text:
The Pirates of Penzance

The Pirates of Penzance - or, The Slave of Duty

by Gilbert and Sullivan

First produced at the Opéra Comique on April 3, 1880

Act I

 * FREDERIC: Yes, I have done my best for you. And why? It was my duty under my indentures, and I am the slave of duty.

 * KING: Well, Frederic, if you conscientiously feel that it is your duty to destroy us, we cannot blame you for acting on that conviction. Always act in accordance with the dictates of your conscience, my boy, and chance the consequences.

 * SAMUEL: But, hang it all! you wouldn't have us absolutely merciless?
 * FREDERIC: There's my difficulty; until twelve o'clock I would, after twelve I wouldn't. Was ever a man placed in so delicate a situation?

 * SONG - PIRATE KING: Oh better far to live and die
 * Oh, better far to live and die
 * Under the brave black flag I fly,
 * Than play a sanctimonious part
 * With a pirate head and a pirate heart.
 * Away to the cheating world go you,
 * Where pirates all are well-to-do;
 * But I'll be true to the song I sing,
 * And live and die a Pirate King.
 * For I am a Pirate King!
 * And it is, it is a glorious thing
 * To be a Pirate King!
 * For I am a Pirate King!

 * KING: There are the remains of a good woman about Ruth.

 * FREDERIC: Ruth, tell me candidly and without reserve: compared with other women, how are you?
 * RUTH: I will answer you truthfully, master: I have a slight cold, but otherwise I am quite well.

 * FREDERIC: Oh, false one, you have deceived me!
 * RUTH: I have deceived you?
 * FREDERIC: Yes, deceived me!
 * FREDERIC: You told me you were fair as gold!
 * RUTH: (wildly) And, master, am I not so?
 * FREDERIC: And now I see you're plain and old.
 * RUTH: I'm sure I'm not a jot so.
 * FREDERIC: Upon my innocence you play.
 * RUTH: I'm not the one to plot so.
 * FREDERIC: Your face is lined, your hair is grey.
 * RUTH: It's gradually got so.

 * SONG — FREDERIC: Oh, is there not one maiden breast
 * Oh, is there not one maiden here
 * Whose homely face and bad complexion
 * Have caused all hope to disappear
 * Of ever winning man's affection?
 * Of such a one, if such there be,
 * I swear by Heaven's arch above you,
 * If you will cast your eyes on me,
 * However plain you be, I'll love you,
 * However plain you be,
 * If you will cast your eyes on me,
 * However plain you be I'll love you,
 * I'll love you, I'll love, I'll love you!

 * SONG- MABEL:
 * Hold, monsters!
 * Ere your pirate caravanseri proceed against our will
 * To wed us all...
 * Just bear in mind that we are wards in Chancery-
 * And Father is a Major-General!

SAMUEL:
 * We'd better pause, or danger may befall-
 * Their father is a Major-General!

DAUGHTERS:
 * Yes, yes, he is a Major-General!

(The Major-General appears)

MAJOR-GENERAL:
 * Yes, yes, I am the Major-General!

 * SONG — MAJOR-GENERAL: I am the very model of a modern Major-General
 * I know our mythic history, King Arthur's and Sir Caradoc's;
 * I answer hard acrostics, I've a pretty taste for paradox,
 * I quote in elegiacs all the crimes of Heliogabalus,
 * In conics I can floor peculiarities parabolous;
 * I can tell undoubted Raphaels from Gerard Dows and Zoffanies,
 * I know the croaking chorus from the Frogs of Aristophanes!
 * Then I can hum a fugue of which I've heard the music's din afore,
 * And whistle all the airs from that infernal nonsense Pinafore.
 * For my military knowledge, though I'm plucky and adventury,
 * Has only been brought down to the beginning of the century;
 * But still, in matters vegetable, animal, and mineral,
 * I am the very model of a modern Major-General.
 * But still, in matters vegetable, animal, and mineral,
 * I am the very model of a modern Major-General.

 * GENERAL: And now that I've introduced myself, I should like to have some idea of what's going on.
 * KATE: Oh, Papa-- we---
 * SAMUEL: Permit me, I'll explain in two words: we propose to marry your daughters.

 * GENERAL: But wait a bit. I object to pirates as sons-in-law.
 * KING: We object to major-generals as fathers-in-law. But we waive that point. We do not press it. We look over it.

 * HYMN — KING & CHORUS
 * KING: Although our dark career
 * Sometimes involves the crime of stealing,
 * We rather think that we're
 * Not altogether void of feeling.
 * Although we live by strife,
 * We're always sorry to begin it,
 * For what, we ask, is life
 * Without a touch of Poetry in it?
 * (all kneel)
 * ALL: Hail, Poetry, thou heav'n-born maid!
 * Thou gildest e'en the pirate's trade.
 * Hail, flowing fount of sentiment!
 * All hail, all hail, divine emollient!

Act II

 * GENERAL: Why do I sit here? To escape from the pirates' clutches, I described myself as an orphan; and, heaven help me, I am no orphan! I come here to humble myself before the tombs of my ancestors, and to implore their pardon for having brought dishonour on the family escutcheon.
 * FREDERIC: But you forget, sir, you only bought the property a year ago, and the stucco on your baronial castle is scarcely dry.
 * GENERAL: Frederic, in this chapel are ancestors: you cannot deny that. With the estate, I bought the chapel and its contents. I don't know whose ancestors they were, but I know whose ancestors they are, and I shudder to think that their descendant by purchase (if I may so describe myself) should have brought disgrace upon what, I have no doubt, was an unstained escutcheon.

 * SONG: Go, ye heroes, go to glory
 * MABEL: Go, ye heroes, go to glory,
 * Though you die in combat gory,
 * Ye shall live in song and story.
 * Go to immortality!
 * Go to death, and go to slaughter;
 * Die, and every Cornish daughter
 * With her tears your grave shall water.
 * Go, ye heroes, go and die!

 * FREDERIC: You don't mean to say you are going to hold me to that?
 * KING: No, we merely remind you of the fact, and leave the rest to your sense of duty.
 * RUTH: Your sense of duty!
 * FREDERIC: (wildly) Don't put it on that footing! As I was merciful to you just now, be merciful to me! I implore you not to insist on the letter of your bond just as the cup of happiness is at my lips!
 * RUTH: We insist on nothing; we content ourselves with pointing out to you your duty.
 * KING: Your duty!
 * FREDERIC: (after a pause) Well, you have appealed to my sense of duty, and my duty is only too clear. I abhor your infamous calling; I shudder at the thought that I have ever been mixed up with it; but duty is before all -- at any price I will do my duty.

 * FREDERIC: Ought I to tell you? No, no, I cannot do it; and yet, as one of your band--
 * KING: Speak out, I charge you by that sense of conscientiousness to which we have never yet appealed in vain.

 * DUET - MABEL and FREDERIC: Stay, Fred'ric, stay!
 * MABEL:    Stay, Fred'ric, stay!
 * They have no legal claim,
 * No shadow of a shame
 * Will fall upon thy name.
 * Stay, Frederic, stay!
 * FREDERIC: Nay, Mabel, nay!
 * To-night I quit these walls,
 * The thought my soul appalls,
 * But when stern Duty calls,
 * I must obey.
 * MABEL: Stay, Fred'ric, stay!
 * FREDERIC: Nay, Mabel, nay!
 * MABEL: They have no claim--
 * FREDERIC: But Duty's name.
 * The thought my soul appalls,
 * But when stern Duty calls,
 * MABEL: Stay, Fred'ric, stay!
 * FREDERIC: I must obey.

 * MABEL: Sergeant, approach! Young Frederic was to have led you to death and glory.
 * POLICE: That is not a pleasant way of putting it.
 * MABEL: No matter; he will not so lead you, for he has allied himself once more with his old associates.
 * POLICE: He has acted shamefully!
 * MABEL: You speak falsely. You know nothing about it. He has acted nobly.
 * POLICE: He has acted nobly!
 * MABEL: Dearly as I loved him before, his heroic sacrifice to his sense of duty has endeared him to me tenfold; but if it was his duty to constitute himself my foe, it is likewise my duty to regard him in that light. He has done his duty. I will do mine. Go ye and do yours.
 * (Exit MABEL)
 * POLICE: Right oh!
 * SERGEANT: This is perplexing.
 * POLICE: We cannot understand it at all.
 * SERGEANT: Still, as he is actuated by a sense of duty--
 * POLICE: That makes a difference, of course. At the same time, we repeat, we cannot understand it at all.
 * SERGEANT: No matter. Our course is clear: we must do our best to capture these pirates alone. It is most distressing to us to be the agents whereby our erring fellow-creatures are deprived of that liberty which is so dear to us all-- but we should have thought of that before we joined the force.
 * POLICE: We should!
 * SERGEANT: It is too late now!

 * KING: With base deceit
 * You worked upon our feelings!
 * Revenge is sweet,
 * And flavours all our dealings!
 * With courage rare
 * And resolution manly,
 * For death prepare,
 * Unhappy Gen'ral Stanley.

 * SERGEANT: To gain a brief advantage you've contrived,
 * But your proud triumph will not be long-lived
 * KING: Don't say you are orphans, for we know that game.
 * SERGEANT: On your allegiance we've a stronger claim.
 * We charge you yield, we charge you yield,
 * In Queen Victoria's name!
 * KING: (baffled) You do?
 * POLICE: We do!
 * We charge you yield,
 * In Queen Victoria's name!
 * (PIRATES kneel, POLICE stand over them triumphantly.)
 * KING: We yield at once, with humbled mien,
 * Because, with all our faults, we love our Queen.

 * MABEL: Poor wandering ones!
 * Though ye have surely strayed,
 * Take heart of grace,
 * Your steps retrace,
 * Poor wandering ones!
 * Poor wandering ones!
 * If such poor love as ours
 * Can help you find
 * True peace of mind,
 * Why, take it, it is yours!

title: The Pirates of Penzance


text:
Midnight's Children

Midnight's Children (1980) is a novel by Salman Rushdie that deals with India's transition from British colonialism to independence and the partition of British India.

Quotes

 * And there are so many stories to tell, too many, such an excess of intertwined lives events miracles places rumors, so dense a commingling of the improbable and the mundane! I have been a swallower of lives; and to know me, just the one of me, you'll have to swallow the lot as well.
 * Chapter 1, "The Perforated Sheet"

 * What had been (at the beginning) no bigger than a full stop, had expanded into a comma, a word, a sentence, a paragraph, a chapter; now it was bursting into more complex developments, becoming, one might say, a book - perhaps an encyclopedia - even a whole language ...
 * Chapter 7, "Methwold"

 * No people whose word for "yesterday" is the same as their word for "tomorrow" can be said to have a firm grip on the time.
 * Chapter 8, "Tick, Tock"

 * There was one more serious problem... they failed to notice the immobility of my eyelids... they observed my icy blueness, but there was not the slightest tremor; until Amina took matters into her own hands and reached into the cradle to stroke my eyelids downwards. They closed: my breathing altered, instantly, to the contented rhythms of sleep. After that, for several months, mother and ayah took it in turns to open and close my lids. "He'll learn, Madam," Mary comforted Amina, "He is a good obedient child and he will get the hang of it for sure." I learned: the first lesson of my life: nobody can face the world with his eyes open all the time.
 * Chapter 9, "The Fisherman's Pointing Finger"

 * "You be respectable, sister," she said, "Me, I'll be alive."
 * Chapter 23, "How Saleem Achieved Purity"

 * Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I've gone which would not have happened if I had not come. Nor am I particularly exceptional in this matter; each "I," every one of the now-six-hundred-million-plus of us, contains a similar multitude. I repeat for the last time: to understand me, you'll have to swallow a world.
 * Chapter 26, "Sam and the Tiger"

 * Children are vessels where adults pour their poison.
 * Chapter 27, "The Shadow of the Mosque"

 * There is no magic on earth strong enough to wipe out the legacies of one's parents.
 * Chapter 27, "The Shadow of the Mosque"

 * It has often been said that Mrs. Gandhi's younger son Sanjay accused his mother of being responsible, through her neglect, for his father's death; and that this gave him an unbreakable hold over her, so that she became incapable of denying him anything.
 * Chapter 28, "A Wedding", first edition only

 * Hell is other people's fantasies: every saga requires at least one descent into Jahannum, and I followed Picture Singh into the inky negritude of the Club, holding an infant son in my arms.
 * Chapter 30, "Abracadabra"

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

title: Midnight's Children


text: User:Skyodyssey

title: User:Skyodyssey


text:
Talk:Family Guy

Format
I think there needs to be some sort of line drawn as to the standards of quoting TV shows: Do we Bold peoples' names or do we Italicize them? Should all dialogue be in the "Dialogue" section? (see the cancelled quote) Comments? Also, see Template (Added by 66.100.35.58)

 * Every television show, so far, has came up with its own format, but there is some attempt to synchronize the formats between the regular contributors. I urge you to have a look at Veronica Mars, Buffy the Vampire Slayer, Angel and Gilmore Girls. If you care enough and have enough time, specifying the page-specific consensus, and even cleaning up the quotes, might be a good idea. I do not feel qualified to do something like that, having seen a half-episode of Family guy. ~ MosheZadka (Talk) 06:33, 23 Jun 2005 (UTC)

Episode breakdown?
I was wondering if we should break each character's quote section down by the episode it was uttered. It would make it easier for someone to find quotes from their favorite episode if done this way. I realize it would take some effort and it would be interesting to see if it held for a long time, but should it be done? -- Chupon 18:55, 7 November 2005 (UTC)

 * Yes. This is the standard, recommended, format. Most importantly, it is the only sane way to have quotes which can actually be checked for accuracy. See Templates/TV shows. Thanks ~ MosheZadka (Talk) 07:12, 8 November 2005 (UTC)

Cleanup explained
Episode titles should be italicized, and number of episode within the season should be given:

== I Have Never Met Death [1.04] ==

Thanks ~ MosheZadka (Talk) 08:47, 6 December 2005 (UTC)

Unknown Episode Section?
Personally, I think that this section needs to be deleted. While I don't know what episodes every quote in that section belongs in, I do know that i've heard them at one time or another.
 * It's a place to put quotes that aren't known. If you'll look back, you'll see I've moved a majority of them to their specific episodes. The oens that are left I don't know, but am trying to get all of them done. As for now, it's better to leave them. When people come along and know where they are from, they can move them. -- Chupon 04:28, 21 December 2005 (UTC)

Colour scheme
The colours in the TOC are a bit gaudy for my tastes. Any hope of toning them down? ~ MosheZadka (Talk) 15:20, 21 December 2005 (UTC)
 * I was matching them with the color of the real boxsets, but it really doesn't matter to be honest. -- Chupon 17:10, 21 December 2005 (UTC)

An Appeal
To my fellow Family Guy afficiandos - i'm currently trying to create a complete list of Stewie's insults - ANY HELP WOULD BE WONDERFUL! It's far too big a job for me to do alone. Also - if any quote is mislabeled with the wrong episode, please do not hesitate to correct it!

Thanks again! ewok37 22:32, 23 January 2006 (UTC)

Here's the page:Stewie Griffin Insult Page

Giggity vs giggidy
Some quotes have Quagmire saying ``giggity and others have him saying ``giggidy. Does this actually differ between episodes, or do people just disagree in what they hear him saying?

He actually says "giggity" but it's definitely a disagreement.

In episode 421 "I Take Thee, Quagmire", Quagmire acts as Woody Woodpecker and spells out Giggity on the wall.

Rosy teeth?
In ep4-18, the 'Jaws'-like scene, you have the shark quoted as saying: "I got a whole bunch of rosy teeth to chew you with!" Are you sure it's "rosy teeth", and not "rows 'a teeth" (that is, "rows of teeth")? Seems to make more sense if he's saying "I've got a whole bunch of rows 'a teeth to chew you with," particularly because I've never heard teeth referred to as 'rosy'. -- dzCepheus

Linking to Wikipedia
Is there a standard or unspoken rule about how or when someone's name should be linked to Wikipedia in a given quote?
 * Yes, the first time a character is quoted in an episode, the wikilink should be used. If they are quoted again, in the same episode, no wikilink is used. Once in a new episode, follow the same rule. ~ UDScott 14:48, 13 March 2007 (UTC)

Too many quotes
While I know it may be difficult to limit the number of quotes per episode for this show, it certainly appears that we have way too much here to escape possible copyright issues. We really need to trim the number of quotes per episode to single digits at least. This page is now the largest one on Wikiquote and serious attention to this is needed. ~ UDScott 15:14, 23 February 2007 (UTC)
 * I've begun the trimming process, so far having completd the first season's episodes. ~ UDScott 14:46, 13 March 2007 (UTC)
 * Actually, I think this should be divided into separate entries by season, just to make it easier to work with. BD2412 T 06:00, 10 May 2007 (UTC)
 * The split into separate articles is done. What is the criteria for trimming? BD2412 T 20:25, 14 May 2007 (UTC)

TOC
The Table of Contents needs work - none of the links appear to work. ~ UDScott 20:58, 1 March 2007 (UTC)
 * I've fixed the links for the first season. I will continue to work on this, as I also work on the trimming of quotes from the episodes. ~ UDScott 14:47, 13 March 2007 (UTC)

New List Format. Thoughts?
I've redesigned the list of episodes so we can fit the new season without mashing everything in one box. What do you think? Goopnzaopleopz9 11:55, 17 September 2007 (UTC)

Full Names
Is it really necessary to show every charcter's full name before every line that they have? I'm fairly certain that most quotes for TV shows on here do not follow such a format, so why should it be any different for Family Guy? I see no reason why using first names alone before charactes' respective lines would not be sufficient. -71.124.7.238 06:13, 21 December 2007 (UTC)

Copyright disclaimer
What's up with the notice that appears (twice) on this page? Is there a unique requirement that this page recieve special treatment? ~ Ningauble 16:35, 2 July 2009 (UTC)

Why the fuck can't you put the see spirit in Mark Meloni,I don't see why not.

Last words in Family Guy
We should add the Last words in Family Guy link to this page.(StarWarsFanBoy (talk) 05:09, 4 September 2021 (UTC))

title: Talk:Family Guy


text:
Kinsey (film)

Kinsey (2004), written and directed by Bill Condon, is a film based on the life of sex researcher Alfred Kinsey.

Clyde Martin

 * Sex is a risky game, because if you're not careful, it will cut you wide open.

 * [to Alfred Kinsey] You just told me your entire history, but there hasn't been a single mention of love.

Alfred Kinsey

 * Love is the answer, isn't it? But sex raises a lot of very interesting questions.
 * Everybody's sin is nobody's sin, and everybody's crime is no crime at all.

Dialogue

 * Alfred Kinsey: What's your most common position?
 * Couple being interviewed: There's more than one?

 * Clyde Martin: When did you first begin masturbating?
 * Old Woman: I invented masturbation.

 * [Kinsey is teaching his first class.]
 * Alfred Kinsey: Who can tell me which part of the human body can enlarge a hundred times? You, miss?
 * Female Student: I'm sure I don't know. And you've no right to ask me such a question in a mixed class.
 * Alfred Kinsey: I was referring to the pupil in your eye, young lady. [the rest of the class laughs.] And I think I should tell you, you're in for a terrible disappointment.

 * Wardell Pomeroy: How old were you when you first engaged in sexual activity with a partner?
 * Research Subject: 14.
 * Wardell Pomeroy: How?
 * Research Subject: With horse.
 * Wardell Pomeroy: How often were you having intercourse with animals at age 14?
 * Research Subject: [stunned] It's true. I fucked a pony. You are genius. How did you know?
 * Wardell Pomeroy: You just said you had... "sex with horse."
 * Research Subject: Nooo... Whores, not horse. WHORES.

 * [Alfred and Clara are visiting a doctor after their wedding night.]
 * Doctor: How large is your penis?
 * Kinsey: Excuse me?
 * Doctor: When erect, how large is it? How long from the scrotum? [pointing at a scale with a measuring stick] Here? Here? [points to the very end of the scale] Here? [Clara points off the scale] I'm surprised you didn't pass out.

 * Alfred Kinsey [reading from Ideal Marriage: Its Physiology and Technique]: "The hand should never be used for the purpose of sexual excitation. There is but one finger of love with which to approach the female genitals and that is the male organ."

 * Clyde Martin: Just one more question. You've just told me your entire history: childhood, family, career, every person you've ever had sex with. But there hasn't been a single mention of love.
 * Alfred Kinsey: That's because it's impossible to measure love. And, as you know, without measurements there can be no science. But I have been thinking a lot about the problem lately.
 * Clyde Martin: Mmh, "problem"?
 * Alfred Kinsey: When it comes to love, we're all in the dark.
 * Clyde Martin: So, you do think it matters?

Cast

 * Dr. Alfred Kinsey: Liam Neeson
 * Clara McMillen: Laura Linney
 * Wardell Pomeroy: Chris O'Donnell
 * Clyde Martin: Peter Sarsgaard
 * Paul Gebhard: Timothy Hutton
 * Alfred Seguine Kinsey: John Lithgow
 * Thurman Rice: Tim Curry

title: Kinsey (film)


text:
Alexander (film)

Alexander is a film (2004) directed by Oliver Stone and based on the life of the Greek King of Macedon Alexander the Great. The screenplay is by Christopher Kyle, Laeta Kalogridis and Oliver Stone.

Alexander

 * I promise that I will beat you one day, Hephaistion.
 * (Of his father Phillip) This is the man who is going to take you from Macedonia to Persia?! He can't even make it from one couch to the next.
 * I didn't cross Asia to steal this victory, Cassander." And right not my butt.
 * If you were to fall Hephaestion, even if Macedonia were to lose a king I would avenge you, and follow you down to the house of death.
 * You've all honored your country and your ancestors and now we come to this most distant place in Asia where across from us Darius has at last gathered a vast army, but look again at this horde and ask yourselves, who is this great king who pays assassins in gold coins to murder my father, our king in a most despicable and cowardly manner? Who is this great king Darius who enslaves his own men to fight? Who is this king but a king of air? These men do not fight for their homes. They fight because this king tells them they must. And when they fight, they will melt away like the air, because they know no loyalty to a king of slaves! But we are not here today as slaves. We are here today... as Macedonian free men! And all their arms, their numbers, their chariots and their fine horses will mean nothing in the hands of slaves. Some of you, perhaps myself, will not live to see the sun set over these mountains today, for I will be in the very thick of battle with you.  But remember this, the greatest honor a man can achieve is to live with great courage, and to die gloriously in battle for his home. I say to you what every warrior has known since the beginning of time: conquer your fear and I promise you you will conquer death! Someday I promise you, your sons and grandsons will look into your eyes.  And when they ask you why you fought so bravely at Gaugamela, you will answer, with all the strength of your great, great hearts: "I was here this day at Gaugamela...for the freedom...and glory...of Greece!" Zeus be with us!
 * I am not my father!
 * I've taken you farther than my father ever dreamed!
 * It's a high ransom she charges for nine months lodging in the womb.
 * Stay with me tonight, Hephaestion.
 * In the end, all that matters is what you've done.
 * When I was a child my mother thought me divine and my father weak... which one am I Hephaistion? Weak or divine?
 * It is you that I love Hephaestion, no other.
 * Were we gods we'd breach these walls to the Eastern Ocean.
 * Each land, each boundary I cross, I strip away another illusion. I sense death will be the last. Yet still I push, harder and harder to reach this..."home." Where has our eagle gone? We must go on Ptolemy, until we find an end.
 * Aristotle be damned! By Zeus and by all the gods, what makes you so much better than them, Cassander! Better than you really are! In you and those like you is this.
 * What disturbs me most is not your lack of respect for my judgment, but your contempt for a world far older than ours.
 * Hephaestion loves me as I am, not "who".
 * You break my heart, you men... afraid!? Of course you have fears, we all have fears. Because no one has ever come this far before.
 * You know there’s not a part of me without a scar or a bone broken by sword, knife, stone, catapult, and club. I’ve shared every hardship with all of you.
 * Yes, you're right Crateros. I should have sent you veterans home sooner, and I will. The first of your shall be the Silver Shields, and then every man who has served seven years. Respected, rich, LOVED! You'll be treated by you wives and children as heroes for the rest of your lives. And enjoy a peaceful death. But you dream Crateros! Your simplicity long ended when you took Persian mistresses and children and you thickened your holdings with plunder and jewels... Because you have fallen in love with all the things in life that destroy men! Do you not see? And you, as well as I, know, that as the years decline, and the memories stale, and all your great victories fade, it will always be remembered, you left your king in Asia! Because I will go on...with my Asians!
 * Go on your way, father, rejoicing that with every step you may recall your valour.
 * Men of Macedon, we're going home.
 * May all those who come here after us know when they see this altar, that titans were once here.
 * Don't leave me Hephaestion!
 * My poor, poor, ill-fated son.
 * No one, not my vilest enemy, has ever spoken like you to me!
 * Cleitus spoke true. I am a tyrant.

Philip

 * Damn your sorceress soul! Keeping me like one of your snakes! I told you not! I told you not!
 * (of Bucephalus) Who would want such a beast? I already have a wife!
 * A broken neck comes free, you fool!
 * Ahhh! He's got some Titan in him yet!
 * A king isn't born, Alexander, he is made. By steel and by suffering. A king must know how to hurt those he loves. It's lonely. Ask Heracles. Ask any of them. Fate is cruel. No man or woman can be too powerful or too beautiful without disaster befalling. They laugh when you rise too high and crush everything you've built with a whim. What glory they give in the end, they take away. They... They make of us slaves.
 * It was a Iron Age. Blood-feuds. Fathers feared their son's treachery and would eat them.
 * You dream of glory Alexander. Your mother encourages you. But there's no glory without suffering and this she will not allow.
 * All your life, beware of women. They are far more dangerous than men.
 * (enraged at Alexander) Get out of my palace! You're exiled, you bastard! Banished from the land. You're not welcome here! You're no son of mine!
 * All greatness comes from loss. Even you the gods will one day judge harshly.
 * None will tell you this but your father: Men hate the gods! The only reason we worship any of them is because we fear worse. The Titans.
 * There's only one thing better than winning a battle, son, and that's the taste of a new woman! You'll find it far sweeter than self pity.
 * I'll marry the girl if I want and I'll have as many sons as I want and there's nothing you or your harpie mother can do about it!

Cleitus

 * By Ares chains he's got balls. I mean give the man his due, Parmenion. And lads, feast tonight for tomorrow we will dine in Hades.
 * Pay attention lad, your father's still watching over you!
 * I'll toast to Bagoas. And the 30,000 beautiful Persian boys were training to fight in this great army. And to memory of Phillip, had he lived to see his Macedonians transformed into such a pretty army.
 * Herakles did it by himself. Did you conquer Asia by yourself, Alexander? I mean, who planned the Asian invasion while you were being spanked on your bottom by my sister Lanike? Was it not your father? Or is his blood no longer good enough?
 * What freedom is this to bow before you?
 * Doesn't your great pride fear the gods any longer.
 * I don't serve your purpose?! What was I serving when I saved your puppy-life at Gaugamela?! Were you Zeus' boy?!  What if I left you to die in the dust there?  You think we'd be forced now to mate with brown apes?!!!
 * Evil tyrant you are! Evil tyrant you've become Alexander.
 * What about poor Parmenion?!
 * Hear what I say, guess what, false king!

Ptolemy

 * It was said later that Alexander was never defeated, except by Hephaistion's thighs.
 * All men reach and fall...
 * Alexander once said to me that we are most alone when we are with the myths.
 * He was a god, Cadmus, or as close as anything I've ever seen. Tyrant, they yell so easily. I laugh; no tyrant ever gave back so much. What do they know of the world, these school boys? It takes strong men to rule. Alexander was more; he was Prometheus, a friend to man. He changed the world.
 * Before him there were tribes, after him all was possible. There was suddenly a sense the world could be ruled by one king and be better for all. Eighteen great Alexandrias he built across this world.
 * It was an empire, not of land and gold, but of the mind. It was a Hellenic civilization, open to all.
 * Did such a man as Alexander exist? Of course not! We idolize him; make him better than he was.
 * It was mad; 40,000 of us against 250,000 barbarians!
 * In Egypt and oracle in the desert had declared Alexander the true son of Zeus. It was a myth, of course. At least it started as a myth. I was there; I saw his eyes.
 * (when asked if he has found his home) More and more I think it will be Alexandria.
 * I never believed in his dream. None of us did. That’s the truth of his life. The dreamers exhaust us. They must die before they kill us with their blasted dreams.
 * The truth is we did kill him... By silence we consented. What, by Ares, did we have to look forward to but to be discarded in the end, like Cleitus?
 * By the tenth of June, a month short of his 33rd year, Alexander's great heart finally gave up, and, as he vowed, he joined Hephaistion.
 * But in his short life he achieved without doubt, the mythic glory of his ancestor Achilles, and more.
 * Within hours, we were fighting like jackals for his corpse.
 * (final words of the film) His tragedy was one of increasing loneliness and impatience with those who could not understand. And if his desire to unite Greek and barbarian ended in failure... what failure! His failure towered over other men's successes. I've lived... I've lived a long life, Cadmos. But the glory and the memory of man will always belong to the ones who follow their great visions. And the greatest of these is the one they now... call "Megas Alexandros" - the greatest Alexander of them all.

Craterus

 * My king, I'm a fightin' man. I like no belly-aching, I won't tolerate it in any of my units.
 * I lost many a man. Young ones, never been with a woman. Some died of disease. Some were butchered in Scythia by the banks of the Oxus. Some died good. Some just didn’t get no luck. But they died. Forty thousand I come over with eight years ago. And we march after you more than 10,000 miles. In the rain and in the sun, we fought for you. Some of us 50 battles we’ve been in. And we killed many a barbarian. And now, when I look around, how many of them faces do I see?

Olympias

 * All you desire! The world is yours! Take it...
 * (Of Philip) He calls me a barbarian! He makes a mockery of Dionysus every night.
 * In my womb I carried my avenger!
 * You will be nineteen this summer and the girls already say you don't like them, you like Hephaistion more. I understand it is natural for a young man.
 * Alexander, the world is yours. Take it!
 * Their skin is water. And their tongue is fire. She is your friend.
 * Look at you! Look at you! You are everything he (Philip) was not. He was coarse, you are refined. He was general, you are a king. He could not rule himself...and you, shall rule the world.

Hephaestion

 * You strike me still, Alexander. You have eyes like no other. Ah, I sound as stupid as a schoolboy...
 * I found it in Egypt. The man who sold it to me said it came from a time when man worshipped sun and stars. I'll always think of you as the sun, Alexander and I pray your dream will shine on all men. I wish you a son.
 * Remember the fates of the heroes. They suffered greatly.
 * You're everything I care for and by the sweet breath of Aphrodite I'm so jealous of losing you to this world you want so badly.
 * The generals question your obsession with Darius... they say it was never meant for you to be King of Asia.
 * Sometimes, to always expect the best of everyone is arrogance.
 * You're mortal. And they know it. And they forgive you because you make them proud of themselves.
 * My Alexander... I remember the young man who wanted to be Achilles, and then out did him.

Aristotle

 * To love excellence is truly to love the gods.
 * Although an inferior race the Persians control at least four fifths of the known world. They rule and we sit around like frogs!
 * Excess in all things is the undoing of men!
 * If only these frogs could look outward from their favoured position in the centre, Greece could rule the world.
 * When men lie together in lust, it is a surrender to the passions and does nothing for the excellence in us. Nor does any other excess, Cassander, jealousy among them. But when men lie together, and knowledge and virtue are passed between them, that is pure and excellent. When they compete to bring out the good, the best in each other, this is the love between men that can build a city-state and lift us from our frog pond.
 * The east has a way of swallowing men and their dreams.
 * I can only warn you, not teach you. Beware of what you dream for; the gods have a way of punishing such pride.

Dialogue
Hephaistion: "What would you do if you ever reached the end of the world?" Alexander: "I'd turn around and conquer its opposite." Parmenion: “What benefit to Macedon?” Alexander: “It’s far richer than before!” Hephaistion: "I worry for you without me." Alexander: "I am nothing without you!"

title: Alexander (film)


text:
Gone with the Wind (novel)

Gone with the Wind is a 1936 novel by Margaret Mitchell, about the spoiled daughter of a Georgia plantation owner, who must use every means at her disposal to come out of the poverty she finds herself in during and after the Civil War. It was adapted into an enormously popular 1939 film.

Quotes

 * “The trouble with most of us Southerners,” continued Rhett Butler, “is that we either don’t travel enough or we don’t profit enough by our travels.... I have seen many things that you all have not seen. The thousands of immigrants who'd be glad to fight for the Yankees for food and a few dollars, the factories, the foundries, the shipyards, the iron and coal mines — all the things we haven't got. Why, all we have is cotton and slaves and arrogance. They'd lick us in a month."
 * Chapter 6

 * Before the war there had been few cotton factories, woolen mills, arsenals and machine shops south of Maryland, a fact of which all Southerners were proud. The South produced statesmen and soldiers, planters and doctors, lawyers and poets, but certainly not engineers or mechanics. Let the Yankees adopt such low callings.
 * Chapter 8

 * "In the end what will happen will be what has happened whenever a civilization breaks up. The people who have brains and courage come through and the ones who haven't are winnowed out. At least, it has been interesting, if not comfortable, to witness a Gotterdammerung."
 * "A what?"
 * "A dusk of the gods. Unfortunately, we Southerners did think we were gods."
 * Chapter 31

 * "It isn't that I mind splitting logs here in the mud, but I do mind what it stands for. I do mind, very much, the loss of the beauty of the old life I loved. Scarlett, before the war, life was beautiful. There was a glamor to it, a perfection and a completeness and a symmetry to it like Grecian art. Maybe it wasn't so to everyone. I know that now. But to me, living at Twelve Oaks, there was a real beauty to living. I belonged in that life. I was a part of it. And now it is gone and I am out of place in this new life, and I am afraid. Now, I know that in the old days it was a shadow show I watched. I avoided everything which was not shadowy, people and situations which were too real, too vital. I resented their intrusion. I tried to avoid you too, Scarlett. You were too full of living and too real and I was cowardly enough to prefer shadows and dreams."
 * Chapter 31

 * I cannot understand why I did not desert. It was all the purest insanity. But it’s in one’s blood. Southerners can never resist a losing cause.
 * Chapter 34

 * There ain’t nothin’ that walks can lick us, any more than it could lick him, not Yankees nor Carpetbaggers nor hard times nor high taxes nor even downright starvation. But that weakness that’s in our hearts can lick us in the time it takes to bat your eye.
 * Chapter 38
 * Hardships make or break people.
 * Chapter 40

 * These women, so swift to kindness, so tender to the sorrowing, so untiring in times of stress, could be as implacable as furies to any renegade who broke one small law of their unwritten code. This code was simple. Reverence for the Confederacy, honor to the veterans, loyalty to old forms, pride in poverty, open hands to friends and undying hatred to Yankees.
 * Chapter 47

 * Drink and dissipation had done their work on the coin-clean profile and now it was no longer the head of a young pagan prince on new-minted gold but a decadent, tired Caesar on copper debased by long usage.
 * Chapter 63

 * She was seeing through Rhett's eyes the passing, not of a woman but of a legend — the gentle, self-effacing but steel-spined women on whom the South had builded its house in war and to whose proud and loving arms it had returned in defeat.
 * Chapter 63

Quotes about

 * "In this day and age it is impossible to conquer the state through a bloody uprising. But we can do something else, something which we are doing, which is to simply change things by our presence". He jabs at the air with his fingers: "We're saying: I'm here; I was never part of Gone With the Wind, I was never an intended slave, I was never a happy darkie, I have a right to live on my terms, now get out of my way!"
 * 1985 interview in Conversations with James Baldwin edited by Louis H. Pratt and Fred L. Standley (1989)

 * During the summer of 1939 Gone with the Wind, Margaret Mitchell's novel of the old American South, enjoyed a surge of popularity in Poland. 'Somehow, I considered it prophetic,' wrote one of its Polish readers, Rula Langer. Few of her compatriots doubted that a conflict with Germany was imminent, because Hitler had made plain his commitment to conquest. Poland's fiercely nationalistic people responded to the Nazi threat with the same spirit as the doomed young men of the Confederacy in 1861. 'Like most of us, I believed in happy endings,' a young fighter pilot recalled, 'We wanted to fight, it excited us, and we wanted it to happen fast. We didn't believe that something bad could really happen.' When artillery lieutenant Jan Karski received his mobilisation order on 25 August, his sister waned against burdening himself with too many clothes. 'You aren't going to Siberia,' she said, 'We'll have you on our hands again within a month.'
 * Max Hastings, All Hell Let Loose: The World at War 1939-45, ISBN 9780007338092

 * there was a time when a new novel came out — let's take Saul Bellow — and it was a public event. And really, it wasn't just an elitist hobby. I remember — this goes way, way back into my early childhood — when Gone with the Wind was published, the world was whirling around this novel. I remember walking to school and seeing shopkeepers sitting outside their shops reading Gone with the Wind. This was an event. It changed people's minds. Maybe I have a yearning for that, though I don't see it would ever happen again. On the other hand, didn't we see that with Downton Abbey? So maybe it isn't all lost.
 * Cynthia Ozick Interview with NPR (2016)

 * The book that made me want to be a writer in the first place was Gone with the Wind—I read it and wanted to create a whole world out of words, too.
 * Jodi Picoult interview quoted here

title: Gone with the Wind (novel)


text:
Morihei Ueshiba

Morihei Ueshiba (14 December 1883 – 26 April 1969) was a philosopher, martial artist, author, and the creator of the discipline of Aikido.

Quotes

 * Atemi accounts for 99% of Aikido.
 * As quoted in Traditional Aikido (1974) by Morihiro Saito, p. 38

 * I felt the universe suddenly quake, and that a golden spirit sprang up from the ground, veiled my body, and changed my body into a golden one. At the same time my body became light. I was able to understand the whispering of the birds, and was clearly aware of the mind of God, the creator of the universe. At that moment I was enlightened: the source of Budo is God's love — the spirit of loving protection for all beings … Budo is not the felling of an opponent by force; nor is it a tool to lead the world to destruction with arms. True Budo is to accept the spirit of the universe, keep the peace of the world, correctly produce, protect and cultivate all beings in nature.
 * An account of an experience of transcendent awareness, soon after a contest where, unarmed, he defeated a naval officer armed with a bokken (wooden sword) without harming him; as quoted in Aikido (1985) by Kisshomaru Ueshiba

 * I am the Universe.
 * As quoted in Abundant Peace: The Biography of Morihei Ueshiba (1987) by John Stevens

 * Shihonage is the foundation of Aikido. All you ever need to master is shihonage.
 * Shihonage (or Shiho-nage the "Four Corner Throw") is a technique of maintaining control over an opponent in Aikido, as quoted in Aikido Shugyo (1991) by Gōzō Shioda, p. 61

 * Kicking leaves you momentarily on one foot, and for that moment you are in a very weak position. If you were to be swept off your feet, you would be finished. This is why lifting your feet off the ground is crazy.
 * As quoted in Aikido Shugyo (1991) by Gōzō Shioda, p. 79

 * Aiki is not a technique to fight with or defeat an enemy. It is the way to reconcile the world and make human beings one family.
 * As quoted in It's A Lot Like Dancing… : An Aikido Journey (1993 by Terry Dobson Riki Moss, and Jan E. Watson - ISBN 9781883319021

 * In a real battle, atemi is seventy percent, technique is thirty percent.
 * As quoted in Total Aikido (1997) by Gōzō Shioda, p. 24

 * Aikido is Love.
 * As quoted in Enlightenment Through Aikido (2004) by Kanshu Sunadomari, p. 135

 * The Art of Peace begins with you. Work on yourself and your appointed task in the Art of Peace. Everyone has a spirit that can be refined, a body that can be trained in some manner, a suitable path to follow. You are here to realize your inner divinity and manifest your innate enlightenment. Foster peace in your own life and then apply the Art to all than you encounter.
 * As quoted in Inspire! What Great Leaders Do (2004) by Lance Secretan, p. 45

 * Each and every master, regardless of the era or the place, heard the call and attained harmony with heaven and earth. There are many paths leading to the top of Mount Fuji, but there is only one summit — love.
 * Morihei Ueshiba, as quoted in You Can Save the Earth: 7 Reasons Why and 7 Simple Ways, a Philosophy for the Future (2008) by Hatherleigh, Sean K. Smith, and Andrew Flach, p. 92

 * The Way of the Warrior has been misunderstood. It is not a means to kill and destroy others. Those who seek to compete and better one another are making a terrible mistake. To smash, injure, or destroy is the worst thing a human being can do. The real Way of a Warrior is to prevent such slaughter — it is the Art of Peace, the power of love.
 * Speaking of a vision of the "Great Spirit of Peace" in 1942, during World War II, as quoted in Adjusting Though Reflex : Romancing Zen (2010) by Rodger Hyodo, p. 76

Budo Training in Aikido (1933)

 * As your Bujutsu [Martial Technique] training approaches perfection you will be able to detect the suki [opening/weakness] [in your enemy's technique], even before he can, and as if to satisfy some deficiency in him, you can fill the suki with your technique. (p. 26)

 * True Budo is practiced not only to destroy an enemy, it must also make him, or his own will, gladly lose his spirit (seishin) to oppose you. (p. 26)

 * True Budo is done for the sake of "building peace". Train every day so as to make peace between this spirit [Budo] and all things manifested on the face of the Earth. (p. 26)

Budo (1938)

 * When facing the realm of life and death in the form of an enemy's sword, one must be firmly settled in mind and body, and not at all intimidated; without providing your opponent the slightest opening, control his mind in a flash and move where you will — straight, diagonally, or in any other appropriate direction.
 * p. 31

 * Regarding technique, from ancient times it has been said that movements must fly like lightning and attacks must strike like thunder.
 * p. 33

 * Always imagine yourself on the battlefield under the fiercest attack; never forget this crucial element of training.
 * p. 36

The Art of Peace (1992)

 * A compilation of sayings by Ueshiba, as translated by John Stevens ISBN 0877738513 - ISBN 1-57062-964-1

 * One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

 * Those who are possessed by nothing possess everything.

 * As soon as you concern yourself with the "good" and "bad" of your fellows, you create an opening in your heart for maliciousness to enter. Testing, competing with, and criticizing others weakens and defeats you.

 * Be grateful even for hardship, setbacks, and bad people. Dealing with such obstacles is an essential part of training in the Art of Peace.

 * Even the most powerful human being has a limited sphere of strength. Draw him outside of that sphere and into your own, and his strength will dissipate.

 * Foster peace in your own life and then apply the Art to all that you encounter.

 * If your opponent strikes with fire, counter with water, becoming completely fluid and free-flowing. Water, by its nature, never collides with or breaks against anything. On the contrary, it swallows up any attack harmlessly.

 * In our techniques we enter completely into, blend totally with, and control firmly an attack. Strength resides where one's ki is concentrated and stable; confusion and maliciousness arise when ki stagnates.

 * In the Art of Peace we never attack. An attack is proof that one is out of control. Never run away from any kind of challenge, but do not try to suppress or control an opponent unnaturally. Let attackers come any way they like and then blend with them. Never chase after opponents. Redirect each attack and get firmly behind it.

 * Your spirit is the true shield.

 * Instructors can impart only a fraction of the teaching. It is through your own devoted practice that the mysteries of the Art of Peace are brought to life.

 * Move like a beam of light; Fly like lightning, Strike like thunder, Whirl in circles around A stable center.

 * One should be prepared to receive ninety-nine percent of an enemy's attack and stare death right in the face in order to illumine the Path.

 * Techniques employ four qualities that reflect the nature of our world. Depending on the circumstance, you should be: hard as a diamond, flexible as a willow, smooth-flowing like water, or as empty as space.

 * The Art of Peace is not easy. It is a fight to the finish, the slaying of evil desires and all falsehood within. On occasion the Voice of Peace resounds like thunder, jolting human beings out of their stupor.

 * The Art of Peace is the principle of nonresistance. Because it is nonresistant, it is victorious from the beginning. Those with evil intentions or contentious thoughts are instantly vanquished. The Art of Peace is invincible because it contends with nothing.

 * A good stance and posture reflect a proper state of mind.

 * The real Art of Peace is not to sacrifice a single one of your warriors to defeat an enemy. Vanquish your foes by always keeping yourself in a safe and unassailable position; then no one will suffer any losses. The Way of a Warrior, the Art of Politics, is to stop trouble before it starts. It consists in defeating your adversaries spiritually by making them realize the folly of their actions. The Way of a Warrior is to establish harmony.

 * There are no contests in the Art of Peace. A true warrior is invincible because he or she contests with nothing. Defeat means to defeat the mind of contention that we harbor within.

 * To injure an opponent is to injure yourself. To control aggression without inflicting injury is the Art of Peace.

 * When an opponent comes forward, move in and greet him; if he wants to pull back, send him on his way.

 * When life is victorious, there is birth; when it is thwarted, there is death. A warrior is always engaged in a life-and-death struggle for Peace.

 * When you bow deeply to the universe, it bows back; when you call out the name of God, it echoes inside you.

 * May the Kami of Earth and Heaven watch our acts of purification.

 * In order to establish heaven on earth, we need a Budo that is pure in spirit, that is devoid of hatred and greed. It must follow natural principles and harmonize the material with the spiritual. Aikido means not to kill. Although nearly all creeds have a commandment against taking life, most of them justify killing for reason or another. In Aikido, however, we try to completely avoid killing, even the most evil person.

title: Morihei Ueshiba


text:
Luigi Russolo

Luigi Carlo Filippo Russolo (April 30, 1885 – February 4, 1947) was an Italian Futurist painter and composer, and the author of the manifestoes The Art of Noises (1913) and Musica Futurista.

 * See also: Manifesto of Futurist Painters (1910)

Quotes

 * Above all, we [the Italian Futurist painters] continue and develop the divisionist principle, but we are not engaged in Divisionism [developed by Seurat and Signac ]. We apply an instinctive complementarism which is not, for us, an acquired technique, but rather a way of seeing things.
 * Quote of Russolo in: Le Futurisme: Création et avant-garde, Giovanni Lista, 2001; as cited in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 47.

 * Sound is defined as the result of a succession of regular and periodic vibrations. Noise is instead caused by motions that are irregular, as much in time as in intensity. 'A musical sensation,' says Helmholtz 'appears to the ear as a perfectly stable, uniform, and invariable sound.' But the quality of continuity that sound has with respect to noise, which seems instead fragmentary and irregular, is not an element sufficient to make a sharp distinction between sound and noise. We know that the production of sound requires not only that a body vibrate regularly but also that these vibrations persist in the auditory nerve until the following vibration has arrived, so that the periodic vibrations blend to form a continuous musical sound. At least sixteen vibrations per second are needed for this. Now, if I succeed in producing a noise with this speed. I will get a sound made up of the totality of so many noises--or better, noise whose successive repetitions will be sufficiently rapid to give a sensation of continuity like that of sound.
 * Russolo. English trans. Barclay Brown (1986: 37).

The Art of Noise, 1913

 * The Art of Noise, 1913, Luigi Russolo - translated from 'L'arte dei Rumori', futurist manifesto, 1913; in Great Bear Pamphlet, transl. Robert Filliou, series ed. Michael Tencer, Something Else Press, 1967

 * My dear Balilla Pratella
 * great futurist musician
 * On March 9, 1913, during our bloody victory over four thousand passé-ists in the Costanzi Theater of Rome, we [Russolo, with Marinetti, Boccioni, Carrà, Balla, Soffici, Papini, and Cavacchioli] were fist-and-cane-fighting in defense of your Futurist Music, performed by a powerful orchestra, when suddenly my intuitive mind conceived a new art that only your genius can create: the Art of Noises, logical consequence of your marvelous innovations.
 * p. 4

 * In antiquity, life was nothing but silence. Noise was really not born before the 19th century, with the advent of machinery. Today noise reigns supreme over human sensibility.
 * p. 4

 * This revolution of music is paralleled by the increasing proliferation of machinery sharing in human labor. In the pounding atmosphere of great cities as well as in the formerly silent countryside, machines create today such a large number of varied noises that pure sound, with its littleness and its monotony, now fails to arouse any emotion.
 * p. 5

 * This evolution toward noise-sound is only possible today. The ear of an eighteenth century man never could have withstood the discordant intensity of some of the chords produced by our orchestras (whose performers are three times as numerous); on the other hand our ears rejoice in it, for they are attuned to modern life, rich in all sorts of noises. But our ears far from being satisfied, keep asking for bigger acoustic sensations. However, musical sound is too restricted in the variety and the quality of its tones. Music marks time in this small circle and vainly tries to create a new variety of tones.. .We must break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise-sounds.
 * p. 6

 * Each sound carries with it a nucleus of foreknown and foregone sensations predisposing the auditor to boredom, in spite of all the efforts of innovating composers. All of us have liked and enjoyed the harmonies of the great masters. For years, Beethoven and Wagner have deliciously shaken our hearts. Now we are fed up with them. This is why we get infinitely more pleasure imagining combinations of the sounds of trolleys, autos and other vehicles, and loud crowds, than listening once more, for instance, to the heroic or pastoral symphonies.
 * p. 6

 * My ears open nasals! beware! such joy is yours o my people to sense see ear scent drink everything everything everything taratatatatata the machineguns shouting twisting under a thousand bites slaps traaktraak cudgellings whippings pic pac POUMTOUMB juggling clowns’ jump in full sky height 200 meters it's the gunshooting Downwards guffaws of swamps laughter buffalos chariots stings prancing of horses ammunition-wagons flue flac zang chaak chaak rearings pirouettes patatraak bespatterings manesneighings i i i i i i i medley tinklings three bulgarian batallions on the move crook- craak (double bar slowly) Choumi Maritza o Karvavena officers' shouts copper plates knocking against each other pam ici (vite) pac over there BOUM-pam-pam-pam here there there farther all around very high look-out goddamnit on the head chaak marvelous! flames flames flames flames flames flames flames crawl from forts over there Choukri Pacha telephone orders to 27 forts in turkish German hello Ibrahim! Rudolf hello! hello! actors roles blowing-echoes odor-hay-mud-manure I can't feel my frozen feet stale odor rotting gongs flutes clarinets pipes everywhere up down birds twitter beatitude shade greenness cipcip ip-zzip herds pastures dong-dong-dong-ding-bééé Orchestra
 * p. 8

 * Noise accompanies every manifestation of our life. Noise is familiar to us. Noise has the power to bring us back to life. On the other hand, sound, foreign to life, always a musical, outside thing, an occasional element, has come to strike our ears no more than an overly familiar face does our eye. Noise, gushing confusely and irregularly out of life, is never totally revealed to us and it keeps in store innumerable surprises for our benefit. We feel certain that in selecting and coordinating all noises we will enrich men with a voluptuousness they did not suspect.
 * p. 9

 * Conclusions:
 * 1. We must enlarge and enrich more and more the domain of musical sounds. Our sensibility requires it. In fact it can be noticed that all contemporary composers of genius tend to stress the most complex dissonances. Moving away from pure sound, they nearly reach noise-sound. This need and this tendency can be totally realized only through the joining and substituting of noises to and for musical sounds.
 * p. 11
 * 2. We must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises obtained through special mechanisms.
 * p. 11
 * 3. The musician's sensibility, once he is rid of facile, traditional rhythms, will find in the domain of noises the means of development and renewal, an easy task, since each noise offers us the union of the most diverse rhythms as well as its dominant one.
 * p. 11
 * 4. Each noise possesses among its irregular vibrations a predominant basic pitch. This will make it easy to obtain, while building instruments meant to produce this sound, a very wide variety of pitches, half-pitches and quarter-pitches. This variety of pitches will not deprive each noise of its characteristic timbre but, rather, increase its range.
 * p. 11
 * 5. The technical difficulties presented by the construction of these instruments are not grave. As soon as we will have found the mechanical principle which produces a certain noise, we will be able to graduate its pitch according to the laws of acoustics. For instance, if the instrument employs a rotating movement, we will speed it up or slow it down. When not dealing with a rotating instrument we will increase or decrease the size or the tension of the sound-making parts.
 * p. 11
 * 6. This new orchestra will produce the most complex and newest sonic emotions, not through a succession of imitative noises reproducing life, but rather through a fantastic association of these varied sounds. For this reason, every instrument must make possible the changing of pitches through a built-in, larger or smaller resonator or other extension.
 * p. 11
 * 7. The variety of noises is infinite. We certainly possess nowadays over a thousand different machines, among whose thousand different noises we can distinguish. With the endless multiplication of machinery, one day we will be able to distinguish among ten, twenty or thirty thousand different noises. We will not have to imitate these noises but rather to combine them according to our artistic fantasy.
 * p. 12
 * 8. We invite all the truly gifted and bold young musicians to analyze all noises so as to understand their different composing rhythms, their main and their secondary pitches. Comparing these noise sounds to other sounds they will realize how the latter are more varied than the former. Thus the comprehension, the taste, and the passion for noises will be developed. Our expanded sensibility will gain futurist ears as it already has futurist eyes. In a few years, the engines of our industrial cities will be skillfully tuned so that every factory is turned into an intoxicating orchestra of noises.
 * p. 12

 * My dear Pratella, I submit to your futurist genius these new ideas, and I invite you to discuss them with me. I am not a musician, so that I have no acoustic preferences, nor works to defend. I am a futurist painter who projects on a profoundly loved art his will to renew everything. This is why, bolder than the bolder professional musician, totally unpreoccupied with my apparent incompetence, knowing that audacity gives all prerogatives and all possibilities, I have conceived the renovation of music through the Art of Noise.
 * Luigi Russolo
 * Painter
 * Milano, March 11, 1913.
 * p. 12

Quotes about Luigi Russolo

 * Boccioni, Russolo and I all met in the Porta Vittoria café [in Milan, Italy], close to where we all lived, and we enthusiastically outlined a draft of our appeal [the 'Manifesto of Futurist Painters', late February, 1910]. The final version was somewhat laborious; we worked on it all day, all three of us and finished it that evening with Marinetti and the help of Decio Cinti, the group's secretary.
 * Carlo Carrà in: Éclat de choses ordinaries Carrà, (1913), as quoted in Futurism, Didier Ottinger (ed.), 2008, p. 27
 * the painters Bonzagni and Romani signed this famous Manifesto version too, but withdraw soon; they were replaced by Giacomo Balla and Gino Severini

 * Musicas-machinery-noise and urban-sound-as-music received their first notable currency among the Italian Futurists in the immediate prewar years. Balilla Pratella and his 'ideologist' Luigi Russolo yearned for a music that not only celebrated the city in some programmatic way but that reproduced it.
 * Richard Stites (1988), in Revolutionary Dreams: Utopian Vision and Experimental Life in the Russian Revolution. p. 178

 * Luigi Russolo (1885–1947) — painter, composer, builder of musical instruments, and first-hour member of the Italian Futurist movement — was a crucial figure in the evolution of twentieth-century aesthetics. As creator of the first systematic poetics of noise and inventor of what has been considered the first mechanical sound synthesizer, Russolo looms large in the development of twentieth-century music.
 * Luciano Chessa, in Luigi Russolo, Futurist: Noise, Visual Arts, and the Occult, Univ. of California Press, 2012

title: Luigi Russolo


text:
User:Sunny day

Quotations on life, the universe and everything

Template

Template People

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title: User:Sunny day


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User talk:Sunny day

Themes
List of themes was a manually maintained list page, and these have become of decreasing importance here, with category options available for each page. Category:Themes is now probably a more useful place to look for theme page, but that said, development of "theme" pages has not yet been very strong here. ~ Kalki 00:47, 16 March 2006 (UTC)

Joe Pesci
I have added a "" template to the article Joe Pesci, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but I don't believe it satisfies Wikiquote's criteria for inclusion, and I've explained why in the deletion notice (see also "What Wikiquote is not" and Wikiquote's deletion policy). You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Votes for deletion, where it may be deleted if consensus to delete is reached.

Aphaia 05:46, 26 February 2008 (UTC)

title: User talk:Sunny day


text:
User talk:Irsjad~enwikiquote

Dear friends, brothers & sisters,

If u have any comments on my postings or me, post em here..... keep it a bit friendly wud u! If some screw up or post anything u dont like..... u dont need to start shouting or using bad language! So if u start that... I wud be incredibly disappointed in ure social abilities! Of course I can say I wud strike back at personal assault, by copying and pasting all bad words in ure talk...... but I wont!

peace/salaam/shalom

Ameer--Irsjad 11:28, 2 Oct 2004 (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 Irsjad. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Irsjad~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 23:26, 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) 05:49, 19 April 2015 (UTC)

title: User talk:Irsjad~enwikiquote


text:
Wikiquote:Protection policy

Note: Currently this policy draft have no mention to semi protection feature, due to historical reasons. It is therefore needed to be revised before asking the community to adopt this policy.

 Although we must change the ways we protect our

wiki, we must also guard against policies that

appear attractive but offer little real protection

and may even impede our ability to protect ourselves. — After Richard Burr (original has 'country' in place of 'wiki')

Administrators have the ability to "protect" pages or images such that they cannot be modified except by other admins. Pages can also be "pinned down" so they cannot be moved by non-administrators. These capabilities are only to be used in limited circumstances.

Type of protection
There are several types of protection.

 * Full protection Only sysops can edit and move the page.
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 * Cascade protection Not only the page but also all its inclusions are fully protected.

Duration of each protection is either indefinite ("permanent") or temporal (expiry is defined). For placing a temporal protection, sysops are highly recommended to set an expiry. General wiki protection descriptions can be found at w:Wikipedia:Protection policy, although Wikiquote guidelines may supercede them.

Policy

 * A sysop may protect the following types of pages:
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 * In general, a sysop should not edit temporarily protected pages, except to revert obviously vandalized pages to appropriate versions.
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Procedure

 * This section is a draft!

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title: Wikiquote:Protection policy


text:
Dr. Strangelove

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, commonly known as Dr. Strangelove, is a 1964 satirical film about the Cold War in which an insane renegade general attempts to start a nuclear war and others attempt to avert it.
 * Directed by Stanley Kubrick. Written by Stanley Kubrick, Terry Southern, and Peter George, based on the book Red Alert by Peter George.

The hot-line suspense comedy

President Merkin Muffley

 * Gentlemen, you can't fight in here! This is the War Room!
 * Note: ranked #64 in the American Film Institute's list of the top 100 movie quotations in American cinema.

 * [on the phone with the Russian Premier] Hello? Uh, hello? Hello, Dmitri? Listen, I can't hear too well, do you suppose you could turn the music down just a little? A-ha, that's much better. Yeah, yes. Fine, I can hear you now, Dmitri. Clear and plain and coming through fine. I'm coming through fine too, eh? Good, then. Well then, as you say, we're both coming through fine. Good. Well, it's good that you're fine, and - and I'm fine. I agree with you. It's great to be fine. [Laughs] Now then, Dmitri, you know how we've always talked about the possibility of something going wrong with the bomb. The BOMB, Dmitri. The hydrogen bomb. Well now, what happened is, uh, one of our base commanders, he had a sort of - Well, he went a little funny in the head. You know. Just a little funny. And uh, he went and did a silly thing. Well, I'll tell you what he did. He ordered his planes...to attack your country. Well, let me finish, Dmitri. Let me finish, Dmitri. Well, listen, how do you think I feel about it? Can you imagine how I feel about it, Dmitri? Why do you think I'm calling you? Just to say hello? Of course I like to speak to you! Of course I like to say hello! Not now, but any time, Dmitri. I'm just calling up to tell you something terrible has happened. It's a friendly call. Of course, it's a friendly call. Listen, if it wasn't friendly, you probably wouldn't have even got it. They will not reach their targets for at least another hour. I am, I am positive, Dmitri. Listen, I've been all over this with your Ambassador. It is not a trick. Well, I'll tell you. We'd like to give your Air Staff a complete rundown on the targets, the flight plans, and the defensive systems of the planes. Yes, I mean, if-if we're unable to recall the planes, then, I'd say that, uh, well, uh, we're just gonna have to help you destroy them, Dmitri. I know they're our boys. All right, well listen, now, who should we call? Who should we call, Dmitri? The what, the People, you, sorry, you faded away there. The People's Central Air Defense Headquarters. Where is that, Dmitri? In Omsk. Right. Yes. Oh, you'll call them first, will you? Uh, huh. Listen, do you happen to have the phone number on you, Dmitri? What? I see. Just ask for Omsk information. I'm sorry too, Dmitri. I'm very sorry. All right, you're sorrier than I am. But I am sorry as well. I am as sorry as you are, Dmitri. Don't say that you're the more sorry than I am because I am capable of being just as sorry as you are. So we're both sorry, all right? All right.

Dr. Strangelove

 * Sir! I have a plan. [stands from his wheelchair] Mein Führer, I can walk!

Major T. J. "King" Kong

 * Well, boys, I reckon this is it — nuclear combat toe to toe with the Rooskies. Now look, boys, I ain't much of a hand at makin' speeches, but I got a pretty fair idea that something doggone important is goin' on back there. And I got a fair idea the kinda personal emotions that some of you fellas may be thinkin'. Heck, I reckon you wouldn't even be human bein's if you didn't have some pretty strong personal feelin's about nuclear combat. I want you to remember one thing, the folks back home is a-countin' on you and by golly, we ain't about to let 'em down. I tell you something else, if this thing turns out to be half as important as I figure it just might be, I'd say that you're all in line for some important promotions and personal citations when this thing's over with. That goes for ever' last one of you regardless of your race, color or your creed. Now let's get this thing on the hump — we got some flyin' to do.

 * Survival kit contents check. In them you'll find: one forty-five caliber automatic; two boxes of ammunition; four days' concentrated emergency rations; one drug issue containing antibiotics, morphine, vitamin pills, pep pills, sleeping pills, tranquilizer pills; one miniature combination Russian phrase book and Bible; one hundred dollars in rubles; one hundred dollars in gold; nine packs of chewing gum; one issue of prophylactics; three lipsticks; three pair of nylon stockings. Shoot, a fella' could have a pretty good weekend in Vegas with all that stuff.

 * Well, boys, we got three engines out, we got more holes in us than a horse trader's mule, the radio is gone and we're leaking fuel and if we was flying any lower why we'd need sleigh bells on this thing... but we got one little budge on them Rooskies. At this height why they might harpoon us but they dang sure ain't gonna spot us on no radar screen!

Dialogue

 * Gp Capt. Mandrake: General Ripper, sir, as an officer in Her Majesty's Air Force, it is my clear duty, under the present circumstances, to issue the recall code, upon my own authority, and bring back the wing. If you'll excuse me sir. [Mandrake tries all exits and finds them locked] I'm afraid sir, I must ask you for the key and the recall code. Have you got them handy sir?
 * Gen. Ripper: I told you to take it easy, Group Captain. There's nothing anybody can do about this thing now. I'm the only person who knows the three letter code group.
 * Gp Capt. Mandrake: Then I must insist, sir, that you give them to me.
 * [Ripper lifts a folder off of his desk, revealing a pistol]
 * GP Capt. Mandrake: Do I take it, sir, that you are threatening a brother officer with a gun?
 * Gen. Ripper: Mandrake, I suppose it never occurred to you that while we're chatting here so enjoyably, a decision is being made by the President and the Joint Chiefs in the war room at the Pentagon. And when they realize there is no possibility of recalling the wing, there will be only one course of action open: total commitment. Mandrake, do you recall what Clemenceau once said about war?
 * Gp Capt. Mandrake: No. I don't think I do sir, no.
 * Gen. Ripper: He said war was too important to be left to the Generals. When he said that, fifty years ago, he might have been right. But today, war is too important to be left to politicians. They have neither the time, the training, nor the inclination for strategic thought. I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids.

 * President Muffley: Right. Now, General Turgidson, what's going on here?
 * Gen. Turgidson: Mr. President, about, uh, 35 minutes ago, General Jack Ripper, the commanding general of, uh, Burpelson Air Force Base, issued an order to the 34 B-52's of his Wing, which were airborne at the time as part of a special exercise we were holding called Operation Drop-Kick. Now, it appears that the order called for the planes to, uh, attack their targets inside Russia. The, uh, planes are fully armed with nuclear weapons with an average load of, um, 40 megatons each. Now, the central display of Russia will indicate the position of the planes. The triangles are their primary targets; the squares are their secondary targets. The aircraft will begin penetrating Russian radar cover within, uh, 25 minutes.
 * President Muffley: General Turgidson, I find this very difficult to understand. I was under the impression that I was the only one in authority to order the use of nuclear weapons.
 * Gen. Turgidson: That's right, sir, you are the only person authorized to do so. And although I, uh, hate to judge before all the facts are in, it's beginning to look like, uh, General Ripper exceeded his authority.

 * Gen. Turgidson: General Ripper called Strategic Air Command Headquarters shortly after he issued the go code. I have a phone transcript of that conversation if you'd like me to read it.
 * President Muffley: Read it.
 * Gen. Turgidson: Ahem... The Duty Officer asked General Ripper to confirm the fact that he had issued the go code, and he said, uh, "Yes gentlemen, they are on their way in, and nobody can bring them back. For the sake of our country, and our way of life, I suggest you get the rest of SAC in after them. Otherwise, we will be totally destroyed by Red retaliation." Uh... "My boys will give you the best kind of start, 1400 megatons worth, and you sure as hell won't stop them now." Uhuh. Uh... "So let's get going, there's no other choice. God willing, we will prevail, in peace and freedom from fear, and in true health, through the purity and essence of our natural... fluids. God bless you all." And he hung up.
 * [Pause as he realizes the implications of General Ripper's words]
 * Gen. Turgidson: Uh, we're... still trying to figure out the meaning of that last phrase, sir.
 * President Muffley: There's nothing to figure out, General Turgidson. This man is obviously a psychotic.
 * Gen. Turgidson: We-he-ell, uh, I'd like to hold off judgment on a thing like that, sir, until all the facts are in.
 * President Muffley: General Turgidson! When you instituted the human reliability tests, you assured me there was no possibility of such a thing ever occurring!
 * Gen. Turgidson: Well, I, uh, don't think it's quite fair to condemn a whole program because of a single slip-up, sir.

 * Gen. Turgidson: Mr. President, we are rapidly approaching a moment of truth, both for ourselves as human beings and for the life of our nation. Now, truth is not always a pleasant thing. But it is necessary now to make a choice, to choose between two admittedly regrettable, but nevertheless distinguishable, post-war environments: one where you got 20 million people killed, and the other where you got 150 million people killed!
 * President Muffley: You're talking about mass murder, General, not war.
 * Gen. Turgidson: Mr. President, I'm not saying we wouldn't get our hair mussed, but I do say no more than 10 to 20 million killed, tops! Uh, depending on the breaks.
 * President Muffley: I will not go down in history as the greatest mass murderer since Adolf Hitler.
 * Gen. Turgidson: Perhaps it might be better, Mr. President, if you were more concerned with the American people, than with your image in the history books.

 * Gen. Turgidson: Is that the Russian ambassador you're talking about?
 * President Muffley: Yes it is, General.
 * Gen. Turgidson: A-A-Am I to understand the *Russian* ambassador is to be admitted entrance to th-the War Room?
 * President Muffley: That is correct, he is here on my orders.
 * Gen. Turgidson: I... I don't know exactly how to put this, sir, but are you aware of what a serious breach of security that would be? I mean, he'll see everything, he'll... he'll see the Big Board!

 * Gen. Ripper: Have you ever seen a Commie drink a glass of water?
 * Gp Capt. Mandrake: Well, I can't say I have, Jack.
 * Gen. Ripper: Vodka, that's what they drink, isn't it? Never water?
 * Gp Capt. Mandrake: Well, I-I believe that's what they drink, Jack, yes.
 * Gen. Ripper: On no account will a Commie ever drink water, and not without good reason.
 * Gp Capt. Mandrake: Oh, eh, yes. I, uhm, can't quite see what you're getting at, Jack.
 * Gen. Ripper: Water, that's what I'm getting at, water. Mandrake, water is the source of all life. Seven tenths of this earth's surface is water. Why do you realize that 70% of you is water? And as human beings, you and I need fresh, pure water - to replenish our precious bodily fluids. Are you beginning to understand?
 * Gp Capt. Mandrake: [nervously] Yes.
 * Gen. Ripper: Mandrake. Mandrake, have you never wondered why I drink only distilled water or rainwater? And only pure grain alcohol?
 * Gp Capt. Mandrake: Well, it did occur to me, Jack, yes.
 * Gen. Ripper: Have you ever heard of a thing called fluoridation - fluoridation of water?
 * Gp Capt. Mandrake: Jack, yes, I have heard of that, Jack. Yes.
 * Gen. Ripper: Well, do you know what it is?
 * Gp Capt. Mandrake: No, I don't know what it is.
 * Gen. Ripper: Do you realise that fluoridation - is the most monstrously-conceived and dangerous Communist plot we have ever had to face?

 * Russian Ambassador: When it is detonated, it will produce enough lethal radioactive fallout so that within ten months, the surface of the Earth will be as dead as the moon!
 * Gen. Turgidson: Ah, come on DeSadeski, that's ridiculous. Our studies show that even the worst fallout is down to a safe level after two weeks.
 * Russian Ambassador: You've obviously never heard of cobalt thorium G!
 * Gen. Turgidson: [pauses] Well, what about it?
 * Russian Ambassador: Cobalt thorium G has a radioactive half-life of ninety three years. If you take, say, fifty H-bombs in the hundred megaton range and jacket them with cobalt thorium G, when they are exploded they will produce a doomsday shroud. A lethal cloud of radioactivity which will encircle the earth for ninety three years!
 * Gen. Turgidson: Ah, what a load of commie bull. I mean, after all...!
 * President Muffley: I'm afraid I don't understand something, Alexei. Is the Premier threatening to explode this if our planes carry out their attack?
 * Russian Ambassador: No, sir! It is not a thing a sane man would do. The doomsday machine is designed to trigger itself automatically.
 * President Muffley: But surely you can disarm it somehow.
 * Russian Ambassador: No, it is designed to explode if any attempt is ever made to untrigger it.
 * Gen. Turgidson: It's an obvious Commie trick, Mr. President. We are wasting valuable time! (stumbles) Look at the big board, they're getting ready to clobber us!
 * President Muffley: But this is absolute madness, Ambassador. Why on earth would you build such a thing?
 * Russian Ambassador: There were those of us who fought against this. But in the end, we could not keep up with the expense involved in the arms race, the space race, and the peace race. And at the same time, our people grumbled for more nylons and washing machines. Our Doomsday scheme cost us just a small fraction of what we'd been spending on defense in a single year. But the deciding factor was when we learned that your country was working along similar lines, and we were afraid of a Doomsday gap.
 * President Muffley: This is preposterous! I've never approved of anything like that!
 * Russian Ambassador: Our source was the New York Times.

 * President Muffley: [about the Doomsday Machine] How is it possible for this thing to be triggered automatically and at the same time impossible to untrigger?
 * Dr. Strangelove: Mr. President, it is not only possible, it is essential. That is the whole idea of this machine, you know. Deterrence is the art of producing in the mind of the enemy... the FEAR to attack. And so, because of the automated and irrevocable decision-making process which rules out human meddling, the Doomsday machine is terrifying and simple to understand... and completely credible and convincing.

 * Dr. Strangelove: The whole point of the doomsday machine is lost if you keep it a secret! Why didn't you tell the world, eh?
 * Russian Ambassador: It was to be announced at the Party Congress on Monday. As you know, the Premier loves surprises.

 * Gen. Ripper: Mandrake, do you realize that in addition to fluoridating water, why, there are studies underway to fluoridate salt, flour, fruit juices, soup, sugar, milk... ice cream. Ice cream, Mandrake, children's ice cream.
 * Gp Capt. Mandrake: [very nervous] Lord, Jack.
 * Gen. Ripper: You know when fluoridation first began?
 * Gp Capt. Mandrake: I... no, no. I don't, Jack.
 * Gen. Ripper: Nineteen hundred and forty-six. 1946, Mandrake. How does that coincide with your post-war Commie conspiracy, huh? It's incredibly obvious, isn't it? A foreign substance is introduced into our precious bodily fluids without the knowledge of the individual. Certainly without any choice. That's the way your hard-core Commie works.
 * Gp Capt. Mandrake: Uh, Jack, Jack, listen... tell me, tell me, Jack. When did you first... become... well, develop this theory?
 * Gen. Ripper: Well, I, uh... I... I... first became aware of it, Mandrake, during the physical act of love.
 * Gp Capt. Mandrake: Hmm.
 * Gen. Ripper: Yes, a uh, a profound sense of fatigue... a feeling of emptiness followed. Luckily I... I was able to interpret these feelings correctly. Loss of essence.
 * Gp Capt. Mandrake: Hmm.
 * Gen. Ripper: I can assure you it has not recurred, Mandrake. Women uh... women sense my power and they seek the life essence. I, uh... I do not avoid women, Mandrake.
 * Gp Capt. Mandrake: No.
 * Gen. Ripper: But I... I do deny them my essence.

 * Gp Capt. Mandrake: I'm sure they died thinking of you, every man-jack of them, er, Jack. Anyway, so what if a little water did go up? Can't be too careful, I always say… but look at me: do I look all rancid and clotted? Do I, Jack? Huh? Huh? And I drink lots of water. I'm what you might call a water man, Jack; that's what I am. And I swear to you, my boy;–– swear to you;–– there's nothing wrong with my bodily fluids! Not a thing, Jackie.
 * Gen. Ripper: Mandrake, were you ever a prisoner-of-war?

 * Gp Capt. Mandrake: Colonel... that Coca-Cola machine. I want you to shoot the lock off it. There may be some change in there.
 * Col. Guano: That's private property.
 * Gp Capt. Mandrake: Colonel! Can you possibly imagine what is going to happen to you, your frame, outlook, way of life, and everything, when they learn that you have obstructed a telephone call to the President of the United States? Can you imagine? Shoot it off! Shoot! With a gun! That's what the bullets are for, you twit!
 * Col. Guano: Okay. I'm gonna get your money for ya. But if you don't get the President of the United States on that phone, you know what's gonna happen to you?
 * Gp Capt. Mandrake: What?
 * Col. Guano: You're gonna have to answer to the Coca-Cola company.

 * Dr. Strangelove: I would not rule out the chance to preserve a nucleus of human specimens. It would be quite easy...heh, heh...at the bottom of ah...some of our deeper mine shafts. Radioactivity would never penetrate a mine some thousands of feet deep, and in a matter of weeks, sufficient improvements in dwelling space could easily be provided.
 * President Muffley: How long would you have to stay down there?
 * Dr. Strangelove: Well let's see now ah...cobalt thorium G....Radioactive half-life of uh,...I would think that uh... possibly uh... one hundred years.
 * President Muffley: You mean, people could actually stay down there for a hundred years?
 * Dr. Strangelove: It would not be difficult, Mein Führer! Nuclear reactors could, heh...I'm sorry, Mr. President. Nuclear reactors could provide power almost indefinitely. Greenhouses could maintain plant life. Animals could be bred and slaughtered. A quick survey would have to be made of all the available mine sites in the country, but I would guess that dwelling space for several hundred thousands of our people could easily be provided.
 * President Muffley: Well, I, I would hate to have to decide...who stays up and...who goes down.
 * Dr. Strangelove: Well, that would not be necessary, Mr. President. It could easily be accomplished with a computer. And a computer could be set and programmed to accept factors from youth, health, sexual fertility, intelligence, and a cross-section of necessary skills. Of course, it would be absolutely vital that our top government and military men be included to foster and impart the required principles of leadership and tradition. Naturally, they would breed prodigiously, eh? There would be much time, and little to do. Ha, ha. But ah, with the proper breeding techniques and a ratio of say, ten females to each male, I would guess that they could then work their way back to the present Gross National Product within say, twenty years.
 * President Muffley: But look here doctor, wouldn't this nucleus of survivors be so grief-stricken and anguished that they'd, well, envy the dead and not want to go on living?
 * Dr. Strangelove: No, sir...excuse me...When they go down into the mine, everyone would still be alive. There would be no shocking memories, and the prevailing emotion will be one of nostalgia for those left behind, combined with a spirit of bold curiosity for the adventure ahead! [involuntarily gives the Nazi salute and forces it down with his other hand] Ahhh!
 * Gen. Turgidson: Doctor, you mentioned the ratio of ten women to each man. Now, wouldn't that necessitate the abandonment of the so-called monogamous sexual relationship, I mean, as far as men were concerned?
 * Dr. Strangelove: Regrettably, yes. But it is, you know, a sacrifice required for the future of the human race. I hasten to add that since each man will be required to do prodigious...service along these lines, the women will have to be selected for their sexual characteristics which will have to be of a highly stimulating nature.
 * Russian Ambassador: I must confess, you have an astonishingly good idea there, Doctor.

Cast

 * Peter Sellers - Group Captain Lionel Mandrake/President Merkin Muffley/Dr. Strangelove
 * George C. Scott - Gen. 'Buck' Turgidson
 * Sterling Hayden - Gen. Jack D. Ripper
 * Keenan Wynn - Col. 'Bat' Guano
 * Slim Pickens - Maj. T.J. 'King' Kong
 * Peter Bull - Russian Ambassador Alexi de Sadesky
 * James Earl Jones - Lt. Lothar Zogg
 * Tracy Reed - Miss Scott
 * Shane Rimmer - Capt. Ace Owens

title: Dr. Strangelove