text:
User talk:70.34.53.129

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title: User talk:70.34.53.129


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User talk:70.51.247.246

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 04:19, 12 October 2006 (UTC)

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

title: User talk:70.51.247.246


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User talk:68.125.129.241

- InvisibleSun 05:58, 12 October 2006 (UTC)

title: User talk:68.125.129.241


text:
The Nine Lives of Fritz the Cat

The Nine Lives of Fritz the Cat is an R-rated 1974 animated film. It was a sequel to the 1972 film Fritz the Cat.

Fritz

 * Hey, you know the most interesting thing about smoking is that it causes excessive perspiration, and a person has to take off all of their clothes, or they could drown to death in their own juices.

 * Oh, Jesus Christ! Lucifer's a faggot!

 * My achin' swastika! I thought bein' a nazi was all "zig, zig," and "sieg heil!" This is for shit! I better get my ass the fuck out of here!

 * I've been up and down the four corners of this big old world, and I've seen it all, and I've done it all. I've fought many a good man and laid many a good woman. And I've had riches, fame, and adventure, too. Yes. I've stood eyeball-to-eyeball with death countless times and never, never once squinted. Oh, I've tasted life to the fullest, and still my tortured soul cries out - more! More! Oh, shit! Oh, oh, God, can there be any more

Other

 * U.S. Army Sergeant: Ha! I got that nazi rat bastard right between the crack of his ass! Now how do those sons of bitches expect to win a war when they're out of goddamn uniform?

 * Fritz's Old Lady: Remember when I told you that you should be a contestant on "Let's Make A Deal"? Well, dress up like a frog, and wear a yarmulke, 'cause I think the host likes Jewish people!

Dialogue

 * Fritz's Old Lady: You're a no-good, Fritz! Whaddya have to say fer yerself?
 * Fritz: Suck my dick hun!!!

 * Fritz: Ah, freedom of the pass.
 * Crow Reporter: Hey, Fritz Baby, Wanna talk to Walter?
 * Fritz: Sure, why not?
 * Walter: Fritz…does being the first to set foot on Mars—golly—kind of give you goose bumps?
 * Fritz: Ahem. Gentlemen, I've been up and down the four corners of this big old world, and I've seen it all, and I've done it all. I've fought many a good man and laid many a good woman. And I've had riches, fame, and adventure, too. Yes. I've stood eyeball-to-eyeball with death countless times and never, never once squinted. Oh, I've tasted life to the fullest, and still my tortured soul cries out - more! More! Oh, shit! Oh, oh, God, can there be any more?
 * Crow Reporter: How do it feel, Fritz? I mean, man, like Mars ain't around the corner.
 * Fritz: Oh you're so right. Hey, would you like to discuss this in private? Gee, you got a lovely pair of eyes.
 * Crow Reporter: In private?
 * Fritz: Mm-hmm. Yeah, sure. Listen, doll, I'd kind of like to give you a break. You know, kind of help pay back for what my people did to your people.
 * Crow Reporter: Yeah? What kind of a break?
 * Fritz: Well you know, an exclusive—an inside story.

Taglines

 * I've come a long way, baby!

title: The Nine Lives of Fritz the Cat


text:
The Dresden Dolls

The Dresden Dolls are a duo from Boston, formed after a Halloween party in 2000, composed of singer/keyboardist/songwriter Amanda Palmer and drummer/occasional guitarist and vocalist Brian Viglione. They describe their style as "Brechtian punk cabaret", and have exposed an underground dark cabaret movement that started gaining momentum in the early '90s with artists like Salon Betty and Gavin Friday.

Quotes

 * All of my blind ambition left me deaf with perfect vision.
 * "The Time Has Come", on A Is For Accident (2003)

 * If you did it, say you did it. If you didn't, suck it up and say you did.
 * "The Mouse and the Model", on No, Virginia... (2008)

The Dresden Dolls (2003)

 * I guess it's just my stupid luck That all of Boston drives the same black fucking truck
 * "The Jeep Song"

 * Behold the world's worst accident I am the girl anachronism!
 * "Girl Anachronism"

 * Fuck, I'll pay you anything if you could end this hell
 * "The Perfect Fit"

Yes, Virginia... (2006)

 * We all know There's no Hitler and no Holocaust No winter and no Santa Claus And yes, Virginia, all because The truth won't save you now
 * "Mrs. O"

 * So don't tell me what to write And don't tell me that I'm wrong And don't tell me not to reference my songs within my songs
 * "Backstabber"

 * And you thought you could change the world by opening your legs Well, it isn't very hard Try kicking them instead. And you thought you could change his mind by changing your perfume to the kind his mother wore Oh God, Delilah, why? I never met a more impossible girl.
 * "Delilah"

title: The Dresden Dolls


text:
User talk:NWinton

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User talk:Jbrown3083

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User talk:Marcus

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User talk:Anuragbhargava

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User talk:Godlord2

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User talk:Dennissteir

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User talk:Ukelayla

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User talk:DeanObsession4eva

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User talk:Cshaird

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User talk:Churchsemple

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User talk:Meowwcat

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User talk:Yayamaya

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User talk:Sir cecil531

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User talk:Rocklee

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User talk:Creator 134

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User talk:Mauricexu

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User talk:BillWSmithJr

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User talk:Shawn81

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User talk:Cheungie

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User talk:Fi2Jones

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User talk:Daxenhexstatic

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Onimusha 2

Onimusha 2: Samurai's Destiny is the second installment in the Onimusha series. The iteration presents a new protagonist: Yagyū Jubei (柳生十兵衛).

Dialogue

 * Nobunaga: You're too late, Jubei. I just transferred my powers to this Golden Evil Statue, look at it! Anyone who witnesses it, shall kneel before its might!
 * Jubei: Never! No-one will serve a man who has sold his soul to the demons!

 * Jubei: I must believe in the Oni. It will guide me!
 * [Jubei unleashes the power of five spheres]
 * Jubei: Faith, Charity, Respect, Honesty, Strength!
 * [Jubei transforms into his Onimusha form]

 * Gogandantess: I am Gogandantess. The greatest swordsman of all demons.

title: Onimusha 2


text:
User talk:204.72.116.44

~ UDScott 13:15, 12 October 2006 (UTC)

title: User talk:204.72.116.44


text:
John Galsworthy

John Galsworthy OM (14 August 1867 – 31 January 1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906–1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize for literature in 1932.

Quotes

 * The world's a fine place for those who go out to take it; there's lots of unknown stuff in it yet. I'll fill your lap, my pretty, so full of treasures that you shan't know yourself. A man wasn't meant to sit at home...
 * A Man of Devon (1901)

 * The Forsytes were resentful of something, not individually, but as a family; this resentment expressed itself in an added perfection of raiment, an exuberance of family cordiality, an exaggeration of family importance, and — the sniff. Danger — so indispensable in bringing out the fundamental quality of any society, group, or individual — was what the Forsytes scented; the premonition of danger put a burnish on their armour. For the first time, as a family, they appeared to have an instinct of being in contact, with some strange and unsafe thing.
 * The Man of Property (1906) Volume I of The Forsyte Saga

 * "To take life," went on the old man in a voice which, though charged with strong emotion, seemed to be speaking to itself, "was the chief mark of the insensate barbarism still prevailing in those days. It sprang from that most irreligious fetish, the belief in the permanence of the individual ego after death. From the worship of that fetish had come all the sorrows of the human race. … They did not stop to love each other in this life; they were so sure they had all eternity to do it in. The doctrine was an invention to enable men to act like dogs with clear consciences. Love could never come to full fruition till it was destroyed."
 * Fraternity (1909)

 * Justice is a machine that, when someone has once given it the starting push, rolls on of itself.
 * Justice, Act II (1910)

 * When Man evolved Pity, he did a queer thing — deprived himself of the power of living life as it is without wishing it to become something different.
 * Letter to Thomas Hardy (27 March 1910)

 * Life was to be lived — not torpidly dozed through in this queer cultured place, where age was in the blood! Life was for love — to be enjoyed!
 * The Dark Flower (1913)

 * It isn't enough to love people because they're good to you, or because in some way or other you're going to get something by it. We have to love because we love loving.
 * A Bit O' Love (1915)

 * Only love makes fruitful the soul. The sense of form that both had in such high degree prevented much demonstration; but to be with him, do things for him, to admire, and credit him with perfection; and, since she could not exactly wear the same clothes or speak in the same clipped, quiet, decisive voice, to dislike the clothes and voices of other men — all this was precious to her beyond everything.
 * Beyond (1917)

 * Love! Beyond measure — beyond death — it nearly kills. But one wouldn't have been without it.
 * Beyond (1917)

 * Love of beauty is really only the sex instinct, which nothing but complete union satisfies.
 * Saint's Progress (1919)

 * "I cannot explain. There are things that I can't make clear, because you are wilfully blind to all that I believe in. For what do you imagine we are fighting this great war, if it is not to reestablish the belief in love as the guiding principle of life?" Laird shook his head. "We are fighting to redress a balance, which was in danger of being lost." "The balance of power?" "Heavens! — no! The balance of philosophy." Pierson smiled. "That sounds very clever, George; but again, I don't follow you." "The balance between the sayings: 'Might is Right,' and 'Right is Might.' They're both half-truth, but the first was beating the other out of the field. All the rest of it is cant, you know. And by the way, sir, your Church is solid for punishment of the evildoer. Where's mercy there? Either its God is not merciful, or else it doesn't believe in its God.
 * Saint's Progress (1919)

 * Summer — summer — summer! The soundless footsteps on the grass!
 * Indian Summer of a Forsyte (1918)

 * I don't know much about morality and that, but there is this: It's always worth while before you do anything to consider whether it's going to hurt another person more than is absolutely necessary.
 * In Chancery (1920); Third part of The Forsyte Saga

 * Public opinion's always in advance of the law.
 * Windows, Act I (1922)

 * The value of a sentiment is the amount of sacrifice you are prepared to make for it.
 * Windows, Act II (1922)

 * Writing not long ago to my oldest literary friend, I expressed in a moment of heedless sentiment the wish that we might have again one of our talks of long-past days, over the purposes and methods of our art. And my friend, wiser than I, as he has always been, replied with this doubting phrase "Could we recapture the zest of that old time?" I would not like to believe that our faith in the value of imaginative art has diminished, that we think it less worth while to struggle for glimpses of truth and for the words which may pass them on to other eyes; or that we can no longer discern the star we tried to follow; but I do fear, with him, that half a lifetime of endeavour has dulled the exuberance which kept one up till morning discussing the ways and means of aesthetic achievement. We have discovered, perhaps with a certain finality, that by no talk can a writer add a cubit to his stature, or change the temperament which moulds and colours the vision of life he sets before the few who will pause to look at it. And so — the rest is silence, and what of work we may still do will be done in that dogged muteness which is the lot of advancing years. Other times, other men and modes, but not other truth. Truth, though essentially relative, like Einstein's theory, will never lose its ever-new and unique quality — perfect proportion; for Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.
 * Preface to Villa Rubein and Other Stories (1923)

 * Looking back on the long-stretched-out body of one's work, it is interesting to mark the endless duel fought within a man between the emotional and critical sides of his nature, first one, then the other, getting the upper hand, and too seldom fusing till the result has the mellowness of full achievement. One can even tell the nature of one's readers, by their preference for the work which reveals more of this side than of that.
 * Preface to Villa Rubein and Other Stories (1923)

 * If you do not think about the future, you cannot have one.
 * Swan Song (1928) Pt. II, Ch. 6

 * A man of action forced into a state of thought is unhappy until he can get out of it.
 * Maid in Waiting (1931), Ch. 3

 * There's just one rule for politicians all over the world: Don't say in Power what you say in Opposition; if you do, you only have to carry out what the other fellows have found impossible.
 * Maid in Waiting (1931), Ch. 7

 * One's eyes are what one is, one's mouth what one becomes.
 * Flowering Wilderness (1932), Ch. 2

 * There are things worth being loyal to, surely. Coffee, for instance, or one’s religion.
 * Flowering Wilderness (1932)

Vague Thoughts On Art (1911)

 * Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being.

 * I paused, watching the swallows; for they seemed to me the symbol, in their swift, sure curvetting, all daring and balance and surprise, of the delicate poise and motion of Art, that visits no two men alike, in a world where no two things of all the things there be, are quite the same.

 * Art is the one form of human energy in the whole world, which really works for union, and destroys the barriers between man and man. It is the continual, unconscious replacement, however fleeting, of oneself by another; the real cement of human life; the everlasting refreshment and renewal. For, what is grievous, dompting, grim, about our lives is that we are shut up within ourselves, with an itch to get outside ourselves. And to be stolen away from ourselves by Art is a momentary relaxation from that itching, a minute's profound, and as it were secret, enfranchisement. The active amusements and relaxations of life can only rest certain of our faculties, by indulging others; the whole self is never rested save through that unconsciousness of self, which comes through rapt contemplation of Nature or of Art.

 * Art is the great and universal refreshment. For Art is never dogmatic; holds no brief for itself; you may take it, or you may leave it. It does not force itself rudely where it is not wanted. It is reverent to all tempers, to all points of view. But it is wilful — the very wind in the comings and goings of its influence, an uncapturable fugitive, visiting our hearts at vagrant, sweet moments; since we often stand even before the greatest works of Art without being able quite to lose ourselves! That restful oblivion comes, we never quite know when — and it is gone! But when it comes, it is a spirit hovering with cool wings, blessing us from least to greatest, according to our powers; a spirit deathless and varied as human life itself.

 * I cannot help thinking that historians, looking back from the far future, will record this age as the Third Renaissance. We who are lost in it, working or looking on, can neither tell what we are doing, nor where standing; but we cannot help observing, that, just as in the Greek Renaissance, worn-out Pagan orthodoxy was penetrated by new philosophy; just as in the Italian Renaissance, Pagan philosophy, reasserting itself, fertilised again an already too inbred Christian creed; so now Orthodoxy fertilised by Science is producing a fresh and fuller conception of life — a love of Perfection, not for hope of reward, not for fear of punishment, but for Perfection's sake. Slowly, under our feet, beneath our consciousness, is forming that new philosophy, and it is in times of new philosophies that Art, itself in essence always a discovery, must flourish. Those whose sacred suns and moons are ever in the past, tell us that our Art is going to the dogs; and it is, indeed, true that we are in confusion! The waters are broken, and every nerve and sinew of the artist is strained to discover his own safety. It is an age of stir and change, a season of new wine and old bottles. Yet, assuredly, in spite of breakages and waste, a wine worth the drinking is all the time being made.

 * Perfection, cosmically, was nothing but perfect Equanimity and Harmony; and in human relations, nothing but perfect Love and Justice. And Perfection began to glow before the eyes of the Western world like a new star, whose light touched with glamour all things as they came forth from Mystery, till to Mystery they were ready to return. This — I thought is surely what the Western world has dimly been rediscovering. There has crept into our minds once more the feeling that the Universe is all of a piece, Equipoise supreme; and all things equally wonderful, and mysterious, and valuable. We have begun, in fact, to have a glimmering of the artist's creed, that nothing may we despise or neglect — that everything is worth the doing well, the making fair — that our God, Perfection, is implicit everywhere, and the revelation of Him the business of our Art.

 * Is not the training of an artist a training in the due relation of one thing with another, and in the faculty of expressing that relation clearly; and, even more, a training in the faculty of disengaging from self the very essence of self — and passing that essence into other selves by so delicate means that none shall see how it is done, yet be insensibly unified? Is not the artist, of all men, foe and nullifier of partisanship and parochialism, of distortions and extravagance, the discoverer of that jack-o'-lantern — Truth; for, if Truth be not Spiritual Proportion I know not what it is. Truth it seems to me — is no absolute thing, but always relative, the essential symmetry in the varying relationships of life; and the most perfect truth is but the concrete expression of the most penetrating vision. Life seen throughout as a countless show of the finest works of Art; Life shaped, and purged of the irrelevant, the gross, and the extravagant; Life, as it were, spiritually selected — that is Truth; a thing as multiple, and changing, as subtle, and strange, as Life itself, and as little to be bound by dogma. Truth admits but the one rule: No deficiency, and no excess! Disobedient to that rule — nothing attains full vitality. And secretly fettered by that rule is Art, whose business is the creation of vital things.

 * Only out of stir and change is born new salvation. To deny that is to deny belief in man, to turn our backs on courage! It is well, indeed, that some should live in closed studies with the paintings and the books of yesterday — such devoted students serve Art in their own way. But the fresh-air world will ever want new forms. We shall not get them without faith enough to risk the old! The good will live, the bad will die; and tomorrow only can tell us which is which!

 * The seeing of things as they really are — the seeing of a proportion veiled from other eyes (together with the power of expression), is what makes a man an artist. What makes him a great artist is a high fervour of spirit, which produces a superlative, instead of a comparative, clarity of vision.

 * What is creative instinct, if not an incessant living sympathy with Nature, a constant craving like that of Nature's own, to fashion something new out of all that comes within the grasp of those faculties with which Nature has endowed us? The qualities of vision, of fancy, and of imaginative power, are no more divorced from Nature, than are the qualities of common-sense and courage. They are rarer, that is all.

 * Men fall, roughly speaking, into two flocks: Those whose intelligence is uninquiring in the face of Art, and does not demand to be appeased before their emotions can be stirred; and those who, having a speculative bent of mind, must first be satisfied by an enlightening quality in a work of Art, before that work of Art can awaken in them feeling. The audience of the realist is drawn from this latter type of man; the much larger audience of the romantic artist from the former; together with, in both cases, those fastidious few for whom all Art is style and only style, and who welcome either kind, so long as it is good enough.

 * He is but a poor philosopher who holds a view so narrow as to exclude forms not to his personal taste. No realist can love romantic Art so much as he loves his own, but when that Art fulfils the laws of its peculiar being, if he would be no blind partisan, he must admit it. The romanticist will never be amused by realism, but let him not for that reason be so parochial as to think that realism, when it achieves vitality, is not Art. For what is Art but the perfected expression of self in contact with the world; and whether that self be of enlightening, or of fairy-telling temperament, is of no moment whatsoever. The tossing of abuse from realist to romanticist and back is but the sword-play of two one-eyed men with their blind side turned toward each other. Shall not each attempt be judged on its own merits? If found not shoddy, faked, or forced, but true to itself, true to its conceiving mood, and fair-proportioned part to whole; so that it lives — then, realistic or romantic, in the name of Fairness let it pass! Of all kinds of human energy, Art is surely the most free, the least parochial; and demands of us an essential tolerance of all its forms. Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?

 * I sat, just watching the moon creep up, and hearing the thin, dry rustle of the leaves along the holly hedge. And there came to me this thought: What is this Universe — that never had beginning and will never have an end — but a myriad striving to perfect pictures never the same, so blending and fading one into another, that all form one great perfected picture? And what are we — ripples on the tides of a birthless, deathless, equipoised Creative-Purpose — but little works of Art?

Moods, Songs and Doggerels (1912)

 * Come! Let us lay a lance in rest, And tilt at windmills under a wild sky! For who would live so petty and unblest That dare not tilt at something ere he die; Rather than, screened by safe majority, Preserve his little life to little end, And never raise a rebel cry!
 * Errantry, St. 1, Moods, Songs and Doggerels (1912)

 * God save the pennon, ragged to the dawn, That signs to moon to stand, and sun to fly; And flutters when the weak is overborne To stem the tide of fate and certainty. That knows not reason, and that seeks no fame — So! Undismayed beneath the serried clouds, Raise up the banner of forlorn defence — A jest to the complacency of crowds — Bright-haloed with the one diviner sense: To hold itself as nothing to itself; And in the quest of its imagined star To lose all thought of after-recompense!
 * Errantry, St. 4 - 5

Art and the War (1915)

 * "Art and the War", The Atlantic (November 1915)

 * This world (as all will admit) is one of the innumerable expressions of an Unknowable Creative Purpose, which colloquially we call God; that which not every one will admit is that this Creative Purpose works in its fashioning, not only of matter but of what we call spirit, through friction, through the rubbing together of the thoughts and the hearts of men. While the material condition of our planet, the heat or friction within it, remains favorable to human life, there will be, there must needs be, a continual crescendo in the stature of humanity, through the ever increasing friction of human spirits one with the other; friction supplied by life itself, and next after life, by those transcripts of life, those expressions of human longing, which we know as art.

 * Happiness lies in breadth of heart. And breadth of heart is that inward freedom which has the power to understand, feel with, and, if need be, help others. In breadth of heart are founded justice, love, sacrifice; without it there would be no special meaning to any of our efforts, and the tale of all human life would be still no more than that of supremely gifted animals, many of whose communities are highly efficient, and have instinctive unity founded on experience of its utility, but none of that conscious altruism which is without perception of future benefit to self, and works from sheer recognition of its own beauty. In sum, human civilization is the outgrowth of conscious altruism; and the directive Moral Purpose in the world nothing but our dim perception, ever growing through spiritual friction, that we are all bound more and more toward the understanding of ourselves and each other, and all that this carries with it.

One More River (1933)

 * also known as Over the River

 * The beginnings and endings of all human undertakings are untidy, the building of a house, the writing of a novel, the demolition of a bridge, and, eminently, the finish of a voyage.
 * Ch. 1

 * Religion was nearly dead because there was no longer real belief in future life; but something was struggling to take its place — service — social service — the ants' creed, the bees' creed.
 * Ch. 11

 * Everything known before it happens; and headlines twice the size of the events.
 * Ch. 27

 * How to save the old that's worth saving, whether in landscape, houses, manners, institutions, or human types, is one of our greatest problems, and the one that we bother least about.
 * Ch. 39

Quotes about John Galsworthy

 * In fact, the real problem with the thesis of A Genealogy of Morals is that the noble and the aristocrat are just as likely to be stupid as the plebeian. I had noted in my teens that major writers are usually those who have had to struggle against the odds -- to "pull their cart out of the mud," as I put it -- while writers who have had an easy start in life are usually second rate -- or at least, not quite first-rate. Dickens, Balzac, Dostoevsky, Shaw, H. G. Wells, are examples of the first kind; in the twentieth century, John Galsworthy, Graham Greene, Evelyn Waugh, and Samuel Beckett are examples of the second kind. They are far from being mediocre writers; yet they tend to be tinged with a certain pessimism that arises from never having achieved a certain resistance against problems.
 * Colin Wilson in The Books In My Life, p. 188

title: John Galsworthy


text:
Edith Hamilton

Edith Hamilton (August 12, 1867 – May 31, 1963) was a classicist and educator who was a writer on mythology. Her most famous books are The Greek Way (1930) and Mythology: Timeless Tales of Gods and Heroes (1942).

Quotes

 * There are few efforts more conducive to humility than that of the translator trying to communicate an incommunicable beauty. Yet, unless we do try, something unique and never surpassed will cease to exist, except in the libraries of a few inquisitive book lovers.
 * Three Greek Plays, introduction (1937)

 * He was, first and last, the born fighter, to whom the consciousness of being matched against a great adversary suffices, and who can dispense with success. Life for him was an adventure, perilous indeed, but men are not made for safe havens. The fullness of life is in the hazards of life. And, at the worst, there is that in us which can turn defeat into victory.
 * Referring to Aeschylus in The Great Age of Greek Literature (1942)

 * It has always seemed strange to me that in our endless discussions about education so little stress is laid on the pleasure of becoming an educated person, the enormous interest it adds to life. To be able to be caught up into the world of thought — that is to be educated.
 * Saturday Evening Post (27 September 1958); also in Adventures of the Mind : From the Saturday Evening Post (1962), by Richard Thruelsen and John Kobler

 * Even of old the Christian world, so bitterly antagonistic to any ideas not specifically contained in their creeds and dogmas, made an exception in Socrates’ case. They recognized his likeness to Christ. He was the example that a soul could be Christlike, not through grace, but by nature. Erasmus said: "Holy Socrates, pray for us." To know him is a help to knowing Christ, and it is not hard to know him. We can see him quite clearly. Plato, who drew his portrait, could not, of course, keep himself out of it, any more than Christ’s recorders could; but at least magic did not dog Plato’s footsteps, as it did everyone’s footsteps when the Gospels were written. In the fourth century B.C. Greeks had no leaning to marvels. Also in the centuries that followed no one founded a church on Socrates and built up around him a theology and hung creeds and ceremonials upon him. To see what he was, we do not have to brush anything away, except a bit of Plato. We can use him as a stepping stone to Christ, a first aid in realizing what Christ was.
 * "The Rediscovery of Christ," Witness to the Truth: Christ and His Interpreters (1962)

The Greek Way (1930)

 * Mind and spirit together make up that which separates us from the rest of the animal world, that which enables a man to know the truth, and that which enables him to die for the truth.
 * Ch. 1

 * Great literature, past or present, is the expression of great knowledge of the human heart; great art is the expression of a solution of the conflict between the demands of the world without and that within...
 * Ch. 1

 * They were the first Westerners. The spirit of the West, the modern spirit, is a Greek discovery; and the place of the Greeks is in the modern world.
 * On the Greeks, in Ch. 1

 * The anthropologists are busy, indeed, and ready to transport us back into the savage forest, where all human things...have their beginnings; but the seed never explains the flower.
 * Ch. 1

 * To rejoice in life, to find the world beautiful and delightful to live in, was a mark of the Greek spirit, which distinguished it from all that had gone before. It is a vital distinction.
 * Ch. 1

 * All things are to be examined and called into question. There are no limits set to thought.
 * Ch. 1

 * All things are at odds when God lets a thinker loose on this planet.
 * Ch. 1

 * None but a poet can write a tragedy. For tragedy is nothing less than pain transmuted into exaltation by the alchemy of poetry.
 * Ch. 11

 * [Happiness is] The exercise of vital powers, along lines of excellence, in a life affording them scope.

The Roman Way (1932)

 * A people’s literature is the great textbook for real knowledge of them. The writings of the day show the quality of the people, as no historical reconstruction can.
 * Preface

 * Theories that go counter to the facts of human nature are foredoomed.
 * Ch. 1

 * The Greeks were the classicists of antiquity, and they are still today the preeminent classicists. What marked all they did, the classic stamp, is a direct simplicity in expressing the significance of actual life. It was there the Greek artists and poets found what they wanted. The unfamiliar and the extraordinary were on the whole repellent to them, and they detested every form of exaggeration. Their desire was to express truthfully what lay at hand, which they saw as beautiful and full of meaning. But that was not the Roman way. When not directly under Greek guidance, the Roman did not perceive beauty in every-day matters, or indeed care to do so. Beauty was unimportant to him. Life in his eyes was a very serious and a very arduous business, and he had no time for what he would have thought of as a mere decoration of it.
 * Ch. 10

Mythology: Timeless Tales of Gods and Heroes (1942)

 * The greatest hero of Greece was Hercules. He was a personage of quite another order from the great hero of Athens, Theseus. He was what all Greece, except Athens, most admired. The Athenians were different from the other Greeks, and their hero therefore was different. Theseus was, of course, bravest of the brave, as all heroes are; but, unlike other heroes, he was as compassionate as he was brave, and a man of great intellect as well as great bodily strength. It was natural that the Athenians should have such a hero, because they valued thought and ideas, as no other part of the country did. In Theseus their ideal was embodied. But Hercules embodied what the rest of Greece most valued. His qualities were those the Greeks in general honored and admired. Except for unflinching courage, they were not those that distinguished Theseus. Hercules was the strongest man on earth, and he had the supreme self-confidence magnificent physical strength gives. He considered himself on an equality with the gods.
 * Ch. 11

The Echo of Greece (1957)

 * Fundamental to everything the [ancient] Greeks achieved was their conviction that good for humanity was possible only if men were free, body, mind, and spirit, and if each man limited his own freedom. A good state or work of art or piece of thinking was possible only through the self-mastery of the free individual, self-government.
 * - Introduction

 * What the people wanted was a government which would provide a comfortable life for them, and with this as the foremost object ideas of freedom and self-reliance and service to the community were obscured to the point of disappearing. Athens was more and more looked on as a co-operative business, possessed of great wealth, in which all citizens had a right to share... Athens had reached the point of rejecting independence, and the freedom she now wanted was freedom from responsibility. There could be only one result... If men insisted on being free from the burden of a life that was self-dependent and also responsible for the common good, they would cease to be free at all. Responsibility was the price every man must pay for freedom. It was to be had on no other terms.
 * - Chapter 2, "Athen's Failure"

 * Through Plato, Aristotle came to believe in God; but Plato never attempted to prove His reality. Aristotle had to do so. Plato contemplated Him; Aristotle produced arguments to demonstrate Him. Plato never defined Him; but Aristotle thought God through logically, and concluded with entire satisfaction to himself that He was the Unmoved Mover.
 * - Chapter 4, "The School Teachers"

title: Edith Hamilton


text:
José María Aznar

José María Aznar López (born February 25, 1953) is a Spanish politician who served as the Prime Minister of Spain from 1996 to 2004. In office, Aznar carried economic liberalization and deregulation to prepare Spain for entering the eurozone, and aligned closely with the United States in foreign affairs. His center-right People's Party began declining in support after Aznar supported the Iraq War. Aznar subsequently caused the PP under his successor Mariano Rajoy to lose the 2004 Spanish general election to José Luis Rodríguez Zapatero's Spanish Socialist Workers' Party after he refused to acknowledge al-Qaeda's responsibility for the 2004 Madrid train bombings, which he blamed on the ETA.

Sourced

 * You know in this moment some perpetrators of the attacks, but you do not know who imagined the attack, who is the leader of the attack who is the idea (sic) of the attack, who established and supported means for the attacks, who defined the logistics of the attacks, who established the strategies of the attack. Nothing...I think that one part of the perpetrators are Islamists, but I think that not only is an Islamist attack.
 * In: Entrevista BBC Aznar, 24-07-2006
 * About the 11 March 2004 Madrid train bombings

 * Catalan language is one of the most complete and perfect expressions that I know from the point of view regarding language, I not only read it since many years ago, but I understand it. Moreover,I speak it intimately too.
 * In: L' Aznar destrossant la llengua catalana, December 2006.
 * On an interview with the Catalan Autonomous Television, just before politically coallitioning with Catalan, Canarian and Basque nationalists

Quotes about

 * The record clearly shows that jihadists see the run-up to an election and the months just afterward as an opportune time to act. Everyone remembers the Bin Laden video that was released days before the 2004 presidential election and the Madrid train-station bombings that occurred 72 hours before Spain’s national elections in March of that year. When the conservative government of José María Aznar mistakenly attributed the attacks to Basque separatists, the public punished his party, which was felt to be pretending that its unpopular support for the war in Iraq had nothing to do with the attacks. The socialists, led by José Luis Rodríguez Zapatero, had been trailing in the polls, but after the government’s blunder, they thumped the conservatives by a five-point margin.   Those are only the best-known jihadist interventions. Alongside them should be added the first bombing of the World Trade Center on Feb. 26, 1993, a little more than a month after Bill Clinton took office, and the attack on the USS Cole on Oct. 12, 2000, three weeks before that year’s Bush-Gore matchup. Last year, radicals attempted multiple car bombings in London and Glasgow, Scotland, three days after Gordon Brown’s June 27 installation as Britain’s prime minister. And let’s not forget the murder of Benazir Bhutto while she was campaigning in Pakistan or the September 2004 bombing of the Australian Embassy in Jakarta, Indonesia, which preceded the Australian elections by a month.
 * Daniel Benjamin, “Why Do Terrorists Love To Strike Around Elections?”, Brookings.edu, (October 22, 2008)

title: José María Aznar


text:
User talk:Mykembestro~enwikiquote

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User talk:Adamtheslayer

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User talk:Feralnostalgia~enwikiquote

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User talk:Metal Samurai

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User talk:Camiot~enwikiquote

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User talk:BanzaiKVA

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User talk:Mani 115

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User talk:Fournel

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User talk:Soahc 0~enwikiquote

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title: User talk:Soahc 0~enwikiquote


text:
User talk:Funny monkey~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 17:06, 12 October 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
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 * Be bold.

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 Funny monkey. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Funny monkey~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 23:23, 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) 05:47, 19 April 2015 (UTC)

title: User talk:Funny monkey~enwikiquote


text:
User talk:Mataga~enwikiquote

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 17:06, 12 October 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

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 Mataga. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Mataga~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 23:29, 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) 05:52, 19 April 2015 (UTC)

title: User talk:Mataga~enwikiquote


text:
User talk:Jim thistle

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 17:06, 12 October 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Jim thistle


text:
User talk:165.234.180.84

~ UDScott 17:43, 12 October 2006 (UTC)

title: User talk:165.234.180.84


text:
Émile Chartier

Émile Auguste Chartier (3 March 1868 – 2 June 1951), who wrote under the pseudonym Alain, was a notable French essayist, philosopher, journalist, pacifist and teacher, noted for his profound influence on his pupils, who included Raymond Aron, Simone Weil, Simone de Beauvoir, Georges Canguilhem, and André Maurois.

Quotes

 * Every boat is copied from another boat... Let’s reason as follows in the manner of Darwin. It is clear that a very badly made boat will end up at the bottom after one or two voyages, and thus never be copied... One could then say, with complete rigor, that it is the sea herself who fashions the boats, choosing those which function and destroying the others.
 * Propos d’un Normand (1908); as quoted in "Natural selection and cultural rates of change" by D. S. Rogers and P. R. Ehrlich (2008) Proceedings of the National Academy of Sciences 105:3416–3420

 * On prouve tout ce qu'on veut, et la vraie difficulté est de savoir ce qu'on veut prouver.
 * We prove what we want to prove, and the real difficulty is to know what we want to prove.
 * Système des Beaux-Arts (1920), as quoted in The Most Brilliant Thoughts of All Time (In Two Lines or Less) by John M. Shanahan, p. 34
 * Variant translation: We prove anything we want to prove, and the real difficulty is to know what we want to prove.

 * Thought is saying no, and it is to itself that thought says no.
 * Propos sur la religion [Remarks on religion] (1924)
 * Variant: To think is to say no.
 * Le Citoyen contre les Pouvoirs [The Citizen against the Powers] (1926)

 * When people ask me if the division between parties of the right and parties of the left, men of the right and men of the left, still makes sense, the first thing that comes to mind is that the person asking the question is certainly not a man of the left.
 * Statement of 1931, as quoted by Marcel Gauchet, Realms of Memory: Rethinking the French Past, Vol. 1 - Conflicts and Divisions, edited by Pierre Nora and Lawrence Kritzman, p. 266 ISBN 9780231084048

 * Nothing is more dangerous than an idea, when you have only one idea.
 * Propos sur le Religion no. 74 (1938), under the pen name Alain.
 * Alternate translation: “Nothing is more dangerous than an idea, when it's the only one we have.” IZQuotes (retrieved 10/30/18).

The Gods (1934)

 * If religion is only human, and its form is man’s form, it follows that everything in religion is true.
 * Introduction

 * It is the human condition to question one god after another, one appearance after another, or better, one apparition after another, always pursuing the truth of the imagination, which is not the same as the truth of appearance.
 * Introduction

 * When we speak, in gestures or signs, we fashion a real object in the world; the gesture is seen, the words and the song are heard. The arts are simply a kind of writing, which, in one way or another, fixes words or gestures, and gives body to the invisible.
 * Introduction

 * Man himself is an enigma in motion; his questions never stay asked; whereas the mold, the footprint, and by natural extension, the statue itself, like the vaults, the arches, the temples with which man records his own passing, remain immobile and fix a moment of man’s life, upon which one might endlessly meditate.
 * Introduction

 * As opposed to the incoherent spectacle of the world, the real is what is expected, what is obtained and what is discovered by our own movement. It is what is sensed as being within our own power and always responsive to our action.
 * Book I, ch. 3

Alain On Happiness (1928)

 * Aristotle's pupil already realized that we have no power at all over our passions as long as we do not know their true causes. Many men have refuted fear, and with sound arguments. But a man who is afraid does not listen to arguments; he listens to the beating of his heart and the pulsating of his blood.
 * Bucephalus

 * It is clear that in mulling over harsh judgments, sinister predictions, and bad memories, we fashion our own sadness; in a certain sense, we savor it.
 * Sad Mary

 * In short, the important thing is to get started. No matter how; then there will be time to ask yourself where you are going.
 * Fate

 * We must clear away, simplify, eradicate.
 * The Prophetic Soul

 * Our errors perish before we do. Let's not mummify them and keep them around.
 * Our Future

 * Everybody continually tries to get away with as much as he can; and society is a marvelous machine which allows decent people to be cruel without realizing it.
 * Attitudes Toward Neighbors

 * Politeness is for people toward whom we feel indifferent, and moods, both good and bad, are for those we love.
 * Domestic Tranquility

 * Humanity will have to extricate itself from the bags created by false moralists, according to whom we taste happiness and then pass judgment on it, as if it were a piece of fruit. But I maintain that even for a piece of fruit we can do something to help it taste good. This is even truer of marriage and every other human relationship; these things are not meant to be tasted or passively accepted; they must be made. A relationship is not like a bit of shade where one is comfortable or uncomfortable depending on the weather and the way the wind is blowing. On the contrary, it is a place of miracles, where the magician makes the rain and the good weather.
 * On Private Life

 * Any kind of barbarism, once established, will last.
 * Men of Action

 * Idleness is the mother of all vices, but also of all virtues.
 * Men of Action

 * In short, the anomaly of war is that the best men get themselves killed while crafty men find their chance to govern in a manner contrary to justice.
 * Egoists

 * May the Gods, if they did not die of boredom, never give you one of those flat kingdoms to govern; may lead you through mountain paths; may they give you for a companion a good Andalusian mule with eyes like wells, a brow like an anvil, and who stops dead in his tracks because he sees the shadow his ears make on the road in front of him.
 * The King is Bored

 * Work is the best and worst of all things; the best of it is voluntary, the worst of it is servile.
 * Happy Farmers

 * Every menial condition is bearable as long as one can exercise authority over one's work and be assured that the job is permanent.
 * Happy Farmers

 * We are advised and led along by second-rate moralists who only know how to work themselves into a delirium and pass their illness onto others.
 * The Eloquence of Our Passions

 * One must preach life, not death; spread hope, not fear and cultivate joy, man's most valuable treasure. That is the secret of the greatest of the wise, and it wil be the light of tomorrow. Passions are sad. Hatred is sad. Joy destroys passions and hatred. Let us begin by telling ourselves that sadness is never noble, beautiful or useful.
 * On Pity

 * An author of antiquity said that every event has two handles, and that, in order to carry it, there is no sense in choosing the one that hurts the hand.
 * In The Rain

 * Certainly thinking is pleasant, but the pleasure of thinking must be subordinated to the art of making decisions.
 * Ceremonies

 * Obligation spoils everything.
 * Happy New Year

 * Never be insolent unless it is a deliberate decision, and only toward a man more powerful than yourself.
 * Giving Pleasure

 * Happiness is a reward that comes to those that have not looked for it.
 * Victories

 * Each one gave the other the only assistance one man can expect from another: that his friend support him and ask only that he remain himself. It is no great accomplishment to take people as they are, and we must always do so eventually, but to wish them to be as they are, that is a genuine love.
 * Poets

 * Untie, liberate, and do not be afraid. He who is free is disarmed.
 * Poets

 * It is very true that we ought to think of the happiness of others; but it is not often enough said that the best thing we can do for those who love us is to be happy ourselves.
 * Happiness if Generous

 * When the pack is out hunting, the dogs do not fight among themselves.
 * One Must Vow

title: Émile Chartier


text:
User talk:66.208.76.14

~ UDScott 19:59, 12 October 2006 (UTC)

~ UDScott 19:54, 9 March 2009 (UTC)

title: User talk:66.208.76.14


text:
User:82.42.237.173

This IP is used by a Blueyonder user. --82.42.237.173 22:01, 12 October 2006 (UTC)

title: User:82.42.237.173


text:
User talk:207.144.99.6

Wikiquote exists for the collecting of notable quotations of famous people and famous works. When people are not interested in responsibly contributing to the development of the project incidents of their deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 22:14, 12 October 2006 (UTC)

title: User talk:207.144.99.6


text:
User talk:82.42.237.173

Thanks for experimenting with Wikiquote, but it is not good practice to experiment with a live article, even if you revert it yourself as you did with Wikiquote:Village pump. Please use Sandbox for any other tests you want to do. You might want to read welcome page to learn more about contributing to our compendium of quotations. Thank you for your cooperation.

Note: This is just for demonstration purposes, I have not actually made any self-reverts!! --82.42.237.173 22:30, 12 October 2006 (UTC)

title: User talk:82.42.237.173


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Wikiquote:Votes for deletion archive/Xanana Gusmão

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

The result was: delete. ~ Jeff Q (talk) 08:49, 12 October 2006 (UTC)

Xanana Gusmão
Although this article was proposed for Speedy Deletion because it is not even about its subject, my own take is that this is supposed to be something said or written by Gusmão himself. If so, there is a potential copyvio problem based on its length. Gusmão already has a speech in Wikisource; perhaps this would go there, too, if it passed the copyright test and could be verified (I entered some of its phrases into Google and got nothing). - InvisibleSun 00:32, 5 October 2006 (UTC)

 * Vote closed. Result: delete (5 deletes, incl. 1 implicit; no dissent posted here; no changes made to article or information provided). ~ Jeff Q (talk) 08:49, 12 October 2006 (UTC)

 * Delete unless the speech is identified and dated AND one of two other things happens: (1) the article is trimmed to only a few select quotes from the speech, possibly adding quotes from other speeches (a reasonable "people" article); (2) sourced evidence (not just arguments from editors) that this is not protected by copyright is provided, in which case the article should be transwikied under the speech name to Wikisource. ~ Jeff Q (talk) 02:37, 5 October 2006 (UTC)
 * Delete. 121a0012 03:12, 5 October 2006 (UTC)
 * Delete unless improvements are made, per Jeffq. —LrdChaos (talk) 18:31, 5 October 2006 (UTC)
 * Delete, concur with Jeffq. ~ UDScott 20:00, 5 October 2006 (UTC)

 * Comment: The following text was posted on the article's talk page. I include it here so it is not lost when the article and its talk page are deleted.
 * You can't possibly justify deleting this page, it's brilliant - utter genius I tell you!!
 * It is not the quality of the material that is in question. This article appears to violate an essential principle of Wikiquote: we quote only brief, pithy excerpts of works, not entire speeches. Furthermore, the alleged quote has no source, and in fact isn't even identified, so editors have no straightforward means to verify its accuracy, AND we have no information on whether its inclusion here is a copyright violation. These are all critical considerations for any material quoted at Wikiquote, and failure to resolve the problems identfied will result in the article's deletion. Concerned readers are invited to discuss how to resolve them at the deletion discussion. ~ Jeff Q (talk) 02:44, 5 October 2006 (UTC)

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


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Wikiquote:Votes for deletion archive/Wikiquote:Pay attention to spelling (2nd nomination)

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

The result was: delete. ~ Jeff Q (talk) 23:57, 12 October 2006 (UTC)

Pay attention to spelling (2nd nomination)
This page was nominated for deletion way back in July 2004, with the result being Kalki saying that he would change the one link that pointed to the page to the fuller w:Wikipedia:Pay attention to spelling (which was done; the WP page is now part of w:Wikipedia:Guide to writing better articles) and delete the page (which was not done). A undated comment added after the fact seems to indicate that Kalki was not going to delete the page, or else I would have just deleted it myself. The page has no real content to speak of, and the only links to it are from its initial VFD nomination. —LrdChaos (talk) 18:33, 5 October 2006 (UTC)
 * Vote closed. Result: delete (6 deletes; no dissent). ~ Jeff Q (talk) 23:57, 12 October 2006 (UTC)

 * Delete. —LrdChaos (talk) 18:31, 5 October 2006 (UTC)
 * Delete. Perhaps we could use our own version of "Guide to writing better articles", but I don't see any reason to create one until (A) we believe we can get people to read and follow it, and (B) we have a substantive discussion on what should go in it (and we've already got far too much on the plates for frequent editors). Meanwhile, I don't see that this advice stub article is useful at this time. ~ Jeff Q (talk) 19:39, 5 October 2006 (UTC)
 * Delete. ~ UDScott 20:01, 5 October 2006 (UTC)
 * Delete. 121a0012 00:40, 6 October 2006 (UTC)
 * Delete. - InvisibleSun 03:04, 6 October 2006 (UTC)
 * Delete. Ought to go without saying, but I endorse Jeffq's view that a guide to writing better articles might be useful. David | Talk 11:13, 6 October 2006 (UTC)

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


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Addison Mizner

Addison Mizner (December 12, 1872 – February 5, 1933) was an American architect, adventurer, and entrepreneur. He is best known for creating a Florida style of architecture in Palm Beach, Florida and for being the "father of Boca Raton". In his day he was the most famous living American architect. He was affiliated with his brother, Wilson Mizner, in a series of scams and picaresque misadventures that, with considerable liberties, inspired Stephen Sondheim's Bounce!.

The Cynic's Calendar
quoted by Alva Johnston, The Legendary Mizners, 1953, Farrar Straus and Young, New York
 * Where there's a will, there's a law suit.

 * Many are called, but few get up.

 * The wages of gin is breath.

 * Be held truthful that your lies may count.

 * Misery loves company but company does not reciprocate.

 * People who love in glass houses should pull down the blinds.

From his sketchbook
quoted by Alva Johnston, The Legendary Mizners, 1953, Farrar Straus and Young, New York
 * ...Louis Fourteenth Street furniture...

 * ...teeth set out by a landscape gardener...

 * Two ideas in his head at once would constitute an unlawful assembly.

 * A cow couldn't find its calf in this room.

 * He has no manners—he just has customs.

 * ...talking as though the Standard Oil Company was the smallest thing he owned.

Private remarks

 * The son-of-a-bitch would shoot me just to make book on which way I'd fall!
 * Of his brother Wilson.
 * Quoted by Anita Loos, Kiss Hollywood Goodbye, Viking Press, New York, 1974, ISBN 0-670-41374-7.

title: Addison Mizner


text:
Kerala

Kerala, historically known as Keralam, is a state in South India on the Malabar coast. It was formed on 1 November 1956 following the States Reorganisation Act by combining various Malayalam-speaking regions. The state is bordered by Karnataka to the north and northeast, Tamil Nadu to the east and south, and the Lakshadweep Sea to the west. Its capital is Thiruvananthapuram and its largest city is Kochi. Its official languages are Malayalam and English, and its largest religion is Hinduism.

According to government statistics, Kerala is the least impoverished and second-most urbanized state in India, although it has lower population growth and is dependent on remittances after many of its residents emigrated to Arabia during the 1970s. Its Legislative Assembly is currently controlled by the Communist-led Left Democratic Front. Its governor is Arif Mohammad Khan and its Chief Minister is Pinarayi Vijayan.

Quotes

 * God's own country
 * Popular saying about Kerala, coined by Walter Mendez, the Creative Director of an Indian advertising agency in 1989 at the request of the Tourism Department, Government of Kerala.

 * While India’s life expectancy figure of around 60 years compare quite unfavourably with China’s 69 years, Kerala’s life expectancy – about 72 years –  appears on the other side of China’s achievement. Similarly, the infant mortality rate of 79 per thousand live births in India  is very high indeed in comparison with China’s 31, but Kerala’s rate of 17 is much better than China’s. Again while India’s literacy rate is much lower than that of China, Kerala’s is substantially higher than China’s.
 * Amartya Sen and Jean Dréze in India: Economic Development and Social Opportunity, 1995, Oxford University Press.

 * Ownership inequality between men and women are is not a newly emerging inequality, in contrast with natality inequality, for example. It has existed in most parts of the world for a very long time. However, there are also important local variations in the prevalence of this of this inequality. For example, even though traditional property rights tend to favour men over women in most parts of India, nevertheless in the state of Kerala, over a long period there has been matrilineal inheritance for an influential part of the community, most notably the Nairs, who constitute about a fifth of the total population of Kerala and who has long been influential in the governance and politics of kerala. In the exceptional nature of Kerala’s social achievements, the greater voice of women seems to have been an important factor, and in this long tradition of matrilineal inheritance on the part of an influential segment of society has played a significant role.
 * Amartya Sen in The Argumentative Indian, Penguinn Books.

title: Kerala