text:
About a Boy (film)

About a Boy is a 2002 film about a cynical, immature young man who is taught how to act like a grown-up by a little boy.
 * Directed by Chris Weitz and Paul Weitz. Written by Nick Hornby (novel) and Peter Hedges (screenplay).

Growing up has nothing to do with age.

Marcus

 * I think I killed a duck.
 * Suddenly I realized – two people isn't enough. You need backup. If there are only two people, and someone drops off the edge, then you're on your own. Two isn't a large enough number. You need three at least.
 * I wanna be with her more, I wanna be with her all the time, and I wanna tell her things I don't even tell you or mum. And I don't want her to have another boyfriend. I suppose if I could have all those things, I wouldn't really mind if I touched her or not.
 * He fancies you. He told me.
 * You're right. You can't help me. How could you? You're a stupid person who watches TV all day and buys things. You don't give a shit about anybody, and nobody gives a shit about you!
 * [Thinking] I used to think two wasn't enough. Now there were loads of people... I don't know what Will was so upset about. All I meant was I don't think couples are the future. You need more than that. You need backup. The way I saw it, Will and I both had backup now. It's like that thing he told me Jon Bon Jovi said: "No man is an island."

Will

 * In my opinion, all men are islands. And what's more, now's the time to be one. This is an island age.
 * [voiceover] She couldn't stay at my place, and she didn't have a DVD, or satellite or cable. So we were always stuck watching some crap made-for-TV movie about a kid with leukemia. I was going to have to end it. But having been Will the Good Guy I didn't relish going back to my role of Will the Unreliable, Emotionally-stunted Arsehole.
 * [Regarding the first SPAT meeting] I'll tell you one thing. Men are bastards. After about ten minutes I wanted to cut my own penis off with a kitchen knife.
 * It was horrible. Horrible. But driving fast behind the ambulance was fantastic.
 * The thing is, a person's life is like a TV show. I was the star of The Will Show. And The Will Show wasn't an ensemble drama. Guests came and went, but I was the regular. It came down to me, and me alone. If Marcus' mum couldn't manage her own show if her ratings were falling, it was sad, but that was her problem. Ultimately, the whole single-mum plot line was a bit complicated for me.
 * I find the key is to think of a day as units of time, each unit consisting of no more than thirty minutes. Full hours can be a little bit intimidating and most activities take about half an hour. Taking a bath: one unit, watching countdown: one unit, web-based research: two units, exercising: three units, having my hair carefully dishevelled: four units. It's amazing how the day fills up, and I often wonder, to be absolutely honest, if I'd ever have time for a job; how do people cram them in?
 * Me, I didn't mean anything. About anything, to anyone. I knew that guaranteed me a long, depression-free life.
 * [In the supermarket, his father's song begins to play] Shit! It can't be. November-the-sodding-19. Six weeks before Christmas and already they were playing the bloody thing.
 * I'm a bloody island! I'm bloody Ibiza!
 * No, Marcus, I do not want to come over for Christmas. I do not want to spend Christmas with Ms. Granola Suicide and her spawn.
 * Once you open your door to one person anyone can come in.
 * My life is made up of units of time. Buying CDs – two units. Eating lunch – three units. Exercising – two units. All in all, I had a very full life. It's just that it didn't mean anything.
 * The crying in the morning thing, the depression. Let's get that fixed.
 * So there I was, killing them softly with my song. Or rather, being killed. And not that softly, either. I was singing with my eyes closed. Was I frightened? I was petrified.
 * [Thinking] Every man is an island. And I stand by that. But clearly, some men are part of island chains. Below the surface of the ocean they're actually connected.
 * [After being asked to be Imogene's godfather] I couldn't possibly think of a worse godfather for Imogene. You know me, I'll drop her at her christening. I'll forget her birthdays until her 18th, when I'll take her out and get her drunk and possibly, let's face it, you know, try and shag her.

Others

 * Fiona: [to Will] You're a selfish bastard.

 * Fiona: [to Marcus] When you sing, it brings sunshine and happiness into my heart.

 * Lindsey's Mum: 'Sheikh Yur Az' [Shake your ass]... is he Moroccan?

 * Lindsey's Mum: Are we having duck? Delicious!

 * Ellie: [to Marcus] What did you just say to me? You heard me, squitty little shitty snot-nosed bastard!

Dialogue

 * Will: You must be joking. I couldn't possibly think of a worse godfather for Imogene. You know me. I'll drop her at her christening. I'll forget her birthdays until her 18th, when I'll take her out and get her drunk and possibly, let's face it, you know, try and shag her. I mean, seriously, it's a very, very bad choice.
 * Christine: We know, I just thought you had hidden depths.
 * Will: No. No. You've always had that wrong. I really am this shallow.

 * Suzie: May I ask, does your ex see Ned at all?
 * Will: Sorry, I didn't catch your name.
 * Suzie: Suzie.
 * Will: Suzie. She doesn't see much of him, no.
 * Suzie: How does he cope with that?
 * Will: He's a very good little boy. Very, very brave. They've got amazing resources, don't they? Just the other day I was thinking about my ex. He came crawling up, put his little pudgy arms around my neck, and he said: "You hang in there, Dad."
 * Suzie: God, that's amazing for a 2-year-old!
 * Will: Is it? Yeah, he's very special. Very, very special. Sometimes I think, you know, he's the one taking care of me. Teaching me the ways of the world.

 * Suzie: You miss him, don't you?
 * Will: Who? Oh, Ned! Yeah. Yeah, very much.

 * Marcus: I got the letter. Thanks.
 * Fiona: Oh my God. I'd forgotten.
 * Marcus: You forgot? You forgot a suicide letter?
 * Fiona: Well I didn't think I'd have to remember it, did I? Did you read the part where I said I'd always love you?
 * Marcus: It's a bit hard for you to love me when you're dead, isn't it?
 * Fiona: I can understand why you're angry, Marcus. But I don't feel the same as I did yesterday, if it's any help.
 * Marcus: What? It's all gone away? All that?
 * Fiona: No, but, for the moment, I feel better.
 * Marcus: The moment's no good for me. I can see you feel better at the moment. You just put the kettle on. What happens when you finish your tea? What happens when I go back to school? I can't be here to watch you all the time!

 * Marcus: I'll come if you take my mom, too. She hasn't got any money, so either we'll have to go somewhere cheap, or you'll have to treat us.
 * Will: Well, listen, don't beat about the bush, Marcus.
 * Marcus: Why should I? We're poor, you're rich, you pay. You can bring your little boy if you like. I don't mind.
 * Will: That's really big of you.

 * Marcus: [voiceover] If Mum was going to get Will to marry her, she'd have to quit making jokes. At least she looked good. I had her put on that nice hairy jumper and the earrings she got from her friend that went to Zimbabwe.
 * Will: [voiceover] The kid seemed to think this was a date. As for his mum, she was clearly insane and appeared to be wearing some kind of Yeti costume.

 * Christine: You will end up childless and alone.
 * Will: Well, fingers crossed, yeah.

 * Will: It's a CD, Marcus, by Mystikal. They're cool. You'll like them.
 * Fiona: What kind of music is Mystikal?
 * Will: It's sort of, um, world music . ..
 * Marcus: [reads a song title] "Shake Ya Ass."
 * Will: ...Slash rap-type thing.

 * Ellie: You like rap?
 * Marcus: A little. It's by black people mostly. And they're pretty angry most of the time. But sometimes they just want to have sex.

 * Will: I want to go out with her, OK. I'd like her to be my girlfriend, here I said it.
 * Marcus: How brilliant!

 * Ali: If your dad goes out with my mum, you're gonna be dead, really dead.
 * Marcus: I don't think it's really up to me, now is it?
 * Ali: Well it better be... or you're gonna die.

 * Marcus: Oh, don't worry, I think your mum is keen on him.
 * Ali: [Shouting] She's not keen on him! She's only keen on me!

 * Rachel: Ali didn't get along with the last bloke I went out with.
 * Ali: [Loudly] He was a liar!
 * Rachel: All right, Ali.

 * Fiona: You cannot stop someone from expressing themselves.
 * Will: He's not expressing himself! He's expressing you, okay?

 * [Fiona is crying]
 * Fiona: Will, am I a bad mother?
 * Will: No. No, you're not a bad mother. You're just a barking lunatic.

 * [Fiona is crying]
 * Fiona: I mean, he's a special – very, very special boy and he's got a special soul, and I've wounded it.
 * Will: Oh, please, just shut up. You're wounding my soul.

 * Marcus: I used to want Will to marry my mom.
 * Ali: You serious?
 * Marcus: Yeah, but that was when she was depressed and I was desperate.
 * Will: Thanks, mate.

Cast

 * Hugh Grant – Will
 * Nicholas Hoult – Marcus
 * Toni Collette – Fiona
 * Rachel Weisz – Rachel

title: About a Boy (film)


text:
Dirty Sanchez

Dirty Sanchez is a British television series featuring three Welsh men, Pritchard, Dainton, "Pancho" and Londoner Joyce, all who have a total disregard for their own health and engage in extremely self-harmful acts for the TV cameras.

Mathew Pryderi Pritchard

 * "Sleep when you're dead."
 * "'I Love (or Heart) Dainton'. He's gonna go fucking nuts!"
 * (after catching Dainton drawing a pentagram in blood on his floor) Aww, Daint, you can't put a fucking pentagram on my floor. I...I'm not a devil house!"
 * "Fucking Dainton... he's got a big willy..."
 * (drunk) "I like to gamble! I like to gamble money, I li... I... burps I like to gamble!"
 * "How funny is Pancho? Really, really funny."
 * (After having something go into his head) "God man, that's your head! There's important stuff in there!"
 * (to Dainton:) "Daint, stop being a dick for once in your life will you?!"
 * (When Pritchard and Pancho accidentally marry) "Panch stop making a fucking making a joke of it! This is real shit!"
 * (When Pritchard and Pancho accidentally marry) "I'll kick you in the fanny in a minute, I'm not married...to a MAN."
 * (Playing Moisty's Mallet) "I was in fucking thick class in school, they never taught us about Dinosaurs, alright?!"
 * (Playing Moisty's Mallet, trying to say, 'Rain Forest')"Water Jungle."
 * (When Dainton throws a spider at him) "Get him away from my life!"
 * "Make him scream, make him cry...make him want an apple pie."
 * (After being sprayed by Dainton with pepper spray) "FUCKING ROCK'N'ROLL! FUCKING ROCK'N'ROLL!"
 * "Aww, look at the little chicks!"
 * (After Joycey commenting - "That's a very classy way of doing it" - on Pritchard's choice of the cigarette cutter to slice his finger off) "I'm a posh man, Daniel."
 * Daniel Joyce - he makes the ladies moist.
 * (With mouse traps on his ear) "The Mouse Catcher - Gimme some mice! Where the fucking mice? Where the fucking mice?! Let me at 'em!"
 * (After being whipped in the back) "That's a Paul Weller! It just wells up!"
 * (Referring to a spider) "He's so big he can't fit in his house!"
 * (To Dainton) "Let's see your starfish."
 * (Whispering to Dainton) "Smell my shit."
 * (To Dainton:) "Would you like me to lapdance for you, scary Newport man?"
 * (When Pancho tries to pull his hair out) "Leave my hair alone you little shit!"
 * (After Dainton shaves the top of Pritchards hair off whilst he was asleep) "It's gone! My Hair's fucking gone!.....I look like a fucking Nun!"
 * ''"This is Dirty Sanchez not fucking gay school!"
 * (To Dainton in the 'Guess the Ladyboy challenge') "Oh Daint, she's got wicked fucking knockers!"
 * (After Dainton throws a dart, which hits Pritchard on his finger) "Don't play fucking darts with Dainton! Right in the fucking nail.....Twat!"
 * (After burying Dainton's jacket with Dan & Pancho) "I fucking buried his jacket and he still fucking knows! Daint, have you got fucking eyes in the back of your fucking head?! Absolute fuck it! Take me fucking back to Wales!"
 * (About his mother) "She's 55, she must have taken it up the backdoor once upon a time!"
 * "That shuddered my brain!"
 * (While cooking a pube pizza for Dan) "All the time I was a chef, I never prepared anything like this..."
 * "I can't stand being serious, that's my problem"
 * ''(In an interview about his girlfriend) "Ohh, this is where the lovey dovey bit comes in!"
 * ''(While Dainton is teasing him about a spider) "It could be on your cock, it could be in your hair, it could be in your gob, I don't want to touch it!"
 * (Talking about nakedness) "Ohh, look at his winky, thats a bit small!"
 * (Having an earring torn out) "If I get hit by a car or a bus, it's gonna hurt more than an earlobe, so fucking rip my ear out!"
 * (Having his health asessed) "Look at that belly! You can tell I've had a good life since the first show!"
 * "Some of the things I've done over the years are absolutely stupidly...well just absolutely stupid!"
 * (About Pancho) "I like to think I could trust Panch with my life, but he's so clumsy and uncoordinated, he'd just fuck it up."
 * (While choosing some jeans) "Got to flash your ass for the cowgirls!"
 * (About a football boot) "That is literally going RIGHT into my arse."
 * (When asked to make a wish) "Can I bum Daint tonight?"
 * (After Dainton hits him) "Yep. Right in the fucking eardrum. Lovely."
 * (After hitting Dainton with a fishing line) "This was made to pick up 500 pounds worth of fish, and it snapped on PlumBum's arse!"
 * "Vultures are called vultures because they're vultures. What the fuck am I saying?"
 * (Hitting Pancho with a rolling pin) "Your hand is my pastry, look away!"

Lee Dainton

 * "I don't like pain. I'm a big pussy really."
 * (About Pritchard) "He's like 'Hey, jump off a cliff!' 'OK then, I'll just jump off a cliff!' 'No, no, I was only joking!' 'Well, why not? We're here, lets just jump off it. How bad can it be? Either I die or I won't...' That's him, Mister Fifty-fifty."
 * "You know this shit's Newport!"
 * "Pancho's got a fucking sniper rifle, I wouldn't trust him with a fucking pea shooter!"
 * "All the wannabe-trendies who took the piss out of skateboarding, now they're trying to dress like skateboarders. So we've gone back to dressing smart... but like "dirty-smart". I dunno, it's just a blazer, man!"
 * "Pancho, I'm telling the whole world. You are...SPUNK CHOPS!"
 * "Pancho's biggest fear is... me telling you about the spunk challenge!"
 * (After sitting on a safety pin) "There's a prick up my arse!"
 * "Describe Joyce? Hmm... A gimp/townie with a little bit of skateboarder. You're almost really inbred!
 * "Tonight, I'm going to be Doctor Daint!"
 * "What's up, Shit-Lips?"
 * "Mind over matter, boys! Mind over fucking matter!"
 * (After Pritchard knocks his hand whilst going to touch a tarantula) "It'll bite me! Fuck off! It bit me once already...in my mind."
 * "Can I have my food sprinkled with the magic of Thailand, please?" (Pancho:) "What's that, chili sauce?"
 * "That's right, I'm pink. And pink might be pussy. But this pink guy is now a superhero. And this superhero is called, 'Pinky Dinky Dainty.' And he's gunna fuck Pritchard's world."
 * "I was a rabbit in my former life"
 * "I could sit here drinking whiskey and eating bugs all night, it's like pork scratchings"
 * "This soup better be Weight Watchers!"
 * (To Pancho) "Panch you're not suppose to hit me, I'm your mate you fucking idiot!"
 * (To Pancho on the building site) "Fucking make your arms go as fast as your fucking mouth" (Pancho:) "Shut up, you bellend"
 * ''(After giving Pancho a 'mohawk') "Mr Mohawk's...pissed right off!"
 * (Talking about his OCD) "NO, let me explain my teeth brushing...This is so fucked up!"
 * "I hope you know you've opened yourself up to a whole world of pain!"
 * (About Pancho) "He's always too pissed to get it together to have revenge!"
 * "When you come to Newport, NO ONE can hear you scream!"
 * (After nailing Pritchards penis to a plank of wood) "If it didn't hurt, I wouldn't pull it Pritchard!"
 * (Taking the piss out of Dan) "Ohh, my nose hairs are gonna burn"
 * (After Dan is sick a weird colour) "What the fuck have you been eating Joyce?"
 * (Taking the piss out of Pritch) "There's no rings on these fingers!"
 * "Day 5 in the Dainton house, and the baby's started to burn things."
 * (When being told to rub salt in a friction burn) "Fucking rub it in?! It's fucking MELTING in!"
 * (When being buried in snow) "I think I'm halucinating! I'm dying! I'm shutting down!"
 * (To Pritchard) "You've gone agro on your own issues, you're really fucked up ain't you!"
 * "Give me razor blades and safety pins any day!"
 * (Talking to himself) "Like skulls, death ripping through the groud, the devil's got horns.."
 * (While cutting someones hair) "The look I'm trying to achieve is...I haven't got a fucking clue."

Michael 'Pancho' Locke

 * "Big or small, fuck 'em all."
 * (Getting ready to snort up the contents of an ashtray) "And now... Johnny Cash - Snort some ash!"
 * (After finding out he is legally married to Pritchard) "I can't be married to fucking Freddie Boswell, I got a good woman back home!"
 * (Whilst getting a tattoo on his backside) "My arse has gone like a piece of wobbly jelly."
 * (About to get his arse waxed) "Right in the Gary Glitter!"
 * (After getting a D lock locked around his neck) "Right! Short man syndrome? Fuckin' right! I'm taking it to a fucking level this time! (Starts thumping the nearest door) AAAAAAAAARRRRGGGHHHHH!
 * "This is a bloody bar, you arsehole! This isn't a house ... This is my bar!"
 * "It's true, I am the fool of the show!"
 * (After dislocating his little finger) "This little piggy went to the market, this little piggy stayed home... this little piggy went to the pub, where I wish I'd gone to instead of the back of this van. This little piggy went to the club, with the lovely young mum...Single Mum...dirty mum... and this little piggy doesn't know what the fuck is going on!"
 * (Trying to smash a double glazed window pane with his head) "My head feels like a fucking gypo's arse!"
 * (Upon Pritchard confuses the word "Water Jungle" with "Rain Forest") "I thought I was thick!"
 * (After being hit between the legs with a shovel) "My fucking bell-end is on fucking fire!"
 * (After eating stinging nettles) "No more nettles for tea, boys. This organic stuff is shit!
 * (When Dainton asks if Pritchard's tattoo - "I Love Dainton" - on his penis is real) "Try rubbing it off, Daint!"
 * (After being woken up by being pelted with oranges and spray painted green with is clothes cut up to try and make him look like The Incredible Hulk) "Oh i'm green...great"
 * (Talking about a gig they did in Berlin) "I'd rather wank my old man off than turn up there again..."
 * "Forward roll, time for a stroll"
 * (Waking up drunk in a car after Dan had shaved his head) "Right, fuck the skate comp, fuck everything" (Dan:) "Skate comp? We're not at a skate comp!"
 * (Before drinking glass of vodka) "I'm about to say...Goodnight Irene"
 * (Whilst being hypnotised in Germany to rap every time he hears music) "Yeah. Lets go. Let's rock this mother fucking disco!"
 * (After being hit on the head with a brick) "Right on the fucking cranium!"
 * "Don the trash, time for a smash!"
 * (Talking about a car) "What about if it just proper mows me over?" (Pritchard:) "Trust us Panch, it's not gunna mow you over" (Dainton:) "Yeah, we've got a tape measure and everything" (Pancho:) "Short man, short life. Fucking Goodbye"
 * "Daint, I don't give a fuck if you've got a flux capacitor in that fucking car! I'm not going in there, right?"

Dan Joyce

 * "Welcome to Dirty Sanchez. I've just eaten a man."
 * (After Pritchard attempts to break the world record for the most paint balls to a naked body) "You look like fucking King Kong's spunked on you!"
 * "I'm the vaginator, all the way from Vagville, Tennessee!"
 * (Before a crab race in Phi Phi) "Luckily, Daint, I think I picked up crabs in fucking Bangkok and these are fast fuckers."
 * (After spitting out the tip of Pritchard's finger) "I couldn't do it, man! It was all fleshy!"
 * "The first rule of fucking Pin Club is don't talk about fucking Pin Club!"
 * (Before naked paintball) "I'm in the nude for fighting!"
 * "Yeah, Pancho's going to have his day, there will be Pancho's revenge...although saying that, he's always too pissed to get it together to have revenge."
 * (Referring to his penis whilst having his testicles waxed, laughing hysterically) "It's shriveled up! It's gone away! I've got no fucking dick! It's never been that small in my life! The man with the world's smallest knob!"
 * "I'm gonna go wank off a horse!"
 * (Throws up on a pizza before eating it again) "I'm like a fucking fly!"
 * (Talking about Dainton's new dress sense) "I know he like 'The Ramones' and he wears a Ramones T-Shirt. But New York Dolls? I've never heard him listening to New York Dolls. And Guns and Roses! He's never going "Take me down to the Paradise City, where the girls are green and the grass is pretty"... oh, that's the wrong way round isn't it!
 * (holding a handful of pubic hair on his chin) "Osama Bin Laden!"
 * "When you're the gimp, you're kind of like Zorro. It's like no-one knows who you are. But I'm trying to make him a 'comedy gimp', something people can relate to. There should be dancing gimp, barmitzfa gimp, funeral gimp."
 * "When I get married, I might go as a gimp! Imagine that! From behind, you don't notice. And I'll turn round as my wife'll be walking down the aisle..."HELLO" (laughs, before flicking his tongue in and out) With a snooker ball in me gob!
 * "Faster! Faster! Ah, that's it. Faster like a Pasta-eating Rasta!"
 * (When Pritchard and Pancho accidentally marry) "When we get to Greece, think of it as your honeymoon!"
 * "I've just eaten a fucking man! For fucks sake..."
 * (After Dainton commenting on Dan fisting a dead cow) "Aw, that was a bit of love!"
 * I'm not putting my head in another man's bum!
 * "I'd rather wank my old man off, Panch."
 * "Phi Phi, fuck me, this place is a fucking wank...ville"
 * "The rich...now they're a bunch of funny fuckers!"
 * "It's not natural to run is it? The only time you should run is if you're on fire"
 * "I quite like this healthy lifestyle now" (Throws up)
 * (After giving a make-over to a girl in a beauty salon) "Oh look, i've created a monster!"

Chris Miller

 * "Brown fields...More like frown fields."

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

title: Dirty Sanchez


text:
Gordon Brown

James Gordon Brown CH (born 20 February 1951) is a British politician who was elected to Parliament in 1983 and who was Prime Minister of the United Kingdom from 2007 to 2010. He was the Labour Party's treasury spokesman since 1992, and Chancellor of the Exchequer from 1997. He is currently serving as Special Envoy for Global Education at the United Nations.

Quotes

 * There are as many Scottish roads to Socialism as there are predictions of Britain's economic doom - but most of them demand three things: a coherent plan for an extension of democracy and control in society and industry which sees every reform as a means to creating a socialist society; a harnessing of the forces for industrial and community self-management within a political movement; and a massive programme of education by the Labour Movement as a whole. Gramsci's relevance to Scotland today is in his emphasis that in a society which is both mature and complex, where the total social and economic processes are geared to maintaining the production of goods and services (and the reproduction of the conditions of production), then the transition to socialism must be made by the majority of the people themselves and a socialist society must be created within the womb of existing society and prefigured in the movements for democracy at the grass roots. Socialists must neither place their faith in an Armageddon or of capitalist collapse nor in nationalisation alone. For the Jacobin notion of a vanguard making revolution on behalf of working people relates to a backward society (and prefigures an authoritarian and bureaucratic state), then the complexity of modern society requires a far reaching movement of people and existing conditions and as a co-ordinator for the assertion of social priorities by people at a community level and control by producers at an industrial level. In such a way political power will become a synthesis of – not a substitute for – community and industrial life. This requires from the Labour Movement in Scotland today a postive commitment to creating a socialist society, a coherant strategy with rhythm and modality to each reform to cancel the logic of capitalism and a programme of immediate aims which leads out of one social order into another. Such a social reorganisation - a phased extension of public control under workers' sustained and enlarged, would in EP Thompson's words lead to "a crisis not of despair and disintegration but a crisis in which the necessity for a peaceful revolutionary transition to an alternative socialist logic became daily more evident."
 * Introduction to "The Red Paper On Scotland", 1975.

Member of Parliament

 * Our new economic approach is rooted in ideas which stress the importance of macro-economics, post neo-classical endogenous growth theory and the symbiotic relationships between growth and investment, and people and infrastructure.
 * Michael White, "The gift of tired tongues", The Guardian, 30 September 1994; Norman Macrae, "You've never had it so incoherent", Sunday Times, 2 October 1994.
 * Speech at an economic seminar, Tuesday 27 September 1994.

Chancellor of the Exchequer

 * My first rule – the golden rule – ensures that over the economic cycle the Government will borrow only to invest, and that current spending will be met from taxation.
 * Hansard, 6 ser, vol 297 col 304 (2 July 1997)
 * From Brown's first Budget speech.

 * I said that this would be a Budget based on prudence for a purpose and that guides us also in our approach to public spending.
 * Hansard, 6 ser, vol 308 col 111 (17 March 1998)
 * From the 1998 Budget speech.

 * Under this Government, Britain will not return to the boom and bust of the past.
 * Pre-Budget Report, 9th November 1999.

 * David Blunkett and I both take the same view that it is scandalous that someone from North Tyneside, Laura Spence, with the best qualifications and who wants to be a doctor, should be turned down by Oxford University using an interview system more reminiscent of the old school network and the old school tie than justice. It is about time for an end to that old Britain where what matters more are the privileges you are born with, rather than the potential you actually have.
 * Alexandra Frean, John O'Leary, Philip Webster, "Brown goes to war over Oxford elite", The Times, 26 May 2000, p. 1.
 * Speech at a Trade Union Congress meeting, 25 May 2000.

 * Politics seems much less important today. When you see your young daughter smiling as she was, and moving around, it's a superb feeling.
 * Colin Wills, "'This will be a big change in my life .. politics is now less important' says new dad Gordon Brown", Sunday Mirror, 30 December, 2001, p. 4.
 * Press conference on the birth of his first daughter, Jennifer Jane Brown, 29 December 2001; she died nine days later.

 * I'm here – but I haven't been given permission to drive.
 * George Pascoe-Watson, "I wannabe No10 pilot", The Sun, 19 May 2006, p. 2.
 * Response to question by Sky News journalist "Do you like the feeling of being in the driving seat?" when in the Cockpit of an Airbus A380 on 18 May 2006.

 * I understand that in the UK there have already been 10,000 complaints from viewers about these remarks, which people see, rightly, as offensive. I want Britain to be seen as a country of fairness and tolerance. Anything detracting from this I condemn.
 * Alexa Barcia, Shekhar Bhatia, "C4 bosses under fire in race row", Evening Standard, 17 January 2007, p. 4.
 * Asked about racist bullying of Bollywood star Shilpa Shetty on Celebrity Big Brother, during a visit to India on 16 January 2007.

 * We will not return to the old boom and bust.
 * Brown's 11th Budget Speech. 21 Mar 2007

 * I want to lead a government humble enough to know its place – where I will always strive to be – and that is on people's side.
 * "Brown makes pitch to lead Britain", BBC News online, 11 May 2007.
 * Speech at the launch of his leadership campaign, 11 May 2007.

 * It is time to train British workers for the British jobs that will be available over the coming few years and to make sure that people who are inactive and unemployed are able to get the new jobs on offer in our country.
 * "Brown pledges 'British workers for British jobs'", Evening Standard, 5 June 2007, p. 1.
 * Speech to the GMB Union, 5 June 2007.

Prime Minister

 * I have just accepted the invitation of Her Majesty The Queen to form a Government. This will be a new Government with new priorities and I have been privileged to have been granted the great opportunity to serve my country and at all times I will be strong in purpose, steadfast in will, resolute in action in the service of what matters to the British people, meeting the concerns and aspirations of our whole country.
 * Statement at Downing Street, 27 June 2007.
 * Statement outside 10 Downing Street immediately after becoming Prime Minister.

 * On this day I remember words that have stayed with me since my childhood and which matter a great deal to me today, my school motto: "I will try my outmost". This is my promise to all of the people of Britain and now let the work of change begin.
 * Statement at Downing Street, 27 June 2007.
 * Statement outside 10 Downing Street immediately after becoming Prime Minister. The motto referred to is an English translation of the Latin Usque conabor. Brown said "outmost", as spelled on the BBC News transcript, but other sources usually give "utmost".

 * I think Mrs Thatcher, Lady Thatcher, saw the need for change and I think whatever disagreements you have with her about certain policies - there was a large amount of unemployment at the time which perhaps could have been dealt with better – we have got to understand that she saw the need for change. I also admire the fact that she is a conviction politician. She stands very clearly for principles. I believe, and I have said before, that I am also a conviction politician. I am convinced about certain things, that we have got to support the talent of every individual in the country, that people have got to respect other people, that we have got to have a work ethic that works, that we have got to have discipline, as I have said, in our communities, and that is the only way with families working well and communities well, that we can do well as a country. So I am a conviction politician like her, and I think many people will see Mrs Thatcher as not only a person who saw the need for change in our country and took big decisions to achieve that, but also is and remains a conviction politician, true to the beliefs that she holds.
 * Downing Street Press Conference, 4 September 2007.
 * Response to a question about what aspects of Margaret Thatcher's legacy he wanted to preserve.

 * 56,000 companies have already benefited from the schemes that we have brought in. If we have taken the advice of the Conservative Party, no money would have been used. As Barack Obama said only yesterday, doing nothing is not an option.
 * Prime Minister's Questions, 11 February 2008

 * What has become clear is that Britain cannot trust the Conservatives to run the economy. Everyone knows that I'm all in favour of apprenticeships, but let me tell you this is no time for a novice.
 * Speech at the Labour Party conference, 23 September 2008.

 * Good strong banks are essential for every family and for every business in the country and extraordinary times call for the bold and far-reaching solutions that the Treasury has announced today.
 * Press Conference, 8 October 2008, announcing the policy of buying shares in banks in order to prevent the spread of the financial crisis.

 * We not only saved the world, er, saved the banks...
 * "We not only saved the world...", BBC News, 10 December 2008

 * I take full responsibility for what happened. That's why the person who was responsible went immediately.
 * On the Damian McBride email scandal reported by The Daily Telegraph
 * "Brown 'sorry' over e-mail slurs", BBC News, 16 April 2009

 * The Conservative Party always opposed the fiscal stimulus; they want to cut now the support we are giving to jobs, homes and businesses. A few days ago they said they want to tear up the 2010 budget, impose deep cuts immediately and accused us of moral cowardice for not doing so. Of course, typically of them, they called for big cuts before they called for small cuts before they called for modest cuts before they called for big cuts yet again. So their biggest claim to be the party of change is that they are the Party that keeps changing their minds.
 * , Welsh Labour Conference, 27 February 2010.

 * I agree with Nick.
 * First Leaders' Debate, showing his apparent approval for Nick Clegg and his policies, 15 April 2010.

 * That was a disaster. Sue should never have put me with that woman... Everything, she was just a sort of bigoted woman who said she used to be Labour.
 * Comment caught on microphone following a confrontation with Gillian Duffy, a Rochdale pensioner who asked a question about Brown's stance on immigration. The incident was later dubbed Bigotgate by the media. 28 April 2010.
 * The Guardian, 28 April 2010.

 * Above all, I want to thank Sarah for her unwavering support as well as her love, and for her own service to our country. I thank my sons John and Fraser for the love and joy they bring to our lives. And as I leave the second most important job I could ever hold, I cherish even more the first – as a husband and father. Thank you and goodbye.
 * Gordon Brown's Last official words as Prime Minister, 11 May 2010.

Post premiership

 * "And if you’re like me and a million more people who are convinced that the case for cooperation is greater than any case put for separation then I say to you: hold your heads high. Show dignity and pride. Be confident. Let us have confidence that our values are indeed the values of the majority of the people of Scotland. That our principles of sharing and cooperation are far better and mean more to them than separation and splitting apart."
 * Speech for a rally in  on the eve of the, 17 September 2014

 * [It is] not British to retreat to Europe's sidelines
 * Gordon Brown says quitting EU would not be British BBC News (11 May 2016)

 * If this referendum is about anything it is about what kind of Britain we are and what kind of Britain we aspire to become. We should be a leader in Europe, not simply a member. We should not be fully out and we should not be half out. We should be fully in. We should recognise that the world has changed since the first referendum and we should be advocates for cooperation in an inter-dependent world.
 * Gordon Brown says quitting EU would not be British BBC News (11 May 2016)

 * She should take no deal off the table - it's a terrible, catastrophic result to end up with a no deal and end up with businesses at risk, with trade at risk, with the supplies of health service products at risk.
 * Gordon Brown: 'Extend Article 50 and talk to the people' BBC News (17 January 2019)

 * We should be a leader in Europe, not leaving it
 * EU referendum: Gordon Brown urges Labour voters to stay in BBC News (13 June 2016)

 * Talking up no deal means renouncing the chance of a positive post-Brexit relationship with the continent and our major economic partners
 * Brexit: Survival of UK in doubt, Gordon Brown warns BBC News (25 June 2019)

 * To prevent the rise of dysfunctional nationalism, the first step is to stop no deal in its tracks
 * Gordon Brown: Union is 'sleepwalking into oblivion' amid nationalism BBC News (11 August 2019)

 * The problem we have is making sure that we do not inflict harm on ourselves, by leaving the EU with no deal.
 * Jeremy Corbyn risks scuppering no-confidence vote, says Jo Swinson BBC News (26 August 2019)

Attributed

 * There is nothing that you could say to me now that I could ever believe.
 * Melissa Kite, "Revealed: Brown's furious response to Blair after PM reneged on his promises to quit last year", Sunday Telegraph, 9 January 2005, p. 1.
 * According to Brown's biographer Robert Peston, Brown made this remark to Tony Blair in October 2004 when Blair announced his intention to fight for a third term of government, after telling Brown he intended to stand down.

Quotes about Brown

 * The next election will be a flyweight versus a heavyweight. However much the right hon. Gentleman (David Cameron) may dance around the ring beforehand, at some point, he will come within the reach of a big clunking fist.
 * Hansard, House of Commons, 6th series, vol. 453, col. 29 (15 November 2006)
 * Tony Blair, speaking in the House of Commons; the term 'big clunking fist' was taken as a reference to Brown.

 * The House has noticed the Prime Minister's remarkable transformation in the past few weeks, from Stalin to Mr. Bean.
 * Hansard, House of Commons, 6th series, vol. 468, col. 275 (28 November 2007)
 * Vincent Cable, acting leader of the Liberal Democrats.

 * Luckily for the world economy, however, Gordon Brown and his officials are making sense. And they may have shown us the way through this crisis.
 * "Gordon Does Good", New York Times, 12 October 2008.
 * Paul Krugman, winner of the 2008 Prize in memory of Alfred Nobel for Economics.

 * I think he is a clever man and I have a very considerable regard for him. Yes, much more than for Tony [Blair] in many ways. First of all, I think he's not as tacky as Tony. I can't see him feathering his own nest in the rather awful way in which the Blairs have done. The proverbial holidays in Tuscany with dubious people, shall we say? ... Now I don't see Gordon doing that. I think he's still too much a son of the Manse...a principled man in his personal conduct.
 * Norman Tebbit, interview with The Times Magazine (29 September 2007), pp. 38–39

title: Gordon Brown


text:
Khakheperraseneb

Khakheperraseneb (ca. 2000 BCE) was an Egyptian scribe.

Quotes

 * Would I had phrases that are not known, utterances that are strange, in new language that has not been used, free from repetition, not an utterance that has grown stale, which men of old have spoken.
 * Quoted in The Burden of the Past and the English Poet (1970) by Walter Jackson Bate.
 * For what has been said is just repetition, What has been said has been said.
 * Quoted in

title: Khakheperraseneb


text:
User:Exit~enwikiquote

i'm just a guy in hollywood.

i speak english and portuguese, also know romanian, hungarian, dutch and slovak. i also am familiar with icelandic, faroese, swedish, estonian, finnish and a bit of turkish.

good times.

title: User:Exit~enwikiquote


text:
Talk:Bram Stoker's Dracula

My initial purpose for this page was to catalog the Non-Subtitled Romanian language dialog and quotes. There are quite a few scenes with Dracula and others speaking Romanian, and the dialogue is subtitled in the film. However, there are some phrases that aren't. There are also some discrepancies between what is said in Romanian and the English translations presented in the Subtitles.

One of the Non-subtitled phrases I can't really make out is when Mina is at Dracula's castle, and Dracula is approaching for the final confrontation. She gets up and opens her arms and starts screaming something that someone told me once translated to 'Wind, give me the strength to go!"... You can clearly her her saying "Vânt ......... ducă!", the first word is "Wind", the last is "go" or "goes", what she says in the middle I can't make out.

Another set of Subtitled dialogue I can't make out is when Dracula first catches the brides seducing John Harker.

This is what the dialogue sounds like to me.

 * Dracula: Cum îndrăzniţi? (How dare you ?)
 * [Dracula throws Bride 1 onto the ceiling]
 * Dracula: Cu el am interzis asta! Acest barbăt îmi aparţine. ( Regarding him this is forbidden! This man belongs to me ?)
 * Bride 1: To to... tu n-ai iubit niciodată, tu n-ai să iubeşti niciodată. (You never loved and never will love")
 * Dracula: Nu e adevărat, și eu pot să iubesc, şi o să iubesc din nou. ("It's not true, I too can love, and I will love again")
 * Bride 1: N-ai nimic pentru noi în seara asta? ("Do you have anything for us tonight?")

Now, the first line of dialogue isn't subtitled. But the 2nd line by Dracula is subtitled, and says 'How dare you touch him, he belongs to me!" Clearly, there are elements of this translation in the 1st and 2nd lines. The 1st part of the 3rd line is well translated... "you never loved", but the 2nd part (the tail end of which actually overlaps with the 4th line spoken by Dracula, is not. The 4th line, by Dracula, is well spoken and translated... "I too can love, and I will love again."

I'd love to have some other input, hopefully from some native speakers.

Exit 17:57, 23 Jun 2005 (UTC)

title: Talk:Bram Stoker's Dracula


text:
Marathon Man (film)

Marathon Man is a 1976 suspense thriller film about a graduate student and obsessive runner in New York who is drawn into a mysterious plot involving his globe trotting brother, his European girlfriend, and an infamous Nazi war criminal in hiding.
 * Directed by John Schlesinger. Written by William Goldman, based on his novel of the same name.

Dr. Christian Szell

 * [to Babe] Oh, please don't worry. I'm not going into that cavity. That nerve's already dying. A live, freshly-cut nerve is infinitely more sensitive. So I'll just drill into a healthy tooth until I reach the pulp... unless of course you can tell me that it's safe.

 * [to Babe] You're weak. Your father was weak in his way. Your brother in his, now you in yours. You are all so predictable.

 * [to Janeway] Thus far I find you rather detestable, may I say that without hurting your feelings?

Others

 * Peter Janeway: [to Babe, explaining about the Division] Everything we do cuts both ways!

 * Professor Biesenthal: Well, you four have the dubious honor of having been picked from over two hundred applicants for this seminar. Well, let me just say this. There's a shortage of natural resources. There's a shortage of breathable air, there's even a shortage of adequate claret. But there is no shortage of historians. We grind you out like link sausages. That's called progress. Manufacturing doctorates is called progress. Well, I say, "Let us hush this cry of progress until ten thousand years have passed." That's a quote. Who said that? Come on, who said that? Well, somebody must know the answer [none of the students answer] Tennyson! Alfred, Lord Tennyson. My God, but you can't compete on a doctoral level and not know "Locksley Hall" and "Locksley Hall 60 Years Later"! I hope you all flunk. Dismissed.

Dialogue

 * Babe: Look, I'm sorry I stole your book.
 * Elsa: What?
 * Babe: I took your book and put it underneath mine. I, I didn't know how to talk to you, I was embarrassed, so I took your book.
 * Elsa: Aren't you embarrassed now?
 * Babe: Yeah. I'm, I'm humiliated.
 * Elsa: So, why do you pursue people who sit at your library table?
 * Babe: I don't. It's just that... you're pretty.
 * Elsa: Ohh!
 * [She smiles and turns to walk away from him]
 * Babe: Well, I can't talk about how smart you are; I don't even know you. Anyway, I'm done lying with you.
 * Elsa: Are you always so incompetent with women?
 * Babe: Oh, yes. Today's way above average for me.
 * Elsa: Congratulations.
 * [She is still smiling as she unlocks her door to leave him]
 * Elsa: Good night.
 * Babe: That's too bad. I could make you so happy. I'm smart as a whip; you won't meet another thief like me in the library again. Come on; why don't you say you'll see me, huh?
 * Elsa: All right. I'll see you again. But it won't come to anything.
 * Babe: You can't tell.
 * Elsa: [wistfully] Yes, I can.
 * [She shuts her door in his face]

 * Janeway: Szell's brother's been killed in Manhattan. A collision with an oil truck.
 * Doc: Oh, boy. Any changes?
 * Janeway: Only everything.
 * Doc: They're getting all the couriers.

 * Doc: [in a fancy restaurant] How could you forget to wear a tie?
 * Babe: I didn't forget it. Who wears a tie when they eat lunch?
 * Doc: [to Elsa] Well, at least his fly is buttoned!

 * Szell: You keep me waiting. Why? To upset me?
 * Doc: Good evening.
 * Szell: I'm not one to be mocked, and your behavior—
 * Doc: Don't give me any static about my behavior, not after what you've been pulling.
 * Szell: I've done nothing.
 * Doc: You're going to tell me that Chen acted on his own?
 * Szell: I don't know what you're talking about.
 * Doc: I don't mind you hiring him, but my brother for Chrissake's! Did you have to involve him?
 * Szell: It was nothing.
 * Doc: It was a violation. We do not involve family. We never involve family.
 * Szell: Think of it as a warning. Nothing more.
 * [Doc slaps Szell. Szell shouts in pain and collapses. His two associates come to Szell's aid]
 * Doc: Think of that as a warning and nothing more.
 * Szell: You would like to fight, wouldn't you? It will not happen. I'm much too old and far too smart for that. [He gets up] But we... must talk truthfully. Are you to be trusted?
 * Doc: No.
 * Szell: Is that the truth? Or are you trying again to upset me?
 * Doc: I know that you're going to the bank sooner or later.
 * Szell: Perhaps I've already been.
 * Doc: If you had, you wouldn't be here talking to me, would you?
 * Szell: And what else do you know?
 * Doc: I know that you're panicking. You think when you leave the bank, someone's gonna rob you.
 * Szell: Who would do such a thing?
 * Doc: Obviously, you think I would.
 * Szell: Well? Can I trust you?
 * Doc: You never could. You only had to.
 * Szell: We're talking of my safety.
 * Doc: May I be candid?
 * Szell: Yes.
 * Doc: I couldn't give a fuck about your—
 * [Szell stabs Doc with a push dagger hidden in his sleeve, and Doc gasps. Szell takes the knife out of Doc and leaves with his men while Doc collapses]

 * [Szell comes into the room. He pats Babe on the shoulder and walks to the sink]
 * Szell: The gun had blanks, the knife, a retractable blade. Hardly original, but effective enough, I think you'll agree. I'm told you are a graduate student. Brilliant, yes? You're a historian, and I am part of history. I should have thought you would have found me interesting. Frankly, I am disappointed in your silence.
 * Babe: Why do you have so little accent?
 * Szell: I had alexia as a child. Alexia is a disease that-
 * Babe: I know. It's where you can't understand written speech.
 * Szell: Highest marks. At any event, my writing is childish still, but I am a fanatic about spoken language. I envy you your school days. Enjoy them fully. It's the last time of your life no expects anything of you.

 * Szell: Is it safe? [pause] Is it safe?
 * Babe: You're talking to me?
 * Szell: Is it safe?
 * Babe: Is what safe?
 * Szell: Is it safe?
 * Babe: I don't know what you mean. I can't tell you something's safe or not, unless I know specifically what you're talking about.
 * Szell: Is it safe?
 * Babe: Tell me what the "it" refers to.
 * Szell: Is it safe?
 * Babe: Yes, it's safe, it's very safe, it's so safe you wouldn't believe it.
 * Szell: Is it safe?
 * Babe: No. It's not safe, it's... very dangerous, be careful. [laughs but in a scared manner]
 * [Szell takes his dental explorer and mouth mirror and approaches Babe]
 * Szell: Hm. Relax, relax, relax. Come on. Open. Uh-huh. Okay, okay. [Babe opens his mouth] Come on.
 * [Szell explores Babe's mouth with a dental instrument]
 * Babe: Huh! Ugh!
 * Szell: That hurt?
 * Babe: Uh-huh.
 * Szell: I know. I should think it would. You should take better care of your teeth. You have a...[hits the cavity again]
 * Babe: Aah!
 * Szell: ...a cav...quite a cavity here. Is it safe?
 * Babe: Look, I told you I can't... [Szell stabs the probe into the nerve] AAH! AAAH! Aah!
 * Karl: [holds Babe's head again] You thinks he knows?
 * Erhard: Of course he knows! He's being very stubborn.
 * [Szell then opens a small bottle of oil of cloves]
 * Babe: Oh, oh please. Please! Please don't. No.
 * Szell: It's okay.
 * Babe: Huh?
 * [Szell applies the bottle of oil of cloves to kill the pain]
 * Szell: Is it not remarkable? Simple oil of cloves, and how amazing the results. Life can be that simple: [holds up the oil] Relief... [and the probe tool] Discomfort. Now which of these I next apply? That decision is in your hands. So... take your time... and tell me... is it safe?
 * Babe: Aah. [says in a hushed tone] Please stop. Please, stop.
 * Note: the line, "Is it safe?" is ranked #70 in the American Film Institute's list of the top 100 movie quotations in American cinema.

 * Janeway: [In the car with Babe] All right, things are starting to come together. Keep your head down before you get it blown off. Those two guys I just wasted work for a man named Christian Szell. Does that name mean anything to you?
 * Babe: No
 * Janeway: He ran the experimental camp in Auchswitz, where they called him "The White Angel", the Weiße Engel, because he has this incredible head of white hair. He's probably the wealthiest and most wanted Nazi left alive. And he's hiding out somewhere in Uruguay. In 1945, Szell let it be known around Auchswitz that he could provide escape for any Jew who was willing to pay the price. He started with gold naturally, but very quickly worked his way up to diamonds. Have you heard any of this before?
 * Babe: No.
 * Janeway: Szell saw the end early. And he snuck his brother into America with his diamonds. They're right here in New York in a safe deposit box. Szell's brother had the key. The only other key was kept by Szell in Uruguay. And now, if he has to come out of hiding to use it, he's gonna expose himself to incredible risk. Well, everything worked out fine until his brother got killed in a head-on collision with an oil truck.
 * Babe: Why did you say "naturally" when you said he'd started with gold?
 * Janeway: Because he knocked it out of the Jews' teeth before he burned them. Szell was a dentist.
 * Babe: He's not coming to America, Mr. Janeway. He's here.
 * Janeway: He can't be here. We'd already know of it.
 * Babe: He's here. He was the dentist that almost killed me. He kept saying, "Is it safe?, is it safe?" over and over.
 * Janeway: Did he have white hair? Keep your head down! Did he have white hair?
 * Babe: He was bald.
 * Janeway: Bald? The son of a bitch has shaved his head! He's here! And he's panicked!

 * Janeway: Listen, why don't we begin with what happened tonight, hmm? Perhaps you could... you know, give me some of the details.
 * Babe: I was here, Doc... died, you came.
 * Janeway: That's it?
 * Babe: I'm a demon for details.

 * Janeway: [Referring to his dead brother] What did he do?
 * Babe: He was in the oil business.
 * Janeway: Wrong. I know exactly how Doc made his living, and the closest he ever came to the oil business was when he filled up at the friendly neighborhood gas station.

 * Janeway: I don't think he knows anything. And I think he knows too much.
 * Szell: You can afford to think what you wish. I can't.
 * Szell: [to Babe] Oh please don't worry. I'm not going into that cavity. That nerve's already dying. A live, freshly-cut nerve is infinitely more sensitive. So I'll just drill into a healthy tooth until I reach the pulp... unless of course you can tell me that it's safe.
 * Szell: [to Babe] Oh please don't worry. I'm not going into that cavity. That nerve's already dying. A live, freshly-cut nerve is infinitely more sensitive. So I'll just drill into a healthy tooth until I reach the pulp... unless of course you can tell me that it's safe.

 * Babe: Listen, I want you to rob my apartment.
 * Melendez: [laughs] Why?
 * Babe: There are some guys out there after me, I got a gun in my desk drawer, and I want you to get me some clothes.
 * Melendez: What's in there for me, man?
 * Babe: I got a TV set, I got a hi-fi, you can take it all. Do it.
 * Melendez: What's the catch?
 * Babe: The catch is it's dangerous. Please do it.
 * Melendez: That ain't the catch. It's the fun.

 * Szell: I was in a state of hysteria, you know. [referring to the open suitcase filled with diamonds] Don't you want to take a closer look than that?
 * Babe: No!
 * Szell: You see, uh, in a sense, one becomes more emotional with age. First, after a lifetime of being taken by friends and enemies alike, and then just when you think you have your possessions sure, your health begins to go. [laughs] That is, of course, the ultimate theft!

 * Szell: Well, what are you going to do now, shoot me?
 * Babe: No, I don't think so.
 * Szell: Then you're going to take these from me? [gestures to the diamonds] If I could say a word about that...
 * Babe: No, you can keep them. You can keep as many as you can swallow.

Taglines

 * A thriller.
 * One man's dangerous attempt to clear his father's name.

Cast

 * Dustin Hoffman - Thomas Babington "Babe" Levy
 * Lord Laurence Olivier - Dr. Christian Szell
 * Roy Scheider - Henry David "Doc" Levy
 * William Devane - Peter Janeway
 * Marthe Keller - Elsa Opel
 * Tito Goya - Melendez

title: Marathon Man (film)


text:
George Dantzig

George Bernard Dantzig (November 8, 1914 – May 13, 2005) was an American mathematician, who introduced the simplex algorithm and is considered the "father of linear programming".

Quotes

 * Linear programming is viewed as a revolutionary development giving man the ability to state general objectives and to find, by means of the simplex method, optimal policy decisions for a broad class of practical decision problems of great complexity. In the real world, planning tends to be ad hoc because of the many special-interest groups with their multiple objectives.
 * Dantzig (1983) "Reminiscences about the origins of linear programming". In: Mathematical programming : the state of the art. New York, 1983, p. 78-86.

 * During my first year at Berkeley I arrived late one day to one of Neyman's classes. On the blackboard were two problems which I assumed had been assigned for homework. I copied them down. A few days later I apologized to Neyman for taking so long to do the homework - the problems seemed to be a little harder to do than usual. I asked him if he still wanted the work. He told me to throw it on his desk. I did so reluctantly because his desk was covered with such a heap of papers that I feared my homework would be lost there forever. About six weeks later, one Sunday morning about eight o'clock, Anne and I were awakened by someone banging on our front door. It was Neyman. He rushed in with papers in hand, all excited: "I've just written an introduction to one of your papers. Read it so I can send it out right away for publication." For a minute I had no idea what he was talking about. To make a long story short, the problems on the blackboard which I had solved thinking they were homework were in fact two famous unsolved problems in statistics. That was the first inkling I had that there was anything special about them.
 * Dantzig (1986) in: D.J. Albers and C. Reid "An interview with George B. Dantzig : the father of linear programming". In: The College Mathematics Journal Vol 17, nr 4, 1986, p. 293-314.

 * In retrospect... it is interesting to note that the original problem that started my research is still outstanding -- namely the problem of planning or scheduling dynamically over time, particularly planning dynamically under uncertainty. If such a problem could be successfully solved it could eventually through better planning contribute to the well-being and stability of the world.
 * Dantzig (1991) as cited in: "Professor George Dantzig: Linear Programming Founder Turns 80", in: SIAM News, November 1994.

 * Industrial production, the flow of resources in the economy, the exertion of military effort in a war, the management of finances --all require the coordination of interrelated activities. What these complex undertakings share in common is the task of constructing a statement of actions to be performed, their timing and quantity (called a program or schedule), that, if implemented, would move the system from a given initial status as much as possible towards some defined goal
 * George B. Dantzig, Mukund N. Thapa (1997) Linear Programming: 1: Introduction. p.xxi

Linear programming and extensions (1963)

 * George Dantzig (1963) Linear Programming and Extensions. Princeton University Press.

 * All such problems can be formulated as mathematical programming problems. Naturally, we can propose many sophisticated algorithms and a theory but the final test of a theory is its capacity to solve the problems which originated it.
 * p. vii.

 * Industrial production, the flow of resources in the economy, the exertion of military effort in a war theater-all are complexes of numerous interrelated activities. Differences may exist in the goals to be achieved, the particular processes involved, and the magnitude of effort. Nevertheless, it is possible to abstract the underlying essential similarities in the management of these seemingly disparate systems.
 * p. 1

 * If the system exhibits a structure which can be represented by a mathematical equivalent, called a mathematical model, and if the objective can be also so quantified, then some computational method may be evolved for choosing the best schedule of actions among alternatives. Such use of mathematical models is termed mathematical programming.
 * p. 2

 * One of the first applications of the simplex algorithm was to the determination of an adequate diet that was of least cost. In the fall of 1947, Jack Laderman of the Mathematical Tables Project of the National Bureau of Standards undertook, as a test of the newly proposed simplex method, the first large-scale computation in this field. It was a system with nine equations in seventy-seven unknowns. Using hand-operated desk calculators, approximately 120 man-days were required to obtain a solution. … The particular problem solved was one which had been studied earlier by George Stigler (who later became a Nobel Laureate) who proposed a solution based on the substitution of certain foods by others which gave more nutrition per dollar. He then examined a "handful" of the possible 510 ways to combine the selected foods. He did not claim the solution to be the cheapest but gave his reasons for believing that the cost per annum could not be reduced by more than a few dollars. Indeed, it turned out that Stigler's solution (expressed in 1945 dollars) was only 24 cents higher than the true minimum per year $39.69.
 * cited in: John J. O'Connor & Edmund F.; Robertson (2003) "George Dantzig". in: MacTutor History of Mathematics archive, University of St Andrews.

Misattributed

 * The mathematician may be compared to a designer of garments, who is utterly oblivious of the creatures whom his garments may fit. To be sure, his art originated in the necessity for clothing such creatures, but this was long ago; to this day a shape will occasionally appear which will fit into the garment as if the garment had been made for it. Then there is no end of surprise and delight.
 * This quote is by his father (1884-1956) Number: The Language of Science (1930) p. 240

title: George Dantzig


text:
User talk:Mariposalily

--Aphaia 21:25, 23 Jun 2005 (UTC)

Special thanks for adding a lot of Veronica Mars quotes, and keeping them within the formatting guidelines. Excellent work! ~ MosheZadka (Talk) 23:02, 23 Jun 2005 (UTC)

Veronica Mars
Hi. I wanted to draw your attention to my note at Talk:Veronica Mars ~ MosheZadka (Talk) 06:22, 5 December 2005 (UTC)

Summary
Thank you for your contributions to Wikiquote. Might I ask that you please use the "Edit summary" feature whenever you edit to provide a terse summary of the changes you make during each edit? This helps folks review article changes from a broad perspective without having to do server-intensive, step-by-step examination of individual edits. If you'd like more information on this, please see Wikipedia:Edit summary or drop me a note on my talk page. Thank you for your assistance. ~ MosheZadka (Talk) 08:27, 5 December 2005 (UTC)

Sourcing context for quotes
Please do not remove sourcing context lines from dialog quotes. They are not "superfluous scene descriptions", but rather a means to identify the scene in which a quote appears, so that editors wishing to verify quotes can more easily do so. Context lines, which already have a history at Wikiquote for providing optional, minimally necessary context for a quote, have been drafted to serve this second critical purpose. They are essentially the dialog equivalent of page numbers. Without them, we may need to resort to timecodes, which introduce an entirely new set of problems. Thank you for your cooperation. ~ Jeff Q (talk) 18:58, 6 February 2007 (UTC)

title: User talk:Mariposalily


text:
Talk:The X-Files

there's not much information here, is there?

Die Wahrheit ist irgendwo da drauben == The truth is somewhere over there (I think its drueben)

The truth is out ther == Die Wahrheit is da drasusen

Been working on this page a lot, adding quotes as I go through the series (for the first time!), cleaning up the format of quotes already here, and fixing errors that I see. The ones I'm adding should be right (I'm using subtitles to make sure I'm hearing things correctly) but I'm also including emotions/actions, and if I should stop doing those (things like "smiles," "shouts," etc), please let me know. -Impsy

I moved Fox Mulder's quotes over from his wikipedia page to wikiquote - qv Fox Mulder

Taglines
Why were the taglines killed? I rather liked 'em :) and I don't see why they wouldn't belong here. --84.56.87.117 12:05, 30 October 2006 (UTC)

Since nobody replied to the above comment, and since a link to the taglines section was still present at the top of the page, I restored the taglines. If there is an important reason for deleting them, please explain. Thanks. --149.9.0.56 10:46, 12 December 2006 (UTC)

title: Talk:The X-Files


text:
Petero Mataca

Petero Mataca (born 28 April 1933 – 30 June 2014) is the Roman Catholic Archbishop of Fiji.

Quotes
=== Statement to the media, 23 June 2005, on the government's proposal to establish a Reconciliation and Unity Commission (excerpts) ===
 * I support the effort of government to bring about reconciliation and unity but this cannot be achieved through a Bill that has caused so much opposition, division and confusion in the country.

 * Reconciliation and unity cannot be achieved through a politically motivated Bill.

 * The healing of a nation is a slow process that requires patience. It begins with truth telling, the confession of wrong-doing, the genuine respect for forgiveness and the willingness to accept the consequences of one's actions.

 * I publicly appeal to our President, our Prime Minister and the members of our Government to withdraw the Bill until such time as proper consultations can be held and appropriate amendments made.

 * The overthrow of a democratically elected government is a very serious crime and those involved — great or small — must face the consequences. Otherwise we will continue to see a repetition of coups and other politically motivated criminal activity.

title: Petero Mataca


text: User talk:69.136.197.161

title: User talk:69.136.197.161


text:
Kingdom Hospital

Kingdom Hospital, a (2004 Stephen King miniseries), is about a Maine hospital with an colorful but mostly professional staff who find themselves confronted with supernatural phenomena, including the spirits of a small girl and a vicious boy, and an anteater-like creature that roams the corridors. It is based on the Danish miniseries Riget written by Niels Vørsel and Lars von Trier, the latter of whom also worked on Kingdom Hospital.

Thy Kingdom Come

 * Crow: You look pretty tasty.
 * Peter Rickman: Get away from me.
 * Crow: I think I'll start with your eyes.

 * Antubis: You're a real mess, my friend. I mean, you're seriously racked up.
 * Peter: Please...
 * Antubis: Save your strength. That'd be my advice. You'll need it.

Death's Kingdom

 * Lenny: Let the lamp affix its beam. The only emperor is the Emperor of Ice Cream!

 * Paul: Popsicle or fudgesicle?

Goodbye Kiss

 * Peter: You saved my life.
 * Antubis: I did more than that. I saved the quality of your life.

 * Mary: My name is Mary.
 * Peter: Why do you look so sad?
 * Mary: I lost my dolly.
 * Peter: Is that all?
 * Mary: I'm afraid.
 * Peter: Who are you afraid of, Honey?
 * Mary: (Sees Paul appear) Of him! Of him! (Paul grabs her.)
 * Peter: Leave her alone!
 * Paul: Leave it alone, short-time! Butt out! That'd be my advice. She's not the only one who has a bell!
 * Mary: Help me!
 * Peter: How? What do I do?
 * Mary: (As Paul disappears through the wall with her.) Let Antubis help you!
 * Peter: Who the hell is Antubis?

 * Stegman: Maine hick scum! How dare you?! There will be reprisals for this! REPRISALS!

The West Side of Midnight

 * Paul: There's an old woman, a meddling old woman. If she comes in here and she tries to talk to your roommate, kill her.
 * Rolf: Why?
 * Paul: Never mind, just do it.
 * Rolf: I'm not sure I can, I...
 * Paul: You can, you betta. Do you know the beauty part? No one will even ask you why you did it, you're craaazzzy.
 * Rolf: Thats why I'm seeing you isn't it? Because I'm crazy?
 * Paul: You don't really believe that.

Hook's Kingdom

 * Paul: [Laughing] Should I finish him off?

Black Noise

 * Ambulence Dispatch: Code 4 in progress at the courthouse. A lawyer in v-fib.
 * Nurse: A fibbing lawyer! Sounds perfectly normal to me.

 * [The Operating Room receives personal-injury lawyer and coronary patient Sheldon Fleischer, but nobody wants to handle him.]
 * Fleischer: It's okay, please. I promise… I promise I won't sue you. I'll sign a waiver. Please.
 * [The staff consider this for a moment, then…]
 * Dr. Hook: [rapidly] Awright. Well, you heard him. We got a lawyer here — every second counts. I want that digital minicam running at 24 frames per second trained on this patient's torso at all times.
 * [Everyone starts scrambling at his rapid-fire commands.]
 * Dr. Hook: I want a second camera, handheld, covering any medical personnel that touch this patient for any reason. I want a third camera trained on me, the attending physician. I would like all orders typed, not handwritten, proof-read, and printed in triplicate — and notarized. Where's the notary?
 * [A handheld camera pans over to a man in a business suit covered with an OR gown.]
 * Notary: Notary public, right here.
 * Dr. Hook: Danny, is that a genuine and accurate record of all the medications and procedures received by this patient while being transported to this medical facility?
 * EMT Danny: Yes, Doctor.
 * Dr. Hook: CLEAR!
 * [Hook slaps the paperwork down on Fleischer's exposed chest.]
 * Fleischer: Ooh!
 * [The notary moves in and clamps his seal onto the paper — against Fleischer's chest.]
 * Fleischer: Ooh! Ugh.
 * Dr. Hook: Sign.
 * [Fleischer scribbles his signature on the forms. Hook turns to the handheld cameras.]
 * Dr. Hook: [still rapid-fire] My name's Dr. Hook. I attended Columbia University Medical School…
 * [Cut to a stenographer typing furiously, then back to Hook.]
 * Dr. Hook: [rapidly] … from 1992 to 1996 and graduated magna cum laude. I was trained as a surgical resident at Johns Hopkins and did my fellowship at Boston General. With a reasonable degree of medical certainty and according to a standard of care exercised by similarly qualified practictioners, in the same or similar circumstance in a community of the same or similar size, I shall now order 1 milligram of atropine, 1 milligram of epinephrine on standby, 100% oxygen through high-flow mask with a 250cc reservoir attached. So help me God!
 * [Cut to Fleischer looking up at the medical staff, who loom over him, their voices echoing oddly.]
 * Dr. Hook: 20 milligrams of Nabisco Frosted Mini-Wheats, IV-pushed. 5cc coronary anti-freeze. Fifty units Formula 409, STP oil treatment, and WD-40, stat! A portable chest death ray, a sterile claw hammer, and 10 milligrams of napalm and nitroglycerin in per-saline drip, [whimsically] and a spoonful of sugar to help the medicine go down!

Butterfingers

 * [Dr. Hook is closing up a brain operation on Earl Candleton, a baseball player who famously lost an old World Series by flubbing a catch.]
 * Dr. Gupta: "Error" Candleton, right here in front of us. It's— it's unreal. You know, Otto claims he was in here once before.
 * [Hook flashes on his tiny model cemetery commemorating all the botched operations at Kingdom, including his own.]
 * Dr. Hook: Maybe you haven't made errors of your own yet, but you will. And when you do, you'll want mercy.
 * Dr. Gupta: Yeah, it's just what everybody calls him.
 * Dr. Hook: Not in front of me.

The Passion of Reverend Jimmy

 * Reverend Jimmy: Forgive them, for they know not what they do.

 * Homeless Man: Guys, this ain't water no more. It's wine.

 * Paul: Call the doctor call the nurse. This guy's goofy and gettin' worse...!

Seizure Day

 * [While the crowd sings "Amazing Grace" outside Kingdom Hospital, mounted policeman Saul Tarus exercises an aggressive form of crowd control.]
 * Saul Tarus: I am the COP, your shepherd! You shall not want across that line! I'll make you lie down in mean postures! I'll bust your ditty-bop heads, and run you down in the path of righteousness! Rod-butt your asses with the shadow of death! I'll teach you fear, and show you evil! I, with my rod and my staff, will discomfort thee! I will turn you into table spread! Anoint your head with gasoline!
 * [He punctuates his rant by bashing people with his billyclub.]
 * Saul Tarus: For I am the MEANEST... SON OF A... BITCH... IN THE... VALLEY! YOU GOT THAT?! NOW MOVE IT BAAAACK!

 * [Dr. Hook et al. are mapping the brain of seizure victim Sol Tarus, who suddenly "saw the light" the previous night.]
 * Dr. Gupta: Anything?
 * Saul Tarus: Somebody is moving my left hand.
 * Dr. Hook: E4 is motor.
 * Dr. Gupta: Eh, can you read the screen for us, please? Anything?
 * [Cut to an LCD displaying individual basic words for a few seconds each.]
 * Saul Tarus: I was trying to say the words, but I couldn't.
 * Dr. Hook: H5 is language.
 * [Cut to the exposed brain, where a set of tags marked H7, H5, B3, and E4 are visible. Hook touches B3 with a probe.]
 * Dr. Gupta: Read the screen, please.
 * [The display changes from BOX to CHRISTMAS.]
 * Saul Tarus: Teacher, I have brought to you my son, for he's possessed by a mute spirit. Whenever it seizes him, it throws him down, he foams at the mouth, grinds his teeth, and becomes rigid. Jesus rebuked the unclean spirit, and raised him up.
 * Dr. Gupta: Well, uh... B4 is... the Bible, I guess. What is that, "Matthew"?
 * Dr. Hook: "Mark". Chapter 9.

 * [In the ghostly "Old Kingdom", the headless corpse blunders into Dr. Gottreich's lab.]
 * Dr. Gottreich: My word, young man, that is one grevious wound. Where are we going to find you a new nut?

Shoulda Stood in Bed

 * [Long-dead Dr. Gottreich walks a darkened hall of the Old Kingdom Hospital with a lit candle.]
 * Dr. Gottreich:
 * Here we store what came before,
 * Pain and suffering from days of yore.
 * Before and after, tears and laughter,
 * After comes before, before comes after.
 * Past and future, and then... hereafter.
 * The naked and the dead, the young and the old,
 * Their stories end here, their tales untold.
 * Here, sickness and death have left their pages,
 * Written in blood for all the ages.
 * Someday... your story will be here, too.

 * [Nurse Carrie tends to Sol (now Paul) Tarus as another tremor hits.]
 * Paul Tarus: It's not the shaking that worries me. It's the voices. D'you hear 'em?
 * Carrie: I hear a... faint hum.
 * Paul Tarus: Oh... they're voices. But don't worry. [smiles beatifically] God'll take care of us. Or...
 * Carrie: Or?
 * Paul Tarus: [still smiling] Or he won't.

Finale

 * Antubis: Good job, Dr. Hook. The next time you look at your graveyard, remember what you did here tonight.

title: Kingdom Hospital


text:
User talk:Ovvldc

--Aphaia 09:14, 24 Jun 2005 (UTC)

title: User talk:Ovvldc


text:
John Fowles

John Robert Fowles (31 March 1926 – 5 November 2005) was an English novelist and essayist.
 * See also:
 * The Collector (1965 film based on the 1963 novel)

Quotes

 * There are only two races on this planet — the intelligent and the stupid.
 * As quoted in Daily Telegraph (15 August 1991)

The Collector (1963)

 * When she was home from her boarding-school I used to see her almost every day sometimes, because their house was right opposite the Town Hall Annexe. She and her younger sister used to go in and out a lot, often with young men, which of course I didn’t like. When I had a free moment from the files and ledgers I stood by the window and used to look down over the road over the frosting and sometimes I’d see her. In the evening I marked it in my observations diary, at first with X, and then when I knew her name with M.

I can’t say what it was, the very first time I saw her, I knew she was the only one. Of course I am not mad, I knew it was just a dream and it always would have been if it hadn’t been for the money. I used to have daydreams about her, I used to think of stories where I met her, did things she admired, married her and all that. Nothing nasty, that was never until what I’ll explain later.
 * Well, then there was the bit in the local paper about the scholarship she’d won and how clever she was, and her name as beautiful as herself, Miranda. So I knew she was up in London studying art. It really made a difference, that newspaper article. It seemed like we became more intimate, although of course we still did not know each other in the ordinary way.
 * I know what I am to him. A butterfly he has always wanted to catch. I remember (the very first time I met him) G.P. saying that collectors were the worst animals of all. He meant art collectors, of course. I didn’t really understand, I thought he was just trying to shock Caroline — and me. But of course, he is right. They’re anti-life, anti-art, anti-everything.

 * He’s so slow, so unimaginative, so lifeless. Like zinc white. I see it’s a sort of tyranny he has over me. He forces me to be changeable, to act. To show off. The hateful tyranny of weak people.

 * Everything free and decent in life is being locked away in filthy little cellars by beastly people who don’t care.

 * I don’t think the Campaign for Nuclear Disarmament has much chance of actually affecting the government. It’s one of the first things you have to face up to. But we do it to keep our self-respect to show to ourselves, each one to himself or herself, that we care. And to let other people, all the lazy, sulky, hopeless ones like you, know that someone cares. We’re trying to shame you into thinking about it, about acting.

The Aristos (1964)

 * Most marriages recognize this paradox: Passion destroys passion; we want what puts an end to wanting what we want.

 * ...even more ominous … is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. … he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals … A visual is more interested in style than in content … A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.

 * The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity.
 * Since the advent of atomic weapons it is clear that what matters militarily is not numbers but know-how; this situation was apparent as soon as the first machine gun was invented.
 * Even if we could feed a population twice the size of the present world population, and feed them better than they are fed now, there is no guarantee that such an overpopulated world would be happier than a properly populated one....the state of overpopulation turns progress into regress.

The Magus (1965)

 * Boston: Little, Brown 1977 edition and New York: Modern Library 1998 edition

 * There’s a card in the Tarot pack called The Magus. The magician, conjuror. Two of his traditional symbols are the lily and the rose.
 * Introduction (1977 edition)

 * A novelist has to enter deeper exile still. In most outward ways the experience was depressive, as many young would-be writers and painters who have ever gone to Greece have discovered. We used to have a nickname for the sense of inadequacy and accidie it produced – the ‘Aegean blues’. One has to be a very complete artist to create good work among the purest and most balanced landscapes on the planet…The Greece of the Islands is Circe still; no place for the artist-voyager to linger long, if he cares for his soul.
 * Introduction (1977 edition)

 * Years later I saw the gabbia at Piacenza; a harsh black canary-cage strung up high the side of the the towering campanile, in which prisoners were once left to starve to death and rot in full view of the town below. And looking up at it, I remembered that winter in Greece, that Gabbia I had constructed for myself out of light, solitude and self-delusions. My feelings at the end of that wretched term, were those of a man who knows he is in a cage, exposed to the jeers of all his old ambitions until he dies.
 * Introduction (1977 edition)

 * I do not defend Conchis’ decision at the execution, but I defend the reality of the dilemma. God and freedom are totally anti-pathetic concepts; and men believe in their imaginary gods most often because they are afraid to believe in the other thing. I am old enough to realise now that they do sometimes with good reason. True freedom lies between each two, never in one alone, and therefore is never absolute freedom.
 * Introduction (1977 edition)

 * If there was some central theme beneath the (more Irish than Greek) stew of intuitions about the nature of human existence – and of fiction – it is perhaps in the alternative title, whose rejection I still sometimes regret: The Godgame. I did intend Conchis to exhibit a series of masks representing human notions of God, from the supernatural to the jargon-ridden scientific, that is, a series of human illusions about something that does not exist in fact, absolute knowledge and absolute power. The destruction of such illusions seems to me still an eminently humanist aim; and I wish there were some super-Conchis who could put the Arabs and the Israelis, or the Ulster Catholics and Protestants, through the same heuristic mill as Nicholas.
 * Introduction (1977 edition)

 * It must essentially remain a novel of adolescence written by a retarded adolescent.
 * Introduction (1977 edition)

 * If a person is intelligent, then of course he is either an agnostic or an atheist. Just as he is a physical coward. They are automatic definitions of high intelligence.
 * Ch. 17

 * Duty largely consists of pretending that the trivial is critical.
 * Ch. 18

 * That is the truth. Not the hammer and sickle. Not the stars and stripes. Not the cross. Not the sun. Not gold. Not yin and yang. But the smile.
 * Ch. 21

 * The mess of my life, the selfishnesses and false turnings and the treacheries, all these things could fall into place, they could become a source of construction rather than a source of chaos, and precisely because I had no other choice.
 * Ch. 27

 * By this sinister elision, this slipping from true remorse, the belief that the suffering we have precipitated ought to ennoble us, or at least make us less ignoble from then on, to disguised self-forgiveness, the belief that suffering in some way ennobles life, so that the precipitation of pain comes, by such a cockneyed algebra, to equal the ennoblement, or at any rate the enrichment, of life, by this characteristically twentieth-century retreat from content into form, from meaning into appearance, from ethics into aesthetics, from aqua into unda, I dulled the pain of that accusing death; and hardened myself, to say nothing of it at Bourani. I was still determined to tell Julie, but at the right time and place, when the exchange rate between confession and the sympathy it evoked looked very likely to be high.
 * Ch. 52

The French Lieutenant's Woman (1969)

 * London: Jonathan Cape, 1969

 * She turned to look at him — or as it seemed to Charles, through him. It was not so much what was positively in that face which remained with him after that first meeting, but all that was not as he had expected; for theirs was an age when the favoured feminine look was the demure, the obedient, the shy. Charles felt immediately as if he had trespassed; as if the Cobb belonged to that face, and not to the Ancient Borough of Lyme. It was not a pretty face like Ernestina's. It was certainly not a beautiful face, by any period's standard or taste. But it was an unforgettable face, and a tragic face. Its sorrow welled out of it as purely, naturally and unstoppably as water out of a woodland spring. There was no artifice there, no hypocrisy, no hysteria, no mask; and above all, no sign of madness. The madness was in the empty sea, the empty horizon, the lack of reason for such sorrow; as if the spring was natural in itself, but unnatural in welling from a desert.
 * Charles Smithson's first encounter with Sarah Woodruff in Ch. 2, p. 16

 * There is only one good definition of God: the freedom that allows other freedoms to exist.
 * Ch. 13, p. 99

 * Darwinism, as its shrewder opponents realized, let open the floodgates to something far more serious than the undermining of the Biblical account of the origins of man; its deepest implications lay in the direction of determinism and behaviourism, that is, towards philosophies that reduce morality to a hypocrisy and duty to a straw hut in a hurricane.
 * Ch. 16, p. 119

 * Sometimes I almost pity them [other women]. I think I have a freedom they cannot understand. No insult, no blame, can touch me. Because I have set myself beyond the pale. I am nothing. I am hardly human any more. I am the French Lieutenant's Whore.
 * Sarah to Charles in Ch. 20, p. 171

 * In a vivid Insight, a flash of black lightning, he [Charles] saw that all life was parallel: that evolution was not vertical, ascending to a perfection, but horizontal. Time was the great fallacy; existence was without history, was always now, was always this being caught in the same fiendish machine. All those painted screens erected by man to shut out reality — history, religion, duty, social position, all were illusions, mere opium fantasies.
 * Ch. 25, p. 200

 * For a moment, in that dark Dorset night, reason and science dissolved; life was a dark machine, a sinister astrology, a verdict at birth and without appeal, a zero over all.
 * Ch. 28, p. 229

 * A tiny wren perched on top of a bramble not ten feet from him and trilled its violent song. He saw its glittering black eyes, the red and yellow of its song-gaped throat — a midget ball of feathers that yet managed to make itself the Announcing Angel of evolution: I am that I am, thou shalt not pass my being now. He stood as Pisanello's saint stood, astonished perhaps more at his own astonishment at this world's existing so close, so within reach of all that suffocating banality of ordinary day. In those few moments of defiant song, any ordinary hour or place — and therefore the vast infinity of all Charles's previous hours and places — seemed vulgarized, coarsened, made garish. The appallimg ennui of human reality lay cleft to the core; and the heart of all life pulsed there in the wren's triumphant throat.
 * Ch. 29, pp. 233–234

 * I am infinitely strange to myself.
 * Charles to Sarah in Ch. 47, p. 340

The Ebony Tower (1974)

 * That's all. Just paint. That's my advice. Leave the clever talk to the poor sods who can't.

 * The princess calls, but there is no one, now, to hear her.

 * The tender pragmatisms of flesh have poetries no enigma, human or divine, can diminish or demean - indeed, it can only cause them, and then walk out.

Daniel Martin (1977)

 * I was born in 1927, the only child of middle-class parents, both English, and themselves born in the grotesquely elongated shadow, which they never rose sufficiently above history to leave, of that monstrous dwarf Queen Victoria.
 * Ch. 1, p. 1

 * Narcissism: when one grows too old to believe in one's uniqueness, one falls in love with one's complexity.
 * Ch. 2, Games

 * He liked to be popular and in place of charm had to dispense alcohol…

 * (The staff common room) was real boredom, not just modish ennui. Boredom, the numbing annual predictability of life, hung over the staff like a cloud. From it flowed cant, hypocrisy, and the impotent rage of the old who know they have failed and the young who suspect they will fail. The senior masters stood like Gallows sermons; with some of them one had a sort of vertigo, a glimpse of the bottomless pit of human futility...a sere notifier of what is.

 * I was too green to know that all cynicism masks a failure to cope – an impotence, in short and to despise all effort is the greatest effort of all...

 * I didn’t know at that time Emily Dickinson’s great definition, her 'Publication is not the business of poets’; being a poet is all, being known as a poet is nothing.

 * I was not a poet. I felt no consolation in this knowledge, but only a red anger that evolution could allow such sensitivity and such inadequacy to coexist in the same mind. In one ego, my ego, screaming like a hare caught in a gin.

 * One kind of person is engaged in society without realizing it; another kind engages in society by controlling it. The one is a gear, a cog, and the other an engineer, a driver. But a person who has opted out has only his ability to express his disengagement between his existence and nothingness. Not cogito, but scribo, ergo sum.

 * I hated myself. I had created nothing, I belonged to nothingness, to the néant, and it seemed to me that my own death was the only thing that I could create; and still, even then, I thought it might accuse everyone who had ever known me. It would validate all my cynicism, it would prove all my solitary selfishness; it would stand, and be remembered, as a final dark victory.

 * All the time I felt I was being watched, that I was not alone, that I was putting on an act for the benefit of someone, that this action could be done only if it was spontaneous, pure – and moral. Because more and more it crept through my mind with the chill spring night that I was trying to commit not a moral action, but a fundamentally aesthetic one; to do something that would end my life sensationally, significantly, consistently. It was a Mercutio death I was looking for, not a real one. A death to be remembered, not the true death of a true suicide, the death obliterate.

 * I saw that I was from now on, for ever, contemptible. I had been and remained, intensely depressed, but I had also been, and always would be, intensely false; in existentialist terms, inauthentic. I knew I would never kill myself, I knew I would always want to go on living with myself, however hollow I became, however diseased.

 * Her voice was completely English. For some reason I had expected a foreign accent; but I could place this exactly. It was my own; product of boarding school, university, the accent of what a sociologist once called the Dominant Hundred Thousand.

 * We were equally tired, in mid-century, of cold sanity and hot blasphemy; of the over-cerebral and of the over-faecal; the way out lay somewhere else. Words had lost their power, either for good or for evil; still hung, like a mist, over the reality of action, distorting, misleading, castrating; but at least since Hitler and Hiroshima they were seen to be a mist, a flimsy superstructure.

 * The battle was over. Our casualties were some thirteen thousand killed--thirteen thousand minds, memories, loves, sensations, worlds, universes--because the human mind is more a universe than the universe itself--and all for a few hundred yards of useless mud.

 * I saw that this cataclysm must be an expiation for some barbarous crime of civilisation, some terrible human lie. What the lie was, I had too little knowledge of history to know then. I now know it was our believing that we were fulfilling some end, serving some plan, - that all would come out well in the end, because there was some great plan over all. Instead of the reality. There is no plan. All is hazard. And the only thing that will preserve us is ourselves.

 * If you are wise you will never pity the past for what it did not know, but pity yourself for what it did.

 * There are people who have an instinctive yet perfect moral judgment, who can perform the most complex ethical calculations like an Indian peasant can sometimes perform astounding mathematical feats in a matter of seconds. Lily was such a person. I craved her approval.

 * I am talking about the general psychological health of the species, man. He needs the existence of mysteries, not their solution.

 * She seemed older to me, over-experienced by travel; needing to be learnt again, and I hadn’t the energy.

 * She had a kind of genius for picking the wrong man. She always looked for poetry and passion and sensitivity, the whole romantic kitchen, whereas I lived by a simpler diet, prose and pudding. I don’t expect attractive men to have attractive souls.

 * The writing was impeccably neat and legible though rather crabbed into the centre of the page; I saw a neat crabbed man behind it. Presumably some sort of retreat, one of those desiccated young Catholics that used to mince around Oxford when I was an undergraduate.

 * The dinner that evening was dreadful, the epitome of English vacuity...they were all the same, each mind set in the same weird armour, like an archosaur’s ruff, like a fringe of icicles. All I heard the whole evening was the tinkle of broken ice-needles as people tried timidly and vainly to reach through the stale fence of words, tinkle, tinkle, and then withdraw. Nobody behaved with breadth, with warmth, with naturalness, and finally it became pathetic. We were all the same; I hardly said anything, but that made me no more innocent – or less conditioned. The solemn figures of the Old Country, the Queen, the Public School, Oxbridge, the Right Accent, People Like Us, stood around the table like secret police, ready to crush down in an instant on any attempt at an intelligent European humanity.* We…were held by those cloud-grey shapes on the world’s blue rim. Death machines holding thousands of gum-chewing, contraceptive-carrying men; for some reason more 30 years away than 30 miles; as if we were looking into the future, not the south; into a world where there were no more Prosperos, no private domains, no Poetries, fantasies, tender sexual promises...I felt acutely the fragility of time itself...

 * Perhaps the clue lay in indispensibility. I was being taught some obscure metaphysical lesson about the place of man in existence, about the limitations of the egocentric view...

 * It. Is. Not. Ended. There was just the trace of a humourless smile on his face; and more than a trace of menace. As if he meant something more than that there was a sequel to this scene; but that the whole Nazi weltanschaaung to be, resurrected and realised. He was an impressively iron man...

 * To my horror I began to cry...a great cloud of black guilt, knowledge of my atrocious selfishness, settled on me. One day she had said “when you love me (and she had not meant ‘make love to me’) it’s as if God forgave me for being the mess I am”; and I took it as chicanery, another emotional blackmail, to make me feel essential and give me a sense of responsibility towards her...My monstrous crime was Adam’s, the oldest and most vicious of all – male selfishness...Something far worse than lèse majesté. Lèse-humanité.

"I should not be in the hands of a surgeon who did not take that view."
 * "You sound like a certain kind of surgeon. A lot more interested in the operation than the patient."

 * All good science is art. And all good art is science.

 * I played him the Goldberg Variations. If one wishes to reduce a sensitive German to tears there is no surer lachrymatory.

 * I did not like the colonel at all. He had eyes like razors…the eyes of a machine. An educated machine… I realised he was drinking less than we were…And that he was playing with me. That he was a realist… Also that Anton was careless with his tongue...
 * There was a bright wind, it was a Dufy day, all bustle, movement, animated colour..

 * Once again fear, and mystery, swept over me...I was infinitely far from home. The profoundest distances are never geographical...

 * Hypotheses pinned me down, as Gulliver was pinned by the countless threads of the Lilliputians...

 * So I strode down to the school like some vengence-brewing chieftain in an Icelandic saga...

 * Though not large it had a certain elegance; a pilastered portico, windows with graceful pediments. The whitewashed façade was in shadow, a palid blue against the evening sky’s pale blue.

 * I still couldn’t accept that this was not some nightmare, like some freak misbinding in a book, a Lawrence novel become, at the turn of a page, one by Kafka.

 * I felt both a state of envy and contempt. The yacht itself was not vulgar, but I smelt something vulgar about owning it...A few moments later I set off back to my dull daily penal colony of an existence on the far side of the dream, as Adam left the Garden of Eden perhaps…except I knew there were no Gods, and nothing was going to bar my return...

 * Pois eisai? She wanted to know. Pou pas? The old Homeric questions of the Greek peasant. Who art thou? Where goest thou?

 * By this characteristically twentieth century retreat from content into form, from meaning into appearance, from ethics into aesthetics, from aqua into unda, I dulled the pain of accusing death, and hardened myself.

 * Utram bibis? Aquam an undam?

Attributed
"Since the advent of atomic weapons it is clear that what matters militarily is not numbers but know-how; this situation was already apparent as soon as the first machine gun was invented." (The Aristos)

title: John Fowles


text:
User talk:The Merciful~enwikiquote

And thank you for your constructive comment on WQ:VFD. I hope we together would build a consistent policy. Cheers, --Aphaia 16:20, 24 Jun 2005 (UTC)

 * Hi. I'm in the process of massively refmting to The Order of the Stick. Your opinions and improvements will be appreciated. ~ MosheZadka (Talk) 09:58, 23 November 2005 (UTC)

Your account will be renamed
Hello,

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

Unfortunately, your account clashes with another account also called The Merciful. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name The Merciful~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 23:38, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:59, 19 April 2015 (UTC)

title: User talk:The Merciful~enwikiquote