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Maria Callas

Maria Callas [Μαρία Κάλλας] (born 2 December 1923 – 16 September 1977) was an American-born Greek soprano opera singer.

Quotes

 * Some say I have a beautiful voice, some say I have not. It is a matter of opinion. All I can say, those who don't like it shouldn't come to hear me.
 * Television interview with Norman Ross, Chicago (17 November 1957)

 * I admire Tebaldi's tone; it's beautiful — also some beautiful phrasing. Sometimes, I actually wish I had her voice.
 * Discussing rival soprano Renata Tebaldi, in a television interview with Norman Ross, Chicago (17 November 1957)

 * What [ Tullio Serafin ] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears — and I say soul and ears because the mind must work, but not too much also — you will find every gesture there. And it is all true, you know.
 * On advice from Tullio Serafin, in "Harewood Conversations - 1968", an interview in Paris with Lord Harewood for the BBC (April 1968) on Maria Callas : The Callas Conversations (2004) EMI Classics DVD

 * What a lovely voice, but who cares?
 * On hearing a recording by Renata Tebaldi, as quoted in The Last Prima Donnas (1982) by Lanfranco Rasponi; also in The Book of Musical Anecdotes (1985) by Norman Lebrecht ISBN 0-02-918710-9

 * Don't talk to me about rules, dear. Wherever I stay I make the goddamn rules.
 * On her controversial personality and performance, quoted in Wild Women Talk Back : Audacious Advice for the Bedroom, Boardroom, and Beyond (2004) by Autumn Stephens, p. 142

Callas : The Art and the Life (1974)

 * Quotes of Callas from Callas : The Art and the Life (1974) by John Ardoin ISBN 0-03-011486-1

 * Bel canto does not mean beautiful singing alone. It is, rather, the technique demanded by the composers of this style — Donizetti, Rossini, and Bellini. It is the same attitudes and demands of Mozart and Beethoven, for example, the same approach and the same technical difficulties faced by instrumentalists. You see, a musician is a musician. A singer is no different from an instrumentalist except that we have words. You don't excuse things in a singer you would not dream of excusing in a violinist or pianist. There is no excuse for not having a trill, for not doing the acciaccatura, for not having good scales. Look at your scores! There are technical things written there to be performed, and they must be performed whether you like it or not. How will you get out of a trill? How will you get out of scales when they are written there, staring you in the face? It is not enough to have a beautiful voice. What does that mean? When you interpret a role, you have to have a thousand colors to portray happiness, joy, sorrow, fear. How can you do this with only a beautiful voice? Even if you sing harshly sometimes, as I have frequently done, it is a necessity of expression. You have to do it, even if people will not understand. But in the long run they will, because you must persuade them of what you're doing.

 * It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater.
 * On making studio recordings

 * [ Serafin was] an extraordinary coach, sharp as a vecchio lupo [old wolfe]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills ... have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it. ... But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living.

 * I would not kill my enemies, but I will make them get down on their knees. I will, I can, I must.

June Anderson

 * I happen to think that Callas was the greatest singer of the 20th century. I feel that so many people have learned the wrong things from her, rather than the right things. She was a fabulous musician. When you listened to her, you could almost take dictation. All the dots were there. Anything that was wrong was because of the deterioration of the instrument over time. But usually musical things were not wrong. She has pitch problems and wobbles that came in later.
 * Callas was such an example of professionalism. One thinks of her as a flighty diva, which is the wrong thing to learn from her, and she wasn’t at all.
 * From Callas, I learned to respect the music. It’s part of the attention to detail. Today, everything seems to me a bit homogenized. Puccini sounds like Handel which sounds like Bellini. Callas had this sense of style, whether it was learned or just innate.
 * Callas was superhuman. She was on a whole other plane. She really was a Diva — the goddess — and the rest of us are basically her handmaidens.
 * "The Enduring Legacy of Maria Callas", Jason Victor Serinus, San Francisco Classical Voice, Jan 2, 2012 (https://www.sfcv.org/article/the-enduring-legacy-of-maria-callas)

John Ardoin

 * That is such a difficult question. There are times when certain people are blessed — and cursed — with an extraordinary gift, in which the gift is almost greater than the human being. Callas was one of these people. It was as if her own wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given, this gift that reached out and taught us things about music that we knew very well, but showed us new things, things we never thought about, new possibilities. I think that is why singers admire her so. I think that’s why conductors admire her so. I know it’s why I admire her so. And she paid a tremendously difficult and expensive price for this career.
 * I don’t think she always understood what she did or why she did it. She knew she had a tremendous effect on audiences and on people. But it was not something she could always live with gracefully or happily.
 * I once said to her “It must be a very enviable thing to be Maria Callas.” And she said, “No, it’s a very terrible thing to be Maria Callas, because it’s a question of trying to understand something you can never really understand.” She couldn’t really explain what she did. It was all done by instinct. It was something embedded deep within her.
 * John Ardoin replying to Patsy Swank upon being asked, "Was it worth it to Maria Callas? She was a lonely, unhappy, often difficult woman." in Callas, A Documentary (1978), Extra Features, by John Ardoin, Bel Canto Society DVD, BCS-D0194

Martina Arroyo

 * I adored this lady, and I respected her work ethic. She always wanted to improve her understanding of a piece. "Casta Diva", [for instance] — what interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something — it was never just singing notes. That alone is an art. It’s an art that you can try to achieve, but you can’t copy, because that’s just imitating without delving into [how she felt] about that particular fioritura. ... how many other artists since Callas have you heard and thought, "She sang gorgeously, but I never cried?"
 * Martina Arroyo, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Cecilia Bartoli

 * Maria Callas remains an icon with an instantly recognizable voice. But she was also the first opera singer to be equipped with the ingredients of international celebrity: charisma, glamour, wealth, she had it all, together with the touches of scandal and tragedy that made her story so compelling. Since her time, every female opera singer has been measured against this powerful role model. ... Callas modernized our metier. Her life was a tireless creative search. She was one of the first to recognize the importance of being an actress as well as a singer, and was uncompromising in her belief that, in order to achieve a complete dramatic performance, all aspects of the operatic genre require equal attention. She was a pioneer in restoring forgotten repertoire and in exploring new ways of musical interpretation. To this day, I find that many of her exemplary recordings are astounding.
 * Cecilia Bartoli as quoted in "Maria Callas" in TIME magazine (2 November 2006)

Carlo Bergonzi

 * Callas studied the text, the meaning of the words, and as a result, she became a diva. She became the Great Callas. Because she studied the character, she entered the mind of the character, and she brought the character to life onstage. Today, young singers don’t have this mindset. They don’t have the kind of technique that Callas had. ...Price, Milanov and Tebaldi had stupendous voices and great careers. [But] Callas, as a performer, as someone who expressed the real meaning of the words, was the best. The best. There is no doubt about this — not only for her sound, but because she studied so much. Callas is the diva. She is important to young singers, because she was a serious singer onstage, and she left a great legacy. I don’t know, though, if they can listen and learn from what she left on her recordings.
 * Carlo Bergonzi, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005); interview conducted, transcribed, and translated by Bob Kingston

Leonard Bernstein

 * Callas? She was pure electricity.
 * Leonard Bernstein, as quoted in Callas : The Art and the Life (1974) by John Ardoin

Montserrat Caballé

 * She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with Callas is something I never dared to dream. It is not right. I am much smaller than Callas.
 * Montserrat Caballé, as quoted in Callas : The Art and the Life (1974) by John Ardoin

Natalie Dessay

 * I used to listen again and again to recordings by Maria Callas. She was so musical and so theatrical at the same time. That is rare! I admire the way she cares for the words, so that everything comes from the text. She takes everything from the text and the music to elaborate a character and make her really interesting and impressive. She brings her own nature to the part — what she is, her passion, her fragility, doubts, feelings, violence — everything she is. And she never betrays the text or the music. We're very different, thank goodness, and I am happy with my own voice. But I feel very close to her in terms of discipline — trying to be as disciplined as she. She is an example to follow! Maybe in the past, people were more interested in voice and beautiful sounds. Maria Callas changed that. She arrived, brought a new way of doing opera, opened the way for us. We don't have any excuse now for not doing it!
 * Natalie Dessay in "Mad About the Girl" by David J. Baker in Opera News vol. 72, no. 3, (September 2007)

Giuseppe Di Stefano

 * Callas, way above the rest. Tebaldi had a fantastic voice, like an angel's. But even when Callas's voice wasn't perfect, she had so much interpretation. Opera is storytelling. Feelings must be conveyed. Acting must be moving. And Callas had it all.
 * Giuseppe Di Stefano, upon being asked about his his favorite onstage partners; as quoted in "Stages of di Stefano" by Jonathan Kendall in Opera News (January 2000)

Leyla Gencer

 * Maria had in her blood, in her veins, in her subconscious all the tradition of the Greek Tragedy. She was born that way. In fact, she had her best time during 10 years. That was very short. But the "Myth of La Callas" will continue for ever, because she did so much! She was a magnetic force on stage, the others didn't exist anymore. It's a gift of Nature, a gift of God. It' a talent, a great talent.
 * Leyla Gencer in recorded interview, available on http://www.youtube.com/watch?v=9G2n_KkQtak&feature=related.

John Huston

 * Oh, many. A few, even superior. For sheer strength of character, I wouldn't have dared to cross swords with Callas. I would rather have gone six rounds with Jack Dempsey!
 * Response by John Huston, on being asked if he had ever met any woman who was his equal, as quoted in Playboy magazine (September 1985)

Evelyn Lear

 * The Chicago Lucia [1954], which I witnessed, absolutely blew everybody's mind, because she stopped the show in the middle of the mad scene. She bowed, [while] the audience went wild, and kept that pose for fourteen minutes. Callas was our lesson, in those days, for how one performed. She had such complete ... we say in German "souveränität" — being above everything. She had this aura of magic. People were always mystified by what she did....Tebaldi had a much more beautiful voice and didn’t have that hollow, breathy sound, which at times was just plain ugly. [But] Callas was unusual because despite the sound of her voice, the force of her personality just magnetized people. It was so present, it came across the footlights at you, that ferocity of hers. It was just all-encompassing. Callas brought the personality, the drama, the magic, the surreal quality to the bel canto roles that Sutherland never did.
 * Evelyn Lear, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Norman Lebrecht

 * It seems almost inexplicable that the human race, with its ravenous appetite for entertainment, should have failed over so many decades to produce another Callas and Elvis. Neither Pavarotti nor Madonna come close, nor ever will. The desperate efforts of a universal music industry have yielded nothing more enduring than Cecilia Bartoli, the mini-voiced mezzo who tops the opera charts, and the high-kicking, faintly archaic Kylie Minogue, who belongs more to the smiley era of the Andrews Sisters than to the grim virtual reality of Bill Gates. In fact, when we commemorate the Presley and Callas anniversaries, one month apart, we confirm a catastrophic failure of cultural renewal.
 * Norman Lebrecht, for the Evening Standard

Catherine Malfitano

 * In all her recordings, one witnesses this incredible technique at work, whether it is Puritani, Sonnambula, Lucia, Norma or Abduction, [or] turning around to sing Gioconda and Kundry. This ability to devour all of vocal music history, and take it into herself and spew out such excellent examples of all these different styles — you just think, “How is a voice able to encompass all of this?” Well, it’s not the voice, it’s the woman behind the voice.
 * No coloratura or fioritura was ever done for its own sake — it was always at the service of some expressive challenge....Her runs always gave the impression of being done so effortlessly. I liken it to the greatest ballerinas — they never made you aware of how painful it is to be en pointe. Callas transcended and transformed pain and difficulty into sheer weightlessness and ease and joy. It's absolute perfection in itself, and then on top of that she overlays expression — that's the thing I adored about this singer. She must have spent hours, days, weeks, years on this art, you know? The one I'm floored by is the Entführung that she did. ["Martern aller Arten"] is just beyond belief. I don’t think anyone has sung it better....
 * There was some wonderful demonic thing that worked inside of her to fuse the elements of technique and expression and transcend the [roles she assayed.] ... She's an inspiration to everyone that follows her, but she’s also a kind of cautionary tale for artists, so they understand that you risk a great deal when you’re that hungry.
 * Catherine Malfitano, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Aprile Millo

 * Listening to Callas is like reading Shakespeare: you’re always going to be knocked senseless by some incredible insight into humanity. She is a huge bonfire! The thread, the "inner serpent" that she would get in certain music was so complete — for example, in the Lucia recording, the phrase "Alfin, son tua." Lucia, at her absolute happiest moment, would have said to Edgardo, "I am finally yours." For me, the woman Lucia came to life in that moment, and I understood why she was out of her mind, you know? You’ve got it all in that one phrase.
 * Aprile Millo, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Ethan Mordden

 * [Callas was] An outstanding historical figure, ranking with Malibran, Viardot, Toscanini, and Mahler. She is somewhat like Viardot, Chorley's "tones of an engaging tenderness" mingled with those "of a less winning quality." It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them into advantages of her singing. [Her voice] is what she had. What she made was a musical information of what was happening to her characters, a searching virtuosity. Suffering, delight, humility, hubris, despair, rhapsody — all this was musically appointed, through her use of the voice flying the text upon the notes....
 * Yes, the woman could act. At the very moment she entered, you saw in full Aida, Anna Bolena, Gioconda, felt their eyes on you even before they uttered a sound. ... The gestures — so authentically antique, yet strangely devised entirely on her own — were completely equalized into her stylistics, with one set for the Greeks and Romans, another for post-Renaissance royalty, a third for more contemporary characters. Yet, all this was subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting....
 * She sang as if she had the most beautiful voice in the world — and sang so beautifully that she might as well have had such a voice. Thus she moved opera back a century to the age of Viardot, the acting singer.
 * Ethan Mordden, in Demented : The World of the Opera Diva (1984)

Ewa Podles

 * When I was around thirteen, fourteen years old, in communist Poland, we had no recordings at all. I don’t know how my mother found this old-fashioned recording, with Maria Callas, Tito Gobbi — you know, it was Tosca. I had only this one recording in my house, and I was listening to [it] ten times a day. I knew by heart everything — I could sing Cavaradossi, Tosca, Scarpia — each role. I was very young, and I didn’t know exactly what I wanted to do in my life. And when I for the first time heard Maria Callas, suddenly I got proof — “Yes, I want to be a singer, I want to sing like she sings!”

 * It’s enough to hear her, I’m positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye.

 * People are funny, because they can’t be happy. If they have somebody like Maria Callas in front of them, they always try to find something wrong, something bad, a few mistakes, you know? And maybe she had three voices, maybe she had three ranges, I don’t know — I am professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used — just to tell us something! She had a message for us, a fantastic message. She had such a big power, and then she just disappeared.
 * Ewa Podles, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Leontyne Price

 * Without hesitation, Maria Callas. . . Maria Callas gave me the opera bug. To pursue that area of placing my instrument, which I had already found out from me was not ordinary. I took a plane to Chicago, during the 50’s when she was there for the first time doing Madama Butterfly. And the excitement! Histrionically, she remade Opera, in the sense that she merged the sound with the action. Now, I’m not that kind of electric personality. but she taught me to fit my own movements, my own acceptance of claiming center-stage from her own doing that. It was one of the most exciting experiences I have ever known.
 * Leontyne Price upon being asked, "Besides Marian Anderson, who were you inspired by?" as interviewed by NEA in 2008, available on https://www.youtube.com/watch?v=gGAg6OQXlQY

Nicola Rescigno

 * I think the secret of Maria Callas was her willpower. Maria Callas was born with all sorts of disadvantages. Her voice was not of the most beautiful quality, and still, she made this instrument the most expressive, the most telling, the most true to the music that she interpreted. Maria was not born a beautiful woman. Maria was fat, obese, ungraceful — when you realize the type of body she was born with, like that of a pachyderm — but she turned herself into possibly the most beautiful lady on the stage.
 * Nicola Rescigno, in Callas: A Documentary (1978) by John Ardoin, Bel Canto Society DVD, BCS-D0194.

 * Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She’d never make a soft gesture; even the walk she used was like a tiger’s walk.
 * Nicola Rescigno in Callas, A Documentary (1978), Extra Features, by John Ardoin, Bel Canto Society DVD, BCS-D0194

Linda Ronstadt

 * There's no one in her league. That's it. Period.
 * Linda Ronstadt, in Interview in US Magazine

 * Emmylou and I are both Maria Callas fans. We listen to that all the time. She's the greatest chick singer ever. I learn more about bluegrass singing, more about singing Mexican songs, more about singing rock-and-roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays.
 * Linda Ronstadt, as quoted in "And This Is What 48 Looks Like" by Stephen Holden in The New York Times (19 April 1995)

Victor de Sabata

 * If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned.
 * Victor de Sabata, as told to Walter Legge, quoted in Schwarzkopf, Elisabeth (1982). On and Off the Record: A Memoir of Walter Legge. New York: Charles Scribner's Sons. ISBN 0-684-17451-0.

 * Maria, you are a monster; you are not an artist nor a woman nor a human being, but a monster.
 * Victor de Sabata, regarding her timing and precision, as quoted in Maria Callas Remembered : An Intimate Portrait of the Private Callas (2000) by Nadia Stancioff, p. 98

Elisabeth Schwarzkopf

 * That woman is a miracle!
 * Elisabeth Schwarzkopf to Luchino Visconti upon hearing Callas singing "D'amor sull'ali rosee" in Il trovatore at La Scala in 1953 as quoted in The Callas Conversations, Vol. 2, (DVD) EMI Classics

 * The greatest technician I ever met ! She could do everything.
 * Elisabeth Schwarzkopf to Forumopera in 2002-3

Renata Scotto

 * Listen to me, everyone talks about Callas. But I know Callas. I know Callas before she was Callas. She was fat and she had this vociaccia — you know what a vociaccia is? You go kill a cat and record its scream. She had this bad skin. And she had this rich husband. We laughed at her, you know that? And then, I sat in on a rehearsal with Maestro Serafin. You know, it was Parsifal and I was supposed to see if I made one of the flowers. I didn't. And she sang that music. In Italian of course. And he told her this and he told her that and little by little this voice grabed all the nature in itself — the forest and the magic castle and hatred that is love. And little by little she was not fat with bad skin and rich-husband-asleep-in-the-corner; she was the witch who burnt you by standing there. Maestro Serafin said to her afterwards "You know now something about Parsifal".She said, "No, Maestro, I know much more. I know how to study. And I know that we are more than voices. We are spirit, we are god when we sing, if we mean it." Oh yes, they will go on about Tebaldi this and Freni that. Beautiful, beautiful voices, amazing. They work hard. They sincere. They suffer. They're more talented than Maria, sure. But she was the genius. Genius come from genio — spirit. And that makes her more than all of us. So I learnt from that. Don't let them take from you because you are something they don't expect. Work and fight and work and give, and maybe once in a while you are good.
 * Renata Scotto in recorded conversation with writer, vocal coach, and music critic Albert Innaurato

Francesco Siciliani

 * In October of 1948, just after I moved to Florence to head the Teatro Comunale, Serafin called me from Rome. "Come at once," he begged. "You must hear this girl. She is discouraged and has bought a ticket to return to America. Help me convince her to stay." So, at his home, I met Maria Callas. She was tall and heavy, but had an interesting face, real presence, expression, intelligence. With Serafin at the piano, she did her usual repertory for me — Gioconda, Turandot, Aida, Tristan. Parts of the voice were beautiful, other empty, and she used strange portamenti. During a pause, she said she had studied with Elvira de Hidalgo, which struck me as curious, for de Hidalgo had been a coloratura. "I know coloratura pieces too," Callas explained, "but I'm a dramatic soprano." "Well," I asked, "can we hear something of a different nature?" So she sang the aria from I Puritani, with the cabaletta. I was overwhelmed, and tears streamed down Serafin's cheeks. This was the kind of singer one read about in books from the nineteenth century — a real dramatic coloratura.
 * Francesco Siciliani, head of Teatro Comunale Florence and later Artistic Director of La Scala and music director for RAI, as quoted in Callas : The Art and the Life (1974) by John Ardoin

Patti Smith

 * I've loved opera since I was a child. I study her; I mean of course I can't sing like that, but she has taught me a lot about discovering how to deliver the inner narrative of a song. Because I listen to her songs--I don't speak Italian or I don't speak whatever language she's singing--but I understand what she's conveying through her emotional interpretation.
 * Patti Smith upon being asked why Maria Callas is such a great hero of hers, in conversation with Kurt Andersen on PRI's Studio 360 on December 24, 2009.

Frederica von Stade

 * Callas’ magnificence lay in both her natural gift and her incredible commitment to mastering the correct style with the great conductors that she worked with. All the things that you think are happening spontaneously are planned and organized. They’re part of the style. Her stylistic mastery, as well as her personality and voice, still make people talk today. It’s that magic thing that happens.
 * Whatever genius is, I think there’s a strong element of genius in [Callas].
 * I didn’t dare study her phrasing, but of all the singers I listen to, it’s Callas I love most. I always have. And I was lucky enough to be at the Met[ropolitan Opera] when she did the master classes at Juilliard [School]. I saw them, and saw how she worked with people and what her knowledge was. There was no mystery to it. It was very tangible. The grounding was sort of like a ballerina’s footing in barre exercises. To get to the point where you get your feet to leap into the air, you have to begin very close to the floor. That’s what I think a lot of her musicianship represents to me: It’s her extraordinary devotion.
 * "The Enduring Legacy of Maria Callas", Jason Victor Serinus, San Francisco Classical Voice, Jan 2, 2012 (https://www.sfcv.org/article/the-enduring-legacy-of-maria-callas)

Joan Sutherland

 * [Hearing Callas in Norma in 1952] was a shock, a wonderful shock. You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of “fatness” of the sound which she had when she was as fat as she was. But when she lost the weight, she couldn’t seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making. Oh, but it was oh so exciting. It was thrilling. I don’t think that anyone who heard Callas after 1955 really heard the Callas voice.

 * [Backstage] she was wonderful; she was marvelous. She was easy-going and a worker. Oh my goodness! She rehearsed and rehearsed; always full-voice, never pushing the sound, but she would work till she got what was wanted. And of course had very poor eyesight. She used to pace out how many steps she would go, and there were steps and different levels on stage, as they were, in Norma. And she knew how many paces she could take before she had to take a step, because she was blind as a bat. She had terrible eyesight and, of course, couldn’t wear contact lenses at the stage. She did later.
 * Joan Sutherland interviewed on BBC, and available on YouTube

Walter Taussig

 * [Working with Callas was] like nothing else. Compared to nothing. I would say singers are reproductive artists, but she was a creative artist. She was in the role so much, it was fabulous, fabulous. She was very modest, very easy. But I think she saw red when she saw a journalist. But I could discuss a breath or anything with her. She didn't really have an ego when it came to the work. Her curse was that she was so musical, so intelligent, that she could take on roles that her voice couldn't handle. But what she did was always wonderful. There's a good example of what I mean. Callas — artist. Tebaldi — wonderful singer.
 * Walter Taussig, long time coach at the Met), on working with Callas, as quoted in "The Associate" by Ira Siff in Opera News (April 2001)

Renata Tebaldi

 * This rivality was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality, because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. The most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!
 * Renata Tebaldi regarding Callas's voice and their supposed rivalry, quoted in Callas: A Documentary (1978) by John Ardoin, narrated by Franco Zeffirelli

Jon Vickers

 * To work with her, you had to really understand how she saw your role, not how you saw it. She had a very clear-cut understanding of her role, and you had to fit into that interpretation. She was so great, [yet] she could not distance herself from a role. It was actually quite terrifying — she would at times actually cry while singing! You must only portray the emotions, not become personally involved. But Maria always became the role. She was such a servant of the text and the composer, she would tear her voice to ribbons to accomplish it!
 * Jon Vickers, as quoted in "The Callas Legacy" by James C. Whitson in Opera News (October 2005)

Luchino Visconti

 * I did it to serve Callas, for one must serve a Callas.
 * Luchino Visconti commenting on his historic productions at La Scala, as quoted in Callas : The Art and the Life (1974) by John Ardoin

Antonino Votto

 * The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect. ... For over thirty years, I was Arturo Toscanini's assistant, and from the very first rehearsal, he demanded every nuance from the orchestra, just as if it were a full performance. The piano, the forte, the staccato, the legato — all from the start. And Callas did this too. ... She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally — as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon.
 * Antonino Votto, as quoted in Callas : The Art and the Life (1974) by John Ardoin

David Webster

 * About Maria Callas, I am honestly practically devoid of words. And that must be the case when one comes up against a phenomenon that one simply can't explain, but whom one appreciates. Indeed, as far as I'm concerned, I've been in love with her for years. She is, I think without any doubt at all, (and I don't mind what letters come to me tomorrow) the greatest theatrical, musical artist of our time.... She has an enormous feeling for music. She has an enormous feeling for words. She has an enormous feeling for the dramatic situation. She can convey all those things to an audience in a way that practically no other artist alive today can do.
 * David Webster, introducing Callas at a 1962 concert at the Royal Opera House in Covent Garden

Franco Zeffirelli

 * The magic of a Callas is a quality few artists have, something special, something different. There are many very good artists, but very few who have that sixth sense, the additional, the plus quality. It is something which lifts them from the ground: they become like semi-gods. She had it. Nureyev has it, [Laurence] Olivier. But Olivier is also a case of an extremely rich knowledge of everything. He is completely coherent in his life, onstage. Whatever he does is part of a complete personality. Maria is a common girl behind the wings, but when she goes onstage, or even when she talks about her work or begins to hum a tune, she immediately assumes this additional quality. For me, Maria is always a miracle. you cannot understand or explain her. You can explain everything Olivier does because it is all part of a professional genius. But Maria can switch from nothing to everything, from earth to heaven. What is it this woman has? I don't know, but when that miracle happens, she is a new soul, a new entity.
 * Franco Zeffirelli, as quoted in Callas : The Art and the Life (1974) by John Ardoin

title: Maria Callas


text:
User talk:65.96.173.31

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 17:02, 14 January 2007 (UTC)

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

title: User talk:65.96.173.31


text:
J.R. Hamilton

J.R. Hamilton is a New Zealand historian.

Quotes

 * That the Macedonians were of Greek stock seems certain. The claim made by the Argead dynasty to be of Argive descent may be no more than a generally accepted myth, but Macedonian proper names, such as Ptolemaios or Philippos, are good Greek names, and the names of the Macedonian months, although differed from those of Athens or Sparta, were also Greek. The language spoken by the Macedonians, which Greeks of the classical period found unintelligible, appears to have been a primitive north-west Greek dialect, much influenced by the languages of the neighboring barbarians.
 * Alexander the Great (Hutchinson, London, 1973).

title: J.R. Hamilton


text:
John V.A. Fine

John Van Antwerp Fine Jr. (born 1939) is an American historian and author. He is professor of Balkan and Byzantine history at the University of Michigan and has written several books on the subject.

Quotes

 * Since so little is known about the early Macedonians, it is hardly strange that in both ancient and modern times there has been much disagreement on their ethnic identity. The Greeks in general and Demosthenes in particular looked upon them as barbarians, that is, not Greek. Modern scholarship, after many generations of argument, now almost unanimously recognises them as Greeks, a branch of the Dorians and ‘NorthWest Greeks’ who, after long residence in the north Pindus region, migrated eastwards. The Macedonian language has not survived in any written text, but the names of individuals, places, gods, months, and the like suggest strongly that the language was a Greek dialect. Macedonian institutions, both secular and religious, had marked Hellenic characteristics and legends identify or link the people with the Dorians. During their sojourn in the Pindus complex and the long struggle to found a kingdom, however, the Macedonians fought and mingled constantly with Illyrians, Thracians, Paeonians, and probably various Greek tribes. Their language naturally acquired many Illyrian and Thracian loanwords, and some of their customs were surely influenced by their neighbours[...] To the civilised Greek of the fifth and fourth centuries, the Macedonian way of life must have seemed crude and primitive. This backwardness in culture was mainly the result of geographical factors. The Greeks, who had proceeded south in the second millennium, were affected by the many civilising influences of the Mediterranean world, and ultimately they developed that very civilising institution, the polis. The Macedonians, on the other hand, remained in the north and living for centuries in mountainous areas, fighting with Illyrians, Thracians, and amongst themselves as tribe fought tribe, developed a society that may be termed Homeric. The amenities of city-state life were unknown until they began to take root in Lower Macedonia from the end of the fifth century onwards.
 * "The Ancient Greeks: A Critical History", Harvard University Press, 1983, pgs 605-608

title: John V.A. Fine


text:
User:Zzedar/common.js

/* */ ta['pt-userpage'] = new Array('z','My user page'); ta['n-mainpage'] = new Array('','Visit the Main Page'); ta['pt-preferences'] = new Array('p','My preferences'); ta['pt-logout'] = new Array('','Log out'); /* */

title: User:Zzedar/common.js


text:
Law & Order: Criminal Intent

 * Seasons: 1 2 3 4 5 6 7 8 9 10 | Main

Law & Order: Criminal Intent (2001- 2011) is a criminal drama television series, part of the popular Law & Order franchise created by Dick Wolf. The show focuses on the Major Case Squad, an elite group of detectives specializing in cases of political sensitivity or public attention.

Opening

 * Narrator: In New York City's war on crime, the worst criminal offenders are pursued by the detectives of the Major Case Squad. These are their stories.

Seasons

 * Law & Order: Criminal Intent/Season 1
 * Law & Order: Criminal Intent/Season 2
 * Law & Order: Criminal Intent/Season 3
 * Law & Order: Criminal Intent/Season 4
 * Law & Order: Criminal Intent/Season 5
 * Law & Order: Criminal Intent/Season 6
 * Law & Order: Criminal Intent/Season 7
 * Law & Order: Criminal Intent/Season 8
 * Law & Order: Criminal Intent/Season 9
 * Law & Order: Criminal Intent/Season 10

Principal Cast

 * Vincent D'Onofrio - Detective Robert Goren (2001 - 2011)
 * Kathryn Erbe - Detective Alexandra Eames (2001 - 2011)
 * Jamey Sheridan - Captain James Deakins (2001 - 2006)
 * Courtney B. Vance - ADA Ron Carver (2001 - 2006)
 * Samantha Buck - Detective G. Lynn Bishop (2003 - 2004)
 * Chris Noth - Detective Mike Logan (2005 - 2008)
 * Annabella Sciorra - Detective Carolyn Barek (2005 - 2006)
 * Eric Bogosian - Captain Daniel Ross (2006 - 2010)
 * Julianne Nicholson - Detective Megan Wheeler (2006 - 2009)
 * Alicia Witt - Detective Nola Falacci (2007)
 * Jeff Goldblum - Detective Zach Nichols (2009 - 2010)
 * Saffron Burrows - Detective Serena Stevens (2010)
 * M.E. Mastrantonio - Captain Zoe Callas (2010)
 * Jay O. Sanders - Captain Joseph Hannah (2011)

title: Law & Order: Criminal Intent


text:
User talk:WikiLeon

Welcome :)

Hi. Welcome to English Wikiquote. Enjoy!  Cbrown1023  talk  01:30, 7 February 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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title: User talk:WikiLeon


text:
Giacomo Leopardi

Giacomo Taldegardo Francesco di Sales Saverio Pietro Leopardi (29 June 1798 – 14 June 1837) was an Italian philosopher, poet, essayist, and philologist. He is considered the greatest Italic poet of the nineteenth century and one of the most important figures in the literature of the world, as well as one of the principal of literary romanticism; his constant reflection on existence and on the human condition—of sensuous and materialist inspiration—has also earned him a reputation as a deep philosopher. He is widely seen as one of the most radical and challenging thinkers of the 19th century.

Aphorisms

 * Death is not an evil, because it frees us from all evils, and while it takes away good things, it takes away also the desire for them. Old age is the supreme evil, because it deprives us of all pleasures, leaving us only the appetite for them, and it brings with it all sufferings. Nevertheless, we fear death, and we desire old age.
 * Thoughts. Translation by J.G. Nichols [Hesperus Press, 2002, ISBN 9781843910121], p. 6

 * In every land the universal vices and ills of mankind and of human society are noted as peculiar to that place. I have never been anywhere where I have not heard, "Here the women are vain and inconstant; they read little and they're poorly educated. Here the public are curious about other people's affairs, and they're very talkative and slanderous. Here money, favour and baseness can achieve anything. Here envy rules, and friendships are hardly sincere," and so on and so on, as if things went on differently elsewhere. Men are wretched by necessity, and determined to believe themselves wretched by accident.
 * Thoughts (2018), trans. J.G. Nichols, p. 31 ISBN 9780714548265

 * Boredom is in some ways the most sublime of human feelings. It is not that I think an examination of this feeling gives rise to those consequences that many philosophers have claimed to have inferred. Nevertheless, not being able to be satisfied with any earthly thing or, so to speak, with the whole earth; considering the immeasurable extent of space, the number and the wonderful size of the worlds, and finding that everything is small and petty in comparison with the capacity of one's own mind; picturing to oneself the infinite number of worlds, and the infinite universe, and feeling that the soul and our desire must be still greater than such a universe; always accusing things of insufficiency and nothingness; and suffering a huge lack and emptiness, and therefore boredom — all this seems to me the greatest sign of grandeur and nobility which there is in human nature. And so boredom is seldom seen in men of no account, and very seldom or never in other creatures.
 * Thoughts (2018), trans. J.G. Nichols, p. 68 ISBN 9780714548265

Essays and Dialogues (1882)
Full text online at Project Gutenberg, trans. Charles Edwardes with Biographical Sketch, London: Trübner & Co., 1882.

Dialogue between Nature and an Icelander

 * NATURE: So flees the squirrel from the rattlesnake, and runs in its haste deliberately into the mouth of its tormentor. I am that from which thou fleest.
 * ICELANDER: Thus I reply to you. I am well aware you did not make the world for the service of men. It were easier to believe that you made it expressly as a place of torment for them. But tell me: why am I here at all? Did I ask to come into the world? Or am I here unnaturally, contrary to your will? If however, you yourself have placed me here, without giving me the power of acceptance or refusal of this gift of life, ought you not as far as possible to try and make me happy, or at least preserve me from the evils and dangers, which render my sojourn a painful one? And what I say of myself, I say of the whole human race, and of every living creature.
 * ICELANDER: So say all the philosophers. But since that which is destroyed suffers, and that which is born from its destruction also suffers in due course, and finally is in its turn destroyed, would you enlighten me on one point, about which hitherto no philosopher has satisfied me? For whose pleasure and service is this wretched life of the world maintained, by the suffering and death of all the beings which compose it?
 * Whilst they discussed these and similar questions, two lions are said to have suddenly appeared. The beasts were so enfeebled and emaciated with hunger that they were scarcely able to devour the Icelander. They accomplished the feat however, and thus gained sufficient strength to live to the end of the day.

The Song of the Wild Cock

 * It seems as though death were the essential aim of all things. That which has no existence cannot die; yet all that exists has proceeded from nothing. The final cause of existence is not happiness, for nothing is happy. It is true, living creatures seek this end in all their works, but none obtain it; and during all their life, ever deceiving, tormenting, and exerting themselves, they suffer indeed for no other purpose than to die.

Zibaldone (1898)

 * [T]he recognition of the irredeemable vanity and falsity of all beauty and all greatness is itself a kind of beauty and greatness that fills the soul when it is conveyed by a work of genius. And the spectacle of nothingness is itself a thing in these works, and seems to enlarge the reader’s soul, to raise it up and to make it take satisfaction in itself and its despair.
 * 260, 5th October 1820. Translation by Michael Caesar and Franco D'Intino et al. [Farrar, Straus and Giroux, 2010, ISBN 9780141194400], p. 177
 * Il piacere è sempre o passato o futuro, non mai presente.
 * Pleasure is always in the past or in the future, never in the present.
 * 29th September 1823, Festival of Saint Michael the Archangel.
 * Everything is evil. I mean, everything that is, is wicked; every existing thing is an evil; everything exists for a wicked end. Existence is a wickedness and is ordained for wickedness. Evil is the end, the final purpose, of the universe...The only good is nonbeing; the only really good thing is the thing that is not, things that are not things; all things are bad.
 * 19th April 1826.
 * No one can truthfully boast or say in anger: I cannot be unhappier than I am.
 * 13-14th August 1821.
 * My philosophy isn’t only not conducive to misanthropy, as it might appear to a superficial reader, and as many have accused me. It essentially rules out misanthropy, it tends toward healing, to dissolving discontent and hatred. Not knee-jerk hatred but the deep-dyed hatred that unreflective people who would deny being misanthropes so cordially bear (habitually or on select occasions) toward their own kind in response to hurts they receive—as we all do, justly or not—from others. My philosophy holds nature guilty of everything, it acquits mankind completely and directs our hate, or at least our lamentations, to its matrix, to the true origin of the afflictions living creatures suffer, etc.
 * 2nd January, 1829. Translation by W. S. Di Piero.
 * Two truths that most men will never believe: one that we know nothing, the other that we are nothing. Add the third, which depends a lot on the second: that there is nothing to hope for after death.
 * 1832. Passions. Translation by Tim Parks. [Yale University Press, 2014, ISBN 9780300186338], p. 8

 * I found myself desperately bored with life, with a very strong desire to kill myself, and had an intimation of something bad, which frightened me at the very moment that I wanted to die, and placed me immediately in a state of apprehension and anxiety. I have never felt so strongly the absolute conflict of the elements that form the present human condition, forced to fear for its life and to seek at all costs to preserve it, just then when it was most burdensome, and when it could resolve to be ended by its own will (but by no other cause).
 * Zibaldone (2013) trans. Kathleen Baldwin et al., [66] ISBN 978-0374296827

 * Children find everything in nothing, men find nothing in everything.
 * Zibaldone (2013) trans. Kathleen Baldwin et al., [527] ISBN 978-0374296827

 * No one thing shows the greatness and power of the human intellect or the loftiness and nobility of man more than his ability to know and to understand fully and feel strongly his own smallness. When, in considering the multiplicity of worlds, he feels himself to be an infinitesimal part of a globe which itself is a negligible part of one of the infinite number of systems that go to make up the world, and in considering this is astonished by his own smallness, and in feeling it deeply and regarding it intently, virtually blends into nothing, and it is as if he loses himself in the immensity of things, and finds himself as though lost in the incomprehensible vastness of existence, with this single act and thought he gives the greatest possible proof of the nobility and immense capability of his own mind, which, enclosed in such a small and negligible being, has nonetheless managed to know and understand things so superior to his own nature, and to embrace and contain this same intensity of existence and things in his thought.
 * Zibaldone (2013) trans. Kathleen Baldwin et al., [3171-3172] ISBN 978-0374296827

 * Those innumerable and immense questions about time and  space, argued over from the beginnings of metaphysics onward, by metaphysicians of every century, are none other than wars of words, caused by misunderstandings, and imprecision of thought, and limited ability to understand our mind, which is the only place where time and  space, like many other abstract things, exist independently and for themselves, and are something.
 * Zibaldone (2013) trans. Kathleen Baldwin et al., [4233] ISBN 978-0374296827

 * You laugh openly and loudly about something, even entirely innocently, with one or two people in a café, in a conversation, in a street: everybody who hears or sees you laughing like this will turn and look at you with respect; if they were talking, they will stop, they will seem humbled; they will never dare to laugh at you; if they had previously looked at you boldly or condescendingly, they will lose their boldness and condescension toward you. In the end, simply laughing out loud gives you a definite superiority over all those near and around you, without exception. The power of laughter is terrible and awful: anyone who has the courage to laugh is master over others, in the same way as anyone who has the courage to die.
 * Zibaldone (2013) trans. Kathleen Baldwin et al., [4391] ISBN 978-0374296827

Poetry

 * Stato che sia, dentro covile o cuna, È funesto a chi nasce il dì natale.
 * To that creature, being born, Its birthday is a day to mourn.
 * Canto notturno di un pastore errante dell'Asia (Night song of a nomadic shepherd in Asia) (1829-1830). Translation by Eamon Grennan, Leopardi: Selected Poems [Princeton University Press, 1997, ISBN 0-691-01644-5], p. 62
 * Non ha natura al seme Dell'uom più stima o cura Che alla formica: e se più rara in quello Che nell'altra è la strage, Non avvien ciò d'altronde uor che l'uom sue prosapie ha men feconde.
 * Nature has no more esteem or care for the seed of man than for the ant
 * La ginestra (The broom or The desert flower) (1836). Translation by Jonathan Galassi Canti: Poems [Farrar, Straus and Giroux, 2010, ISBN 0141193875]
 * Nature, mother feared and wept for since the human family was born, marvel that cannot be praised, that bears and nurtures only to destroy, if dying young brings mortals pain, why let it come down on these blameless heads? And if good, then why is it unhappy, why make this leaving inconsolable, worse than any other woe, for those who live, as well as those who go?
 * Sopra in basso relievo antico sepocrale (Bas-Relief On An Ancient Tomb). Translation by Jonathan Galassi Canti: Poems [Farrar, Straus and Giroux, 2010, ISBN 0141193875]

Hast thou throbbed. Nothing is worth Thy agitations, nor of sighs is worthy The earth. Bitterness and vexation Is life, never aught besides, and mire the world. Quiet thyself henceforth. Despair For the last time. To our race fate Has given but death. Henceforth despise Thyself, nature, the foul Power which, hidden, rules to the common bane, And the infinite vanity of the whole.
 * Rest for ever (heart) enough
 * A se stesso (To Himself), quoted by in Pessimism: A History and a Criticism (1877), p. 27

Quotes about Leopardi

 * Leopardi is a poet who is very dark. It fascinates me that Mark Strand did that lovely, heartbreaking version of his poem. It's the way that Leopardi makes his incredibly courageous attempt, even though he knows he cannot excel Dante and Petrarch. He's a great literary critic, as his great notebook, Zibaldone, shows. He does it by going back to Lucretius (rather than Virgil), by treating all of Latin poetry as what changes into the Tuscan of Dante, Petrarch, and Boccaccio. He is a signal instance of the modern sublime, which is always a Lucretian-Epicurean sublime as it is in Walt Whitman. It's no surprise Whitman reads Lucretius in translation, and we know his father bought it. He comments on it. Leopardi, of all later Italian poets, is not only the greatest after Dante and Petrarch, but his sensibility is closest to that of high Romanticism in English, that is England and the United States. So far as I know, Hart Crane never mentions Leopardi, but I can't read Leopardi without thinking of Crane.
 * Harold Bloom, quoted in Adam Fitzgerald, 'The Anatomy of Influence: An interview with Harold Bloom', Boston Review (1 April 2011)

 * What is Leopardi's place in literature? That assigned to him by his countrymen is very high, higher than they would concede to any other Italian poet born since the close of the sixteenth century.
 * Henry Cloriston, January 1913, p. 1

 * For him, death does not just end life; it nullifies life, and the fact that we are going to die is the only fact that matters. The key to the terrible power of his work is that we can never totally banish the suspicion that he might be right.
 * Adam Kirsch, "Under the Volcano: Giacomo Leopardi's radical despair.". The New Yorker. October 25 2010.

 * How should the endless rush of events not bring satiety, surfeit, loathing? So the boldest of us is ready perhaps at last to say from his heart with Giacomo Leopardi: "Nothing lives that were worth thy pains, and the earth deserves not a sigh. Our being is pain and weariness, and the world is mud—nothing else. Be calm."
 * Friedrich Nietzsche, On the Use and Abuse of History for Life. (1874). Translation by Adrian Collins.

 * Nobody more than Leopardi could look disaster in the face, never denying that it was disaster, yet at the same time turning unhappiness itself into a colour or fragrance that would help you through the day.
 * Tim Parks, "The great disillusionist: In an age when so many people are at a loss to give life meaning and direction, Giacomo Leopardi is essential reading". Aeon.

 * Yet no one has so thoroughly and exhaustively handled this subject as, in our own day, Leopardi. He is entirely filled and penetrated by it: his theme is everywhere the mockery and wretchedness of this existence; he presents it upon every page of his works, yet in such a multiplicity of forms and applications, with such wealth of imagery that he never wearies us, but, on the contrary, is throughout entertaining and exciting.
 * Arthur Schopenhauer, The World as Will and Idea (Vol. 3 of 3). Sixth edition (1909) p. 401

title: Giacomo Leopardi


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The Cat and the Canary (1979 film)

The Cat and the Canary is a 1979 film. It is an adaptation of John Willard's 1922 black comedy play of the same name.

Annabelle

 * If I were crazy, I'd be a much better designer.

Cyrus West

 * As you know, I am Cyrus West. Now, first of all, let me tell you that you're all a bunch of bastards.

Dialogue

 * Harry: Old Man West was the one who was insane.
 * Mrs. Crosby: He was peculiar.
 * Charlie: He's a lunatic.
 * Mrs. Crosby: An eccentric.
 * Susan: Oh, come on, you must admit this scheme makes him a little crazy.
 * Mrs. Crosby: He was a little ahead of his time.
 * Annabelle: Well, you will say he was strange.
 * Mrs. Crosby: I would say he was unique.
 * Paul: He was a yo-yo.
 * Mrs. Crosby: An independent thinker.

 * Paul: Hi! Why so glum?
 * Cicily: Me? Glum?  I don't know why I should be glum.  I've just had dinner with a man who's been dead twenty years, I'm in a house in the middle of nowhere without a telephone, there's a hurricane blowing and now creepy Mrs. Pleasant thinks there are ghosts in the house and we're all in some kind of danger.  What's more it turns out there's insanity in the family and there could be a full-fledged paid-up lunatic sleeping in the next bed.  I don't know why I should be glum.

 * Susan: In these circumstances, I think everyone in the camp should know what's waiting outside in the darkness for them, however gruesome it is.
 * Annabelle: Susan, this is Glencliff Manor, not Tanganyika.
 * Susan: You're wrong.  It's a jungle.  And there's a wild animal around who kills for the pleasure of it.  He's got very sharp teeth and very long nails and he hides in houses and waits until everyone is asleep and then he takes his victim and very, very slowly tears the flesh off them... In case he gets in, and in case he gets you, take this.
 * [Susan hands Annabelle a revolver.]
 * Susan: And if a bullet won't stop him, shoot yourself.

title: The Cat and the Canary (1979 film)


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Talk:The Cat and the Canary (1979 film)

This was copied from the Wikipedia article. 142.66.21.153 01:22, 15 January 2007 (UTC)

title: Talk:The Cat and the Canary (1979 film)


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User talk:64.59.144.27

- InvisibleSun 02:51, 15 January 2007 (UTC)

title: User talk:64.59.144.27


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User talk:71.17.181.193

- InvisibleSun 02:53, 15 January 2007 (UTC)

title: User talk:71.17.181.193


text:
Code Name: The Cleaner

Code Name: The Cleaner is an action/comedy starring Cedric the Entertainer, Lucy Liu, Callum Keith Rennie and Nicollette Sheridan. The film was released by New Line Cinema on January 5, 2007.

Dialogue

 * Diane: Jake, listen to me. I know you might not believe this, but I'm here to help you. I'm telling you, this is your last chance.
 * Jake: Obviously, our marriage is not based on trust and communication. Or understanding.
 * Diane: Jake, we're not really married.
 * Jake: What?! No. You lied to me!!
 * Diane: Look, we know you took something. Give it to me, or I can't help you anymore.
 * Jake: You call this help?! You call this help?!!

Cast

 * Cedric the Entertainer - Jake Rodgers
 * Lucy Liu - Gina
 * Nicollette Sheridan - Diane
 * Mark Dacascos - Eric Hauck
 * Callum Keith Rennie - Shaw
 * Niecy Nash - Jacuzzi
 * DeRay Davis - Ronnie
 * Will Patton - Riley

title: Code Name: The Cleaner


text:
Talk:Birdsong (novel)

Cleanup
I cleaned up the formatting in this article. However, there is still a significant problem that the original editor left out the ending punctuation, so it is not possible to tell whether the quotes here represent complete sentences. Someone with access to the book will need to check the text to fix all of these.

At the same time, I deleted some particularly fragmentary quotes, which didn't seem to make sense to me. Generally this indicates that insufficient context has been quoted, although I could of course be on crack. 121a0012 04:30, 15 January 2007 (UTC)

Unsourced

 * Some slumped as though dead on the floor of the trench

 * They were frightening to the civilians because they had evolved not into killers but into passive beings whose aim was to endure

 * They were killing with pleasure. They were not normal

 * He noticed how dry and passionless his own style had become
 * Stephen refering to letters informing relatives of death

 * Now he would take life without compunction

 * He hated the selfishness of his feeling because he felt more sorry for himself than his dead friend

 * You can’t give tin stars to people when there are men that give their life

 * Depression had begun to sink into the army’s bones

title: Talk:Birdsong (novel)


text:
Talk:Follow the Rabbit-Proof Fence

Cleanup/stub
The original version of this article read more like the research notes for a school book report than a serious listing of quotations. After fixing the formatting, I deleted all of the passages that did not, in my view, meet Wikiquote's goals of originality and quotability. There is still quite a bit of work left to do; apparently chapters 1 through 4 were considered by the original editor to be devoid of interesting content, and that ought to be rectified. More to the point, most if not all of the remaining quotations ae much too short. None of them, so far as I can tell, have achieved any notoriety in the form shown here, so they really can't stand on their own: more context is needed in order to make sense of them. For these reasons, I have replaced the cleanup tag with a stub tag. I do not have a copy of this book. 121a0012 05:31, 15 January 2007 (UTC)

human abuse
Human traffic is the main problem in southern africa,by putting hands by hands we could do more and stop abuse Mookhorakhunoane (talk) 11:36, 9 July 2015 (UTC)

title: Talk:Follow the Rabbit-Proof Fence


text:
User talk:Mochakasem

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Mochakasem


text:
User talk:ScroogeMcDuck~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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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 ScroogeMcDuck. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name ScroogeMcDuck~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 23:34, 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) 05:57, 19 April 2015 (UTC)

title: User talk:ScroogeMcDuck~enwikiquote


text:
User talk:Ukdan999

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
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 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Ukdan999


text:
User talk:Copyleft~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Copyleft. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Copyleft~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 23:20, 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) 05:44, 19 April 2015 (UTC)

title: User talk:Copyleft~enwikiquote


text:
User talk:Khadhalnesan143

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Khadhalnesan143


text:
User talk:Cynic09~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Cynic09. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Cynic09~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 23:20, 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) 05:45, 19 April 2015 (UTC)

title: User talk:Cynic09~enwikiquote


text:
User talk:Karthik.myself

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Karthik.myself


text:
User talk:Erika7167~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Erika7167. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Erika7167~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 23:22, 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) 05:47, 19 April 2015 (UTC)

title: User talk:Erika7167~enwikiquote


text:
User talk:Hannah3110

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Hannah3110


text:
User talk:Lysanzia

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Lysanzia


text:
User talk:Kleina~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Kleina. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Kleina~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 23:27, 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) 05:51, 19 April 2015 (UTC)

title: User talk:Kleina~enwikiquote


text:
User talk:TorontonianOnline~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 TorontonianOnline. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name TorontonianOnline~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 23:37, 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) 06:00, 19 April 2015 (UTC)

title: User talk:TorontonianOnline~enwikiquote


text:
User talk:Lunaticchannel

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Lunaticchannel


text:
User talk:Me wolf~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

 * By the way, please do not experiment on Wikiquote articles or project pages, as you did at Community portal . You may safely do experimental edits at Sandbox. Thank you for your cooperation. ~ Jeff Q (talk) 08:51, 15 January 2007 (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 Me wolf. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Me wolf~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 23:30, 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) 05:52, 19 April 2015 (UTC)

title: User talk:Me wolf~enwikiquote


text:
User talk:LBMixPro

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:LBMixPro


text:
User talk:Faust~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Faust. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Faust~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 23:22, 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) 05:47, 19 April 2015 (UTC)

title: User talk:Faust~enwikiquote


text:
User talk:Elliegrace

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Elliegrace


text:
User talk:Princessangel

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Princessangel


text:
User talk:Robyeli

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Robyeli


text:
User talk:Merie anastasia

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Merie anastasia


text:
User talk:Darkskaterbitch

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:40, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Darkskaterbitch


text:
User talk:Wikispell

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:41, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Wikispell


text:
User talk:Rakeshkabir

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 08:41, 15 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Rakeshkabir