text:
Baron d'Holbach

Baron d'Holbach, Paul-Henri Thiry (8 December 1723 – 21 January 1789) was a French author, philosopher and encyclopedist. He was born Paul Heinrich Dietrich in Edesheim, Germany. He is most famous as being one of the first self-described atheists in Europe.

Quotes

 * We are all just cogs in a machine, doing what we were always meant to do, with no actual volition. (1770)

 * It is thus superstition infatuates man from his infancy, fills him with vanity, and enslaves him with fanaticism.
 * Samuel Wilkinson, trans., The System of Nature (Project Gutenberg e-text), vol. 1, chap. IX
 * Date and place of publication unknown. Original publication in French, 1770, as La Système de la nature, under the name of Jean Baptiste de Mirabaud.

 * If the ignorance of nature gave birth to such a variety of gods, the knowledge of this nature is calculated to destroy them.
 * Samuel Wilkinson, trans., The System of Nature (Project Gutenberg e-text), vol. 2, chap. I
 * Date and place of publication unknown. Original publication in French, 1770, as La Système de la nature, under the name of Jean Baptiste de Mirabaud.

 * When we examine the opinions of men, we find that nothing is more uncommon, than common sense; or, in other words, they lack judgment to discover plain truths, or to reject absurdities, and palpable contradictions.
 * Good Sense without God, or, Freethoughts Opposed to Supernatural Ideas (London: W. Stewart & Co., ca. 1900) (Project Gutenberg e-text), preface
 * Translator unknown. Original publication in French at Amsterdam, 1772, as Le bon sens ("Common Sense"), and often attributed to John Meslier.

 * Savage and furious nations, perpetually at war, adore, under diverse names, some God, conformable to their ideas, that is to say, cruel, carnivorous, selfish, blood-thirsty.
 * ibid., preface

 * All children are born Atheists; they have no idea of God.
 * ibid., chap. 30

 * Pascal proves nothing in favour of Religion, unless that a man of genius may be foolish on some subjects, and is but a child, when he is weak enough to listen to his prejudices.
 * ibid., chap. 167

 * Religion has ever filled the mind of man with darkness, and kept him in ignorance of his real duties and true interests. It is only by dispelling the clouds and phantoms of Religion, that we shall discover Truth, Reason, and Morality. Religion diverts us from the causes of evils, and from the remedies which nature prescribes; far from curing, it only aggravates, multiplies, and perpetuates them.
 * ibid., chap. 206

 * Suns are extinguished or become corrupted, planets perish and scatter across the wastes of the sky; other suns are kindled, new planets formed to make their revolutions or describe new orbits, and man, an infinitely minute part of a globe which itself is only an imperceptible point in the immense whole, believes that the universe is made for himself.
 * La Système de la nature; quoted by Norman Hampson, The Enlightenment p. 220 (paperback edition)

 * Now, if the ignorance of nature gave birth to Gods, the knowledge of nature is calculated to destroy them.
 * La Système de la nature; quoted in The Law of Reason, published by J. Thompson, p. 40.

 * Everything that passes in the world, proves to us, in the clearest manner, that it is not governed by an intelligent being.
 * Good Sense, or Natural Ideas vs. Supernatural
 * The universe can be only what it is; all sensible being there enjoy and suffer, that is, are moved sometimes in an agreeable, and sometimes in a disagreeable manner. these effects are necessary; they result necessarily from causes, which act only according to their properties.
 * Good Sense, or Natural Ideas vs. Supernatural
 * To wonder at the order of nature, is to wonder that any thing can exist; it is to be surprised at one's own existence.
 * Good Sense, or Natural Ideas vs. Supernatural
 * There is a science that has for its object only things incomprehensible. Contrary to all other sciences, it treats only of what cannot fall under our senses, Hobbes calls it the kingdom of darkness. It is a country, where every thing is governed by laws, contrary to those which mankind are permitted to know in the world they inhabit. In this marvelous region, light is only darkness; evidence is doubtful or false; impossibilities are credible: reason is a deceitful guide; and good sense becomes madness. This science is called Theology, and this theology is a continual insult to this reason of man.
 * Good Sense, or Natural Ideas vs. Supernatural
 * The worshipers of God find, above all in the order of the universe, an invincible proof of this existence of an intelligent and wise being, who governs it. But this order is nothing but a series of movements necessarily produced by causes or circumstances, which are sometimes favourable, and sometimes hurtful to us: we approve of some, and complain of others.
 * Good Sense, or Natural Ideas vs. Supernatural
 * a protestant is bound to believe the gospel to be divine: and the examination of it is permitted only, while he finds there what the ministers of his sect have resolved that he shall find. Beyond this, he is regarded as an ungodly man, and often punished for the weakness of his intellect.
 * Ecce Homo, A Critical Inquiry into the History of Jesus of Nazareth
 * Jesus, with a view, no doubt, of sweetening the lot of his apostles, recommended compassion to the listening multitude, of which he, as well as his party, stood in the greatest need. It is readily perceived, that the messiah felt the most imperious necessity to preach charity to his auditors; for he lived on alms, and his success depended on the generosity of the public, and the benefactions of the good souls who hearkened to his lessons.
 * Ecce Homo
 * The preacher recommended peace and concord; dispositions necessary to a new born, weak, and persecuted sect; but this necessity ceased when this sect had attained strength enough to dictate the law.
 * Ecce Homo
 * The preacher recommended peace and concord; dispositions necessary to a new born, weak, and persecuted sect; but this necessity ceased when this sect had attained strength enough to dictate the law.
 * Ecce Homo
 * We are quite surprised at finding, that Moses and the ancient Hebrew writers have no where mentioned the dogma of a future life, which now-a-days forms one of the most important articles of the Christian religion. Solomon speaks of the death of men by comparing it with that of brutes. Some of the prophets, it is true, have spoken of a place called Cheol, which has been translated Hell (Enfer); yet it is evident, that this word implies merely sepulchre or tomb. They have also translated the Hebrew word Topheth into Hell: but on examining the word, we find that it designates a place of punishment near Jerusalem, where malefactors were punished, and their carcases burned. It was after the Babylonish captivity that the Jews knew the dogma of another life, and the resurrection, which they learned of the Persian disciples of Zoroaster. In the time of Jesus, that dogma was not even generally received. The Pharisees admitted it, and the Sadducees rejected.
 * Ecce Homo

 * Jesus, whose birth was very equivocal, had particular reasons for wishing that adultery should be treated with indulgence. Independently of Mary his mother, from whom Joseph was probably separated, our preacher had in his train dames, whose conduct had not been irreproachable anterior to their conversion. Besides Mary Magdalene, who was a noted courtesan, Jesus had in his suite Joanna, wife of Chuza, Herod's steward, who, according to the tradition, robbed and forsook her husband to follow the messiah, and assist him with her property. Moreover, the indulgence which he preached must have gained him the hearts of all the ladies in his auditory.
 * Ecce Homo
 * the apostles, and especially their successors in the sacred ministry have, in preaching their gospel, brought on the world troubles and divisions unknown in all other preceding religions.
 * Ecce Homo
 * Jesus charged people of property with the maintenance of his apostles. Their successors have taken sufficient advantage of this, and through it assumed an authority to exercise the most cruel extortions on impoverished nations.
 * Ecce Homo
 * It must be acknowledged, that the impossibility of comprehending the doctrine of Jesus furnishes a good reason for denying that it can be divine. It cannot be conceived why a God, sent to instruct men, should never distinctly explain himself. No Pagan oracle employed terms more ambiguous, than the divine missionary chosen by Providence to enlighten nations.
 * Ecce Homo
 * In the whole gospel system, the devil is more sly and powerful than both God the Father and God the Son: he is always successful in thwarting their designs, and succeeds in reducing God the Father to the dire necessity of making his dear Son die in order to repair the evil which Satan had done to mankind. Christianity is real manichaeism, wherein every advantage is on the side of the bad principle, who, by the great number of his adherents renders nugatory all the purposes of the Deity.
 * Ecce Homo
 * Christians, docile to the lessons of their divine master, which they dare not examine, have made perfection consist in a total abandonment of those objects which nature has rendered dearest to man. Christianity seems intended only to create discord, detach men from every thing on earth, and break the ties which ought to unite them. There is, according to Jesus, but one thing needful; namely, to be attached to him exclusively: a maxim very useful in meriting heaven, but calculated to destroy every society on the earth.
 * Ecce Homo
 * the miracles of the messiah were calculated to convince those only who did not [Pg 82]see them. Thus it is, that these miracles are believed at present by people who would not credit those performed in their presence.
 * Ecce Homo
 * Jesus, to whom miracles cost nothing when every thing was arranged for performing them, did not risk himself by working them impromptu, or in the presence of those he judged acute enough to examine them.

Thus on considering things attentively, and '''comparing the different accounts of the life of Jesus, we must be persuaded that he was a fanatic, who really thought himself inspired, favored by Heaven, sent to his nation; in short, that he was the messiah, who, to support his divine mission, felt no difficulty to employ such deceptions as were best calculated for a people to whom miracles were absolutely necessary; and whom, without miracles, the most eloquent harangues, the wisest precepts, the most intelligent counsels, and the truest principles could never have convinced. A medley of enthusiasm and juggling constitute the character of Jesus, and it is that of all spiritual adventurers who assume the name of Reformers, or become the chiefs of a sect.
 * Jesus caused a fig-tree to die in twenty-four hours to punish it for not producing figs at a season when it was physically impossible for it to bear any; that is about the month of March. As all the actions of the messiah, even when they appear foolish to ordinary men, have an important signification in the eyes of devotees illuminated by faith, we ought to perceive in the miracle of this fig-tree one of the fundamental dogmas of the Christian religion symbolically represented. The fig-tree cursed is the mass of mankind, whom, according to our theologists, the God of mercy curses, and condemns to eternal flames, for having neither faith nor grace, which they could not possibly acquire of themselves, and which God does not seem to have been willing to give them. Thus we find that the ridiculous passage of the fig-tree in the gospel, is intended to typify one of the most profound dogmas of the Christian religion.
 * Ecce Homo
 * the ways of God are not as those of men. The Deity ought never to act in a natural way, or be easily understood. It is the essence of religion that men should not comprehend any part of the divine conduct. This furnishes to their spiritual guides the pleasure of explaining it to them for their money.
 * Ecce Homo
 * The dogma of the resurrection of Jesus is only attested by men whose subsistence depended on that absurd romance; and as roguery continually belies itself, these witnesses could not agree among themselves in their evidence. They tell us, that Jesus had publicly predicted his own resurrection. He ought therefore to have risen publicly; he ought to have shewn himself, not in secret to his disciples, but openly to priests, pharisees, doctors, and men of understanding, especially after having intimated, that it was the only sign which would be given them. Was it not acknowledging the falsehood of his mission, to refuse the sign by which he had solemnly promised to prove the truth of that mission? Was it reasonable to require the Jews to believe, on the word of his disciples, a fact which he could have demonstrated before their own eyes? How is it possible for rational persons of the present age to believe, after the lapse of eighteen hundred years, on the discordant testimonies of four interested evangelists, fanatics, or fabulists, a story which they could not make be believed in their own time; except by a small number of imbecile people, incapable of reasoning, fond of the marvellous, and of too limited understandings to escape the snares laid for their simplicity.
 * Ecce Homo
 * The mere reading of the life of Jesus, as we have represented it according to documents which Christians consider inspired, must be sufficient to undeceive every thinking being. But it is the property of superstition to prevent thinking: it benumbs the soul, confounds the reason, perverts the judgment, renders doubtful the most obvious truths, and makes a merit with its slaves of despising inquiry, and of relying on the word of those who govern them.
 * Ecce Homo
 * Men are naturally disposed to listen to, and believe those who make them hope for an end to their miseries. Misfortunes render them timorous and credulous, and lead them to superstition. A fanatic easily makes conquests among a wretched people. It is not then wonderful that Jesus should soon acquire partizans, especially among the populace who in every country are easily seduced.
 * Ecce Homo
 * Our hero knew the weakness of his fellow-citizens. They wanted prodigies, and he, in their eyes, performed them. A stupid people, totally strangers to the natural sciences, to medicine, or to the resources of artifice, easily mistook very simple operations for miracles, and attributed effects to the finger of God which might be owing to the knowledge Jesus had acquired during the long interval that preceded his mission. Nothing is more common than the combination of enthusiasm and imposture; the most sincere devotees, when they intend to advance what they believe to be the word of God, often countenance frauds which they style pious. There are but few zealots who do not even think crimes allowable when the interests of religion are concerned. In religion, as at play, one begins with being dupe, and ends with being knave.
 * Ecce Homo

Quotes about d'Holbach

 * Doubt is not a pleasant condition, but certainty is an absurd one. What is most repellent in the System of Nature — after the recipe for making eels from flour — is the audacity with which it decides that there is no God, without even having tried to prove the impossibility. If God did not exist, he would have to be invented. But all nature cries aloud that he does exist: that there is a supreme intelligence, an immense power, an admirable order, and everything teaches us our own dependence on it.
 * Voltaire, in his Letter to Prince Frederick William of Prussia (28 November 1770)

 * It is very strange that men should deny a Creator and yet attribute to themselves the power of creating eels.
 * Voltaire, Philosophic Dictionary

title: Baron d'Holbach


text:
User:LegitimateAndEvenCompelling

US v. ALA: "The interest in protecting young library users from material inappropriate for minors is legitimate, and even compelling, as all Members of the Court appear to agree."

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

title: User:LegitimateAndEvenCompelling


text:
The Secret Show

The Secret Show is an animated show commissioned by BBC Children's in partnership with BBC Worldwide. First debuted in 2006, it currently airs on CBBC and BBC One.

Taglines

 * A secret show about secret people doing secret things.

Characters

 * For reasons of security my name is changed daily...
 * Leader of U.Z.Z. (most often called "Changed Daily"). Typically followed by "Today you may call me..." "Changed Daily" names:
 * Hunda Von Lampgurgle
 * Flobber Wobber Bobber Bobber Bobber Bobber
 * Cheeky Chops
 * Mummy Dearest
 * Broccoli Spears
 * Squeaky Fritter
 * Chuckle Bottie
 * Foo Foo Flubber Faucet
 * Princess Dainty Cakes
 * Silly Lily Longbottom
 * Timmy’s Cheeky Chipmunk
 * Snortington Fairy Shoes
 * Spicy Onion Dip
 * Nibbly Nobbly Knock Knees
 * Nincy Nancy La La
 * Rock Justice
 * Englebert Humperdinck
 * Bubbles Kissycuddles
 * Pooky Wooky
 * Yummy Yummy Says My Tummy
 * Stinkey Winkey
 * Patty Cake
 * Peek A Boo
 * Wibbly Woobly Bobbly
 * Pineapple Chunks
 * Dibby Dibby Dibby Dobs
 * Polly Wolly Dolly
 * Kimberly Bimberly
 * Warty Fingleblaster
 * Pongo Piffle Pores
 * Lamby Wambykins
 * Oinky Doinky
 * Mimsy Woo Woo

Website toons

 * Quotes of animations and voices at the The Secret Show™ official website

 * Hello you cutesy, wootsy, squiggly, bunny friends! Sweet Little Granny here. Welcome to the Fluffy Bunny Show. Shall we sing our song?
 * "Sweet Little Granny"

 * Fluffy fluffy bunnies bouncing in the wood. Fluffy fluffy bunnies bouncing as they should...
 * "Sweet Little Granny"

 * Positive I.D. on the granny. Over. Copy that. Prepare to clear this time slot. Over Bunny baggers stand by!
 * Secret Agent voices

 * Code Custard! Code Custard! The Martians are inside the website! Run! Run! Run as fast as you can!
 * Professor Professor

 * Anita! The martians have gotten into the website. Clear the area!
 * Victor Volt

 * Who put a martian option there in the first place?
 * Anita Knight

 * T.H.E.M want YOU!
 * Animated T.H.E.M. recruitment e-cards

 * U.Z.Z. The only thing missing is U — Join now!
 * Animated U.Z.Z. recruitment e-cards

Quotes and catchprases
Professor Professor: Victor! are you still alive?

Victor: [Irritated] Yes, I'm still alive!

Quotes about The Secret Show

 * "The Secret Show" takes its cue from those classic ITC spy series of the sixties. It's "Mission:Impossible" meets "Austin Powers", "Danger Man" and "The Avengers" and a bit of "Monty Python" to boot. The show is positively overflowing with enthusiasm, effervescent humour, enraged enemies, and fluffy pink bunny rabbits.
 * Review at Toonhound.com

 * The series (a British import) chronicles the unyielding battle between a covert agency called U.Z.Z. (the good guys) and ultra-secret T.H.E.M. (The Horrible Evil Menace), a group striving to — what else? — take over the world. U.Z.Z. special agents Victor Volt (voiced by Alan Marriott) and Anita Knight (Kate Harbour) are the dauntless hero and heroine who manage time and again to outsmart the sly bad guys.
 * Review by Emily Ashby at CommonseMedia.org

title: The Secret Show


text:
Talk:John Betjeman

Quotes reduced
His poems are still in copyright. There needs to be minimum use in order to claim fair use. It was excessive - Licorice Fields at Pontefract was used in its entirety. This is not acceptable. In Ireland with Emily also had excess quotes and I have removed it, as it is not his best known poem. There are others more deserving. Withdrawn per Invisible Sun below. Substitute reason: "professionalism in editing: brevity whenever possible; choosing the pithy over the banal; and so on." Tyrenius 14:39, 24 January 2007 (UTC) Tyrenius 03:37, 24 January 2007 (UTC)
 * I'm going to have to object very strongly to some of the assumptions being made here. I don't have a problem with differences over how much of a poem can be kept for copyright considerations, although there's never yet been a consensus on how much or how little of a poem can be retained. Generally speaking, the shorter a poem is the harder it is to make cuts without spoiling it entirely.  Nevertheless, it's better to err on the side of caution; and we are inclined to accept any objections made on that basis. On the other hand, Wikiquote doesn't restrict itself to a "familiar quotations" premise.  Editors have the option of personal preference; it could even be said to be encouraged to a great extent and is part of what makes our project distinctive.  The requirement of notability refers to the person being quoted; it does not mean selecting only the better-known quotations. We're not here simply to be another Bartlett's or Oxford, as there's little purpose or achievement in  doing what others have already done. There's even less purpose in any one person as arbiter over what is "best known" or most "deserving." Our standards are not encyclopedic in the same way as those of Wikipedia. We include, of course, what most people coming here would be entitled to expect when they look up someone's sayings; but it's not as if any one person can say "Most people are not all that familiar with this one, or that one, or that one; so I'll strike them."  What you would end up with, based on such arbitrary restrictions, is people objecting to what they don't know already, for that is in effect what is meant when people decide on what the public supposedly knows or wants or accepts.  It would be hard, I think, to conceive of a more debilitating or even fatuous standard of selection. It would be just as plausible, and a good deal more generous, to argue that people, when asked why they read quotations, would answer that they are looking for the surprise and stimulation of finding something new among the familiar. There are not, in essence, all that many reasons for removing a quotation from a Wikiquote page.  Those reasons, generally speaking, are: vandalism; quotes that have been plausibly shown to be false or misleading out of context; representing one particular facet of a notable person at the expense of the entire article; copyright problems; bad translations; repetitiousness; "editorial" comments; proselytizing; etc.  There are also some general standards for professionalism in editing: brevity whenever possible; choosing the pithy over the banal; and so on.  We 're willing to remove a page of nothing more than inane or trivial quotes, but otherwise we're far more willing to give the benefit of the doubt. Our overall standard for quotations is accuracy; so long as it can be demonstrated that a quotation is real, then it is valid in spite of anyone else who might say "I don't think it's all that deserving.  I don't find it encyclopedic.  I would have made other choices." These are not in themselves grounds for removal. We are determined to ward off the curse of Wikipedia, the edit wars that begin when someone decides he knows better than others what gets to be included. It's one of the reasons we're striving to find our way here, since Wikimedia guidelines offer only a partial guidance for our daily tasks, our practices, our principles. We give a good deal more leeway to inclusion, finding it ultimately the wiser choice in spite of all the usual objections.  We would rather be too indulgent on the choices of quotations than to reject them because they would not be suitable for Wikipedia or for standard books of quotations. - InvisibleSun 06:43, 24 January 2007 (UTC)

This article had severe copyright problems. The entire poem of "Licorice Fields at Pontefract" was used. I also consider the shape of the article was distorted by a hefty quote from "In Ireland with Emily". I take your point about the differences from Wiki and am glad that there can be room for some individual flair in the exploration of quotations. I shall certainly bear that in mind in future.

But as well as additions, there surely has to be room for subtractions from an overview of the subject. Otherwise, what you are effectively saying is that we can keep on adding, but not removing. It's sort of "first come first served", and then what's there stays untouched, but more can be piled on. An article then gets bulkier and bulkier, which makes it harder to read and understand, as well as breaching copyright fair use. T.S. Eliot is a case in point, where it is not so much the selection of quotations as condensing of poems into mini versions of them. Quotes should be particular notable lines and short sequences, not large excerpts of favourite passages. If so much is included that it effectively replaces the original (like a Reader's Digest version) then it is blatantly violating copyright. Addition without subtraction will inevitably lead to this.

An editor's job is to reduce as well as to increase for another reason also, because an editor's job is not just to see quotes in isolation but also to form an overall shape to the article, so that quotes sit appropriately with each other in balance.

I quite agree with you about edit wars, and have never indulged in them. Had my changes been reverted in entirety, then I would not have reverted them in return, but discussed. I have no objection to some of my revisions being undone. I think through this process of collaborative work there emerges a better synthesis. Although wiki edit wars are a nightmare, I have nevertheless observed that the final result ends up superior to the starting point. Making changes is a means of discussion. Is there anything in particular that you think should not have been changed? If so, the process of a Wiki allows things to be replaced very easily. I see this form of interchange as a desirable collaboration to work through thesis and antithesis to a synthesis. It does not have to be a war. I am not saying, "I am right and anything else is wrong". I'm saying, "These are my thoughts - what are yours? We can learn from each other to a position neither of us would reach in isolation."

Tyrenius 14:39, 24 January 2007 (UTC)

 * As mentioned before, I don't have a problem with the reductions for copyright concerns. When I turned what was a stub article for Betjeman into a larger one, I used quotes from half a dozen of his works.  For this reason I would still argue that the quotes were not a copyright problem: they were scattered quite sufficiently thin for fair use.  An  IP editor then added the Pontefract poem, which I must confess I neglected to look up online to see how much was being quoted. The problem with books of poetry, of course, is the inevitable "Collected Works" tome, in which previous volumes are now one book and could therefore bring up copyright concerns all over again. I would like to go over and discuss the revisions I'd suggest regarding your edit; but before doing that, I thought it might be better at first to deal with larger questions raised here. You expressed a certain incredulity at the notion of Wikiquote pages being merely cumulative, without a balancing principle of shaping or controlling. I'm afraid, then, to have to strain your incredulity further: but no, we don't yet really have any such practice, however much we would prefer it to be otherwise.  We all tend, of course, to have a personal interest in certain genres, which we look to in particular and work on more intensively.  Essentially, this is still the collecting phase of Wikiquote.  The average contributor is here for one purpose only: to add quotations.  He couldn't care less about the development of a readable article — or even basic editing skills, for that matter. There are precious few people, whether sysops or others, to try and manage things; and we spend most of our time dealing only with the basics of patrolling, reformatting, organizing, sourcing, working on projects, etc. The problem, as I'm able to see it, is that there is no real Wikiquote equivalent to the Wikipedia concept of a page which forms a narrative.  A narrative needs shaping, weighing, trimming to create a coherent story. By comparison, a Wikiquote article is a storehouse of quotes.  We arrange things according to a few basic guidelines: chronology, sourced vs. unsourced and so on.  We have no concept, however, let alone any practice, of weeding and tossing out quotes because a page would be better without them.  It shouldn't be so, you would say, and maybe one day it might all be different. But as of now, the only trimming and deletions we make are for much more rudimentary concerns.  We deal with the vandals and hoaxers.  We vote throw out some unnotable or ill-conceived pages. We mark pages for potential copyright problems. We deal, as best we can, with obsessives, the ones who would treat articles as if they owned them (not always successfully — check out the Anthony Burgess page, a little fiefdom if ever there was one). You're right to be concerned about the ghastliness of bloat: it makes for unreadable pages, not to mention other concerns.  Take Henry David Thoreau, for example.  No copyright concerns: and what is the result?  A page so gargantuan it had to be made into two, one for Thoreau and one for Walden.  Did it solve the problem?  Of course not.  Now there are two unwieldy pages — and so it goes. - InvisibleSun 17:40, 24 January 2007 (UTC)

Obviously I'm new here, so I hope I'm not causing too many waves. I now understand some of the difficulties and scarcity of editors etc. I'm trying to gauge consensus - but one of the quickest ways is obviously to be bold! I see that you are not generally going for overall article shape, but as it is something eventually desirable, surely there is no problem if an editor wants to start paying attention to that aspect (It's second nature for me...)? It's also fairly instinctive to try to extract the essential, key, memorabe text (i.e. "a quote") and excise that which pads it. I'm not going on a one man crusade, but I'd like to know community response and if I need to amend my approach. I might also point out at this stage that I see bold text as lack of editorial precision. If something is more important and needs to stand out, then that is "the quote", and the non-bold text should not be there. As it is, the bold looks ugly and is not a good relationship with the reader, as it is an instruction which interrupts the flow of easy reading. I've reinstated some of "Emily in Ireland". To me, this is the optimum passage. Tyrenius 19:02, 24 January 2007 (UTC)

I think quoting the entire copyright poem can be copyright infringement in some jurisdiction. At least in Japan so. Waka, 31 syllable poems, are such; if you quote it not in a critical writings but only to say "I love it", without explicit permission of the copyright holder, in Japanese jurisdiction it violates the copyright. That is why Japanese Wikiquote bans all copyrighted materials ... it is alike fair use in my understanding. I don't know what the US Court has said, but in my understanding to quote the whole work without clear necessity isn't within the scope of fair use. --Aphaia 16:24, 1 February 2007 (UTC)
 * It's a good point about not just familiar quotations. I shall certainly aspire to find the memorable but unfamiliar.--Poetlister 22:56, 13 February 2007 (UTC)

title: Talk:John Betjeman


text:
Adrian Henri

Adrian Henri (10 April 1932 – 21 December 2000) was an English poet and painter from Liverpool, best known as one of three poets in the best-selling anthology The Mersey Sound. (The other two were Brian Patten and Roger McGough.) They became known during the 1960s as part of the boom for the city brought about by The Beatles.

Quotes

 * Tonight at noon Supermarkets will advertise 3d EXTRA on everything
 * "Tonight at Noon", from The Mersey Sound (1967).

 * You will tell me you love me Tonight at noon.
 * "Tonight at Noon", from The Mersey Sound (1967).

 * This is the morning that we burnt a cardboard hat
 * "The Blazing Hat, Part Two", from The Mersey Sound (1967).

 * Well I woke up this mornin' it was Christmas Day And the birds were singing the night away I saw my stocking lying on the chair Looked right to the bottom but you weren't there
 * "Adrian Henri's Talking After Christmas Blues", from The Mersey Sound (1967).

 * Love is feeling cold in the back of vans Love is a fanclub with only two fans
 * "Love Is ...", from The Mersey Sound (1967).

 * Without you ghost ferries would cross the Mersey manned by skeleton crews
 * "Without You", from The Mersey Sound (1967).

 * Prostitutes in the snow in Canning Street like strange erotic snowmen
 * "Liverpool Poems", from The Mersey Sound (1967).

 * The daughters of Albion taking the dawn ferry to tomorrow worrying about what happened worrying about what hasn't happened lacing up blue sneakers over brown ankles fastening up brown stockings to blue suspenderbelts
 * "Mrs Albion You've Got a Lovely Daughter", from The Mersey Sound (1967).

 * GUIN GUINN GUINNESS IS white bird lying unnoticed in a corner splattered feathers blood running merged with the neonsigns in a puddle GUINNESS IS GOOD GUINNESS IS GOOD FOR Masks  Masks   Masks   Masks   Masks GUINNESS IS GOOD FOR YOU
 * "The Entry of Christ into Liverpool", from British Poetry since 1945 (1970), Ed. Edward Lucie-Smith.

title: Adrian Henri


text:
Tom Lantos

Thomas Peter Lantos (born Tamás Péter Lantos; February 1, 1928 – February 11, 2008) was a Holocaust survivor and American politician who served as a U.S. representative from California from 1981 until his death in 2008. A member of the Democratic Party, he represented the state's 11th congressional district until 1993 and from then the 12th congressional district, which both included the northern two-thirds of San Mateo County and a portion of the southwestern part of San Francisco after redistricting.

Quotes

 * Mr. Speaker, I would like to ask for a moment of silence here in this chamber to remember our fallen colleague, my predecessor representing the San Francisco Peninsula in Congress, Leo Ryan, and to honor his work for justice and human rights.
 * "Congressman Tom Lantos' Remarks on the 25th Anniversary of the Tragedy at Jonestown and the Death of Congressman Leo Ryan," United States Congressional Record (2003-11-17)

title: Tom Lantos


text:
User talk:75.71.158.80

- InvisibleSun 07:44, 24 January 2007 (UTC)

title: User talk:75.71.158.80


text:
Kurt Schwitters

Kurt Schwitters (June 20, 1887 – January 8, 1948) was a German painter who played an important role in Dada. He worked in several genres and media, including Dadaism, Constructivism, Surrealism, poetry, sound, painting, collage, sculpture, typography and what came to be known as installation art.

Quotes of Kurt Schwitters

 * sorted chronologically, after date of the quotes of Kurt Schwitters

1910s
[Schwitters is introducing himself to the Dadaist Hans Richter in Zurich, c. 1916]
 * My name is Schwitters, Kurt Schwitters.. .I'm a painter and I nail my pictures..  .I'd like to be accepted into the Dada Club
 * Quote in his letter to Hans Richter, c. 1916; as quoted in 'Hannover-Dada' by Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 151

 * Merz art strives for immediate expression by shortening the path from intuition to visual manifestation of the artwork.. ..they will receive my new work as they always have when something new presents itself: with indignation and screams of scorn.
 * In: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

 * Merz paintings are abstract works of art. The word 'Merz' essentially means the totality of all imaginable materials that can be used for artistic purposes and technically the principle that all of these individual materials have equal value. Merz art makes use not just of paint and canvas, brush and palette, but all the materials visible to the eye and all tools needed.. ..the wheel off a pram, wire mesh, string and cotton balls – these are factors of equal value to paints. The artist creates by choosing, distributing and reshaping the materials.
 * In: 'Merz Painting' (1919); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 91.

1920s

 * Merz stands for the freedom of all fetters.. .Merz also means tolerance towards any artistically motivated limitation. Every artist must be allowed to mould a picture out of nothing but blotting paper, for example, provided he is capable of moulding a picture.
 * In: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973–1981, Vol. 5 p. 77.

 * In his introduction to the recently published 'Dada Almanach' [1920], Huelsenbeck writes: 'Dada is making a kind of propaganda against culture'. Thus Huelsendadaismus is politically oriented, against art and against culture. I am tolerant and allow everyone his own view of the world, but am compelled to state that such an outlook is alien to Merz. Merz aims, as a matter of principle, only at art, because no man can serve two masters.. .. Merz energetically and as a matter of principle rejects Herr Huelsenbeck's inconsequential and dilettantish views on art.
 * In: 'Merz. Für den Ararat geschrieben' (1920); as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 40, note 16

 * The medium is as unimportant as I myself. Essential is only the forming.. .I take any material whatsoever if the picture demands it. When I adjust materials of different kinds to one another, I have taken a step in advance of mere oil painting, for in addition to playing off color against color, line against line, form against form etc., I play off material against material, wood against sack clothes.
 * Schwitters (1921) in: Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 68-69.

 * We, the founders of Dada-movement try to give time its own reflection in the mirror.
 * In first edition of the journal Merz, 1923.

 * Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie.
 * Manifesto Proletkult, 1923
 * Schwitters, in discussion with political Dadaists as Huelsenbeck.

 * Today every child knows what Merz is. But what is 'i'? I is the middle vowel of the alphabet and the designation for the consequence of Merz in relation to an intensive apprehension of the art form. For the shaping of the work of art Merz uses large ready-made complexes that count as material, to shorten as much as possible the path leading from the intuition to the actualization (Sichtbarmachung) of the artistic idea, so as to avoid heat loss through friction. i defines this path as o (i setzt diesen Weg = null). Idea, material, and work of art are the same. i apprehends the work of art in nature. Here the artistic shaping is the recognition of rhythm and expression in a part of nature. Thus, no loss through friction i.e., no disturbing distraction during creation occurs here.
 * In: the article 'i ein Manifest' (or 'i-manifest'), Kurt Schwitters, in Merz 2. 1923; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 116
 * Kurt Schwitters is the inventor of Merz and I, and aside of himself, he recognizes no one as a Merz artist or an I artist with highest regards.
 * In: 'Die Blume Anna', a poem of Kurt Schwitters, published in 'Consistent Poetry Art' contribution to 'Magazine G', No. 3, ed. Hans Richter, 1924

 * Classical poetry counts on people's similarity. It regards idea associations as unequivocal. This is a mistake. In any case, it rests on a fulcrum of idea associations: 'Above the peaks is peace.'.. .The poet counts on poetic feelings. And what is a poetic feeling? The whole poetry of peace / quiet stands or falls on the reader's ability to feel. Words are not judged here.
 * In: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, (commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam), NAI Publishers, Rotterdam 2000, p. 151.

 * Consistent poetry is made of letters. Letters have no idea. Letters as such have no sound, they offer only tonal possibilities, to be valuated by the performer. The consistent poem weighs the value of both letters and groups.
 * In: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

 * It is not the word that is the original material of poetry, rather the letter.
 * Word is:
 * 1. Composition of letters
 * 2. Sounds
 * 3. Description (meaning)
 * 4. Vehicle for idea associations
 * Art is uninterpretable, unending; material must be unequivocal in a consistent formation.
 * In: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

 * I cannot make a living out of art and I now occupy myself with a variety of things. Of course, I continue to paint and to nail, but in particular I write grotesques and art reviews for newspapers, I organize evenings [a.o. with Theo van Doesburg ] and draw commercial art for newspapers.
 * In a letter to Galka Scheyer, January 1926; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 34.

 * Just as soon as the great and glorious Revolution broke out [1918 - after World War 1.] I gave notice and now live entirely for art. For a while, I tried to create new forms of art from the remains of the old culture. From this Merz painting emerged, painting that happily used every material – Pelikan [was a famous ink mark, then] colors or the rubbish from the rubbish heap. So I experienced the Revolution in the most delightful way and pass for a Dadaist, without being one. As a result, I could introduce Dadaism in Holland [together with Theo van Doesburg and his wife Nele] with complete impartiality. In Holland I became familiar with architecture for the first time.
 * In his 'Autobiography of Kurt Schwitters' (6 June 1926), sent to Hans Hilderbrandt; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, NAI Publishers, Rotterdam 2000, p. 92.

 * Eternity last longest.
 * As quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, 1 Apr 2000, p. 75, note 69

'Huelsendada', Kurt Schwitters, 1920
'''Quotes from: 'Huelsendada', 1920 by Kurt Schwitters, transl. & ed. by Colin Morton, 1987'''

 * So, Huelsenbeck has put our feud in print -- HA HA So he sneers at my bourgeois home -- my child who cries, who has to be changed and fed So he laughs at my solid wife -- that she's no Anna Bloom...

 * Well, art is not communist -- not bourgeois either It's no club and has no party line Not wild nights make an artist -- not drugs or manifestos It's art -- HA HA -- that's no secret The one who makes art -- he's the artist..

 * So I spit back at you, Huelsenbeck But where you spit venom, I spit art I laugh at you -- HA HA -- I laugh at you

1930s

 * In the war [World War 1.] things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready.. .I felt myself freed and had to shout my jubilation out to the world. Out of parsimony I took what I could find to do this, because we were now an impoverished country. One can even shout with refuse, and this is what I did, nailing and gluing it [gluing his collage art] together. I called it 'Merz'; it was a prayer about the victorious end of the war, victorious as once again peace had won in the end; everything had broken down in any case and new things had to be made out of the fragments; and this is Merz. [quote, 1930]
 * As quoted in Kurt Schwitters, das literarische Werk, ed. Friedhelm Lach, Dumont Cologne, 1973 – 1981, Vol. 5, p. 335.

 * I know that I am an important factor in the development of art and shall forever remain so. I say this with great emphasis, so that one can not say, at a later date: 'The poor fellow had no inkling of how important he was'. No I am no fool, nor am I timid. I know full well that the time will come for me and all other important personalities of the abstract movement, when we will influence an entire generation. However, I fear that I shall not experience this.
 * In: 'I and my purpose', in the journal 'Merz', no. 21, (1931)

 * Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty.. .I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German..  .What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?
 * In a letter to Galka Scheyer, 24 July 1937; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.

 * The custom official was desperate, he did not know whether they were pictures, wood ware or even arms [about his abstract collage art, Schwitters exported to France in 1939]. I got the impression he had an inner struggle with two options, either to have me arrested or to call the lunatic asylum. Finally he did not want to make a fool of himself, and accepted they were paintings, especially because another customs official knew me personally and confirmed that I was an artist.
 * In a letter to Henriette Schwitters, (16 June 1939); as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, p. 41.

'UrSonate', Kurt Schwitters, 1932
'Quotes from: 'UrSonate' (Sonata in Primitive and Original Sounds), Kurt Schwitters, 1932; excerpt is taken from Das literarische Werk'', ed. Friedhelm Lach, Vol. 1. 'Lyrik'; publ. DuMont Buchverlag, Köln & Kurt und Ernst Schwitters Stiftung, Hannover, 1973'''

introduction
 * Fümms bö wö tää zää Uu, pögiff, Kwii Ee.

 * Oooooooooooooooooooooooo,

 * dll rrrrr beeeee bö dll rrrrr beeeee bö fümms bö, rrrrr beeeee bö fümms bö wö, beeeee bö fümms bö wö tää, bö fümms bö wö tää zää, fümms bö wö tää zää Uu:

primera parte
 * Fümms bö wö tää zää Uu, pögiff, Kwii Ee.
 * - theme 1

 * Dedesnn nn rrrrr, Ii Ee, mpiff tillff too, tillll, Jüü Kaa?
 * - theme 2

 * Rinnzekete bee bee nnz krr müü? ziiuu ennze, ziiuu rinnzkrrmüü, rakete bee bee,
 * - theme 3

 * Rrummpff tillff toooo?
 * - theme 4

I is Style (2000)

 * Quotes of Kurt Schwitters, from: I is Style, (2000) ed. Siegfried Gohr & Gunda Luyken, (commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam), NAI Publishers, Rotterdam 2000

 * A museum that really wants to promote modern art might give the artist a guaranty, on certain conditions, so that he can get on with his life and his creations. Or do you believe that the museum is more interested in the artist's death, in order to see the price of his paintings go up?
 * p. 45 : in a letter (11 November 1940) to Käthe Steinitz, sent from the internment camp on Isle of Man, England.

 * Please help me, in order to get us invited [to the United States]. Helma [his wife] will then come later and I will work there and soon pay back the people who lend me the money. But finally I must get out of this internment [because the English mistrusted Schwitters, being a German] and further away from Norway, I want to be with all of you. Please get it done quickly and write to me about the outcome. Maybe my art is in danger and I, of course, with it. At last I would like to work on my abstracts again and find appreciation for them. Who knows what will happen?
 * p. 46 : in a letter (22 October 1941) to Käthe Steinitz, written from the internment camp on Isle of Man, England.

 * I was thrilled, and I mean really thrilled, when I read that parts of the Merzbau could still be buried under the ruins. Whatever the circumstances. I will try and come to Hannover to salvage it.. ..wait until I arrive, for the Merzbau is made of plaster of Paris and could easily be damaged. However by working slowly I am sure I can save parts. And it is certainly worth it, because it [his 'Merzbau'] is my life's work. And in the opinion of people abroad it was seen as a new form of art.
 * p. 47 : in a letter to Käthe Steinitz (24 June 1945)

 * In Hanover I built, before Hitler's time, a studio called Merzbau. This has been reproduced very much, also in the book 'Dada, Surrealism, Fantastic Art' of the Museum of Modern Art N.Y. I would like to go to Germany for restoring the Merzbau.. .Could I come with you to an agreement that you give me for this purpose some money? For example that I give you some pictures for the money and use it for restoring the studio..  .Or would you prefer that you own with me half and half?..
 * p. 48 : in a letter (30 April 1946) to Oliver Kaufmann, (department of Painting and Sculpture of the MOMA, New York).

 * Since the loss of the Merzbau [his former studio in Hannover, which was a big sculpture (5 x 4 x 4,5 meters) I did a lot of small sculptures..
 * p. 48 : in a letter to Edgar Kaufmann, 16 July 1946

 * I have two principle aims, two life works. The second is my sonata [Schwitters' 'UrSonata' - a long sound poem of 35 minutes]
 * p. 48 : quoted by Margareth Miller to Oliver Kaufmann [the first principle aim is his Merzbau]

 * When I was born 20.6.[18]87, I was influenced by Picasso to cry. When I could walk and speak I still stood under Picasso's influence and said to my mother: 'Tom' or 'Happening', meaning the entrances of the canal under the street. My lyrical time was when I lived in the Violet Street. I never saw a violet. That was my influence by Matisse because when he painted rose I did not paint violet. As a boy of ten I stood under Mondrian's influence and built little houses with little bricks. Afterwards I stood under the influence of the Surrealists.. .I never stood under the influence of Dadaism because whereas the Dadaist created Spiegel-dadaismus (Mirror-Dada) on the Zurich Lake, I created MERZ on the Leine-river, under the influence of Rembrandt. Time went on, and when Hans Arp made concrete Art, I stayed Abstract. Now I do concrete Art, and Marcel Duchamp went over to the Surrealists..  ..and at all I have much fun about Art.
 * p. 100 : in 'My art and My live' (1940 – 1946), Kurt Schwitters.

 * One needs a medium. The best is, one is his own medium. But don't be serious because seriousness belongs to a passed time. This medium, called you yourself will tell you to take absolutely the wrong material. That is very good, because only the wrong material used in the wrong way, will give the right picture, when you look at it from the right angle. Or the wrong angle. That leads us to the new ism: Anglism. The first art starting from England [the country of Schwitters' forced stay, when he wrote this quote], except the former shapes of art.
 * pp. 100-101 : in: 'That is my confession I have to make MERZ' (1940 – 1946), Kurt Schwitters.

Quotes about Kurt Schwitters

 * sorted chronologically, by date of the quotes about Kurt Schwitters

 * Dada rejects emphatically and as a matter of principle works like the famous 'Anna Blume' [poem, published in 1919] of Kurt Schwitters
 * Richard Huelsenbeck, in the 'Introduction' of 'Dada Almanac 1920'; as quoted in Kurt Schwitters Merzbau: The Cathedral of Erotic Misery, by Elizabeth Burns Gamard, Princeton Architectural Press, New York, 2000, p. 40, note 16

 * Whatever became of Kurt Schwitters' novel Franz Müllers Drahtfrühling (Franz Müller's Wire Spring), several chapters of which we composed together? Is it buried under the bomb ruins of his house on Waldhausenstrasse in Hannover? For hours, Schwitters and I [Hans Arp] sat together and spun dialogue, in rhapsody. He took these writings and channeled them into his novel.. .We sat together again, writing Franz Müllers Drahtfrühling:
 * Hans Arp: The nightingales have had enough of your hymnal Karagösen. Play violin on parrots, but avoid the women red hood ans snow widow.
 * Kurt Schwitters: Should I pe-trify something for you? Or would you like play cry together?
 * H. A.: Should we wash our tears or drown them?
 * K. Schw.: You are a sipsnipper, Since when do your diamonds bark?
 * H. A.: The water is getting hard. A fruit cries out loud and gives birth to a fish.
 * K. Schw.: I'll p-ut it in the sea, or should I st-ab you with it?
 * Jean Arp, a dialogue with Kurt Schwitters (1956), introduction in: Franz Müllers Drahtfrühling -- Memories of Kurt Schwitters: ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam, NAI Publishers, Rotterdam 2000, pp. 139-140

 * Then we went down to his work room, in the horrible beautiful Merz grotto [Merz-Haus / MerzBau, built by Schwitters in Hannover as his studio], where broken wheels paired with matchboxes, wire lattices with brushes without bristles, rusted wheels with curious Merz cucumbers.. .How often did we 'p-lay' in this room! Schwitters called playing, considering the sweat, working. There we glued [collages] together our paper pictures, and as I tossed away one of my glued-together works one morning, Schwitters asked, 'You don't like it? Can I have it?' – 'What do you want with this failed piece of toast?' Schwitters took a good look at it and said, 'I'll put what's on top on the bottom, I'll stick a little Merz nose in this corner and I'’ll sign the bottom Kurt Schwitters.' And, yes indeed, this collage became a wonderful picture by Kurt Schwitters. Schwitters was a wizard, just as Hokusai was a wizard.
 * Hans Arp, his quote in Franz Müllers Drahtfrühling – Memories of Kurt Schwitters, Hans Arp 1956; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, Stedelijk Museum Amsterdam - NAI Publishers, Rotterdam 2000, pp. 140-141

 * It needs a poet like Schwitters to show us that unobserved elements of beauty are strewn and spread all around us and we can find them everywhere in the portentous as well as in the insignificant, if only we care to look, to choose and to fit them into a comely order.
 * Naum Gabo cited in: Andrew Lambirth (2013) "Finding beauty in junk" in: The Spectator 9 February 2013.

 * One of my first sculptures was made of bicycle parts. I was living at that time in a attic in the red light section of Amsterdam. I started to work without any specific materials. I was looking in the street, like when I was a young boy, in the garbage cans, for ropes, wires, and paint. I left my parents in 1940. Years later I saw an exhibition of Kurt Schwitters at the Stedelijk Museum in Amsterdam curated by Willem Sandberg and there I saw the real 'objet trouvé'; until then I had never heard about it. Schwitters was a shattering experience.
 * Karel Appel, as quoted in ‘Karel Appel – the complete sculptures’, eds. Harry de Visser / Roland Hagenberg, Edition Lafayette, New York 1990, p. 79

title: Kurt Schwitters


text:
Ben Nicholson

Ben Nicholson OM (April 10, 1894 – February 6, 1982) was an English abstract painter. His father was the painter Sir William Nicholson and his sister was Nancy Nicholson.

Quotes

 * The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.
 * "Notes on Abstract Art" in Herbert Read's Ben Nicholson: Paintings, Reliefs, Drawings (London, 1948)

title: Ben Nicholson


text:
Max Pechstein

Max Hermann Pechstein (December 31, 1881 – June 29, 1955) was a German Expressionist painter and graphic artist, born in Zwickau; as young artist he became a member of the artist-group Die Brücke.

Quotes

 * I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition.. .I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey..  .I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel..  ..joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.
 * Expressionism, ; Praeger Publishers, New York, 1973, p. 32-33

 * We [the artists of Die Brücke ] were overjoyed to discover our complete unison in the urge for liberation, for an art surging forward, unrestricted by convention.
 * from a note of Pechstein; as quoted in Expressionism, a German Intuition, 1905-1920, [exhibition-catalogue 1980-81]; Paul Vogt, Horts Keller, Martin Urban, Wolf-Dieter Dube, and Eberhard Roters; Solomon R. Guggenheim Foundation, 1980, p. 5

 * Now I drew as wildly during my tramps [during his walks through the Saxonian countryside] as I has fought before. [in his early youth]
 * As quoted in German Expressionist Painting, Peter Selz, University of California Press, 1974, p. 90

 * We desire to achieve to the socialist republic not only the recovery of the conditions of art, but also the beginning of a unified artistic area for our time.
 * As quoted in German Expressionist Painting, Peter Selz, University of California Press, 1974, p. 313
 * Pechstein and others initiated in Nov. 1918 in Berlin the Novembergruppe, a socialist artist-group, competing then with Die Brücke

 * A new day. Calm as seldom the beginning of such a one. Did I dream? No! Dream and contented pure was the night..
 * It is the sure certainty of having found unity with nature, this calm causes one of the strongest experiences.
 * Man, air, trees, world are laid bare and are one!
 * Contented sleep releases the limbs. We await full moon. Await the dance!
 * 4 short quotes of Max Pechstein, 1918, in Aus dem Palau-Tagebuch, 'Das Kunstblatt' 2, no. 6, p. 179; as cited 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. 43

 * In 1907 I was most strongly influenced by Giotto during my first Italian trip, as well as by Etruscan sculpture and the early Etruscan landscape painting in the Vatican library in Rome.
 * In his letter in 1920, to ; as quoted in ''Georg Biermann - Max Pechstein, Leipzig 1920, p. 14
 * Pechstein answers Biermann's question: 'which 'primitives' had influenced him in his early painting style'

 * What a variety of shapes exists in the lithograph when one prepares the stone for printing, etches it, and prints oneself. Above all, one must do the printing oneself!
 * quote, c. 1920; in Buchheim, Künstlergemeinschaft Brücke, p. 303; as cited 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. 40-41

 * It was and still is fundamental: to begin the work with the same tools with which it will be ended, without making a preliminary drawing. on the wood, stone, or metal. Sketches and drawings done in advance clarify the intention, and with it ready in the head, the requisite tool realizes the idea.
 * Buchheim, Künstlergemeinschaft Brücke, p. 304; 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. 54

 * When we met in Berlin [1910], I arranged with Heckel and Kirchner that the three of us would go and work together on the lakes of Moritzburg near Dresden. We had long been familiar with the region, and we knew that we would have the opportunity tp paint nudes in the open air without interference.. .We had to find two or three people who were not professional models and would therefore pose for us without falling into studio routines..  ..we artists set out early every morning, laden with our equipment, followed by the models with bags full of good things toe at and drink. We lived in complete harmony, we worked and went swimming..  ..each of us [three] executed a great number of paintings and drawings.
 * Pechstein is recalling the Summer of 1910; as quoted in Expressionism, Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 30

 * ..the unrelenting Berlin forced each one of us to struggle through on the most individual paths, so that our communal living [of 'Brücke', in 1913] fell apart. In addition, the knowledge of the individual members had developed so far that the individual form differed, although the overall goal of the group remained the same.
 * a later quote of Pechstein; as quoted in Brücke und Berlin: 100 Jahre Expressionismus, ed. Anita Beloubek-Hammer; Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 266 (transl. Claire Albiez)
 * about the cause of the break-up of Die Brücke group in 1913: the harsh city-life of Berlin. Pechstein himself already was removed from the Brücke group in 1912 (one year before the definite break) because he went against the self-imposed rule of die Brücke to only exhibit together - when he decided to show also his art at the 'Berliner Secession'.

 * I would like to express my longing for happy experiences. I do not want us to be for ever regretting. Art has been and remains the part of my life that brings me happiness.
 * as quoted by, in Expressionism, ; Praeger Publishers, New York, 1973, p. 89

Quotes about Max Pechstein

 * In viewing Pechstein's 1910 [painting] 'Das Grüne Sofa' (The Green Sofa), one instantly recognizes that it is the same scene as Kirchner's Artistin-Marcella of the same year. Marcella is wearing the same outfit, sits on the same side of the sofa, and even rests her leg up on the couch and her chin in her hand. The cat is also included, albeit turning his head the other way. These similarities strongly suggest that these two paintings were created at the same time, which means that the young girl would have been posing for not one, but two artists. That she appears so calm and undisturbed by this attention in both works is a testament to the relaxed atmosphere surrounding the creation of art for Die Brücke.
 * 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

 * [Prints] not only show the change and transformation of [Pechstein's] artistic goals but are also both the mirror and chronicle of his external life. They report on his journeys and trips, on life in the cities and in nature; they exhibit life s surroundings.
 * 1920, in Das graphische Werk Max Pechsteins; Berlin: Fritz Gurlitt Verlag, 1920, pp. 193; 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. 42
 * In his essay on Pechstein's prints, Paul Fechter described the autobiographical role printmaking played for an artist

 * [Pechstein was often dissatisfied with his prints, because] ..instinctively he already feels transposition into line, into black and white, somehow as abstraction and as an intermediate position.. .Fundamentally, so to speak, he perceives the symbolic colorfulness in the black and white of the plane as a preliminary phase; like a text for which the music is still missing.
 * 1920, in Das graphische Werk Max Pechsteins; Berlin: Fritz Gurlitt Verlag, 1920, pp. 193; 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. 54

 * Soon [after visiting Italy and studying the early 'primitive' Renaissance painters] Pechstein, like Gauguin before him, felt the urgency to go further in the search for the primitive beginnings of men, art and life. He expected to find an equivalent to his own vital energy and sensual impulses among native tribes. After long plans he sailed early in 1914 from Genoa.. ..to the island of Palau, at that time a German colony east of the Philippines.
 * Peter Selz, in German Expressionist Painting, Peter Selz, University of California Press, 1974, p. 291

title: Max Pechstein


text:
User:Toutoune25

I'm a french Wikiquote and Wikipedia user.

fr:Utilisateur:Toutoune25

title: User:Toutoune25


text:
Darts

Darts is a circular target (dart board) hung on a wall. Though various different boards and games have been used in the past, the term 'darts' usually now refers to a standardized game involving a specific board design and set of rules.

As well as being a professional competitive activity, darts is a traditional pub game, commonly played in the United Kingdom (the first to officially recognize darts as a sport), the Netherlands, Ireland, Israel, the Scandinavian countries, the United States, and elsewhere.

Quotes

 * We couldn't have more excitement if Elvis walked in and asked for a chip sandwich.
 * Sid Waddell on the atmosphere at a darts match.[]

 * Ladies and gentlemen, let's play darts!
 * Martin Fitzmaurice legendary words in the darts world[003/2621747.stm]

title: Darts


text:
Wikiquote:Votes for deletion archive/Jonathan safran foer

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete.. Fys. “Ta fys aym”. 11:08, 24 January 2007 (UTC)

Jonathan safran foer
While this is a notable subject, the single quote currently provided is basically meaningless. Perhaps it makes sense in its context in the cited book, but on its own it means nothing and makes little sense. —LrdChaos (talk) 14:39, 16 January 2007 (UTC)
 * Vote closed: Result: Delete. Per JeffQ, no prejudice against recreation of a meaningful and informative article. Fys. “Ta fys aym”. 11:05, 24 January 2007 (UTC)

 * Delete. —LrdChaos (talk) 14:39, 16 January 2007 (UTC)
 * Delete unless meaningful quotes are added. Koweja 15:53, 16 January 2007 (UTC)
 * Delete, concur with Koweja. ~ UDScott 16:10, 16 January 2007 (UTC)
 * Delete. 121a0012 16:19, 16 January 2007 (UTC)
 * Delete. It turns out that this is the first sentence of the book. Are people inclined to think that the first and last sentences — of a book, movie, etc. — are inherently quotable?  It would seem so, if Wikiquote pages are any indication. - InvisibleSun 08:57, 17 January 2007 (UTC)
 * Delete Agree with LrdChaos's assessment. WIKISUPERFIXER 09:52, 17 January 2007 (UTC)
 * Weak keep. I'm torn between the honest attempt to provide a sourced quote from a notable subject (however incomplete the source) and the single quote that has no apparent meaning without context. If we know it's the first line of the book, we should be able to provide a specific source and maybe even a context, so it becomes more of a content issue. (There'd be no question if there was at least another, more meaningful, sourced quote.) If the tide turns on this article and we decide to keep it, it should be moved to Jonathan Safran Foer, of course. ~ Jeff Q (talk) 01:59, 22 January 2007 (UTC)
 * Delete unless someone can find at least one other sourced quote. Dev920 10:59, 24 January 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Alexa Vega

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete.. Fys. “Ta fys aym”. 11:09, 24 January 2007 (UTC)

Alexa Vega
No quotes since its creation in late December '06. —LrdChaos (talk) 14:56, 16 January 2007 (UTC)
 * Vote closed: Result: Delete. Fys. “Ta fys aym”. 11:05, 24 January 2007 (UTC)

 * Delete. I'd like to point to this the next time I VFD-nominate a page that someone creates with no quotes (and then claims they'd come back to it) as a nice example of someone who creates an article with quotes, says "just beginning the article (will add quotes)", and then hasn't come back to do anything on it in three weeks. I also think that we should amend our speedy deletion policy to explicitly permit the speedy deletion of pages with no quotes. —LrdChaos (talk) 14:56, 16 January 2007 (UTC)
 * Delete unless someone adds quotes. Koweja 15:53, 16 January 2007 (UTC)
 * Delete, unless valid, sourced quotes are added. I also second LrdChaos' notion that the speedy deletion policy be amended to include those pages without quotes. ~ UDScott 16:12, 16 January 2007 (UTC)
 * Delete. Concur with LrdChaos and UDScott.  121a0012 16:18, 16 January 2007 (UTC)
 * Delete. I must confess I've been deleting quoteless articles for some now, based on reason # 1 as defined in the speedy deletion Articles section - InvisibleSun 09:04, 17 January 2007 (UTC)
 * Delete. I agree with the speedy deletion policy suggestion.  No point having quoteless articles.  If the creater can't at least enter a quote stub when creating the article, they perhaps should wait until they have 15 minutes free to get the thing started. WIKISUPERFIXER 10:02, 17 January 2007 (UTC)
 * Comment: Discussion of a change to the speedy-deletion policy is underway at Wikiquote talk:Speedy deletions. —LrdChaos (talk) 16:31, 17 January 2007 (UTC)
 * Delete unless valid, sourced quotes are added. ~ Jeff Q (talk) 01:49, 22 January 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/John C. A. Bambenek

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete.. Fys. “Ta fys aym”. 11:10, 24 January 2007 (UTC)

John C. A. Bambenek
Not notable. I don't think that an "information security practitioner and opinions journalist" (from his "official biography") has the level of notability expected at WQ. There is no WP page for him, and he has not developed the kind of large following as a blogger that might warrant a page here. ~ UDScott 20:18, 16 January 2007 (UTC)

 * Vote closed: Result: Delete. Fys. “Ta fys aym”. 11:05, 24 January 2007 (UTC)
 * Delete, unless evidence of notability is provided.
 * Strong Delete, The Wikipedia page for John C. A. Bambenek has gone through several deletions, each time being brought back by JBamb via sock-puppet justinm1978 18:23, January 16, 2007 (Apparently I don't know how to properly sign my comments -justinm1978 )
 * Delete. - InvisibleSun 09:07, 17 January 2007 (UTC)
 * Delete, unless evidence of notability can be provided. WIKISUPERFIXER 09:51, 17 January 2007 (UTC)
 * Delete. —LrdChaos (talk) 15:07, 18 January 2007 (UTC)
 * Delete. The Wikipedia page justinm1978 alludes to, John Bambenek, has 3 full AfDs for it (1st, 2nd, and 3rd), as well as a deletion review when the 2nd was apparently done too hastily. The last AfD seems to sum up the arguments for and against, adding an apparent plea from the subject himself for deletion. I'm inclined to agree that this person doesn't quite meet current notability standards. ~ Jeff Q (talk) 02:09, 22 January 2007 (UTC)
 * Delete. - per everyone else so far. Koweja 04:41, 22 January 2007 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Talk:Romain Rolland

is quoted both in sourced and attributed section. --89.142.49.66 11:35, 24 January 2007 (UTC)
 * The vast and tranquil metaphysics of India is unfolded; her conception of the universe, her social organization, perfect in its day and still capable of adaptation to the demands of modern times; the solution which she offers for the feminist problem, for the problems of the family, of love, of marriage; and lastly, the magnificent revelation of her art. The whole vast soul of India proclaims from end to end of its crowded and well ordered edifice the same domination of a sovereign synthesis. There is no negation. All is harmonized. All the forces of life are grouped like a forest, whose thousand waving arms are led by Nataraja, the master of the Dance. Everything has its place, every being has its function, and all take part in the divine concert, their different voices, and their very dissonances, creating, in the phrase of Heraclitus, a most beautiful harmony. Whereas in the West, cold, hard logic isolates the unusual, shutting it off from the rest of life into a definite and distinct compartment of the spirit. India, ever mindful of the natural differences in souls and in philosophies, endeavors to blend them into each other, so as to recreate in its fullest perfection the complete unity. The matching of opposites produces the true rhythm of life.

Unsourced
Wikiquote no longer allows unsourced quotations, and they are in process of being removed from our pages (see Wikiquote:Limits on quotations); but if you can provide a reliable, precise and verifiable source for any quote on this list please move it to Romain Rolland. --Antiquary 12:51, 1 August 2009 (UTC)

 * Let us return to our eagle's nest in the Himalayas. It is waiting for us, for it is ours, eaglets of Europe, we need not renounce any part of our real nature...whence we formerly took our flight.
 * Religious faith in the case of the Hindus has never been allowed to run counter to scientific laws, moreover the former is never made a condition for the knowledge they teach, but there are always scrupulously careful to take into consideration the possibility that by reason both the agnostic and atheist may attain truth in their own way. Such tolerance may be surprising to religious believers in the West, but it is an integral part of Vedantic belief.
 * The greatest human ideal is the great cause of bringing together the thoughts of Europe and Asia; the great soul of India will topple our world.
 * The vast and tranquil metaphysics of India is unfolded; her conception of the universe, her social organization, perfect in its day and still capable of adaptation to the demands of modern times; the solution which she offers for the feminist problem, for the problems of the family, of love, of marriage; and lastly, the magnificent revelation of her art. The whole vast soul of India proclaims from end to end of its crowded and well ordered edifice the same domination of a sovereign synthesis. There is no negation. All is harmonized. All the forces of life are grouped like a forest, whose thousand waving arms are led by Nataraja, the master of the Dance. Everything has its place, every being has its function, and all take part in the divine concert, their different voices, and their very dissonances, creating, in the phrase of Heraclitus, a most beautiful harmony. Whereas in the West, cold, hard logic isolates the unusual, shutting it off from the rest of life into a definite and distinct compartment of the spirit. India, ever mindful of the natural differences in souls and in philosophies, endeavors to blend them into each other, so as to recreate in its fullest perfection the complete unity. The matching of opposites produces the true rhythm of life.

 * Romain Rolland points out "that a hundred facts testify to how great an extent the East was mingled with Hellenic thought during the second century of our era."

title: Talk:Romain Rolland


text:
User talk:BrOnXbOmBr21

Welcome
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title: User talk:BrOnXbOmBr21


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User talk:Wolfmaster24

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User talk:Miracle~enwikiquote

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title: User talk:Miracle~enwikiquote


text:
User talk:Piusg~enwikiquote

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title: User talk:Piusg~enwikiquote


text:
User talk:TMRProg~enwikiquote

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title: User talk:TMRProg~enwikiquote


text:
User talk:Abdurahman49

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User talk:Ladyclanton~enwikiquote

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title: User talk:Ladyclanton~enwikiquote


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User talk:Jigga516

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title: User talk:Jigga516


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User talk:Ian2203~enwikiquote

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title: User talk:Ian2203~enwikiquote


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User talk:Rupeshinfinity

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title: User talk:Rupeshinfinity


text:
User talk:Bojacdnagle

Welcome
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title: User talk:Bojacdnagle


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User talk:Frostbitten panda~enwikiquote

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title: User talk:Frostbitten panda~enwikiquote


text:
User talk:Turnerm5~enwikiquote

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title: User talk:Turnerm5~enwikiquote


text:
User talk:Smee

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:53, 24 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
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 * Be bold.
 * Thanks for the welcome! Smee 17:06, 24 January 2007 (UTC).

Notability
''Are there "notability" requirements and the like for creating new quote pages on individuals and/or topics on Wikiquote, as similar to Wikipedia? Smee 23:12, 18 June 2007 (UTC).''

 * Yes. In fact, they're pretty much the same. Much of Wikiquote practice is based on Wikipedia policy and guidelines, with most of our policy pages created to provide specific Wikiquote variations on general Wikimedia practices. As the opening sentence of our Main Page states, we collect quotes "from notable people and creative works" (emphasis mine). One factor that helps us determine notability, as it does for Wikipedia, is insisting on reliable sources for quotes. Those sources help demonstrate notability (although they aren't necessarily proof of this admittedly fluid concept). We consider sourcing so important that we split most articles into "Sourced" and "Unsourced" to physically separate properly sourced quotes from the others. ~ Jeff Q (talk) 02:31, 19 June 2007 (UTC)
 * Okay, thank you. Smee 04:37, 20 June 2007 (UTC).

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called Smee. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Smee~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 23:36, 17 March 2015 (UTC)

title: User talk:Smee


text:
User talk:Angeldeb82

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 11:53, 24 January 2007 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Angeldeb82