text:
The Care Bears Movie

The Care Bears Movie is an animated feature film released on March 29, 1985 and produced by Canada's Nelvana Limited. It was the first in a theatrical trilogy of films starring the Care Bear characters. A movie that'll make the whole family care-a-lot.taglines

Individual lines

 * Swift Heart Rabbit: That's the most unfriendly tree I've ever seen!
 * Friend Bear [responding to secrets from Secret Bear]: Secret Bear says not to worry about falling. Worry about the lion instead.
 * Love-a-Lot Bear: A lot of people must have suddenly just...stopped caring.
 * Love-a-Lot Bear: Bear overboard! Bear overboard! Bedtime Bear went to sleep and fell overboard. [while Bedtime is sleeping on the water] Look!

Dialogue

 * [First Lines]
 * Children: Bless all the people young and old, for they are yours to love and hold, and bless Mr. and Mrs. Cherrywood. Amen.
 * Mrs. Cherrywood: Good night, children. Sweet dreams.
 * Girl: Mrs. Cherrywood, isn't Mr. Cherrywood going to tuck us in?
 * Mrs. Cherrywood: Oh, he'll be along. Don't you worry.
 * Mr. Cherrywood: I hope I'm not too late.
 * Mrs. Cherrywood: They've been asking for you.
 * Girl: Mr. Cherrywood!
 * Boy in bed: Yay!
 * Other children: Hooray!
 * Mr. Cherrywood [doing a juggling act]: Look sharp, everyone. Watch the bouncing balls. All righty, here we go. A-one, a-two, a-three. And then...ah-ah-ah! Thank you, thank you and...thank you. Now off to sleep to dream of clowns and circuses, acrobats and jugglers. And remember: I want a full report in the morning.
 * Toddler girl: Story, Mr. Cherrywood? Story? Please, the one about the circus?
 * Boy in bed: Please?
 * Other children: Yay! Tell us a story!
 * Mr. Cherrywood: Well...all right. [while children cheer] Just one story.
 * [Cherrywood's children crowd up on beds to listen to him. The old man sits on a red chair, then his wife picks up the toddler from the crib and gives her to him.]
 * Toddler girl: Story hat, story hat! [as the children are waiting, Mrs. Cherrywood gives her husband his top hat] YAY!
 * Mr. Cherrywood: [turns on the lamp on his cabinet and begins story] This is the story of two young children named Kim and Jason, and how they were helped by a group of very special friends: the Care Bears. You see, the Care Bears have a very special mission, and that mission is to help everyone share their feelings with others. The Care Bears live in a magic place...called Care-a-lot.

 * [Credits Rolling]
 * [Two Care Bears, Secret Bear and Friend Bear are travelling down to Earth on their Cloud Mobile to help Kim and Jason, two orphan children who have recently stopped caring for others. Secret Bear whispers into Friend Bear's ear]
 * Friend Bear: No, Secret Bear. I don't think it was the Cloud Mobile's fault. [Secret Bear alerts Friend Bear of Kim and Jason's appearance. The two children look at the two Bears with little interest] Hi. I'm Friend Bear, and this is Secret Bear. We're Care Bears.
 * Jason: What do you want?
 * Friend Bear: Only to be your friends.
 * Mr. Cherrywood: [narrating] You see, although Kim and Jason were warm and loving children, they had been so hurt when their parents went away that...they had decided never to love anyone ever again, just in case they too went away. Kim and Jason felt they didn't need anyone...but the Care Bears knew better.
 * Friend Bear: Everyone needs friends, Jason, even you and Kim.
 * Kim: We're not your friends.
 * Jason: How did you know our names?
 * Friend Bear: We know a lot of things about you. Kim reads a lot a books and wants to be a nurse when she grows up. And Jason, you want to be a jet pilot.
 * Jason: Yeah! How did you know that?
 * Friend Bear: Friends are supposed to know about each other's hopes and dreams. [again, Secret Bear whispers into her ear, but Kim and Jason took no notice] Secret Bear says not to worry. No one can keep a secret... [as Secret Bear zips his mouth shut] like Secret Bear!
 * Jason: Well, I'll tell you what we know about people you care for. They always let you down.
 * Kim: [to both Bears' dismay] So we'd rather not have any friends. Don't trouble yourselves.

 * [At an amusement park, a young Nicholas is struggling to carry a trunk with some old antiques to his master, a magician by the name of "The Great Fetuccini"]
 * Fetuccini: [while building a cardhouse]: Hey! Close the door!
 * [Nicholas tries to, but the weight of the trunk makes him fall back down on the wooden floor. As a result, Fetuccini's house is ruined. Sighing, he stands up firmly and grumpily before his apprentice, who looks up on him]
 * Nicholas: I-I didn't mean it-
 * Fetuccini: Aw...you never mean it, Nicholas! I bought that trunk, and maybe there's some junk in it I can use in my magic act. Now half of it's broken! [while Tenderheart Bear looks in] Oh...what am I going to do with you?! Every time I give you a simple thing to do, it's "boom" this and "crash" that!
 * Nicholas: I'm sorry, Mr. Fettuccini.
 * Fetuccini: Enough of your "sorries"! Check that new trunk and see if there's anything left I can use in my magic act. I have a show to put on! [getting back to sitting on desk] Perhaps one day I will teach you how an audience love you. But right now, you're next to hopeless.

 * [Nicholas is starting to put away the goods from the trunk, when he discovers an old book wrapped in blue and yellow, sealed in red wax that instantly melts the sooner he picks it up]
 * Nicholas: I wish...I'd give anything to find a way to get people to like me. [sighs]
 * Voice of the Spirit: [startling Nicholas]: Anything? [calls him by name, hauntingly] Nicholas?
 * Nicholas: Who's there? Who said that?
 * Voice of the Spirit: You did say..."anything"?
 * Nicholas: [taken aback by the voice; walking a few steps back, he falls down into the trunk] Whoa!! [sighs]
 * Tenderheart Bear: [looking through a hole at back of Fetuccini's desk; whispers to himself] Oh, gosh.

 * [Up in Care-a-lot, the Care Bears are testing their new invention]
 * Share Bear: With this Rainbow Rescue Beam, we can send a Care Bear anywhere in the whole world...in a matter of seconds!
 * Birthday Bear: Or, bring them back again, in case of an emergency.
 * Share Bear: We'll be able to help people share their feelings...a lot quicker.
 * Grumpy Bear: We've got to get it working first, Share Bear, and then we still won't know what will happen until we give it another test! Oh...! How come I'm always the one fixing things around here?
 * Share Bear: Because you never complain, Grumpy Bear. [giggles]
 * Grumpy Bear: Uh-huh! I think I know why the first test didn't work... [grunting to remove bug] There! This little star got itself stuck in the gears!
 * Share Bear: Now that's what I call star-stuck, Grumpy Bear!
 * [Looking angrily at it, Grumpy lets the yellow star go free]

 * [Birthday, Share and Grumpy are helping Grams Bear look for her grandchildren, Baby Hugs and Baby Tugs. Without them noticing it, the infant duo slide down near the Beam]
 * Baby Hugs Bear: What's this thing, Tugs?
 * Baby Tugs Bear: It's not a thing, Hugs. It's, uh...a thingamabilly.
 * Baby Hugs Bear: [giggles and hugs her brother] You know everything, Tugs! What's it do?!
 * Baby Tugs Bear: Oh, it...huh...oh, it makes bubbles. Square bubbles!
 * Baby Hugs Bear: Square bubbles? Howee! Make square bubbles, Tugs!
 * Baby Tugs Bear: Any...special color?! [presses some keys at random on the Beam. Nothing happens on the monitor]
 * Baby Hugs Bear: No square bubbles, Tugs. Not even round ones. [as Beam starts to work] You broke the thing!
 * Grumpy Bear: Baby Hugs! Baby Tugs! What have you done?!
 * Birthday Bear: It's obvious, Grumpy Bear. They got the Rainbow Rescue Beam working.
 * Grumpy Bear: But we still don't know if it will transport anyone.

 * [Instead of the bubbles Hugs and Tugs wanted, the Beam brings in Kim, Jason, Secret Bear and Friend Bear back from Earth, much to the Bears' surprise]
 * Cheer Bear: Oh, my stars! You brought visitors! What are they doing here?!
 * Friend Bear: We didn't bring them. They just came along. Someone brought us here.
 * Grumpy Bear: I knew it! Baby bear mischief.
 * Bedtime Bear: What are we going to do about to all the children?
 * Bear 1: I don't know.
 * Bear 2: Well, it wouldn't...
 * Bear 1: This has never happened before.
 * Bear 2: ...try to be good...
 * Bear 3: Perhaps we can let them stay.
 * Jason: Hey! Could we say something? Where are we?
 * Funshine Bear: Oh! We're terribly sorry. Bears?
 * Care Bears: We're the Care Bears!
 * Kim and Jason: More friends?!
 * Funshine Bear: Welcome to Care-a-Lot!
 * Friend Bear: Come on. We'll give you a tour.
 * Jason: Okay. But we're not gonna like it.

 * Wish Bear: [spotted something from her star-o-scope, rushing to tell the kids] Jason, Kim! Wait 'til you hear about this.
 * [Before she can get there, Wish Bear trips, falls and lands face first into a cloud. Everyone laughs. Secret Bear and Friend Bear run up to the stuck bear]
 * Friend Bear: Look Secret Bear, Wish Bear's got her head stuck in the clouds again.
 * [Secret Bear sticks his thumb into his mouth and pulls it out with a popping sound. The bears then pull Wish Bear out of the cloud, secret Bear stand his head up and looking at her]
 * Wish Bear: Now where's my star-o-scope?
 * Grumpy Bear: [pops out of the cloud, the star-o-scope on his head] Looking for this?

 * [Last Lines (early draft)]
 * Mrs. Cherrywood: ...And a fine story that was, Mr. Cherrywood.
 * Mr. Cherrywood: My favorite, Mrs. Cherrywood. But they never stay awake long enough for the end. Now, they'll never know what eventually became of Nicholas. I guess all they need to know is that he also lived happily ever after...Happier than I ever thought I could be.
 * Mrs. Cherrywood: Nicholas, these children should have been in bed ages ago. What am I ever going to do with you?
 * Mr. Cherrywood: Care for me, Kim. Just care for me.

Taglines

 * A movie that'll make the whole family care-a-lot.
 * What happens when the world stops caring?

Voice cast

 * Mickey Rooney - Nicholas Cherrywood (adult)
 * Jackie Burroughs - The Spirit
 * Georgia Engel - Love-a-Lot Bear
 * Sunny Besen Thrasher - Jason
 * Eva Almos - Friend Bear/Swift Heart Rabbit
 * Patricia Black - Share Bear/Funshine Bear
 * Melleny Brown - Cheer Bear/Baby Tugs Bear
 * Bob Dermer - Grumpy Bear
 * Jayne Eastwood - Birthday Bear
 * Anni Evans - Secret Bear/Champ Bear
 * Gloria Figura - Bedtime Bear
 * Cree Summer - Kim (young)
 * Brian George - The Great Fetuccini
 * Janet-Laine Green - Wish Bear
 * Luba Goy - Lotsa Heart Elephant/Gentle Heart Lamb
 * Terri Hawkes - Baby Hugs Bear
 * Dan Hennessey - Brave Heart Lion
 * Jim Henshaw - Bright Heart Raccoon
 * Hadley Kay - Nicholas Cherrywood (teenager)
 * Marla Lukofsky - Good Luck Bear/Playful Heart Monkey
 * Pauline Rennie - Grams Bear/Cozy Heart Penguin
 * Billie Mae Richards - Tenderheart Bear/Kim Cherrywood (adult)
 * Brent Titcomb - Additional voices
 * Harry Dean Stanton - Brave Heart Lion (singing voice)

title: The Care Bears Movie


text:
Excel Saga

Excel Saga (1999) is a comedy anime directed by Shinichi Watanabe (ja. Watanabe Shinichi) and based on a manga series written by Koushi Rikudou. The complete Japanese title is へっぽこ実験アニメーション　エクセル・サーガ, translated as Quack Experimental Anime: Excel Saga. Excel is the heroine of this series. The director Shinichi Watanabe is featured as Nabeshin in this series.

Koshi Rikdo Assassination Plot [1.1]

 * Excel: How dare you live in a place with a roof, you user of INK!?

 * Excel: Please just pretend you were bitten by a stray dog and DIE.  MY WHAT A TENACIOUS BASTARD!!!

 * Excel: There is one Earth! If it splits, there will be two!

 * Good Excel: The bullet of justice, caps evil's ass!

The Woman From Mars [1.2]

 * Excel: Ma anghang!!!

 * Watanabe: Hey! Ano problema mo?!? Can't you be a little quieter while I wallow in misery?

 * Nabeshin: "Ramdam kita....... Space Butler....  HYOOOOOOOOH!"

The Sacrificial Lamb of the Venomous Great Escape of Hell [1.3]

 * Excel: FREE AT LAST!!!!

 * Army Captain Guy: You have the right to breathe. You have the right to blink freely. You have the right to pick your nose.

 * Excel: Who is this place? Where are you? Me am Excel!

 * Iwata: Awww...Come on, we just used your porn magazine for a potholder! Heck, the gravy stains might even enhance the experience!

 * Army Captain Guy: "Ah! Very good Nabeshin! I see you're still a ninja commando from hell!"

Love Puny [1.4]

 * Watanabe: I'm.... a....... a....... CIVIL SERVANT!!!

 * IlPalazzo: Who puts a bomb in a dating game?!

The Interesting Giant Tower [1.5]

 * Excel: Come on scribbles on the bathroom wall! Please show me the path that I must follow!

 * Nabeshin (Singing): I'm Nabeshin, my afro suits me, it's easy to clean, just wash it once! The babes all like it 'cause it's fluffy and I like it 'cause I don't have to brush. Shaggy and curly, frizzy and messy, my afro do is the best for me. I'm Nabeshin and the chicks dig me. It's a wap-doo-wap doo-wap-doo-wap hair! Do-didididi-dey!

The Cold is Winter! Snowed Under Episode [1.6]

 * IlPalazzo: Resources, resources! You must obtain more resources!

Melody of the Underground Passage [1.7]

 * Three dying Puchuus: Doo-Wop!

Increase Ratings Week [1.8]

 * Excel: I'm sexy"

Bowling Girls [1.9]

 * Nabeshin: I ain't dead.

Butt Out, Youth! [1.11]

 * Excel: By the way, Mr. Aesop, education starts with just how you get close to those naïve young hearts. Categorically yelling at them produces the opposite effect. What we need on the modern battlefield of education is... Yes! A glass of tomato juice!

Big City Part II [1.12]

 * Excel: [to Hyatt] If you keep punching holes in the definition of death, you're gonna get dissected for real one of these days!

 * Doctor: We did what we could, but she was already as dead as a dodo. It wasn't our fault this time

Prop [1.14]

 * Ropponmatsu: (to Iwata; in Iwata's fantasy) Senior, will you please register me? Please put me in your private folder and lock me away with a password just for us.

More! Prop Memorial [1.15]

 * Watanabe: (yawns after waking up) Another lovely morning of hopes doomed to be trashed begins.

Take Back Love! [1.16]

 * Excel: (to Ropponmatsus 1 & 2) Look! If you don't answer, we'll turn you into the Sailor Scouts and make you star in the next episode, got it?!
 * Hyatt: Senior, that script is already written.
 * Excel: Oh...

 * Excel: Holy tin cans! You're a robot?!
 * Ropponmatsu 2: You hadn't noticed that yet? Don't you know humans can't fire missiles from their knees and beams from their eyes?
 * Excel: Come to think of it, you're right.

Animation USA [1.17]

 * Excel: In the name of the moon, I'm going to slap yo' butt!

Municipal Force Daitenzin [1.18]

 * Kabapu: The peace of this city rests on your spandex-clad shoulders! You will let no evil escape you! For now, I christen you the team supreme, Special Municipal Force Daitenzin!

Menchi's Great Adventure 2 - Around the World in 80 Hours [1.19]

 * Ann Anzai: From the strongest steel! To stir-fryed noodles! We're the guardian of your home - the Goddess that anticipates your needs! We're the ones behind you - Alps is at your service! Alps! The Alps company, all for you!

The Best of Mr. Pedro [1.20]

 * Excel & Hyatt: Mitsuo! Menda! Naha Naha!

Visually Appealing Type [1.21]

 * Ilpalazzo: (thinking about Key) Quit putting on such a show! Giving yourself an artist's airs, you narcissistic bastard! Nar-bastard, nar-bastard! Disappear! Leave! Go away, away!

 * Key: My name is Key. I am a key. And could you perhaps be... (to Excel) my keyhole?

 * Ilpalazzo: (thinking about Key) Damn you. Just because you're visually appealing, you little bastard, doesn't make you cool. Stupid, stupid, stupid. I'll kill you, you poser! I'll definitely make you die!

Invasion, Mother [1.22]

 * Puchuu Commander: Since when do my flashbacks have commercials?

 * Excel: He's coming... Oh crap, he's *here*!

Legend of the End of the Century Conqueror [1.23]

 * Excel: I am shock!

For You, I Could Die [1.24]

 * Excel: I don't understand. Why did this end up happening? I don't understand. I don't understand. Something is flowing out of my body. What could it be? What could it be? I don't understand. I don't understand. I'm sure it happened many times. That's right, I have the feeling I've been killed many times, and I was dropped down a hole quite a few times too. Now that I think back, it feels rather uncaring of him. But even so, I tried so hard for him. For him... him...

We Will Not Be Held Responsible [1.25]

 * Pedro & That Man: One shot is all we get!
 * That Man: Chinpyourousupoun!
 * Pedro: Nabe-hame-ha!

Going Too Far [1.26]

 * Kumi-Kumi: (as Nabeshin and Koshi Rikdo face off) Idiots...

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 * Nabeshin: Don't worry girls, I've got it all under control! Explosions fix EVERYTHING!

Cast

 * Jessica Calvello - Excel
 * Larissa Wolcott - Excel (eps 14-26)
 * Monica Rial - Hyatt
 * Jason Douglas - Il Palazzo
 * Hilary Haag - Menchi

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

title: Excel Saga


text:
Samurai X

Rurouni Kenshin is a manga and anime series created by Nobuhiro Watsuki. It is set during the early Meiji period in Japan. In other countries, the TV series itself is known as "Samurai X". The movie Samurai X: Trust and Betrayal tells the beginning life of Kenshin but instead of being an anime series like Rurouni Kenshin it is more of an movie then a show. While the anime series Rurouni Kenshin shows Kenshin as not wishing to take anybody life Samurai X: Trust and Betrayal shows a more violent, younger Kenshin who wishes to protect the weak with his sword but instead accidentally creates sorrow for others.

Himura Kenshin

 * Oro!
 * It was to create a world of peace, not to win positions or power, that we raised our swords and killed. If we forget that, then we are no revolutionaries after all.
 * A swordsman must be honest about his foes' skills and his own.
 * No matter how sincerely you try, there are times when your thoughts just don't reach the students.
 * Ah ... It's a doodle? [describing fine art]
 * Just being a hitokiri doesn't mean that one enjoys killing people.
 * A sword is a weapon. The art of swordsmanship is learning how to kill. That is the truth. What Miss Kaoru says is sweet and innocent talk that only those whose hands have never been stained with the blood of men can believe. But, to tell you the truth, I much prefer Miss Kaoru's sweet and innocent talk over the truth, indeed I do!
 * Nikaido Heiho... Shin no Ippo... If a man kills too many, too long, he loses his original purpose and has his heart stolen by the color and smell of blood.
 * Doesn't Hiten Mitsurugi-Ryu teach us to PROTECT people from suffering? When DO we use our swords, if not now?
 * If you want death, come forward.
 * No matter what the reason, this one refuses to take another life.
 * What about Hiten Mitsurugi-Ryu...? What about "Himura Kenshin"...? Once again, I failed to protect the most important person.
 * That sweat, those wounds, and this warmth. These are not illusions. They are real. Now I want to protect what's real, not illusions.
 * to Kaoru: Thank you for everything...and goodbye.

Kamiya Kaoru

 * No... it isn't sorcery... it's speed! Speed of sword. Speed of body. Speed at reading his opponents' moves. Taking down man after man with the least possible movement! [describing Kenshin the first time she sees him fight]
 * It isn't enough for the law to say we're all equal. If the peoples' hearts don't change, none of it means anything.
 * to Megumi: Are you gone yet, you vixen??!

Sagara Sanosuke

 * A true fight isn't like a sword duel. The better swordsman doesn't always win. The winner is the one who remains standing!
 * Dad, I'm buying your fight! The Ishin Shishi...they aren't your enemy. They are mine, from ten years ago...the enemy of the one who wears the mark of evil on his back.
 * (When asked to pay for a restaurant tab) ...Kinda academic, isn't it? You know I'll never pay.
 * I can't lose....not...to the men who made Captain Sagara and the Sekiho army bear the evil mark of "aku."
 * I can't stand the sound of a fat toad croaking in his little pond, any longer.
 * I’ll give you some advice from my experience, “mastered” or “mastery” is not something you can claim so lightly. You should tone down your stupidity and conceit, or you’ll suffer more than just a light burn.
 * What's mine is mine and what's yours is also mine.

Shinomori Aoshi

 * For now...I can offer you no glory. But one day...I will.
 * Battosai...Until I come kill you, don't let anyone beat me to it.
 * Duty is of the highest priority for the Oniwabanshu. And just as I have said, such villains will be sent to the deepest pit by those same dark powers. This is my duty as the last master of Oniwabanshu onmitsu!!
 * To defeat you, and to become the one true hitokiri, I will change into anything.

Shishio Makoto

 * This world, full of evil and violence, is Hell itself. Don't you think?
 * Let's take over our nation.
 * In this world, the weak are the sustenance of the strong. The strong live, the weak die.
 * If the revolution is over, then I'll start another one!!
 * Where do you think? To conquer this place called Hell of course.
 * In my battle with the Battousai, the spirits were afraid of me, and chose to side with him. But there's only evil people down here, so that won't happen this time. [Laughter]

Seta Sōjirō

 * to Ōkubo Toshimichi: I came to deliver a message from Shishio. "This nation will be mine"
 * If you are strong, you live. If you are weak, you die.

Hiko Seijûrô

 * (When asked who he is by a brigand) There is no point in naming myself to those who are about to die.
 * Man or woman, to attain buddhahood without knowing the taste of good sake is a crime. A good sake is the least I can do. What is your name, boy? (the boy gives his name as Shinta) For Kenkaku or "sword arts," that's far too gentle. From now on, your name is to be "Kenshin." I shall also give you my most precious knowledge.
 * Even when I wield my sword according to the teachings of Hiten Mitsurugi-Ryu, too many times I cannot save a soul. I kill and kill, and still the villains, like maggots, spring from the corpse of a Japan decomposing. There will be more and more acts like this...and all I can do is bury the victims.
 * I though I taught you...Swords are weapons. The way of swords is the way to kill. However you try to dress it up in phony righteousness, killing is your truth.
 * Cherry blossoms in Spring. Stars cover the sky on Summer. Full moon shines on Autumn and in Winter, the snow covers the ground. All these things make sake taste good. If it tastes bad, it's because there is something wrong in you.
 * If you're to overcome this, you need to remember what you just saw. You need the will to live.

Saito Hajime

 * The way of a Ruroni is the way of weaklings.
 * to Kenshin: Sword with its blade turned towards yourself a eventually will cause suffering to only yourself.
 * Live by the sword, die by the sword. There is no other way for you and me.
 * The essence of combat is to strike at the vulnerabilities of one's opponent. There is no "fair" or "unfair".
 * Shinsengumi is Shinsengumi. A wolf is a wolf. And a hitokiri is a hitokiri. Right... Battōsai?
 * Swift death to evil: That was the code upheld by both the Shinsengumi and the Hitokiri.
 * Aku-Soku-Zan. ("Slay. Evil. Immediately.")
 * A fool who relies so much on his own toughness that he learns nothing of defense, also has nothing to rely on.
 * The police are like the Shinsengumi. Our duty is to protect Japan, and the lives of people. Once we take on that duty, we accept that death must be part of it. To obsess over every life, as does Battosai, is folly. It is my duty to finish this matter so that those who died may pass safely into the afterlife. But revenge? I hold not one thought of it. If your Shingan won't tell you, then I will. What drives me so deep...? SWIFT DEATH TO EVIL! I bring my own brand of justice.
 * One may train a dog with food, or a man with money. But taming a Wolf of Mibu...that, none may do.
 * It doesn't matter if you don't understand. I will get no joy out of settling the score with a hitokiri who no longer kills.
 * I was the only one of the Shinsengumi said to be invulnerable.
 * This man, Hitokiri Battousai, will be killed by me, Shinsengumi squad three captain, Saito Hajime.

Makimachi Misao

 * Makimachi Misao need give her name to no villain!
 * One there was a wandering monk, who while walking worked up a funk. He found a well by a path and said "Now for my bath." But oh no! The bucket was sunk!
 * I'm not about to just stand here and let her (Kaoru) die!

Myojin Yahiko

 * Women and cash.
 * You have been training me to handle myself, haven't you?! So trust your student!
 * to Kaoru Ugly!
 * about Kenshin and Sanosuke gambling Watch 'em have lost it all and come home in their underwear!
 * It's not the end yet! No! I won't let it end like this!

Takani Megumi

 * Kanryu took me in...and I became his woman
 * We only use each other. He uses me to get the opium...and I use him...to survive
 * Ohohohohoho!
 * Ken-san! [in the English dub of the anime: "Sir Ken"]

Udo Jin-e

 * Blood...Not enough...There is not enough blood!
 * Those who bathe in blood...should be praised!
 * to Kaoru: If I take you hostage, it would enrage Battosai. Rage makes one return to the way of killing.
 * Let's settle this, Himura Batousai.
 * [laughing] Uhu-hu-hu
 * Mmm... this feeling... so sweet... [describing his suicide]

Other/Minor Characters

 * Han'nya: Aoshi found this wolf -- and rescued him!! He trained me into a first-class onmitsu!! He gave me the Edo castle oniwabanshu, my comrades -- and my reason to live!! If I can be of any use to Aoshi, what need have I for a face?!!!
 * Han'nya: I told you before. It was inevitable that we fight.

 * Yukishiro Tomoe:
 * This man stole my happiness, and gave me another in its place. He will kill more people before he's done. But...in the end, he will protect far more than he's killed. I can't let him die here. Goodbye...the second man I have loved...
 * You truly make blood rain...

 * Yukishiro Enishi:
 * Suffer, Battosai. Your suffering is my only joy.
 * There is no defense! There is no need for defense! You have already robbed me of the only thing I ever wanted to protect!
 * I'm counting on you, Kujiranami-san. With your new right arm [a cannon], ignite the fire that signals the beginning of revenge.
 * Now, here is the question - Stealing from the family would have been enough... Why did the child massacre them? Answer 1 - The family resisted.  Answer 2 - The child was a psychopath.  Answer 3 - For the child, whose sister was killed by a merciless hitokiri, destroying his happiness... the sight of a family living in happiness was unbearable.  The correct answer... is, without debate, number three.

 * Komagata Yumi: Amusing, isn't it? Slaves are human, but prostitutes are cattle? We who suffer so much for men's pleasure are women no longer, but cows!

Dialogue

 * Hiruma Gohei: Are you here to talk about swords that give life too?
 * Kenshin: No. A sword is a weapon. No matter what pretty names you give it, swordsmanship is the way to kill. Kaoru-dono speaks as one who has never bloodied her hands in combat. She maintains a sweet naive lie. But in the face of such awful truth, the naive lie she tells is so much better. If this one had a wish, it would be that her lie would become the truth of this world.

 * Kenshin: [in pain] Dislocated groin!
 * Kaoru: Dislocated brain!!!

 * Kenshin: Are you that bothered by your lack of power, young one?
 * Yahiko: Damn. I want to be strong. So strong I won't need your help... Strong enough to defend my father and mother's pride on my own.
 * Kenshin: ...Of course.

 * Kaoru: And you! You say you're 28?! That's a lie and you know it!
 * Kenshin: Would "30" make you happier?
 * Kaoru: ...No, it wouldn't...
 * Kenshin: [exasperated] This isn't going to be easy...

 * Kaoru: But why do you still have your battle expression?
 * Kenshin: Um... Well... it's a bit odd actually. You see... it's been so long since my eyes were narrowed into this "death glare" and... well... ahem My muscles are stuck.

 * Yahiko: Nobody likes fat girls.
 * Kaoru: Better than a pointy-eyed midget.
 * Yahiko: Oh yeah!? The girls love this pointy-eyed midget.

 * Saito: How are you going to protect anyone, assassin who refuses to kill?
 * Kenshin: It's enough to protect those within my sight.

 * Udo Jin-e: Don't look at me like that, Battōsai. Your eyes were much better before...when you said you were going to kill me. A hitokiri is a hitokiri until death. Another hitokiri tells you this. It cannot be wrong. Keep playing at "rurouni." I'll watch you... from Hell.
 * [Later into the chapter]
 * Kenshin: Jin-e, are you watching from hell? Even if "hitokiri" is this one's nature, nature shall be surpressed. "Rurouni" this one shall be, until this one's very death.

 * Ōkubo Toshimichi: Shishio is scheming at Kyoto.
 * Sanosuke: Shishio?
 * Ōkubo Toshimichi: He's after one thing...The Meji Government disposed.

 * Kenshin : Even now, do you still think them empty words?
 * Shinomori Aoshi : It is too early to gloat. One width of paper closer, and I'd have sliced your jugular.
 * Kenshin : But that narrow margin is the key difference between me and you in your present form. When I was at the brink of life or death, I used all my will to survive. I drew upon a different power than that of self-sacrifice, and mastered an ultimate technique. Sometimes, the bravest act is to live. That was the ray of light that my master risked his life to show me. As Hitokiri Battousai, I have committed so many sins that I cannot possibly repent for them, that is why I had secretly believed that it didn’t matter whether when I died or was killed. However, now even if I were formally punished and restrained, I will never lose the will to live. Aoshi, you said you have thrown everything away. Anyone can throw away everything if they wish, it’s easy. With your swords, you have become stronger beyond limits, but mentally you’ve gotten so much weaker that you’re far from what you used to be. As the Commander, you wish to give the proof of being the strongest as a title to four men who had gruesome deaths, that I understand. However, with that weakened spirit of yours, saying so becomes an excuse so you can look away from continuing to live. You aren’t doing anything for these four now. All you are doing is swinging your sword full of evil, and blaming these four for it. Beshimi, Hyottoko, Shikijo, Han'nya, face the truth, Aoshi, is it for them that you fight, or it is that they are merely an excuse?

 * Sanosuke: Alright, I'll take you on. I'll ask who you are with these fists! [he punches Saito] Sorry, I got serious here.
 * [Sanosuke is confused after realizing that his punch has no effect.]
 * Hajime: I see, nice punch. That explains why people say that you are the strongest fighter in Tokyo. However it is good only for the peaceful times like current Meiji era. In Kyoto, during the Bakumatsu, a punch like this would get you killed.

 * Kaoru: Are you really going?
 * Sanosuke: Yeah, but I'll try not to make it goodbye for good. Make a kid or two with Kenshin, and show them to me next time we meet.
 * Kaoru [embarrassed] Wh-wh-what are you saying?
 *  Sanosuke: Don't be modest!

 * Kaoru: Stay here.
 * Kenshin: I promise I'll return.

About

 * Rurouni Kenshin started as a short story, so I didn’t do much research on it, but in the year and a half between the story and the start of the series, I spent a lot of time reading them (books about Meiji). I did the manga because I wanted to draw Kimonos and swords, so don’t count on all of the details to be completely accurate.
 * Q: Why did you choose the Meiji era for RK?
 * A: Because I didn’t want to draw those samurai hairstyles. You know, those weird hairstyles from ancient periods. If you want to draw swords but no strange hairstyles, then you have to go to the Meiji era. Also, I am a big fan of the Shinsengumi. But drawing in this period means that I’m going to be drawing a lot of historical stuff.

 * Q: Why was Kenshin a killer so young?
 * A: Kenshin was originally supposed to be in his thirties, but the director says that the main character in a manga can’t be 30! So I looked at the timeline and the youngest that I could get him was 28. But anyway, in the Meiji life spans are shorter, and many people started to fight in their teens.
 * Watsuki Nobuhiro Question session for Watsuki Nobuhiro at Anime Expo in Los Angeles California on July 5, 2002 from noon to 1pm.

 * I have always wanted to illustrate a story that is different from other comics, that is about the unclear nature of good and evil. Kenshin himself is not a person of a purely good character. He has a past as the Hitokiri Battousai. It's hard to say if he was an absolutely good or absolutely villainous character. That's what Rurouni Kenshin is about.
 * The sakabato is something original that I came up with. The reason for it is very simple: I didn't want my main character killing anyone. But a bamboo or wooden sword isn't intimidating enough, so I came up with the idea of a sword that has its sharp and blunt edges on reversed sides. That way the main character is able to fight the way he always does, and still be able to refrain from killing anyone.
 * Watsuki Nobuhiro "Interview with Nobuhiro Watsuki, author of Rurouni Kenshin: The Manga. Abit spoilery" Toon Zone, March 20, 2003.

title: Samurai X


text:
Oswald Spengler

Oswald Arnold Gottfried Spengler (29 May 1880 – 8 May 1936) was a German historian, philosopher and political writer, whose magnum opus is Der Untergang des Abendlandes (The Decline of the West), the first volume of which was published in the summer of 1918 and by 1926 had gone through thirty printings.

Prussianism and Socialism (1919)
Prussianism and Socialism 1919, translated by Donald O. White

 * It is the heritage of anguished centuries, and it distinguishes us from all other people—us, the youngest and last people of our culture. ...
 * At the end of the [eighteenth] century Spain had long ceased to be a great power, and France was on the way to following her example. Both were old and exhausted nations, proud but weary, looking towards the past, but lacking the true ambition—which is to be strictly differentiated from jealousy—to continue to play a creative part in the future. [The end of the eighteenth century is the time of the French Revolution, which was all about equal rights.] ... "Equal rights" are contrary to nature, are an indication of the departure from type of ageing societies, are the beginning of their irrevocable decline. It is a piece of intellectual stupidity to want to substitute something else for the social structure that has grown up through the centuries and is fortified by tradition. There is no substituting anything else for Life. After Life there is only Death.
 * And that, at bottom, is the intention. We do not seek to alter and improve, but to destroy. In every society degenerate elements sink constantly to the bottom: exhausted families, downfallen members of generations of high breed, spiritual and physical failures and inferiors. ...
 * There is but one end to all the conflict, and that is death—the death of individuals, of peoples, of cultures. Our own death still lies far ahead of us in the murky darkness of the next thousand years. We Germans, situated as we are in this century, bound by our inborn instincts to the destiny of Faustian civilization, have within ourselves rich and untapped resources, but immense obligations as well. ... The true International is imperialism, domination of Faustian civilization, i.e., of the whole earth, by a single formative principle, not by appeasement and compromise but by conquest and annihilation.

 * To the new International that is now in the irreversible process of preparation we can contribute the ideas of worldwide organization and the world state; the English can suggest the idea of worldwide exploitation and trusts; the French can offer nothing. ...
 * Thus we find two great economic principles opposed to each other in the modern world. The Viking has become a free-tradesman; the Teutonic knight is now an administrative official. There can be no reconciliation. Each of these principles is proclaimed by a German people, Faustian men par excellence. Neither can accept a restriction of its will, and neither can be satisfied until the whole world has succumbed to its particular idea. This being the case, war will be waged until one side gains final victory. Is world economy to be worldwide exploitation, or worldwide organization? Are the Caesars of the coming empire to be billionaires or universal administrators? Shall the population of the earth, so long as this empire of Faustian civilization holds together, be subjected to cartels and trusts, or to men such as those envisioned in the closing pages of Goethe’s Faust, Part II? Truly, the destiny of the world is at stake. ...
 * This brings us to the political aspects of the English-Prussian antithesis. Politics is the highest and most powerful dimension of all historical existence. World history is the history of states; the history of states is the history of wars. Ideas, when they press for decisions, assume the form of political units: countries, peoples, or parties. They must be fought over not with words but with weapons. Economic warfare becomes military warfare between countries or within countries. Religious associations such as Jewry and Islam, Huguenots and Mormons, constitute themselves as countries when it becomes a matter of their continued existence or their success. Everything that proceeds from the innermost soul to become flesh or fleshly creation demands a sacrifice of flesh in return. Ideas that have become blood demand blood. War is the eternal pattern of higher human existence, and countries exist for war’s sake; they are signs of readiness for war. And even if a tired and blood-drained humanity desired to do away with war, like the citizens of the Classical world during its final centuries, like the Indians and Chinese of today, it would merely exchange its role of war-wager for that of the object about and with which others would wage war. Even if a Faustian universal harmony could be attained, masterful types on the order of late Roman, late Chinese, or late Egyptian Caesars would battle each other for this Empire—for the possession of it, if its final form were capitalistic; or for the highest rank in it, if it should become socialistic.

 * The concepts "bourgeoisie" and "proletariat" reflect the typically English preference for business rather than manual work. (But of course not over mental work. Just as the English intellectual was by choice either a Tory or a Whig, he has had to choose between the two new economic parties. Being a "gentleman", he has naturally opted for big business.) The former is a blessing, the latter a calamity; the one is noble, the other base. But with their hatred the misfortunate ones say, "Business is the evil occupation, manual labor the good." This is the explanation for the mental attitude which gave rise to Marx's social criticism and which has made him so catastrophic for true socialism. He knew the nature of work only from the English viewpoint, as a means of getting rich, as a means lacking in all moral depth. Only success and money, the visible and tangible signs of God’s grace, were of ethical import. The Englishman has no inkling of the dignity of hard work. For him, work is a debasing thing, an ugly necessity. Pity the poor soul who has nothing but work, who owns nothing without more and more work, but who above all will never have wealth in the future! Had Marx understood the meaning of Prussian work, of activity for its own sake, of service in the name of the totality, for "all together" and not for oneself, of duty that ennobles regardless of the kind of work performed—had he been able to comprehend these things, his Manifesto would probably never have been written.
 * On this matter he was aided by his Jewish instinct, which he himself characterized in his essay on the Jewish question. The curse on physical labor pronounced in the beginning of Genesis, the prohibition against defiling the Sabbath by work—these things made him receptive to the Old Testament pathos of the English sensibility. Hence his hatred of those who do not need to work. The socialism of a Fichte would accuse such people of sloth, it would brand them as irresponsible, dispensable shirkers and parasites. But Marxian instinct envies them. They are too well-off, and therefore they should be revolted against. Marx has inoculated his proletariat with a contempt for work. His fanatical disciples wish to destroy all culture in order to decrease the amount of indispensable work.

 * Work was for him a commodity, not an obligation. That is the core of his political economics. His ethics were the ethics of big business. Not that business is unethical; but we can read between the lines his opinion that the laborer is a fool not to engage in it. And laborers have understood him. The battle for higher wages became a kind of investment speculation: the worker was now a merchant selling his product, work. The trick about Marx's famous "surplus value" thesis is that it was considered as spoils to be carried off by the successful merchant from the opponent's stores. It was not to be presented to him for nothing. Class egoism thus became a universal principle. The laborer not only wanted to do business, he wanted to corner the whole market. The true Marxist is hostile to the state, and for the very same reason as the Whig: it hinders him in the ruthless exercise of his private business interests. Marxism is the capitalism of the working class.

 * Marx wished to deprive capital of the right to private profit, but the only thing he could think of as a substitute was the worker's right to private profit. That is unsocialistic, but it is typically English. Marx became an Englishman on one other score as well: in his mind the state does not exist. He thought statelessly, in terms of "society". Like parliamentary practice in England, his economic world functions as a two-party system with nothing above the parties. Within his scheme there can be only combat and no arbitration, only victory or defeat, only the dictatorship of one of the two parties. The Communist Manifesto calls for a dictatorship of the "good" proletarian party over the "evil" capitalist party. Marx saw no alternatives.
 * The Prussian socialist state exists beyond this "good" and "evil". It is the whole people, and in the face of its absolute authority the two Marxian parties are simply parties—minorities that serve the general weal. From a strictly technical viewpoint, socialism is the principle of public service. In the final analysis every worker has the status not of a businessman, but of a public servant, as does every employer. There are public servants of industry, commerce, traffic, and the military. This system was realized in the grandest style in Egyptian culture and again, though quite differently, in China.

 * The meaning of socialism is that life is dominated not by the contrast of rich and poor but by rank as determined by achievement and ability.

 * Socialism means power, power, and more power. Thoughts and schemes are nothing without power. The path to power has already been mapped: the valuable elements of German labor in union with the best representatives of the Old Prussian state idea, both groups determined to build a strictly socialist state to democratize our nation in the Prussian manner; both forged into a unit by the same sense of duty, by the awareness of a great obligation, by the will to obey in order to rule, to die in order to win, by the strength to make immense sacrifices in order to accomplish what we were born for, what we are, what could not be without us.

 * We are socialists. Let us hope that it will not have been in vain.

Der Untergang des Abendlandes
The Decline of the West

Gestalt und Wirklichkeit (1918)
Volume I. Gestalt and Actuality
 * The philosophy of this book I owe to the philosophy of Goethe, which is practically unknown to-day, and also (but in a far less degree) to that of Nietzsche. The position of Goethe in West-European metaphysics is still not understood in the least; when philosophy is being discussed he is not even named. For unfortunately he did not set down his doctrines in a rigid system, and so the systematic philosophy has overlooked him. Nevertheless he was a philosopher. His place vis-à-vis Kant is the same as that of Plato—who similarly eludes the would-be-systematizer—vis-à-vis Aristotle. Plato and Goethe stand for the philosophy of Becoming, Aristotle and Kant the philosophy of Being. Here we have intuition opposed to analysis. Something that it is practically impossible to convey by the methods of reason is found in individual sayings and poems of Goethe, e.g., in the Orphische Urworte, and stanzas like "Wenn im Unendlichen" and "Sagt es Niemand," which must be regarded as the expression of a perfectly definite metaphysical doctrine. I would not have one single word changed in this: "The Godhead is effective in the living and not in the dead, in the becoming and the changing, not in the become and the set-fast; and therefore, similarly, the reason (Vernunft) is concerned only to strive towards the divine through the becoming and the living, and the understanding (Verstand) only to make use of the become and the set-fast" (to Eckermann). This sentence comprises my entire philosophy.
 * Vol. I, Alfred A. Knopf, 1926, p. 49

 * The stone statue and the scientific system deny life. Mathematical number, the formal principle of an extension-world of which the phenomenal existence is only the derivative and servant of waking human consciousness, bears the hall-mark of causal necessity and so is linked with death as chronological number is with becoming, with life, with the necessity of destiny. This connexion of strict mathematical form with the end of organic being, with the phenomenon of its organic remainder the corpse, we shall see more and more clearly to be the origin of all great art. We have already noticed the development of early ornament on funerary equipments and receptacles. Numbers are symhols of the mortal. Stiff forms are the negation of life, formulas and laws spread rigidity over the face of nature, numbers make dead …
 * Vol. I, Alfred A. Knopf, 1926, p. 70

 * To Goethe again we owe the profound saying: “the mathematician is only complete insofar as he feels within himself the beauty of the true.”

 * The interlaced borders of the "Late-Roman" mosaic pavements and sarcophagus-edges, and even geometrical plane-patterns are introduced, and finally, throughout the Persian-Anatolian world, mobility and bizarrerie culminate in the Arabesque. This is the genuine Magian motive—anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn.
 * Vol. I, Alfred A. Knopf, 1926, p. 215

 * What the myth of Götterdämmerung signified of old, the irreligious form of it, the theory of Entropy, signifies to-day—world's end as completion of an inwardly necessary evolution.
 * Vol. I, Alfred A. Knopf, 1926, pp. 423–24

 * The Classical died, as we shall die, but it died unknowing. It believed in an eternal Being and to the last it lived its days with frank satisfaction, each day spent as a gift of the gods. But we know our history.

Welthistorische Perspektiven (1922)
Volume II. World-historical Perspectives
 * And then, when being is sufficiently uprooted and waking-being sufficiently strained, there suddenly emerges into the bright light of history a phenomenon that has long been preparing itself underground and now steps forward to make an end of the drama—the sterility of civilized man. This is not something that can be grasped as a plain matter of causality (as modern science naturally enough has tried to grasp it); it is to be understood as an essentially metaphysical turn towards death. The last man of the world-city no longer wants to live—he may cling to life as an individual, but as a type, as an aggregate, no, for it is a characteristic of this collective existence that it eliminates the terror of death. That which strikes the true peasant with a deep and inexplicable fear, the notion that the family and the name may be extinguished, has now lost its meaning. The continuance of the blood-relation in the visible world is no longer a duty of the blood, and the destiny of being the last of the line is no longer felt as a doom. Children do not happen, not because children have become impossible, but principally because intelligence at the peak of intensity can no longer find any reason for their existence.
 * Vol. II, Alfred A. Knopf, 1928, pp. 103–04

 * Intelligence and sterility are allied in old families, old peoples, and old cultures, not merely because in each microcosm the overstrained and fettered animal-element is eating up the plant element, but also because the waking-consciousness assumes that being is normally regulated by causality. That which the man of intelligence, most significantly and characteristically, labels as "natural impulse" or "life-force", he not only knows, but also values, causally, giving it the place amongst his other needs that his judgment assigns to it. When the ordinary thought of a highly cultivated people begins to regard "having children" as a question of pros and cons, the great turning-point has come. For Nature knows nothing of pro and con. Everywhere, wherever life is actual, reigns an inward organic logic, an "it", a drive, that is utterly independent of waking-being, with its causal linkages, and indeed not even observed by it. The abundant proliferation of primitive peoples is a natural phenomenon, which is not even thought about, still less judged as to its utility or the reverse. When reasons have to be put forward at all in a question of life, life itself has become questionable. At that point begins prudent limitation of the number of births. In the classical world the practice was deplored by Polybius as the ruin of Greece, and yet even at his date it had long been established in the great cities; in subsequent Roman times it became appallingly general. At first explained by the economic misery of the times, very soon it ceased to explain itself at all. And at that point, too, in Buddhist India as in Babylon, in Rome as in our own cities, a man's choice of the woman who is to be, not mother of his children as amongst peasants and primitives, but his own "companion for life", becomes a problem of mentalities. The Ibsen marriage appears, the "higher spiritual affinity" in which both parties are "free"—free, that is, as intelligences, free from the plantlike urge of the blood to continue itself, and it becomes possible for a Shaw to say "that unless Woman repudiates her womanliness, her duty to her husband, to her children, to society, to the law, and to everyone but herself, she cannot emancipate herself." The primary woman, the peasant woman, is mother. The whole vocation towards which she has yearned from childhood is included in that one word. But now emerges the Ibsen woman, the comrade, the heroine of a whole megalopolitan literature from Northern drama to Parisian novel. Instead of children, she has soul-conflicts; marriage is a craft-art for the achievement of "mutual understanding". ...
 * At this level all civilizations enter upon a stage, which lasts for centuries, of appalling depopulation. The whole pyramid of cultural man vanishes. It crumbles from the summit, first the world-cities, then the provincial forms, and finally the land itself, whose best blood has incontinently poured into the towns, merely to bolster them up awhile. At the last, only the primitive blood remains, alive, but robbed of its strongest and most promising elements. This residue is the fellah type.
 * If anything has demonstrated the fact that causality has nothing to do with history, it is the familiar "decline" of the classical, which accomplished itself long before the irruption of Germanic migrants. The Imperium enjoyed the completest peace; it was rich and highly developed; it was well organized; and it possessed in its emperors from Nerva to Marcus Aurelius a series of rulers such as the Caesarism of no other civilization can show. And yet the population dwindled, quickly and wholesale. The desperate marriage-and-children laws of Augustus—amongst them the Lex de maritandis ordinibus, which dismayed Roman society more than the destruction of Varus's legions—the wholesale adoptions, the incessant plantation of soldiers of barbarian origin to fill the depleted country-side, the immense food-charities of Nerva and Trajan for the children of poor parents—nothing availed to check the process.
 * Vol. II, Alfred A. Knopf, 1928, pp. 104–06

 * If by "democracy" we mean the form which the Third Estate as such wishes to impart to public life as a whole, it must be concluded that democracy and plutocracy are the same thing under the two aspects of wish and actuality, theory and practice, knowing and doing. It is the tragic comedy of the world‑improvers' and freedom‑teachers' desperate fight against money that they are ipso facto assisting money to be effective. Respect for the big number—expressed in the principles of equality for all, natural rights, and universal suffrage—is just as much a class‑ideal of the unclassed as freedom of public opinion (and more particularly freedom of the press) is so. These are ideals, but in actuality the freedom of public opinion involves the preparation of public opinion, which costs money; and the freedom of the press brings with it the question of possession of the press, which again is a matter of money; and with the franchise comes electioneering, in which he who pays the piper calls the tune. The representatives of the ideas look at one side only, while the representatives of money operate with the other. The concepts of Liberalism and Socialism are set in effective motion only by money. … the Jacobins had destroyed the old obligations of the blood and so had emancipated money; now it stepped forward as lord of the land. There is no proletarian, not even a Communist movement, that has not operated in the interests of money, in the directions indicated by money, and for the time being permitted by money—and that without the idealists among its leaders having the slightest suspicion of the fact. The great movement which makes use of the catchwords of Marx has not delivered the entrepreneur into the power of the worker, but both into that of the Bourse.
 * Vol. II, Alfred A. Knopf, 1928, pp. 401–02

 * To-day we live so cowed under the bombardment of this intellectual artillery that hardly anyone can attain to the inward detachment that is required for a clear view of the monstrous drama. The will-to-power operating under a pure democratic disguise has finished off its masterpiece so well that the object's sense of freedom is actually flattered by the most thorough-going enslavement that has ever existed.
 * Vol. II, Alfred A. Knopf, 1928, p. 461

 * The press to-day is an army with carefully organized arms and branches, with journalists as officers, and readers as soldiers. But here, as in every army, the soldier obeys blindly, and war-aims and operation-plans change without his knowledge. The reader neither knows, nor is allowed to know, the purposes for which he is used, nor even the role that he is to play. A more appalling caricature of freedom of thought cannot be imagined. Formerly a man did not dare to think freely. Now he dares, but cannot; his will to think is only a willingness to think to order, and this is what he feels as his liberty.
 * Vol. II, Alfred A. Knopf, 1928, p. 462

On the German National Character (1924)
First published in Deutsches Adelsblatt, XLII (1924).
 * And now to the decisive factor: our boundless urge to follow and serve, to worship anyone or anything, to believe blindly and with doglike loyalty, all advice to the contrary notwithstanding.

Man and Technics (1931)

 * Optimism is cowardice.

 * The fight against Nature is hopeless and yet — it will be fought out to the bitter end.

 * A beast of prey tamed and in captivity — every zoological garden can furnish examples — is mutilated, world-sick, inwardly dead. Some of them voluntarily hunger-strike when they are captured. Herbivores give up nothing in being domesticated.

 * All great discoveries and inventions spring from the delight of strong men in victory. They are expressions of personality and not of the utilitarian thinking of the masses, who are merely spectators of the event, but must take its consequences whatever they may be.

 * We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who, during the eruption of Vesuvius, died at his post because they forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one thing that can not be taken from a man.

The Hour of Decision (1933)
The Hour of Decision 19 August 1933
 * The principle of inorganic equality was for them crucial. Men of the stamp of Jahn and Arndt had no notion that it was Equality that had first sounded the cry of "Vive la nation" in the September massacres of 1792.
 * They forgot, too, one basic fact. The Romanticism of their Volkslieder sang only the heroism of the common soldier, but the inner worth of these armies (at first amateurs in the calling of arms), their spirit, their discipline, and their training, depended upon the quality of the officer‑corps, whose adequacy was due entirely to eighteenth-century traditions. With the Jacobins also a body of soldiers was morally worth precisely as much as its officer, who had trained it by his example. Napoleon confessed at St. Helena that he would not have been beaten had he had for his superb fighting material a corps of officers like the Austrian, a corps in which chivalrous traditions of loyalty, honour, and silent self-discipline still survived. Once the command wavers in its intentions and its attitude—or itself abdicates, as in 1918—the bravest regiment becomes on the spot a cowardly and helpless herd. ...
 * All young sects are at bottom hostile to State and property, class and rank, and are attracted to universal equality.

 * Romanticism is no sign of powerful instincts, but, on the contrary, of a weak, self-detesting intellect. They are all infantile, these Romantics; men who remain children too long (or for ever), without the strength to criticize themselves, but with perpetual inhibitions arising from the obscure awareness of their own personal weakness; who are impelled by the morbid idea of reforming society, which is to them too masculine, too healthy, too sober. ...
 * And these same everlasting "Youths" are with us again today, immature, destitute of the slightest experience or even real desire for experience, but writing and talking away about politics, fired by uniforms and badges, and clinging fantastically to some theory or other. There is a social Romanticism of sentimental Communists, a political Romanticism which regards election figures and the intoxication of mass-meeting oratory as deeds, and an economic Romanticism which trickles out from behind the gold theories of sick minds that know nothing of the inner forms of modern economics. They can only feel in the mass, where they can deaden the dull sense of their weakness by multiplying themselves. And this they call the Overcoming of Individualism.

Quotes about Spengler

 * Alongside the vibrant radical literary culture of Berlin there was another literary world, appealing to the conservative nationalist part of the middle classes, rooted in nostalgia for the lost Bismarckian past and prophesying its return with the longed-for collapse of the Weimar Republic. Particularly popular was Oswald Spengler's The Fall of the West, which divided human history into natural cycles of spring, summer, autumn and winter, and located early twentieth-century Germany in the winter phase, characterized by 'tendencies of an irreligious and unmetaphysical urban cosmopolitanism', in which art had suffered a 'preponderance of foreign art-forms.' In politics, according to Spengler, winter was recognizable by the rule of the inorganic, cosmopolitan masses and the collapse of established state forms. Spengler won many adherents with his new claim that this heralded the beginning of an imminent transition to a new spring, that would be 'agriculture-intuitive' and ruled by an 'organic structure of political existence', leading to the 'mighty creations of an awakening, dream-laden soul'. Other writers gave the coming period of revival to a new name that was soon to be taken up with enthusiasm by the radical right: the Third Reich.
 * Richard J. Evans, The Coming of the Third Reich (2004), pp. 120-121
 * Today this unquestioned faith in the machine has been severely shaken. The absolute validity of the machine has become a conditioned validity: even Spengler, who has urged the men of his generation to become engineers and men of fact, regards that career as a sort of honorable suicide and looks forward to the period when the monuments of the machine civilization will be tangled masses of rusting iron and empty concrete shells. While for those of us who are more hopeful both of man's destiny and that of the machine, the machine is no longer the paragon of progress and the final expression of our desires: it is merely a series of instruments, which we will use in so far as they are serviceable to life at large, and which we will curtail where they infringe upon it or exist purely to support the adventitious structure of capitalism.
 * Lewis Mumford, Technics and Civilization (1934) Ch. VIII "Orientation"
 * He has completely mastered ten or fifteen sciences. He has a penetrating judgment on the whole historical process, as far as history reaches. And he also has something which men of today almost never have, a sound eye for the phenomena of decline in the civilizations of the present day. There is a fundamental difference between Spengler and those who do not grasp the nature of the impulses of decline and who try all kinds of arrangements for extracting from the decayed ideas some appearance of upward motion. Were it not heart-rending it might be humorous to see how people with traditional ideas all riddled with decay meet today in conferences and believe that out of decay they can create progress by means of programs. Such a man as Oswald Spengler, who really knows something, does not yield to such a deception. He calculates like a precise mathematician the rapidity of our decline and comes out with the prediction (which is more than a vague prophecy) that by the year 2200 this Occidental culture will have fallen into complete barbarism.
 * Rudolf Steiner, On Spengler's Decline of the West, Lecture in Dornach, July 2, 1920

title: Oswald Spengler


text:
Talk:Tristan Tzara

Should we have "dada artist" or "Dada artist"? A colleague tells me that the lowercase form is proper for the adjectival use. The Britannica article on Kurt Schwitters has "German Dada artist and poet" but The Museum of Modern Art article on George Grosz has "his subject, John Heartfield, a friend, a fellow Berlin Dada artist, and a frequent collaborator."

 * Assumingly it is problematic. And there might be a dispute. I scanned my books and met more often "Dada artist" than "dada artist". In German texts they are often refered as "Dada-szene" (Dada scene), "Dada-Kuenstler" (Dada artist). Personally I have no opinion on that. --Aphaia 03:40, 7 Apr 2005 (UTC)

Unsourced

 * [Dada is the] absolute and unquestionable faith in every god that is the immediate product of spontaneity.

title: Talk:Tristan Tzara


text:
Interview with the Vampire (film)

Interview with the Vampire: The Vampire Chronicles is a 1994 film in which a vampire tells his epic life story: love, betrayal, loneliness, and hunger.
 * Directed by Neil Jordan. Written by Anne Rice, based on her 1976 novel.

Drink From Me And Live Forever.taglines

Armand

 * I know nothing of God... or the Devil. I have never seen a vision, nor learned a secret, that would damn or save my soul. And as far as I know, after four hundred years, I am the oldest living vampire in the world.
 * The world changes, we do not; therein lies the irony that finally kills us.

Claudia

 * Which one of you did it?! One of you did it! Which one of you made me the way I am?!
 * And here it is. And I hate you both!
 * Locked together in hatred. But I can't hate you, Louis. Louis, my love, I was mortal until you gave me your immortal kiss. You became my mother and my father, and so I'm yours forever. But now it's time to end it, Louis. Now it's time to leave him.
 * I'll put you in your coffin!
 * You have found your new companion, Louis! You will make me mine!
 * Your evil is that you cannot be evil. And I shall suffer for it no longer!
 * Snatching me from my mother's hands, like two monsters in a fairytale. And now you weep! I haven't tears enough for what you've done to me.
 * Locked together in hatred. But I can't hate you, Louis. [Puts arms around him] Louis, my love. I was mortal till you... gave me your immortal kiss. You became my mother and my father. And so I'm yours forever. But now it's time to end it, Louis. Now it's time to leave him. He will never let us go.

Lestat de Lioncourt

 * Don't be afraid. I'm going to give you the choice I never had.
 * Have you said your goodbyes to the light?
 * Your body's dying. Pay no attention. It happens to us all.
 * Evildoers are easier... and they taste better.
 * [After stuffing a prostitute into a coffin and shutting it] It's your coffin, my love. Enjoy it. Most of us never get to know what it feels like.
 * All I need to find you, Louis, is to follow the corpses of rats.
 * Evil is a point of view. God kills indiscriminately, and so shall we, for no creatures under God are as we are, none so like Him... as ourselves.
 * I assume I need no introduction.
 * Oh, Louis, Louis. Still whining, Louis. Have you heard enough? I've had to listen to that for centuries!
 * [Appears in doorway of Louis comforting Claudia, found in house with the body of her plague victim mother, laughing] My philosopher, my martyr. "Never take a human life". Oh, yes. This calls for a celebration. [Picks up the body of Claudia's mother and dances with it energetically across room singing in Italian and Louis runs out out door] There's still life in the old lady yet! [Drops body of Claudia's mother on floor, walks out door calling to Louis] Come back! You are what you are! Merciful death. How you love your precious guilt.
 * [Walking through sewers] All I need to find you, Louis, is follow the corpses of rats. Pain is terrible for you. You feel it like no other creature, because you're a vampire. You don't want it to go on. [Louis agrees] Then do what it is in your nature to do... and you will feel as you felt with that child in your arms. Evil is a point of view. God kills indiscriminately... and so shall we. For no creatures under God are as we are. None so like Him... as ourselves. I have a gift for you... [Louis asks where] You need... company... more congenial than mine. Remember how you wanted her? The taste of her? Don't worry. Your conscience is clear.
 * [Walks in when Claudia has finished feeding off her tailoress and drops her on the ground] Claudia. Claudia! Now... who will we get to finish your dress?! You need to practice daily! [Slaps Claudia's wrist] Never feed in our home!
 * [Playing piano after returning from swamp from being left after killed] Listen, Louis... there's life... in these old hands still. Not quite furioso. Moderato... cantabile, perhaps. [Claudia inquires how] Ask the alligator. His blood helped. Then, on a diet of the blood of snakes... toads... and all the putrid life... of the Mississippi... slowly... Lestat became something... like himself again. You've been... a very... very... naughty little girl.

Louis de Pointe du Lac

 * I'm flesh and blood, but not human. I haven't been human for 200 years. Please, how shall I put you at ease? Shall we begin like David Copperfield? 'I am born...I grew up.' Or shall we begin when I was born to darkness, as I call it? That's really where we should start, don't you think?...1791 was the year it happened. I was 24. Younger than you are now. But times were different then. I was a man at that age. The master of a large plantation, just south of New Orleans. I had lost my wife in childbirth. She and the infant had been buried less than half a year. I would've been happy to join them. I couldn't bear the pain of their loss. I longed to be released from it. I wanted to lose it all: my wealth, my estate, my sanity....Most of all, I longed for death. I know that now. I invited it. A release from the pain of living. My invitation was open to anyone. To the whore at my side. To the pimp that followed. But it was a vampire that accepted.
 * That morning I was not yet a vampire, and I saw my last sunrise. I remember it completely, and yet I can't recall any before it. I watched the whole magnificence of the dawn for the last time as if it were the first. And then I said farewell to sunlight, and set out to become what I became.
 * Forgive me if I have a lingering respect for life.
 * [Walks out front door to meet lynching intentioned mob of torch wielding slaves while carrying lifeless body of house servant Yvette] Hear me now! This place is cursed! Damned! And, yes, your master is the devil! Get out while you can! You're all free! Do you hear me?! [Hands body of Yvette to slaves] Run! Run! [Grabs a torch, swipes it at slaves to scare them off only to have them follow him to door and he proceeds set fire to the plantation master house]
 * [Referring to feeding on Claudia] Her blood coursed through my veins sweeter than life itself. And, as it did, Lestat's words made sense to me. I knew peace only when I killed. When I heard her heart in that rhythm, I knew only what peace could be.
 * How do we seem to you? Do you find us beautiful, magical? Our white skin, our fierce eyes? "Drink," you ask me. Do you have any idea of the thing you will become?
 * Whatever happened to Lestat, I do not know. I go on, night after night. I feed on those who cross my path. But all my passion went with her golden hair. I'm a spirit of preternatural flesh. Detached. Unchangeable. Empty.

Dialogue

 * [Lestat catches Louis killing the poodles of his victim; a wealthy plantation owner woman instead of her. He then breaks her neck and scolds Louis.]
 * Lestat: [Angrily] You whining coward of a vampire who prowls the night feeding on... rats and poodles! You could have finished us both!
 * Louis: [Baring fangs] You condemned me to Hell!
 * Lestat: I don't know any hell.

 * Lestat: You should consider yourself lucky. In Paris, a vampire must be clever for many reasons.
 * Louis: Paris?
 * Lestat: Here, all one needs is a pair of fangs. Heh.
 * Louis: You came from Paris?
 * Lestat: [Bored] As did the one who made me.
 * Louis: Tell me about him. You must've learned something from him.
 * Lestat: I learned absolutely nothing. I wasn't given a choice, remember?
 * Louis: But you must know something about the meaning of it all-
 * Lestat: [Yelling] Why?! [Angrily bangs fist on table] Why should I know these things? Do you know them? [Pauses; listens to drumming from outside] That noise. It's driving me mad; that noise! We've been in the country for weeks with nothing but that noise!
 * Louis: Yes, they know about us. They watch us dine on empty plates and drink from empty glasses.
 * Lestat: [Calmly] Come... to New Orleans, then. The Paris Opera is in town; we can try some French cui- cuisine.
 * Louis: Forgive me if I have a lingering respect for life. [Sighs]
 * Lestat: You'll soon run out of chickens, Louis.

 * Lestat: [Crashes through window of ablaze plantation master house] Perfect! Perfect! Just burn the place! Burn everything we own! Have us living out in a field, like cattle!
 * Louis: [Sitting on floor leaning against wall] You thought you could have it all...
 * Lestat: Shut up, Louis! [Grabs Louis by shirt and forces him up] Come on! [Slaves cheer and dance at sight of ablaze plantation master house]

 * Louis: Where are we?
 * Lestat: Where do you think, my idiot friend? We're in a nice, filthy cemetery. Does this make you happy? Is this fitting, proper enough?
 * Louis: We belong in Hell.
 * Lestat: And what if there is no Hell, or they don't want us there? Ever think of that?
 * Louis: [Narrating] But there was a Hell, and no matter where we moved to, I was in it.

 * Louis: [Standing at hotel balcony with Lestat cavorting with two prostitutes inside, voice of thought] But there was a Hell. And no matter where we moved to, I was in it. We rented rooms on the waterfront of New Orleans.
 * Prostitute 1: [Lestat is pinning down a prostitute on a couch with her legs around him] Your skin is icy.
 * Lestat: [Turning his attention to Prostitute 2] Your friend has no head for wine.
 * Prostitute 2: Don't worry. I can warm that cold skin of yours better than she can.
 * Lestat: Do you think so?
 * Prostitute 2: Why... you're warm now! But the price is high.
 * Lestat: Your pretty friend, I exhausted her. [Caressing prostitute's cheek] Soft. So soft. I can see you lying on a bed of satin.
 * Louis: Such things you say.
 * Lestat: Do you know what manner of bed? Should we put out the light? And then put out the light. But once I've put out thy light... I cannot... give it vital breath again. Its needs must wither. [Bites prostitute's wrist, pours it out in glass and holds out the glass to Louis] For you, Louis. You can pretend it's wine.
 * Louis: She's not dead!
 * Lestat: You're in love with your mortal nature. You resist what can bring you peace. You call this peace?! We're predators, whose all-seeing eyes give them detachment! The girl, Lestat! Take her! End that hunger!
 * Louis: No!
 * Lestat: Now, my child. You're tired, you want to sleep! [Swipes coffin lid off and picks up prostitute 2 and dumps her in]
 * Prostitute 2: It's a coffin! A coffin! Let me out! [Lestat slides coffin lid shut] I'm not dead! [Lestat leaps to sit on coffin and knocks at coffin's head]
 * Lestat: It's your coffin my love, enjoy it! Most of us never get to know what it feels like!
 * Prostitute 2: Why do you do this?
 * Lestat: I like to do it! I enjoy it! Take your aesthete's taste to purer things! Kill them swiftly if you will, but do it! For do not doubt you are a killer, Louis! [Flips coffin lid off and kneels down] What's that?!
 * Prostitute: It's a coffin!
 * Lestat: So it is! You must be dead!
 * Prostitute 2: I'm not dead, am I?
 * Lestat: You're not dead. Not yet. [To Louis] Finish this now!
 * Louis: You finish it!
 * Prostitute 2: Save me from him! Save me! You'll let me go? I can't die like this! I need a priest!
 * Lestat: My friend is a priest. He'll hear your sins before you die. Unless... I make her one of us. No! Then take her, Louis, end her suffering. End yours!
 * Louis: No!
 * Lestat: [Grabs prostitute 2 and drinks last blood] Now... are you happy?
 * Louis: My God! To think you... are all I have to learn from.
 * Lestat: In the Old World.... they called it the "dark gift." And I gave it to you.

 * Claudia [Watching a nude young woman bathing from a street window] I want to be her. Can I, Louis?  Be like her one day?
 * Lestat: [Irritated] Mon dieu, more melancholy nonsense.  I swear, you grow more like Louis every day.  Soon you'll be eating rats!
 * Claudia [Disgusted] Rats? When did you eat rats, Louis?
 * Louis: It was a long time ago, before you were born. And I don't recommend them.

 * [Louis weeps after recounting how the Parisian vampires killed Madeleine and Claudia]
 * Daniel Molloy: So a vampire can cry.
 * Louis: Once, maybe twice, in his own eternity. Maybe it was to quench those tears forever that I took such revenge on them.

 * Lestat: What is it now? You irritate me. Your very presence... irritates me!
 * Claudia: Does it?
 * Lestat: I found someone who'll be a vampire better than you both!
 * Claudia: Is that supposed to frighten me?
 * Lestat: You're spoiled, because you're an only child. You need a brother. Or I do. I'm weary of you both.
 * Claudia: I suppose we could people the world with vampires... the three of us.
 * Lestat: Oh, not you... my little Claudia.
 * Claudia: You're a liar. But you upset my plans.
 * Lestat: What plans?
 * Claudia: I came to make peace with you. Even though you're the father of lies... I want things to be as they were.
 * Lestat: Stop pestering me then.
 * Claudia: I must do more than that. I've brought a present for you.
 * Lestat: Then I hope it's... a beautiful woman... with endowments you'll never possess.
 * Claudia: Why do you say such things? You haven't fed enough. I can tell by your color. Come and see. Don't be angry with me. When I saw them, I knew they were for you. [Brings Lestat to couch with two prepubescent boys] Drunk... on brandywine. A thimbleful.
 * Lestat: You certainly have... outdone yourself.
 * Claudia: I promise I'll get rid of the bodies. We forgive each other then?
 * Lestat: Yes. Absinthe? You've given them absinthe?
 * Claudia: No. Laudanum.
 * Lestat: Laudanum.
 * Claudia: Yes. It killed them, unfortunately. But it keeps the blood warm.
 * Lestat: You let me drink... dead blood? You let me... drink...
 * Claudia: One lesson you taught me... never drink from the dead.
 * Lestat: Put me in my coffin. Put me in my coffin.
 * Claudia: I'll put you in your coffin! [Slits Lestat's throat and watches him bleed out with Louis]
 * Louis: My God!
 * Claudia: Lift me up! Good night, sweet prince. May flights of devils wing you to your rest.

 * [After Louis destroys the Parisian vampires in revenge for Madeleine and Claudia's deaths]
 * Armand: You made me see their failings, Louis. They were... doomed. Stuck in their decadent time. And they had forgotten the first lesson: that we must be powerful, beautiful, and without regret.
 * Louis: And you can teach me this?
 * Armand: Yes.
 * Louis: To be without regret?
 * Armand: Yes.
 * Louis: Then what a pair we could make...
 * [Armand chuckles]
 * Louis: ...but what if it's a lesson I don't care to learn?
 * Armand: What do you mean?
 * Louis: What if all I have is my suffering, my regret?
 * Armand: Don't you want to lose it?
 * Louis: So you can have that too? The heart that mourns her? Her, that you burnt to a cinder?
 * Armand: Louis, I swear I didn't—
 * Louis: Ah, but I know you did. I know. You, who regrets nothing. You, who feels nothing. And if that's all I have left to learn, I can do that on my own. [Starts walking away]
 * Armand: Louis.
 * Louis: Yes?
 * Armand: I will die.
 * Louis: No, you are dead, and you want me to quicken you once more. And as much as your invitation might appeal to me, I must regretfully decline.

 * Santiago: Two lovers... wandering down their violet way... whose passionate embraces, each to each... permit no meditations on decay... until they find themselves... within my reach!
 * Louis: Vampires who pretend to be humans pretending to be vampires.
 * Claudia: How avant-garde.
 * Santiago: The monk whose soul with Heaven doth commune... and spends his days... in pious contemplation... finds he will meet his Maker all too soon. For all his prayers gets no remuneration. The lesson endeth here... and it is this: Each one of you, my clammy hands must touch. Each one must bend his forehead to my kiss. But, hark! Methinks a mortal doth approach! What have we here? What beauty by my side? A rose in bloom, a shrinking violet? Perhaps she has a mind to be my bride. Perhaps my lesson has not ended yet!
 * Mortal woman: I don't want to die!
 * Santiago: But Death we are and have always been.
 * Mortal woman: Someone help me! Please! [Santiago minions grab ahold of woman prey and begin to undress her] What have I done?!
 * Santiago: We all die!
 * Mortal woman: But I'm young!
 * Santiago: Death is no respecter of age! It can come any time, any place. [Undoes her blouse and takes it off] Just as this flesh is pink now... so it will turn gray and wrinkle with age.
 * Mortal woman prey: Let me live! I don't care!
 * Santiago: Then why should you care if you die now? And suppose Death had a heart to love and to release you? To whom would he turn his passion? Would you choose a person from the crowd there? A person to suffer as you do?
 * Audience woman: [Stands up] Monsieur Vampire, take me! I adore you!
 * Santiago: You wait your turn! [Audience chuckles] Well... Do you know what it means to be loved by Death? To become our bride? [Fire explodes with Armand making entrance]
 * Armand: No pain. No pain.
 * Louis: [Armand pulls down woman's dress having her fully nude] Monstrous.
 * Armand: We live beneath. Let me show you.
 * Louis: Monstrous.
 * Armand: Yes. But very beautiful. Welcome to my home. [Prepubescent boy walks over and Armand puts arm around him] Try him. [Louis takes boy's hand, realizes of previous bite marks then finds another unbitten spot and chomps]

 * Armand: [In his quarters with Louis and Claudia] Two vampires... from the New World... come to guide us into the new era... as all we love slowly rots... and fades away.
 * Louis: Are you the leader of this group?
 * Armand: If there were a leader... I would be the one.
 * Louis: So you have the answers?
 * Armand: So you have questions?
 * Louis: What are we?
 * Armand: Nothing... if not vampires.
 * Louis: Who made us what we are?
 * Armand: Surely you know the one who made you?
 * Louis: Yes, but the one who made him? The source... of all this... evil.
 * Armand: I understand. I saw you in the theater. Your suffering... your sympathy for that girl. You die... when you kill. You feel you deserve to die and you stint on nothing.
 * Louis: But does that make you evil?
 * Armand: Since you comprehend what you call goodness, doesn't that make you... good?
 * Louis: Then there is nothing?
 * Armand: Perhaps. But perhaps... this... is the only real evil left.
 * Louis: Then God does not exist?
 * Armand: I know nothing of God. Or the Devil. I have never seen a vision, nor learned a secret... that would damn or save my soul. As far as I know... after 400 years... I am the oldest... living vampire... in the world.

Taglines

 * [From trailer] His name is Lestat. He chose one man. He gave him infinite power, eternal life and a daughter who would be forever young. And then he took the light of day.
 * [From TV spot] They live for the pleasure, the passion, the thrill. And they will live forever.
 * Drink from me and live forever.

Cast

 * Tom Cruise - Lestat de Lioncourt
 * Brad Pitt - Louis de Pointe du Lac
 * Christian Slater - Daniel Molloy
 * Kirsten Dunst - Claudia
 * Antonio Banderas - Armand
 * Stephen Rea - Santiago
 * Domiziana Giordano - Madeleine
 * Thandie Newton - Yvette
 * George Kelly - Dollmaker
 * Marcel Iureş - Paris Vampire
 * Sara Stockbridge - Estelle
 * Indra Ové - New Orleans Whore

title: Interview with the Vampire (film)


text:
Speaker for the Dead

Speaker for the Dead (1986) is a science fiction novel by Orson Scott Card and a sequel to the novel Ender's Game.

Quotes

 * Sickness and healing are in every heart. Death and deliverance are in every hand.
 * Andrew Wiggin

 * The truth is a beautiful and terrible thing, and therefore should be treated with great caution.

 * This is how humans are: We question all our beliefs, except for the ones that we really believe in, and those we never think to question.
 * Andrew Wiggin

 * No human being, when you understand his desires, is worthless. No one's life is nothing. Even the most evil of men and women, if you understand their hearts, had some generous act that redeems them, at least a little, from their sins.
 * Andrew Wiggin

 * Only one rabbi dared to expect of us such a perfect balance that we could preserve the law and still forgive the deviation. So, of course, we killed him.

 * The best parts of my intellectual life are tangential, in areas outside my expertise. I supposed because within my area of expertise, the regulations they have placed upon me make it impossible to know or understand anything.

 * I understood that she didn’t want to be liked. As if she were a visitor who expected to go back home any day.

 * You are the one human being who is capable of understanding the alien mind, because you are the alien mind; you know what it is to be unhuman because there’s never been any human group that gave you credentials as a bona fide homo sapien.

 * Anthropology is never an exact science; the observer never experiences the same culture as the participant.

 * His eyes were seductive with understanding.

 * Marriage is not a covenant between a man and a woman; even the beasts cleave together and produce their young. Marriage is a covenant between a man and a woman on one side and their community on the other.

 * Don’t ever try to teach me about good and evil. I've been there; you’ve seen nothing but the map.

 * My, but I miss the days when we never talked to each other for weeks at a time.

 * Ignorance and deception can’t save anybody. Knowing saves them.

 * It wasn’t a matter of confession, penance, and absolution, like the priests offered. It was something else entirely. Telling the story of who she was, and then realizing that she was no longer the same person. That she had made a mistake, and the mistake had changed her, now she had become someone else, someone less afraid, someone more compassionate.

 * I speak to everyone in the language they understand. That isn’t being slick. It’s being clear.

 * There’s so much that we don’t understand. And so much more that you don’t understand. We should tell each other more.

 * If people only react to the way that others treat them, then nobody is responsible for anything. If your sins are not your own to choose, then how can you repent?

 * It’s the dream of every living creature. The desire that is the very root of life itself: to grow until all the space you can see is part of you, under your control. It’s the desire for greatness. There are two ways, though, to fulfill it. One way is to kill anything that is not yourself, to swallow it up or destroy it, until nothing is left to oppose you. But that way is evil. You say to all the universe, Only I will be great, and to make room for me the rest of you must give up even what you already have, and become nothing.
 * Andrew Wiggin

 * I’m not one to despise other people for their sins. I haven’t found one yet, that I didn’t say to myself, I’ve done worse than this.
 * Andrew Wiggin

 * Once you know what people really want, you can't hate them anymore. You can fear them, but you can't hate them, because you can always find the same desires in your own heart.
 * Andrew Wiggin

 * As long as you keep getting born, it’s okay to die sometimes.
 * Andrew Wiggin

 * "There are worse reasons to die, than to die because you cannot bear to kill." "What about someone who can’t kill, and can’t die, and can’t live, either?" "Don’t deceive yourself. You’ll do all three someday."
 * Andrew Wiggin & Miro Ribeira

 * A question isn't an argument, unless you think you know my answer.

 * He loved her, as you can only love someone who is an echo of yourself at your time of deepest sorrow.

 * "You don’t know how much pain it will cause if all the secrets come out." "Take a look at my family. How can the truth cause any more pain than the secrets have already caused?"
 * Andrew Wiggin & Ela Ribeira

 * He was telling the truth, the story you wouldn't think to doubt because it’s taken for granted.

 * I think you can’t possibly know the truth about somebody unless you love them.

 * I knew her so well that I loved her, or maybe I loved her so well that I knew her.

 * He is dangerous, the infidel, the anti-Christ, he walks brazenly into places in my heart that I had kept as holy ground, where no one else was ever permitted to stand.

 * These people came for entertainment, but they're your targets; you will pierce them to the hearts.

 * If you really believed that someone was perfect in heart... So righteous that to live another day could only cause them to be less perfect, then wouldn't it be a good thing for them if they were killed and taken directly into heaven?

 * "Are you ready to reveal yourself to the rest of humanity?" "I’ve always been ready. The question is, are they ready to know me?"

 * I carry the seeds of death with me and plant them wherever I linger long enough to love. My parents died so others could live; now I live, so others must die.

 * [They] knew each other so well that there was often nothing to say. But without her there, [he] grew impatient with his own thoughts; they never came to a point, because there was no one to tell them to.

 * "I want to understand everything," said Miro. "I want to know everything and put it all together to see what it means." "Excellent project," she said. "It will look very good on your resume."

 * We become one tribe because we say we're one tribe.
 * Spoken by Human to Ender.

 * "Twisted and perverse are the ways of the human mind," Jane intoned. "Pinocchio was such a dolt to try to become a real boy. He was much better off with a wooden head."
 * Spoken by Jane to Ender

 * But they knew from that day forward who the piggies were, just as the readers of the Hive Queen had understood the buggers, and the readers of the Hegemon had understood humankind in its endless quest for greatness in a wilderness of separation and suspicion.

 * You killed more people than anybody in history." said Olhado, "Be the best at whatever you do, that's what my mother always told me.” said Ender

title: Speaker for the Dead


text:
Xenocide

Xenocide (1991) is the third novel in the Ender's Game series of books by Orson Scott Card.

Quotes

 * The wise are not wise because they make no mistakes. They are wise because they correct their mistakes as soon as they recognize them.

 * Every day all people judge all other people. The question is whether we judge wisely.

 * There can be no greater honor to a parent than to have a child who is greater.

 * People revealed themselves most when they were vaguely anxious, and few things brought out nonspecific anxieties like being in the presence of a person who never speaks.

 * Groups are even stupider than individuals — and yet by keeping so many fools engaged in pretending to be intelligent, they still come up with some of the same results that an intelligent species would come up with.

 * When you have wisdom that another person knows that he needs, you give it freely. But when the other person doesn’t yet know that he needs your wisdom, you keep it to yourself. Food only looks good to a hungry man.

 * A real god doesn’t care about control. A real god already has control of everything that needs controlling. Real gods would want to teach you how to be just like them.

 * Even if the vast majority of them are wrong, even if ninety-nine of every hundred is stupid and wrong, out of ten thousand ideas that still leaves them with a hundred good ones. That’s how they make up for being so stupid and having such short lives and small memories.

 * If you tell what you know, everybody is wiser. If you keep a secret, than everyone is a fool.

 * You're only so sure you're right because they're so sure you're wrong.

 * When have you ever seen someone who had no doubts who was also correct about anything?

 * He had the decency to be appalled by his own brutality.

 * Why did I come? I didn't come. I went. I wasn't coming here, to meet these people. I was leaving there. Getting away. Only I tricked myself.

 * Yes, she was opinionated, headstrong, bossy, and quick to reach conclusions. But she could also listen to an opposing view, change her mind when she needed to. She could listen, and so he could speak. Perhaps with her he could still be [himself].

 * You've done all this thinking, you've seen all the possibilities for the future - good ones and bad ones alike — and yet the only ones you are willing to believe in, the imagined future that you seize upon as the foundation for all your moral judgments, is the only future in which everyone that you and I have ever loved and everything we'd ever hoped for must be obliterated.

 * I’m trying to conceive of something inconceivable. I'm trying to find answers to questions that humans beings have never even tried to ask.

 * To stop a human being from doing something, you must find a way to make this person stop wanting to do it.

 * Who is more cursed, the one who dies, unknowing until the very moment of his death or the one who watched his destruction as it approached, step by step, for days and weeks and years?

 * No matter how well you know what a person has done and what he thought of what he was doing when he did it and what he now thinks of what he did, it is impossible to be certain of what he will do next.

 * She might be protective and possessive with her children whom she thought of as needing her, but with the people she needed, she was the opposite. If she feared they would be taken from her, she withdrew from them; she stopped permitting herself to need them.

 * We pretend to be whatever we must in order to survive.

 * Because everybody dies, you'll always feel cheated. But you're the cheat... You're the one who uses our love for you to try to control us.

 * The mob still had anger in it, some of them at least. Yet there were so many who were sick of it all, many who were already ashamed, already discovering in their hearts the terrible acts they had performed tonight, when their souls were given over to the will of the mob.

 * We never forbid where we do not also have the power to prevent.

 * If you act as the enemy of life, then life will become your enemy.

 * Happiness can depend as easily on useless things as on useful ones.

 * If you treat me this way, then I will treat you like a great lord, and if you do not detect the irony in my actions, then who of the two of us is the fool?

 * "A male does his best, reproductively, if he wanders and copulates as widely as possible." "I’ve done the wandering. Somehow I missed out on the copulating."

 * I looked for perfection, and I found something better.

 * She's so full of pain, she's incapable of taking anyone else's pain seriously.

 * Failing to try and stop a murder that you might easily stop — how is that not murder?

 * Only you have the power to kill me completely. Only you have the power to make it so my death means nothing, so that all my people die after me and there is no one left to remember. Why shouldn't I leave my testament with you alone? Only you will decide whether or not it has any worth.

 * I suspect there may be someone who cares what happens to us. That's one step better than merely wishing. And one step below hoping.

 * "When you don't understand the consequences of your acts, how can you be blamed for them?" "You don't take the blame. But you still take the responsibility. For healing the wounds you caused."

 * If you think that everybody around you is a puppet, why bother talking to them at all? Why even try to plan anything or create anything, since everything you plan or create or desire or dream of is just acting out the script your puppeteer built into you?

 * We knew everything there was to know before... Now we discover that there are so many ways of knowing the same things that we'll never find them all.

 * They never know anything. They don't have enough years in their little lives to come to an understanding of anything at all.

 * No doubt it was all an elaborate pretense at normality, but in Valentine's experience, normality was always a pretense, people acting out what they thought were their expected roles.

 * We spend our lives guessing at what's going on inside everybody else, and when we happen to get lucky and guess right, we think we "understand." Such nonsense. Even a monkey at a computer will type a word now and then.

title: Xenocide