text:
Raging Bull

Raging Bull is a 1980 film about the life and fights of the explosive and disturbed middleweight-champion boxer Jake LaMotta.
 * ''Directed by Martin Scorsese. Written by Jake LaMotta (book), Joseph Carter (book), Peter Savage (book), Paul Schrader and Mardik Martin

Jake LaMotta

 * I remember those cheers They still ring in my ears And for years they'll remain in my thoughts. Cuz one night I took off my robe And what'd I do? I forgot to wear shorts. I recall every fall, every hook, every jab; The worst way a guy could get rid of his flab. As you know, my life wasn't drab... Though I'd rather hear you cheer, When I delve into Shakespeare. "A Horse, a Horse, my Kingdom for a Horse," I haven't had a winner in six months. I know I'm no Olivier But if he fought Sugar Ray, He would say That the thing ain't the ring, It's the play. So gimme a stage Where this bull here can rage. And though I can fight, I'd much rather recite That's entertainment! That's entertainment..

 * Friends. They're in a huddle. Big business meeting. By the pool, they sit around and talk. Big deals. They make sure she can hear. Big Man. Get the fuck outta here. Big shot. Get 'em all in a back room, smack 'em around, no more big shot, without his gun. They're tough guys. They're all tough guys....Big Shot.

 * [to Vickie] You know how beautiful you are? Anybody ever tell you how beautiful? Yeah, tell you all the time.

 * [to Vickie] You ever think of anyone else when we're in bed?...You know, like when we made love?

 * Who's an animal? Your mother's an animal, ya son of a bitch.

 * I'm gonna win. There's no way I'm goin' down. I don't go down for nobody.

 * I take the dive. What more do they want?...They want me to go down too? Well, I ain't goin' down, no, not for nobody.

 * [After being beaten half to death by Sugar Ray Robinson, Jake is still standing.] Hey, Ray, I never went down, man! You never got me down, Ray! You hear me, you never got me down.

 * It's over for me. Boxing's over for me. I'm through. I'm tired of worryin' about weight all the time. That's all I used to think about was weight, weight, weight. After a while, you know, you realize other things in life. I mean, I'm very grateful. Boxing's been good to me: I've got a nice house, I've got three great kids, I've got a wonderful, beautiful wife - what more could I ask for?

 * That's the kind of girl that you want to bring home to your father - especially if he's a degenerate. Ah, seriously folks, it's a thrill to be standing here before you wonderful people tonight. Well, in fact, it's a thrill to be standing.

 * That reminds me of two friends of mines. One was married, one was single. The married guy tells the single guy: 'Oh, what's the matter with you? What's the matter with you? Look at me. And look at you. And look at me. And look at you. Let me get on with it. When I come home at night, my wife's at the door with a tall drink in her hand. And she gives me a nice hot bath. Then she gives me a nice rub-down. Then she makes passionate love to me. Then she makes me a nice dinner. What more could you ask for? You oughta try that.' The other friend says: 'Hey, that sounds great. When does your wife get home?'

 * Why? Why? Why?...Why'd you do it? Why? You're so stupid...I'm not an animal. Why do you treat me like this? I'm not so bad.

 * Guy comes home, finds his wife in bed with another guy. The wife says, 'Look who's here. Big mouth. Now the whole neighborhood'll know.'

 * [Last lines, to himself] Go get 'em, champ. I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss... I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss.

Joey LaMotta

 * What are ya thinkin' about? Ya keep lookin'. Where the fuck you going? You're dead! You're married! You're a married man, it's all over. Leave the young girls for me.

 * [on the phone, not realizing it's his brother Jake who's called him] Salvy, this ain't funny anymore. Is it you? I know somebody's there. I can hear you breathin'. You listenin'? Your mother sucks fuckin' big fuckin' elephant dicks. You got that?

 * He gave you the old good news/bad news routine. The good news is - you're gonna get the shot at the title. And the bad news is - they want ya to do the old flip-flop for 'em.

Others

 * Irma: I'm not gonna be here when you get back, you fuckin' bunch of guineas, you're always hangin' out together. Why don't you fuckin' stop? You're not goin' on business. You're gonna suck each other off, right? Suck 'em, suck 'em baby. You fuckin' queer. Faggot.

 * Tommy Como: [After Janiro fight] He ain't pretty no more.

 * Vickie: [to Jake] I fucked all of them! What do you want me to say?...I fucked all of them - Tommy, Salvy, your brother! All of them! I sucked your brother's cock, what do you want me to say?...I sucked his cock and everybody else on the fucking street, too. What do you want? You're nothin' but a fat pig, selfish fool! [Jake viciously slaps her again] His fucking cock is bigger than yours, too!

Dialogue

 * Salvy: That shit would've never happened if Tommy was over there takin' care of him. You know he's gotta be with Tommy to fight in New York to get a title shot. I mean, he's gonna wind up fuckin' punch-drunk, your brother.
 * Joey: I know.
 * Salvy: You know. You gotta make him understand that it's the best thing for everybody involved.
 * Joey: I said, I know.
 * Salvy: You know, but you gotta make him know. You gotta tell him and make him understand.

 * Jake: Is it done?
 * Irma: No, it's not done.
 * Jake: Don't overcook it. You overcook it, it's no good. It defeats its own purpose.
 * [Irma gives Jake a look.]
 * Jake: What are you doin'? I just said don't overcook it. You're overcookin' it, bring it over.
 * Irma: You want your steak?
 * Jake: Bring it over. Bring it over! It's like a piece of charcoal! Bring it over here!
 * Irma: You want your steak?
 * Jake: Yeah, right now!
 * [Irma stabs the steak and slams it on his plate.]
 * Irma: Okay. There's your stupid steak. Can't wait for it to be done?
 * Jake: No, I can't wait.
 * Irma: Good! Okay? Happy? Happy?
 * Jake: That's all I want. That's all I want!
 * Irma: That's...there! No, more! There!
 * [Jake violently upends the table.]
 * Jake: Botherin' me about a steak, huh?
 * Irma: That's great!
 * Jake: You're botherin' me about the steak?
 * Irma: Yeah!

 * Jake: What's wrong with me? My hands.
 * Joey: Your hands? What about 'em?
 * Jake: I got these small hands. I got a little girl's hands.
 * Joey: I got 'em too. What's the difference?
 * Jake: You know what that means? No matter how big I get, no matter who I fight, no matter what I do, I ain't never gonna fight Joe Louis.
 * Joey: Yeah, that's right. He's a heavy-weight. You're a middle-weight. What of it?
 * Jake: I ain't ever gonna get a chance to fight the best there is. And you know somethin'. I'm better than him. I ain't never gonna get a chance. You're askin' what's wrong.
 * Joey: But you're crazy to even think about somethin' like that.

 * Jake: Come on, hit me. Harder. Harder. Come on, don't be a little faggot. Come on. Hit me. You throw a punch like you take it up the ass. Come on. Harder.
 * Joey: What the fuck do you want? That's hard. What are you trying to prove?

 * Joey: They only came up here because Tommy told 'em to come up and try to help us.
 * Jake: Whatsa matter with you? Help who? Whatsa matter with you? Help me by takin' my money? Is that what you're talkin' about, takin' my money? I'm here breakin' my ass, not them. Don't ever bring 'em up here again, ya hear me?

 * Joey: She ain't the kind of girl you just fuck and forget about, this girl.
 * Jake: Joey, how many times I gotta tell ya? Why're you always cursin' when I'm talkin' to you? Don't do it around me. Do it around your friends...
 * Joey: She's a...the kind of girl you bang and forget about; she's not like that. You gotta spend time with her, get involved, you know.
 * Jake: Did you bang her?
 * Joey: No.
 * Jake: Tell me the truth.
 * Joey: I just told you the truth. I tell you the truth the first time. You don't have to ask me again. I never do that. I always tell you the truth. If I did it, you would know. [Joey pauses.] I took her out a couple of times.
 * Jake: You went with her and you didn't try to fuck her?
 * Joey: I try to fuck anything.

 * Vickie: You sure we should be doin' this?
 * Jake: Come here.
 * Vickie: You said never to touch ya before a fight.
 * Jake: Come here, before I give ya a beatin'.
 * Vickie: You said I couldn't. You've been good for two weeks.
 * Jake: Come here.

 * Joey: They only gave him that fuckin' decision because he's goin' in the Army next week. That's the only reason.
 * Jake: I knocked him down. I don't know what else I gotta do. I don't know what I gotta do.
 * Joey: You won and they robbed ya. They're miserable because their mothers take it up the fuckin' ass, that's why.
 * Jake: I've done a lot of bad things, Joey. Maybe it's comin' back to me. Who knows? I'm a jinx maybe.

 * Joey: Do you want a title shot?
 * Jake: What am I? What am I, a circus over here? What are ya doin'?
 * Joey: You're killin' yourself for three years now, right? There's nobody left for you to fight. Everybody's afraid to fight you. OK. Along comes this kid Janiro. He don't know any better. He's a young kid, up and coming, he'll fight anybody. Good! You fight him. Let's say you lose because of your weight. Are they gonna think you're not as tough as you are, you're not the same fighter? Good! They'll match you with all those guys that were afraid of matchin' with you before. What happens? You'll kill 'em. And they gotta give you a title shot. Now let's say you win, you beat Janiro. Which is, definitely, you should beat him. Right? Right? They still gotta give you a shot at the title. You know why?
 * Jake: Why?
 * Joey: Because the same thing as before: there's nobody left. There ain't nobody around. They gotta give you the shot. You understand? If you win, you win. If you lose, you still win. There's no way you can lose. And you do it on your own, just the way you wanted to do, without any help from anybody. Do ya understand? Just get down to 155 pounds, you fat bastard. You stop eatin'!

 * Jake: [about Salvy] Are you interested in him?
 * Vickie: No, why would I be interested in him?
 * Jake: You're sure you're not interested in him?
 * Vickie: Yeah.
 * Jake: In other words, you're not interested in him, but you could be interested in somebody?
 * Vickie: Jake, don't start, huh?
 * Jake: Hey, shut up, or I'm gonna smack your face.

 * Jake: I'm gonna open his hole like this. Please excuse my French. I'm gonna make him suffer. I'm gonna make his mother wish she never had him. Make him into dog meat. He's a nice, a nice kid. He's a pretty kid, too. I mean I don't know, I gotta problem if I should fuck him or fight him.
 * Tommy: Fuck him or fight him.
 * Salvy: If you're really in love with that fucker, just watch out.
 * Jake: By who?
 * Salvy: Janiro.
 * Jake: You mean, you want me to get him to fuck you?
 * Salvy: Me?
 * Jake: Yeah.
 * Salvy: No, I don't want him to fuck me.
 * Jake: I could do that easily.
 * Salvy: How ya gonna do that?
 * Jake: Because I'll get yuz both in a ring, I'll give youse both a fuckin' beatin', ya both can fuck each other.
 * Salvy: Ah, I'll get all full of blood.
 * Jake: You're used to that.

 * Jake: She said he's pretty.
 * Joey: Yeah, well, you make him ugly.

 * Vickie: I feel like I'm a prisoner. I can't walk, I look at somebody the wrong way I get smacked. I'm tired of havin' to turn around and havin' both of youse up my ass all the time. I'm twenty years old, I gotta go home and sleep by myself every night?
 * Joey: What the fuck did you marry him for?
 * Vickie: 'Cause I love him.
 * Joey: You do?
 * Vickie: Yeah, I love him. Well, what am I supposed to do? This guy, he don't even wanna fuck me.
 * Joey: He's just been a contender too long. He'll be all right as soon as he gets his shot and then everything will be OK.
 * Vickie: Jake's never gonna be champ. Too many people hate him.
 * Joey: You're makin' an asshole out of my brother.

 * Tommy: Listen to me. Now, Jake, the guy's become an embarrassment. He's embarrassin' me with certain people. And I'm lookin' very bad. I can't deliver a kid from my own god-damned neighborhood. What is it with him? Why does he have to make it so hard on himself, for Christ's sake? He comes to me, I'll make it easier for him. The man's got a head of rock.
 * Joey: You know, it's hard to explain, Tommy. Jack respects you. I mean, he don't even say hello to anybody. You know, you he talks to, he likes you. It's just that, uh, when he gets somethin' on his mind, you know, he's got a hard head, he likes to do things his own way. I mean, Jesus Christ he'd come off the cross sometimes and he don't give a fuck. He's gonna do what he wants to do. He wants to make it on his own, you know. Thinks he can make it on his own.
 * Tommy: Make it on his own. He thinks he's gonna walk in there and become champion on his own. Huh? He's got no respect for nobody. He doesn't listen to nobody. He doesn't respect anybody. Now you do this for me, you understand? You tell him, I don't care how colorful he is or great he is. He could beat all the Sugar Ray Robinsons and the Tony Janiros in the world, but he ain't gonna get a shot at that title. Not without us he ain't. Now you're a smart kid, you go to him.

 * Jake: I know she's doin' somethin'. I just wanna catch her once. Just once.
 * Joey: Hey Jack, you wanna do yourself a favor? Bust her fuckin' hole, throw her out, either that or live with her and let her ruin your life, 'cause that's what's happenin'.

 * Jake: I heard some things. Did Salvy fuck Vickie?
 * Joey: What?
 * Jake: Did Salvy fuck Vickie?
 * Joey: Now Jack, don't start your shit.
 * Jake: Joey, I asked ya. Didn't I ask ya to keep an eye on her?
 * Joey: And I did keep an eye on her. Yes, I did.
 * Jake: How come you give him a beatin'?
 * Joey: I told you that. I told you what that was all about. That it had nothin' to do with you. He, he thinks he's a wise guy now.
 * Jake: Joey, don't lie to me.
 * Joey: I'm not lying.
 * Jake: What do I look like to you, huh?
 * Joey: Hey, I'm your brother. You're supposed to believe me. Don't you trust me?
 * Jake: No, I don't.
 * Joey: Oh, you don't? That's nice.
 * Jake: I don't trust you when it comes to her. I don't trust nobody. Now tell me what happened.
 * Joey: I told you exactly what happened. He got out of line, I slapped him around. Tommy straightened it all out, and it's all over.
 * Jake: Don't you give me that look, Joey. I gotta accept your answer, you know. But I'm tellin' you now, if I hear anything, I swear on mother, I'm gonna kill somebody. I'm gonna kill somebody, Joey.
 * Joey: Well, go ahead and kill everybody. You're the tough guy. Go kill people. Kill Vickie. Kill Salvy. Kill Tommy Como. Kill me while you're at it, what do I care? You're killin' yourself the way you eat. You're a fat fuck. Look at ya.
 * Jake: What d'ya mean? I don't understand. What d'ya mean, kill you? You?
 * Joey: Me. Kill me. Start here. Kill me first. Do me a fuckin' favor, 'cause you're drivin' me crazy.
 * Jake: Excuse me, what d'ya mean by "you," though?
 * Joey: So? What does that mean? It don't mean nothin'.
 * Jake: You don't even know what you meant by "you."
 * Joey: Don't mean nothin'.
 * Jake: Joey, that meant somethin'. You mentioned Tommy, you mentioned Salvy, you mentioned you. You included "you" with them. You could have said anybody but you said "you" and them.
 * Joey: You really let this girl ruin your life. Look at ya. She really did some job on ya. You know how f*****' nuts you are? Look what she did to you.
 * Jake: You fuckin’ my wife?
 * Joey: What?
 * Jake: You fuckin’ my wife?
 * Joey: How could you ask me a question like that? How could you ask me? I'm your brother. You ask me that? Where do you get your balls big enough to ask me that?
 * Jake: Just tell me.
 * Joey: I'm not answerin' ya. I'm not gonna answer that. It's stupid.
 * Jake: You're very smart, Joey. You give me all these answers, but you ain't givin' me the right answer. I'm askin' ya again. Did you or did you not?
 * Joey: I'm not gonna answer. That's a sick question, you're a sick fuck, and I'm not that sick that I'm gonna answer it. I'm not tellin' ya anything. I'm going to leave. If Lenore calls, tell her I went home. I'm not stayin' in this nuthouse with ya. You're a sick bastard. I feel sorry for you, I really do. You know what you should do? Try a little more fuckin' and a little less eatin'. You won't have troubles upstairs in your bedroom and you won't take it out on me and everybody else. Do you understand, you fuckin' wacko? You're crackin' up! F*****' screwball, ya.

Cast

 * Robert De Niro — Jake LaMotta
 * Joe Pesci — Joey LaMotta
 * Cathy Moriarty - Vickie Thailer
 * Lori Anne Flax — Irma
 * Nicholas Colasanto — Tommy Como
 * Frank Vincent - Salvy Batts

title: Raging Bull


text:
Talk:Runaways

Why all the bolds?
Why so many bolded words? Also, are these all necessary? Some of these are just, "Hey! I got powers!" Finally - can we make a separate wikiquote for Molly? Please? - Darkhawk

Words are bolded when they are bolded in the comics for emphasis. Also, why does Molly need a separate wikiquote?- Paxluvfelicitas

Formatting
I have attempted to follow a format akin to that of TV shows. While technically, comic books are literary works, the standard format of those is ill-suited to the comic book where the attribution is done via graphic, rather than textual means. Since most Runaways characters have pages, I have followed the Firefly rule of "first time a character appears in an episode [issue], link to character page". That allows a compromise between heaviness of formatting and reader ease-of-use. I have taken some liberties with the pseudo-textual qualities: when there are two consecutive balloons, one ending in "--" and one beginning with "--", I contract them to one "--". In general, I collapse consecutive balloons to one line, following the "wikiquote is for text" theme. I use bold when the comics uses bold, though italics could be argued (italics are hard to do by hand, which is why comics use bold). ~ MosheZadka (Talk) 16:48, 25 September 2005 (UTC)

 * One more note -- since the characters hardly ever use aliases, and most do so only when Gert insists, I have taken the convention of always attributing the quotes to the real name. ~ MosheZadka (Talk) 16:52, 25 September 2005 (UTC)

Full up
As of now, every published issue has a quote from it. ~ MosheZadka (Talk) 10:54, 8 October 2005 (UTC)

Full up. - paxluvfelicitas 26 Oct. 2007

Removed "Rebel Without a Cause"
We usually don't give quote from works when they exactly quote some other work — the quote belongs in the original. Hence, I moved the Rebel Without a Cause quote here, in case anyone wants to create a RWaC article and use this quote. Thanks ~ MosheZadka (Talk) 05:06, 11 October 2005 (UTC)

 * James Dean/Rebel without a Cause:I never thought. I'd live to see eighteen. "Isn't that dumb? Every day. I look in the mirror and say. What? You still here ? Man! "Like even today. I woke up this morning you know? And the sun was shining and everything was nice and I thought this is going to be one terrific day, so you better live it up, boy because tomorrow, maybe you'll be gone." (The last two page)

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

title: Talk:Runaways


text: User:Havoc~enwikiquote

title: User:Havoc~enwikiquote


text:
User talk:66.108.203.217

Hi. I have reverted your change to the dates on Dragon Ball Z, after looking at the wikipedia page and seeing it agreed with the previous version of the dates here. If you have evidence that the date on wikipedia is wrong, please correct the wikipedia page (citing sources, as per wp policy) and then fixing it here again. Thanks ~ MosheZadka (Talk) 18:09, 25 September 2005 (UTC)

title: User talk:66.108.203.217


text:
Kill Bill: Volume 2

Kill Bill: Volume 2 is the 2004 follow-up film to Quentin Tarantino's Kill Bill: Volume 1 in which The Bride continues her quest of vengeance against her former boss and lover Bill, the reclusive bouncer Budd, and the treacherous, one-eyed Elle.
 * Directed by Quentin Tarantino. Written by Quentin Tarantino.

The bride is back for the final cut (taglines)

Bill

 * Once upon a time in China, some believe around the year one double-ought three, head priest of the White Lotus Clan, Pai Mei, was walking down the road – contemplating whatever it is that a man of Pai Mei's nearly infinite powers would contemplate - which is another way of saying "who knows?" - when a Shaolin monk appeared on the road, traveling in the opposite direction. As the monk and the priest crossed paths, Pai Mei, in a practically unfathomable display of generosity, gave the monk the slightest of nods. The nod was not returned. Now, was it the intention of the Shaolin monk to insult Pai Mei? Or did he just fail to see the generous social gesture? The motives of the monk remain unknown. What is known were the consequences. The next morning Pai Mei appeared at the Shaolin Temple and demanded of the Temple's head abbot that he offer Pai Mei his neck to repay the insult. The Abbot at first tried to console Pai Mei, only to find Pai Mei was … inconsolable. So began the massacre of the Shaolin Temple and all sixty of the monks inside at the fists of the White Lotus. And so began the legend of Pai Mei's five-point-palm-exploding-heart technique.

 * Is that not the perfect visual image of life and death? A fish flapping on the carpet, and a fish not flapping on the carpet.

 * I suppose the traditional way to conclude this is we cross Hanzo swords. Well, it just so happens this hacienda comes with its very own private beach. And this private beach just so happens to look particularly beautiful bathed in moonlight. And there just so happens to be a full moon out tonight. So, swordfighter, if you want to sword fight, that's where I suggest. But if you wanna be old school about it, and you know I'm all about old school, then we can wait till dawn, and slice each other up at sunrise, like a couple of real-life, honest-to-goodness samurais.

 * I'm a killer! I'm a murdering bastard, you know that. And there are consequences to breaking the heart of a murdering bastard.

The Bride/Beatrix Kiddo

 * Looked dead, didn't I? Well, I wasn't, but it wasn't for lack of trying I can tell you that. Actually, Bill's last bullet put me in a coma, a coma I was to lie in for four years. When I woke up, I went on what the movie advertisements referred to as a roaring rampage of revenge. I roared and I rampaged and I got bloody satisfaction. I've killed a hell of a lot of people to get to this point. But I have only one more. The last one, the one I'm driving to right now. The only one left. And when I arrive at my destination, I am gonna kill Bill.
 * My Pussy Wagon died on me.

Elle Driver

 * [lighting up a cigarette after Budd has collapsed from a black mamba bite] I'm sorry, Budd. That was rude of me, wasn't it? Budd, I'd like you to meet my friend, the black mamba. Black mamba, this is Budd. You know, before I picked that little fella up, I looked it up on the internet. Fascinating creature, the black mamba. Listen to this. [reads from a notepad] "In Africa, the saying goes, 'In the bush an elephant can kill you, a leopard can kill you, and a black mamba can kill you. But only with the mamba' — and this is true in Africa since the dawn of time — 'is death sure. Hence its handle: Death Incarnate.'" Pretty cool, huh? "Its neurotoxic venom is one of nature's most effective poisons, acting on the nervous system, causing paralysis. The venom of a black mamba can kill a human in four hours if, say, bitten on the ankle or the thumb. However, a bite to the face or torso can bring death from paralysis within 20 minutes." Now, you should listen to this, 'cause this concerns you. "The amount of venom that can be delivered from a single bite can be gargantuan." You know, I've always liked that word "gargantuan," and I so rarely have an opportunity to use it in a sentence. "If not treated quickly with anti-venom, 10 to 15 milligrams can be fatal to human beings. However, the black mamba can deliver as much as 100 to 400 milligrams of venom from a single bite." [puts out her cigarette and addresses Budd] Now in these last agonizing minutes of life you have left, let me answer the question you asked earlier more thoroughly. Right at this moment, the biggest "R" I feel is Regret. Regret that maybe the greatest warrior I have ever known met her end at the hands of a bushwhackin', scrub, alky piece of shit like you. That woman deserved better.
 * [on the phone with Bill] Let me put it this way: if you ever start feeling sentimental, go to Barstow, California. When you get here, walk into a florist and buy a bunch of flowers. Then you take those flowers to Huntington Cemetery on Fuller and Guadalupe, look for the headstone marked Paula Schultz, then lay them on the grave. Because you will be standing at the final resting place of Beatrix Kiddo.

Dialogue

 * Bill: Do you find me sadistic? You know, Kiddo, I'd like to believe that you're aware enough, even now, to know that there's nothing sadistic in my actions. This moment, this is me at my most … masochistic.
 * The Bride: Bill, it's your bab–
 * [Bill shoots The Bride]

 * Budd: You're telling me she cut her way through eighty-eight bodyguards before she got to O-Ren?
 * Bill: Nah, there weren't really eighty-eight of them. They just called themselves "The Crazy 88".
 * Budd: How come?
 * Bill: I don't know, I guess they thought it sounded cool. Anyhow, they all fell under her Hanzo sword.
 * Budd: She's got a Hanzo sword?
 * Bill: He made one for her.
 * Budd: Didn't he swear a blood oath to never make another sword?
 * Bill: It would appear he has broken it.
 * Budd: Them Japs sure know how to hold a grudge, don't they? [laughs] Or maybe … you just tend to bring that out in people. […]
 * Bill: I know this is a ridiculous question before I ask it, but you haven't by chance kept up with your sword play?
 * Budd:[shakes his head] I...umm... I pawned that years ago.
 * Bill: You hocked a Hattori Hanzo sword!
 * Budd: Yeah.
 * Bill: It was priceless.
 * Budd:[chuckles] Well not in El Paso, it ain't. In El Paso, I got me $250 for it. I'm a bouncer in a titty bar, Bill. If she wants to fight with me, all she has to do is come down to the club and start some shit and we'll be in a fight.
 * Bill: I know we haven't spoken in some time, and the last time we spoke wasn't the most pleasant. But you've got to get over being mad at me and start becoming afraid of Beatrix, because she is coming, and she's coming to kill you. And unless you accept my assistance, I have no doubt she will succeed.
 * Budd: [stares hard at Bill] I don't dodge guilt, and I don't jew out of paying my comeuppance.
 * Bill: Can't we just forget the past?
 * Budd: That woman deserves her revenge, and we deserve to die. [considers] But then again, so does she. So I guess we'll just see … won't we?

 * Elle Driver: [into phone] Bill?
 * Budd: [into phone] Wrong brother, you hateful bitch.
 * Elle Driver: Budd?
 * Budd: Bingo!
 * Elle Driver: And to what do I owe this dubious pleasure?
 * Budd: I just caught me the cowgirl that ain't never been caught.
 * Elle Driver: Did you kill her?
 * Budd: Well, not yet I ain't. I shot her full of rock salt. She's so gentle right now, I could perform a coup de grâce with a rock. Anyhow, guess what I'm holding in my hand right now.
 * Elle Driver: What?
 * Budd: A brand spanking new Hattori Hanzo sword. And I'm here to tell you, Elle, that's what I call sharp.
 * Elle Driver: How much?
 * Budd: Oh, that's hard to say, being that it's priceless and all.
 * Elle Driver: What's the terms?
 * Budd: You get your bony ass down here first thing in the morning, with a million dollars in folding cash, and I'll give you the greatest sword ever made by a man. How do you like the sound of that?
 * Elle Driver: Sounds like we got a deal. One condition.
 * Budd: What?
 * Elle Driver: She must suffer to her last breath.
 * Budd: [laughs] Well, that, Elle darling, I can pretty much damn well guarantee.
 * Elle Driver: Then I'll see you in the morning … millionaire.

 * Bill: [coming down the stairs after talking to Pai Mei] He'll accept you as his student.
 * The Bride: What happened to you?
 * Bill: [who has a bruise] Nothing.
 * The Bride: Get in a fight?
 * Bill: Friendly contest.
 * The Bride: Why did he accept me?
 * Bill: Because he's a very, very, very old man, and like all rotten bastards, when they become old, they get lonely. Which has no effect on their dispositions, but it does teach them the value of company.
 * [He throws her the baggage]
 * Bill: Well, just seeing those steps again makes me ache. You're gonna have a lot of fun carrying buckets of water up and down that fucker.
 * The Bride: When will I see you again?
 * Bill: That's the name of my favorite soul song of the seventies.
 * The Bride: What?
 * Bill: Nothing. When he tells me you're done.
 * The Bride: When do you think that might be?
 * Bill: That, my dearest, depends entirely on you. Now, remember: no sarcasm, no backtalk. At least not for the first year or so. You're gonna have to let him warm up to you. He hates Caucasians, despises Americans, and has nothing but contempt for women, so in your case … it might take a little while. Adiós.

 * The Bride: Master …
 * Pai Mei: Your Mandarin is lousy. It causes my ears great discomfort. You bray like an ass! You are not to speak unless spoken to. Is it too much to hope … you understand Cantonese?
 * The Bride: I speak Japanese very well …
 * Pai Mei: I didn't ask if you speak Japanese … I asked if you understand Cantonese?
 * The Bride: A little.
 * Pai Mei: You are here to learn the mysteries of Kung Fu, not linguistics. If you can't understand me, I will communicate with you like I would a dog! When I yell, when I point, when I beat you with my stick! [strokes his beard] Bill is your master, is he not?
 * The Bride: Yes, he is.
 * Pai Mei: Your master tells me … you're not entirely unschooled. What training do you possess?
 * The Bride: I am proficient in Tiger-Crane Style, and I am more than proficient in the exquisite art of the Samurai sword.
 * Pai Mei: Hmph! The exquisite art of the Samurai sword. Don't make me laugh! Your so-called exquisite art is only fit for … Japanese fatheads! [laughs] Your anger amuses me. Do you believe you are my match?
 * The Bride: No.
 * Pai Mei: Are you aware I kill at will?
 * The Bride: Yes.
 * Pai Mei: Is it your wish to die?
 * The Bride: No!
 * Pai Mei: [laughs] Then you must be stupid … so stupid! Rise, and let me look at your ridiculous face. Rise. So, my pathetic friend … is there anything that you can do well? What's the matter? Cat got your tongue? Oh yes, you speak Japanese. [yells] I despise the goddamn Japs!

 * Budd: So, which "R" you filled with?
 * Elle Driver: What?
 * Budd: They say the number one killer of old people is retirement. People got a job to do, they tend to live a little bit longer so they can do it. I've always figured that warriors and their enemies share the same relationship. So, now that you're not gonna have to face your enemy no more on the battlefield, which "R" you filled with? Relief … or regret?
 * Elle Driver: A little bit of both.
 * Budd: Horseshit. I'm sure you do feel a little bit of both. But I know damn well that you feel one more than you feel the other. And the question was, which one is it?
 * Elle Driver: [pause] Regret.

 * [Beatrix finds a Hattori Hanzo sword in set of Budd's golf club. She grabs it and partially unsheathes it.]
 * The Bride: To my brother, Budd, the only man I ever loved. Bill.
 * [Elle unsheathes The Bride's sword and is shocked to see her with a Hattori Hanzo sword.]
 * Elle Driver: What's that?
 * The Bride: Budd's Hanzo sword.
 * Elle Driver: He said, he pawned it.
 * The Bride: Guess that makes him a liar now, don't it. Elle?
 * Elle Driver: Bea.
 * The Bride: There's something I'm curious about, just between us girls. What did you say to Pai Mei to make him snatch out your eye?
 * [A flashback reveals Elle getting her left eye plucked out by Pai Mei as her punishment for her insolence in insulting him. She is seen screaming and covering her empty left eye socket.]
 * Elle Driver: I called him a miserable, old fool.
 * The Bride: Ooh, bad idea.
 * Elle Driver: You know what I did? I killed that miserable, old fool.
 * [The Bride is shocked as another flashback occurred with Pai Mei choking on the fish heads containing poison in them.]
 * Elle Driver: How do you like the fish heads you miserable, old fool? [Narrating] I poisoned his fish heads.
 * Pai Mei:(in Cantonese) Elle, you treacherous dog, I gave you my word.
 * Elle Driver: And I told him, "To me the word of an old fool like you is worth less than nothing."
 * [Pai Mei dies, the flashback ends and Elle laughs evilly.]
 * Elle Driver: That's right! I killed your master. And now I'm going to kill you too -- with your own sword, no less. Which, in the very immediate future, will become...my sword.
 * The Bride: Bitch. You don't have a future.

 * Esteban Vihaio: Being a fool for a woman such as yourself … is only the right thing to do. What were we talking about?
 * The Bride: Bill. Where's Bill?
 * Esteban Vihaio: Where's Bill? Yeah, hm … Bill is on the Villa Quatro, on the road to Salina. I will draw you a map. Bill is like a son to me. Do you know why I help you?
 * The Bride: No.
 * Esteban Vihaio: Because he would want me to.
 * The Bride: Now, that I don't believe.
 * Esteban Vihaio: Ah! How else is he going to see you again?

 * Bill: Mommy is still angry at Daddy.
 * B.B.: Why?
 * Bill: Well, sweetie, I love Mommy, but I did to Mommy what you did to Emilio.
 * B.B.: You stomped on Mommy?
 * Bill: Worse. I shot Mommy. Not pretend shoot, like we were just doing. I shot her for real.
 * B.B.: Why? Did you want to see what would happen?
 * Bill: No, I knew what would happen to Mommy if I shot her. What I didn't know is, when I shot Mommy, what would happen to me.
 * B.B.: What happened?
 * Bill:  I was very sad. And that was when I learned, some things, once you do, they can never be undone.

 * Bill: I was just admiring your sword. Quite a piece of work. Speaking of which, how is Hanzo-san?
 * The Bride: He's good.
 * Bill: Has his sushi gotten any better?
 * [The Bride shakes her head]
 * Bill: You know, I couldn't believe it. You got him to make you a sword.
 * The Bride: It was easy. I just dropped your name, Bill.
 * Bill: [chuckles] That'd do it.

 * Bill: Now, when it comes to you, and us, I have a few unanswered questions. So, before this tale of bloody revenge reaches its climax, I'm going to ask you some questions, and I want you to tell me the truth. However, therein lies the dilemma. Because, when it comes to the subject of me, I believe you are truly and utterly incapable of telling the truth – especially to me, and least of all to yourself. And, when it comes to the subject of me, I am truly and utterly incapable of believing anything you say.
 * The Bride: How do you suppose we solve this dilemma?
 * Bill: Well! It just so happens I have a solution.
 * [He shoots The Bride with a dart filled with Truth Serum]

 * Bill: As you know, I'm quite keen on comic books. Especially the ones about superheroes. I find the whole mythology surrounding superheroes fascinating. Take my favorite superhero, Superman. Not a great comic book. Not particularly well drawn. But the mythology … the mythology is not only great, it's unique.
 * The Bride: [who still has a dart in her leg] How long does this shit take to go into effect?!
 * Bill: About two minutes, just long enough for me to finish my point. Now, a staple of the superhero mythology is there's the superhero and there's the alter ego. Batman is actually Bruce Wayne, Spider-Man is actually Peter Parker. When that character wakes up in the morning, he's Peter Parker. He has to put on a costume to become Spider-Man. And it is in that characteristic Superman stands alone. Superman didn't become Superman. Superman was born Superman. When Superman wakes up in the morning, he's Superman. His alter ego is Clark Kent. His outfit with the big red "S", that's the blanket he was wrapped in as a baby when the Kents found him. Those are his clothes. What Kent wears – the glasses, the business suit – that's the costume. That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us. And what are the characteristics of Clark Kent? He's weak, he's unsure of himself, he's a coward. Clark Kent is Superman's critique on the whole human race. Sort of like Beatrix Kiddo and Mrs. Tommy Plympton.
 * The Bride: Aso. The point emerges.
 * Bill: You would've worn the costume of Arlene Plympton. But you were born Beatrix Kiddo. And every morning when you woke up, you'd still be Beatrix Kiddo. Oh, you can take the needle out.
 * The Bride: [does so] Are you calling me a superhero?
 * Bill: I'm calling you a killer! A natural born killer. You always have been, and you always will be. Moving to El Paso, working in a used record store, going to the movies with Tommy, clipping coupons. That's you … trying to disguise yourself as a worker bee. That's you trying to blend in with the hive. But you're not a worker bee. You're a renegade killer bee. And no matter how much beer you drank or barbecue you ate or how fat your ass got, nothing in the world would ever change that.

 * The Bride: You and I have unfinished business.
 * Bill: Baby, you ain't kidding.

 * Bill: Pai Mei taught you the five-point-palm-exploding-heart technique?
 * The Bride: Of course he did.
 * Bill: Why didn't you tell me?
 * The Bride: I don't know … because I'm a bad person.
 * Bill: No. You're not a bad person. You're a terrific person. You're my favorite person. But every once in a while, you can be a real cunt.
 * [The Bride laughs]
 * Bill: How do I look?
 * The Bride: You look ready.
 * [Gets up, turns, takes five steps and falls dead]

Taglines

 * Revenge is a dish best served cold.
 * The bride is back for the final cut
 * Kill is love.
 * Back with a vengeance.
 * The whole thrilling tale is revealed.

About Kill Bill: Volume 2

 * Once again, with an insouciant blaze of energy and style, Tarantino has seen off the imitators, detractors and condescenders. True, the Kill Bill films do not have the dialogue riffs of his earlier work co-scripted with Roger Avary, apart from one small verbal arabesque here about Superman and Clark Kent. But as any screenplay handbook will tell you, writing for motion pictures is not about penning lines of dialogue; it is about fashioning a narrative and constructing an event. Kill Bill just seems to bypass the rational filters which impede the respectable films and attacks the endorphin centres of the brain.
 * Peter Bradshaw, "Kill Bill: Vol 2", The Guardian, (23 April 2004).

 * O: Do you think of Bill as a sympathetic character?
 * DC: Performing is one thing. You never see him kill anyone. That's a rumor. What you see is a personality, is a point in the road, is just me hanging out, talking, or romancing a woman, playing with a kid, making sandwiches. That was a brilliant scene, and it was not in the original script. It was supposed to be a banquet, with tuxedos and servants and everything else, bodyguards all around the room. When we finally get down to it, my only bodyguard was a 5-year-old girl with a plastic gun.
 * O: In a weird sort of way, your character shooting The Bride is almost a crime of passion. There's an element of tenderness to it.
 * DC: She's cheating on him with another guy, so he shoots her and the other guy. That's typical, really. He is an internationally known assassin. In the script, it says that he's the guy for whom the term "hit man" was invented. Once he shoots The Bride, it immediately changes his life. He has to look at his actions, and he realizes for the first time in his life that he has to make a moral decision about something he's already done, but it's too late to change. Destiny miraculously gives him the chance. He just takes care of the child and waits for her to come back to him. I think he knows that she's going to come back pretty fucking pissed off, and she's going to lunge at him. But he can accept that, because of the warrior's code and everything. Though she deserved it, he owes her. I think his hope is that she will come back and take the child away from him and go on to have the happy life that she had hoped to have just before he shot her in the head. But he's not going to give that to her. There's a thing about the story of Theseus. He and his friend are going around being pirates for a while. Theseus is the guy in the story of the minotaur, who became King of Athens. While he was screwing around with his buddy in his ship, he comes upon the Amazons, and he falls desperately in love with the King of the Amazons. She's a woman, but she's the King of the Amazons. But she can only give herself to a man who bests her in hand-to-hand combat. So he has to fight her and make sure that he doesn't hurt her in order to win, because she's trying to kill him. That's sort of the situation with Bill. He's ready to let her win. In fact, he wants her to, but his ethic, he's the animal and she's the man. It's complicated, but that's Quentin. Quentin is so fucking complicated, it's almost silly.
 * O: Do you think Bill has come to terms with the idea of being killed?
 * DC: Yeah. There used to be a line in it about that, but Quentin cut it out. He wants to leave some of the mystery of it. He wants the audience to be talking about why he does this forever. A playwright once told me, "Here's what you do. You take situations and you build a perfect globe with the story. The problem is that nobody gets to see inside it. So you cut it in half and you show half the story, then let them make up the rest of it." Because otherwise, it's opaque. If you tell them everything, they'll have nothing to think about.
 * David Carradine in "David Carradine" by Nathan Rabin, AVClub, (4/28/04).

 * Q: There is a lot of introspection, a lot of character development in VOLUME 2. Tarantino has always described Bill as a pimp of death. But there seems to be more to the man.
 * A: Yeah, quite a bit. As a professional, that's what he does. He finds these young girls and turns them into assassins, controls them, and he likes to do it with beautiful women. And of course he gives his little brother a job. You gotta do that. And Michael Madsen, isn't he remarkable in this picture?... I've fallen in love with that guy. I'm starting to babble...
 * David Carradine, "KILL BILL VOLUME 2 - US interview with David Carradine", Phase9

 * The movie is a distillation of the countless grind house kung-fu movies Tarantino has absorbed, and which he loves beyond all reason. Web sites have already enumerated his inspirations—how a sunset came from this, and a sword from that. He isn't copying, but transcending; there's a kind of urgency in the film, as if he's turning up the heat under his memories.
 * The movie opens with a long closeup of The Bride (Uma Thurman) behind the wheel of a car, explaining her mission, which is to kill Bill. There is a lot of explaining in the film; Tarantino writes dialogue with quirky details that suggest the obsessions of his people. That's one of the ways he gives his movies a mythical quality; the characters don't talk in mundane everyday dialogue, but in a kind of elevated geekspeak that lovingly burnishes the details of their legends, methods, beliefs and arcane lore.
 * The training with Pai Mei, we learn, prepared The Bride to begin her career with Bill ("jetting around the world making vast sums of money and killing for hire"), and is inserted in this movie at a time and place that makes it function like a classic cliffhanger. In setting up this scene, Tarantino once again pauses for colorful dialogue; The Bride is informed by Bill that Pai Mei hates women, whites and Americans, and much of his legend is described. Such speeches function in Tarantino not as long-winded detours, but as a way of setting up characters and situations with dimensions it would be difficult to establish dramatically.
 * The fight with Elle Driver is a virtuoso celebration of fight choreography; although we are aware that all is not as it seems in movie action sequences, Thurman and Hannah must have trained long and hard to even seem to do what they do. Their battle takes place inside Budd's trailer home, which is pretty much demolished in the process, and provides a contrast to the elegant nightclub setting of the fight with O-Ren Ishii; it ends in a squishy way that would be unsettling in another kind of movie, but here all the action is so ironically heightened that we may cringe and laugh at the same time.
 * Of the original "Kill Bill," I wrote: "The movie is all storytelling and no story. The motivations have no psychological depth or resonance, but are simply plot markers. The characters consist of their characteristics." True, but one of the achievements of "Volume 2" is that the story is filled in, the characters are developed, and they do begin to resonate, especially during the extraordinary final meeting between The Bride and Bill—which consists not of nonstop action but of more hypnotic dialogue and ends in an event that is like a quiet, deadly punch line.
 * Roger Ebert, "Kill Kill: Volume 2", (April 16, 2004).

 * Q: What side of Elle do we see in VOLUME 2?
 * A: Well, you just get to know her. In VOLUME 1 you only see her in one scene which is in the hospital, and you know she's trying to put The Bride out of her coma and out of her misery, put her to sleep. But in this one you understand a little bit more about her relationship to Bill, how she feels about Budd, how she feels about The Bride. Basically, she doesn't really have very many good feelings for anyone, even the man she supposedly loves. Even her master... I don't want to tell you too much...
 * Q: And there is a great rivalry between Elle and The Bride that's played out in a small trailer. It does seem like an unlikely location for the showdown between these Amazon blondes.
 * A: It did seem like an unlikely location because originally it wasn't meant to be in a trailer, it was meant to be outside in the desert, and we were going to have this much more classic spaghetti western... a duel where we turn back to back and take paces away from each other, turn around and choose a stance and do the whole thing, but when Quentin decided to place the whole fight inside the trailer, I was a little bit worried at first, I thought he was gonna cut me off because he had spent so much time in China in The House of Blue Leaves and he had run over schedule and wanted to cut it short, but it turned out that he just wanted a complete mess of a bar room brawl, a sort of Godzilla gone wrong, two cats in a tin can kind of situation; and then that's what it turned out to be, and I think ultimately it was probably the funnier and more entertaining decision.

 * A: Actually, I do use the word 'gargantuan,' I like the word 'gargantuan,' it's a fun word to say.
 * Q: Since the movie or before?
 * A: I think I've said it a few times. I think that Quentin actually threw it in there because one of the references that he gave us for our fight sequence was a movie called The War of the Gargantuas.
 * Daryl Hannah, "KILL BILL VOLUME 2 - US interview with Daryl Hannah", Phase9.

 * Q: That trailer of Budd's would seem like an unlikely location for a couple of monumental showdowns.
 * A: Yeah, it does seem very unlikely, but that came out of the mind of Quentin Tarantino. Where he came up with that I have no idea. But I'm telling you, when you walked into that trailer it was like someone really lived there. I mean if you would reach down and open a drawer, the drawer was all filled with stuff that Budd would have. And you never see that on camera. Nobody's filming what's in the drawer. You never see it in the movie. It's just details like that, that they went to that length to create those details. I could have lived in there. All Budd's clothes are in the closet; there was a bed in there with blankets and the bathroom worked; there was a refrigerator and records. When you walked in there, someone lived there. But that's the environment that he created and that's the environment he creates for the actors. It's incredible, it's kind of unsettling sometimes, it's neurotic. You're like, oh my God, why don't I just stay here? I don't want to go back to the hotel.
 * Michael Madson, "KILL BILL VOLUME 2 - US Interview With Michael Madson", Phase9.

 * The Mexican and American Southwest settings and use of material from Ennio Morricone’s scores rep the obvious ways in which “Vol. 2” derives from Sergio Leone, but equally important is the influence of the Italian master in pushing Tarantino to expand what could have been perfunctory scenes into hugely elaborated set-pieces; latter detailing is what gives “Vol. 2” its special charge for film buffs or anyone who keys into what Tarantino is up to.
 * Todd McCarthy, https://variety.com/2004/film/markets-festivals/kill-bill-vol-2-1200534155/ "Kill Bill Vol. 2"], Variety, (April 5, 2004)

 * All of the director's musical, film and comic-book loves are on display; he gives much play to the grungy martial-arts melodrama Five Fingers of Death, evoking its use of Quincy Jones's Ironside theme and plucking several of its plot devices. As befits that kind of density, there are more entrances, back stories and origins in Vol. 2 than in the first hundred issues of The Amazing Spider-Man, Leone's Man With No Name trilogy and all the Shogun Assassin movies combined. But unlike the 100-meter-high hurdles of Vol. 1, Vol. 2 feels like a cross-country run, with hills and long stretches of flatland, as it settles into its casual, carnage-laden pace. It has the wily, extended cadences of Leone's movies, with the first 15 or so minutes filmed in loamy, luscious black-and-white and set in what could only be called exploitation-picture Texas. (What the master cinematographer Vittorio Storaro does with shadow, the director of photography Robert Richardson does with light, painting even the interiors with warm, bright flares. His harsh but loving glow permeates this adventure and, like Mr. Storaro's, his signature is instantly recognizable.)
 * Vol. 2 works like a multimedia mix tape, and Mr. Tarantino rides the tempo of his films like a D.J., abetted in the wheel-in-a-wheel trickiness by the deft fingers of his editor Sally Menke. When one of the characters in Vol. 2 makes an offhand remark about undisputed truth, Mr. Tarantino's actual forebear is clear: the R&B producer Norman Whitfield. Mr. Whitfield was the link between Detroit slick (Motown) and funk (Parliament/Funkadelic). While adding a few licks of his own, Mr. Tarantino, like Mr. Whitfield, gets goose flesh from the evil that lurks within.
 * Elvis Mitchell, "Vengeance Still Mine, Saieth the Lethal Bride", The New York Times, (April 16, 2004).

 * Maybe it is progress of a sort—moral if not cinematic—that in KB2 Tarantino largely eschews the hyper-violence that characterized its predecessor. But rather than replace it with, say, clever dialogue, imaginative plotting, or meaningful Character development, he's substituted the cinematic equivalent of dead air. He intends this to be a nod to the stately, deliberate style of Leone, but it's unaccompanied by any of the elements that made that style great—the use of landscape (both facial and geological), the musical crescendos (Tarantino borrows some Morricone tunes in KB2, but seems afraid of using them in anything other than a minor key), the rhythmic interaction of lengthy buildup followed by momentary violence. (Quentin prefers lengthy buildup followed by lengthy violence; it's not the same thing.) Leone was by nature a mythologizer; Tarantino is by nature a demythologizer. His killer-heroes are not silent, stoic types. They're video store clerks with guns, babblers on every subject from Madonna to French cheeseburgers.
 * Chistoher Orr, "The Movie Review: 'Kill Bill Vol. 2'", The Atlantic, (Aug 10, 2004).

 * The audience has expanded. We have more women this time than we had on Volume 1. There was less violence in this one, and that came out in the publicity and the reviews, which drove more women into the theater. And the movie really stands by itself; you don't have to see Volume 1 to enjoy Volume 2.
 * Rick Sands in "Sweet Revenge: 'Kill Bill: Vol. 2' Is Financial Hit" by Shannon Waxman, The New York Times, (April 19, 2004).
 * Vol. 2 makes a compelling case for a more serious interpretation of Tarantino’s talent, and the film justifies the otherwise vapid (and very cool) Vol. 1, which should never have existed as a separate film. The commercial logistics of a four-hour movie aside, Kill Bill would have worked best as a single entity, the second half imbuing the first with a certain weight. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around a flashlight, the degrading image is worth more than any moment in the first volume. Here Tarantino employs the same technique as in Reservoir Dogs, where he subtly focused on his characters’ ears before slicing one off in the end. It’s a cruel trick, but a crafty one—and proof that Tarantino plays more than lip service to the art of film.
 * Zachary M. Seward, "Film Review: Kill Bill, Vol. 2", The Crimson, (April 23, 2004).
 * Q: Uma, how was it to shoot the coffin scene, as a claustrophobic person myself it seemed very scary to watch?
 * A: Well being buried alive should be scary for anyone whether or not you are claustrophobic, [crowd laughs] but saying that I am claustrophobic and we pretty much did everything that could be done with a girl, a coffin and soil. The sound effects are very good and that added to the tension of the moment, other than that it was just another happy day at the office.
 * Uma Thurman, "KILL BILL VOLUME 2 - Q&A with Uma Thurman" by Neils Hesse, Phase9.

 * We try to appeal to her maternal instincts, and suggest that the ending, in which Beatrix is reunited with her four-year-old daughter, makes the film a kind of love story, a family romance. Did she like that about it? "Yeah, I think it takes a tremendous turn where the character is thrown back into life, because if that hadn't happened she might as well have given herself a five-point exploding palm and died.
 * Uma Thurman, "Uma Thurman: Pulp friction" by Leslie Felperin, The Independent, (16 April 2004).

 * Uma Thurman doesn’t get nailed to a cross in Kill Bill Vol. 2, but writer-director Quentin Tarantino runs her battered character, called the Bride, through a gauntlet that is gory enough to make Mel Gibson flinch. No matter. You’ll thrill to the action, savor the tasty dialogue and laugh like bloody hell. Tarantino has done more than continue the revenge tale he started in Vol. 1 — the Bride wants payback after being left for dead in her wedding dress by Bill (David Carradine) and four other killers in his Deadly Viper Assassination Squad, of which she was once queen bee. Vol. 2 ties the events of Vol. 1 together, just like The Return of the King did for The Lord of the Rings trilogy. You watch and think, “I get it now.” Tarantino has made the hottest mix tape in the history of cinema. Like a master DJ, he samples every lowdown, B-movie genre that formed him, from kung fu and samurai flicks to anime and spaghetti westerns, then filters it through his imagination to create something totally Tarantino: a blast of pure movie oxygen.
 * Peter Travers, "Kill Bill Vol. 2", Rolling Stone, (April 6, 2004).

Cast

 * Uma Thurman – Beatrix Kiddo/The Bride
 * David Carradine – Bill
 * Gordon Liu – Pai Mei
 * Michael Madsen – Budd
 * Daryl Hannah – Elle Driver

title: Kill Bill: Volume 2


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Alexander von Humboldt

Friedrich Wilhelm Heinrich Alexander Freiherr von Humboldt (14 September 1769 – 6 May 1859) was a German naturalist and explorer, and the younger brother of the diplomat and philosopher Wilhelm von Humboldt.

Quotes

 * Only what we have wrought into our character during life can we take away with us.
 * As quoted in Seed-grain for Thought and Discussion (1856) by Anna Cabot Lowell, Vol. 1, p. 260

 * (In 2019) more than 150 years ago, Alexander von Humboldt warned that “the restless activity of large communities of men gradually despoil the face of the Earth”.

Equinoctial Regions of America (1814-1829)
As translated by Thomasina Ross

 * Devoted from my earliest youth to the study of nature, feeling with enthusiasm the wild beauties of a country guarded by mountains and shaded by ancient forests, I experienced in my travels, enjoyments which have amply compensated for the privations inseparable from a laborious and often agitated life.

 * One of the noblest characteristics which distinguish modern civilization from that of remoter times is, that it has enlarged the mass of our conceptions, rendered us more capable of perceiving the connection between the physical and intellectual world, and thrown a more general interest over objects which heretofore occupied only a few scientific men, because those objects were contemplated separately, and from a narrower point of view.

 * The expression of vanity and self-love becomes less offensive, when it retains something of simplicity and frankness.

 * Our imagination is struck only by what is great; but the lover of natural philosophy should reflect equally on little things.

 * In order to ameliorate without commotion new institutions must be made, as it were, to rise out of those which the barbarism of centuries has consecrated. It will one day seem incredible that until the year 1826 there existed no law in the Great Antilles to prevent the sale of young infants and their separation from their parents, or to prohibit the degrading custom of marking the negroes with a hot iron, merely to enable these human cattle to be more easily recognized.

Kosmos (1845 - 1847)

 * The principal impulse by which I was directed was the earnest endeavor to comprehend the phenomena of physical objects in their general connection, and to represent nature as one great whole, moved and animated by internal forces. My intercourse with highly-gifted men early led me to discover that, without an earnest striving to attain to a knowledge of special branches of study, all attempts to give a grand and general view of the universe would be nothing more than a vain illusion. These special departments in the great domain of natural science are, moreover, capable of being reciprocally fructified by means of the appropriative forces by which they are endowed.

 * While we maintain the unity of the human species, we at the same time repel the depressing assumption of superior and inferior races of men. There are nations more susceptible of cultivation, more highly civilized, more enobled by mental cultivation than others, but none in themselves nobler than others. All are in like degree designed for freedom; a freedom which, in the ruder conditions of society, belongs only to the individual, but which, in social states enjoying political institutions, appertains as a right to the whole body of the community.

 * From the remotest nebulæ and from the revolving double stars, we have descended to the minutest organisms of animal creation, whether manifested in the depths of ocean or on the surface of our globe, and to the delicate vegetable germs which clothe the naked declivity of the ice-crowned mountain summit; and here we have been able to arrange these phenomena according to partially known laws; but other laws of a more mysterious nature rule the higher spheres of the organic world, in which is comprised the human species in all its varied conformation, its creative intellectual power, and the languages to which it has given existence. A physical delineation of nature terminates at the point where the sphere of intellect begins, and a new world of mind is opened to our view. It marks the limit, but does not pass it.

 * The most powerful influence exercised by the Arabs on general natural physics was that directed to the advances of chemistry; a science for which this race created a new era.(...) Besides making laudatory mention of that which we owe to the natural science of the Arabs in both the terrestrial and celestial spheres, we must likewise allude to their contributions in separate paths of intellectual development to the general mass of mathematical science.
 * Cosmos, H.G. Bohn, 1860, v2, p.589,595.

Quotes about von Humboldt

 * That celebrated traveller Humboldt was profoundly impressed with the scientific value of a combined effort to be made by the observers of all nations, to obtain accurate measurements of the magnetism of the earth; and we owe it mainly to his enthusiasm for science... that not only private men of science, but the governments of most of the civilised nations... were induced to take part in the enterprise.
 * James Clerk Maxwell, "Introductory Lecture on Experimental Physics," The Scientific Papers of James Clerk Maxwell (1890) Vol. 2

 * The celebrated traveller, Baron Humboldt, calling on the President one day, was received into his cabinet. On taking up one of the public journals which lay upon the table, he was shocked to find its columns teeming with the most wanton abuse and licentious calumnies of the President. He threw it down with indignation, exclaiming, "Why do you not have the fellow hung who dares to write these abominable lies ?" The President smiled at the warmth of the Baron, and replied — "What! hang the guardians of the public morals? No sir, — rather would I protect the spirit of freedom which dictates even that degree of abuse. Put that paper into your pocket, my good friend, carry it with you to Europe, and when you hear any one doubt the reality of American freedom, show them that paper, and tell them where you found it." "But is it not shocking that virtuous characters should be defamed?" replied the Baron. "Let their actions refute such libels. Believe me," continued the President, "virtue is not long darkened by the clouds of calumny; and the temporary pain which it causes is infinitely overweighed by the safety it insures against degeneracy in the principles and conduct of public functionaries. When a man assumes a public trust, he should consider himself as public property."
 * B. L. Rayner, presenting an account of a meeting between Humboldt and Thomas Jefferson, in Sketches of the Life, Writings, and Opinions of Thomas Jefferson (1832), p. 474; also in his Life of Jefferson (1834), p. 356. The exact date is not presented but several meetings with the Jefferson occurred during Humboldt's visit to Washington, D.C., from June 1 to June 27, 1804.

 * there is this poetry. There is this science. The farther along the way we go in each, the more clearly the relationship may be perceived, the more prodigal the gifts. The definitions of Western culture have, classically, separated these two disciplines. When Darwin wrote of Humboldt that he displayed the rare union between poetry and science, he set the man in a line of heroes of that meeting-place-a line which includes Lucretius and Goethe and Leonardo, but which for the last centuries has been obscured in the critical structure which insists that the forms of imagination are not only separate, but exclusive.
 * Muriel Rukeyser The Life of Poetry (1949)

title: Alexander von Humboldt


text:
Wilhelm von Humboldt

Friedrich Wilhelm Christian Karl Ferdinand Freiherr von Humboldt (22 June 1767 – 8 April 1835) was a government functionary, diplomat, philosopher, founder of Humboldt Universität in Berlin, a friend of Johann Wolfgang von Goethe and Friedrich Schiller, and elder brother of naturalist Alexander von Humboldt who is especially remembered as a linguist who made important contributions to the philosophy of language and to the theory and practice of education.

Quotes

 * Es gibt schlechterdings gewisse Kenntnisse, die allgemein sein müssen, und noch mehr eine gewisse Bildung der Gesinnungen und des Charakters, die keinem fehlen darf. Jeder ist offenbar nur dann ein guter Handwerker, Kaufmann, Soldat und Geschäftsmann, wenn er an sich und ohne Hinsicht auf seinen besonderen Beruf ein guter, anständiger, seinem Stande nach aufgeklärter Mensch und Bürger ist. Gibt ihm der Schulunterricht, was hierfür erforderlich ist, so erwirbt er die besondere Fähigkeit seines Berufs nachher so leicht und behält immer die Freiheit, wie im Leben so oft geschieht, von einem zum andern überzugehen.
 * There are undeniably certain kinds of knowledge that must be of a general nature and, more importantly, a certain cultivation of the mind and character that nobody can afford to be without. People obviously cannot be good craftworkers, merchants, soldiers or businessmen unless, regardless of their occupation, they are good, upstanding and – according to their condition – well-informed human beings and citizens. If this basis is laid through schooling, vocational skills are easily acquired later on, and a person is always free to move from one occupation to another, as so often happens in life.
 * As quoted in Wilhelm von Humboldt (1970), by P. Berglar, p. 87, and "Profiles of Educators: Wilhelm von Humboldt (1767–1835)" by Karl-Heinz Günther, in Prospects, Vol. 18, Issue 1 (March 1988)

 * Diejenige Regierung ist die beste, die sich überflüssing macht.
 * That government is best which makes itself unnecessary.
 * As quoted in Dictionary of Quotations from Ancient and Modern English and Foreign Sources (1899) by James Wood

 * True enjoyment comes from activity of the mind and exercise of the body; the two are ever united.
 * As quoted in A Dictionary of Thoughts : Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) edited by Tryon Edwards

 * Durch die gegenseitige Abhängigkeit des Gedankens, und des Wortes von einander leuchtet es klar ein, daß die Sprachen nicht eigentlich Mittel sind, die schonerkannte Welt darzustellen, sondern weit mehr, die vorher unerkannte zu entdecken. Ihre Verschiedenheit ist nicht eine von Schällen und Zeichen, sondern eine Verschiedenheit der Weltansichten selbst. Hierin ist der Grund, und der letzte Zweck aller Sprachuntersuchung enthalten. Die Summe des Erkennbaren liegt, als das von dem menschlichen Geiste zu bearbeitende Feld, zwischen allen Sprachen, und unabhängig von ihnen, in der Mitte; der Mensch kann sich diesem rein objectiven Gebiet nicht anders, als nach seiner Erkennungs- und Empfindungsweise, also auf einem subjectiven Wege, nähern.
 * The interdependence of word and idea shows clearly that languages are not actually means of representing a truth already known, but rather of discovering the previously unknown. Their diversity is not one of sounds and signs, but a diversity of world perspectives [Weltansichten]. … The sum of the knowable, as the field to be tilled by the human mind, lies among all languages, independent of them, in the middle. Man cannot approach this purely objective realm other than through his cognitive and sensory powers, that is, in a subjective manner.
 * As quoted in The Linguistic Relativity Principle and Humboldtian Ethnolinguistics : A History And Appraisal (1963) by Robert Lee Miller, and The Linguistic Turn in Hermeneutic Philosophy (2002) by Cristina Lafont

 * Governmental regulations all carry coercion to some degree, and even where they don't, they habituate man to expect teaching, guidance and help outside himself, instead of formulating his own.
 * As quoted in The Liberal Tradition in European Thought (1971) by David Sidorsky, p. 73

 * How a person masters his fate is more important than what his fate is.
 * As quoted in International Proverbs (2000) by Luzano Pancho Canlas, p. 40

 * I am more and more convinced that our happiness or our unhappiness depends far more on the way we meet the events of life than on the nature of those events themselves.
 * As quoted in Lightning Fast Enlightenment: A Journey to the Secrets of Happiness (2000) by Jordan S. Metzger, p. 9

 * The most beautiful, perhaps the only true philosophical song existing in any known tongue .... perhaps the deepest and loftiest thing the world has to show.
 * About the Bhagavad Gita. Galav, Philosophy of Hinduism: universal science-religion : an introduction [S.l.: s.n.], c1992. ISBN: 0964237709. p 650. as quoted in Londhe, S. (2008). A tribute to Hinduism: Thoughts and wisdom spanning continents and time about India and her culture

 * I read the Indian poem for the first time when I was in my country estate in Silesia and, while doing so, I felt a sense of overwhelming gratitude to God for having let me live to be acquainted with this work. It must be the most profound and sublime thing to be found in the world.
 * About the Bhagavad Gita. Rao, P Nagaraja The Bhagavad Gita - The Quest for the Moral Ideal, Religious Values and the Affirmation ofFaith Madras 1986 p.20  as quoted in Londhe, S. (2008). A tribute to Hinduism: Thoughts and wisdom spanning continents and time about India and her culture

The Limits of State Action (1792)

 * Quotations from the English edition titled: The Sphere and Duties of Government as translated by Joseph Coulthard (1854)

 * Freedom is but the possibility of a various and indefinite activity; while government, or the exercise of dominion, is a single, but yet real activity. The ardent desire for freedom, therefore, is at first only too frequently suggested by the deep-felt consciousness of its absence.
 * Ch. 1

 * The inquiry into the proper aims and limits of State agency must be of the highest importance—nay, that it is perhaps more vitally momentous than any other political question.
 * Ch. 1

 * The true end of Man, or that which is prescribed by the eternal and immutable dictates of reason, and not suggested by vague and transient desires, is the highest and most harmonious development of his powers to a complete and consistent whole.

 * Reason cannot desire for man any condition other than that in which not only every individual enjoys the most absolute, unbounded freedom to develop himself out of himself, in true individuality, but in which physical nature, as well, need receive no other shaping by human hands than that which is given to her voluntarily by each individual, according to the measure of his wants and his inclinations, restricted only by the limits of his energy and his rights.
 * Ch. 2

 * Wherever the citizen becomes indifferent to his fellows, so will the husband be to his wife, and the father of a family toward the members of his household.
 * Ch. 3

 * Whatever does not spring from a man's free choice, or is only the result of instruction and guidance, does not enter into his very being, but still remains alien to his true nature; he does not perform it with truly human energies, but merely with mechanical exactness.
 * Ch. 3

 * The grand, leading principle, towards which every argument hitherto unfolded in these pages directly converges, is the absolute and essential importance of human development in its richest diversity; but national education, since at least it presupposes the selection and appointment of some one instructor, must always promote a definite form of development, however careful to avoid such an error. And hence it is attended with all those disadvantages which we before observed to flow from such a positive policy; and it only remains to be added, that every restriction becomes more directly fatal, when it operates on the moral part of our nature,—that if there is one thing more than another which absolutely requires free activity on the part of the individual, it is precisely education, whose object it is to develop the individual.
 * Ch. 6

 * Only the actual conception of the divine nature changes according to the different ideas of perfection which prevail in particular ages and nations. The gods of the remoter ages of Greece and Rome, and those worshipped by our own earliest forefathers, were simply ideals of bodily strength and prowess. As the idea of sensuous beauty arose and gradually became refined, the sensuous personification of beauty was exalted to the throne of deity; and hence arose what we might call the religion of art. When men ascended from the sensuous to the purely spiritual, from the beautiful to the good and true, the sum of all moral and intellectual perfection became the object of their adoration, and religion became the province of philosophy.
 * Ch. 7

 * Now, all State institutions, as I also before maintained, act solely on the substance of the doctrines in a greater or less degree; whilst as regards the form of their acceptance by the individual, the channels of influence are wholly closed to any political agency. The way in which religion springs up in the human heart, and the way in which it is received in each case, depend entirely on the whole manner of the man's existence--the whole system of his thoughts and sensations. But if the State were able to remodel these according to its views (a possibility which we can hardly conceive), I must have been very unfortunate in the exposition of my principles if it were necessary to re-establish the conclusion which meets this remote possibility, viz., that the State may not make man an instrument to subserve its arbitrary designs, and induce him to neglect for these his proper individual ends. And that there is no absolute necessity, such as would perhaps alone justify an exception in this instance, is apparent from that perfect independence of morality on religion which I have already sought to establish, but which will receive a stronger confirmation when I show that the preservation of a State's internal security, does not at all require that a proper and distinct direction should be given to the national morals in general.
 * Ch. 8

 * The sensual and spiritual are linked together by a mysterious bond, of which our hearts are distinctly conscious, though it remains hidden from our eyes. To this double nature of the visible and invisible world — to the deep-implanted longing for the latter, coupled with the feeling of the sweet necessity of the former, we owe all sound and logical systems of philosophy, truly based on the immutable principles of our nature, just as to the same source we are able to trace the most visionary and incoherent reveries. A constant endeavour to unite these two elements, so that each may rob as little as possible from the other, has always seemed to me the true end of wisdom.
 * Ch. 8

 * To inquire and to create;—these are the grand centres around which all human pursuits revolve, or at least to these objects do they all more or less directly refer.
 * Ch. 8

 * Setting aside the fact that coercion and guidance can never succeed in producing virtue, they manifestly tend to weaken power; and what are tranquil order and outward morality without true moral strength and virtue? Moreover, however great an evil immorality may be, we must not forget that it is not without its beneficial consequences. It is only through extremes that men can arrive at the middle path of wisdom and virtue.
 * Ch. 8

 * Man is naturally more disposed to beneficent than selfish actions. This we learn even from the history of savages. The domestic virtues have something in them so inviting and genial, and the public virtues of the citizen something so grand and inspiring, that even he who is barely uncorrupted, is seldom able to resist their charm.
 * Ch. 8

 * Freedom exalts power; and, as is always the collateral effect of increasing strength, tends to induce a spirit of liberality. Coercion stifles power, and engenders all selfish desires, and all the mean artifices of weakness. Coercion may prevent many transgressions; but it robs even actions which are legal of a portion of their beauty. Freedom may lead to many transgressions, but it lends even to vices a less ignoble form.
 * Ch. 8

 * All political arrangements, in that they have to bring a variety of widely-discordant interests into unity and harmony, necessarily occasion manifold collisions. From these collisions spring misproportions between men’s desires and their powers; and from these, transgressions. The more active the State is, the greater is the number of these.
 * Ch. 8

 * Every development of truths which relate to human nature, and more especially its active manifestations, is attended with a wish to see worked out in practice what theory has shown us to be just and good. To man, whose mind is seldom satisfied with the calmly beneficent influence of abstract ideas, this desire is perfectly natural, and it increases in liveliness with the spirit of benevolent sympathy in social happiness and well-being. But, however natural in itself, and however noble in its origin, this desire has not unfrequently led to hurtful consequences,—nay, often to greater evils than the colder indifference, or (as from the very opposite cause the same effect may follow) the glowing enthusiasm, which, comparatively heedless of reality, delights only in the pure beauty of ideas.
 * Ch. 16

 * In every remodelling of the present, the existing condition of things must be supplanted by a new one. Now every variety of circumstances in which men find themselves, every object which surrounds them, communicates a definite form and impress to their internal nature. This form is not such that it can change and adapt itself to any other a man may choose to receive; and the end is foiled, while the power is destroyed, when we attempt to impose upon that which is already stamped in the soul a form which disagrees with it.
 * Ch. 16

 * If we glance at the most important revolutions in history, we are at no loss to perceive that the greatest number of these originated in the periodical revolutions of the human mind.
 * Ch. 16

 * Now, without directly altering the existing condition of things, it is possible to work upon the human mind and character, and give them a direction no more correspondent with that condition; and this it is precisely which he who is wise will endeavour to do. Only in this way is it possible to reproduce the new system in reality, just as it has been conceived in idea; and in every other method (setting aside the evils which arise from disturbing the natural order of human development) it is changed, modified, disfigured by the remaining influence of preceding systems, in the actual state of circumstances as well as in the minds of men. But if this obstacle be removed,—if the new condition of things which is resolved upon can succeed in working out its full influence, unimpeded by what was previously existing and by the circumstances of the present on which this has acted,—then must nothing further be allowed to stand in the way of the contemplated reform.
 * Ch. 16

 * In order to bring about the transition from the condition of the present to another newly resolved on, every reform should be allowed to proceed as much as possible from men’s minds and thoughts.
 * Ch. 16

 * The incapacity for freedom can only arise from a want of moral and intellectual power; to elevate this power is the only way to counteract this want; but to do this presupposes the exercise of that power, and this exercise presupposes the freedom which awakens spontaneous activity. Only it is clear we cannot call it giving freedom, when fetters are unloosed which are not felt as such by him who wears them. But of no man on earth—however neglected by nature, and however degraded by circumstances—is this true of all the bonds which oppress and enthral him. Let us undo them one by one, as the feeling of freedom awakens in men’s hearts, and we shall hasten progress at every step. There may still be great difficulties in being able to recognize the symptoms of this awakening. But these do not lie in the theory so much as in its execution, which, it is evident, never admits of special rules, but in this case, as in every other, is the work of genius alone.
 * Ch. 16

 * The legislator should keep two things constantly before his eyes:—1. The pure theory developed to its minutest details; 2. The particular condition of actual things which he designs to reform.
 * Ch. 16

 * It is the principle of necessity towards which, as to their ultimate centre, all the ideas advanced in this essay immediately converge. In abstract theory the limits of this necessity are determined solely by considerations of man’s proper nature as a human being; but in the application we have to regard, in addition, the individuality of man as he actually exists. This principle of necessity should, I think, prescribe the grand fundamental rule to which every effort to act on human beings and their manifold relations should be invariably conformed. For it is the only thing which conducts to certain and unquestionable results. The consideration of the useful, which might be opposed to it, does not admit of any true and unswerving decision.

 * Owing to the vigorous and elastic strength of man’s original power, necessity does not often require anything save the removal of oppressive bonds. From all these reasons (to which a more detailed analysis of the subject might add many more) it will be seen, that there is no other principle than this so perfectly accordant with the reverence we owe to the individuality of spontaneous beings, and with the solicitude for freedom which that reverence inspires. Finally, the only infallible means of securing power and authority to laws, is to see that they originate in this principle alone.

 * To the yoke of necessity every one willingly bows the head. Still, wherever an actually complicated aspect of things presents itself, it is more difficult to discover exactly what is necessary; but by the very acknowledgment of the principle, the problem invariably becomes simpler and the solution easier.

Kosmos (1847)

 * Quotations of Wilhelm in Kosmos (1845 -1847), by his brother Alexander von Humboldt

 * If we would indicate an idea which, throughout the whole course of history, has ever more and more widely extended its empire, or which, more than any other, testifies to the much-contested and still more decidedly misunderstood perfectibility of the whole human race, it is that of establishing our common humanity — of striving to remove the barriers which prejudice and limited views of every kind have erected among men, and to treat all mankind, without reference to religion, nation, or color, as one fraternity, one great community, fitted for the attainment of one object, the unrestrained development of the physical powers. This is the ultimate and highest aim of society, identical with the direction implanted by nature in the mind of man toward the indefinite extension of his existence. He regards the earth in all its limits, and the heavens as far as his eye can scan their bright and starry depths, as inwardly his own, given to him as the objects of his contemplation, and as a field for the development of his energies. Even the child longs to pass the hills or the seas which inclose his narrow home; yet, when his eager steps have borne him beyond those limits, he pines, like the plant, for his native soil; and it is by this touching and beautiful attribute of man — this longing for that which is unknown, and this fond remembrance of that which is lost — that he is spared from an exclusive attachment to the present. Thus deeply rooted in the innermost nature of man, and even enjoined upon him by his highest tendencies, the recognition of the bond of humanity becomes one of the noblest leading principles in the history of mankind.

 * The impetuous conquests of Alexander, the more politic and premeditated extension of territory made by the Romans, the wild and cruel incursions of the Mexicans, and the despotic acquisitions of the incas, have in both hemispheres contributed to put an end to the separate existence of many tribes as independent nations, and tended at the same time to establish more extended international amalgamation. Men of great and strong minds, as well as whole nations, acted under the influence of one idea, the purity of which was, however, utterly unknown to them. It was Christianity which first promulgated the truth of its exalted charity, although the seed sown yielded but a slow and scanty harvest. Before the religion of Christ manifested its form, its existence was only revealed by a faint foreshadowing presentiment. In recent times, the idea of civilization has acquired additional intensity, and has given rise to a desire of extending more widely the relations of national intercourse and of intellectual cultivation; even selfishness begins to learn that by such a course its interests will be better served than by violent and forced isolation. Language more than any other attribute of mankind, binds together the whole human race. By its idiomatic properties it certainly seems to separate nations, but the reciprocal understanding of foreign languages connects men together on the other hand without injuring individual national characteristics.

Misattributed

 * Erst erfreuen, dann belehren.
 * First delight, then instruct.
 * Karl Friedrich Schinkel and Gustav Friedrich Waagen in "On the Purpose of the Berlin Gallery" [Über die Aufgabe der Berliner Galerie] (1828); occasionally attributed to von Humboldt, who had quoted Schinkel and Waagen in a report.

Quotes about

 * What do we mean when we speak of a normative system? As von Humboldt put it, "Man lives in a world presented to him by his language," meaning that the characteristics of a language lay down the categories of thought.
 * Shulamith Hareven "The Limits of My Language Are the Limits of My World" in The Vocabulary of Peace: Life, Culture, and Politics in the Middle East (1995)

title: Wilhelm von Humboldt


text:
User:CaptHayfever

CaptHayfever is a Wikiquote user who sometimes refers to himself in the third person, such as when writing an article/user page about himself. He is very bad at writing autobiographies, so yeah.

A Few of My Own

 * "A world without chaos is chaos."
 * "All paths invariably result in one conclusion."
 * "We have a winner, everyone!"
 * "That was dumb & stupid."
 * "I hereby decree..."
 * "The cheese is yesterday."
 * "This is Hayfever. Apparently I'm not here. Leave a message at the--(machine beeps)"
 * "De pooka teeta la conta le malaya ema su sa porlto." ("May you forever be pestered by invincible, malaria-infested mosquitos.")
 * "I don't believe in the death penalty. It's not torturous enough; once you're dead, the pain stops."
 * "Remember, it's not slander or libel if it's true."
 * "Peace, chill, & etc."
 * "I need a sig here! Working on it!"
 * "This has been total nonsense."

''This page about a Wikiquote user is a stub. You can help Wikiquote by not even touching it 'cause it's not yours.''

title: User:CaptHayfever


text:
Category:VfD archive entries

This is an experimental collection of entries from Votes for deletion that have been archived after their votes were closed. The official source of these entries is currently Votes for deletion archive. Please continue to archive closed votes on that page unless and until Deletion policy is changed.

title: Category:VfD archive entries


text:
User:Trevor macinnis~enwikiquote

My main user page is at wikipedia - Trevor macinnis 00:01, 26 September 2005 (UTC)

title: User:Trevor macinnis~enwikiquote


text:
User:Trevor macinnis~enwikiquote/Buttons

 Monday 29 July  UTC


text:
Wikiquote:Votes for deletion archive/A Tryst With Destiny

 * 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: no consensus. — Jeffq 06:23, 29 Apr 2005 (UTC)

A Tryst With Destiny
Page simply says this was moved to Wikisource. Is this a type of page that we want to have? Rmhermen 14:27, 4 Apr 2005 (UTC) Ain't I a Woman?, The_Gettysburg_Address, Give_Me_Liberty_Or_Give_Me_Death, I_have_a_Dream, Ich_bin_ein_Berliner, Installation_Speech_(Adrienne_Clarkson), La_Liberte, On_Women's_Rights_to_Vote, Speech_to_the_Troops_at_Tilbury, Whiskey_Speech, Woodrow_Wilson_declares_war_on_Germany, We_shall_fight_them_on_the_beaches, A_speech_made_by_The_Prince_of_Wales_at_a_Business_Lunch_in_Mumbai_held_with_members_of_the_business_community, A_speech_for_the_opening_of_the_Pembrokeshire_Meat_Company_Abattoir, A_Time_to_Heal_by_HRH_The_Prince_of_Wales, A_speech_to_open_the_second_Prince_of_Wales_Education_Summer_School, The Four Freedoms Speech, Franklin Roosevelt's First Inaugural Address Rmhermen 18:00, 4 Apr 2005 (UTC)
 *  Vote Closed. Result: no consensus (1 Keep [as redirect]; 1 Delete; original posting a question, not a vote). Recommend discussing this at Category talk:Transwiki as a policy issue, rather than a per-article VfD. (There is already a related discussion there under Ct:TW#Speedy delete old articles?.) — Jeff Q (talk) 06:23, 29 Apr 2005 (UTC)
 * Keep but as a redirect to A Tryst With Destiny. There might be interlang links on other projects (once I was led to such a page on English Wikiquote from another project, supposingly Japanese Wikiquote). And now we have no way to find such links. Recently German User Aka has developed a search engine for interlang links on Wikipedia. I asked him if he would like to customize his engine for Wikiquote. If he agree, then we can delete this type "article" without worrying ;-) --Aphaia 14:45, 4 Apr 2005 (UTC)
 * I have found a whole set of these pages -stemming from List of speeches and Charles, Prince of Wales:
 * Keep all the above for now . These suggested changes of existing practice for transwiki links deserve some discussion. (From what I'm finding, Wikipedia doesn't even follow the official transwiki process completely, either, but we should proceed from a plan, not expediency. I think we might be doing too much radical cleanup in too short a time.) I've started a discussion on this topic at Category talk:Move to Wikisource. — Jeff Q (talk) 15:31, 5 Apr 2005 (UTC)
 * Delete all. I've been persuaded by the delete arguments, and other projects seem to be ignoring the generic "keep a redirect" policy. But it's gonna be real fun adding these to the VfD archive! ;) — Jeff Q (talk) 23:17, 19 Apr 2005 (UTC)

Remark This page has been deleted later due to VfD result. --Aphaia 20:57, 6 August 2005 (UTC)

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


text:
Wikiquote:Votes for deletion archive/首页

 * 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, pending technical fix. ~ Kalki 14:57, 27 Mar 2005 (UTC)

首页
Tag=ged on Dec 2004 but perhaps not listed here. 首页 means "Main page" in Chinese and it has almost no content. --Aphaia 06:19, 24 Mar 2005 (UTC)

 * This was created by someone before the Wikiquotes in other languages had been started up, but technical problems with the software currently prevent its deletion. ~ Kalki 14:57, 27 Mar 2005 (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.

title: Wikiquote:Votes for deletion archive/首页


text:
Wikiquote:Votes for deletion archive/Пушкин, Александр Сергеевич

 * 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: Deleted. — Jeffq 06:06, 25 Apr 2005 (UTC)

Пушкин, Александр Сергеевич

 * Roboaction tagged this one a while ago but apparently didn't list it here. Even if translated this would have only two words. What is our policy on non-Roman alphabet titles? Rmhermen 23:48, 10 Apr 2005 (UTC)
 * VOTE CLOSED. Result: Deleted (3 Deletes; 1 implicit Delete; no dissent). — Jeff Q (talk) 06:06, 25 Apr 2005 (UTC)
 * Delete, currently. I think we have to have any article in latin alphabet for readability. As for policy on non-Roman alphabet titles, we have not yet, if I recall corretly. After setting more basic policies, we will discuss it someday not far. --Aphaia 06:26, 12 Apr 2005 (UTC)
 * Delete. I'd suggest making it a transwiki candidate to ru:Wikiquote, but I don't think it has enough content to be worth the trouble. — Jeff Q (talk) 10:59, 13 Apr 2005 (UTC)
 * Delete. BTW this means in cyrillic: Pushkin, Alexandr Sergeyevich. Probably we have another page on Pushin Deiryassin 14:26, 14 Apr 2005 (UTC)

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


text:
Wikiquote:Votes for deletion archive/정신분석과 지그문트 프로이트

 * 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: Deleted. — Jeffq 12:59, 2 May 2005 (UTC)

정신분석과 지그문트 프로이트
Besides inapropriate name (in Korean), probably the whole copy of a certain webpage (see the last line of this page), hence strongly doubting as copyright infringemen. --Aphaia 08:30, 17 Apr 2005 (UTC)
 * Vote closed. Result: Deleted (4 Deletes, 1 implicit Delete; no dissent). — Jeff Q (talk) 12:59, 2 May 2005 (UTC)
 * Delete. — Jeff Q (talk) 10:50, 17 Apr 2005 (UTC)
 * Delete speedily. --Eustace Tilley 11:18, 17 Apr 2005 (UTC)
 * The original is here, the author explicitly reserves all rights, so I replaced the text with a properly cited link. --Eustace Tilley 11:40, 17 Apr 2005 (UTC)
 * Comment: currently Wikiquote policy doesn't include copyvio as a speedy deletion candidates, if I recall correctly. --Aphaia 12:47, 17 Apr 2005 (UTC)
 * Similar fuzzy-logic problems use a point system. This page earns speedy delete points for a title which displays as all question marksan anonymous contributorno comments by the contributor at the time of creationno Wiki formattingno link to the external sourceno reference to the authorno credit to the author
no evidence that the lengthy work has ever been performed

 violation of the observation of rights the author posted on her page

That is enough merit a speedy exit, in my opinion.--Eustace Tilley 13:38, 17 Apr 2005 (UTC)
 * It is different if those articles could be speedy deletion candidate and if our policy says so currently. If you want to contitue the discussion on this point, please don't do it here but on WQ:VP. --Aphaia 15:42, 17 Apr 2005 (UTC)
 * Delete. I can't see any utility for keeping this. jni 12:03, 18 Apr 2005 (UTC)
 * Delete. We need to formulate a copyright violation policy as well. Rmhermen 13:43, 18 Apr 2005 (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.