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Oscar Levant

Oscar Levant (December 27, 1906 – August 14, 1972) was an American pianist, composer, author, comedian, and actor. He was better known for his mordant character and witticisms, on the radio and in movies and television, than for his music.

Quotes

 * It certainly will be if you are still around.
 * In response to Gershwin's query, "I wonder if my music will be played a hundred years from now"; as quoted in "George the Ingenuous" by Alexander Woolcott, in Cosmopolitan (November 1933); reprinted in Ch. IV: "'...A Young Colossus...'" from Gershwin Remembered (1992) by Edward Jablonski, pp. 44-45
 * If George is around, it will. (This version was recounted by Howard Dietz in Dancing in the Dark (1974), p. 61, in response to a virtually identical query—i.e. as to whether Gershwin's music would still be played in 100 years—posed by Newman Levy.)

 * Tell me, George, if you had it to do all over, would you fall in love with yourself again?
 * as recounted by Levant in A Smattering of Ignorance (1940); quoted in "Books and Things" by Lewis Gannett, in The New York Herald Tribune (January 13, 1940), p. 11

 * It would have been better if you had died and Gershwin had written the elegy.
 * Critiquing a musical tribute composed shortly after Gershwin's death (July 11, 1937) by an unnamed mutual friend recounted in The Memoirs of an Amnesiac (1965); and quoted in "On San Diego: You Can Bet On It" by Tom Blair, in San Diego Magazine (September 2007), p. 272

 * A symphonic conductor should reconcile himself to the realization that, regardless of his approach or temperament, the eventual result is the same — the orchestra will hate him.
 * In "Music in Aspic," Harper's Magazine (October 1939), an abbreviated chapter from his soon-to-be-published A Smattering of Ignorance (1940); reproduced in Gentlemen, Scholars, and Scoundrels: A Treasury of the Best of Harper's Magazine from 1850 to the Present (1959), edited by Harry Knowles, p. 246

 * I would like to have been present, if I could have my choice of all moments in music history, when Stokowski suddenly became conscious of his beautiful hands. That must have been a moment. Like stout Cortez [sic] on a peak in Darien (I know it was Balboa) he saw before him a limitless expanse, a whole uncharted sea that might be subjected to his influence, free from the encumbrance of a baton.
 * In "Music in Aspic," Harper's Magazine (October 1939) and A Smattering of Ignorance (1940); as quoted by Ray C. B. Brown in "Lightning Wit Plays On American Musical Scene; Oscar Levant Answers Unspoken Request for 'Information, Please' With Uncensored Comments on Exalted Persons" The Washington Post (January 14, 1940), p. E4

 * He never asks the orchestra to do anything which contradicts the players' feeling of what the music signifies or what the printed notes of the score actually mean in plain musical language. To his credit he does not pretend to omniscience. When a certain progression of programs with the Philharmonic decreed that he conduct the Brahms Fourth Symphony two seasons ago, he disavowed intensive rehearsals with the simple statement to the orchestra: "Gentlemen, you know the work better than I do." Both the compliment and the attitude endeared themselves so much to the orchestra that they literally forgot themselves in a mass effort to justify his statement—and, as one of those who heard the performance, I can testify that they delivered one of the most powerful and integrated interpretations of the score that New York has experienced in years.
 * On conductor George Enescu, in "Music in Aspic," Harper's Magazine (October 1939) and A Smattering of Ignorance (1940); as quoted in "Lightning Wit Plays On American Musical Scene; Oscar Levant Answers Unspoken Request for 'Information, Please' With Uncensored Comments on Exalted Persons" by Ray C. B. Brown, in The Washington Post (January 14, 1940), p. E4

 * Incompatibility. And besides, I think she hated me.
 * On why his first marriage ended in divorce, in A Smattering of Ignorance (1940); as quoted in "Oscar Levant, A Musical Know-It-All, Writes Book About Music And Himself", Life (February 5, 1940), p. 55

 * This piano plays. Which is more than I can say for her.
 * Commenting on a sour-faced society matron in Kiss the Boys Goodbye (1941)

 * It's not a pretty face, I grant you. But underneath its flabby exterior is an enormous lack of character.
 * Describing himself, in lines he contributed to An American In Paris (1951), although officially credited to Alan Jay Lerner, as told in The Memoirs of an Amnesiac (1965); also quoted in The Dictionary of Biographical Quotation of British and American Subjects (1978) by Richard Kenin and Justin Wintle, p. 485.

 * The first thing I do in the morning is brush my teeth and sharpen my tongue.
 * As quoted in The New Speaker's Treasury of Wit and Wisdom (1958) by Herbert Victor Prochnow, p. 322.

 * I don't drink liquor. I don't like it. It makes me feel good.
 * I'm a study of a man in chaos in search of frenzy.
 * As quoted in Time magazine (May 5, 1958).

 * There is a thin line between genius and insanity. I have erased this line.
 * As quoted by Cleveland Amory in Celebrity Register: An Irreverent Compendium of American Quotable Notables (1959).

 * Strip away the phony tinsel of Hollywood and you will find the real tinsel underneath.
 * As quoted by Theodor Reik in Jewish Wit (1962), p. 104, also in Inquisition in Eden (1965) and Nat Shapiro Whatever It Is, I’m Against It (1984).

 * My last picture for Warners was Romance on the High Seas. It was Doris Day's first picture; that was before she became a virgin.
 * The Memoirs of an Amnesiac (1965)
 * A later paraphrase of this appeared in The Wit and Wisdom of Hollywood (1972) by Max Wilk: "I knew Doris Day before she was a virgin."

 * I once said cynically of a politician, "He'll double-cross that bridge when he comes to it."
 * The Memoirs of an Amnesiac (1965), p. 13; also quoted in The Quotable Politician (2003) by William B. Whitman, p. 31.

 * An epigram is only a wisecrack that's played at Carnegie Hall.
 * As quoted in Coronet Magazine (September 1968).

 * I heartily approve of her campaign to beautify America. It would be greatly improved if the First Family were kept out of sight.
 * On Lyndon & Lady Bird Johnson, The Unimportance of Being Oscar (1968)

 * Zsa Zsa Gabor not only worships at The Golden Calf, she insists on barbecuing it for lunch.
 * The Unimportance of Being Oscar (1968)

 * Ballet is the fairies' baseball.
 * The difference between the Republicans and the Democrats is that the Democrats let the poor be corrupt, too.
 * John O'Hara was a terrible bore as a young man—always looking for a fight, and making sure he never found one.
 * as quoted by Burt Prelutsky in "Oscar the Magnificent" The Los Angeles Times (January 26, 1969), p. 468. The comment about  the Democrats and the Republicans is also quoted by William B. Whitman in The Quotable Politician (2003), p. 30.

 * Happiness isn't something you experience; it's something you remember.
 * As quoted in Time (August 28, 1972).

 * He writes the kind of music you whistle on the way into the theater.
 * On Sigmund Romberg, as quoted by Howard Dietz in Dancing in the Dark (1974), p. 61

 * If George is around, it will.
 * In response to a question posed by Newman Levy, as to whether Gershwin's music would still be played a hundred years hence; as quoted in Dancing in the Dark (1974), p. 61

 * It's an advantage having a limited output. When George Gershwin is asked to play his repertoire, he plays all evening. I just play "Lady Play Your Mandolin" and I'm through.
 * As quoted in Dancing in the Dark (1974), p. 61

 * I envy people who drink — at least they know what to blame everything on.
 * As quoted by Jon Winokur in The Portable Curmudgeon (1992), p. 88.

 * What the world needs is more geniuses with humility; there are so few of us left.
 * As quoted by Gene Perret in On the 8th Day — God Laughed (1995), p. 95.

 * I am no more humble than my talents require.
 * As quoted in Memorable Quotations: Jewish Writers of the Past (2005) edited by Carol A. Dingle.

 * I have given up reading books; I find it takes my mind off myself.
 * As quoted in Memorable Quotations: Jewish Writers of the Past (2005) edited by Carol A. Dingle.

 * I was once thrown out of a mental hospital for depressing the other patients.
 * As quoted in Memorable Quotations: Jewish Writers of the Past (2005) edited by Carol A. Dingle.

 * Once he makes up his mind, he's full of indecision.
 * On President Dwight D. Eisenhower, as quoted in The Nastiest Things Ever Said about Republicans (2006) by Martin Higgins, p. 83.

 * Now that Marilyn Monroe is kosher, Arthur Miller can eat her.
 * Quip about Monroe's conversion to Judaism, on The Oscar Levant Show, as quoted in They Knew Marilyn Monroe: Famous Persons in the Life of the Hollywood Icon (2012) by Les Harding

The Memoirs of an Amnesiac (1965)

 * The other night my daughter Lorna reminisced about the time I regressed to complete infantilism. We were having dinner and tapioca pudding was served. A wild glint came into my eyes and in the presence of my wife and children I shrieked at the top of my voice, “I love this more than anything in the world!” I had to be withdrawn from tapioca pudding slowly. It was one of the few times I wasn’t committed to achieve withdrawal.

 * When I used to speak of the lunatic fringe, I didn’t know I was going to be head of it.

 * Apropos of nothing, I asked [Truman] Capote, “Are you for integration?” He said, “Yes, are you for integration?” I said, “I’m for disintegration… personal disintegration.”

 * I rated the drug Demerol over sex as the ultimate pleasure at one time. Now I don’t have access to either.

 * As a rule I never read bad reviews about myself because my best friends invariably tell me about them.

 * A psychiatrist once diagnosed my troubles as “an abdication of will.”

 * Instant unconsciousness had been my greatest passion for ten years.

 * I have seizures of momentary sanity.

 * In the middle and late 50′s I was in hospitals constantly. I was committed every time I drew a breath or took an extra twelve pills–which never affected me much because I’m not suicidal.

 * When I was in my prime, I was an egomaniac and didn’t allow my wife to buy the best sardines–the King Oscars–which bear my name. I felt there should be only one king in my house.

 * [Ira Gershwin] said that [P.G.] Wodehouse will address a letter, stamp it and throw it out of his third-story window onto the street trusting in the good nature of passerby to pick it up and mail it.

Quotations about Levant

 * The book should be a happy introduction to a character who, if he did not exist, could not be imagined.
 * S. N. Behrman, from his introduction to Levant's first book, A Smattering of Ignorance (1940); as quoted in "'A Smattering of Ignorance' Acute As Well As Amusing" by T.H.P., in The Hartford Courant (January 14, 1940)

 * Oscar would have been here at the head table—but he was feeling well.
 * Milton Berle, addressing a Friars Club luncheon in 1958, as quoted in "Levant: Deadly With an Epigram" by Ross McLean, in The Toronto Globe and Mail (August 11, 1984), p. D11

 * I was fond of Oscar, but there was something about our twin natures which made us exchange insults. I told him that I wanted to make a date with him every day so that I would know where he was and could avoid the place.
 * Howard Dietz, in Dancing In the Dark (1974), p. 61

 * I was on Information Please with him and afterward there was a party and idly Oscar sat down at the piano and began to play. I remember how the conversation hushed in the crowded room. The waiters stopped serving and stood, silently listening. Yet, on this TV show, he seems almost a buffoon, as if he is deliberately mocking himself, drawing a caricature of the old Levant.
 * Boris Karloff, as quoted in "The TV Scene: Loved or Loathed by Mail" by Cecil Smith, in The Los Angeles Times (March 18, 1958), p. A6

 * I can see him to this day. He was witty and funny, always playing himself in the movies. He smoked so many cigarettes, there was a nicotine streak on his upper lip and on his fingers between the index finger and the second one. He was a wonderful guy—but he played the piano like a sledgehammer.
 * Mitch Miller, in "Mitch Miller Remembers," The Chicago Tribune (November 15, 1987), Sec. 13, p. 17

 * It is not always possible to predict the response of a doting Jewish mother. Witness the occasion on which the late piano virtuoso Oscar Levant telephoned his mother with some important news. He had proposed to his beloved and been accepted. Replied Mother Levant: “Good, Oscar, I’m happy to hear it. But did you practice today?”
 * Liz Smith in The Mother Book (1978).

 * About his neuroses and hypochondria, the 1920s and 1930s wit Alexander Woollcott, a member of the Algonquin Round Table, once said of him: "There isn't anything the matter with Levant that a few miracles wouldn't cure."
 * Teichman, Howard, Smark Aleck, the Wit World and Life of Alexander Woollcott (William Morrow and Company, Inc., 1976), p. 170

title: Oscar Levant


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User talk:LunaAlpha

Thanks for the contribution of The Shadow of the Wind. I have touched up the editing a little bit. Please note that when you use inputbox, there is lots of boilerplate that needs removal and/or changing. Using the "preview" feature will help you assess such things. Also, as one of the first users of the inputbox feature, any comments you have on it will be welcomed on Help talk:Starting a new page. ~ MosheZadka (Talk) 05:53, 23 August 2005 (UTC)

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

title: User talk:LunaAlpha


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User talk:Dichotomy~enwikiquote

~ MosheZadka (Talk) 05:55, 23 August 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 Dichotomy. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dichotomy~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.

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Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:21, 17 March 2015 (UTC)

Renamed
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title: User talk:Dichotomy~enwikiquote


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User talk:70.48.82.7

Thanks for properly allocating the quotes on Ultimate Spider-Man. Unfortunately, my collection is spotty at best, so I could only do some. ~ MosheZadka (Talk) 05:58, 23 August 2005 (UTC)

title: User talk:70.48.82.7


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Punisher

 * This article is about the comic book antihero. For one who punishes, see punishment.

The Punisher (Francis "Frank" Castle, born Castiglione) is a fictional antihero appearing in American comic books published by Marvel Comics. The character was created by writer Gerry Conway and artist John Romita, Sr., with publisher Stan Lee providing the name. The Punisher made his first appearance in The Amazing Spider-Man #129 (cover-dated Feb. 1974).

Issue #1

 * Punisher (Thinking): I caught a glimpse of heaven once. The Angels showed me. The idea was I'd kill for them. Clean up their mistakes on Earth. Eventually redeem myself.
 * Tried it. Didn't like it. Told them where to stick it. So they brought me up to heaven, to see what I'd be missing. A wife. A son. A daughter. I hadn't seen them since they bled out in my arms. Then I was cast down.
 * Back to a world of killers. Rapists. Psychos. Perverts. A brand new evil every minute, spewed out as fast as men can think them up. A world where pitching a criminal dwarf off a skyscraper to tell his fellow scum you're back is a sane and rational act. The angels thought it would be hell for me.
 * (Said dwarf hits the ground with a splat)But they were wrong.
 * Welcome Back, Frank. Says New York City.

Issue #2

 * Punisher: Dodged a bullet. But not thirty.
 * Punisher: Hide in plain sight. Try it. It works.
 * Punisher: When you're on your own, behind enemy lines, no artillery, no air strikes, no hope of an evac, you don't fight dirty. You do things that make dirty look good.

Issue #12

 * Punisher: You're a monster, and I'm killing you. It's not complicated.

Punisher MAX

 * "You work for the devil, you better be ready to die for him." -Issue #13, "Mother Russia"
 * "If the thought of it seems crazy - you weren't crazy enough to begin with." -Issue #14, "Mother Russia"
 * "Don't take the money if you don't like the job." -Issue #14, "Mother Russia"
 * "I'm twisting his leg off like a drumstick when I realize I'm frightening the kid." -Issue #17, "Mother Russia"
 * "Up is down and black is white." -"Up Is Down And Black Is White"
 * "You go to war in Afghanistan - and everybody dies." -Issue #38, "Man of Stone"
 * "'Two things you can do for me', she said. One was be there, so she didn't take her last breath alone. The other was a thing I'm good at." -Issue #42, "Man of Stone"
 * "There are times I'd like to get my hands on God." -Issue #44, "Widowmaker"
 * "There is no God. There are no souls. All that we are is meat and bone. These are certainties I learned long ago."-Issue #6, "Bullseye"
 * "Some people would tell you that I'm crazy. They would be wrong. It's not crazy when the state of the world makes you want to kill everyone responsible. It's crazy when it doesn't."- Issue #9,"Bullseye"

Issue #1

 * Punisher(Thinking)::[At his family's gravesite, recounting their deaths] They hated that old man so much they shot him through my family. The world went crazy on a summer's day in Central Park, In the time before uzis and berettas, before nine millimeter popguns ruled the streets. It was a Thompson, like the ones our fathers carried, and I recognized its rattle even as its big, man-stopping forty-fives punched blood and breath from my lungs. I hit the ground besides my daughter. She's been gutshot, badly, and when she saw the things that boiled and wriggled from her belly the expression on her face was not a little girl's. My wife bled out later on the operating table, her heart a gaping hole her life drained through. Whenever i get careless, that yearning in her eyes creeps up and brings me to my knees. Right then the old man's soldiers started strated shooting back. My son dropped wordlessly, without a mark on him. I took a breath that cut like glass, spat blood, rose to my knees, picked up the boy and searched in vain for entry wounds. The bullet had entered through his open mouth. That was our picnic in the park. And now every night I go out and make the world sane.

 * [While keeping surveillance on The Punisher]
 * Roth: We shouda done it this morning when we had the chance, we shoulda done it at the cemetery...
 * O'Brien: Fat Boy said no. You know, he is in great shape for a guy his age. I wonder if he's got a big dick?
 * Roth: HA! O'Brien, why--
 * O'Brien: In case I get the chance to fuck him. I like big dicks.

Issue #2

 * Roth: His old buddy The Punisher wipes out 42 wiseguys and puts, what is it, seven more on the critical list, and now fat boy's giving us a lecture on the fucker's M.O.! With a fond little twinkle in his eye! And what did fatboy assure us he could do? Take down The Punisher. And here we are, we've known where the guy lives for the last five days, and how far has our tubby hero gotten? Well? He's scared. He's fucking terrified. He's seen his pal in action again and all of a sudden he's not so fucking sure of himself, so he plays for time and he dicks us around--
 * [Microchip then grabs Roth's testicles]
 * Roth: What the fuck are you doing?
 * Microchip: I'm taking hold of your balls.
 * Roth: What--get--get the fuck--
 * Microchip: Stay still. I haven't done anything to you yet. We're still cool. And that's the way we want to keep things: Nice and cool. I think you've gotten the wrong idea about me, Roth. First of all, I'm not what I look like. But that must be all too apparent right now. Second of all, my name is Micro. Not fat boy. The Third thing is that I worked with Frank Castle for ten years. I helped him kill over 800 people. Anyone knows him better than I do is long since in their grave. I hacked computers to find him targets. I customized guns and ammunition. I put him in the right place at the right time to kill the maximum number of people; without me the body count for those ten years would be a third of what it is. I turned a lone gunman into a machine that runs at optimum efficiency. Because of me, what he does can truly be defined as war. So when I watch him rack up 42 dead and 7 wounded--a ratio that tells you everything you need to know, by the way--yes. You're goddamned fucking right I'm scared.

 * Microchip: Frank.
 * [The Punisher turns his head]
 * Microchip: Aren't you going to ask what I'm doing here?
 * [Before the Punisher pulls his Uzi out, Micro shoots him with a Shotgun with stun shells, then shoots the uzi out his hand]
 * Microchip: In the end I guess It's easy after all.
 * [Micro then shoots The Punisher in the face]

Issue #3

 * [Micro and The Punisher in a dark interrogration room, with The Punisher's family pictures spread on the table.]

 * Microchip: After that, all It would take a catastrophe of some kind, just to drive you over the edge. And now you use your family as an excuse for something dreadful.
 * The Punisher::[Referring to the family pictures] Put them away right now. Or I guarantee you'll have to kill me.

 * O'Brien: What you've got in that room is not to be fucked with.

 * Microchip: I'm going to take my shot now, Frank. You hear me out and say yes or fuck you.

Issue #4

 * Microchip: Be like It used to be, except we'd be doing something good. What do you say?
 * The Punisher: Yes or fuck you?
 * Microchip: Yeah.
 * The Punisher: Fuck You.

 * Microchip: Why?
 * The Punisher: I don't work with or for anyone. Eventually they let you down.
 * Microchip: I had to give it up, I told you why--
 * The Punisher: You, I could care less about. Fighting for the people the people who run the world gets you stabbed in the back. You fight the wars they start and feed. You kill the monsters they create. You die from handling depleted uranium while they get rich on oil. I'm not going back to war so Colt can sell another million M-16's. I had enough of that in Vietnam.
 * Microchip: That's not the way it is...!
 * The Punisher: There are 60,000 guys in D.C. who'd say different. Except they can't say anything because they're nothing but names on a black wall.

 * The Punisher: Bob Garrett.
 * Microchip: Who...?
 * The Punisher: Used to be a neighbor of mine. Had the place next door to me and Maria. Average guy. Ran his own business. Married, no kids. After Central Park, I didn't talk to anyone for a long time. The first hour was pretty much what you'd expect.

Punisher Vol. 12

 * I'll say this once, we're not the same. You took an oath to uphold the law. You help people. I gave that up a long time ago. You don't do what I do. Nobody does. You boys need a role model? His name's Captain America, and he'd be happy to have you.... If I find out you are trying to do what I do, I'll come for you next.
 * Matthew Rosenberg, Punisher Vol. 12 #13, (July 2019)

Year One (mini-series)

 * "Para bellum. Sic vis pacem, para bellum. Every dawn, the boot camp sergeant made them recite it like a prayer. A litany. A declaration. Sic vis pacem, para bellum. The hitman's name is Billy "The Beaut" Russo. The Costas love him so dearly, they've made him fireproof. But there's fireproof and fireproof. Sic vis pacem, parabellum."
 * "*hem!* uhh... Journal... first entry. I've no idea how things will end up. Chances are, I won't be around to explain myself later. So I'm making this journal, starting here, as a declaration of intent, so that no one will be in any doubt. Point one: Frank Castle is dead. However, the message has yet to reach his body, and so it continues to twitch. Who can say what it might do before it stops moving?"
 * "Point two: Sometimes the law is helpless to act, even when it identifies the guilty. It follows, therefore, that sometimes it is necessary to act outside the law, to shame its inadequacy, to pursue a natural justice. I'm not talking about vengeance. Revenge is not a valid motive. It's a tawdry, emotional response no better than the act that provokes it. I'm talking about... punishment."
 * "McTeer wouldn't approve, but I tried it his way. I tried it Laviano's way, too. I trusted in systems and promises that were not up to the task. I tried it everyone's way. Everyone's except mine. In the service of this country, I trained as a marine. I am very good at my job. Camoflauge, preparation, combat, intimidation. So point three: I am up to the task. When I do my job, it gets done. No screw-ups, no errors, no mistakes."
 * "Point four: Consider the motto, 'Sic vis pacem, para bellum: If you want peace, prepare for war.'"

About

 * I was fascinated by the Don Pendleton Executioner character, which was fairly popular at the time, and I wanted to do something that was inspired by that, although not to my mind a copy of it. And while I was doing the Jackal storyline, the opportunity came for a character who would be used by the Jackal to make Spider-Man's life miserable. The Punisher seemed to fit.
 * Gerry Conway, Comics Interview #75, (1985)

 * To me, it's disturbing whenever I see authority figures embracing Punisher iconography because the Punisher represents a failure of the Justice system. ... The vigilante anti-hero is fundamentally a critique of the justice system, an example of social failure, so when cops put Punisher skulls on their cars or members of the military wear Punisher skull patches, they're basically sided with an enemy of the system.
 * Gerry Conway in Forsythe, Dana (January 8, 2019). "Punisher creator Gerry Conway: Cops using the skull logo are like people using the Confederate flag", ''SyFy Wire’’. (January 16, 2019).

 * Heidegger, who took Kierkegaard's philosophy further, comes even closer to describing the Punisher: 'Since we can never hope to understand why we're here, if there's even anything to understand, the individual should choose a goal and pursue it wholeheartedly, despite the certainty of death and the meaninglessness of action.' That's sure the Punisher as I conceived him: a man who knows he's going to die and who knows in the big picture his actions will count for nothing, but who pursues his course because this is what he has chosen to do.
 * Steven Grant, (July 26, 2001). "Master Of The Obvious: Issue #104". Comic Book Resources.

 * Frank Castle has spent years exacting vengeance for the deaths of his family by punishing criminals everywhere. His skull insignia inspires fear throughout the underworld. But Punisher's appeal rests on more than his ability to do what the rest of Marvel's heroes won't. He's a tragic figure – even a profoundly selfish one in some ways. The sad truth is that Frank Castle can't survive without killing, and his new job fulfills him in ways his family never could.
 * IGN, "Punisher"

 * Gerry Conway was writing a script and he wanted a character that would turn out to be a hero later on, and he came up with the name the Assassin. And I mentioned that I didn't think we could ever have a comic book where the hero would be called the Assassin, because there's just too much of a negative connotation to that word. And I remembered that, some time ago, I had had a relatively unimportant character ... [who] was one of [the cosmic antagonist] Galactus' robots, and I had called him the Punisher, and it seemed to me that that was a good name for the character Gerry wanted to write—so I said, 'Why not call him the Punisher?' And, since I was the editor [sic; Lee had been named publisher in 1972], Gerry said, 'Okay.'
 * Stan Lee, "Stan Lee's Amazing Marvel Interview!". Alter Ego. 3 (104): 32. August 2011. (transcript of 2005 interview)

 * Like Batman, he's motivated by direct personal tragedy, but unlike Batman (most of the time), the men that destroyed his family are alive, known and active criminals. Like Daredevil, Frank Castle looking to clean up the streets of Hell's Kitchen. But unlike Matt Murdock, Bruce Wayne or Clark Kent, Frank doesn't have the skills, influence or education needed to interact with the legal system in any substantive way. Instead, he's just very, very good at killing people, and very, very motivated to do so.
 * Susana Polo, “This is why superheroes don't kill”, Polygon, (Mar 18, 2016).

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User talk:24.16.134.98

Hi. In The Punisher (comic), can you mention who says the quote, and which issue it is from? Thanks ~ MosheZadka (Talk) 07:43, 23 August 2005 (UTC)

title: User talk:24.16.134.98


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Paranoia Agent

Paranoia Agent (妄想代理人 Mousou Dairinin) is a Japanese anime television series created by director Satoshi Kon and produced by Madhouse about a social phenomenon in Musashino, Tokyo caused by a juvenile serial assailant named Lil' Slugger (the English equivalent to Shōnen Bat, which translates to "Bat Boy"). The plot relays between a large cast of people affected in some way by the phenomenon; usually Lil' Slugger's victims or the detectives assigned to apprehend him. As each character becomes the focus of the story, details are revealed about their secret lives and the truth about Lil' Slugger.

Enter Lil' Slugger

 * Prophetic Vision: To begin, a rabbit jumps behind the moon. What is it that the black rabbit sees on the horizon with his big red eyes? A fish on the land has trouble when he is stepped on by cows. The playful palace where the butterfly dances vanishes away. At twilight, the cows starts it by chance and the goodness continues. The golden fox grins at you. And Then…

The Holy Warrior
Keiichi Ikari: (Singing in a sarcastic voice, to the tune of "Pop Goes the Weasel") "All around the mullberry bush, my partner chases a loony, I don't know what I'm doing here... Maniwa, what the heck are we doing here?"

Keiichi Ikari: "Maniwa? Maniwa? MA-NI-WA!!!"

No Entry
Misae Ikari: (To Lil' Slugger) I called you. I asked for you to come here. I admit I wanted a way out... but now I know that it was wrong.

title: Paranoia Agent


text:
Talk:Morrissey

"I don't hate Pakistanis, but I dislike them immensely"

I don't believe this should be included in a list of quotes. The biographer Johnny Rogan alleges he once said this at the age of 17 in conversation. Including an alleged quote like this from the teenage Morrissey alongside adult interviews given to magazines is manifestly unfair, especially as the original book puts it in context as a youthful idiocy which he later changed his mind about. If everyone had to have stupid utterances made while still at school attched to their names on web-sites a lot of people would be having a very hard time of it............. you could remove it and the happy man very old quote i saw it in the great race and it was probably old then get rid of it and i will be a happy man!
 * You could add a note "Said when Morrissey was 17" or some such. ~ MosheZadka (Talk) 11:23, 23 August 2005 (UTC)

spoken like a true yid moshe :-( get rid of stupid racist comments including that one n

'Attributed'
Wow, that's quite a lot of quotations lacking sources. Most appear to be from interviews and media. Someone must have some sources?

69.206.228.147 14:06, 10 March 2006 (UTC)

unsourced quotes
I would like to add the sources to these unsourced quotes - most of them I'm sure to have read somewhere, sometime on the net ;) Is it allowed to add links to Scans or transcriptions of Interviews or are there problems with the copyright? See for example the link to a scan of an interview in GQ. If this causes problems, I would delete this link --Zommer 17:10, 15 August 2007 (UTC)

Page too long?
When I edit this article, I see this Warning: "WARNING: This page is 36 kilobytes long; some browsers may have problems editing pages approaching or longer than 32kb. Please consider breaking the page into smaller sections." Any helpful ideas? Should I create a separate page "Morrissey (unsourced)"? I'm not too lucky about this, but it seems to be the only thing to do (except deleting quotes ...)--Zommer 13:15, 10 June 2008 (UTC) you could start with the happy man very old quote i saw it in the great race and it was probably old then get rid of it and i will be a happy man!

unsourced quotes
If there's no audio record of him having said it - and Morrissey himself denies having said it - why is it being attributed anywhere? I agree with the original poster that the authenticity of the quote is so unreliable that it shouldn't be attributed at all.

title: Talk:Morrissey


text:
User talk:IDisposable~enwikiquote

Hi. Characters in books should not be in List of people by name, and indeed should rarely have their own pages -- they should be in the book's page, or in the author's page. ~ MosheZadka (Talk) 16:26, 23 August 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 IDisposable. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name IDisposable~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 23:25, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:49, 19 April 2015 (UTC)

title: User talk:IDisposable~enwikiquote


text:
User:Avichai

hi I'm Avichai from the Hebrew wikiquote he:משתמש:Avichai fr:Utilisateur:Avichai

title: User:Avichai


text:
User talk:217.172.181.161

~ MosheZadka (Talk) 21:38, 23 August 2005 (UTC)

title: User talk:217.172.181.161


text:
User talk:LeonardoGregianin

I request change this account to "LeonardoG"

title: User talk:LeonardoGregianin


text:
Henry IV, Part 2

Henry IV, Part 2 is a history play by William Shakespeare. It was first published as part of Shakespeare's First Folio and was written somewhere between 1597 and 1599. It is the third part of a tetralogy; it is preceded by Richard II and Henry IV, Part I and is succeeded by Henry V.

Induction

 * From Rumour's tongues They bring smooth comforts false, worse than true wrongs.
 * Rumour

Act I

 * Even such a man, so faint, so spiritless, So dull, so dead in look, so woe-begone, Drew Priam’s curtain in the dead of night, And would have told him, half his Troy was burn'd.
 * Northumberland, scene i

 * Yet the first bringer of unwelcome news Hath but a losing office, and his tongue Sounds ever after as a sullen bell, Remember’d tolling a departing friend.
 * Northumberland, scene i

 * Let Heaven kiss earth! Now let not nature's hand Keep the wild flood confin'd! let order die! And let this world no longer be a stage, To feed contention in a lingering act.
 * Northumberland, scene i

 * You cast the event of war, my noble lord, And summ'd the account of chance, before you said "Let us make head." It was your presurmise, That, in the dole of blows, your son might drop: You knew he walk'd o'er perils, on an edge, More likely to fall in than to get o'er; You were advised his flesh was capable Of wounds and scars and that his forward spirit Would lift him where most trade of danger ranged: Yet did you say "Go forth;" and none of this, Though strongly apprehended, could restrain The stiff-borne action: what hath then befallen, Or what hath this bold enterprise brought forth, More than that being which was like to be?
 * Morton, scene i

 * I am not only witty in myself, but the cause that wit is in other men.
 * Falstaff, scene ii

 * A rascally yea-forsooth knave!
 * Falstaff, scene ii

 * Some smack of age in you, some relish of the saltness of time.
 * Falstaff, scene ii

 * Since all is well, keep it so: wake not a sleeping wolf.
 * Lord Chief Justice, scene ii

 * We that are in the vaward of our youth.
 * Falstaff, scene ii

 * For my voice, — I have lost it with hollaing, and singing of anthems.
 * Falstaff, scene ii

 * It was always yet the trick of our English nation, if they have a good thing, to make it too common.
 * Falstaff, scene ii

 * I were better to be eaten to death with a rust, than to be scoured to nothing with perpetual motion.
 * Falstaff, scene ii

 * If I do, fillip me with a three-man beetle.
 * Falstaff, scene ii

 * A good wit will make use of anything; I will turn diseases to commodity.
 * Falstaff, scene ii

 * Who lin'd himself with hope, Eating the air on promise of supply.
 * Bardolph, scene iii

 * When we mean to build, We first survey the plot, then draw the model; And when we see the figure of the house, Then must we rate the cost of the erection. 1
 * Bardolph, scene iii

 * An habitation giddy and unsure Hath he, that buildeth on the vulgar heart.
 * Archbishop of York, scene iii

 * Past, and to come, seem best; things present, worst.
 * Archbishop of York, scene iii

Act II

 * A poor lone woman.
 * Mistress Quickly, scene i

 * I’ll tickle your catastrophe.
 * Falstaff, scene i

 * He hath eaten me out of house and home.
 * Mistress Quickly, scene i

 * Thou didst swear to me upon a parcel-gilt goblet, sitting in my Dolphin-chamber, at the round table, by a sea-coal fire, upon Wednesday in Whitsun-week.
 * Mistress Quickly, scene i

 * I do now remember the poor creature, small beer.
 * Prince Henry, scene ii

 * Let the end try the man.
 * Prince Henry, scene ii

 * Thus we play the fools with the time; and the spirits of the wise sit in the clouds, and mock us.
 * Prince Henry, scene ii

 * He was, indeed, the glass Wherein the noble youth did dress themselves.
 * Lady Percy, scene iii

 * I beseek you now, aggravate your choler.
 * Mistress Quickly, scene iv

Act III

 * O sleep! O gentle sleep! Nature's soft nurse, how have I frighted thee, That thou no more wilt weigh my eyelids down, And steep my senses in forgetfulness?
 * King Henry IV, scene i

 * Can'st thou, O partial sleep! give thy repose To the wet sea-boy in an hour so rude; And, in the calmest and most stillest night, With all appliances and means to boot, Deny it to a king? Then, happy low, lie down! 'Uneasy lies the head that wears a crown'.
 * King Henry IV, scene i

 * Death, as the Psalmist saith, is certain to all; all shall die. How a good yoke of bullocks at Stamford fair?
 * Shallow, scene ii

 * Accommodated; that is, when a man is, as they say, accommodated: or when a man is, — being, — whereby, — he may be thought to be accommodated; which is an excellent thing.
 * Bardolph, scene ii

 * Let that suffice, most forcible Feeble.
 * Falstaff, scene ii

 * We have heard the chimes at midnight.
 * Falstaff, scene ii

 * A man can die but once; — we owe God a death.
 * Feeble, scene ii

 * I do remember him at Clement's-inn, like a man made after supper of a cheese-paring: when he was naked, he was, for all the world, like a forked radish, with a head fantastically carved upon it with a knife.
 * Falstaff, scene ii

Act IV

 * We are ready to try our fortunes To the last man.
 * Mowbray, scene ii

 * I may justly say, with the hook-nosed fellow of Rome, — "I came, saw, and overcame."
 * Falstaff, scene iii

 * He hath a tear for pity, and a hand Open as day, for melting charity.
 * King Henry IV, scene iv

 * Thy wish was father, Harry, to that thought.
 * King Henry IV, scene iv

 * Commit The oldest sins the newest kind of ways.
 * King Henry IV, scene iv

Act V

 * A joint of mutton, and any pretty little tiny kick-shaws, tell William cook.
 * Shallow, scene i

 * His cares are now all ended.
 * Warwick, scene ii

 * Falstaff: What wind blew you hither, Pistol? Pistol: Not the ill wind which blows no man to good.
 * scene iii

 * A foutra for the world, and worldlings base! I speak of Africa, and golden joys.
 * Pistol, scene iii

 * Under which king, Bezonian? speak, or die!
 * Pistol, scene iii

 * Falstaff: My king! my Jove! I speak to thee, my heart! King Henry V: I know thee not, old man: fall to thy prayers; How ill white hairs become a fool, and jester!
 * Scene v

title: Henry IV, Part 2


text:
Henry VI, Part 3

Henry VI, Part 3 (c. 1591) is the third of William Shakespeare's plays set during the lifetime of King Henry VI of England. The play deals primarily with the horrors of the Wars of the Roses conflict, with the once stable nation thrown into chaos and barbarism as families break down and moral codes are subverted in the pursuit of revenge and power.

Act I

 * I am your butt, and I abide your shot.
 * Richard Plantagenet, scene i

 * Farewell, faint-hearted and degenerate king, In whose cold blood no spark of honour bides.
 * Westmorland, scene i

 * How sweet a thing it is to wear a crown, Within whose circuit is Elysium, And all that poets feign of bliss and joy.
 * Richard of Gloucester, scene ii

 * O, tiger's heart, wrapped in a woman's hide!
 * York, scene iv

 * Women are soft, mild, pitiful and flexible, Thou stern, obdurate, flinty, rough, remorseless!
 * York, scene iv

Act II

 * And many strokes, though with a little axe, Hew down and fell the hardest-timber'd oak.
 * Messenger, scene i

 * To weep, is to make less the depth of grief: Tears, then, for babes; blows, and revenge for me!
 * Richard, scene i

 * The smallest worm will turn, being trodden on.
 * Clifford, scene ii

 * Didst thou never hear That things ill got had ever bad success? And happy always was it for that son, Whose father for his hoarding went to hell?
 * King Henry, scene ii

 * This battle fares like to the morning's war, When dying clouds contend with growing light; What time the shepherd, blowing of his nails, Can neither call it perfect day, nor night.
 * King Henry, scene v

 * O God! methinks, it were a happy life, To be no better than a homely swain; To sit upon a hill, as I do now, To carve out dials quaintly, point by point, Thereby to see the minutes how they run: How many make the hour full complete, How many hours bring about the day, How many days will finish up the year, How many years a mortal man may live.
 * King Henry, scene v

 * Gives not the hawthorn-bush a sweeter shade To shepherds, looking on their silly sheep, Than doth a rich embroidered canopy To kings, that fear their subjects' treachery?
 * King Henry, scene v

 * The common people swarm like summer flies.
 * Clifford, scene vi

Act III

 * Let me embrace thee, sour adversity; For wise men say it is the wisest course.
 * King Henry, scene i

 * I know, I am too mean to be your queen; And yet too good to be your concubine.
 * Lady Gray, scene ii

 * Peace, impudent and shameless Warwick, peace! Proud setter-up and puller-down of kings!
 * Queen Margaret, scene iii

Act IV

 * Yet hasty marriage seldom proveth well.
 * Richard of Gloucester, scene i

 * What fates impose, that men must needs abide; It boots not to resist both wind and tide.
 * King Edward, scene iii

 * Fearless minds climb soonest unto crowns.
 * Richard of Gloucester, scene vii

 * A little fire is quickly trodden out, Which being suffer'd, rivers cannot quench.
 * Clarence, scene viii

 * My pity hath been balm to heal their wounds.
 * King Edward, scene viii

Act V

 * Lo, now my glory smear'd in dust and blood! My parks, my walks, my manors that I had, Even now forsake me; and, of all my lands, Is nothing left me, but my body's length! Why, what is pomp, rule, reign, but earth and dust? And, live we how we can, yet die we must.
 * Warwick, scene ii

 * Why, courage, then! what cannot be avoided, 'Twere childish weakness to lament or fear.
 * Queen Margaret, scene iv

 * Suspicion always haunts the guilty mind; The thief doth fear each bush an officer.
 * Richard of Gloucester, scene vi

 * Down, down to hell; and say I sent thee thither.
 * Richard of Gloucester, scene vi

 * Then, since the heavens have shap'd my body so, Let hell make crook'd my mind to answer it. I have no brother, I am like no brother: And this word—love, which greybeards call divine, Be resident in men like one another, And not in me; I am myself alone.
 * Richard of Gloucester, scene vi

title: Henry VI, Part 3


text:
Henry VI, Part 2

King Henry VI Part 2 is a history play by William Shakespeare, originally known as The First Part of the Contention betwixt the Two Famous Houses of York and Lancaster. It was probably written ca. 1590-91 as the second part of the trilogy on Henry VI of England and is often grouped together with Richard III as a tetralogy on The Wars of the Roses, the success of which established Shakespeare's reputation as a playwright. The play focuses on the King's inability to quell the bickering of his nobles, the death of his trusted adviser Humphrey, Duke of Gloucester, the rise of the Duke of York and the inevitability of armed conflict.

Act I

 * O Lord, that lends me life, Lend me a heart replete with thankfulness!
 * King Henry, scene i

 * Main chance.
 * Warwick, scene i

 * Put forth thy hand, reach at the glorious Gold.
 * Duchess, scene ii

 * Is this the fashion in the court of England? Is this the government of Britain's isle, And this the royalty of Albion's king?
 * Queen Margaret, scene iii

 * She bears a duke's revenues on her back, And in her heart she scorns our poverty.
 * Queen Margaret, scene iii

 * Could I come near your beauty with my nails, I’d set my ten commandments in your face.
 * Duchess, scene iii

Act II

 * How irksome is this music to my heart! When such strings jar, what hope of harmony?
 * King Henry, scene i

 * God shall be my hope, My stay, my guide, and lantern to my feet.
 * King Henry, scene iii

Act III

 * Smooth runs the water, where the brook is deep; And in his simple show he harbours treason.
 * Suffolk, scene i

 * The fox barks not, when he would steal the lamb.
 * Suffolk, scene i

 * The commons, like an angry hive of bees, That want their leader, scatter up and down, And care not who they sting in his revenge.
 * Warwick, scene ii

 * What stronger breast-plate than a heart untainted! Thrice is he arm'd, that hath his quarrel just; And he but naked, though lock'd up in steel, Whose conscience with injustice is corrupted.
 * King Henry, scene ii

 * He dies, and makes no sign.
 * King Henry, scene iii

 * Forbear to judge, for we are sinners all. Close up his eyes, and draw the curtain close; And let us all to meditation.
 * King Henry, scene iii

Act IV

 * The gaudy, blabbing, and remorseful day Is crept into the bosom of the sea.
 * Captain, scene i

 * Small things make base men proud.
 * Suffolk, scene i

 * True nobility is exempt from fear:— More can I bear, than you dare execute.
 * Suffolk, scene i

 * I say it was never merry world in England since gentlemen came up.
 * Second rebel, scene ii

 * There shall be, in England, seven half-penny loaves sold for a penny: the three-hoop'd pot shall have ten hoops; and I will make it felony, to drink small beer.
 * Cade, scene ii

 * The first thing we do, let's kill all the lawyers.
 * Dick the butcher, scene ii

 * Is not this a lamentable thing, that of the skin of an innocent lamb should be made parchment? that parchment, being scribbled o’er, should undo a man?
 * Cade, scene ii

 * And Adam was a gardener.
 * Cade, scene ii

 * Sir, he made a chimney in my father’s house, and the bricks are alive at this day to testify it.
 * Smith the weaver, scene ii

 * Thou hast most traitorously corrupted the youth of the realm in erecting a grammar-school; and whereas, before, our forefathers had no other books but the score and the tally, thou hast caused printing to be used; and, contrary to the king, his crown, and dignity, thou hast built a paper-mill. It will be proved to thy face, that thou hast men about thee, that usually talk of a noun, and a verb; and such abominable words, as no Christian ear can endure to hear.
 * Cade, scene vii

 * Away with him, away with him! he speaks Latin.
 * Cade, scene vii

Knowledge the wing wherewith we fly to heaven.
 * And seeing ignorance is the curse of God,
 * Saye, scene vii

Act V

 * It is great sin, to swear unto a sin; But greater sin, to keep a sinful oath.
 * Salisbury, scene i

 * Can we outrun the heavens?
 * King Henry, scene ii

title: Henry VI, Part 2


text:
Henry IV, Part 1

Henry IV, Part 1 is a history play by William Shakespeare. It is the second of Shakespeare's four-play series that deals with the successive reigns of Richard II, Henry IV (2 plays) and Henry V. Henry IV, Part I was probably first performed early in 1597.

Act I

 * So shaken as we are, so wan with care.
 * King Henry, scene i

 * In those holy fields, Over whose acres walked those blessed feet, Which, fourteen hundred years ago, were nail’d For our advantage, on the bitter cross.
 * King Henry, scene i

 * Thou art so fat-witted, with drinking of old sack, and unbuttoning thee after supper, and sleeping upon benches after noon, that thou hast forgotten to demand that truly which thou wouldst truly know.
 * Prince Henry, scene ii

 * Diana’s foresters, Gentlemen of the shade, Minions of the moon.
 * Falstaff, scene ii

 * Old father antic the law.
 * Falstaff, scene ii

 * Thou hast the most unsavory similes; and art, indeed, the most comparative, rascalliest, sweet young prince.
 * Falstaff, scene ii

 * I would to God, thou and I knew where a commodity of good names were to be bought.
 * Falstaff, scene ii

 * O, Thou hast damnable iteration; and art, indeed, able to corrupt a saint.
 * Falstaff, scene ii

 * And now am I, if a man should speak truly, little better than one of the wicked.
 * Falstaff, scene ii

 * ’T is my vocation, Hal; ’t is no sin for a man to labour in his vocation.
 * Falstaff, scene ii

 * Sir John stands to his word, the devil shall have his bargain; for he was never yet a breaker of proverbs: he will give the devil his due.
 * Prince Henry, scene ii

 * There's neither honesty, manhood, nor good fellowship in thee, nor thou cam'st not of the blood royal, if thou dar'st not stand for ten shillings.
 * Falstaff, scene ii

 * If all the year were playing holidays, To sport would be as tedious as to work.
 * Prince Henry, scene ii

 * So, when this loose behaviour I throw off, And pay the debt I never promised, By how much better than my word I am, By so much shall I falsify men's hopes; And, like bright metal on a sullen ground, My reformation, glittering o'er my fault, Shall show more goodly, and attract more eyes, Than that which hath no foil to set it off.
 * Prince Henry, scene ii

 * Fresh as a bridegroom; and his chin, new reap’d, Showed like a stubble-land at harvest-home; He was perfumed like a milliner, And ’twixt his finger and his thumb he held A pouncet-box, which ever and anon He gave his nose, and took ’t away again.
 * Hotspur, scene iii

 * And, as the soldiers bore dead bodies by, He called them untaught knaves, unmannerly, To bring a slovenly unhandsome corse Betwixt the wind and his nobility.
 * Hotspur, scene iii

 * God save the mark!
 * Hotspur, scene iii

 * And telling me, the sovereign’st thing on earth Was parmaceti, for an inward bruise; And that it was great pity, so it was, This villanous saltpetre should be digg’d Out of the bowels of the harmless earth, Which many a good tall fellow had destroy’d So cowardly; and but for these vile guns, He would himself have been a soldier.
 * Hotspur, scene iii

 * O! the blood more stirs, To rouse a lion, than to start a hare.
 * Hotspur, scene iii

 * By heaven, methinks, it were an easy leap, To pluck bright honour from the pale-fac'd moon, Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowned honour by the locks; So he, that doth redeem her thence, might wear Without corrival, all her dignities: But out upon this half-fac'd fellowship!
 * Hotspur, scene iii

Act II

 * I know a trick worth two of that.
 * 1st Carrier, scene i

 * If the rascal have not given me medicines to make me love him, I'll be hanged.
 * Falstaff, scene ii

 * It would be argument for a week, laughter for a month, and a good jest for ever.
 * Prince Henry, scene ii

 * Falstaff sweats to death, And lards the lean earth as he walks along.
 * Prince Henry, scene ii

 * Out of this nettle, danger, we pluck this flower, safety.
 * Hotspur, scene iii

 * I could brain him with his lady’s fan.
 * Hotspur, scene iii

 * A Corinthian, a lad of mettle, a good boy.
 * Prince Henry, scene iv

 * A plague of all cowards, I say.
 * Falstaff, scene iv

 * There live not three good men unhanged in England; and one of them is fat, and grows old.
 * Falstaff, scene iv

 * Call you that, backing of your friends? A plague upon such backing!
 * Falstaff, scene iv

 * I am a Jew else, an Ebrew Jew.
 * Falstaff, scene iv

 * I have peppered two of them: two, I am sure I have paid, two rogues in buckram suits. I tell thee what, Hal, if I tell thee a lie, spit in my face; call me horse. Thou knowest my old ward: here I lay, and thus I bore my point. Four rogues in buckram let drive at me —
 * Falstaff, scene iv

 * Three misbegotten knaves, in Kendal green.
 * Falstaff, scene iv

 * Give you a reason on compulsion! If reasons were as plenty as blackberries, I would give no man a reason upon compulsion, I.
 * Falstaff, scene iv

 * Mark now, how a plain tale shall put you down.
 * Prince Henry, scene iv

 * I was now a coward on instinct.
 * Falstaff, scene iv

 * No more of that, Hal, an thou lovest me!
 * Falstaff, scene iv

 * What doth gravity out of his bed at midnight?
 * Falstaff, scene iv

 * A plague of sighing and grief! It blows a man up like a bladder.
 * Falstaff, scene iv

 * I must speak in passion, and I will do it in King Cambyses’ vein.
 * Falstaff, scene iv

 * Why dost thou converse with that trunk of humours, that bolting-hutch of beastliness, that swoln parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that vanity in years?
 * Prince Henry, scene iv

 * Banish plump Jack, and banish all the world.
 * Falstaff, scene iv

 * I do; I will.
 * Prince Henry, scene iv

 * Play out the play.
 * Falstaff, scene iv

 * O, monstrous! but one half-pennyworth of bread to this intolerable deal of sack!
 * Prince Henry, scene iv

Act III

 * Diseased Nature oftentimes breaks forth In strange eruptions.
 * Hotspur, scene i

 * I am not in the roll of common men.
 * Glendower, scene i

 * Glendower: I can call spirits from the vasty deep. Hotspur: Why, so can I, or so can any man; But will they come, when you do call for them?
 * Scene i

 * While you live, tell truth, and shame the devil.
 * Hotspur, scene i

 * I had rather be a kitten, and cry mew, Than one of these same metre ballad-mongers.
 * Hotspur, scene i

 * But, in the way of bargain, mark ye me, I’ll cavil on the ninth part of a hair.
 * Hotspur, scene i

 * Such a deal of skimble-skamble stuff.
 * Hotspur, scene i

 * Exceedingly well read.
 * Mortimer, scene i

 * A good mouth-filling oath.
 * Hotspur, scene i

 * A fellow of no mark, nor likelihood.
 * King Henry, scene ii

 * To loathe the taste of sweetness, whereof a little More than a little, is by much too much.
 * King Henry, scene ii

 * An I have not forgotten what the inside of a church is made of, I am a pepper-corn, a brewer's horse: the inside of a church! Company, villainous company, hath been the spoil of me.
 * Falstaff, scene iii

 * Shall I not take mine ease in mine inn, but I shall have my pocket picked?
 * Falstaff, scene iii

 * Rob me the exchequer.
 * Falstaff, scene iii

Act IV

 * This sickness doth infect The very life-blood of our enterprise.
 * Hotspur, scene i

 * Where is his son, The nimble-footed mad-cap prince of Wales, And his comrades, that daff'd the world aside, And bid it pass?
 * Hotspur, scene i

 * All plum'd like estridges, that with the wind; Baited like eagles having lately bath'd; Glittering in golden coats, like images; As full of spirit as the month of May, And gorgeous as the sun at midsummer; Wanton as youthful goats, wild as young bulls. I saw young Harry, with his beaver on, His cuisses on his thighs, gallantly arm’d, Rise from the ground like feather’d Mercury, And vaulted with such ease into his seat, As if an angel dropp’d down from the clouds, To turn and wind a fiery Pegasus, And witch the world with noble horsemanship.
 * Vernon, scene i

 * The cankers of a calm world, and a long peace.
 * Falstaff, scene ii

 * A mad fellow met me on the way, and told me I had unloaded all the gibbets, and pressed the dead bodies. No eye hath seen such scare-crows. I’ll not march through Coventry with them, that’s flat: nay, and the villains march wide betwixt the legs, as if they had gyves on; for, indeed, I had the most of them out of prison. There’s but a shirt and a half in all my company; and the half-shirt is two napkins, tacked together, and thrown over the shoulders like an herald’s coat without sleeves.
 * Falstaff, scene ii

 * Food for powder, food for powder; they’ll fill a pit, as well as better.
 * Falstaff, scene ii

 * To the latter end of a fray, and the beginning of a feast, Fits a dull fighter, and a keen guest.
 * Falstaff, scene ii

Act V

 * For nothing can seem foul to those that win.
 * King Henry, scene i

 * Falstaff: I would it were bed-time, Hal, and all well. Prince Henry: Why, thou owest God a death. [Exit.] Falstaff: 'Tis not due yet: I would be loth to pay him before his day. What need I be so forward with him that calls not on me? Well, 'tis no matter; Honour pricks me on. Yea, but how if Honour prick me off when I come on? how then? Can Honour set to a leg? No. Or an arm? No. Or take away the grief of a wound? No. Honour hath no skill in surgery then? No. What is Honour? a word. What is that word, Honour? Air. A trim reckoning! — Who hath it? He that died o' Wednesday.  Doth he feel it?  No.  Doth he hear it?  No.  Is it sensible then?  Yes, to the dead.  But will it not live with the living?  No.  Why?  Detraction will not suffer it: therefore I'll none of it.  Honour is a mere 'scutcheon, and so ends my catechism.
 * Scene i

 * An if we live, we live to tread on kings; If die, brave death, when princes die with us!
 * Hotspur, scene ii

 * Two stars keep not their motion in one sphere.
 * Prince Henry, scene iv

 * O, Harry, thou hast robb'd me of my youth!
 * Hotspur, scene iv

 * This earth, that bears thee dead, Bears not alive so stout a gentleman.
 * Prince Henry, scene iv

 * Thy ignominy sleep with thee in the grave, But not remember’d in thy epitaph!
 * Prince Henry, scene iv

 * I could have better spar'd a better man.
 * Prince Henry, scene iv

 * The better part of valour is discretion; in the which better part I have saved my life.
 * Falstaff, scene iv

 * Full bravely hast thou flesh'd Thy maiden sword.
 * Prince Henry, scene iv

 * Lord, Lord, how this world is given to lying! I grant you, I was down and out of breath; and so was he: but we rose both at an instant, and fought a long hour by Shrewsbury clock.
 * Falstaff, scene iv

 * I’ll purge, and leave sack, and live cleanly.
 * Falstaff, scene iv

title: Henry IV, Part 1


text:
User:Truth~enwikiquote

Truth in Chinese Wikipedia & talk to Me

title: User:Truth~enwikiquote


text:
User talk:Truth~enwikiquote

~ MosheZadka (Talk) 08:20, 24 August 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 Truth. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Truth~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:37, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:00, 19 April 2015 (UTC)

title: User talk:Truth~enwikiquote


text:
User talk:ZZ9pluralZalpha~enwikiquote

~ MosheZadka (Talk) 08:21, 24 August 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 ZZ9pluralZalpha. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name ZZ9pluralZalpha~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 23:39, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:01, 19 April 2015 (UTC)

title: User talk:ZZ9pluralZalpha~enwikiquote


text: Template:Wikipediacat

title: Template:Wikipediacat


text:
User talk:203.51.35.208

~ MosheZadka (Talk) 10:06, 24 August 2005 (UTC)

title: User talk:203.51.35.208


text:
User talk:144.131.118.57

I have nominted the Mike Gannon for deletion. ~ MosheZadka (Talk) 10:10, 24 August 2005 (UTC)

title: User talk:144.131.118.57


text:
User talk:Avichai

~ MosheZadka (Talk) 11:41, 24 August 2005 (UTC)

Re: Just a question
sorry for the hebrew. ''אני חייב לשאול. אתה ישראלי נכון? למה אתה עובד בויקיציטוט באנגלית. למה אתה לא כותב בעברית אם אתה יודע לקרוא את מה שאנחנו כותבים. הייתי פונה אליך בויקיציטוט העברי אבל אין לך שם דף משתמש. עוד דבר אחד- באתר העברי יש לנו בעיות עם הציטוט היומי, אנחנו חייבים לשנות את הדף הראשי כל יום כדי שהציטוט יתעדכן ובכלל כל המערכת מובלגת ולא ברורה. אצלכם המערכת מעולה ורציתי לבדוק אם אתה מוכן לראות אם אתה יכול לעזור שם איכשהו, או אם יש לך עיצה מסוימת ואתה רוצה שאני אשנה, אין בעיה. תודה רבה מראש, והמשך עבודה נעימה Avichai 18:13, 3 September 2005 (UTC) ושוב, מצטער על העברית אבל אין לי כח לאנגלית

''Translation: I have to ask. You're Israeli, right? Why do you work in English Wikiquote. Why don't you write in Hebrew if you know how to read what we write. I'd approach you in Hebrew wikiquote but you do not have a user page there. One more thing -- in the Hebrew site we have problems with the daily quote, we have to change the main page every day for the quote to be updated, and in general the whole system is a (mess) and unclear. You guys have an excellent system and I wanted to see if you can help somehow, or if you have a certain advice and you want me to change, no problem. Thanks in advance and enjoy the work. Again, sorry for the Hebrew but I don't have the strength for English.''

 * 1. Yes, I'm Israeli.
 * 2. I hate typing in Hebrew. LTR is a pain, and my typing speed is way slower. Also, I dislike configuring my computers for dual-language input.
 * 3. Most of the quotes I like are in English anyway (check MosheZadka for the kind of stuff I mostly work on).
 * 4. I've no idea how to QOTD system works here. Kalki handles the technical bits. Quote of the day has a "purge cache" link which users can use to force a reload. Talk:Main Page has some discussions re: cache purging.
 * ~ MosheZadka (Talk) 18:31, 3 September 2005 (UTC)

reply
Maverick149 did all of the original "automation" setup here for Quote of the Day links back in January, and I am not sure about the purge functions that might be involved. Setting up a "purge link" should work on any page one wishes it to, but I did not set up any "automatic" purge to operate here and rarely do a manual purge myself. I don't see that it would be necessary or useful to link the purge of a page on the Hebrew Wikiquote to one here, and a setting up at least one page with such a "purge link" on the Hebrew project would probably be sufficient. ~ Kalki 22:06, 3 September 2005 (UTC)

title: User talk:Avichai


text:
User talk:84.44.129.35

~ MosheZadka (Talk) 12:19, 24 August 2005 (UTC)

title: User talk:84.44.129.35


text: Category:Comic strips

title: Category:Comic strips


text:
Spider-Man

Spider-Man is a fictional superhero created by writer-editor Stan Lee and writer-artist Steve Ditko for Marvel Comics and is Marvel's most popular superhero. He is one of the most popular and commercially successful superheroes, and has appeared in diverse media, including several animated and live action television series, syndicated newspaper comic strips, and in a series of films. Wikiquote pages dealing with renditions of the character include. He is the main protagonist of the Marvel Universe:

Comics

 * The Amazing Spider-Man
 * The Spectacular Spider-Man
 * Ultimate Spider-Man

Movies

 * Sam Raimi trilogy
 * The Spider-Man movie.
 * The sequel, Spider-Man 2.
 * The third entry, Spider-Man 3.
 * Amazing duology
 * The reboot, The Amazing Spider-Man.
 * The sequel to the reboot, The Amazing Spider-Man 2.
 * Marvel Cinematic Universe
 * Captain America: Civil War
 * Spider-Man: Homecoming
 * Avengers: Infinity War
 * Avengers: Endgame
 * Spider-Man: Far From Home
 * Spider-Man: No Way Home
 * Spider-Verse animated films
 * Spider-Man: Into the Spider-Verse
 * Spider-Man: Across the Spider-Verse

Shows

 * Spider-Man: The Animated Series
 * The Spectacular Spider-Man
 * Ultimate Spider-Man

Games

 * Spider-Man
 * Spider-Man 2: Enter Electro
 * Spider-Man: The Movie
 * Spider-Man 2: The Game
 * Ultimate Spider-Man
 * Spider-Man 3
 * Spider-Man: Web of Shadows
 * Spider-Man: Shattered Dimensions
 * Spider-Man: Edge of Time
 * Spider-Man
 * Spider-Man: Miles Morales
 * Spider-Man 2

Quotes about Spider-Man

 * Spider-Man: She wants to make a warrior out of me. Warrior? Me? Heck, I'm still fighting acne!
 * Stan Berkowitz, Len Wein, & John Semper, Spider-Man: The Animated Series, "Venom Returns", (October 26, 1996).

 * One of my favorite recent exceptions is the series of four Spider-man flicks (Spider-Man: The Trilogy (Spider-Man / Spider-Man 2 / Spider-Man 3) and The Amazing Spider-Man). None of them are highbrow or classy. But despite their clichéd fluffiness, there appears to be a little-noticed tradition. In all of the first three films, Spiderman repeatedly saves New Yorkers from harm. But there is always a moment of brief role-reversal... when normal people, regular New Yorkers, step up and save Spiderman. Indeed, when I watched the recent fourth one — the reboot — I had to start by quashing sadness over Hollywood's craven inability to ever try anything new. Still, there came a moment, near the end, when — once again and with style — citizens stood up again for their hero. And I felt a thrill.
 * David Brin, "Our Favorite Cliché: A World Filled With Idiots... or Why Film and Fiction Routinely Depict Society and its Citizens as Fools" Worlds of DAVID BRIN.

 * Imagine for example, that you are Peter Parker (aka Spider-Man) and you have just discovered that you have superpowers. Do you have a moral obligation to use your new-found powers to help others? In one published essay, Mr Robichaud uses that question to explore consequentialism, an approach to morality which, as the name suggests, judges the rightness or wrongness of an action based solely on its outcomes. A consequentialist would be likely to argue that Peter Parker has a moral responsibility to be Spider-Man because that decision would bring about the greatest good.  But Peter Parker was also a talented scientist, so a non-consequentialist could argue that fulfilling his scientific vocation could be an equally valid choice for him. Perhaps being Spider-Man is above and beyond the call of duty - the answer is murky.
 * Katie Connolly, “Teaching philosophy with Spider-Man”, BBC News, (12 August 2010)

 * One of the first things I did was to work up a costume. A vital, visual part of the character. I had to know how he looked ... before I did any breakdowns. For example: A clinging power so he wouldn't have hard shoes or boots, a hidden wrist-shooter versus a web gun and holster, etc. ... I wasn't sure Stan would like the idea of covering the character's face but I did it because it hid an obviously boyish face. It would also add mystery to the character....
 * Steve Ditko. (2000). Roy Thomas, ed. Alter Ego: The Comic Book Artist Collection. TwoMorrows Publishing. ISBN 1-893905-06-3.

 * I needed Spidey in my life as a kid, and he gave me hope...Peter Parker has inspired me to feel stronger, he made me, Andrew, braver. He reassured me that by doing the right thing it's worth it, it's worth the struggle, it's worth the pain, it's worth even the tears and the bruises and the blood...He saved my life.
 * Andrew Garfield, "THE AMAZING ANDREW GARFIELD" VMan, (May 9, 2012).

 * Peter Parker is such a positive character, he's pure wish fulfillment, an underdog.
 * Andrew Garfield, "THE AMAZING ANDREW GARFIELD" VMan, (May 9, 2012).

 * I created Spider-Man. We decided to give it to Steve Ditko. I drew the first Spider-Man cover. I created the character. I created the costume. I created all those books, but I couldn’t do them all. We decided to give the book to Steve Ditko who was the right man for the job. He did a wonderful job on that.
 * Jack Kirby, "Jack Kirby Interview", Gary Groth, The Comics Journal, #134, February 1990, posted (May 23, 2011).

 * It was Steve Ditko that made Spider-Man the well-known character that he is.
 * Jack Kirby, "Jack Kirby Interview", Gary Groth, The Comics Journal, #134, February 1990, posted (May 23, 2011).

 * I wouldn’t mind, if Peter Parker had originally been black, a Latino, an Indian or anything else, that he stay that way. But we originally made him white. I don’t see any reason to change that.
 * Stan Lee, STAN LEE Talks Big Screen SPIDER-MAN Depiction, Newsarama, 22 June 2015).

 * What I like about the costume is that anybody reading Spider-Man in any part of the world can imagine that they themselves are under the costume. And that’s a good thing.
 * Stan Lee, STAN LEE Talks Big Screen SPIDER-MAN Depiction, Newsarama, 22 June 2015).

 * There is a lot of serious subtext to the character if you want to look for that. That's what interested me in playing him, because you had much more freedom and much more depth there than you do with Batman or Superman, for example. Spider Man was created as a darker, more conflicted character, and that was my interest in taking the role and I think the director Sam Raimi shared that perspective. This is not just going to be a dumb action vehicle. There will be a lot of serious elements that audiences will be able to find in the film and in the Spider Man character and still have fun with the concept.
 * Tobey Maguire, "Spider-Man : Interview With Tobey Maguire", Cinema.

 * Peter Parker is not a typical action hero. He's probably the most down-to-earth, most carefully drawn, and least plastic of comic book figures.
 * Tobey Maguire, "Spider-Man : Interview With Tobey Maguire", Cinema.

 * I think the aspects which shape Peter Parker are those very common to young people who go through a whole series of existential doubts and conflicting desires about who they are and where they stand in their world. It's about identity and self-discovery and figuring out a little more about who you want to be and who you think you should be. That's what's so intriguing about the SPIDER MAN concept - the fact that Peter Parker openly raises his doubts so that the readers of the comic strip could share his worries and fears. He's not an all-powerful, all-knowing cardboard superhero. He's not a superhero at all, by that standard. He's very mortal, someone who agonizes a lot about his role in life. For an actor, being able to get into those areas is what you dream about.
 * Tobey Maguire, "Spider-Man : Interview With Tobey Maguire", Cinema.

 * I explained to Danny that I liked my villains a little more layered-some moral ambiguity, some shades of grey-and that, frankly, I'd had my fill of the psycho's and mass murderers running through the pages of half the comic books on the stands. (And those-heaven help us-were the heroes!) Peter Parker, on the other hand, was, is and always will be a kind, decent, compassionate, caring human being-something of a rarity in the comic book climate of the 90's.
 * J. M. DeMatteis, DARKNESS, LIGHT...AND FREE FOOD an introduction of Sorts to Maximum Carnage trade paperback (December 22, 2004).

 * I was hoping against it, believe it or not. People laugh when I say this, but I did not want to do Spider-Man. I wanted to stay on Daredevil. The only reason I did Spider-Man was because Stan asked me and I felt that I should help out, like a good soldier. I never really felt comfortable on Spider-Man for years. ...I felt obliged to [mimic] Ditko because ... I was convinced, in my own mind, that he was going to come back in two or three issues. ... I couldn't believe that a guy would walk away from a successful book that was the second-highest seller at Marvel. ... After six months, when I realized it wasn't temporary, I finally stopped trying to [mimic] Ditko. ...I was doing these nine-panel pages and the thin line, and I was doing Peter Parker without any bone structure — just like Ditko was doing, I thought.
 * John Romita Sr., Romita interview, Alter Ego #9, pp. 27–28.

 * People often say glibly that Marvel succeeded by blending super hero adventure stories with soap opera. What Lee and Ditko actually did in The Amazing Spider-Man was to make the series an ongoing novelistic chronicle of the lead character's life. Most super heroes had problems no more complex or relevant to their readers' lives than thwarting this month's bad guys.... Parker had far more serious concern in his life: coming to terms with the death of a loved one, falling in love for the first time, struggling to make a living, and undergoing crises of conscience.
 * Peter Sanderson. Marvel Universe: The Complete Encyclopedia of Marvel's Greatest Characters (Harry N. Abrams, New York, 1998) ISBN 0-8109-8171-8, p. 75

 * Aunt May: He knows a hero when he sees one. Too few characters out there, flying around like that, saving old girls like me. And Lord knows, kids like Henry need a hero. Courageous, self-sacrificing people. Setting examples for all of us. Everybody loves a hero. People line up for them, cheer them, scream their names. And years later, they'll tell how they stood in the rain for hours just to get a glimpse of the one who taught them how to HOLD ON a second longer. I believe there's a hero in all of us, that keeps us honest, gives us strength, makes us noble, and finally allows us to die with pride, even though sometimes we have to be steady, and give up the thing we want the most. Even our dreams. Spider-Man did that for Henry and he wonders where he's gone. He needs him.
 * Alvin Sargent, Spider-Man 2 (2004).

 * Train passenger: He's......just a kid. No older than my son.
 * Alvin Sargent, Spider-Man 2 (2004).

 * Steve was hired by a guy named Stan Lee to create a comic book super hero who was part man, part spider. My father contributed to the costume, the idea of the web shooting out of Spider-Man's wrist, and the movement which he made with his hands to release the web. In the early stories, Spider-Man had an Aunt May who was named after my father's own favorite Aunt May Cerniglia from his mother's side. She was a full blooded Russian, like his mother Anna Telesewski. Aunt May married an Italian and lived in New York.
 * Amber Stanton, "A Tangled Web", The Creativity of Steve Ditko, (2012).

 * We were children and in school, and he feared that it could negatively effect our lives if people knew he was an erotic fetish artist. Even so, my mother was very upset and felt that this interview might come back to haunt us one day and that we might miss out on an opportunity. She was proud of his involvement with Spider-Man and wanted people to know the truth. She told my brother and I that, if anyone ever asked us whether or not my father contributed in the creation of Spider-Man, we should tell them the truth, that he did. I remember it clearly and I remember telling myself not to forget this. And so I haven't!
 * Amber Stanton, "A Tangled Web", The Creativity of Steve Ditko, (2012).

 * My contribution to Spider-Man was almost nil...
 * Eric Stanton as quoted in Theakston, Steve Ditko Reader, (2002), p. 14.

 * [We] worked on storyboards together and I added a few ideas.... I think I added the business about the webs coming out of his hands.
 * Eric Stanton as quoted in Theakston, Steve Ditko Reader, (2002), p. 14.

 * Spiderman, Spiderman, Does whatever a spider can. Spins a web, any size, Catches thieves just like flies. Look out! Here comes the Spiderman.
 * Is he strong? Listen bud— He's got radioactive blood. Can he swing from a thread? Take a look overhead. Hey there! There goes the Spiderman.
 * Wealth and fame, he's ignored— Action is his reward. To him, Life is a great big bang-up— Wherever there's a hang-up, You'll find the Spiderman!
 * Spider-Man (theme song) by Paul Francis Webster and Robert "Bob" Harris.

Dialogue

 * Mary Jane: Who are you?
 * Spider-Man: You know who I am.
 * Mary Jane: I do?
 * Spider-Man: Your friendly neighbourhood Spider-Man.
 * Alvin Sargent, Spider-Man 2 (2004).

The laser cannon switches direction and points to Dr Doom Doom is disintegrated by his won laser beam {Spiderman series "Countdown to Doom")
 * When SPiderman reaches the Control panel for Dr Dooms laser cannon which is trying to push the earth out of orbit:
 * Military man:There are over 100 possible code words which one?
 * Spiderman": Knowing Dooms ego just one
 * Spiderman puts in code word "DOOM"
 * Dr Doom; NOOOOOOOO

 * Spider-Man: Madame Web, you don't surprise me anymore. This time I knew it was you.
 * Madame Web: I see nothing clever in that Spider-Man. You've always been awfully good at deducing things that are pathetically obvious.
 * Stan Berkowitz, Len Wein, & John Semper, Spider-Man: The Animated Series, "Venom Returns", (October 26, 1996).

Repeated quotes

 * Spider-Man: My Spider Sense is tingling!
 * Spider-Man: With great power must also come great responsibility!

Pop culture references

 * Spider-Man: Everybody gets one.
 * Matt Weitzman and Mike Barker, Family Guy/Season 2, Let's Go to the Hop, (June 6, 2000).

 * Sam: What you just said. It's from Spider-Man. You're dumping me with a line from Spider-Man?
 * Curtis: No, no, no. No!
 * Sam: You immature pathetic shallow bastard!

 * Curtis: You know what you said about “no matter what I do, the ones I love will be the ones who pay”? Is that from Spider-Man?
 * Nathan: I don't know. I was just trying to sound intelligent.
 * Howard Overman, Misfits (TV series), "Episode 5", (10 December 2009).

Spider-man สไปเดอร์แมน Örümcek Adam

title: Spider-Man


text:
Ayelet Waldman

Ayelet Waldman (born December 11, 1964) is an American writer of fiction, born in Jerusalem, and raised in Montreal and New Jersey. She is married to the novelist Michael Chabon.

Quotes

 * Why I went? I think it is incredibly important that those of us who have privilege use that privilege to call attention to this ongoing catastrophe. So, I want to be very clear. My husband was worried about me. It’s sweet. I had an uncomfortable nine-and-a-half hours. I had a mildly unpleasant nine-and-a-half hours. When a Palestinian here is arrested and goes into one of the many military prisons, their experience is horrible. They can be held without charges. There are children who are held without charges. When an Israeli Jewish activist — they have been arrested over and over again. They put their bodies on the line. They put their reputations on the line in terms of their community. What we experienced was very minor. But I think — I can only speak for myself, to say that it felt critical to me to use whatever small platform I have to draw attention to this crisis and to say that as a human being, and as a human being born in this country, I have to use my voice to say that this kind of horrific violence, this starving of children, this mass bombing, is completely unacceptable. It is not just unjust. It’s horrific.
 * Interview with Democracy Now (April 29, 2024)

 * I’m a little obsessed with learning new things, and every book is another opportunity to learn something new. My theory of fiction writing isn’t “Write what you know,” it’s “Write what you want to know.”
 * Interview with The Forward (August 5, 2010)

 * So much of what I see troubling women our age is the sense of surprise at the way it turned out, the toxic brew of boredom and thwarted ambition. Thwarted in many cases (in most, perhaps) by our own choices. I hope my daughters can avoid that. But you know, our mothers chanted, “The Personal Is Political,” from the rooftops, and every woman I know feels like her ambivalence is her own personal failing. So maybe nothing ever changes.
 * Interview with The Forward (August 5, 2010)

 * The Jews I knew growing up didn't do "do-it-yourself." When my father needed to hammer something he generally used his shoe, and the only real tool he owned was a pair of needle-nose pliers.
 * Salon.com column

 * Dodgeball? My children were playing dodgeball? That cruel, brutal, violent schoolyard game so mercilessly satirized in the 2004 film with Ben Stiller? The game, more important, that exemplified everything that was wrong with my childhood in suburban New Jersey, a short, pasty-faced Jewish girl in a town full of scrubbed, blond, athletic WASPs, their long tanned limbs toned from years of tennis lessons and country club swim teams? Dodgeball? Over my dead body.
 * Salon.com column

 * Those of us whose parenting style can be described as "a series of reflexes, instincts, and minute-by-minute adjustments," as Julie of A Little Pregnant puts it, rather than as a philosophy, are less invested in our own practices. What we do is often less a matter of conviction than one of convenience. What we need to remember is that there is no need to apologize for that, even in the face of the most red-faced outrage.
 * "Mind your own kids" salon.com column (August 15, 2005)

 * [W]hatever my intentions, whatever the truth of my claim, I had no business giving a lecture to a total stranger.
 * Salon.com column

 * Why are the architects of the family-values agenda so eager to punish into the next generation? What is being served by seeking, quite literally, a tooth for a tooth?
 * Salon.com column
 * On Republican opposition to a bill legislating dental care for pregnant prisoners.

 * When I was 15, what I wanted in a boyfriend was just that confidence and swagger. I wanted someone who knew what he was doing, because I was just faking it. What I want for my daughter is the exact opposite.
 * "Raped by statute" Salon.com column (April 25, 2005)

 * We are the real Americans. Everett Moran, standing brave and resolute in the face of bigotry, is a real American. George Soros, devoting his life and his fortune to serving those less fortunate than he is, is a real American. The citizens of California who have donated their own money to support stem cell research, to compensate for the cowardice of our Taliban government, are real Americans. The rest of them? The ones that destroy the Constitution in service to their narrow-minded and zealously self-centered agendas? Those pinheads sure as hell aren't Americans. Secession. That's what we need.
 * Blog post (2004)

 * I'd written personal essays before, but never on this scale -- never so often and with such, er, honesty. (If by honesty I mean slashing my wrists and hemorrhaging all over the computer screen).
 * Blog post (2005)
 * Regarding blogging

 * [T]here is an inverse correlation between the cleanliness of a bathroom and my 3-year-old daughter's need to move her bowels.
 * "Baby lust" Salon.com column (April 11, 2005)

 * Think about it, I say. How many straight men maintain inappropriately intimate relationships with their mothers? How many shop with them? I want a gay son. People laugh, but they assume I'm kidding. I'm not.
 * Salon.com column

 * I tend to approach giving interviews with the same sense of circumspection and restraint as I approach my writing. That is to say, virtually none.
 * Salon.com column

title: Ayelet Waldman


text:
Oliver Hazard Perry

Commodore Oliver Hazard Perry (23 August 1785 – 23 August 1819) was an officer of the United States Navy, famous for his actions in the Battle of Lake Erie.

Quotes

 * I leave it to your discretion to strike or not, but the American colors must not be pulled down over my head today.
 * Final instructions to Lieutenant John Joliffe Yarnall, upon leaving the disabled Lawrence in the Battle of Lake Erie (10 September 1813)

 * We have met the enemy and they are ours. Two ships, two brigs, one schooner and one sloop.
 * Dispatch to General William Henry Harrison after the Battle of Lake Erie, (10 September 1813)

 * I made sail, and directed the other vessels to follow, for the purpose of closing with the enemy. Every brace and bowline being soon shot away, she became unmanageable, notwithstanding the great exertions of the sailing master. In this situation, she sustained the action upwards of two hours within canister distance, until every gun was rendered useless, and the greater part of her crew either killed or wounded. Finding she could no longer annoy the enemy, I left her in charge of lieutenant Yarnall, who, I was convinced, from the bravery already displayed by him, would do what would comport with the honour of the flag. At half past two, the wind springing up, captain Elliot was enabled to bring his vessel, the NIAGARA, gallantly into close action. I immediately went on board of her, when he anticipated my wish by volunteering to bring the schooner which had been kept astern by the lightness of the wind, into close action. It was with unspeakable pain that I saw, soon after I got on board the NIAGARA, the flag of the LAWRENCE come down, although I was perfectly sensible that she had been defended to the last, and that to have continued to make a show of resistance would have been a wanton sacrifice of the remains of her brave crew. But the enemy was not able to take possession of her, and circumstances soon permitted her flag again to be hoisted.
 * Report on the Battle of Lake Erie, from the US Schooner Ariel, Put-In-Bay, (13 September 1813)

 * Those officers and men who were immediately under my observation, evinced the greatest gallantry, and I have no doubt that all others conducted themselves as became American officers and seamen. Lieutenant Yarnall, first of the LAWRENCE, although several times wounded, refused to quit the deck. Midshipman Forrest (doing duty as lieutenant) and sailing master Taylor, were of great assistance to me.
 * Report on the Battle of Lake Erie (13 September 1813)

 * Of Captain Elliot, already so well known to the government, it would be almost superfluous to speak; in this action, he evinced his characteristic bravery and judgment; and, since the close of the action, has given me the most able and essential assistance.
 * Report on the Battle of Lake Erie (13 September 1813); Years later Perry would declare he had sought to minimize what he perceived to be a lack of valor on the part of Elliot, and requested a court-martial against him, for this and other matters.

Quotes about Perry

 * The personal conduct of Perry throughout the 10th of September was perfect. His keenly sensitive nature never interfered with his sweetness of manner, his fortitude, the soundness of his judgment, the promptitude of his decision. In a state of impassioned activity, his plans were wisely framed, were instantly modified as circumstances changed, and were executed with entire coolness and self-possession. The mastery of the lakes, the recovery of Detroit and the far West, the capture of the British army in the peninsula of Upper Canada, were the immediate fruits of his success. The imagination of the American people was taken captive by the singular incidents of a battle in which everything seemed to have flowed from the personal prowess of one man; and wherever he came the multitude went out to bid him welcome.
 * George Bancroft, in "Oliver Hazard Perry and the Battle of Lake Erie" published in Battle of Lake Erie (1854) edited by Usher Parsons, p. 123

 * The personal deportment of Captain Perry, throughout the day, was worthy of all praise. He did not quit his own vessel when she became useless, to retire from the battle, but to gain it; an end that was fully obtained, and an effort which resulted in triumph.
 * James Fenimore Cooper in History of the Navy (1839)

 * He absolutely refused to admit, much less accept, defeat when he was literally beaten on Lake Erie. He was that rara avis in our history, the true hero-patriot.
 * Richard Dillon, in We Have Met the Enemy (1978)

 * Against a tenacious enemy, this young commodore bequeathed a legacy of combat leadership to future generations of naval officers.
 * David Curtis Skaggs and Gerald T. Altoff, in A Signal Victory (1997)

 * Nothing could intimidate, nothing dishearten, Perry. Depending on the native energies of his mind he was prepared for those difficulties, and he was also prepared to resist them.
 * Sailing Master William V. Taylor, of the Lawrence, as quoted in Oliver Hazard Perry : Honor, Courage, and Patriotism in the early U.S. Navy (2006) by David Curtis Skaggs, p. 63

title: Oliver Hazard Perry


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