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User:Borislav

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

title: User:Borislav


text:
Goethe's Faust

Faust is a tragic play in two parts by Johann Wolfgang von Goethe (28 August 1749 – 22 March 1832). It is his most famous work and considered to be one of the best of German literature.
 * Save where otherwise noted, this article uses the translation of David Luke (1987) ISBN 978-0-19-953621-4

Scene 2: Prelude on the Stage
Das Echte bleibt der Nachwelt unverloren.'' What's genuine, shall Posterity inherit. Soon lost; true gold lives for posterity.
 * ''Was glänzt ist für den Augenblick geboren,
 * What dazzles, for the Moment spends its spirit:
 * ––Poet, lines 73–4, as translated by Bayard Taylor (1870-1871)
 * What gleams is the moment's, born to be
 * As translated by David Luke (1987)

Es findet uns nur noch als wahre Kinder.'' Children we were, true children we remain.
 * ''Das Alter macht nicht kindisch, wie man spricht,
 * Age is no second childhood—age makes plain,
 * ––Clown, lines 212–3

Scene 3: Prologue in Heaven
Mephistopheles: Den Doktor? Der Herr: Meinen Knecht! Mephistopheles: Fürwahr! er dient Euch auf besondre Weise. Nicht irdisch ist des Toren Trank noch Speise. Ihn treibt die Gärung in die Ferne, Er ist sich seiner Tollheit halb bewußt; Vom Himmel fordert er die schönsten Sterne Und von der Erde jede höchste Lust, Und alle Näh und alle Ferne Befriedigt nicht die tiefbewegte Brust. Der Herr:Wenn er mir auch nur verworren dient, So werd ich ihn bald in die Klarheit führen. Weiß doch der Gärtner, wenn das Bäumchen grünt, Das Blüt und Frucht die künft'gen Jahre zieren.'' Mephistopheles: The doctor? Do you mean— The Lord: My servant. Mephistopheles: Ah, he serves you well, indeed! He scorns earth's fare and drinks celestial mead. Poor fool, his ferment drives him far! He half knows his own madness, I'll be bound. He'd pillage heaven for its brightest star, And earth for every last delight that's to be found; Not all that's near nor far Can satisfy a heart so restless and profound. The Lord: He serves me, but still serves me in confusion; I will soon lead him into clarity. '''A gardener knows, one day this young green tree Will blossom and bear fruit in rich profusion'''.
 * ''Der Herr: Kennst du den Faust?
 * The Lord: Do you know Faust?
 * Scene 3: Prologue in Heaven, Lines 299–311

 * Es irrt der Mensch so lang er strebt.
 * Man errs, till he has ceased to strive.
 * ––The Lord, line 317

Scene 4: Night
Juristerei und Medizin, Und leider auch Theologie Durchaus studiert, mit heißem Bemühn. Da steh ich nun, ich armer Tor! Und bin so klug als wie zuvor;'' And Law and Medicine, and I fear Theology, too, from A to Z; Hard studies all, that have cost me dear. '''And so I sit, poor silly man No wiser now than when I began'''.
 * ''Habe nun, ach! Philosophie,
 * Well, that's Philosophy I've read,
 * ––Faust, lines 354–59

Im Innersten zusammenhält, Schau alle Wirkenskraft und Samen, Und tu nicht mehr in Worten kramen.'' That bind the world, all its seeds and sources And innermost life—all this I shall see, And stop peddling in words that mean nothing to me. That I may understand whatever Binds the world’s innermost core together, See all its workings, and its seeds, Deal no more in words’ empty reeds.
 * ''Daß ich erkenne, was die Welt
 * To grant me a vision of Nature's forces
 * Variant translation:
 * ––Faust, lines 382–5

 * Bin ich ein Gott? Mir wird so licht!
 * Am I a god? Light fills my mind
 * ––Faust, line 439

Is all it is.
 * Welch Schauspiel! aber ach! ein Schauspiel nur!
 * How great a spectacle! But that, I fear,
 * ––Faust, line 454

Wenn es nicht aus der Seele dringt Und mit urkräftigem Behagen Die Herzen aller Hörer zwingt.'' You can speak as you feel! One's very heart Must pour it out, with primal power address One's hearers and compel them with an art Deeper than words.
 * ''Wenn ihr's nicht fühlt, ihr werdet's nicht erjagen,
 * Give up pursuing eloquence, unless
 * ––Faust, lines 534–8

Wenn sie dir nicht aus eigner Seele quillt.'' It through you, if it's to be anything.
 * ''Erquickung hast du nicht gewonnen,
 * Refreshment! it's your own soul that must pour
 * ––Faust, lines 568–9

Erwirb es, um es zu besitzen.'' Or it remains a mere appurtenance.
 * ''Was du ererbt von deinen Vätern hast
 * What we are born with, we must make our own
 * ––Faust, lines 682–3

Ihr Himmelstöne mich am Staube? [. . .] Die Botschaft hör’ ich wohl, allein mir fehlt der Glaube'' Do you come seeking me? [. . .] For I Can hear the message, but believe no longer.
 * ''Was sucht ihr, mächtig und gelind,
 * You gentle, puissant choirs of heaven, why
 * ––Faust, lines 762–3 & 764

Scene 5: Outside the Town Wall
Bei der Verehrung dieser Menge haben!'' You have as all these people honour you!
 * ''Welch ein Gefühl mußt du, o großer Mann,
 * Ah, what a sense of your own greatness must
 * ––Wagner, of Faust; lines 1011–2

O lerne nie den andern kennen! '''Zwei Seelen wohnen, ach! in meiner Brust, Die eine will sich von der andern trennen;''' Die eine hält, in derber Liebeslust, Sich an die Welt, mit klammernden Organen; Die andre hebt gewaltsam sich vom Dust, Zu den Gefilden hoher Ahnen. O giebt es Geister in der Luft, Die zwischen Erd' und Himmel herrschend weben, So steiget nieder aus dem goldnen Duft Und führt mich weg, zu neuem buntem Leben! Ja, wäre nur ein Zaubermantel mein! Und trüg' er mich in fremde Länder, Mir sollt' er, um die köstlichsten Gewänder, Nicht feil um einen Königsmantel sein.'' You must not learn the other, oh beware! '''In me there are two souls, alas, and their Division tears my life in two.''' One loves the world, it clutches her, it binds Itself to her, clinging with furious lust; The other longs to soar beyond the dust Into the realm of high ancestral minds. Are there no spirits moving in the air, Ruling the region between earth and sky? Come down then to me from your golden mists on high, Give me a magic cloak to carry me Away to some far place, some land untold, And I'd not part with it for silk or gold Or a king's crown, so precious it would be!
 * ''Du bist dir nur des einen Triebs bewußt,
 * Only one of our needs is known to you;
 * ––Faust, lines 1110–25

Scene 6: Faust's Study (I)
Ein fahrender Skolast? Der Kasus macht mich lachen.'' A student-tramp! How very comical.
 * ''Das also war des Pudels Kern!
 * So that was the quintessence of the cur!
 * ––Faust, lines 1323–4

Die stets das Böse will und stets das Gute schafft.'' Do evil constantly and constantly does good.
 * ''Ein Teil von jener Kraft,
 * Part of that power which would
 * ––Mephistopheles, lines 1335–6

 * Ich bin der Geist der stets verneint!
 * I am the spirit of perpetual negation
 * ––Mephistopheles, line 1338

Mit Wellen, Stürmen, Schütteln, Brand— Geruhig bleibt am Ende Meer und Land!'' Storms, earthquakes, fire and flood assail the land And sea, yet firmly as before they stand!
 * ''Ich wußte nicht ihr beizukommen
 * This solid lump cannot be shaken—
 * ––Mephistopheles, lines 1366–8

Scene 7: Faust's Study (II)

 * Und doch ist nie der Tod ein ganz willkommner Gast.
 * And yet death is never a wholly welcome guest.
 * ––Mephistopheles, line 1572

Omniscient, but I know a lot.
 * Allwissend bin ich nicht; doch viel ist mir bewußt.
 *  I am not
 * ––Mephistopheles, line 1582

Verweile doch! du bist so schön! Dann magst du mich in Fesseln schlagen, Dann will ich gern zugrunde gehn! Dann mag die Totenglocke schallen, Dann bist du deines Dienstes frei, Die Uhr mag stehn, der Zeiger fallen, Es sei die Zeit für mich vorbei!'' Beautiful moment, do not pass away! Then you may forge your chains to bind me''', Then I will put my life behind me, Then let them hear my death-knell toll, Then from your labours you'll be free, The clock may stop, the clock-hands fall, And time come to an end for me!
 * ''Und Schlag auf Schlag! Werd ich zum Augenblicke sagen:
 * '''If ever I to the moment shall say:
 * ––Faust, lines 1698–706

Des Menschen allerhöchste Kraft, Laß nur in Blend- und Zauberwerken Dich von dem Lügengeist bestärken So hab’ ich dich schon unbedingt – Ihm hat das Schicksal einen Geist gegeben, Der ungebändigt immer vorwärts dringt, Und dessen übereiltes Streben Der Erde Freuden überspringt. Den schlepp’ ich durch das wilde Leben, Durch flache Unbedeutenheit, Er soll mir zappeln, starren, kleben, Und seiner Unersättlichkeit Soll Speis’ und Trank vor gier’gen Lippen schweben; Er wird Erquickung sich umsonst erflehn, Und hätt’ er sich auch nicht dem Teufel übergeben, Er müßte doch zu Grunde gehn!'' Reason and Knowledge, only thus contemn, Still let the Prince of lies, without control, With shows, and mocking charms delude thy soul I have thee unconditionally then! Fate hath endow'd him with an ardent mind, Which unrestrain'd still presses on for ever, And whose precipitate endeavour Earth's joys o'erleaping, leaveth them behind. Him will I drag through life's wild waste, Through scenes of vapid dulness, where at last Bewilder'd, he shall falter, and stick fast; And, still to mock his greedy haste, Viands and drink shall float his craving lips beyond-- Vainly he'll seek refreshment, anguish-tost, And were he not the devil's by his bond, Yet must his soul infallibly be lost!
 * ''Verachte nur Vernunft und Wissenschaft,
 * Mortal! the loftiest attributes of men,
 * —Mephistopheles

des Menschen allerhöchste Gaben— So hast dem Teufel dich ergeben und müßte doch zu Grunde gehn!'' The loftiest attributes man has been given, And so the devil has you And your soul is infallibly lost
 * Hegel in the Preface to his Philosophy of Right, slightly miquotes the above quotation as:
 * ''Verachte nur Verstand und Wissenschaft,
 * Disdain sanity and scholarship,

properties.
 * Blut ist ein ganz besondrer Saft.
 * Blood is a juice with curious
 * ––Mephistopheles, line 1740

Und grün des Lebens goldner Baum.'' The golden tree of life.
 * ''Grau, teurer Freund, ist alle Theorie,
 * My friend, all theory is grey, and green
 * ––Mephistopheles, lines 2038–9

Scene 8: Auerbach's Tavern in Leipzig
Doch ihre Weine trinkt er gern.''
 * ''Ein echter deutscher Mann mag keinen Franzen leiden,
 * A Frenchman is not to a German's liking, although he drinks their wine with pleasure.
 * ––Brander, lines 2272–3

Scene 10: A Street
So etwas hab ich nie gesehn. Sie ist so sitt—und tugendreich, Und etwas schnippisch doch zugleich. Der Lippe Rot, der Wange Licht, Die Tage der Welt vergeß ich's nicht!'' More lovely than I've ever met. So virtuous, so decent, yet A touch of sauciness as well! Her lips so red, her cheeks so bright— All my life I'll not forget that sight.
 * ''Beim Himmel, dieses Kind ist schön!
 * By God, but that's a lovely girl!
 * ––Faust, of Margareta; lines 2609–15

Scene 14: A Street
Ich bitte dich, und schone meine Lunge— Wer Recht behalten will und hat nur eine Zunge, Behält’s gewiß.'' And understand, before I burst a lung: Insist on being right, and merely have a tongue, And right you'll be.
 *  ''Hör’! merk’ dir dieß—
 *  Listen to me—
 * ––Faust, lines 3067–70

Scene 18: Gretchen's Room

Mein Herz ist schwer; Ich finde sie nimmer und nimmermehr.''" My heart's so sore, How can ever my heart Be at peace any more?"
 * "''Meine Ruh' ist hin,
 * "My heart's so heavy,
 * ––Gretchen (Margareta), lines 3374–7

Scene 24: A Walpurgis Night
Ein morgenrötlich trüber Schein! Und selbst bis in die tiefen Schlünde Des Abgrunds wittert er hinein.'' Like a false dawn the dull light glows! Into crevasses glinting, shimmering, Into each deep abyss it goes.
 * ''Wie seltsam glimmert durch die Gründe
 * How strangely through the hollows glimmering
 * ––Faust, lines 3916–9

Scene 28: A Prison
Über mich gegeben! Du holst mich schon um Mitternacht.'' Over me? Who said You could fetch me at this midnight hour?
 * ''Wer hat dir Henker diese Macht
 * Oh, hangman, who gave you this power
 * ––Margareta, lines 4427–9

Und soll schon sterben! Schön war ich auch, und das war mein Verderben.'' And already I must die! I was pretty too, and that's the reason why.
 * ''Bin ich doch noch so jung, so jung!
 * I'm still so young, still so young too!
 * ––Margareta, lines 4432–4

The Second Part of the Tragedy (1832)
''Alles Vergängliche Ist nur ein Gleichnis; Das Unzulängliche, Hier wird's Ereignis; Das Unbeschreibliche, Hier ist's getan; Das Ewig-Weibliche Zieht uns hinan.''
 * CHORUS MYSTICUS:

Is but a parable; What lay beyond us, here All is made visible; Here deeds have understood Words they were darkened by; The Eternal Feminine Draws us on high.
 * All that must disappear

 * Him I love who craves the impossible.
 * Quoted by Rudolf Steiner ...Goethe puts the following words into the mouth of a seeress: Him I love... in  An Outline of Occult Science, p. 310, (1922)

Quotes about Goethe's Faust

 * Goethe seems to have taken from Kalidasa the idea of a prologue for Faust.
 * Will Durant, Our Oriental Heritage : India and Her Neighbors.

 * I have always been of the opinion that world-significance ought to be attributed to the idea of Faust. Just as our forefathers had a goddess of longing, so, in my opinion, Faust is no doubt personified. More he should not be, and it certainly is a sin against the idea when Goethe allows Faust to be converted in the same way as Mèrimèe lets Don Juan be converted. Do not raise the objection that the moment Faust addressed himself to the devil he made a positive step, for right here, it seems to me, is one of the most profound elements in the Faust legend. He approached the devil for the express purpose of becoming enlightened on things about which he was previously unenlightened, and precisely because he addressed himself to the devil, his doubt increased (just as a sick man falling into the hands of a quack is likely to get even worse.) Admittedly Mephistopheles let him look through his spectacles into the hidden secrets of man and the world, but Faust could still not avoid having doubts about him, for he could never enlighten him about the most profound intellectual matters. In accordance with his idea he could never turn to God, for once he did that, he would have to say to himself that here was the true enlightenment, and at the same moment he would, in fact, deny his character as a doubter.
 * Soren Kierkegaard Journals of Soren Kierkegaard 1 A 72 Copenhagen, June 1, 1835

 * I would consider still another case, that of an individual who by being hidden and by his silence would save the universal. To this end I make use of the legend of Faust. Faust is a doubter, ("If one would prefer not to make use of a doubter, one might choose a similar figure, an ironist, for example, whose sharp sight has discovered fundamentally the ludicrousness of existence, who by a secret understanding with the forces of life ascertains what the patient wishes. He knows that he possesses the power of laughter if he would use it, he is sure of his victory, yea, also of his good fortune. He knows that an individual voice will be raised in resistance, but he knows that he is stronger, he knows that for an instant one still can cause men to seem serious, but he knows also that privately they long to laugh with him; he knows that for an instant one can still cause a woman to hold a fan before her eyes when he talks, but he knows that she is laughing behind the fan, that the fan is not absolutely impervious to vision, he knows that one can write on it an invisible inscription, he knows that when a woman strikes at him with her fan it is because she has understood him, he knows without the least danger of deception how laughter sneaks in, and how when once it has taken up its lodging it lies in ambush and waits.
 * Soren Kierkegaard Fear and Trembling 1843 Lowrie tr 1941 p. 116

title: Goethe's Faust


text:
Henry V

Henry V may refer to:

 * Henry V, King of England 1413–1422
 * Henry V, play by William Shakespeare

title: Henry V


text:
Talk:Yitzhak Rabin

What about adding this one?:

"fight violence as if there was no negociation, and negociate as if there was no violence"

It is a very well known quote from him and it is often mentioned when debating whether to establish dialog with terrorists or not.

Hebrew quotes
I assume most Wikiquote readers don't read Hebrew, and in any event, there's a link to the Hebrew Wikiquote. Is there really a significance in leaving the Hebrew originals, or can they be removed? OgmiosProject 00:25, 17 March 2007 (UTC)

Unsourced

 *  האדם אינו פלדה. הוא לב ונשמה, הוא בוכה וצוחק. הוא אוהב וכואב. הוא מסתער ונפצע וזועק. האדם הוא אדם.
 * Translation: The man is not made of steel. He has a heart and a soul, He weeps and laughs. He loves and aches. He attacks, gets wounded and cries. The man is human.

 * .אלימות היא כרסום יסוד הדמוקרטיה הישראלית. יש לגנות אותה, להוקיע אותה, לבודד אותה
 * Translation: Violence erodes the basis of Israeli democracy. It must be condemned, denounced and isolated.

 * די לדם ולדמעות. די. אין בנו שנאה כלפיכם, אין אנו תאבי נקמה. אנו, כמוכם, אנשים שרוצים לבנות בית, לטעת עץ, לאהוב ולחיות לצידכם בכבוד, באהדה, כבני אדם, כבני חורין.
 * Translation: Enough blood and tears. Enough. We have no hatred towards you, we do not wish for revenge. We, as you, are people who want to build a house, to plant a tree, to love and live alongside you in dignity, support, as humans, as free people.

 * אנו יוצאים היום למלחמה שאין בה הרוגים ופצועים ולא דם ולא סבל. וזו המלחמה היחידה שתענוג להשתתף בה – המלחמה על השלום
 * Translation: "We are embarking today on a war in which there are no fallen and injured, and not blood nor suffer. And it is the only war in which it is a pleasure to participate - the war for peace."
 * At the White House, upon signing of the Oslo Agreements

 * I, Military I.D. No. 30743, Retired General in the Israeli Defense Forces, consider myself to be a soldier in the army of peace today.

 * I, who served my country for 27 years as a soldier, I say to you, Your Majesty, the King of Jordan, and I say to you, our American friends: Today we are embarking on a battle which has no dead and no wounded, no blood and no anguish. This is the only battle which is a pleasure to wage: the battle of peace.
 * During a speech to the US Congress 1994.

 * You can only make peace with your enemies.

 * In our tradition there is a saying that "what is a Jewish sport?" And the saying is, "speechmaking."  I start to believe, Chairman Arafat, that you are close to being Jewish.
 * During a reception of head of states at the White House

title: Talk:Yitzhak Rabin


text:
Psychiatry

Psychiatry is the medical specialty devoted to the study, diagnosis, treatment, and prevention of mental disorders, among which are affective, behavioural, cognitive and perceptual abnormalities.

A

 * All schizophrenia patients are mad, and none are sane. Their behaviour is incomprehensible. It tells us nothing about what they do in the rest of their lives, gives no insight into the human condition and has no lesson for sane people except how sane they are. There's nothing profound about it. Schizophrenics aren't clever or wise or witty — they may make some very odd remarks but that's because they're mad, and there's nothing to be got out of what they say. When they laugh at things the rest of us don't think are funny, like the death of a parent, they're not being penetrating, and on other occasions they're not wryly amused at the simplicity and stupidity of the psychiatrist, however well justified that might be in many cases. They're laughing because they're mad, too mad to be able to tell what's funny any more. The rewards for being sane may not be very many but knowing what's funny is one of them. And that's an end of the matter.
 * Kingsley Amis, Stanley and the Women, p. 147.

 * Psychiatry is becoming too popular. Everybody talks of complexes and neuroses and psychoses and compulsions and whatnot. One man's guilt complex is another man's good night’s sleep.
 * Isaac Asimov, Breeds There a Man…? (1951), in The Complete Stories, Volume 1, ISBN 0-385-41627-X, p. 419 (originally published in Astounding, June 1951)

B

 * Not only psychiatry itself but also the values reflected in its statistical definition of “normalcy” serve to condition men to habitual, unthinking, conformist behavior.
 * Benjamin R. Barber, “Forced to be Free: An Illiberal Defense of Liberty,” Superman and Common Men (New York: 1971), pp. 68-69

 * The self must be a tense bow. It must struggle with opposites rather than harmonize them, rather than turn the tension over to the great instruments of last manhood—the skilled bow unbenders and Jesuits of our days, the psychiatrists, who, in the same spirit and as part of the same conspiracy of modernity as the peace virtuosos, reduce conflict.
 * Allan Bloom, The Closing of the American Mind (New York: 1988), p. 198

 * I can't stand feeble, robotic psychiatrists. They give you false drugs and turn you into a zombie.
 * Ian Brady, as quoted in Evening Standard, Tue 25 June 2013, pp. 1-4

C

 * “Drapetomania”—that is the name of the mental disorder that was contrived by Samuel Cartwright, who said that Blacks had a mental disorder if they had a desire to run away from slavery.
 * Lisa Cain, as interviewed in Psychiatry: Industry of Death (2006)

D

 * ‘He's promised to see a psychiatrist — but I'm not very optimistic about that. I only ever knew one psychiatrist. Funny chap. If ever a man was in need of psychiatric treatment it was him.’
 * Colin Dexter, Last Bus to Woodstock (1975)

E

 * Most people with mental disorders in China never receive treatment. There is often a stigma attached to such ailments. Some think that people with psychiatric conditions are possessed by evil spirits. Many see mental disorders as a sign of weakness, and regard them as socially contagious: a relative of someone with a serious disorder may find it hard to marry. Families sometimes have their kin treated far away to hide the “shame” of their condition, or keep them hidden at home. Even many medical students worry that those working with psychiatric patients risk catching their disease, says Xu Ni of “It Gets Brighter”, a mental-health NGO in Beijing.
 * The Economist, “China wakes up to its mental-health problems”, (Jan 28th 2017).

F

 * You know, if you get treated like a patient, you're apt to act like one.
 * Frances Farmer, This Is Your Life television program, January 29, 1958, speaking about her incarcerations in psychiatric institutions.

 * Modern man no longer communicates with the madman ... There is no common language: or rather, it no longer exists; the constitution of madness as mental illness, at the end of the eighteenth century, bears witness to a rupture in a dialogue, gives the separation as already enacted, and expels from the memory all those imperfect words, of no fixed syntax, spoken falteringly, in which the exchange between madness and reason was carried out. The language of psychiatry, which is a monologue by reason about madness, could only have come into existence in such a silence.
 * Michel Foucault, Madness and Civilization, preface to the 1961 edition

 * Many psychiatrists and psychologists refuse to entertain the idea that society as a whole may be lacking in sanity. They hold that the problem of mental health in a society is only that of the number of ‘unadjusted’ individuals, and not of a possible unadjustment of the culture itself.
 * Erich Fromm, The Sane Society

G

 * In Soviet times, government psychiatrists were often involved in the mistreatment of dissidents; but they generally hid their actions behind diagnoses like “creeping schizophrenia” that suggested they were at least acting within the canons of their profession. But thanks to the work of Western scholars, their true goals were exposed and condemned. Now, under Putin, psychiatrists in the penal system apparently feel no need to conceal what they are doing, with some even justifying the use of drugs, electroshock treatment and other means on healthy prisoners to address “symptoms of the disease of being a dissident” (novayagazeta.ru/articles/2019/06/27/81043-menya-nasilno-pytalis-kormit-cherez-zadniy-prohod).
 * , "New Psychiatric Diagnosis in Putin’s Russia: ‘Symptoms of the Disease of Being a Dissident’", Bitter Winter (June 29, 2019)

 * Randle McMurphy: They, uh, was givin' me 10,000 watts a day, you know, and I'm hot to trot. The next woman who takes me out is gonna light up like a pinball machine and pay off in silver dollars.
 * One Flew Over the Cuckoo's Nest written by Bo Goldman and Lawrence Hauben, adapted from the novel by Ken Kesey.

 * Nurse Ratched: If Mr. McMurphy doesn't want to take his medication orally, I'm sure we can arrange that he can have it some other way.
 * One Flew Over the Cuckoo's Nest written by Bo Goldman and Lawrence Hauben, adapted from the novel by Ken Kesey.

 * Chief Bromden: Mac, they said you escaped. I knew you wouldn't leave without me. I was waiting for you. Now we can make it, Mac. I feel big as a damn mountain. [sees the lobotomy scars] Oh, no. [suffocating McMurphy] I'm not goin' without you, Mac. I wouldn't leave you this way. You're coming with me. [laying him down] Let's go.
 * One Flew Over the Cuckoo's Nest written by Bo Goldman and Lawrence Hauben, adapted from the novel by Ken Kesey.

 * Freud pointed out, in his Problem of Lay Analysis, that it is extremely unlikely that a young man who would throw the best years of his life into the cloistered drudgery of getting an M.D. degree, could possibly make a good psychoanalyst; so he preferred to look for young analysts among the writers, the lawyers, the mothers of families, those who had chosen human contact. But in their economic wisdom, the Psychoanalytic Institute of Vienna (and New York) overruled him.
 * Paul Goodman, Growing up Absurd (1956), pp. 145-146

 * Every time [psychiatry] comes across a natural act that is contrary to the prevailing conventions, it brands this act as a symptom of mental derangement or abnormality.
 * René Guyon, as cited in The Manufacture of Madness: A Comparative Study of the Inquisition and the Mental Health Movement (1997), Thomas Szasz, p. 167

H

 * Shrinks are the blind leading the blind; even the best of them are dealing from a short deck. Anyone who consults a shrink should have his head examined.
 * Robert A. Heinlein, The Cat Who Walks Through Walls (1985), Chapter 17

 * Television has done much for psychiatry by spreading information about it, as well as contributing to the need for it.
 * Alfred Hitchcock, Alfred Hitchcock Presents. 1960

 * Christ, all you psychiatrists think about is sex — sex, sex, sex, sex, sex ...
 * Susan Howatch, The Wheel of Fortune (1984)

 * Our enemies are less than twelve men. They are members of the Bank of England and other higher financial circles. They own and control newspaper chains and they, oddly enough, run all the mental health groups in the world that had sprung up [...]. Their apparent programme was to use mental health, which is to say psychiatric electric shock and pre-frontal lobotomy, to remove from their path any political dissenters [...]. These fellows have gotten nearly every government in the world to owe them considerable quantities of money through various chicaneries and they control, of course, income tax, government finance — [Harold] Wilson, for instance, the current Premier of England, is totally involved with these fellows and talks about nothing else actually.
 * L. Ron Hubbard, Ron's Journal '67 (RJ67)

 * Psychiatry and psychiatrist are easily redefined to mean 'an antisocial enemy of the people.' This takes the kill-crazy psychiatrist off the preferred list of professions. This is a good use of the technique [of redefining words] as for a century the psychiatrist has been setting an all-time record for inhumanity to Man
 * L. Ron Hubbard, HCOPL (5 October 71) Propaganda by Redefinition of Words.

K

 * The psychiatrist unfailingly recognizes the madman by his excited behavior on being incarcerated.
 * Karl Kraus, (1874-1936) in Anti-Freud: Karl Kraus’s criticism of psychoanalysis and psychiatry, Thomas Szasz, Syracuse University Press, 1990.

 * Nowadays lunatic doctors and other laymen talk a steady stream of nonsense about homosexuality. In the course of these events it has become customary to divide homosexuals into two classes—those who cannot be anything but homosexuals, and those who can. Having made this distinction, those who can't be anything at all—that is, our guardians of law and morality— then distribute compassion and contempt among them. In due time — anywhere from 129 to 175 years from now — mankind with probably rise to the dizzying heights of declaring that “congenital” homosexuals are sick, and will insist on forgiving them; and that “acquired” homosexuals are sinful, and will continue to persecute them with the coercions of criminal law, the contempt of society, and the curse of blackmail. Of course, I leave the methods for making this distinction to the psychiatric executioners.
 * Karl Kraus, (1874-1936) in Anti-Freud: Karl Kraus’s criticism of psychoanalysis and psychiatry, Thomas Szasz, Syracuse University Press, 1990.

L

 * As the LSD began to take effect, I suddenly said ... : ’Every Psychiatrist, every psychoanalyst should be forced to take LSD in order to know what is over here.’ What I meant was that anybody who has anything to do with the human mind and care should be trained in these spaces.
 * John Lily Center of the Cyclone: Looking into Inner Space p.10

N

 * The popular medical formulation of morality that goes back to Ariston of Chios, "virtue is the health of the soul," would have to be changed to become useful, at least to read: "your virtue is the health of your soul." For there is no health as such, and all attempts to define a thing that way have been wretched failures. Even the determination of what is healthy for your body depends on your goal, your horizon, your energies, your impulses, your errors, and above all on the ideals and phantasms of your soul. Thus there are innumerable healths of the body; and the more we allow the unique and incomparable to raise its head again, and the more we abjure the dogma of the "equality of men," the more must the concept of a normal health, along with a normal diet and the normal course of an illness, be abandoned by medical men. Only then would the time have come to reflect on the health and illness of the soul, and to find the peculiar virtue of each man in the health of his soul.
 * Friedrich Nietzsche, The Gay Science, § 120 “Health of the Soul”

 * Finally, the great question would still remain whether we can really dispense with illness—even for the sake of our virtue—and whether our thirst for knowledge and self-knowledge in particular does not require the sick soul as much as the healthy, and whether, in brief, the will to health alone, is not a prejudice, cowardice, and perhaps a bit of very subtle barbarism and backwardness.
 * Friedrich Nietzsche, The Gay Science, § 120 “Health of the Soul”

 * I owe my complete restoration to a discovery I made while being treated at that particular very expensive sanatorium. I discovered there was an endless source of robust enjoyment in trifling with psychiatrists: cunningly leading them on.
 * Vladimir Nabokov. Lolita Penguin UK, 27 July 2012, p. 103

P

 * Kathryn Raily: What we say is the truth is what everybody accepts. ... I mean, psychiatry: it's the latest religion. We decide what's right and wrong. We decide who's crazy or not. I'm in trouble here. I'm losing my faith.
 * David Peoples and Janet Peoples, 12 Monkeys, (December 29, 1995).

 * So when you call up that shrink in Beverly Hills—
 * You know the one, Dr. Everything'll-Be-Alright—
 * Instead of asking him how much of your time is left,
 * Ask him how much of your mind, baby. ...
 * Dr. Everything'll-Be-Alright
 * Will make everything go wrong.
 * Pills and thrills and daffodils will kill.
 * Hang tough children.
 * Prince, Let's Go Crazy (1984)

S

 * Criticism should not be focused on Nazi Germany alone but extend beyond to include physicians in democratic countries, as well. Physicians outside Germany before the war, in the United States in particular were well aware of the evolving racist thrust of the health care system. They chose to remain silent.
 * William E. Seidelman (1992). Quoted in, The War Against Children of Color: Psychiatry Targets Inner-City Youth (1998), Peter R. Breggin, M.D., Common Courage Press, Monroe, Maine, ISBN 1567511279 ISBN 1567511260( 2002 ed., ISBN 1567511260 ISBN 9781567511260 ch. 7, Condemned by Science: The Role of Psychiatry in the Holocaust, p. 124.

 * If we see [our lives] from the outside, as the influence and popular dissemination of the social sciences and psychiatry has persuaded more and more people to do, we view ourselves as instances of generalities, and in so doing become profoundly and painfully alienated from our own experience and our humanity.
 * Susan Sontag, “On Style,” Against Interpretation, p. 29

 * In the nineteenth century, ... official Western medicine recognized drapetomania, the tendency of slaves to run away from their owners, as a disease. ... With hindsight, drapetomania is easily dismissed as a harmful fabrication of fictitious disease, in a culture violating human rights. Less easy is it to recognize harmful fabrications of our own era for what they are.
 * Are you sure that medicine and psychiatry are on the right track, morally and scientifically, in providing millions of person with drugs after having diagnosed them as depressed?
 * Wim J. van der Steen, Vincent K. Y. Ho, Ferry J. Karmelk, Beyond Boundaries of Biomedicine: Pragmatic Perspectives on Health and Disease (2003), p. 29

 * So long as men denounce each other as mentally sick (homosexual, addicted, insane, and so forth)—so that the madman can always be considered the Other, never the Self—mental illness will remain an easily exploitable concept, and Coercive Psychiatry a flourishing institution.
 * Thomas Szasz, The Manufacture of Madness: A Comparative Study of the Inquisition and the Mental Health Movement (1997), p. 170

 * There are two basic kinds of impersonations: those that are publicly supported and those that are not. Examples of the former are an actor playing a part in a play or a small boy playing fireman. Examples of the latter are a healthy housewife complaining of aches and pains or an unemployed carpenter claiming he is Jesus. When persons stubbornly cling to and aggressively proclaim publicly unsupported role definitions, they are called psychotic.
 * Thomas Szasz, The Second Sin (New York: 1973), p. 52

 * Since this is the age of science, not religion, psychiatrists are our rabbis, heroin is our pork, and the addict is the unclean person.
 * Thomas Szasz, The Second Sin (New York: 1973), p. 64

 * Psychiatrists look for twisted molecules and defective genes as the causes of schizophrenia, because schizophrenia is the name of a disease. If Christianity or Communism were called diseases, would they then look for the chemical and genetic “causes” of these “conditions”?
 * Thomas Szasz, The Second Sin (New York: 1973), p. 102

 * Mental illness is a myth. Psychiatrists are not concerned with mental illnesses and their treatments. In actual practice they deal with personal, social and ethical problems in living.
 * Thomas Szasz, The Myth of Mental Illness: Foundations of a Theory of Personal Conduct (1974)

title: Psychiatry


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Stephen Grellet

Stephen Grellet (2 November 1773 – 16 November 1855) was a prominent Quaker missionary. Born Etienne de Grellet du Mabillier, son to a counsellor of King Louis XVI, at 17 he entered the King's body-guard; during the French Revolution of 1792 he was sentenced to be executed, but escaped and eventually fled Europe to the United States in 1795, where in 1796, he joined the Religious Society of Friends.

Quotes

 * I was suddenly arrested by what seemed to be an awful voice proclaiming the words, "Eternity! Eternity! Eternity!" It reached my very soul — my whole man shook — it brought me like Saul to the ground. The great depravity and sinfulness of my heart were set before me, and the gulf of everlasting destruction to which I was verging. I was made to bitterly cry out, "If there is no God — doubtless there is a hell." I found myself in the midst of it.
 * On his inspiration, when he was still learning English and walking alone in the fields of Long Island, to take up the reading of No Cross, No Crown by William Penn, after having first set it aside upon realizing it was a religious book. In Memoirs of the Life and Gospel Labors of Stephen Grellet (1860), p. 20

 * I spent a night of watchfulness unto prayer, like Jacob, wrestling the whole night for the Lord's blessing, and towards morning the light of His countenance did very graciously arise upon me. My trust and confidence are renewed in Him, blessed and praised be His adorable name!
 * As quoted in Stephen Grellet (1880) by Rev. William Guest, p. 146

Disputed

 * I expect to pass through this world but once. Any good, therefore, that I can do or any kindness I can show to any fellow creature, let me do it now. Let me not defer or neglect it for I shall not pass this way again.
 * This, and variants of it, have been been widely circulated as a Quaker saying since at least 1869, and attributed to Grellet since at least 1893. W. Gurney Benham in Benham's Book of Quotations, Proverbs, and Household Words (1907) states that though sometimes attributed to others, "there seems to be some authority in favor of Stephen Grellet being the author, but the passage does not appear in any of his printed works." It appears to have been published as an anonymous proverb at least as early as 1859, when it appeared in Household Words : A Weekly Journal. It has also often become attributed to the more famous Quaker William Penn, as well as others including Mahatma Gandhi and Ralph Waldo Emerson.
 * Variants:
 *  I expect to pass through this world but once. If, therefore, there be any kindness I can show, or any good thing I can do any fellow human being let me do it now. Let me not defer or neglect it, for I will not pass this way again.
 * Writing of an unnamed Quaker, as quoted in Scott's Monthly Magazine Vol. VII, No. 6 (June 1869, p. 475, edited by William J. Scott
 * I expect to pass through this world but once. Any good thing, therefore, that I can do or any kindness I can show to any fellow human being let me do it now. Let me not defer nor neglect it, for I shall not pass this way again.
 * As quoted anonymously in Hour by Hour; or, The Christian's Daily Life (1885), compiled by E.A.L., p. 37, and as "the old Quaker's words" in The Unitarian Vol. VI (July 1891); this version was given the title "Do It Now" in Heart Throbs: In Prose and Verse (1905) by Joe Mitchell Chapple.
 * I shall pass through this world but once! Any good thing, therefore, that I can do or any kindness that I can show to any human being, let me do it now, in his name, and for his sake! Let me not defer or neglect it, for I shall not pass this way again.
 * Anonymous quotation on a card, as quoted in The Friend, Vol. 61 (1888) by The Society of Friends, p. 364
 * I shall pass through this world but once. Any good, therefore, that I can do or any kindness I can show to any human being, let me do it now. Let me not defer or neglect it, for I shall not pass this way again.
 * Anonymous quotation on a card, as quoted in A Memorial of a True Life : A Biography of Hugh McAllister Beaver (1898) by Robert Elliott Speer, p. 169
 * I expect to pass through this world but once. If, therefore, there be any kindness I can show, or any good thing I can do, to any fellow being let me do it now. Let me not defer nor neglect it, for I shall not pass this way again.
 * As quoted anonymously in The Lamp Vol. XXVI (February-July 1903)
 * I expect to pass through this life but once. If there is any kindness or any good thing I can do to my fellow-beings, let me do it now. I shall pass this way but once.
 * Attributed to "The Old Quaker" in Blessed Be Drudgery, William C. Gannett, 1890.
 * I expect to pass through this life but once. If there is any kindness to show or any good thing I can do to my fellow-beings, let me do it now. Let me not defer nor neglect it. I will pass this way but once.
 * Attributed to the family Bible of "Mrs. Hegeman, of New York, one of the victims of the Madison Square Garden disaster" in The Youth's Companion, v. 52, no. 30, page 252, July 22, 1880. The referenced individual is Anna Bradford Hegeman, nee Anna Bradford Clark, wife of William Augustus Ogden Hegeman, who died on April 21, 1880. See the New York Times articles from | April 23, 1880 and | December 13, 1880.
 * I expect to pass through this life but once. If there is any kindness to show or any good thing I can do to my fellow-beings, let me do it now. Let me not defer nor neglect it. I will not pass this way but once.
 * Attributed to "a lady who recently lost her life in a benevolent enterprise" in The Christian Life, Vol. 5, no. 213, June 12, 1880, page 282. Also attributed to Anna Hegeman in the Christian Union (New Outlook), Vol XXI, no. 18, page 412, May 5, 1880.

Misattributed

 * If I can anyway contribute to the diversion or improvement of the country in which I live, I shall leave it, when I am summoned out of it, with the satisfaction of thinking that I have not lived in vain.
 * Statement in The Spectator (1711), as quoted in The Reign of Queen Anne (1902) by Justin McCarthy

title: Stephen Grellet


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Wikiquote:Deletion log

18:45, 10 Dec 2004 Quadell deleted "Lorem ipsum" (Page moved to Wikisource and expanded.)  14:17, 8 Dec 2004 Kalki deleted "Geza Palotas" (Creator agreed it should be deleted; content was: '{{vfd}} The contents originally on this page were moved to [[Geza Pal]], by the IP which was used to create them both.')  14:15, 8 Dec 2004 Kalki deleted "Geza Pal" (Creator agreed it should be deleted; content was: 'Geza Pal is not a famous person, period')  04:06, 29 Nov 2004 Kalki deleted "Shkodër" (superfulous page, had a single Albanian proverb that has since been placed on the Albanian proverbs page)  17:53, 27 Nov 2004 Kalki deleted "André the Giant" (No actual quotes provided, and couldn't find any notable ones)  06:36, 22 Nov 2004 Kalki deleted "Dutch" (minor statement in Dutch by unknown person)  21:27, 21 Nov 2004 Kalki deleted "Encyclopædia Britannica" (Encyclopedias, Magazines and Newspapers should not be given their own pages here.)  16:12, 17 Nov 2004 Kalki deleted "The Simpsons" (deleting so that I can moves "Simpsons" here)

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Jim Morrison

James Douglas Morrison (8 December 1943 – 3 July 1971) was an American singer, songwriter, musician, poet and founding member of The Doors.

Quotes

 * You know the day destroys the night, Night divides the day, Tried to run — Tried to hide — Break on through to the other side!
 * "Break on Through (To The Other Side)" from The Doors (1967)

 * We chased our pleasures here, Dug our treasures there, But can you still recall The time we cried? Break on through to the other side!
 * "Break on Through (To The Other Side)" from The Doors

 * It hurts to set you free, but you’ll never follow me.
 * "The End" from The Doors (1967)
 * Always a playground instructor, never a killer running to two young girls freedom and enterprize

 * People are strange when you're a stranger Faces look ugly when you're alone Women seem wicked when you're unwanted Streets are uneven when you're down.
 * "People Are Strange" on the album Strange Days (1967)

 * When you're strange Faces come out of the rain When you're strange No one remembers your name When you're strange.
 * "People Are Strange" on the album Strange Days (1967)

 * Five to one, baby One in five No one here gets out alive, now You get yours, baby I'll get mine Gonna make it, baby If we try.
 * "Five to One" on the album Waiting for the Sun (1968)

 * The old get older And the young get stronger May take a week And it may take longer They got the guns But we got the numbers Gonna win, yeah We're takin' over Come on!
 * "Five to One" on the album Waiting for the Sun (1968)

 * Hello, I love you, won't you tell me your name? Hello, I love you, let me jump in your game.
 * "", 1968

 * Take an Indian home to lunch.
 * When asked how the USA should celebrate the Bicentennial, as quoted in Avant Garde magazine (March 1968)

 * At first flash of Eden, We race down to the sea. Standing there on Freedom's shore. Waiting for the sun...
 * "Waiting for the Sun" on the album Morrison Hotel (1970)

 * This is the strangest life I’ve ever known.
 * "Waiting for the Sun" on the album Morrison Hotel (1970)

 * There's a killer on the road His brain is squirming like a toad.
 * "" from the album L.A. Woman (1971).

 * Listen to this, and I'll tell you 'bout the heartache I'll tell you 'bout the heartache and the loss of God.
 * "The Wasp (Texas Radio And The Big Beat)" on the albums L. A. Woman (1971) and An American Prayer (1978)

 * I'll tell you this — No eternal reward will forgive us now for wasting the dawn.
 * "The Wasp (Texas Radio And The Big Beat)" on the albums L. A. Woman (1971) and An American Prayer (1978)

 * Mute nostril agony.
 * "Horse Latitudes"

 * Don't let me die in an automobile I wanna lie in an open field Want the snakes to suck my skin Want the worms to be my friends Want the birds to eat my eyes As here I lie The clouds fly by
 * "The End; Live in New York" (1970), "The End; Live at The Hollywood Bowl" (1968)

 * Alright listen man, we got a special treat for you now. This is a little tour-de-force that we've only done a couple times in front of strangers, and it starts off kinda quiet, so if everybody just kinda relax, take a few deep breaths, think about your eventual end and what's gonna happen tonight; and we'll try and do something good to your head, right man? I don't know if you're aware of it, but this whole evening is being taped for eternity and beyond that too. And so listen man, if you want to be represented in eternity with some uncouth language then I hope you'll stand up on the top of your seat and shout it out very clearly or we're not going to get it on tape. Don't worry, the operation won't take long and you'll feel much better in the morning.
 * Onstage introduction to The Celebration of the Lizard

 * I see myself as a huge fiery comet, a shooting star. Everyone stops, points up and gasps "Oh look at that!" Then — whoosh, and I'm gone... and they'll never see anything like it ever again... and they won't be able to forget me — ever.
 * As quoted in Straight Whisky: A Living History of Sex, Drugs, and Rock 'n' Roll on the Sunset Strip (2003), by Erik Quisling, and Austin Lowry Williams p. 152

 * I think, in these days, especially in the States, you have to be a politician or an assassin or something, to really be a superstar.
 * As quoted in When You're Strange (2009) by Tom Dicillo

 * People are afraid of themselves, of their own reality; their feelings most of all. People talk about how great love is, but that’s bullshit. Love hurts. Feelings are disturbing. People are taught that pain is evil and dangerous. How can they deal with love if they’re afraid to feel? Pain is meant to wake us up. People try to hide their pain. But they’re wrong. Pain is something to carry, like a radio. You feel your strength in the experience of pain. It’s all in how you carry it. That’s what matters. Pain is a feeling. Your feelings are a part of you. Your own reality. If you feel ashamed of them, and hide them, you’re letting society destroy your reality. You should stand up for your right to feel your pain.
 * As quoted in Jim Morrison: Ten Years Gone (1981) by Lizzie James writing for Creem Magazine

The Lords: Notes on Vision

 * Yoga powers. To make oneself invisible or small. To become gigantic and reach to the farthest things. To change the course of nature. To place oneself anywhere in space or time. To summon the dead. To exalt senses and perceive inaccessible images, of events on other worlds, in one's deepest inner mind, or in the minds of others.

 * (Windows work two ways, mirrors one way.) You never walk through mirrors or swim through windows.

 * The world becomes an apparently infinite, yet possibly finite, card game. Image combinations, permutations, comprise the world game.

 * Cinema has evolved in two paths. One is spectacle. Like the phantasmagoria, its goal is the creation of a total substitute sensory world. The other is peep show, which claims for its realm both the erotic and the untampered observance of real life, and imitates the keyhole or voyeur's window without need of color, noise, grandeur.

 * The subject says "I see first lots of things which dance — then everything becomes gradually connected".

 * Few would defend a small view of Alchemy as "Mother of Chemistry", and confuse its true goal with those external metal arts. Alchemy is an erotic science, involved in buried aspects of reality, aimed at purifying and transforming all being and matter. Not to suggest that material operations are ever abandoned. The adept holds to both the mystical and physical work.

 * They can picture love affairs of chemicals and stars, a romance of stones, or the fertility of fire. Strange, fertile correspondences the alchemists sensed in unlikely orders of being. Between men and planets, plants and gestures, words and weather.

 * Cinema returns us to anima, religion of matter, which gives each thing its special divinity and sees gods in all things and beings. Cinema, heir of alchemy, last of an erotic science.

 * The Lords. Events take place beyond our knowledge or control. Our lives are lived for us. We can only try to enslave others. But gradually, special perceptions are being developed. The idea of the "Lords" is beginning to form in some minds. We should enlist them into bands of perceivers to tour the labyrinth during their mysterious nocturnal appearances. The Lords have secret entrances and they know disguises. But they give themselves away in minor ways. Too much glint of light in the eye. A wrong gesture. Too long and curious a glance.

 * More or less, we're all afflicted with the psychology of the voyeur. Not in a strictly clinical or criminal sense, but in our whole physical and emotional stance before the world. Whenever we seek to break this spell of passivity, our actions are cruel and awkward and generally obscene, like an invalid who has forgotten to walk.

The New Creatures

 * I can't believe this is happening  I can't believe all these people are sniffing each other & backing away teeth grinning hair raised, growling, here in the slaughtered wind

 * Do you dare deny my potency my kindness or forgiveness?

 * Camel caravans bear witness guns to Caesar. Hordes crawl and seep inside the walls. The streets flow stone. Life goes on absorbing war. Violence kills the temple of no sex.

 * Cool pools from a tired land sink now in the peace of evening Clouds weaken and die. The sun, an orange skull, whispers quietly, becomes an island, & is gone. There they are watching us everything will be dark. The light changed. We were aware knee-deep in the fluttering air as the ships move on trains in their wake.

 * This is it no more fun the death of all joy has come.

An American Prayer (1978)

 * Indians scattered on dawn's highway bleeding Ghosts crowd the young child's fragile eggshell mind. Me and my mother and father, and a grandmother and a grandfather. were driving through the desert, at dawn, and a truck load of Indian workers had either hit another car, or just — I don't know what happened — but there were Indians scattered all over the highway, bleeding to death. So the car pulls up and stops. That was the first time I tasted fear. I musta' been about four — like a child is like a flower, his head is just floating in the breeze, man. The reaction I get now thinking about it, looking back — is that the souls of the ghosts of those dead Indians... maybe one or two of 'em... were just running around freaking out, and just leaped into my soul. And they're still there.

 * Do you know the warm progress under the stars? Do you know we exist? Have you forgotten the keys to the kingdom? Have you been born yet & are you alive?

 * Let's reinvent the gods, all the myths of the ages Celebrate symbols from deep elder forests

 * Now listen to this... Ill tell you about texas radio and the big beat Soft driven, slow and mad Like some new language Reaching your head with the cold, sudden fury of a divine messenger Let me tell you about heartache and the loss of god Wandering, wandering in hopeless night Out here in the perimeter there are no stars... Out here we is stoned... Immaculate.

 * O great creator of being grant us one more hour to perform our art and perfect our lives The moths & atheists are doubly divine & dying We live, we die and death not ends it

 * I touched her thigh and death smiled

 * We have assembled inside this ancient & insane theatre To propagate our lust for life & flee the swarming wisdom of the streets

 * Resident mockery give us an hour for magic

 * I'm sick of dour faces Staring at me from the T.V. Tower. I want roses in my garden bower; dig?

 * Death makes angels of us all and gives us wings where we had shoulders smooth as raven's claws

 * I will not go Prefer a feast of Friends To the Giant family

 * The program for this evening is not new. You have seen This entertainment through and through.  You've seen your birth, your life and death; you might recall all of the rest — (did you have a good world when you died?) — enough to base a movie on?

 * They're making a joke of our universe

 * Do you know freedom exists in a school book Did you know madmen are running our prisons Within a jail Within a gaol Within a white free protestant maelstrom We're perched headlong on the edge of boredom We're reaching for death on the end of a candle We're trying for something that's already found us.

 * Always a playground instructor, never a Killer

 * Her cunt gripped him like a warm friendly hand.

 * Indian, Indian what did you die for? Indian says, nothing at all.

 * Lying on stained wretched sheets with the bleeding virgin, we could plan a murder...or start a religion.

Misattributed

 * You know that it would be untrue You know that I would be a liar If I was to say to you Girl, we couldn't get much higher. Come on baby, light my fire — Come on baby, light my fire — Try to set the night on fire.
 * "Light My Fire" (1967). Because Jim Morrison sang this as a breakthrough hit for The Doors and was the group's primary songwriter, this is often mistakenly thought to have been written by him. It was actually written by guitarist Robby Krieger, as were some other songs including "Love Her Madly," "You're Lost Little Girl" and "Touch Me" (as well as some other songs on the Soft Parade album). The second verse of the song, however, was written by Morrison.

 * There are things known and there are things unknown, and in between are the doors of perception.
 * Aldous Huxley, using the term "the doors of perception" which originated with William Blake in The Marriage of Heaven and Hell. It is sometimes credited to Morrison because he cited it in interviews as the inspiration for the name The Doors and without always crediting Huxley as the source.

title: Jim Morrison


text:
Trainspotting (film)

 * For quotations from the novel, see Irvine Welsh.

Trainspotting is a 1996 British film about a young man deeply immersed in the Edinburgh drug scene who tries to clean up and get out, despite the allure of the drugs and influence of friends.
 * Directed by Danny Boyle. Written by John Hodge, based on the novel by Irvine Welsh.

Never let your friends tie you to the tracks. (taglines)
 * See also
 * T2 Trainspotting

Renton

 * [opening narration] Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, Choose washing machines, cars, compact disc players, and electrical tin openers. Choose good health, low cholesterol and dental insurance. Choose fixed-interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisure wear and matching luggage. Choose a three piece suite on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked-up brats you have spawned to replace yourselves. Choose your future. Choose life . . . But why would I want to do a thing like that? I chose not to choose life: I chose something else. And the reasons? There are no reasons. Who needs reasons when you've got heroin?
 * People think it's all about misery and desperation and death and all that shite, which is not to be ignored. But what they forget is the pleasure of it. Otherwise we wouldn't do it. After all, we're not fucking stupid. At least, we're not that fucking stupid. Take the best orgasm you ever had, multiply it by a thousand and you're still nowhere near it. When you're on junk you have only one worry: scoring. When you're off it you are suddenly obliged to worry about all sorts of other shite. Got no money: can't get pissed. Got money: drinking too much. Can't get a bird: no chance of a ride. Got a bird: too much hassle. You have to worry about bills, about food, about some football team that never fucking wins, about human relationships and all the things that really don't matter when you've got a sincere and truthful junk habit.
 * Relinquishing junk, stage one: preparation. For this you will need: one room which you will not leave. Soothing music. Tomato soup, ten tins of. Mushroom soup, eight tins of, for consumption cold. Ice cream, vanilla, large tub of. Magnesia, milk of, one bottle. Paracetamol. Mouthwash. Vitamins. Mineral water. Lucozade. Pornography. One mattress, one bucket for urine, one for feces, and one for vomitus. One television, and one bottle of Valium, which I've already procured from my mother who is, in her own domestic and socially acceptable way, also a drug addict. And now I'm ready. All I need is one final hit to soothe the pain while Valium takes effect.
 * [explaining the gaps in his employment history - from a deleted scene included on some home media releases] Yes, I can. The truth—well, the truth is that I've had a long-standing problem with heroin addiction. I've been known to sniff it, smoke it, swallow it, stick it up my arse and inject it into my veins. I've been trying to combat this addiction, but unless you count social security scams and shoplifting, I haven't had a regular job in years.
 * I don't feel the sickness yet, but it's in the post. That's for sure. I'm in the junkie limbo at the moment. Too ill to sleep. Too tired to stay awake, but the sickness is on its way. Sweat, chills, nausea. Pain and craving. A need like nothing else I've ever known will soon take hold of me. It's on its way.
 * The downside of coming off junk was I knew I would need to mix with my friends again in a state of full consciousness. It was awful. They reminded me so much of myself, I could hardly bear to look at them. Take Sick Boy, for instance. He came off junk at the same time as me — not because he wanted to, you understand, but just to annoy me. Just to show me how easily he could do it, thereby downgrading my own struggle. Sneaky fucker, don't you think?
 * One thousand years from now, there won't be any guys and there won't be any girls, just wankers. Sounds all right to me.
 * It looks easy this, but it's not. Looks like a doss, like a soft option. But living like this, it's a full-time business.
 * Our only response was to keep on going and fuck everything. Pile misery upon misery, heap it up on a spoon and dissolve it with a drop of bile. Then squirt it into a stinking, purulent vein, and do it all over again. Keep on going, getting up, going out, robbing, stealing, fucking people over. Propelling ourselves with longing towards the day that it would all go wrong. Because no matter how much you stash or how much you steal, you'll never have enough. No matter how often you go out and rob and fuck people over, you always need to get up and do it all over again.
 * Since I was on remand, they've had me on this programme. The state-sponsored addiction. Three sickly sweet doses of methadone a day instead of smack. But it's never enough. And at the moment, it's nowhere near enough. I took all three this morning, and now I've got 18 hours to go till my next shot, and the sweat on my back is like a layer of frost. I need to visit the mother-superior for one hit. One fucking hit to get us over this long, hard day.
 * This seems however I really am the luckiest guy in the world. Several years of addiction, right in the middle of an epidemic, surrounded by the living dead. But not me. I am negative. It's official. And once the pain goes away, that's when the real battle starts. Depression. Boredom. You feel so fucking low, you'll want to fucking top yourself.
 * [Closing narration] Now, I've justified this to myself in all sorts of ways. It wasn't a big deal, just a minor betrayal. Or we'd outgrown each other, you know, that sort of thing. But let's face it, I ripped them off - my so called mates. But Begbie, I couldn't give a shite about him. And Sick Boy, well, he'd have done the same to me, if he'd only thought of it first. And Spud, well okay, I felt sorry for Spud - he never hurt anybody. So why did I do it? I could offer a million answers - all false. The truth is that I'm a bad person. But, that's gonna change - I'm going to change. This is the last of that sort of thing. Now I'm cleaning up and I'm moving on, going straight and choosing life. I'm looking forward to it already. I'm gonna be just like you. The job, the family, the fucking big television. The washing machine, the car, the compact disc and electric tin opener, good health, low cholesterol, dental insurance, mortgage, starter home, leisure wear, luggage, three piece suite, DIY, game shows, junk food, children, walks in the park, nine to five, good at golf, washing the car, choice of sweaters, family Christmas, indexed pension, tax exemption, clearing gutters, getting by, looking ahead, the day you die.

Begbie

 * No way I would poison my body with that shite. All the fucking chemicals. No fucking way!
 * Hey Rent boy, no fucking skag!
 * It was fucking obvious that that cunt wis gonna fuck some cunt.
 * You better clean up your fucking act sunshine. cut that shite out forever.
 * See, inside you won't last two fucking days.
 * Well, it's not our fault! Your boy went down because he was a fucking smack-head, and if that's not your fault than I don't know what is! I was the fucking cunt trying to get hum off it.
 * Picture the scene. The other fucking week there, down the fucking Volley with Tommy, playing pool. I'm playing like Paul fucking Newman by the way. Giving the boy here the tanning of a lifetime. So it comes to the end, to the last shot, the deciding ball of the whole tournament. I'm on the black and he's sitting in the corner looking all fucking biscuit-arsed. When this hard cunt comes in. Obviously fucking fancied himself, like. Starts staring at me. Looking at me, like right fucking at me,as if to say, "Come ahead, square go". You ken me. I'm not the type of cunt that goes looking for fucking bother, like, but at the end of the day I'm the cunt with a pool cue and he can get the fat end in his puss any time he fucking wanted like. So I squares up, casual like. What does the hard cunt do? Or the so-called hard cunt? Shites it. Puts down his drink, turns, and gets the fuck out of there. And after that, well, the game was mine.

Dialogue

 * Renton: [Narrating] From time to time even I have uttered the magic words—
 * Renton: Never again, Swanney. I'm off the skag.
 * Swanney: Are you serious?
 * Renton: Yeah, no more. I'm finished with that shite.
 * Swanney: Well, it's up to you, man.
 * Renton: Gonna get it right this time. Gonna get it sorted out. Gonna get off it for good.
 * Swanney: I've heard that one before.
 * Renton: The Sick Boy method.
 * Swanney: [sarcastically] Well, it nearly worked for him, hey.
 * Renton: Well, he's always been lacking in moral fibre.
 * Swanney: He knows a lot about Sean Connery.
 * Renton: That's hardly a substitute.
 * Swanney: Do you need one more hit?
 * Renton: No, I don't think so.
 * Swanney: For the long night that lies ahead?
 * [Renton thinks, then leaves Swanney's apartment. Swanney returns to smoking and his toast.]
 * Renton: [narrating] We called him "Mother Superior" on account of the length of his habit. Of course I'd have another shot. After all, I had work to do.

 * [Renton goes to Mikey Forrester to buy a final shot of heroin; Forrester hands him suppositories]
 * Renton: [narrating] This was typical of Mikey Forrester. In the normal run of things, I would have nothing to do with the cunt. But this was not the normal run of things.
 * Renton: What the fuck are these?!
 * Mikey Forrester: Opium suppositories. Ideal for your purposes. Slow release. Bring you down gradually. Custom fucking designed for your needs.
 * Renton: I want a fucking hit!
 * Mikey Forrester: That's all I've got, matey. Take it or leave it.
 * [Renton considers this and eventually takes the opium suppositories and inserts them]
 * Mikey Forrester: Aye, you feel better the now right?
 * Renton: Oh, yeah, for all the good they've done me, I might as well have stuck them up my arse!

 * Tommy: Doesn't it make you proud to be Scottish?
 * Renton: It's SHITE being Scottish! We're the lowest of the low. The scum of the fucking Earth! The most wretched, miserable, servile, pathetic trash that was ever shat into civilisation. Some people hate the English. I don't. They're just wankers. We, on the other hand, are colonised by wankers. Can't even find a decent culture to be colonised by. We're ruled by effete arseholes. It's a SHITE state of affairs to be in, Tommy, and all the fresh air in the world won't make any fucking difference!

 * [Mark and Spud are both drinking out of the same milkshake]
 * Renton: Good luck, Spud.
 * Spud: Cheers, cowboy.
 * Renton: Now remember, if they think you're not trying, you're in trouble, right? First hint of that, and they'll be onto the D.H.S.S., "This cunt is not trying." And your giro's fuckin' finished, right?
 * Spud: Right.
 * Renton: But, then again, try too hard--
 * Spud: You might get the fuckin' job. [Chuckles]
 * Renton: Exactly.
 * Spud: Nightmare.
 * Renton: It's a tightrope, Spud. It's a fuckin' tightrope.
 * Spud: See, I just get pure shy with the interviewer cats. I get all nervous. I can't answer any of their questions, like I'm a footballer... and I get nerveson the big occasion, man.
 * Renton: Try some of this, Spud. [Produces a folded up paper of a stimulant powder]
 * Spud: Yeah, a little dab of speed is just the ticket, mate.
 * [Spud is in a chair sitting unusually far away from a table of 3 interviewers, talking hyper energetic and fast paced]
 * Spud: No, I went to Craignewton. I just put down Royal Edinburgh College to help get the job. There's too much discrimination in this town, they're both schools, right? We're all in this together. And I wanted to put across the general idea, rather than the details. Like people get all hung up on details. Like which school did I go to? How many grades did I get? Could be like six. Could be none. It's not important. What is important is that I am, yes?
 * Interviewer: Mr. Murphy, do you mean that you lied on your application?
 * Spud: No, well, yes. Only to get my foot in the door. Showing initiative and that like.
 * Interviewer: But you were referred here by the Department of Employment. There was no need for you to get your "foot in the door," as you put it.
 * Spud: Yeah, cool. Whatever you say. Sorry. You're the man, the dude in the chair. I am merely here-- Like, well, obviously, I'm here like, but--
 * Interviewer: Mr. Murphy, what exactly attracts you to the leisure industry?
 * Spud: In a word... [Glances at wall then back at them] pleasure. Like, my pleasure in other people's leisure.
 * Interviewer: Do you see yourself as having any weaknesses?
 * Spud: Oh, yes, 'cause, like, I'm a bit of a perfectionist, actually! Yes, I am. See, for me, it's got to be the best, or it's nothing at all. Like things get a bit dodgy, I just cannot be bothered. But, hey, I'm getting good vibes about this interview thing today, though, man. Seems to me like it's going pretty well, eh?
 * Interviewer: Thank you, Mr. Murphy.
 * Second Interviewer: We'll let you know.
 * [Spud runs up to interviewers]
 * Spud: The pleasure was mine, man.
 * Renton: [narrating] Spud had done well. I was proud of him.
 * [Spud shakes hands with the interviewers in a overly confident and playful way]
 * Spud: Thanks. Ooh, sorry.
 * Renton: He fucked up good and proper. You had to hand it to Spud.
 * Renton: He fucked up good and proper. You had to hand it to Spud.

 * [Renton watches Diane downs her pint in one sip and steals a man's pint and downs it as well in The Volcano nightclub and then follows her outside]
 * Renton: Excuse me, excuse me. I don't mean to harass you, but I was very impressed with the capable and stylish manner in which you dealt with that situation. I was thinking to myself, now this girl's special.
 * Diane: Thanks.
 * Renton: What's your name?
 * Diane: Diane.
 * Renton: Where are you going, Diane?
 * Diane: I'm going home.
 * Renton: Where's that?
 * Diane: It's where I live.
 * Renton: Great.
 * Diane: What?
 * Renton: I'll come back with you if you like, but I'm not promising anything.
 * Diane: Do you find that this approach usually works? Or, let me guess, you've never tried it before.In fact, you don't normally approach girls. Am I right? The truth is that you're a quiet, sensitive type...but, if I'm prepared, to take a chance...I might just get to know the inner you: witty, adventurous, passionate, loving, loyal -Taxi! -A little bit crazy, a little bit bad. But, hey, don't us girls just love that?
 * Renton: Eh?
 * Diane: Well... what's wrong, boy? Cat got your tongue? [enters taxicab]
 * Renton: [confused] I left something...
 * Taxi Driver: You getting in or not, pal?
 * [Renton gets into taxicab]

 * Sick Boy: It's certainly a phenomenon in all walks of life.
 * Renton: What do you mean?
 * Sick Boy: Well, at one time, you've got it, and then you lose it, and it's gone forever. All walks of life: George Best, for example. Had it, lost it. Or David Bowie, or Lou Reed.
 * Renton: Lou Reed, some of his solo stuff's not bad.
 * Sick Boy: No, it's not bad. But it's not great either, is it? And in your heart you kind of know that although it sounds all right, it's actually just...shite.
 * Renton: So who else?
 * Sick Boy: Charlie Nicholas, David Niven, Malcolm McLaren, Elvis Presley...
 * Renton: OK, OK, so what's the point you're trying to make?
 * Sick Boy: All I'm trying to do, Mark, is help you understand that The Name of the Rose is merely a blip on an otherwise uninterrupted downward trajectory.
 * Renton: What about The Untouchables?
 * Sick Boy: I don't rate that at all.
 * Renton: Despite the Academy Award?
 * Sick Boy: That means fuck all. It's a sympathy vote.
 * Renton: Right. So we all get old and then we can't hack it anymore. Is that it?
 * Sick Boy: Yeah.
 * Renton: That's your theory?
 * Sick Boy: Yeah. Beautifully fucking illustrated.
 * Renton: Give me the gun. Give me the gun.
 * Sick Boy: [affects a Sean Connery accent] Do you see the beast? Have you got it in your sights?
 * Renton: [aiming the pellet gun at a dog] Clear enough, Miss Moneypenny! This should present no significant problems! [shoots the dog, which starts attacking its owner]
 * Sick Boy: For a vegetarian, Rents, you're a fuckin' evil shot!

 * Renton: What's on the menu this evening, sir?
 * Swanney: Your favourite dish.
 * Renton: Excellent.
 * Swanney: Your usual table, sir.
 * Renton: Oh, why thank you.
 * Swanney: Would sir care to pay for his bill in advance?
 * Renton: No. Stick it on my tab.
 * Swanney: Ah, regret to inform, sir, credit limit was reached and breached quite some time ago.
 * Renton: Oh, well in that case... [hands him some cash]
 * Swanney: Oh, hard currency, why, sir, that'll do nicely. Can't be too careful when we're dealing with your type, can we? Would sir care for a starter? Some garlic bread perhaps?
 * Renton: No, thank you. I'll proceed directly to the intravenous injection of hard drugs, please.
 * Swanney: As you wish sir, as you wish.

 * [Renton, Sick Boy, Begbie and Spud are trying to sell a large quantity of heroin to a big-time dealer]
 * Dealer: So, how much would you like for this?
 * Begbie: 20,000.
 * Dealer: Well, I don't think it's worth more than 15.
 * Renton: [narration] This was a real drag to him. He didn't need to negotiate. I mean, what the fuck were we going to do if he didn't buy it? Sell it on the streets? Fuck that.
 * Begbie: Well... 19.
 * Dealer: Terribly sorry, I can't go to 19.
 * Begbie: [flustered] Well, fuckin' 16, then.
 * Dealer: [chuckles] Okay. "Well fuckin' 16" it is, then.

 * Mrs. Renton: We'll help you son. You'll stay here with us, 'til. you get better. We're gonna beat this together.
 * Renton: Maybe I, Maybe I should go back to the clinic?
 * Mrs. Renton: No. No clinics, no methadone. That only made you worse, you said so yourself. You lied to us son; your own mother and father!
 * Renton: You could bring us some jellies.
 * Mrs. Renton: No! You're worse coming off that than you are with the heroin. Nothing at all.
 * Mr. Renton: It's a clean break this time.
 * Mrs. Renton: You're staying here, where we can keep an eye on you.
 * Renton: I appreciate what you're trying to do. I really do, but I just need one more score like. Just bring me one more hit. I need one more fucking hit! You fuck!
 * Begbie: Well, that's a good fucking laugh, ain't it? You sweat that shite out of your system, cause I'll come back and it's still here, I'll fucking kick it out. Okay?

 * Diane: [narrating, while Renton is reading a letter from her] Dear Mark, I'm glad you've found a job and somewhere to live. School is fine at the moment. I'm not pregnant, but thanks for asking. Your friend Sick-Boy asked me last week if I would like to work for him, but I told him where to go. I met Spud who sends his regards, or at least I think that's what he said. No one seen Tommy for ages, and finally, Francis Begbie has been on television a lot this week, as he is wanted by the police, in connection with an armed robbery in a jewellers in Corstorphine. Take care, Yours with love. Diane.
 * [Door bell rings... Renton looks at the letter again...]
 * Diane: Francis Begbie.
 * [Door bell rings again...]
 * Renton: [realises it's Begbie] Oh no!
 * Begbie: Armed robbery? What? With a replica? I mean how can it be an armed robbery with a fucking replica? Fucking scandal. And the gear? look! Supposed to be fucking solid silver, it's fucking garbage. There's Young couples investing their hopes in that stuff and all.
 * Renton: It's a scandal Franco.
 * Begbie: Too fucking right that is!
 * Begbie: And I don't want any pot noodles by the way. I'm fucking Lee Marvin (i.e. starving).

 * Begbie: Did you bring the cards?
 * Sick Boy: What?
 * Begbie : The cards, the last thing I told you was to mind the cards!
 * Sick Boy: Well, I've not brought them.
 * Begbie: It's fucking boring after a while without the cards.
 * Sick Boy: I'm sorry.
 * Begbie: Bit fucking late, like.
 * Sick Boy: Why didn't you bring them?
 * Begbie: 'Cause I fucking told you to bring them, you doss cunt!
 * Sick Boy: Christ...

 * Renton: Getting out much Tommy?
 * Tommy: No.
 * Renton: Following the game at all?
 * Tommy: No.
 * Renton: Nah, me neither really.
 * [Renton sits on the chair]
 * Tommy: Did you take the test?
 * Renton: Aye.
 * Tommy: Clear?
 * Renton: Aye.
 * Tommy: That's nice.
 * Renton: I'm sorry Tommy.
 * Tommy: Got any gear on you?
 * Renton: No, I'm clean man.
 * Tommy: Well, sub us then mate. I'm expecting a rent check.
 * [Renton gives Tommy some cash notes... Tommy smiles, and so does Renton]
 * Tommy: Thanks Mark.
 * Renton: No bother. No Bother. None at all. Not for me anyway. Still, it's easy to be philosophical when other poor cunt with shite for blood.

 * [Diane knocks on door, Renton opens it]
 * Renton: What do you want?
 * Diane: Are you clean?
 * Renton: Yes!
 * Diane: Is that a promise then?
 * Renton: Yes it is as a matter of fact!
 * Diane: Calm down, I'm only asking. Is that hash I can smell?
 * Renton: No.
 * Diane: I wouldn't mind a bit if it is.
 * Renton: Well, it isn't.
 * Diane: Smells like it.
 * Renton: You're too young.
 * Diane: I'm too young for what?
 * [Diane enters the apartment]
 * Diane: You're not getting any younger Mark. The world is changing. Music's changing, even drugs are changing. You can't stay here all day dreaming about heroin and Ziggy Pop.
 * Renton: It's Iggy Pop.
 * Diane: Whatever. I mean the guy is dead anyway.
 * Renton: Iggy Pop is not dead. He toured last year, Tommy went to see him.
 * Diane: The point is, you've got to find something new.
 * Renton: [Narrating] She was right, I had to find something new, there was only one thing for it.

Taglines

 * Never let your friends tie you to the tracks.
 * Choose life. Choose a job. Choose a starter home. Choose dental insurance, leisure wear and matching luggage. Choose your future. But why would anyone want to do a thing like that?

Cast

 * Ewan McGregor - Mark "Rent Boy" Renton
 * Ewan Bremner - Daniel "Spud" Murphy
 * Jonny Lee Miller - Simon "Sick Boy" Williamson
 * Kevin McKidd - Tommy MacKenzie
 * Robert Carlyle - Francis Begbie
 * Kelly Macdonald - Diane Coulston
 * Peter Mullan - Swanney "Mother Superior"
 * James Cosmo - Mr. Renton
 * Eileen Nicholas - Mrs. Renton
 * Susan Vidler - Allison
 * Pauline Lynch - Lizzy
 * Shirley Henderson - Gail
 * Irvine Welsh - Mikey Forrester
 * Keith Allen - Dealer
 * Brianna Maja Harrington - Baby Dawn

title: Trainspotting (film)


text:
User:Geek~enwikiquote

Hello world!

This wiki site is just the sort of information I'm looking for.

Being a fervent cookie/quote collector since ... a long time ago I put my own collection online: Cookies

cul8r, Geek.

title: User:Geek~enwikiquote


text:
User talk:Geek~enwikiquote

Welcome to Wikiquote. This site is still developing a broad range of quotations, and new contributors are very welcome. There are still a few bugs in the software that can be irritating when editing, but hopefully that will be remedied soon. Kalki 17:58, 3 Feb 2004 (UTC)

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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.

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title: User talk:Geek~enwikiquote


text:
Big Night

Big Night is a 1996 American motion picture drama with comedic overtones. The film tells the story of two immigrant brothers from Italy who own and operate a restaurant called "Paradise." One brother, Primo (Tony Shalhoub), is a brilliant, perfectionist chef who chafes under their few customers' expectations of "Americanized" Italian food. The other brother, Secondo (Tucci), is the restaurant's manager, who is enamored with the possibilities presented by their new endeavor and life in America. Despite Secondo's efforts and Primo's magnificent food, their restaurant is failing.
 * Directed by Campbell Scott and Stanley Tucci. Written by Joseph Tropiano and Stanley Tucci.

In love and life, one big night can change everything.taglines

Quotes

 * Is what the customer wants, is what the customer ask for, make it, make it, make it!
 * You have to kill yourself after you eat it because you can't live! To eat good food is to be close to God."
 * I'm a businessman. I'm anything I need to be at any time.
 * No. She’s a Philistine.  I’m not gonna talk to her.  She no understand anyway.

Taglines

 * In love and life, one big night can change everything.

Cast

 * Minnie Driver - Phyllis
 * Ian Holm - Pascal
 * Isabella Rossellini - Gabriella
 * Tony Shalhoub - Primo
 * Stanley Tucci -  Secondo
 * Marc Anthony - Cristiano
 * Caroline Aaron - Woman in Restaurant
 * Allison Janney - Ann
 * Campbell Scott - Bob
 * Susan Floyd - Joan
 * Pasquale Cajano - Alberto N. Pisani
 * Robert W. Castle - Father O'Brien
 * Andre Belgrader - Stash
 * Gene Canfield - Charlie
 * Liev Schreiber - Leo
 * Peter McRobbie - Loan Officer
 * Christine Tucci - Woman Singer

title: Big Night


text:
Roselyne Bachelot

Roselyne Bachelot (born December 24 1946) is the French Minister of Environment.

Quotes

 * À chaque fois que la chasse recule, c'est le Coca-Cola qui s'avance.
 * Translation: With each time hunting moves back, it is Coca-Cola that advances.
 * Quoted in Le Monde, Feb. 11th, 2003.

title: Roselyne Bachelot


text:
The Little Prince

Le Petit Prince (1943) is a novel by Antoine de Saint Exupéry, translated into English as The Little Prince. The story follows a young prince who visits various planets in space, including Earth, and addresses themes of loneliness, friendship, love, and loss. Despite its style as a children's book, The Little Prince makes observations about life and human nature.

Quotes

 * Les grandes personnes ne comprennent jamais rien toutes seules, et c'est fatigant, pour les enfants, de toujours et toujours leur donner des explications.
 * Grown-ups never understand anything by themselves, and it is tiresome for children to be always and forever explaining things to them.
 * Chapter I

 * Dessine-moi un mouton!
 * Draw me a sheep!
 * Chapter II

 * Quand on veut un mouton, c'est la preuve qu'on existe.
 * If somebody wants a sheep, that is proof that somebody exists.
 * Chapter IV

 * Quand on a terminé sa toilette du matin, il faut faire soigneusement la toilette de la planète.
 * When he has finished getting himself ready in the morning, he must go get the planet ready.
 * Chapter V

 * J'aime bien les couchers de soleil. Allons voir un coucher de soleil...
 * I am very fond of sunsets. Come, let us go look at a sunset...
 * Chapter VI

 * J'aurais dû ne pas l'écouter, me confia-t-il un jour, il ne faut jamais écouter les fleurs. Il faut les regarder et les respirer.
 * "I should never have listened to her," he confided to me one day, "One should never listen to the flowers. One should simply look at them and breathe their fragrance."
 * Chapter VIII

 * Tu te jugeras donc toi-même, lui répondit le roi. C'est le plus difficile. Il est bien plus difficile de se juger soi-même que de juger autrui. Si tu réussis à bien te juger, c'est que tu es un véritable sage.
 * "Then you shall judge yourself," the king answered. "That is the most difficult thing of all. It is much more difficult to judge oneself than to judge others. If you succeed in judging yourself rightly, then you are indeed a man of true wisdom.
 * Chapter X

 * On ne sait jamais!
 * "One never knows!"
 * Chapter XV

 * Il faut exiger de chacun ce que chacun peut donner, reprit le roi. L'autorité repose d'abord sur la raison. Si tu ordonnes à ton peuple d'aller se jeter à la mer, il fera la révolution. J'ai le droit d'exiger l'obéissance parce que mes ordres sont raisonnables. Alors mon coucher de soleil ? rappela le petit prince qui jamais n'oubliait une question une fois qu'il l'avait posée. Ton coucher de soleil, tu l'auras. Je l'exigerai. Mais j'attendrai, dans ma science du gouvernement, que les conditions soient favorables.
 * "One must command from each what each can perform," the king went on. "Authority is based first of all upon reason. If you command your subjects to jump into the ocean, there will be a revolution. I am entitled to command obedience because my orders are reasonable." "Then my sunset?" insisted the little prince, who never let go of a question once he had asked it. "You shall have your sunset. I shall command it. But I shall wait, according to my science of government, until conditions are favorable."
 * Chapter X

 * C'est véritablement utile puisque c'est joli.
 * It is truly useful since it is beautiful.
 * Chapter XIV

 *  'Où sont les hommes ?' reprit enfin le petit prince. 'On est un peu seul dans le désert.' 'On est seul aussi chez les hommes', dit le serpent.
 * "Where are the people?" resumed the little prince at last. "It's a little lonely in the desert..." "It is lonely when you're among people, too," said the snake.
 * Chapter XVII

 * Le langage est source de malentendus.
 * Language is the source of misunderstandings.
 * Chapter XXI

 * Voici mon secret. Il est très simple: on ne voit bien qu'avec le cœur. L'essentiel est invisible pour les yeux.
 * Here is my secret. It is very simple: It is only with the heart that one can see rightly; what is essential is invisible to the eye.
 * Variants: "Here is my secret. It is very simple: one sees well only with the heart. The essential is invisible to the eyes." "The essential things in life are seen not with the eyes, but with the heart." "One sees clearly only with the heart. Anything essential is invisible to the eyes." "One sees clearly only with the heart. What is essential is invisible to the eye."
 * Chapter XXI

 * Vous êtes belles, mais vous êtes vides.... On ne peut pas mourir pour vous.
 * You're beautiful, but you're empty.... No one could die for you.
 * Variant: You are beautiful, but you are empty. One could not die for you.
 * Chapter XXI

 * Les hommes ont oublié cette vérité, dit le renard. Mais tu ne dois pas l’oublier. Tu deviens responsable pour toujours de ce que tu as apprivoisé.
 * "Men have forgotten this truth," said the fox. "But you must not forget it. You become responsible, forever, for what you have tamed."
 * Chapter XXI

 * Les enfants seuls savent ce qu'ils cherchent.
 * Only children know what they are looking for.
 * Chapter XXII

 * Ce qui embellit le désert, dit le petit prince, c'est qu'il cache un puits quelque part...
 * "What makes the desert beautiful," said the little prince, "is that somewhere it hides a well."
 * Chapter XXV

 * Mais les yeux sont aveugles. Il faut chercher avec le cœur.
 * But the eyes are blind. One must look with the heart...
 * Chapter XXV

 * "Were you so sad, then?" I asked, "on the day of the forty-four sunsets?" But the little prince made no reply.

 * Si vous voulez vous la fabrication, doivent assumer les risques.
 * If you want to make a bond, you are to take the risk of tearing.

 * [...] la planète d'ou venait le petit prince est l'astéroïde B 612. Cet astéroïde n'a été aperçu qu'une fois au télescope, en 1909, par un astronome turc. Il avait fait alors une grande démonstration de sa découverte à un Congrès International d'Astronomie. Mais personne ne l'avait cru à cause de son costume. Les grandes personnes sont comme ça. Heureusement pour la réputation de l'astéroïde B 612, un dictateur turc imposa à son peuple, sous peine de mort, de s'habiller à l'européenne. L'astronome refit sa démonstration en 1920, dans un habit très élégant. Et cette fois-ci tout le monde fut de son avis.
 * “…the planet from which the little prince came is the asteroid known as B-612. This asteroid has only once been seen through a telescope.  That was by a Turkish astronomer, in 1909.  On making his discovery, the astronomer had presented it to the International Astronomical Congress, in a great demonstration.  But he was in Turkish costume, and so nobody would believe what he said. …Fortunately, however, for the reputation of Asteroid B-612, a Turkish dictator made a law that his subjects, under pain of death, should change to European costume.  So in 1920 the astronomer gave his demonstration all over again, dressed with impressive style and elegance.  And this time everybody accepted his report.”
 * The Little Prince by Antoine de Saint-Exupéry (translated by Katherine Woods), Piccolo Books in association with Heinemann, Pan Books, London, 1974 (first 1945). Quoted in Talageri, S. (2000). The Rigveda: A historical analysis. New Delhi: Aditya Prakashan.

Quotes about The Little Prince

 * (What’s the best book you’ve ever received as a gift?) My friend David Kibuuka gave me a copy of “The Little Prince,” which I love. It’s so simple and yet so complicated.
 * Trevor Noah interview (2016)

 * The first time I read The Little Prince? At the age of eight, it came with a strong endorsement from my mother...The illustrations seemed childish to me. To be honest, the narrative still feels infantile. Clearly, I didn’t get the allegorical nature of classics. The little prince wasn’t Everyman, a mythological hero in the middle of a journey. I needed to grow up to realize that the book was, well, more than just a book: it was a canvas on which readers could project themselves. That’s what classics are: more than just an accumulation of pages, they are the stuff our personal dreams are made of. I’ve now translated Antoine de Saint-Exupéry’s volume into Spanglish, which to me is a way to say thank you.
 * Ilan Stavans Interview (2021)

 * The Little Prince is another lost soul I clung to.
 * Amy Tan interview (2013)

title: The Little Prince