must disappear. He must be exterminated, without pity… without scruples.

 * [to Hans Beckert] You talk of rights… You will get your rights. We are all law experts here, from six weeks in Tegel, to fifteen years in Brandenburg.

Other

 * Girl in Circle: Just you wait, it won't be long, The man in black will soon be here, With his cleaver's blade so true, He'll make mincemeat out of you!

 * Pickpocket with Seven Watches: There are more police on the street tonight than whores.

 * Children: [singing] Just you wait a little while, the nasty man in black will come. With his little chopper, he will chop you up!

 * Beggar: Stop snoring! You'll wake the lice.

Dialogue

 * Pregnant Woman: I'm always telling those kids to stop singing that terrible murderer's song… and they do nothing but sing it at the top of their voices all day… As if we hadn't heard enough of that killer.
 * Mrs. Beckmann: Oh, leave them alone. As long as they're singing, at least we know they're still there.

 * Bartender: You're ruining my business, Sarge. These raids every night. No one can get a moment's peace! They're human beings, too.
 * Police Sergeant: You think we stay up all night just for the hell of it?
 * Bartender: No. But you're drivin' away my clientele and you won't find the guy you're lookin' for here anyway! If you know how angry they are at the guy who's causing these raids every night. Especially the hookers. Sure, they solicit. Business is business. But believe me, in every one of them beats a mother's heart! I know a lot of tough guys who get all teary eyed just seein' the little ones at play. If they ever get their hands on that monster, they'll make toothpicks out of him!

 * Schränker: An outsider is ruining our business and our reputation. Measures taken by the police and the daily raids to catch this child murderer are hampering our activities to an almost unbearable degree. We can no longer tolerate the fact that we're not safe now in any hotel, bar, cafe or even private home from the clutches of the police.
 * Criminal Syndicate Member: Very true.
 * Schränker: This state of affairs must end. Things must return to normal or we'll go under. Our coffers will soon be depleted. If we can't get funds to support the wives of these members who currently enjoy room and board at state expense, I don't know where we'll find the money to carry out our plans. Our reputation is suffering as well. The police seek the murderer in our fold. Gentlemen, when I run head on into an officer from the squad, he knows the potential risks, and so do I. If either dies in the line of duty, fine. Occupational hazard. But we must draw a firm line between ourselves and this man they're looking for! We conduct our business in order to survive, but this monster has no right to survive! No, in my condition, I can't eat anything like that. Without money or compassion! Gentlemen, our members must be able to go about their business again without frantic cops in their way at every turn.

 * Hans Beckert: And who are you?
 * Elderly Lawyer: I have the dubious honor of being your defense counsel. But I am afraid it won't be much use to you.

 * Hans Beckert: [horrified] But… but… do you want to kill me then? Murder me, just like that?
 * Schränker: We just want to render you harmless. That's what we want. But you'll only be harmless when you're dead.

 * Hans Beckert: I demand to be handed over to the jurisdiction of the common law!
 * Criminal 1: Quite a performance! That's not bad, that, ha, ha, ha!
 * Schränker: That would suit you, wouldn't it?
 * Conman: [sarcastically] Anything else you'd like?
 * Schränker: So that you can invoke paragraph fifty-one…
 * Criminal 2: That's it.
 * Schränker: And spend the rest of your life in an institution at the state's expense ... And then you'd escape… or else there'd be a pardon and there you are, free as air, with a pass, protected by the law because of mental illness. Off again chasing little girls. No, no. Very dry. We're not going to let that happen.

 * Hans Beckert: I can't help what I do! I can't help it, I can't…
 * Criminal: The old story! We never can help it in court!
 * Hans Beckert: What do you know about it? Who are you anyway? Who are you? Criminals? Are you proud of yourselves? Proud of breaking safes or cheating at cards? Things you could just as well keep your fingers off. You wouldn't need to do all that if you'd learn a proper trade, or if you'd work. If you weren't a bunch of lazy bastards. But I… I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!
 * Schränker: Do you mean to say that you have to murder?
 * Hans Beckert: It's there all the time, driving me out to wander the streets, following me, silently, but I can feel it there. It's me, pursuing myself! I want to escape, to escape from myself! But it's impossible. I can't escape, I have to obey it. I have to run, run… endless streets. I want to escape, to get away! And I'm pursued by ghosts. Ghosts of mothers and of those children… they never leave me. They are always there… always, always, always! Except... when I do it, when I… Then I can't remember anything. And afterwards I see those posters and read what I've done, and read, and read… did I do that? But I can't remember anything about it! But who will believe me? Who knows what it's like to be me? How I'm forced to act… how I must, must… don't want to, must! Don't want to, but must! And then a voice screams! I can't bear to hear it! I can't go on! I can't… I can't…

 * Judge: [last lines, about to pronounce sentence] In the name of the people...
 * Grieving Mother: This won't bring back our children. One needs to... keep closer watch... over our children... all of you!

Quotes about M

 * Berlin boasted the biggest film industry in Europe, producing in Fritz Lang's Metropolis the science-fiction masterpiece of the twenties and in the same director's M the definitive film noir.
 * Niall Ferguson, The War of the World: Twentieth-Century Conflict and the Descent of the West (2006), p.  235

Cast

 * Peter Lorre — Hans Beckert
 * Gustaf Gründgens — Schränker
 * Ellen Widmann - Frau Beckmann
 * Paul Kemp - Pickpocket with Seven Watches
 * Rudolf Blümner - Elderly Lawyer
 * Fritz Odemar - Conman

title: M (1931 film)


text:
User talk:Rmatney~enwikiquote

~ MosheZadka (Talk) 22:05, 30 August 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Rmatney. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Rmatney~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:33, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:55, 19 April 2015 (UTC)

title: User talk:Rmatney~enwikiquote


text:
User talk:68.18.179.211

Deliberate vandalism can result in IP numbers being blocked from editing. ~ Kalki 00:45, 31 August 2005 (UTC)

title: User talk:68.18.179.211


text:
User:Dabbler

Generally on Wikipedia, strayed here for a Ransome.

title: User:Dabbler


text:
Chevy Chase

Cornelius Crane Chase (born October 8, 1943), better known as Chevy Chase, is an Emmy Award-winning American comedian, writer, and television and film actor. Born into a prominent family, Chase became a sensation as a cast member in the inaugural season of Saturday Night Live. He also hosted the Academy Awards twice (1987 and 1988) and briefly had his own late-night talk show, The Chevy Chase Show. He is also known for his portrayal of the character Clark Griswold in four National Lampoon films, the investigative reporter Irwin M."Fletch" Fletcher in two Fletch movies, and Pierce Hawthorne in the television sitcom Community.

Attributed

 * [Chevy falls down, and gets up]LIVE FROM NEW YORK, IT'S SATURDAY NIGHT!
 * "It was my understanding that there would be no math."
 * From the Saturday Night Live sketch, Presidential Debate in 1976 (Chase played Gerald Ford).

 * I'm Chevy Chase - and you're not.

 * I want to look him straight in the eye, and I want to tell him what a cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-sucking, dog-kissing, brainless, d!ckless, hopeless, heartless, fat- @ss, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey sh!t he is!

 * We're kicking off our own fun old fashion family Christmas by heading out into the country in the old front-wheel drive sleigh to embrace the frosty majesty of the Winter landscape and select that most important of Christmas symbols.

Quotes about Chase

 * Medium talent.
 * Bill Murray

title: Chevy Chase


text:
Rescue Me (American TV series)

 * Seasons: 1 2 3 4 5 6 7 | Main

Rescue Me (2004–2011) is an American comedy-drama TV series, airing on FX, about the professional and personal lives of New York City firefighters after the trauma of the September 11.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4
 * Season 5
 * Season 6
 * Season 7

Cast

 * Denis Leary - Tommy Gavin
 * John Scurti - Kenneth “Lou” Shea
 * Daniel Sunjata - Franco Rivera
 * Steven Pasquale - Sean Leslie Garrity
 * Mike Lombardi - Mike Silletti
 * Andrea Roth - Janet Gavin
 * Callie Thorne - Sheila Keefe
 * Natalie Distler - Colleen Gavin (later Johnston)
 * James McCaffrey - James Xavier "Jimmy" Keefe
 * Lenny Clarke - Theodore "Teddy" Gavin
 * Robert John Burke - Mickey Gavin
 * Adam Ferrara - William “Needles” Nelson
 * Larenz Tate - Bart "Black Shawn" Johnston
 * Jack McGee - Jerry Reilly
 * Michael Zegen - Damien Keefe
 * Tatum O’Neal - Maggie Gavin-Garrity
 * Dean Winters - Johnny Gavin
 * Diane Farr - Laura Miles
 * Jerry Adler - Sidney Feinberg
 * Charles Durning - Michael Gavin
 * Terry Serpico - Eddie Gavin

title: Rescue Me (American TV series)


text:
Arsenic and Old Lace

Arsenic and Old Lace is a 1944 film about a drama critic who must cope with his bizarre extended family on his wedding day, including his two spinster aunts who have an unusual habit of poisoning lonely old men.
 * ''Directed by Frank Capra. Written by Joseph Kesselring, Julius J. Epstein and Philip G. Epstein.

Mortimer Brewster

 * Insanity runs in my family. It practically gallops.
 * When I come back, I expect to find you gone. Wait for me!
 * [to elderly guest] You... Get out of here! D'ya wanna be poisoned? D'ya wanna be murdered? D'ya wanna be killed?
 * [to Dr. Einstein] Stop underplaying, I can't hear you!
 * [to his aunts] This is developing into a very bad habit! I don't know if I can explain it to you. It's not only against the law, it's wrong!
 * Even the cat's in on it!
 * [on telephone] Hello... Operator? Can you hear my voice? You can? Are you sure? [Hangs up] Well, then I must be here.
 * [to Jonathan] Where did you get that face? Hollywood?
 * [explaining to Elaine why they shouldn't be married] You wouldn't want to have children with three heads, would you? I mean, you wouldn't want to set up housekeeping in a padded cell. Oh, it would be bad.
 * [singing] There is a Happy Dale, far, far away...
 * [on the telephone] Yes, operator, I'd like the Happy Dale Sanatorium, Happy Dale, New York. Come on, operator, what's taking so long? They're just across the river. I could swim it faster! No, I don't want the Happy Dale Laundry. I want the Happy Dale Sanatorium. Sanatorium, sanatorium, sanatorium. Yes, yes, like a broken record. Hello — what? They're busy? Busy? Look, they're busy and you're dizzy. No, I am not drunk, madam, but you've given me an idea. [throws down the phone in disgust]
 * All I did was cross the bridge and I was in Brooklyn. Amazing.
 * [trying to make Jonathan leave] Now, here's ten dollars. Why don't you be a good sport and go out and haunt yourself a hotel?
 * [Meeting with Dr. Gilchrist in the cemetery] Pull up a tombstone!
 * Certainly there are thirteen bodies in the cellar and there are hundreds more in the attic!
 * [watching the fighting, lighting up a cigarette] I got the papers signed — papers are all signed, what do I care? Go ahead — fight, fight. [watching the police trying to bring down Jonathan with a shoe] Oh, don't do that. It never works. [Jonathan collapses] What do you know? it worked!
 * [last lines] No, no. I'm not a Brewster. I'm the son of a sea-cook! Ha! Ha!

Elaine Harper

 * We were married today. We were going over Niagara Falls in a barrel. Your brother tries to kill me. A taxi is waiting and now you want to sleep on a window seat. You can take the honeymoon, your wedding ring, your taxi, your window seat, and put 'em in a barrel and push 'em all over Niagara Falls!

Jonathan Brewster

 * We better not leave the car parked in the street; it might be against the law.
 * [repeated line] Go to bed, Aunt Abby!
 * [to Mortimer] If you tell O'Hara what's in the window seat, I'll tell him what's in the cellar. There's an elderly gentleman down there who seems to be very dead.
 * This time, I want the face of an absolute non-entity!
 * The home of my youth... As a child, I wanted to escape it. Now, I want to escape back into it.
 * Who do I look like, Boris Karloff?

Teddy

 * CHAAARGE!!!
 * (when told that his "term of office" is over) Is this March the 4th? (Mortimer: Practically.)
 * I shall be in my office vetoing some bills.

Dialogue

 * Dr. Einstein: At least people in plays act like they've got sense.
 * Mortimer: Oh, you think so? Did you ever see anybody in a play act like they got any intelligence?
 * Dr. Einstein: [agonizing] How can anybody be so stupid!

 * Elaine: But Mortimer, you're going to love me for my mind, too.
 * Mortimer: One thing at a time!

 * Mortimer: Yeah, yeah, I know that bromide. Something borrowed, something blue - old, new! Rice and old shoes, carry you over the threshold, Niagara Falls — all the silly tripe I've made fun of for years. Is this what I've come to? I can't go through with it. I won't marry you and that's that!
 * Elaine: [adoring] Yes, Mortimer.
 * Mortimer: What do you mean, "Yes, Mortimer"? Aren't you insulted? Aren't you going to cry? Aren't you going to make a scene?
 * Elaine: [adoring] No, Mortimer.
 * Mortimer: And don't "No, Mortimer" me either! Don't... Don't you see, marriage is a superstition, it... It's old-fashioned, it's... I... Ohhhh...
 * [He kisses her and hauls her into the marriage license office]

 * Teddy Brewster: I must be catching cold.
 * Abby Brewster: No, dear, it was Reverend Harper who sneezed.

 * Rev. Harper: Have you ever tried to persuade him that he wasn't Teddy Roosevelt?
 * Abby: Oh, no.
 * Martha Brewster: Oh, he's so happy being Teddy Roosevelt.
 * Abby: Oh... Do you remember, Martha, once, a long time ago, we thought if he'd be George Washington, it would be a change for him, and we suggested it.
 * Martha: And do you know what happened? He just stayed under his bed for days and wouldn't be anybody.

 * [Discussing the body count]
 * Dr. Einstein: You got twelve, they got twelve.
 * Jonathan Brewster: I've got thirteen!
 * Dr. Einstein: No, Johnny, twelve — don't brag.
 * Jonathan: Thirteen! There's Mr. Spinalzo and the first one in London, two in Johannesburg, one in Sydney, one in Melbourne, two in San Francisco, one in Phoenix, Arizona...
 * Dr. Einstein: Phoenix?
 * Jonathan: The filling station...
 * Dr. Einstein: Filling station? Oh!
 * [Dr. Einstein draws a finger across his throat]
 * Dr. Einstein: Yes.
 * Jonathan: Then three in Chicago and one in South Bend.
 * Dr. Einstein: You cannot count the one in South Bend. He died of pneumonia!
 * Jonathan: He wouldn't have died of pneumonia if I hadn't shot him!
 * Dr. Einstein: No, no, Johnny. You cannot count him. You got twelve, they got twelve. The old ladies is just as good as you are!

 * Mortimer: The name Brewster is code for Roosevelt.
 * Teddy: Code for Roosevelt?
 * Mortimer: Yes. Don't you see? Take the name Brewster, take away the B, and what have you got?
 * Teddy: Rooster!
 * Mortimer: Uh-huh. And what does a rooster do?
 * Teddy: Crows.
 * Mortimer: It crows. And where do you hunt in Africa?
 * Teddy: On the veldt!
 * Mortimer: There you are: crows — veldt!
 * Teddy: Ingenious! My compliments to the boys in the code department.

 * Mortimer: Aunt Abby, how can I believe you? There are twelve bodies in the cellar and you admit you poisoned them.
 * Abby: Yes, I did. But you don't think I'd stoop to telling a fib.

 * Elaine: Well, that's a fine thing. We're married one minute and you're throwing me out of the house the next.
 * Mortimer: I am not throwing you out of the house, I am not throwing you out of the house, I am not throwing you out of the house. Will you get out of here?
 * [He pushes her out and slams the door]

 * [after finding the dead body in the window seat]
 * Mortimer: But — what happened to him?
 * Martha: [cheerfully] He died.

 * Teddy: Mr. Witherfork!
 * Mr. Witherspoon: Spoon!
 * Mortimer: [hands him spoon] Oh, here you go.

 * Elaine: But, Mortimer — Niagara Falls.
 * Mortimer: [distracted] It does? Well, let it.

 * Jonathan: Perhaps we should introduce ourselves. This is Dr. Einstein.
 * Elaine: Dr. Einstein?
 * Jonathan: Yes, a surgeon of great distinction... and something of a magician.
 * Elaine: Now, I suppose you're going to tell me that you're Boris Kar—
 * Jonathan: I am Jonathan Brewster!

 * Jonathan: Teddy, I think it's time for you to go to bed.
 * Teddy: I beg your pardon. Who are you?
 * Jonathan: I'm Woodrow Wilson. Go to bed!
 * Teddy: No, you're not Wilson, but your face is familiar. Let me see. You're not anyone I know right now — perhaps later on my hunting trip. Yes, you look like someone I might meet in the jungle.

 * Mortimer: [Speaking of a character in a play he has seen] He just sits there waiting to be gagged and tied — the big dope! [Jonathan sneaks up from behind and bounds Mortimer up with rope and a mouth gag]
 * Dr. Einstein: You know, you were right about that fellow. He wasn't very bright.

 * Cab Driver: I knew this would end up in the nuthouse.
 * Mr. Witherspoon: [offended] We like to think of it as a rest home!

 * Mortimer: You mean you knew what you'd done and you didn't want the Reverend Harper to see the body?
 * Abby: Well, not at tea. That wouldn't have been very nice.

 * Dr. Einstein: Johnny, why did you kill that man? He was being nice to us and gave us a ride.
 * Jonathan: He said I looked like Boris Karloff!

 * Mortimer: Teddy's killed a man, darlings!
 * Martha: Oh, nonsense!
 * Mortimer: But there's a body in the window seat.
 * Abby: Yes, dear, we know.
 * Mortimer: You know?
 * Martha: Of course.
 * Abby: Yes, but it has nothing to do with Teddy.
 * Mortimer: But...but...
 * Abby: Now, Mortimer, you just forget about it. Forget you ever saw the gentleman.
 * Mortimer: Forget?!
 * Abby: We never dreamed you'd peek.

 * Mortimer: Men don't just get into window seats and die!
 * Abby: Of course not, dear. He died first.
 * Mortimer: But how?
 * Abby: The gentleman died because he drank some wine with poison in it. Now, I don't know why you're making such a big deal over this, Mortimer. Don't you worry about a thing!

 * Jonathan: Tonight, we are taking care of Mortimer. And just for him we'll have something special. I plan on using the Melbourne method.
 * Dr. Einstein: [cringing] No! Not the Melbourne method, please! Two hours!

 * Mortimer: Teddy, I'd like to introduce you to a doctor.
 * Teddy: Dr. Livingstone?
 * Dr. Gilchrist: He thinks I'm Livingstone?
 * Mortimer: Uh, that's what he presumes.

 * Lt. Rooney: Who are you? What's your name?
 * Mortimer: Well, usually I'm Mortimer Brewster, but I'm not quite myself today.

 * Abby: Just the thought of Jonathan frightens me. Do you remember how he used to cut worms in half with his teeth?
 * Mortimer: Oh, Jonathan? He's probably in prison or hanged or something by now.

 * Mortimer: Wait outside.
 * Dr. Gilchrist: But it's Halloween!
 * Mortimer: Oh, don't worry about Halloween. The pixies won't be out till after midnight

 * Jonathan: And now doctor... we go to work!
 * Dr. Einstein: No, Johnny. I cannot operate without a drink!
 * Jonathan: Pull yourself together, doctor!
 * Dr. Einstein: I cannot pull myself together without a drink!

 * [Mortimer is feeling amorous in the cemetery with Elaine]
 * Elaine: Mortimer! Right out here in the open with everyone looking?
 * Mortimer: Yes, right out here in the open with everyone looking. Let everyone in Brooklyn over sixteen look!

 * Mortimer: What is this? Did everyone in Brooklyn know I was getting married but me?
 * Martha: We knew you'd find out in time.

 * Teddy: This is a picture of when I take my hunting trip to Africa. This is me, and this is you.
 * Dr. Einstein: My how I've changed.

 * Teddy: [charging up the stairs] CHARGE!!!Charge the block house!!!
 * Reverend Harper: The blockhouse?
 * Abby: Yes. The stairs are always San Juan Hill.

Other

 * Cab Driver: I'm not a cab driver. I'm a Coffee Pot!

 * Dr. Einstein: Where am I? Oh, here I am.

 * Dr. Einstein: We got a hot stiff on our hands!

 * Martha: One of our gentlemen found time to say 'How delicious!' before he died.

 * Martha: For a gallon of elderberry wine, I take one teaspoon full of arsenic, then add half a teaspoon full of strychnine, and then just a pinch of cyanide.

 * Police Sgt. Brophy: They're two of the dearest, sweetest, kindest, old ladies that ever walked the earth. They're out of this world. They're like pressed rose leaves.

 * Reporter: Seems like the same suckers get married everyday.

 * Baseball Fan: I'll knock you off, you big stiff! You're a bum!

 * Abby: Now Mortimer, you behave. You're too old to be flying off the handle like this!

 * Abby: [finding the dead body of Mr. Spinelzo in the windowseat] Well, this is a fine how-do-you-do! It's getting so crowded anyone thinks they can be put in here. We've always wanted a double funeral. But I refuse to hold services for a total stranger.

 * Dr. Einstein: [hat falling across his eyes] Well, I'm off to Panama. Bon voyage!

Cast

 * Cary Grant — Mortimer Brewster
 * Josephine Hull — Aunt Abby Brewster
 * Jean Adair — Aunt Martha Brewster
 * Raymond Massey - Jonathan Brewster
 * Peter Lorre - Dr. Einstein
 * Priscilla Lane - Elaine
 * John Alexander - Uncle "Teddy" Brewster
 * Grant Mitchell - Reverend Harper
 * Edward Everett Horton - Mr. Witherspoon
 * Vaughan Glaser - Judge Cullman (final film role)
 * Chester Clute - Dr. Gilchrist
 * Garry Owen - Taxi Cab Driver
 * Edward McWade - Mr. Gibbs (final film role)

title: Arsenic and Old Lace


text:
User talk:Kwyjibbo

~ MosheZadka (Talk) 05:40, 31 August 2005 (UTC)

title: User talk:Kwyjibbo


text:
Conquest of Space

Conquest of Space is a 1955 science-fiction film about humanity's first voyage to Mars. It is notable for attempting to present a realistic view of near-future space travel, and for addressing a controversy over the potential moral and religious implications of humanity moving out to the stars.
 * Directed by Byron Haskin. Written by James O'Hanlon, Barre Lyndon, Phil Yordan, and George Worthing Yates, based on the book by Willy Ley and Chesley Bonestell.

It Will Take a New Kind of Courage - For the Men Who Go...For the Women Who Wait!

Narrator

 * This is a story of tomorrow, or the day after tomorrow, when men have built a station in space, constructed in the form of a great wheel, and set a thousand miles out from the Earth, fixed by gravity, and turning about the world every two hours, serving a double purpose: an observation post in the heavens, and a place where a spaceship can be assembled, and then launched to explore other planets, and the vast universe itself, in the last and greatest adventure of mankind — the plunge toward the… conquest of space!

Gen. Sam Merritt

 * Working for one government was bad enough, but now we've got all of them on our backs.

Dialogue

 * Gen. Sam Merritt: To gamble the lives of a crew of men on as senseless a mission as this… is callous. It's stupid!
 * Dr. George Fenton: Stupid, or callous, it may seem to be at this time. It is not senseless. Man's very survival on Earth depends on the success of this or some future search for a new source of raw materials.

 * Gen. Sam Merritt: Before any of you accept, I should like to make it unmistakably clear that the dangers of this journey are above and beyond anything that the Space Corps or your own governments have any right to ask of you. I can give you confounded little reason for this attempt to reach Mars, and no assurance at all that it will even be successful. It's my personal conviction that no one but an idiot would volunteer, and I shall strongly suspect the sanity of anyone who does. All right, we've all got it straight. Who wants to go?
 * [After a long pause, Sgt. Imoto steps forward.]
 * Sgt. Imoto: Is it permitted to disagree with the General, sir?
 * Gen. Sam Merritt: Of course, Sergeant.
 * Sgt. Imoto: In my humble opinion, sir, there is an excellent reason for this voyage.
 * Gen. Sam Merritt: Well, suppose you tell us about it.
 * Sgt. Imoto: Some years ago, my country chose to fight a terrible war. It was bad — I do not defend it — but there were reasons. Somehow, those reasons are never spoken of. To the Western world at that time, Japan was a fairybook nation — little people living in a strange land of rice-paper houses, people who had almost no furniture, who sat on the floor and ate with chopsticks. The quaint houses of rice paper, sir — they were made of paper because there was no other material available. And the winters in Japan are as cold as they are in Boston. And the chopsticks… there was no metal for forks and knives and spoons, but slivers of wood could suffice. So it was with the little people of Japan, little as I am now, because for countless generations we have not been able to produce the food to make us bigger. Japan's yesterday will be the world's tomorrow — too many people and too little land. That is why I say, sir, there is urgent need for us to reach Mars: to provide the resources the human race will need, if they are to survive. That is also why I am most grateful to be found acceptable, sir. I volunteer.
 * Gen. Sam Merritt: Thank you, Sergeant Imoto. You're not a little man.

 * Capt. Barney Merritt: I don't remember you reading the Bible so often, sir.
 * Gen. Sam Merritt: It's the one book you never really get through reading. Man's every move, his every thought, his every action is in there somewhere, recorded or predicted. Every move except… this one. According to the Bible, Man was created on the Earth. Nothing is ever mentioned of his going to other planets. Not one blessed word.
 * Capt. Barney Merritt: Well, at the time the Bible was written, it wouldn't have made much sense, would it?
 * Gen. Sam Merritt: Does it now? The Biblical limitations of Man's wanderings are set down as being the four corners of the Earth. Not Mars, or Jupiter, or infinity. The question is, Barney, what are we? Explorers? Or invaders?
 * Capt. Barney Merritt: Invaders? Of what, sir?
 * Gen. Sam Merritt: The sacred domain of God. His heavens. To Man, God gave the Earth — nothing else. This taking of… of other planets… it's almost like an act of blasphemy.
 * Capt. Barney Merritt: But why? They belong to no one else.
 * Gen. Sam Merritt: Huh. We don't know that.
 * Capt. Barney Merritt: But look, sir. It couldn't be just an accident that, at the very time when Man's resources on Earth are reaching an end, Man develops the ability to leave his own world and seek replenishment on other planets. The timing is what fascinates me. It's too perfect to be accidental.
 * Gen. Sam Merritt: Those other planets might already be tenanted.
 * Capt. Barney Merritt: Oh, I don't think so. The universe was put here for Man to conquer.

 * [The general and Sgt. Siegle observe Mars through a viewport.]
 * Sgt. Siegle: Getting bigger all the time, isn't it, sir?
 * Gen. Sam Merritt: Yes, Sergeant. The planet and the blasphemy.

 * Gen. Sam Merritt: Merritt speaking. Here's the report. Lost course for several days due to near-collision with asteroid, but we can still reach destination as planned… which may be Mars, or Hell. This voyage is a cursed abomination! If it were possible I'd come back now, return the ship to Earth and blow it up…
 * Capt. Barney Merritt: General, please!
 * Gen. Sam Merritt: … together with all plans in existence for building another! We're committing Man's greatest sacrilege… and we can't stop.

 * [Sgt. Siegle complains about the fruitless attempts to contact Earth.]
 * Capt. Barney Merritt: We've done what no men in the world have done before us! We've got to let them know before it's too late. If it's humanly possible, we've got to report.
 * Sgt. Siegle: Report what? That the operation was a big success, but the patients are dyin' on a lousy, dried-up ball in the corner pocket of nowhere?
 * Sgt. Mahoney: The General wasn't crazy, he was right! We asked for it! There's a curse on this ship and everybody in it!
 * Sgt. Siegle: Baloney! You leave that stuff back on Earth. But it don't operate past the thousand-mile limit. "Only God can make a tree." Okay? Where is it? Where's the trees, and the flowers, and the grass? Where's the water? You hear me? Where's the water?!
 * Sgt. Imoto: Hey fellas, look!
 * [They peer out a viewport to see flurries descending.]
 * Sgt. Siegle: Ha ha!
 * Sgt. Mahoney: Snow!
 * Sgt. Mahoney: Snow!

 * Sgt. Mahoney: [It] was a glorious way the General died.
 * [Everyone looks at him in surprise.]
 * Sgt. Mahoney: Sacrificin' his life as he did, to bring his ship and his crew safely to a landing on the rocky desert of a new planet! That's the way the history books will tell it — won't they, Captain?
 * [Capt. Merritt stares at the sergeant.]
 * Sgt. Mahoney: Fittin' end for a grand soldier.
 * Capt. Barney Merritt: For the man who conquered space.
 * Sgt. Mahoney: Would you be carin' for a cup o' tea, Captain?
 * Capt. Barney Merritt: Thanks.

Cast

 * Walter Brooke — Col./Gen. Samuel T. Merritt
 * Eric Fleming — Capt. Barney Merritt
 * Mickey Shaughnessy — Sgt. Mahoney
 * Phil Foster — Sgt. Jackie Siegle
 * William Redfield — Roy Cooper
 * William Hopper — Dr. George Fenton
 * Benson Fong — Sgt. Imoto
 * Ross Martin — Sgt. Andre Fodor

title: Conquest of Space


text:
User talk:Zoltan Barczikay~enwikiquote

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title: User talk:Zoltan Barczikay~enwikiquote


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Desmond de Silva

Desmond Anaclitus Rajiva de Silva (ඩෙස්මන්ඩ් ද සිල්වා in [w:Sinhala|]; 13 July 1944 – 9 January 2022), popularly known as Desmond de Silva, was a Sri Lankan singer, background musician and entertainer. Often regarded as the "King of Baila", he is noted for his youthful voice that was said to have changed little over four decades of performing.

Quotes

 * Autism is a neuro-developmental disorder affecting so many around the world. Autism is not mental illness, these children and adults think differently. Albert Einstein they say was autistic. How many in the audience know that there are 38,000 autistic people in Sri Lanka? So we as entertainers, urge you all to ‘speak up for those who cannot speak up for themselves.’ Lets spread awareness of autism, particularly when numbers of autistic children are rising and we urge our government to also provide public services – who knows we may even produce Albert Einsteins if we provide education, health, specialist speech therapy for autistic children in our lovely island....
 * Clickpress release (9 August 2009).

title: Desmond de Silva


text:
H. Rider Haggard

Sir Henry Rider Haggard (22 June 1856 – 14 May 1925), born in Bradenham, Norfolk, England, was a Victorian writer of adventure novels set in exotic locations such as southern Africa, Central Asia, Egypt, Iceland and Mexico.

Quotes

 * You lie; you always were a liar, and you always will be a liar.
 * Dawn (1884), CHAPTER I

 * I do not believe in violence; it is the last resort of fools.
 * Dawn (1884), CHAPTER XXI

 * There is no loneliness like the loneliness of crowds, especially to those who are unaccustomed to them.
 * A Tale of Three Lions (1887), CHAPTER I, THE INTEREST ON TEN SHILLINGS

 * There are things and there are faces which, when felt or seen for the first time, stamp themselves upon the mind like a sun image on a sensitized plate and there remain unalterably fixed.
 * Colonel Quaritch, V. C.: A Tale of Country Life (1888), CHAPTER I, HAROLD QUARITCH MEDITATES

 * For he was a merciful man, who loved not slaughter, although his fierce faith drove him from war to war.
 * The Brethren (1904), PROLOGUE

 * My death is very near to me, and of this I am glad, for I desire to pursue the quest in other realms, as it has been promised to me that I shall do.
 * Ayesha: The Return of She (1905), CHAPTER I, THE DOUBLE SIGN

 * We white people think that we know everything.
 * Child of Storm (1913), CHAPTER I, ALLAN QUATERMAIN HEARS OF MAMEENA

 * It is awkward to listen to oneself being praised, and I was always a shy man.
 * The Holy Flower (1915), CHAPTER I, BROTHER JOHN

 * After all, dangers are everywhere; those who turn back because of dangers will never succeed in any life that we can imagine.
 * The Holy Flower (1915), CHAPTER 9, BAUSI THE KING

 * I have never observed that the religious are more eager to die than the rest of us poor mortals.
 * The Ancient Allan (1920), CHAPTER I, AN OLD FRIEND

 * Now all the world is wonderful, but surely among its countries there is none more so than Africa; no, not even China the unchanging, or India the ancient. For this reason, I think: those great lands have always been more or less known to their own inhabitants, whereas Africa, as a whole, from the beginning was and still remains unknown.
 * The Treasure of the Lake (1926), CHAPTER I, KANEKE'S TALE

King Solomon's Mines (1885)

 * After spending a week in Cape Town, finding that they overcharged me at the hotel, and having seen everything there was to see, including the botanical gardens, which seem to me likely to confer a great benefit on the country, and the new Houses of Parliament, which I expect will do nothing of the sort, I determined to go back to Natal.
 * Chapter 1, "I Meet Sir Henry Curtis"

 * Listen! what is life? It is a feather, it is the seed of the grass, blown hither and thither, sometimes multiplying itself and dying in the act, sometimes carried away into the heavens. But if that seed be good and heavy it may perchance travel a little way on the road it wills. It is well to try and journey one's road and to fight with the air. Man must die. At the worst he can but die a little sooner... Out of the dark we came, into the dark we go. Like a storm-driven bird at night we fly out of the Nowhere; for a moment our wings are seen in the light of the fire, and, lo! we are gone again into the Nowhere. Life is nothing. Life is all. It is the Hand with which we hold off Death. It is the glow-worm that shines in the night-time and is black in the morning; it is the white breath of the oxen in winter; it is the little shadow that runs across the grass and loses itself at sunset.
 * Chapter 5, "Our March into the Desert"

 * On, on we went, till at last the east began to blush like the cheek of a girl. Then there came faint rays of primrose light, that changed presently to golden bars, through which the dawn glided out across the desert. The stars grew pale and paler still, till at last they vanished; the golden moon waxed wan, and her mountain ridges stood out against her sickly face like the bones on the cheek of a dying man. Then came spear upon spear of light flashing far away across the boundless wilderness, piercing and firing the veils of mist, till the desert was draped in a tremulous golden glow, and it was day.
 * Chapter 5, "Our March into the Desert"

 * He is an extraordinary animal is the house fly. Go where you will you find him, and so it must have been always. I have seen him enclosed in amber, which is, I was told, quite half a million years old, looking exactly like his descendant of to-day, and I have little doubt but that when the last man lies dying on the earth he will be buzzing round – if this event should happen to occur in summer – watching for an opportunity to settle on his nose.
 * Chapter 5, "Our March into the Desert"

 * Everything has an end, if only you live long enough to see it.
 * Chapter 5, "Our March into the Desert"

 * I looked down the long lines of waving black plumes and stern faces beneath them, and sighed to think that within one short hour most, if not all, of those magnificent veteran warriors, not a man of whom was under forty years of age, would be laid dead or dying in the dust. It could not be otherwise; they were being condemned, with that wise recklessness of human life which marks the great general, and often saves his forces and attains his ends, to certain slaughter, in order to give their cause and the remainder of the army a chance of success. They were foredoomed to die, and they knew the truth. It was to be their task to engage regiment after regiment of Twala's army on the narrow strip of green beneath us, till they were exterminated or till the wings found a favourable opportunity for their onslaught. And yet they never hesitated, nor could I detect a sign of fear upon the face of a single warrior. There they were—going to certain death, about to quit the blessed light of day for ever, and yet able to contemplate their doom without a tremor. Even at that moment I could not help contrasting their state of mind with my own, which was far from comfortable, and breathing a sigh of envy and admiration. Never before had I seen such an absolute devotion to the idea of duty, and such a complete indifference to its bitter fruits.
 * Chapter 14, "The Last Stand of the Greys"

 * Altogether, a more miserable trio than we were that evening it would have been difficult to discover; and our only comfort lay in the reflection that we were exceedingly fortunate to be there to feel miserable, instead of being stretched dead upon the plain, as so many thousands of brave men were that night, who had risen well and strong in the morning.
 * Chapter 15, "Good Falls Sick"

 * It is easier to destroy knowledge, Ignosi, than to gather it.
 * Chapter 15, "Good Falls Sick"

 * I am not a nervous man in a general way, and very little troubled with superstitions, of which I have lived to see the folly.
 * Chapter 16, "The Place of Death"

 * Then the irony of the situation forced itself upon me. There around us lay treasures enough to pay off a moderate national debt, or to build a fleet of ironclads, and yet we would have bartered them all gladly for the faintest chance of escape. Soon, doubtless, we should be rejoiced to exchange them for a bit of food or a cup of water, and, after that, even for the privilege of a speedy close to our sufferings. Truly wealth, which men spend their lives in acquiring, is a valueless thing at the last.
 * Chapter 18, "We Abandon Hope"

She (1887)

 * And now let us love and take that which is given us, and be happy; for in the grave there is no love and no warmth, nor any touching of the lips. Nothing perchance, or perchance bitter memories of what might have been.
 * Chapter 7, "Ustane Sings"

 * Yea, all things live for ever, though at times they sleep and are forgotten.
 * Chapter 9, "A Little Foot"

 * [T]hinking can only serve to measure out the helplessness of thought.
 * Chapter 10, "Speculations"

 * Ah, how little knowledge does a man acquire in his life. He gathereth it like water, but like water it runneth through his fingers, and yet, if his hands be but wet as though with dew, behold a generation of fools call out, "See, he is a wise man!"
 * Chapter 13, "Ayesha Unveils"

 * There is no such thing as magic, though there is such a thing as a knowledge of the secrets of nature.
 * Chapter 13, "Ayesha Unveils"

 * [M]emory haunts me from age to age, and passion leads me by the hand—evil have I done, and with sorrow have I made acquaintance from age to age, and from age to age evil I shall do, and sorrow shall I know till my redemption comes.
 * Chapter 13, "Ayesha Unveils"

 * Time and time again have nations, ay, and rich and strong nations, learned in the arts, been and passed away and been forgotten, so that no memory of them remains. This is but one of several; for Time eats up the works of man.
 * Chapter 16, "The Tombs of Kôr"

 * [T]he food that memory gives to eat is bitter to the taste, and it is only with the teeth of hope that we can bear to bite it.
 * Chapter 17, "The Balance Turns"

 * Strange are the pictures of the future that mankind can thus draw with this brush of faith and this many-coloured pigment of imagination! Strange, too, that no one of them doth agree with another!
 * Chapter 22, "Job Has a presentiment"

 * Truly time should be measured by events, and not by the lapse of hours.
 * Chapter 28, "Over the Mountain"

Allan Quatermain (1887)

 * The great wheel of Fate rolls on like a Juggernaut, and crushes us all in turn, some soon, some late—it does not matter when, in the end it crushes us all.
 * Introduction

 * [I]n all essentials the savage and the child of civilization are identical.
 * Introduction

 * Civilization is only savagery silver-gilt.
 * Introduction

 * [T]he law of England is much more severe upon offences against property than against the person, as becomes a people whose ruling passion is money.
 * Chapter 13, "About the Zu Vendi People"

 * How true is the saying that the very highest in rank are always the most simple and kindly. It is in your half-and-half sort of people that you find pompousness and vulgarity.
 * Chapter 15, "Sorais' Song"

 * Passion is like the lightning, it is beautiful, and it links the earth to heaven, but alas it blinds and kills!
 * Chapter 17, "The Storm Breaks"

 * Women love the last blow as well as the last word, and when they fight for love they are pitiless as a wounded buffalo.
 * Chapter 18, "War! Red War!"

Cleopatra (1889)

 * For what man is there who does not prize that gift most rare and beautiful, that one perfect thing which no gold can buy – a woman's unfeigned love?

 * How strange a thing is a love of woman, that is so small in the beginning and in its ends so great! (...) For when the Invisible conceived the order of universe He set this seed of woman's love within its plan, that by its most unequal growth is doomed to bring about equality of law. For now it lifts the low to heights untold, and now it brings the noble to the level of the dust. And thus, while Woman, this great surprise of Nature, is, Good and Evil can never grow apart.

 * Love counts not its labour nor can it weigh its tenderness in the scale of purchase. That which it has it gives, and craves for more to give and give, till the soul's infinity be drained.

 * Those who go secretly, go evilly; and foul birds love to fly at night.

 * The shaft of my vengeance fell upon my own head.

The Ancient Allan (1920)

 * . . . is [it] better to be alive or dead[?] The religious plump for the latter, though I have never observed that the religious are more eager to die than the rest of us poor mortals.

 * The truth is that we fear to die because all the religions are full of uncomfortable hints as to what may happen to us afterwards as a reward for our deviations from their laws and we half believe in something . . . For very few inhabitants of this earth can attain either to complete belief or to its absolute opposite. They can seldom lay their hands upon their hearts, and say that they know that they will live for ever, or sleep for ever; there remains in the case of most honest men an element of doubt in either hypothesis.

 * Never stretch out your hand to Death till he stretches out his to you

 * . . . who ever sees Wisdom until she is flying away?

 * The seconds seemed minutes, the minutes seemed hours, and the hours seemed years. . . Where now were the gods I had worshipped and—was there any god? Or was man but a self-deceiver who created gods instead of the gods creating him, because he did not love to think of an eternal blackness in which he would soon be swallowed up and lost? Well, at least that would mean sleep, and sleep is better than torment of mind or body.
 * The tool carves the statue and the hand holds the tool but the spirit guides the band.

 * . . . why do you seek to peer into the future, which from day to day will unroll itself as does a scroll? Be content with the present, man, and take what Fate gives you of good or ill, not seeking to learn what offerings he hides beneath his robe in the days and the years and the centuries to come.

 * While you are a man, live the life of a man, and when you become a spirit, live the life of a spirit. But do not seek to mix the two together like oil and wine, and thus spoil both.

 * . . . too great holiness often thwarts itself and ends in trouble for the unholy flesh.

 * . . . do not lie except when you are obliged, for jugglers who play with too many knives are apt to cut their fingers.

 * It is well to be wise sometimes, for others’ sake, but not for our own, oh! not for our own.

 * . . . feasts are sometimes followed by want and rejoicings by sorrow and victories by defeat, and splendid sins by repentance and slow climbing back to good again.

 * . . . gifts have a way of coming to those who do not desire them

 * . . . even a king may choose his own wife sometimes.

 * Forgive me since I acted for the best, only until the end no one ever knows what is the best.

 * . . . the time of kings is not their own.

 * It seems that in this world we never can be content . . . we only think that we should be if things were otherwise than they are.

 * When one can think of nothing, it is best to follow the counsel of those who can think of something; also to hunt rather than to be hunted.

She and Allan (1921)

 * But what of names, which often enough mean nothing at all?

 * . . . your praying men . . . are cast in one mould and measured with one rule, and say what they are taught to say, not thinking for themselves . . . Some of them think . . . and then the others fall on them with big sticks. The real priest is he to whom the Spirit comes, not he who feeds upon its wrappings, and speaks through a mask carved by his father’s fathers.

 * Oh! it is a strange world, full of jest to those who can see the strings that work it.

 * I wonder whether many people understand, as I do, how entirely distinct and how variable are these moods which sway us, or at any rate some of us, at sundry periods of our lives. As I think I have already suggested, at one time we are all spiritual; at another all physical; at one time we are sure that our lives here are as a dream and a shadow and that the real existence lies elsewhere; at another that these brief days of ours are the only business with which we have to do and that of it we must make the best. At one time we think our loves much more immortal than the stars; at another that they are mere shadows cast by the baleful sun of desire upon the shallow and fleeting water we call Life which seems to flow out of nowhere into nowhere. At one time we are full of faith, at another all such hopes are blotted out by a black wall of Nothingness, and so on ad infinitum. Only very stupid people, or humbugs, are or pretend to be, always consistent and unchanging.

 * In this country, England, where I write, there are bridges everywhere and no one seems to appreciate them. If they think of them at all it is to grumble about the cost of their upkeep. I wish they could have experienced what a lack of them means in a wild country during times of excessive rain, and the same remark applied to roads. You should think more of your blessings, my friends, as the old woman said to her complaining daughter who had twins two years running, adding that they might have been triplets.

 * Human nature does not change, Allan, and wine and women are ancient snares.

 * . . . all are still savage at heart, even you and I. For what is termed culture is but coat upon coat of paint laid on to hide our native colour, and often there is poison in the paint.

 * The moths are few that fear the flame, but those are the moths which live.

 * . . . all joy grows from the root of pain.

 * . . . what a man believes is true for him and will certainly befall. If it were otherwise, what is the use of faith which in a thousand forms supports our race and holds it from the horrors of the Pit? Only those who believe nothing inherit what they believe—nothing

 * . . . when lost in a forest every path that may lead to safety should be explored

 * Fire may be lovely and attractive, also comforting at a proper distance, but he who sits on the top of it is cremated, as many a moth has found.

 * The worst of scandals becomes romantic and even respectable in two thousand years; witness that of Cleopatra with Cæsar, Mark Antony and other gentlemen. The most virtuous read of Cleopatra with sympathy, even in boarding-schools, and it is felt that were she by some miracle to be blotted out of the book of history, the loss would be enormous. The same applied to Helen, Phryne, and other bad lots. In fact now that one comes to think of it, most of the attractive personages in history, male or female, especially the latter, were bad lots. When we find someone to whose name is added “the good” we skip.

 * . . . the mad often see well in their dreams, though these are not sent by a god . . . The mind in its secret places knows all things . . . although it seems to know little or nothing, and when the breath of vision or the fury of a soul distraught blows away the veils or burns through the gates of distance, then for a while it sees and learns, since, whatever fools may think, often madness is true wisdom.

 * Yet it is true that sun and moon and earth are born of the same black womb of chaos. Therefore in the beginning they were identical, as doubtless they will be in the end when, their journeyings done, they rush together to light space with a flame at which the mocking gods that made them may warm their hands. Well, so it is with men, . . . whose soul-stuff is drawn from the gulf of Spirit by Nature’s hand, and, cast upon the cold air of this death-driven world, freezes into a million shapes each different to the other and yet, be sure, the same.

 * It is only the nervous that climb the highest points of anything, and this is true of fights as of all others.

 * Bethink you, have there not been days, aye and months, in your own life when you would have rejoiced to sleep in mindlessness? And should we not, perchance, be happier, all of us, if like the beasts we could not remember, foreknow and understand? Oh! men talk of Heaven, but believe me, the real Heaven is one of dreamless sleep, since life and wakefulness, however high their scale and on whatever star, mean struggle, which being so oft mistaken, must breed sorrow—or remorse that spoils all.

 * . . . the extreme of unmorality is as fascinating to study as the extreme virtue and often more so.

Heu-Heu (1924)

 * . . . the dead keep their wisdom to themselves

 * . . . there are always plenty of fools in the world and the fool who comes after is just as big as the fool who went before. Death spills the water of wisdom upon the sand . . . and sand is thirsty stuff that soon grows dry again. If it were not so . . . men would soon stop falling in love with women, and yet even great ones . . . fall in love.

 * . . . all men are cowards . . . in one matter or another, though in the rest they may be brave enough.

 * So kick away the burning sticks from beneath the water of your anger and let it cease from boiling, and go forth as you have promised, to see wonderful things and do wonderful deeds and snatch the pure and innocent out of the hands of evil gods or men.

 * . . . these priests, after the fashion of priests all the world over, now aspired to the absolute rule of the race

 * While we breathe there is hope, and all that seems lost still may be won

 * . . . there is a way out of most difficulties if only it can be hit upon.

 * . . . we are all fools in our different ways, and how can any one dig out of his heart the folly that his mother put there before he was born?

 * Superstition is still king of most of the world, though often it calls itself Religion.

 * . . . is there anything so mighty as water in the world, I wonder

 * . . . if you live long enough, you will learn that this world is full of deceptions

 * You may all have noticed that however piously disposed, there is a point at which the majority of women become very practical indeed.

 * Never before was there such a sudden disrobement of an ecclesiastical dignitary draped in all his trappings.

 * . . . disillusionment is often painful, you know

 * It is what is in a man that matters . . . not what he looks like outside, as women often used to say to me when I was young

 * . . . I thought I saw the mind of Providence acting through Hans. Yes, the cunning of the Hottentot had been used by the Powers above to sweep from the earth a vile tyranny and to destroy a blood-soaked idol and its worshippers.

 * . . . now and again it is wise to cease from being wise, lest Heaven should grow jealous of our wisdom and want to share it.

 * . . . the devil never dies

 * . . . those who worship the Black One [i.e. the Devil], at last the Black One takes by the throat.

 * Life is more than gold . . . and great honour is better than both.

 * Is it not so with many of the gods men set up? They are not and never were, but their priests are and shake the spear of power and pierce the hearts of men with terrors. What, then, does it matter about the gods whom no man sees, when the priest is there shaking the spear of power and piercing the hearts of their worshippers? The god is the priest or the priest is the god—have it which way you like

 * The world is very old and there have been peoples in it of whom we have heard nothing

 * when men seek a god . . . they make one like themselves, only larger, uglier, and more evil . . . Also, often they say that this god was once their king, since at the bottom all worship their ancestors who gave them life, if they worship anything at all, and often, too, because they gave them life, they think that they must have been devils. Great ancestors were the first gods . . . and if they had not been evil they would never have been great. Look at Chaka, the Lion of the Zulus. He is called great because he was so wicked and cruel, and so it was and is with others if they succeed, though, if they fail, men speak otherwise of them.

 * . . . little in the world is pretty, except the world itself.

 * . . . they [the Walloos] are but the rotting stump of a tree that once was tall and fair. The dust of Time hides many such stumps . . . But what of that? Other fine trees are growing which also will become stumps in their season, and so on for ever.

 * Then he went off to bed.

Quotes about Haggard
Was completely staggered When his bride-to-be Announced "I AM SHE!"
 * Sir Rider Haggard
 * W. H. Auden, "Academic Graffiti". In The Complete Works of W. H. Auden: Poems, Volume II 1940–1973. Princeton University Press, 2022 (pg. 636).

 * To Mr. Kipling as to Mr. Haggard I owe a debt of gratitude for having stimulated my youthful imagination and this I gladly acknowledge, but Mr. Wells I have never read and consequently his stories of Mars could not have influenced me in any way.
 * Edgar Rice Burroughs, letter to The Bristol Times, 23rd February 1931. Quoted in Irwin Porges, Edgar Rice Burroughs: the man who created Tarzan Brigham Young Univ. Pr., Provo, Utah, 1975, (pg. 130), and Harold Bloom, Classic Science Fiction Writers. Chelsea House Publishers, New York, 1995, (pg. 23).

 * Rider Haggard was perhaps the greatest of all the writers who enchanted us when we were young. Enchantment is just what he exercised; he fixed pictures in our minds that thirty years have been unable to wear away.
 * Graham Greene, "Rider Haggard's Secret", in Collected Essays of Graham Greene. Random House, 2010.

 * Haggard is the text-book case of the mythopoeic gift pure and simple... Haggard's best work will survive because it is based on an appeal well above high-water mark. The fullest tides of fashion cannot demolish it. A great myth is relevant as long as the predicament of humanity lasts; as long as humanity lasts. It will always work, on those who can receive it, the same catharsis.
 * C. S. Lewis, "The Mythopoeic Gift of Rider Haggard", in On Stories And Other Essays on Literature. Houghton Mifflin Harcourt, 2002 (pg. 100).

title: H. Rider Haggard