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Ernst Ludwig Kirchner

Ernst Ludwig Kirchner (6 May 1880 – 15 June 1938) was a German expressionist painter and one of the founders of the artists group Die Brücke (The Bridge).

Quotes of Ernst Ludwig Kirchner

 * chronologically ordered, after date of the quotes of Kirchner

1905 - 1915

 * Believing in development, in a new generation of those who create and those who enjoy, we call together the youth of today. And as a youth which bears the future, we aim to create space to live and work, as opposition to the well-established, older powers. Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us.
 * from the group manifesto of Die Brücke, written by Kirchner in Dresden, 1906; as quoted in 'The Artists' Association 'Brücke' – Chronology', Brücke Museum. Retrieved 29 September 2016; from Wikipedia: Kirchner

 * Marcella has now become quite at home and is developing fine features. We have become quite familiar with one another.. .There exists quite a charm in such a pure female, indications that could make one crazy. More fantastic than those of the older girls. More free, without having lost the developed female. Maybe some things are more developed in her than in the more mature ones and will diminish again.
 * quote, 1910; as quoted (and translated) in Claire Louise Albiez (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 24
 * Marcella was then a favorite model for Kirchner, only 16 years old

 * ..art is made by man. His own figure is the center of all art.. .Therefore one must begin with the man himself.
 * c. 1910; as quoted in: Der Blick auf Fränzi und Marcella: Zwei Modelle der Brücke-Künstler Heckel, Kirchner und Pechstein, Norbert Nobis; Sprengel Museum Hannover und Stiftung Moritzburg, 2011, p 17

 * ..momentarily, we (Erich Heckel, Max Pechstein, and I) are once again at Moritzburg. There is nothing more delightful than nudes in open air.
 * note, 1910; in: ' 'Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen' ', Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 36
 * the location was a baroque hunting lodge at the Moritzburg Ponds a few miles from Dresden

 * Completely strange faces pop up as interesting points through the crowd. I am carried along with the current, lacking will. To move becomes an unacceptable effort [describing the crowds in Dresden].
 * quote in a letter to fellow-painter Erich Heckel, from Dresden, before 1910; as quoted in 'the information added to his painting Street, Dresden' by the MOMA museum
 * [carving a sculpture in wood] is such a sensual pleasure when blow by blow the figure grows more and more from the trunk.
 * in a letter to from Dresden, 27 June, 1911; as quoted in German Expressionist Sculpture, ed. Stephanie Barron, Los Angeles County Museum of Art, 1983, p. 114

 * The struggle for existence is very difficult here [Berlin! - in 1911 Kirchner and his Brücke-friends moved from Dresden to Berlin], but the possibilities are also greater. I hope that we can create a fruitful new school and convince many new friends of the value of our efforts.
 * quote in a letter to Louise Schiefler, from Berlin, 5 November 1911; as quoted in Ernst Ludwig Kirchner, Grosstad, Eros und Natur, aus der verborgenen Sammlungen der Region, Städtische Galerie Delmenhorst Germany, 2005, pp. 113-114
 * about the move of Die Brücke artists from Dresden to Berlin, Kirchner was optimistic in the beginning

 * Life is unfixed when one lives in Berlin, where one has to fight for a living. It is painfully base here. I see that a fine, free culture cannot be created under these circumstances and wish to leave as soon as I have overcome this big slump.
 * End of 1911; as quoted in Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann (transl. Claire Louise Albiez); Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 45
 * remark, shortly after their move to Berlin - the bustle, tempo, and anonymity of city-life soon got tough to Kirchner and the other Brücke members

 * to study the nude, the foundation of all pictorial art, in total freedom and naturalness. From.. ..this basis there emerged the feeling, shared by all, of taking creative stimulus from life itself and submitting to the decisive experience.
 * Kirchner, in 'Chronik KG Brücke', 1913; a quoted by Wolf-Dieter Dube, Der Expressionismus in Wort und Bild (Genf and Stuttgart: Skira, Klett-Cotta, 1983), p. 34; as quoted in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 68

1916 - 1919

 * After lengthy struggles I now find myself here [Dr Kohnstamm's sanatorium in Königstein, in Taunus] for a time to put my mind into some kind of order. It is a terribly difficult thing, of course, to be among strangers so much of the day. But perhaps I'll be able to see and create something new. For the time being, I would like more peace and absolute seclusion. Of course, I long more and more for my work and my studio. Theories may be all very well for keeping a spiritual balance, but they are grey and shadowy compared with work and life.
 * Letter from Königstein, Taunus to Dr. Karl Hagemann, January 1916 (friend and patron in Leverkusen and collector of his art); as quoted in the biography-pdf of the Kirchner museum, Davos
 * Kirchner suffered then a serious mental breakdown and was also afraid for being drafted once more in the German army, so back in the war

 * Every day I studied the nude, and movement in the streets and in the shops [in Berlin]. Out of the naturalistic surface with all its variations I wanted to derive the pictorially determined surface.
 * Letter to Botho Graef, 21 September 1916; as quoted in Voices of German Expressionism, ed. Victor H. Miesel, Tate publishing, London 2003 p. 18

 * The heaviest burden of all is the presence of the war and the increasing superficiality. It gives me incessantly the impression of a bloody carnival.. .I am now like the whores, I once painted [in his Berlin-time]: the merest brushstroke now, gone tomorrow. Nonetheless I am still trying to put my thoughts in order and, from all the confusion, create an image of time, which is my task, after all.
 * in a letter from the sanatorium in Köningstein, Taunus, to Gustav Schiefler, 12 November 1916; as quoted in War, art and crisis: Ernst Ludwig Kirchner, 1914 – 1918, National Gallery of Art, Washington D.C. 2003, p. 28
 * in the Summer of 1915 Kirchner volunteered the German army, but soon suffered a breakdown and was discharged

 * I painted it in Berlin [self-portrait 'The Drinker'], while screaming military convoys were passing beneath my window day and night.
 * In a letter from the sanatorium in Köningstein, Taunus, to Gustav Schiefler, 12 November 1916; as quoted in Expressionism, ; Praeger Publishers, New York, 1973, p. 46

 * It seems as though the goal of my work has always been to dissolve myself completely into the sensations of the surroundings in order to then integrate this into a coherent painterly form.
 * Letter to Karl Ernst Osthaus, 23 December 1917; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 36

 * Down there it's still Summer, I suppose, whereas our sun [in Switzerland] is already gilding the mountains and the larches are turning yellow, but the colours are wonderful, like old, dark red satin. Down here in the valley the huts stand out in the strongest Paris blue against the yellow fields. Here one really learns the values of the individual colours for the first time. And the harsh, monumental lines of the mountains.
 * Letter to Nele van de Velde ((daughter of Henry van de Velde), from Frauenkirch, 13 October 1918; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 223-224

 * There was such a wonderful setting of the moon this morning, the yellow moon against little pink clouds, and the mountains a pure deep blue [viewed from his Swiss farmhouse], quite glorious, I would so have liked to paint. But it was cold, even my window was frozen, although I had kept the fire in all night.
 * In a letter from Frauenkirch, Jan. 1919; as quoted in Expressionism, ; Praeger Publishers, New York, 1973, p. 48
 * Some time later Kirchner would made a colored wood-cut: 'Moonlit Winter Night'

 * Bloated, one [=Kirchner himself] staggers off to work, where all work is in vain and the onslaught of mediocrity flattens everything. Like the cocottes that I painted, that is how one is now. Wiped out, next time gone.
 * Quote of Kirchner in a letter to Gustav Schiefler, March 28, 1919, in Dube-Heynig, Kirchner: Graphik, p. 49; as cited in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 78

 * [The account of a man who sells his shadow is] in actual fact the life story of a persecution complex, that is to say, the paranoid narration of a man who through one event or another is suddenly made aware of his infinite smallness and at the same time finds the means by which to deceive the world in general, concerning this discovery.
 * in a letter to Gustav Schiefler, 27 June, 1919; as quoted by Paul Rabe, in Illustrated Books and Periodicals in German Expressionist Prints and Drawings; The Robert Gore Rifkind Center for German Expressionist Studies, Vol. 1.: Los Angeles County Museum of Art, 1989, p. 119
 * for Kirchner the Schlemihl illustrations he made for Peter Schlemihls wundersame Geschichte ('The wondrous story of Peter Schlemihl') were a release from his existential anxieties

 * I am very happy and thankful to be 'here' [Switzerland] and to remain. Here I can at least work a little on my good days, and be at peace among these simple, kindly people. In this solitude I have fought my way through to the possibility of continuing to live, even suffering so much. My time for circuses, 'cocottes' and company is over [referring to his wild 'Brücke'-years in Berlin]. I made what I could out of it, and I do not think it had been done in that way before. Otherwise there is nothing to link me with those 'événements'. During my 7 years in Berlin I let the whole essence of that kind of thing seep into me so thoroughly that I now know it back to front, and can leave it. Now I have other tasks, and they lie here.. .I cannot go down again into the throng. I am more than ever afraid of crowds. But more still, my work here is only at the beginning of its possibilities.
 * Quote in a letter to architect Henry van de Velde, from Frauenkirch, 5 July 1919; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225

 * We Europeans have to toil to achieve it, at least as a transitional stage, for it is what we feed our dreams upon. These Orientals [from India] have it in their blood, perhaps because they spend their lives I the sun. We poor wretched Europeans must sacrifice body and soul for even a shadow of it.. .It is not a question of trying to reproduce objective features, only of good practice for the fingers and for the perceptive faculty, and that too is very useful. You must have read how Van Gogh was always getting his brother to send him drawings to copy. And how Rembrandt used to copy Indian an Italian pictures. Not of course, because they were short of material, but to get 'du corps'. So one should be always drawing..  .Oh, you'd love the Indians. The pure, Aryan Indians, not those one could see in Berlin, whose forms had become rigid and sterile through mingling with the Chinese.
 * Letter to Nele van de Velde ((daughter of Henry van de Velde), from Frauenkirch, 1919/20; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225

 * They [his 'Street Scene' paintings and drawings,he made in Berlin] originated in the years 1911-14, in one of the loneliest times of my life, during which an agonizing restlessness drove me out onto the streets day and night, which were filled with people and cars.
 * Quote from Kirchner's Notebook entry 'Meine Strasenbilder', 24 Augustus 1919; as quoted in Ernst Ludwig Kirchner, Meisterwerke der Druckgraphik, M. M. Moeller, Gerd Hatje, Stuttgart 1990 p. 184

 * There is an intellectual guardianship over the world, it is man.. .This is the last judgement, before them you stand..  .They help you when you work. You can thank them only through work. When you want to die, they sometimes appear to you. When you are completely empty and completely open, you belong to them. [after his mental recovery]
 * quote from 'A Painter's Credo' c. 1919; from his Davoser Tagebuch; from Wikipedia: Kirchner

1920's

 * The people who live here [in and around Davos] are proud. The hard work, which is done with great love, the way they treat animals (you very seldom see an animal being mishandled) entitle them to be proud. In most cases, work here has reached the ideal standard of being done with love. You can see it in the movements of their hands. And that, in turn, ennobles the facial expression and imbues all personal contacts with a great delicacy.
 * Quote, c. 1920; as cited by Kornfield, E. W.; Stauffer, Christine E. Stauffer (1992), Biography Ernst Ludwig Kirchner, Kirchner Museum Davos. Retrieved March 21, 2016; from Wikipedia: Kirchner

 * Many thanks for your letter and the Gauguin woodcuts.. .One can see, incidentally, that Gauguin had Persian miniatures, Indian batik and Chinese art in his very blood. The shapes of the birds and the horse show that clearly. But although it looks very well, Gauguin can't stimulate us present-day artists much. We need a direct route from life to plastic form. And we get it by perpetually drawing everything we see.
 * Letter to Nele van de Velde ((daughter of Henry van de Velde), Frauenkirch, 29 November 1920; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225

 * You too, find release only in art, you are one of those privileged people who have that gift, and you will be free and at peace so long as you make use of it. Art gives us an inner superiority, for it has scope for every sensation of which human beings are capable, and first and foremost for love, which is the basis for knowledge. The artist loves without wanting to possess, and no one on earth can understand that except other artists, that is why other people think us mad.
 * Letter to Nele van de Velde ((daughter of Henry van de Velde), Frauenkirch, 29 November 1920; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 224-225

 * All art needs this visible world and will always need it. Quite simply because, being accessible to all, it is the key to all other worlds. ** Quote from Zeichnungen von E. L. Kirchner, (under his pseudonym ) E. L. Kirchner, Genius 2, Book 2, 1921, 216-234, reprinted by National Gallery, Washington D.C. 2003, p. 226

 * The technical procedures doubtless release energies in the artist that remain unused in the much more lightweight processes of drawing or painting [referring to his printmaking].
 * Quote from Uber Kirchners Graphik, (under his pseudonym ) E. L. Kirchner, Genius 3, Book 2, 1922, 251-63, reprinted by National Gallery, Washington D.C. 2003, p. 226

 * Nowhere does one come to know an artist better than in his prints [and] the woodcut is the most graphic of the print processes.
 * quote of 1921;, in 'Uber Kirchners Graphik', Genius 3, no. 2, p. 252; as quoted in 'The Revival of Printmaking in Germany', by I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 39
 * Kirchner expressed the significance of print-making for German Expressionism in general when he wrote this quote

 * Only the artist who has a love and an aptitude for craftsmanship should make prints; only when the artist truly prints himself does the work earn the name original print.
 * quote of 1921;, in 'Uber Kirchners Graphik', Genius 3, no. 2, p. 252; as quoted in 'The Revival of Printmaking in Germany', by I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 40

 * The woodcut is the most graphic of the printmaking techniques. Its practice demands much technical ability and interest. Kirchner's technical skill made woodcutting easy for him. Thus he came in a spontaneous way through the simplification necessary here to a clear style of representation. We see in his woodcuts, which constantly accompanied his creative work, the formal language of the paintings prefigured.
 * (pseudonym of Kirchner) Uber Kirchners Graphik, Genius 3, no. 2 (1921), p. 252-53; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 52

 * After the war [1918] etching became Kirchner's favorite medium. He attributed this to its responsiveness. 'Etchings', he wrote, 'develop in the first states the most immediate hieroglyphs. Rich in lively handwriting and rich in variety of motifs, the etchings are like a diary of the painter.'
 * , in Uber Kirchners Graphik, Genius 3, no. 2 (1921), p. 258; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 53

 * A primitive power of artistic sensuousness speaks from the prints, which itself develops directly from the graphic technique that is tied to painstaking effort. Like the 'savage' who with patience cuts the figure.. ..out of the hard wood, so the artist creates perhaps his purest and strongest pieces..  ..following the primordial curse, if one may so understand it: from the sweat of thy brow shalt thou eat thy bread.
 * , Uber Kirchners Graphik, Genius 3, no. 2 (1921):, p. 263; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, pp. 52-53

 * The bleak and yet so intimate nature of the mountains has had an enormous impact on the painter. It has deepened his love for his subjects and at the same time purged his vision of everything that is secondary. Nothing inessential appears in the paintings, but how delicately every detail is worked out! The creative thought emerges strongly and nakedly from the finished work. Kirchner is now so taken up with entirely new problems that one cannot apply the old criteria to him if one is to do justice to his work. Those who wish to classify him on the strength of his German paintings will be both disappointed and surprised. Far from destroying him, his serious illness has matured him. Besides his work on visible life, creativity stemming solely from the imagination has opened up its vast potential to him – for this the brief span of his life will probably be far from sufficient.
 * Quote from the 'Preface' of the catalog of Kirchner's Frankfurt exhibition in 1922, (written by Kirchner, about Kirchner under his pseudonym ); as quoted in the biography-pdf of the Kirchner museum, Davos

 * ..the only certainty is that he [written by Kirchner himself] creates from the forms of the visible world, however close or far from them he desires to or must come.
 * Quote from 'Ein neuer Naturalismus? Eine Rundfrage des Kunstblatts', in 'Das Kunstblatt' 9, 1922; p. 375

 * Our new little house [Kirchner moved to the Wildboden house] is a real joy to us. We shall live here comfortably and in great new order. This will really come to be a turning point of my life. Everything must be put in clear order and the little house furnished as simply and modestly as possible, while still being beautiful and intimate.
 * Quote from his Diary, 1923; as quoted by Kornfield, E. W.; Stauffer, Christine E. Stauffer (1992). Biography Ernst Ludwig Kirchner, Kirchner Museum Davos. Retrieved March 21, 2016; from Wikipedia: Kirchner

 * ..and the first thing for he artists [of Die Brücke ] was free drawing from the free human figure in the freedom of nature.. .We drew and we painted. Hundreds of paintings a day, with talk and fooling in between, the artists joining the models before the easel and vice versa. All the encounters of everyday life were incorporated in our memories in this way. The studio became the home of the people who were being drawn; they learned from the artists and the painters from them. The picture [ made] took on immediate and abundant life.
 * Quote from Kirchner's Diary, 1923; as cited in Expressionism, ; Praeger Publishers, New York, 1973, p. 28-29

 * A happy coincidence brought together [in Die Brücke ]the really talented men whose characters and gifts, even in human terms, left them with no other choice than the profession of artist. This form of living, of dwelling and working, though peculiar for a regular human being, was not a deliberate 'epater le bourgeois', but simply a very naive and pure necessity to harmonize art and life. And it was precisely this more than anything else that so tremendously influenced the forms of present-day art. Of course, it was mostly misunderstood and totally distorted, for there [the will] fashioned the form and gave it meaning, whereas here the unfamiliar form is affixed to habit, like a top hat on a cow.
 * from Kirchner's Diary, 1923; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 93

 * I see the possibilities of a new kind of painting. With free surfaces, the goal I was always steering towards.
 * In a letter, 1923; as quoted in Expressionism, ; Praeger Publishers, New York, 1973, p. 52

 * I see possibilities for a whole new way of painting, in which planes are used more freely. Weaving and embroidery make this possible.
 * variant of Stedelijk Museum Amsterdam in 'Family – Ernst Ludwig Kirchner'

 * I find it increasingly necessary to express my ideas first in engraving or lithography so that they may develop before I start to paint. Every year my form and expression become more sensitive, and my ideas frequently have to pass through three graphic stages before I can start on the canvas.. .I can hear you say no, that is impossible because the value of the colors demands quite different treatment from black and white, but it is the inner idea that I try to establish firmly through graphic preparation.
 * In a letter to, 1924, in Annemarie Dube-Heynig, Kirchner: His Graphic Art, Greenwich, Conn.: New York Graphic Society, 1961, p. 96 - note 46

 * ..the feeling that pervades a city presented itself in the qualities of lines of force.
 * from Diary entry 'Das Werk', 1925, in E. L. Kirchner Davoser Tagebuch, ed. Grisebach, p. 86

 * The beautiful, architectonically constructed, severely formed bodies of these women [his girlfriend in Berlin and life companion, Erna with her sister Gerda] replaced the soft Saxon physique.
 * In an unpublished manuscript 'Die Arbeit E. L. Kirchners', by E. L. Kirchner 1925–1926; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 36

 * I begin with movement..  .I believe that all human visual experiences are born from movement..
 * An unpublished manuscript 'Die Arbeit E. L. Kirchners' by E. L. Kirchner 1925–1926; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 39

 * Is such a street scene as the blue prostitutes not a picture of fantasy? Of course, only the accusation is really present. But how nice, how powerful, and how removed from nature is the design. The danger of being caught up in the representational did not exist for Kirchner [he is writing about himself, in the third person]. Instead he thought too painterly for that. The graphics and paintings of the 'Streetscenes' show best where purely painterly, one could say non-representational, feelings converged.
 * In: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 47'(transl. Claire Albiez)
 * Kirchner's quote from 1926, looking back on his many 'Streetscenes' paintings with the prostitutes in Berlin, he painted between 1911-1914

 * Now I'm sitting quietly at home again and I'm happy to be able to work undisturbed. I made a lot of sketches of life in Germany and it was very intriguing to see life there [in Berlin, a stay for three weeks]. I was also glad to see the old pictures of Rembrandt, Dürer, etc. again and to have the confirmation and encouragement they gave me. As for the moderns, I saw damned little that gripped me.. .Modern German painting has moved so far away from me and become unintelligible in areas in which my work had, and still has, an influence; but people like Klee, Kandinsky, etc. have moved much closer to me again, in fact I value the Bauhaus more and more. These people are working and developing. You can see that there is development. And they love their work, which is the main thing.
 * Letter to Dr. Karl Hagemann, 26 March 1926 (short after a stay of 3 weeks in Berlin; as quoted in the biography-pdf of the Kirchner museum, Davos

 * It would be nice if you wouldn't call me an expressionist. I'm really not one.
 * German original version: (schön wäre es, wenn Sie mich nicht Expressionisten nennen würden. Ich bin wirklich keiner.]
 * Quote from Kirchner's handwritten addendum in his letter to, 20 October, 1927; from GB vol. 2, no. 411, p. 497; as cited by Peter H. Fox in Ernst Ludwig Kirchner's Shadow; from the digital archive Loss and Restitution: The Story of the Grunwald Family Collection by the Hammer Museum

1930's

 * Here we have been hearing terrible rumours about torture of the Jews [by the Nazis], but it's all surely untrue. I'm a little tired and sad about the situation up there. There is a war in the air. In the museums, the hard-won cultural achievements of the last 20 years are being destroyed, and yet the reason why founded the Brücke was to encourage truly German art, made in Germany. And now it is supposed to be un-German [Degenerated Art / Entartete Kunst]. Dear God. It does upset me.
 * Letter to Karl Hagemann, May 1933; as quoted in the biography-pdf of the Kirchner museum, Davos

 * The new school [in the Swiss village Frauenkirch where Kirchner lived since c. 1919] was inaugurated yesterday. It was a celebration with songs, dancing and speeches, followed by drinking such as I have not seen or experienced in decades. Everyone sat in the 'Post', the village council, the president of the council, the farmers, every one of one accord and friendly. They made a point of including me and so there I was, sitting once again amongst these people who had received me with such kindness and friendliness on the Alp twenty years ago. The relief [in the school, made by Kirchner] has found favour and was mentioned often in the speeches.
 * Letter to Dr. Karl Hagemann, 19 October 1936; as quoted in the biography-pdf of the Kirchner museum, Davos

 * ..how the movement of the passers-by [in his Street scene painting of 191-14] is comprehended in the rhombus of the heads which is twice repeated. In this way life and movement arise from an original geometric form. [Kirchner designed a diagram together with this line in the letter]
 * Letter to Karl Hagemann, 27 February 1937; as quoted in Kirchner and the Berlin street, ed. Deborah Wye, Moma, New York, 2008, p. 81 - note 31

 * Did you know that in 1900 I had the bold idea of renewing German art?.. .First of all I needed to invent a technique of grasping everything while it was in motion, and it was Rembrandts drawings in the Kupferstichkabinett in Munich that showed me how. I practiced seizing things quickly in bold strokes, wherever I was, walking and standing still..  ..and in this way I learned how to depict movement itself, and I found new forms in the ecstasy and haste of this work..  ..and to these forms was added pure colour, as pure as the sun generates it..  ..in line with Goethe's theory [of colours]. It makes pictures much more colorful. Making wood-cuts, which I'd learnt as a fifteen-year-old from my father, helped me to stabler and simpler forms. And armed in this way I returned to Dresden.
 * In a letter to Curt Valentin, 1937; as quoted in Expressionism, ; Praeger Publishers, New York, 1973, p. 38

 * [that all differences among the former Brücke members should be put in the past and that] ..every individual conflict must be silenced and that everyone join together in the name of the whole, that is for our modern German art.
 * In a letter to, 1937; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 338 (transl. (transl. Claire Albiez)
 * When die Brücke was shown at the infamous 'Degenerate Art' show in Munich by the Nazi's in 1937, Kirchner wrote this to Hans Fehr

undated

 * I was born near a station. The first things that I saw in my life were the moving locomotives and trains, and I drew them as a three-year-old. Perhaps it is because of this that observations of movement are my impetus for my inspiration to create. Out of this I receive a creative experience of life, which is the source of creativity.
 * In: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 17 (transl. Claire Albiez)
 * Kirchner had been inspired by movement and trains his whole life. He painted a. o. 'Nollendorfplatz' in West Berlin - it was one of the stops on the first electrical tram (Straßenbahn) in 1896, according to 'Lexicon der Berliner Stadtentwicklung'. Berlin, 2002. The Underground (Untergrundbahn) followed in 1902, also with a stop at 'Nollendorfplatz'

 * [the way of life of Die Brücke artists] though strange to the ordinary man, was not meant to shock, it was a pure and simple compulsion to integrate art and life..
 * Quote in Expressionism, a German Intuition, 1905-1920: [Exhibition 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 7

 * [that] simple people brought their bodies and shared their scanty bread with the artists. Kirchner learned the course of life again in their houses.
 * later quote of Kirchner (writing in the third person); as quoted in Claire Louise Albiez, in Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 38
 * about the relaxed atmosphere, not only found in die Brücke's ateliers, but also through the Brücke-artists' contact to common people in the working quarter of the city of Dresden, c. 1906-10

 * The desire that drives an artist to graphic work is perhaps partly the effort to capture the unique and indefinite nature of a drawing in a fixed and durable form. Another aspect of it is that the technical manipulations exercise energies in the artist that he does not use in the far less strenuous crafts of drawing and painting.. .the mysterious attraction that surrounded the invention of printing in the Middle Ages is still felt by anyone who takes up graphics seriously and performs every stage in the process wit hits own hands.
 * as quoted in Expressionism, ; Praeger Publishers, New York, 1973, p. 27

 * I already realized [that time] that only a new study of nature and a new attitude towards life would bring the much-needed renewal of German art.
 * In: Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 26 (translation: Claire Louise Albiez)
 * looking back to his early art-student years in Munich [c. 1903/4], when he was standing before the artdeco paintings of Leo Putz and Fritz Erler

 * ..he [is Kirchner, writing about himself] was especially interested in the naturally naked human being. He knowingly broke the traditional manner of the nude study and created for himself in his studio [in his Brücke-years in Berlin] a circle of young women, whom he studied in their free movement. Thousands of drawings and hundreds of paintings and studies resulted from this. A beautiful, healthy, blossoming sensuality that never turns base emanates from these works.
 * Kirchner; as quoted in Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann (Claire Louise Albiez, translation); Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 28

 * I found it very difficult to suddenly depart [from Berlin] since this year I had risen completely in the landscape and life and hardly needed awareness to access this place.
 * (original German version: 'Es fiel mir schwer, so plötzlich abzureisen, da ich dies Jahr vollständig in der Landschaft und dem Leben da oben aufging und nur fast ohne Bewusstsein zuzugreifen brauchte.')
 * as quoted in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 41 (transl. Claire Albiez )
 * As Kirchner had been busying himself with nature images since the Summer of 1913, the outbreak of World War 1. brought him back to reality; as he describes here

Quotes about Ernst Ludwig Kirchner

 * sorted chronologically, after date of the quotes of Ludwig Kirchner

 * He [Kirchner] dwelled here in a living situation that a bourgeois would deem uncharacteristic, materially simple, but sophisticated in his artistic sensibility. He worked feverishly, without concerning himself with the time of day.
 * observation of, 1910; as quoted in: Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen, Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 34 as quoted by Louise Albiez (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 14
 * was the Hamburg provincial court director and Kirchner's first sponsor and collector

 * Kirchner lived in an Atelier that he had assembled out of an attic apartment. Every piece of furniture, every carpet was created by him. When one entered his room, one felt as if they were on another star or a faraway century.
 * note of, c. 1912-14; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, ed. Anita Beloubek-Hammer (Claire Louise Albiez, translation), Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 220
 * after visiting Kirchner in his studio: Koernerstrasse 45, Berlin, the philosopher and poet Karl Theodor Bluth wrote this

 * [Kirchner's studio was] that of a real bohemian, full of paintings lying all over the place, drawings, books and artist's materials — much more like an artist's romantic lodgings than the home of a well-organised architecture student.
 * Fritz Bleyl c. 1915, in Kirchner - Expressionism and the city, Royal Academy, 2003 - retrieved 7 September 2007; from Wikipedia: Kirchner
 * Bleyl is describing the studio of Kirchner in Dresden, who was first an architecture student, like Bleyl himself

 * We [Kirchner and Bleyl] established [c. 1902-03, in Dresden] a friendly relationship at once, and, striving for the same goals, we quickly developed a close friendship. We were constantly together, either at the Hochschule [Architecture], in our lodgings, or taking walks in the evenings, in the Grosser Garten in Dresden. We were never without pencil and paper.
 * Fritz Bleyl c. 1915 - looking back; as quoted in Expressionism, Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 23

 * A colourfully painted curtain concealed a large collection of paintings [in Kirchner's studio in Berlin]. When we began to look at them, he came alive. Together with me, he saw all his experiences drift by on canvas, the small, timid-looking woman set aside what we had seen and brought a bottle of wine. He made short explanatory remarks in a weary voice. Each picture had its own particular colourful character, a great sadness was present in all of them; what I had previously found to be incomprehensible and unfinished now created the same delicate and sensitive impression as his personality. Everywhere a search for style, for psychological understanding of his figures. The most moving was a self-portrait in uniform with his right hand cut off. Then he showed me his travel permit for Switzerland. He wanted to go back to Davos.. ..and implored me to ask father for a medical certificate..
 * Eberhard Grisebach, in a letter March 1917 to Helen Spengler; as quoted by E. W. Kornfield, Stauffer, Christine E. Stauffer (1992). Biography Ernst Ludwig Kirchner, Kirchner Museum Davos. Retrieved March 21, 2016; from Wikipedia: Kirchner
 * Grisebach visited Kirchner in his studio in Berlin, March 1917; after his leaving of the German army in war, and during his mental crisis

 * 'a true victim of the war; the hellish delusion of being sent back into battle had deranged him and flung him helplessly onto the shabby bed of a third-class hotel.. .In Davos I found an emaciated man with a piercing, feverish gaze, who saw imminent death before his eyes.
 * In a letter of Belgian artist Henry van de Velde, 1917; as quoted by Peter H. Fox in his essay 'Ernst Ludwig Kirchner's Shadow'; from the digital archive Loss and Restitution: The Story of the Grunwald Family Collection by the Hammer Museum, 2017 - note 7

 * A tragedy had been quietly enacted here over the last few months. Because of the defamation in Germany [in 1937 a total of 639 works by Kirchner were confiscated by the Nazi-regime: Degenerate Art] and the failure of the November exhibition in Basle.. ..he [=Kirchner] chose a radiantly beautiful day, 15 June, to put an end to his life. I shall spare you the details. He had been suffering grievously until he was able to make this decision.
 * Letter from his wife Erna Kirchner to Karl Hagemann, 24 June 1938; as quoted in the biography-pdf of the Kirchner museum, Davos

 * ..one day [c. 1905-07], Kirchner brought with him a volume from some bookstore with pictures of Meier-Graefe about the modern French artists. We were enthralled.
 * Fritz Bleyl, as quoted in: Brücke' Zeichnungen, Aquarelle, Druckgraphik, Magdalena M. Moeller; Verlag Gerd Hatje, Stuttgart 1992, p. 14; as quoted by Louise Albiez (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May, 2013 p. 8

 * In the days that I spent in Dresden [before 1911].. ..I was together with Kirchner and Heckel a great deal..  .Here they led a singular bohemian life, liberated from any ordering of day-times and mealtimes; when they had the impulse they worked the whole night through and slept through the morning. I was convinced that they not infrequently lived on coffee, cake, and cigarettes..  .When the lamps were lit, we sat on benches and crouched over the batik-ed fabrics that were spread around the low table and looked at the portfolios with hand drawings and printed sheets; all the time strange, grotesque sculptures peered over our shoulders. The two showed me how they etched their lithographs, printed their etchings, and Kirchner drew two.. ..portraits of me with the dry-point needle.
 * , Meine Graphiksammlung, 1974; editor, Gerhard Schack. Publisher, Christians, p. 5; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 41 – note 14

 * In spring 1915, the recruit, Ernst Ludwig Kirchner, was furloughed from his field artillery unit because he did not prove adequate to the demand of service. The diagnosis said: "because of affected lungs and feebleness." But the true cause was a profound physical and spiritual crisis, which brought him to a sanatorium in Königstein, Taunus. Artistic efforts at overcoming the trauma are revealed in works such as the 1915 'Self-Portrait as a Soldier'. The artist presents himself in the masquerade of a uniform: his face is a mask of isolation: a bleeding arm stump looms out of the right sleeve; the painter's active hand seems chopped off.
 * , in Big-City Expressionism: Berlin and German Expressionism; as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 247

 * Kirchner superimposes [in his series Street Scene painting from Berlin], a jaded artificiality over its excitement and glamour, situating the garish yet exotic streetwalker in an atmosphere suggesting loneliness and alienation, as well as agitation and danger. Paint is applied in spontaneous, splintered brushstrokes that create jagged forms and express an immediacy and energy that approximate the stimulating yet hectic urban environment.
 * Deborah Wye, in 'Introduction: Stetting the Stage', Kirchner and the Berlin street, MOMA, New York 2008, p. 17

 * More than any of the other artists, Kirchner translated the staccato rhythm of the music into visual means; the legs of dancers become solid entities and almost dashes in his 1910 Hamburger Tänzerinnen (Hamburg Dancers) (Fig. 34). All weight of this image is on the legs, as they are the largest parts of the scene and are rendered fully in black. Moreover, the repeating subject of the three dancers each doing identical leg lifts creates a vibrating back-and-forth. In this quick sketch, Kirchner manages to relay the unified spirit of this performance.
 * Claire Louise Albiez, in Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May 2013, p. 40

title: Ernst Ludwig Kirchner


text:
User talk:24.221.249.47

Steve Rammell
Please do not remove the vfd tag from this article again. Once a page has been nominated for deletion, as this has, the tag must stay in place until the nomination is closed, usually two weeks after the nomination. If the result of the result of the discussion is to keep the article, the tag will be removed by an admin. —LrdChaos 11:52, 22 August 2006 (UTC)

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

title: User talk:24.221.249.47


text:
User talk:218.102.72.246

- InvisibleSun 13:07, 22 August 2006 (UTC)

title: User talk:218.102.72.246


text:
All of Me (1984 film)

All of Me is a 1984 romantic comedy about an aging, sickly millionairess who intends to cheat death by having her spirit placed into the body of a servant girl at the point of death, only to find her spirit co-occupying the body of a minor attorney she cannot stand.
 * Directed by: Carl Reiner. Written by Henry Olek and Phil Alden Robinson, based on the novel Me Too by Edwin Davis.

The comedy that proves that one's a crowd.taglines

Edwina Cutwater

 * How dare you say 'penis' to a dead person.
 * [On finding her soul inside Roger Cobb's body] I don't believe this. I can't even die right.
 * You are rude, crude, and thoroughly unattractive.

Roger Cobb

 * [To his girlfriend] You bought me a gravestone for my thirty-eighth birthday?!
 * [To his dog] Don't look at me like that. I'm not going in there as a messenger boy; I'm a trained legal advisor. No more being looked down on by people who think they're better than I am because they're rich. From now on, I'm gonna be respected... by people who think they're better than I am because they're rich.
 * Is everyone here bananas?
 * [After Edwina has called him a 'peasant'] Look, lady. Just because my grandfather didn't rape the environment and exploit the workers doesn't make me a peasant. And it's not that he didn't want to rape the environment and exploit the workers; I'm sure he did. It's just that as a barber, he didn't have that much opportunity.
 * [To Edwina] You're like an energy vampire. You suck the life out of people and take the fun out of being a lawyer.
 * [Regarding the empty church at Edwina's memorial] You really know how to pack them in.

Dialogue

 * Edwina Cutwater: Guess what I'm going to do?
 * Roger Cobb: What?
 * Edwina Cutwater: I'm going to come back from the dead.
 * Roger Cobb: [Patronising] Ohhh. And what makes you think you can do that?
 * Edwina Cutwater: Because I'm rich.

 * Roger Cobb: Miss Cutwater, as your attorney, I must advise you - your will can be challenged if you are deemed to be... not of sound mind.
 * Edwina Cutwater: Why, you presumptious ambulance chaser. Are you implying that I am not of sound mind?
 * Roger Cobb: No, I wouldn't do that. But I think everyone else in the solar system might.

 * Roger Cobb: You'll have to do it.
 * Edwina Cutwater: Do what?
 * Roger Cobb: You know, take it out.
 * Edwina Cutwater: Take what out?
 * Roger Cobb: The little fireman.
 * Edwina Cutwater: The little fireman?
 * Roger Cobb: You know, my penis.
 * Edwina Cutwater: How dare you say penis to a dead person.
 * Roger Cobb: Listen lady, if you don't give Ed some big air, he's gonna piss all over your half of my body!

 * Edwina Cutwater: Well I don't see why you're getting so upset about all this.
 * Roger Cobb: Because I want my body back! And I want my freedom and my privacy! And most of all, I'd like to be able to take a leak without being fondled!
 * Edwina Cutwater: You may find this hard to believe, but 'fondling you' while you make pee-pee is not my idea of a good time.

 * [Recounting her lonely, friendless life]
 * Edwina Cutwater: [Tearfully] Once, my parents hired a clown to entertain me. But he didn't like me! So when my parents were in the room, he'd just sit there, and didn't lift a finger to amuse me!
 * Roger Cobb: [Appalled] That's a terrible clown.

 * Edwina Cutwater: I guess what I'm trying to say is, I'm sorry if I ruined your birthday.
 * Roger Cobb: And I'm sorry if I made your being dead an unpleasant experience.

 * [After Roger has been humiliated, fired and thrown out of court, largely because of Edwina]
 * Edwina Cutwater: [Thrilled] Oh, Roger! I see what you mean about enjoying life! It's to be savoured!
 * Roger Cobb: [Seething] I am going to kill you.
 * Edwina Cutwater: [Hurt] I was just trying to help...
 * Roger Cobb: You failed! Since you started helping me, in the last twenty-four hours, I've lost my girl, my job, I've alienated my dog! I broke my sunglasses! You can't even get that kind anymore. Stop helping me!!
 * Edwina Cutwater: You know, you are so ungrateful. If it wasn't for me, you would get that partnership, and then you'd have to take cases like that, and kiss your father's high ideals goodbye. You'd also be married to Peggy; you call that savouring life?
 * Roger Cobb: Oh, look who's talking!
 * Edwina Cutwater: I spent my life in a sick bed. What's your excuse?
 * [Pause - Roger is lost for a reply]
 * Roger Cobb: [Fuming] It's just like a dead person to say that.

Taglines

 * The comedy that proves that one's a crowd.
 * They say that behind every great man there's a woman. But in this case it's ridiculous.

Cast

 * Steve Martin - Roger Cobb
 * Lily Tomlin - Edwina Cutwater
 * Victoria Tennant - Terry Hoskins
 * Madolyn Smith Osborne - Peggy Schuyler
 * Richard Libertini - Prahka Lasa
 * Dana Elcar - Burton Schuyler
 * Jason Bernard - Tyrone Wattell
 * Selma Diamond - Margo
 * Eric Christmas - Fred Hoskins
 * Gailard Sartain - Fulton Norris
 * Neva Patterson - Gretchen

title: All of Me (1984 film)


text:
Harry Potter and the Philosopher's Stone

Harry Potter and the Philosopher's Stone is the first book of the Harry Potter series, written by J.K. Rowling. It was first published in 1997. In America, it is known as Harry Potter and the Sorcerer's Stone. In this book, Harry discovers on his eleventh birthday that he is a wizard after many years living with his non-magical relatives who don't accept him, before discovering friendship and adventure by attending Hogwarts School of Witchcraft and Wizardry.

The Boy Who Lived
Mr and Mrs Dursley, of number four, Privet Drive, were proud to say that they were perfectly normal, thank you very much. They were the last people you'd expect to be involved in anything strange or mysterious, because they just didn't hold with such nonsense.

The Vanishing Glass
"Brazil, here I come.... thanksss amigo.
 * The snake
 * pg 30

The Keeper Of The Keys

 * Boom! They knocked again. Dudley jerked awake.
 * "Where's the cannon?"

 * Dudley pg 46
 * 'NEVER — INSULT — ALBUS — DUMBLEDORE — IN — FRONT — OF — ME!'
 * Rubeus Hagrid
 * "Harry — yer a wizard."
 * Rubeus Hagrid

Diagon Alley

 * Enter, stranger, but take heed
 * Of what awaits the sin of greed,
 * For those who take, but do not earn,
 * Must pay most dearly in their turn,
 * So if you seek beneath our floors
 * A treasure that was never yours,
 * Thief, you have been warned, beware
 * Of finding more than treasure there.
 * pg. 78
 * Engraved on the doors of Gringotts Bank

 * 'Curious indeed how these things happen. The wand chooses the wizard, remember.... I think we must expect great things from you, Mr Potter.... After all, He-Who-Must-Not-Be-Named did great things — terrible, yes, but great.'
 * pg. 85
 * Spoken by Garrick Ollivander, the Wandmaker

The Journey from Platform Nine and Three-Quarters

 * "Don't talk rubbish," said Uncle Vernon. "There is no platform nine and three-quarters."
 * pg. 95

 * 'Fred, you next,' the plump woman said. 'I'm not Fred, I'm George,' said the boy. 'Honestly, woman, you call yourself our mother? Can't you tell I'm George?' 'Sorry, George, dear.' 'Only joking, I am Fred.'
 * pg. 98

 * 'Whatever house I'm in, I hope she's not in it,'
 * Ronald Bilius Weasley
 * pg. 106

The Sorting Hat

 * Before we begin our banquet, I would like to say a few words. And here they are: Nitwit! Blubber! Oddment! Tweak! Thank you.
 * pg. 123

 * 'Is he — a bit mad?' he asked Percy uncertainly. 'Mad?' said Percy airily. 'He's a genius! Best wizard in the world! But he is a bit mad, yes. Potatoes, Harry?'
 * pg. 123

The Potions Master

 * 'Ah, yes,' he said softly, 'Harry Potter. Our new — celebrity.'
 * Snape's first words of the series
 * pg. 101

 * "Take him up to the hospital wing," Snape spat at Seamus. Then he rounded on Harry and Ron, who had been working next to Neville. "You — Potter — why didn't you tell him not to add the quills! Thought he'd make you look good if he got it wrong, did you? That's another point you've lost for Gryffindor." This was so unfair that Harry opened his mouth to argue, but Ron kicked him behind their cauldron. "Don't push it," he muttered. "I've heard Snape can get pretty nasty."
 * pg. 103-104

The Midnight Duel

 * 'And what if I wave my wand and nothing happens?' 'Throw it away and punch him on the nose,' Ron suggested.

Halloween

 * Wingardium Leviosa!' he shouted, waving his long arms like a windmill. 'You're saying it wrong,' Harry heard Hermione snap. 'It's Wing-gar-dium Levi-o-sa, make the "gar" nice and long.' 'You do it, then, if you're so clever' Ron snarled. Hermione rolled up the sleeves of her gown, flicked her wand and said, Wingardium Leviosa!' Their feather rose off the desk and hovered about four feet above their heads.
 * pg. 184

 * There are some things you can't share without ending up liking each other, and knocking out a twelve-foot mountain troll is one of them.
 * pg. 132

The Mirror of Erised

 * "I do feel so sorry," said Draco Malfoy, one Potions class, "for all those people who have to stay at Hogwarts for Christmas because they're not wanted at home."
 * 'There was a lot more to magic, as Harry quickly found out, than waving your wand and saying a few funny words.'
 * pg. 133

 * 'You haven't got a letter on yours,' George observed. 'I suppose she thinks you don't forget your name. But we're not stupid — we know we're called Gred and Forge.'
 * pg. 149

 * "It does not do to dwell on dreams and forget to live, remember that."
 * pg. 214

 * 'One can never have enough socks,' said Dumbledore.
 * pg. 157

Nicolas Flamel

 * 'Don't play,' said Hermione at once. 'Say you're ill,' said Ron. 'Pretend to break your leg,' Hermione suggested. ' Really break your leg,' said Ron to Harry when they heard Snape was going to be the referee for the Quidditch match.
 * pg. 159

 * Longbottom, if brains were gold you'd be poorer than Weasley, and that's saying something.
 * pg. 163
 * Spoken by Draco Malfoy

Norbert the Norwegian Ridgeback

 * I tell you, that dragon's the most horrible animal I've ever met, but the way Hagrid goes on about it, you'd think it was a fluffy little bunny rabbit. When it bit me he told me off for frightening it. And when I left, he was singing it a lullaby.
 * pg. 173
 * Spoken by Ron Weasley

 * Malfoy's got detention! I could sing!
 * pg. 176
 * Spoken by Hermione Granger

Through the Trapdoor

 * Neville will play Quidditch for England before Hagrid lets Dumbledore down.
 * pg. 192

 * 'You want to be more careful,' said Snape. 'Hanging around like this, people will think you're up to something. And Gryffindor really can't afford to lose any more points, can they? … Be warned, Potter — any more night-time wanderings and I will personally make sure you are expelled. Good day to you.'
 * pg. 195

 * 'One of us has got to keep an eye on Snape — wait outside the staff room and follow him if he leaves it. Hermione, you'd better do that.' 'Why me?' 'It's obvious,' said Ron. 'You can pretend to be waiting for Professor Flitwick, you know.' He put on a high voice, 'Oh Professor Flitwick, I'm so worried, I think I got question fourteen b wrong...' 'Oh, shut up,' said Hermione.
 * pg. 196

 * "Devil's Snare, Devil's Snare... What did Professor Sprout say? It likes the dark and the damp-" "So light a fire!" Harry choked. "Yes - of course - but there's no wood!" Hermione cried, wringing her hands. "HAVE YOU GONE MAD?" Ron bellowed. "ARE YOU A WITCH OR NOT?" shortly after "Lucky you pay attention in Herbology, Hermione," said Harry as he joined her by the wall, wiping sweat from his face. "Yeah," said Ron, "and lucky Harry doesn't lose his head in a crisis - "there's no wood", honestly."
 * pg. 202

 * 'Harry — you're a great wizard, you know.' 'I'm not as good as you,' said Harry, very embarrassed, as she let go of him. 'Me!' said Hermione. 'Books! And cleverness! There are more important things — friendship and bravery and — oh Harry — be careful! '
 * pg. 208

The Man with Two Faces

 * There is no good and evil, there is only power, and those too weak to seek it …
 * pg. 211
 * Spoken by Professor Quirrell, quoting Lord Voldemort (Lord Voldemort in the film)

 * What happened down in the dungeons between you and Professor Quirrell is a complete secret, so, naturally, the whole school knows. I believe your friends Misters Fred and George Weasley were responsible for trying to send you a lavatory seat.
 * pg. 214

 * To the well-organized mind, death is but the next great adventure: filled with fun, majesty, and a bit of mischief.
 * pg. 297

 * Humans do have a knack for choosing precisely those things which are worst for them.
 * pg. 297

 * Fear of a name increases fear of the thing itself.
 * pg. 298

 * The truth. Dumbledore sighed. It is a beautiful and terrible thing, and should therefore be treated with great caution.
 * pg. 298

 * Your mother died to save you. If there is one thing Voldemort cannot understand, it is love. He didn't realize that love as powerful as your mother's for you leaves its own mark.
 * pg. 216

 * "Yes, him - Quirrell said he hates me because he hated my father. Is that true?" "Well, they did rather detest each other. Not unlike yourself and Mr Malfoy. And then, your father did something Snape could never forgive." "What?" "He saved his life." "What?" "Yes ..." said Dumbledore dreamily. "Funny, the way people's minds work, isn't it?"
 * pg. 217

 * 'There are all kinds of courage,' said Dumbledore, smiling. ' It takes a great deal of bravery to stand up to our enemies, but just as much to stand up to our friends. '
 * pg. 307

 * They don't know we're not allowed to use magic at home. I'm going to have a lot of fun with Dudley this summer...'
 * Spoken by Harry
 * pg. 309

About

 * So many of the beloved heroes and heroines of children's literature -- from Cinderella and Snow White to Oliver Twist and the Little Princess to Matilda, Maniac Magee and the great Gilly Hopkins -- begin their lives being raised by monstrously wicked, clueless adults, too stupid to see what we the readers know practically from page 1: This is a terrific person we'd love to have for a best friend. And so it is with Harry Potter, the star of Harry Potter and the Sorcerer's Stone, by J. K. Rowling, a wonderful first novel from England that won major literary awards and has been at the top of the adult best-seller lists there, and is having the same kind of success here too.
 * Michael Winerip, "Children's Books", The New York Times, February 14, 1999

 * Harry Potter began his education at Hogwarts School of Witchcraft and Wizardry in the first of seven projected novels: Harry Potter and the Philosopher’s Stone. In that first novel, Harry was on a quest to find the Philosopher’s Stone, which turns base metal into gold and produces an elixir of immortality. But his real quest in that novel, as in the succeeding books of the series, is for self-knowledge
 * Harry Potter’s Quest In The Chamber Of Secrets, by John Algeo,  Theosophy in Australia, (March 2005)


text:
Harry Potter and the Chamber of Secrets

Harry Potter and the Chamber of Secrets is the second book in the Harry Potter series, written by J.K. Rowling. It was first published in 1998. All page numbers refer to the hardcover, American edition published by Arthur A. Levine Books, an imprint of Scholastic, Inc. ISBN 0-439-06486-4
 * See also: Harry Potter (series)

Chapter 1: The Worst Birthday

 * She's bored. She's used to flying around outside. If I could let her out at night--
 * Pg. 1
 * Character - Harry Potter

 * You've forgotten the magic word.
 * Pg. 2
 * Character - Harry Potter to Dudley Dursley at the breakfast table

 * I meant 'please!' I didn't mean--
 * Pg. 2
 * Character - Harry Potter

 * I'll be in my room, making no noise and pretending I'm not there.
 * Pg. 6
 * Character - Harry Potter

 * Jiggery pokery!... Hocus pocus-squiggly wiggly!
 * Pg. 9
 * Character - Harry Potter (pretending to do a magic spell)

 * MUUUUUUM!... MUUUUM! He's doing you know what!
 * Pg. 9
 * Character - Dudley Dursley

Chapter 2: Dobby's Warning

 * Bad Dobby! Bad Dobby!
 * Pg. 14
 * Character - Dobby as he bangs his head on the window

 * Just our nephew--very disturbed--meeting strangers upsets him, so we kept him upstairs.
 * Pg. 20
 * Character - Vernon Dursley
 * character - Mrs. Mason

Chapter 3: The Burrow

 * Beds empty! No note! Car gone--could have crashed--out of my mind with worry--did you care?--never, as long as I've lived--you wait until your father gets home, we never had trouble like this from Bill or Charlie or Percy--
 * Pg. 33
 * Character - Molly Weasley

 * YOU COULD DO WITH TAKING A LEAF OUT OF PERCY'S BOOK!
 * Pg. 33
 * Character - Molly Weasley

 * Your sons flew that car to Harry's house and back last night! ... What have you got to say about that, eh?
 * Pg. 39
 * Character - Molly Weasley to her husband, Arthur

 * Did you really...Did it go all right? I -- I mean...that -- that was very wrong, boys -- very wrong indeed …
 * Pg. 39
 * Character - Arthur Weasley

 * This is the best house I've ever been in.
 * Pg. 41
 * Character - Harry Potter referring to the Burrow.

Chapter 4: At Flourish and Blotts

 * "I'm very busy with schoolwork, of course"- How can she be? ... We're on vacation!
 * Pg. 45
 * Character - Ron Weasley, while reading from Hermione's letter.

 * ...Ron's old Shooting Star was often outstripped by passing butterflies.
 * Pg. 46
 * Narration

 * D-Dia-gon Alley
 * Pg. 48
 * Character - Harry Potter

 * Nice big smile, Harry. Together, you and I are worth the front page.
 * Pg. 60
 * Character - Gilderoy Lockhart to Harry Potter

Chapter 5: The Whomping Willow

 * Of all the trees we could've hit, we had to get one that hits back.
 * Pg. 76
 * Character - Ron Weasley

 * "Maybe he's ill!" said Ron hopefully. "Maybe he's left," said Harry, "because he missed out on the Defence Against the Dark Arts job again!" "Or he might have been sacked!" said Ron enthusiastically. "I mean, everyone hates him" "Or maybe," said a very cold voice right behind them, "he's waiting to hear why you two didn't arrive on the school train."
 * Pg. 77-78
 * Characters - Ron and Harry discuss the absence of Professor Snape from the Welcoming Feast, and are interrupted by Snape.

 * Honestly, Professor, I think it did more damage to us than we--
 * Pg. 79
 * Character - Ron Weasley responding to Snape's charge that they had damaged the Whomping Willow

 * Most unfortunately, you are not in my House and the decision to expel you does not rest with me. I shall go and fetch the people who do have that happy power. You will wait here.
 * Pg. 79
 * Character - Professor Snape speaking to Ron Weasley and Harry Potter

Chapter 6: Gilderoy Lockhart

 * STEALING THE CAR, I WOULDN'T HAVE BEEN SURPRISED IF THEY'D EXPELLED YOU, YOU WAIT TILL I GET HOLD OF YOU, I DON'T SUPPOSE YOU STOPPED TO THINK WHAT YOUR FATHER AND I WENT THROUGH WHEN WE SAW IT WAS GONE...LETTER FROM DUMBLEDORE LAST NIGHT, I THOUGHT YOUR FATHER WOULD DIE OF SHAME, WE DIDN'T BRING YOU UP TO BEHAVE LIKE THIS, YOU AND HARRY COULD BOTH HAVE DIED ... ABSOLUTELY DISGUSTED--YOUR FATHER'S FACING AN INQUIRY AT WORK, IT'S ENTIRELY YOUR FAULT, AND IF YOU PUT ANOTHER TOE OUT OF LINE WE'LL BRING YOU STRAIGHT BACK HOME.
 * Pg. 88
 * Character - Mrs. Weasley's voice in the Howler that Ron receives

 * You'd better hope Creevey doesn't meet Ginny, or they'll be starting a Harry Potter fan club.
 * Pg. 99
 * Character - Ron Weasley to Harry Potter

 * Me, Gilderoy Lockhart, Order of Merlin, Third Class, Honorary Member of the Dark Force Defence League, and five-time winner of Witch Weekly's Most-Charming-Smile Award -- but I don't talk about that. I didn't get rid of the Bandon Banshee by smiling at her!
 * Pg. 99
 * Character - Gilderoy Lockhart

 * I must ask you not to scream, ...It might provoke them...Yes, Freshly caught Cornish pixies.
 * Pg. 101
 * Character - Gilderoy Lockhart

Chapter 7: Mudbloods and Murmurs

 * 'At least no one on Gryffindor team had to buy their way in,' said Hermione sharply. ' They got in on pure talent.' The smug look on Malfoy's face flickered. 'No one asked your opinion, you filthy little Mudblood,' he spat.
 * Pg. 112

Chapter 8: The Deathday Party
'You've missed out spotty,' Peeves hissed in her ear. ... '''Spotty! Spotty!''"
 * "D'you think I don't know what people call me behind my back? Fat Myrtle! Ugly Myrtle! Miserable, moaning, moping Myrtle!'
 * Pg. 103, British edition, In the American version, spotty is replaced by pimply.

"Oh," said Harry, not sure whether he should look sorry or happy about this.
 * "Well, this Halloween will be my five hundredth deathday," said Nearly Headless Nick, drawing himself up and looking dignified.
 * Pg. 129

Chapter 9: The Writing on the Wall

 * 'I'll make it,' Lockhart butted in. 'I must have done it a hundred times, I could whip up a Mandrake Restorative Draught in my sleep' 'Excuse me,' said Snape icily, 'but I believe I am the Potions master at this school.'
 * Pg. 144

 * THE CHAMBER OF SECRETS HAS BEEN OPENED ENEMIES OF THE HEIR BEWARE
 * Pg. 138

 * 'Hearing voices no one else can hear isn't a good sign, even in the wizarding world.'
 * Pg. 145

 * 'Really, Severus,' said Professor McGonagall sharply. 'I see no reason to stop the boy playing Quidditch. This cat wasn't hit over the head with a broomstick.'
 * Pg. 144

Chapter 10: The Rogue Bludger

 * 'Lockhart'll sign anything if it stands still long enough.'
 * Pg. 164

 * You nearly got Ron and me expelled," he said fiercely. "You'd better get lost before my bones grow back, or I might strangle you.
 * Pg. 177

Chapter 11: The Dueling Club

 * 'That was a Disarming Charm -- as you see, I've lost my wand -- ah, thank you, Miss Brown -- yes, an excellent idea to show them that, Professor Snape, but if you don't mind my saying so, it was very obvious what you were about to do. If I had wanted to stop you, it would have been only too easy -- however, I felt it would be instructive to let them see...' Snape was looking murderous.
 * Pg. 191, American edition

 * Lockhart cuffed Harry merrily on the shoulder. 'Just do what I did, Harry!' 'What, drop my wand?'
 * Pg. 194, American edition

Chapter 13: The Very Secret Diary

 * Harry couldn't explain, even to himself, why he didn't just throw Riddle's diary away. The fact was that even though he knew the diary was blank, he kept absent-mindedly picking it up and turning the pages, as though it was a story he wanted to finish. And while Harry was sure he had never heard the name T. M. Riddle before, it still seemed to mean something to him, almost as though Riddle was a friend he'd had when he was very small, and half-forgotten. But this was absurd. He'd never had friends before Hogwarts, Dudley had made sure of that.
 * Pg. 175

 * His eyes are as green as a fresh pickled toad, His hair is as dark as a blackboard. I wish he was mine, he's really divine, The hero who conquered the Dark Lord.
 * Pg. 178
 * The singing Valentine Harry receives from Ginny (supposedly).

Chapter 14: Cornelius Fudge

 * "But that's very important!' said Hermione, shocked. [about Defense Against the Dark Arts] 'Not the way Lockhart teaches it,' said Ron. 'I haven't learned anything from him except not to set pixies loose.'
 * Pg. 251, American edition

 * 'That'd be a cheerful visit,' said Ron. 'Hello, Hagrid. Tell us, have you been setting anything mad and hairy loose in the castle lately?'
 * Pg. 250, American edition

Chapter 15: Aragog

 * I will only truly have left this school when none here are loyal to me … Help will always be given at Hogwarts to those who ask for it.
 * Pg. 266
 * Dumbledore's final words to the school, as remembered by Harry

 * Instead he contented himself with scrawling a note to Ron: Let's do it tonight. Ron read the message, swallowed hard, and looked sideways at the empty seat usually filled by Hermione. The sight seemed to stiffen his resolve, and he nodded.
 * Pg. 270

Chapter 16: The Chamber of Secrets

 * Ron looked as though he'd just been told he had to go and live in the Forbidden Forest.
 * Pg. 284
 * On being told he will have to take exams with a broken wand

 * HER SKELETON WILL LIE IN THE CHAMBER FOREVER
 * 'The first words out of those poor Petrified people's mouths will be, "It was Hagrid." Frankly, I'm astounded Professor McGonagall thinks all these security measures are necessary.'
 * Pg. 287
 * Spoken by Gilderoy Lockhart

 * 'It’s not all book signings and publicity photos, you know. You want fame, you have to be prepared for a long hard slog.'
 * Pg. 298
 * Spoken by Gilderoy Lockhart

Chapter 17: The Heir of Slytherin

 * 'Haven't I already told you,' said Riddle, 'that killing Mudbloods doesn't matter to me any more? For many months now, my new target has been you.'
 * Pg. 312
 * Tom Riddle speaking to Harry Potter

 * 'Voldemort,' said Riddle softly, 'is my past, present, and future.…'
 * Pg. 313

Chapter 18: Dobby's Reward

 * 'Never trust anything that can think for itself if you can't see where it keeps its brain.'
 * Pg. 329

 * 'I seem to remember telling you both that I would have to expel you if you broke any more school rules,' said Dumbledore. Ron opened his mouth wide in horror. 'Which only goes to show that the best of us must sometimes eat our words,' Dumbledore went on, smiling.
 * Pg. 330-331

 * ' Exactly,' said Dumbledore, beaming once more. 'Which makes you very different from Tom Riddle. It is our choices, Harry, that show what we truly are, far more than our abilities.'
 * Pg. 333

About

 * In his second year, Harry learns, among other things, about the three marks of existence that the Buddha taught, namely (1) that life involves suffering, (2) that we have no enduring separate self, and (3) that everything is constantly changing or transforming. Indeed, transformation is the key theme of Harry Potter and the Chamber of Secrets.
 * Harry Potter’s Quest In The Chamber Of Secrets, by John Algeo,  Theosophy in Australia, (March 2005)

 * The first of those marks is that life involves pain or frustration. Harry experiences frustration throughout the novel, beginning with his misery during his summer vacation at the house of his Muggle relatives, where he was mistreated and isolated in every way — not even receiving letters from his school friends, because the house-elf Dobby was intercepting his mail (for what he thought was Harry’s own good). From that point onward, the novel is a catalog of Harry’s other frustrations and pains.
 * Harry Potter’s Quest In The Chamber Of Secrets, by John Algeo,  Theosophy in Australia, (March 2005)

title: Harry Potter and the Chamber of Secrets


text:
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Prisoner of Azkaban is the third book in the Harry Potter series, written by J.K. Rowling. It was first published in 1999.

Harry

 * I don’t go looking for trouble. Trouble usually finds me!

George

 * What would we want to be prefects for? It'd take all the fun out of life.
 * I solemnly swear that I am up to no good.
 * We tried to shut him [Percy] in a pyramid. But Mum spotted us.

Albus Dumbledore

 * The consequences of our actions are always so complicated, so diverse, that predicting the future is a very difficult business indeed.
 * You think the dead we loved ever truly leave us? You think that we don't recall them more clearly than ever in times of great trouble?

Rubeus Hagrid

 * I'm not blamin' yeh … but I gotta tell yeh, I thought you two'd value yer friend more'n broomsticks or rats. Tha's all.
 * When a wizard goes over ter the Dark Side there's nothin' and no one matters to 'em anymore.…
 * Ah, well. People can be a bit stupid about their pets.

Sirius Black

 * If you made a better rat than a human Peter, that's not much to boast about.
 * Tell them whatever you like. But make it quick, Remus. I want to commit the murder I was imprisoned for. (Pg. 350)
 * THEN YOU SHOULD HAVE DIED! DIED RATHER THAN BETRAY YOUR FRIENDS, AS WE WOULD HAVE DONE FOR YOU!
 * What was there to be gained by fighting the most evil wizard who has ever existed? Only innocent lives, Peter.
 * There's enough filth on my robes without you touching them.

Aunt Marge

 * I still don't like your tone, boy. If you can speak of your beatings in that casual way, they clearly aren't hitting you hard enough. Petunia, I'd write to them if I were you. Make it clear that you approve the use of extreme force in this boy's case.

Cornelius Fudge

 * Oh, come now, Harry, the Ministry doesn't send people to Azkaban for blowing up their aunts.

Professor McGonagall

 * And Potter, do try and win, won't you? Or we'll be out of the running for the eighth year in a row, as Professor Snape was kind enough to remind me only last night...
 * Ah, of course, there is no need to say any more, Miss Granger. Tell me, which of you will be dying this year?
 * Well, you look in excellent health to me, Potter, so you'll excuse me if I don't let you off homework. I assure you that if you die, you need not hand it in.

Professor Lupin

 * Your parents gave their lives to keep you alive, Harry. A poor way to repay them - gambling their sacrifice for a bag of magic tricks.
 * Now, my three friends could hardly fail to notice that I disappeared once a month. I made up all sorts of stories. I told them my mother was ill, and that I had to go home to see her... I was terrified they would desert me the moment they found out what I was. But of course, they, like you, Hermione, worked out the truth...
 * And they didn't desert me at all. Instead, they did something for me that would make my transformations not only bearable, but the best times of my life. They became Animagi.
 * You should have realised, Peter, if Voldemort didn't kill you, we would.

Ron

 * If you want to kill Harry, you'll have to kill us, too!

Professor Trelawney

 * It will happen tonight. The Dark Lord lies alone and friendless, abandoned by those who once followed. Tonight, before midnight, his servant will break free and rejoin his master, and with that servant's help, the Dark Lord will rise again, greater and more terrible than ever before...

Hermione

 * Harry and Ron both made furious moves toward Malfoy, but Hermione got there first — SMACK! She had slapped Malfoy across the face with all the strength she could muster. Malfoy staggered. Harry, Ron, Crabbe, and Goyle stood flabbergasted as Hermione raised her hand again.
 * Ch. 15, "The Quidditch Final", p. 293

Dialogue

 * Ron Weasley: Yeah, it will. You won't have to do all the work alone this time, Hermione. I'll help. Hermione: Oh, Ron! (Hermione flung her arms around Ron's neck and broke down completely. Ron, looking quite terrified, patted her very awkwardly on the top of the head.)

 * Harry Potter: Right, you've got a sort of wonky cross… That means you're going to have 'trials and suffering', sorry about that, but there's a thing that could be the sun … hang on … that means 'great happiness' … so you're going to suffer but be very happy about it...… Ron Weasley: You need your inner eye tested.

 * Harry Potter: I'm not going to be murdered. Mirror: That's the spirit, dear.

 * Fred Weasley: How're we getting to King's Cross tomorrow, Dad? Arthur Weasley: The Ministry's providing a couple cars. Percy Weasley: Why? George Weasley: It's because of you, Percy, and there'll be little flags on the hoods, with HB on them... Fred Weasley: ...for Humongous Bighead.

 * Uncle Vernon: What’s that? If it’s another form for me to sign, you’ve got another-- Harry Potter: It’s not. It’s a letter from my godfather. Uncle Vernon: Godfather? You haven’t got a godfather! Harry Potter: Yes I have. He was my mum and dad’s best friend, he’s a convicted murderer, but he’s broken out of wizard prison and he’s on the run. He likes to keep in touch with me though – keep up with my news, check I’m happy.

 * The Marauder's Map: Mr. Moony presents his compliments to Professor Snape, and begs him to keep his abnormally large nose out of other people's business. Mr. Prongs agrees with Mr. Moony, and would like to add that Professor Snape is an ugly git. Mr. Padfoot would like to register his astonishment that an idiot like that ever became a Professor. Mr. Wormtail bids Professor Snape good day, and advises him to wash his hair, the slimeball.

 * Professor Trelawney: Would anyone like me to help interpret the shadowy portents within their orb?
 * Ron: I don't need any help. It's obvious what this means. There's going to be loads of fog tonight.

 * [in their first Divination lesson, reading tea leaves]
 * Ron: Right, what can you see?
 * Harry: A load of soggy brown stuff.

Quotes about

 * I’ve read [Prisoner of Azkaban] so much I’m sick of it. I never read either of the others over and over again when editing them, but I really had to this time. The hard work, the significant rewrites I wanted to do, are over, so if it needs more cuts after this, I’m ready to make them, speedily…
 * J.K. Rowling, letter to editor as quoted in Writelikerowling

 * ...Theosophy, with which Rowling has some familiarity, as is clear from her reference in Harry Potter and the Prisoner of Azkaban to the fictitious author “Cassandra Vablatsky” and her equally fictitious book Unfogging the Future. “Vablatsky” is a metathesis of “Blavatsky,” and “Cassandra” is an appropriate substitute for “Helena,” because Cassandra was the daughter of Priam, King of Troy, a prophetess who always spoke the truth but was never believed and because Cassandra’s story is part of the great war of the Iliad, fought over Helen.
 * Harry Potter And The Ancient Wisdom By John Algeo, Quest, (2002)


text:
Harry Potter and the Goblet of Fire

Harry Potter and the Goblet of Fire is the fourth book in the Harry Potter series, written by J.K. Rowling and first published in 2000. It follows Harry Potter, a wizard in his fourth year at Hogwarts School of Witchcraft and Wizardry, and the mystery surrounding the entry of Harry's name into the Triwizard Tournament, in which he is forced to compete.

Albus Dumbledore

 * Remember Cedric. Remember, if the time should come when you have to make a choice between what is right and what is easy, remember what happened to a boy who was good, and kind, and brave, because he strayed across the path of Lord Voldemort. Remember Cedric Diggory. (p. 724)

 * Really, Hagrid, if you are holding out for universal popularity, I'm afraid you will be in this cabin for a very long time.

 * My own brother, Aberforth, was prosecuted for practicing inappropriate charms on a goat. It was all over the papers, but did Aberforth hide? No, he did not! He held his head high and went about his business as usual! Of course, I'm not entirely sure he can read, so that may not have been bravery...

 * Oh, I would never dream of assuming I know all Hogwarts' secrets, Igor. Only this morning, for instance, I took a wrong turn on the way to the bathroom and found myself in a beautifully proportioned room I had never seen before, containing a really rather magnificent collection of chamberpots. When I went back to investigate more closely, I discovered that the room had vanished. But I must keep an eye out for it. Possibly it is only accessible at five thirty in the morning. Or it may only appear at the quarter moon - or when the seeker has an exceptionally full bladder.

 * You are blinded (...) by the love of the office you hold, Cornelius! You place too much importance, and you always have done, on the so-called purity of blood! You fail to recognize that it matters not what someone is born, but what they grow to be!

 * Differences of habit and language are nothing at all if our aims are identical and our hearts are open.

 * If I thought I could help you by putting you into an enchanted sleep and allowing you to postpone the moment when you would have to think about what has happened tonight, I would do it. But I know better. Numbing the pain for a while will make it worse when you finally feel it. You have shown bravery beyond anything I could have expected of you. I ask you to demonstrate your courage one more time. I ask you to tell us what happened (p. 695).

 * Stupefy!

 * We are only as strong as we are united, as weak as we are divided.
 * Ch. 37, "The Beginning", p. 723

 * Curiosity is not a sin. But we should exercise caution with our curiosity... Yes, indeed... (p. 598)

 * Understanding is the first step to acceptance, and only with acceptance can there be recovery. (p. 680)

Harry Potter

 * Listen, if you [Fred and George] don't take it [the gold], I'm throwing it down the drain. I don't want it and I don't need it. But I could do with a few laughs. We could all do with a few laughs. I've got a feeling we're going to need them more than usual before long. (p. 733)

 * "He said my blood would make him stronger than if he's used someone else's," Harry told Dumbledore. "He said the protection my - my mother left me - he'd have it, too. And he was right - he could touch me without hurting himself, he touched my face." For a fleeting instant, Harry thought he saw a gleam of something like triumph in Dumbledore's eyes. But next second, Harry was sure he had imagined it, for when Dumbledore had returned to his seat behind the desk, he looked as old and weary as Harry had ever seen him. (p. 604)

Merpeople

 * Come seek us where our voices sound / We cannot sing above the ground/ And while you're searching ponder this / We've taken what you'll sorely miss / An hour long you'll have to look / And to recover what we took / But past an hour the prospect's black / Too late it's gone it won't come back
 * Come seek us where our voices sound / We cannot sing above the ground/ An hour long you'll have to look / To recover what we took
 * An hour long you'll have to look / And to recover what we took / Your times half-gone, so tarry not / Lest what you seek stays here to rot

Ron Weasley

 * Wild! I can make that old bloke down there pick his nose again... and again... and again...

 * Draco Malfoy, The Amazing, Bouncing Ferret...

 * There you go, Harry! You weren't being thick after all; you were just showing moral fiber!

 * Right little ray of sunshine, aren't you? You and Professor Trelawney should get together sometime.

 * Yeah, well, Percy wouldn't want to work for anyone with a sense of humor, would he? Percy wouldn't recognize a joke if it danced naked in front of him wearing Dobby's tea cozy.

 * (Making up his Divination homework) "Next Monday, I am likely to develop a cough, owing to the unlucky conjunction of Mars and Jupiter. You know her [Professor Trelawney] - just put in loads of misery, she'll lap it up."

 * (about his owl, Pigwidgeon) I've got to keep him up here [in Ron's room] because he annoys Errol and Hermes. He annoys me, too, come to that.

Sirius Black

 * If you want to know what a man's like, take a good look at how he treats his inferiors, not his equals. Pg 525

 * He (Crouch) was the one who gave the order for me to be sent to Azkaban - without a trial.

 * Imagine that Voldemort's powerful now. You don't know who his supporters are, you don't know who's working for him and who isn't; you know he can control people so that they do terrible things without being able to stop themselves. You're scared for yourself, and your family, and your friends. Every week, news comes of more deaths, more disappearances, more torturing...the Ministry of Magic's in disarray, they don't know what to do, they're trying to keep everything hidden from the Muggles, but meanwhile, Muggles are dying too. Terror everywhere...panic...confusion...that's how it used to be.

Lord Voldemort

 * Invite him inside, Wormtail. Where are your manners?

 * The other arm, Wormtail.

 * Come out, Harry... come out and play, then... it will be quick... it might even be painless... I would not know... I have never died....

 * Kill the spare.

 * Do not lie to Lord Voldemort, for he knows...he always knows...

Barty Crouch Jr.

 * (as Mad-Eye) CONSTANT VIGILANCE!

 * (as Mad-Eye) You need preparing. You need arming. But most of all, you need constant, never ceasing vigilance (p. 217).

 * (as Mad-Eye) 'Course Dumbledore trusts you. He's a trusting man, isn't he? Believes in second chances. But me, I say there are spots that don't come off, Snape. Spots that never come off, d'you know what I mean? (p. 472)

 * (as Mad-Eye) Pajama party is it?

 * (as Mad-Eye) 'Not nice,' he said calmly. 'Not pleasant. And there's no counter-curse. There's no blocking it. Only one known person has ever survived it, and he's sitting in this room.'

 * I killed my father.

Bellatrix Lestrange

 * The Dark Lord will rise again, Crouch! Throw us into Azkaban, we will wait! He will rise again and will come for us, he will reward us beyond any of his other supporters! We alone were faithful! We alone tried to find him!

Rubeus Hagrid

 * What's comin' will come, and we'll meet it when it does.

Narrator

 * "Mrs. Weasley set the potion down on the bedside cabinet, bent down, and put her arms around Harry. He had no memory of ever being hugged like this, as though by a mother".

 * It was Voldemort, Harry thought, staring up at the canopy of his bed in the darkness, it all came back to Voldemort....He was the one who had torn these families apart, who had ruined all these lives....

 * The villagers of Little Hangleton still called it 'the Riddle House', even though it had been many years since the Riddle family had lived there.

Arthur Weasley

 * And that, boys, is why you should never go for looks alone.

Cornelius Fudge

 * He can't be back, Dumbledore, he just can't be...

Draco Malfoy

 * Well, I can certainly see why we're trying to keep them alive. Who wouldn't want pets that can burn, sting, and bite all at once?

George Weasley

 * [After hearing Harry open the egg]
 * I thought it sounded a bit like Percy singing. Maybe you've got to attack him while he's in the shower, Harry.

Wormtail

 * Bone of the father, unknowingly given, you will renew your son! Flesh of the servant, w-willingly given, you will revive your m-master! Blood...of the enemy...forcibly taken...you will resurrect your foe.

Archie

 * [In an argument with another Wizard at the Quidditch World Cup about his Muggle dress]
 * I'm not putting them on, I like a healthy breeze 'round my privates, thanks.

Dobby

 * [In astonishment of his Christmas present from Harry]
 * Socks are Dobby's favorite, favorite clothes, sir! I has seven now, sir. . . . But sir ...they has made a mistake in the shop, Harry Potter, they is giving you two the same!

Dialogue

 * Ron's voice now joined the others'. Ron: What are we doing here? Has something gone wrong? Fred: Oh, no, Ron, no, this is exactly where we wanted to end up. George: Yeah, we're having the time of our lives here. Said George, whose voice sounded muffled, as though he was squashed against the wall.

 * "They run off eckeltricity, do they?" he said knowledgeably. "Ah, yes, I can see the plugs. I collect plugs," he added to Uncle Vernon. "And batteries. Got a very large collection of batteries. My wife thinks I'm mad, but there you are."

 * Harry: What are you working on? Percy: (smugly) A report for the Department of International Magical Co-operation. We're trying to standardise cauldron thickness. Some of these foreign imports are just a shade too thin-leakages have been increasing at a rate of almost three per cent a year- Ron: That'll change the world, that report will. Front page of the Daily Prophet, I expect, cauldron leaks.

 * Bill: (yawns) Do us a favour, Perce, and shut up.

 * Harry: (about Ron's owl) Er-why are you calling that owl Pig? Ginny: Because he's being stupid. Its proper name is Pigwidgeon. Ron: (sarcastically) Yeah, and that's not a stupid name at all.

 * Percy Weasley: That [dragon dung] was a sample of fertilizer from Norway! It was nothing personal! Fred: [Aside] It was. We sent it.

 * Harry Potter: Wangoballwime? Cho Chang: Sorry?

 * Hermione: Well, if you don't like it, you know what the solution is, don't you? Her hair was coming down out of its elegant bun now, and her face was screwed up in anger. Ron: Oh yeah? What's that? Hermione: Next time there's a ball, ask me before someone else does, and not as a last resort! Ron mouthed silently like a goldfish out of water as Hermione turned on her heel and stormed up the girls' staircase to bed.

 * Ron: Hermione, Neville's right - you are a girl... Hermione: Oh, well spotted.

 * Ron: I'm never wearing them, Never. Mrs. Weasley: Fine, Go naked. And, Harry, make sure you get a picture of him. Goodness knows I could do with a laugh.

 * Hermoine: Not going to have a very good month, are you? Ron: Ah well, at least I'm forewarned. Hermione: You seem to be drowning twice. Ron: Oh am I? I'd better change one of them to getting trampled by a rampaging hippogriff.

 * Lavender Brown: Oh Professor, look! I think I've got an unexpected planet! Oooh, which one's that, Professor? Professor Trelawney: It is Uranus, my dear. Ron Weasley: Can I have a look at Uranus too, Lavender?

About

 * Bigotry is probably the thing I detest most. All forms of intolerance, the whole idea of “that which is different from me is necessary evil.” I really like to explore the idea that difference is equal and good. But there's another idea that I like to explore, too. Oppressed groups are not, generally speaking, people who stand firmly together – no, sadly, they kind of subdivide among themselves and fight like hell. That's human nature, so that's what you see here. This world of wizards and witches, they're already ostracized, and then within themselves, they've formed a loathsome pecking order.
 * These are things that a huge number of children at that age start to think about. It's really fun to write about it, but in a very allegorical way.
 * The bottom line is, I have to write the story I want to write. I never wrote them with a focus group of 8-year-olds in mind. I have to continue telling the story the way I want to tell it. I don't at all relish the idea of children in tears, and I absolutely don't deny it's frightening. But it's supposed to be frightening! And if you don't show how scary that is, you cannot show how incredibly brave Harry is. He's really brave, and he does, I think, one of his bravest things in this book: He can't save Cedric, but he wants to save Cedric's parents additional pain. He wants to bring back the body and treat it with respect.
 * J.K. Rowling "'Fire' Storm,", Jensen, Jeff, Entertainment Weekly September 7th 2000.

 * Goblet of Fire was an absolute nightmare. I literally lost the plot halfway through. My own deadline was totally unrealistic. That was my fault because I didn’t tell anyone. I just ploughed on, as I tend to do in life, and then I realised I had really got myself into hot water. I had to write like fury to make the deadline and it half killed me and I really was, oh, burnt out at the end of it. Really burnt out. And the idea of going straight into another Harry Potter book filled me with dread and horror. And that was the first time I had ever felt like that. I had been writing Harry for 10 years come 2000 and that was the first time I ever thought, Oh God, I don’t want to keep going.
 * J.K. Rowling letter to editor as quoted by WritelikeRowling.

title: Harry Potter and the Goblet of Fire