text:
Children of the Mind

Children of the Mind (1996) is the fourth book of Orson Scott Card's Ender's Game series of science fiction novels.

Quotes

 * All the stories are fictions. What matters is which fiction you believe.

 * Your trust in rationality makes you irrational.

 * Religion is tied to the deepest feelings people have. The love that arises from that stewing pot is the sweetest and strongest, but the hate is the hottest, and the anger is the most violent.

 * Knowledge is just opinion that you trust enough to act upon.

 * Please don't disillusion me. I haven't had breakfast yet.

 * I'm all the more in need of good advice, since I can’t actually conceive of needing any.

 * If only we were wiser or better people perhaps the gods would explain the mad, unbearable things they do.

 * I have been a slave. But at least in all that time I knew my own heart. I knew what I truly thought even as I did what they wanted, whatever it took to get what I wanted from them.

 * What does it matter, to tell yourself that the thing controlling you comes from outside, if in fact you only experience it inside your own heart? Where can you run from it? How can you hide?

 * You'd think she'd learn something from that. But she still does the same thing. Making decisions that deform other people’s lives, without consulting them, without ever conceiving that perhaps they don't want her to save them from whatever supposed misery she's saving them from.

 * The only people who ever prize purity of ignorance are those who profit from a monopoly on knowledge.

 * But he did love her, with all his heart he loved her. All his heart? All of it he knew about.

 * All our rationalities are invented to justify what we were going to do anyway before we thought of any reasons.

 * Even gentle people recognize that sometimes the decision not to kill is a decision to die.

 * Love was the genes of all creatures demanding that they be replicated, replicated, replicated.

 * Life is a suicide mission.

 * Is the brain a map that leads down twisted paths and into hidden corners? Then when we die, the map is lost but perhaps some explorer could wander through that strange landscape and find out the hiding places of our misplaced memories.

 * You couldn't bear to let another man leave you, so you left him first.

 * What had been lost was found again. And those who had been hungry without knowing the name of their hunger, were fed.

 * I have a sense of comfortableness in love; it isn't grand sweeping passions that I expected to feel.

 * The price of having these emotions, these passions, is that you have to control them, you have to bear them when they're too strong to bear.

 * She wants what everybody wants — to be loved and cared for, to be part of something beautiful and fine, to have the respect of those she admires.

 * I once heard a tale of a man who split himself in two. The one part never changed at all; the other grew and grew. The changeless part was always true, the growing part was always new, and I wondered, when the tale was through, which part was me, and which was you.

 * He chose this world as his home, not just because there was a family that needed him, but also because in this place he did not have to be entirely a member of the human race... He could be part of something larger than mere humanity.

 * Changing the world is good for those who want their names in books. But being happy, that is for those who write their names in the lives of others, and hold the hearts of others as the treasure most dear.

 * That's life. It hurts, it's dirty, and it feels very very good.

 * Would I tame this great being and make her so much my slave that every moment of her time belongs to me? Would I focus her eyes so they can see nothing but my face? I should rejoice that I am part of her, instead of resenting I'm not more of her.

title: Children of the Mind


text:
User talk:Robinage

--Aphaia 03:41, 7 Apr 2005 (UTC)

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

title: User talk:Robinage


text:
User:IceKarma

Please visit my user page at Wikipedia.

title: User:IceKarma


text:
User talk:205.188.116.199

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. — refers to April 6 edits on Star Wars —This unsigned comment is by Jeffq (talk • contribs) 08:26, 7 April 2005.

Please stop adding nonsense to Wikiquote, as you did to Captain Ron. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos 03:03, 27 April 2006 (UTC)

title: User talk:205.188.116.199


text:
User talk:213.157.194.163

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. — refers to April 7 edit on Wikiquote talk:Templates — Jeff Q (talk) 09:27, 7 Apr 2005 (UTC)

title: User talk:213.157.194.163


text:
Laurell K. Hamilton

Laurell Kaye Hamilton (born 19 February 1963) is an American erotic horror and science fiction/fantasy writer, well-known for her Anita Blake: Vampire Hunter series. In 2000, she branched out and started the new Merry Gentry series about a fairy princess turned private investigator. Her writing is characterized by vivid prose, strong first-character viewpoint, and explicit sex and violence.

= Quotes =

 * I had been too long away from the nobility; I had forgotten how silly even the best of them could be.
 * Geese in Marion Zimmer Bradley (ed.) Sword and Sorceress 8, p. 40

Guilty Pleasures (1993)

 * I hate to waste a really good threat.

 * You will never lose your nerve. Your life, probably, but never your nerve."
 * Edward on Anita

 * I won't die, eaten alive," he said. He put a fresh clip in his gun. I'll do you first if you want, or you can do it yourself. Save your bullets, Edward. I lifted a can of gasoline in one hand. What are you planning? he asked. I'm going to set the shed on fire. I splashed gasoline on the door. The smell was sharp and tugged at the back of my throat. With us inside? he asked. Yes. I'd rather shoot myself, if it's all the same to you.
 * Edward and Anita

 * I know who and what I am. I am The Executioner, and I don't date Vampires. I kill them.
 * Final line

The Laughing Corpse (1994)

 * I could almost smell her fear... Why did it bother me so much? Because she and I were the only women here, and we had to be better than the men. Braver, quicker, whatever. It was a rule for playing with the big boys.
 * Anita

 * My eyes were running because there were pieces of zombie all over my toys, Jesus.
 * Anita after a zombie attack

 * People are supposed to fear the unknown, but ignorance is bliss when the knowledge is so damn frightening.
 * Anita

 * Pretend hard enough and maybe it will go away.
 * Anita

The Lunatic Cafe (1996)

 * "Always needing to have the last word is a bad trait Ms. Blake, pisses people off."
 * Titus to Anita

Narcissus In Chains (2001)

 * I stepped out of the car on the rat king's arm, like a trophy wife--except for the wrist sheaths and the two folding knives hidden in my clothing. Somehow I think trophy wives wear more makeup and less cutlery. But, Hey, I haven't met a trophy wife, maybe I'm wrong. Maybe they know what I know, that the true way to a man's heart is six inches of metal between his ribs. Sometimes four inches will do the job, but to be really sure, I like to have six. Funny how phallic objects are always more useful the bigger they are. Anyone who tells you size doesn't matter has been seeing too many small knives.
 * Anita's musings on knives; unidentified edition, pp. 304-305

 * We hate most in others what we dislike in ourselves.
 * Anita's musings on Richard, the reluctant werewolf; unidentified edition/page

Incubus Dreams (2004)

 * Giving up something that no longer serves a purpose, or protects you, or helps you, isn't giving up at all, it's growing up.
 * Psychic mentor Marianne, to Anita; p. 61

 * He wanted to feed the hunger of his skin. The hunger of his body not so much for orgasm but for that need to be held close and tight, that need we all have to press our nakedness against someone else's.
 * Anita Blake's observation about vampire servant Damian; p. 81

 * You ask yourself "What is love? Am I in love?", when what you should be asking is, "What is not love?", ma petite. What is it that this man does for you that is not done out of love?
 * Vampire Jean-Claude, to Anita; p. 176

 * No, really, Ronnie, it's good to share information when you know someone else is dating the lunarly challenged.
 * Anita, to Ronnie, referring to her were-rat boyfriend Louie; p. 197

 * Anita: My life works for me right now, but it wouldn't work for a child. Ronnie: Why, because you don't have a husband? Anita: No, because people try to kill me on a semiregular basis.
 * p. 198

 * A person likes to think of himself in a certain way, and when something happens that makes that no longer possible, you mourn the old self. The person you thought you were.
 * Vampire Requiem, to Anita; p. 311

 * There comes a point when you just love someone. Not because they're good, or bad, or anything really. You just love them. It doesn't mean you'll be together forever. It doesn't mean you won't hurt each other. It just mean you love them. Sometimes in spite of who they are, and sometimes because of who they are. And you know that they love you, sometimes because of who you are, and sometimes in spite of it.
 * Musings of Anita Blake; pp. 383-384

 * Nothing helps you sleep at night so much as being absolutely certain that you're right, and everyone else is evil.
 * Musings of Anita Blake; p. 518

 * There's no one so self-righteous as someone policing someone else's morality.
 * Musings of Anita Blake; p. 627

 * I smiled at him but knew it did not reach my eyes. I smiled because he smiled at me, more reflex than emotion. Inside I was nothing. It was a little like being in shock. Shock is nature's insulation, the thing that shuts you down so you can heal, or sometimes so you can die without hurting, or being afraid...
 * Unidentified edition/page

 * Well I wasn't going to die. You didn't die of a broken heart, it just felt like you were going to. I knew from personal experience that if you just kept moving, acting as if you weren't bleeding inside you didn't die, and eventually you stopped wanting to.
 * Unidentified page

Danse Macabre (2006)

 * [Talking to friend Veronica, Anita Blake worries she may be pregnant.] Ronnie: I could ask, who's the father, but that's just creepy. If you are, then it's this little tiny, microscopic lump of cells. It's not a baby. It's not a person, not yet. Anita: We'll have to disagree on that one. Ronnie: You're pro-choice. Anita: Yep, I am, but I also believe that abortion is taking a life. I agree women have the right to choose, but I also think that it's still taking a life. Ronnie: That's like saying you're pro-choice and pro-life. You can't be both. Anita: I'm pro-choice because I've never been a fourteen-year-old incest victim pregnant by her father, or a woman who's going to die if the pregnancy continues, or a rape victim, or even a teenager who made a mistake. I want women to have choices, but I also believe that it's a life, especially once it's big enough to live outside the womb.
 * Chapter 1, pp. 4-5

 * Samuel smiled at me. "Freedom and fairness are very important to you, aren't they?" I nodded, and frowned. "They're important to everybody." He laughed. "Oh, no, Anita, you would be amazed at the number of people who try to give away their freedom at every opportunity. They much prefer that someone else make their decisions."
 * Chapter 17, p. 151

 * "The idea of the feudal system is that the people on the top take care of the needs of those on the bottom, but I have seldom seen it work that way," Wicked said. "Yeah," I said, "it's like trickle-down economics; it only works if the people at the top are really good, decent people. The system is only as good as the people in power."
 * Chapter 26, p. 250

The Harlequin (2007)

 * Maybe God isn't the sex police, Richard. Sometimes I think Christians get all hung up on the sex thing because it's easier to worry about sex than to ask yourself, am I a good person? If as long as you don't have sex with a lot of people, that's easy. […] It makes it easy to be cruel, because as long as you're not fucking around, nothing you do can be that bad. Is that really all you think of God?
 * Anita Blake to Richard Zeeman; chapter 44, pp. 391-392

A Stroke of Midnight (2005)

 * That feeling of terrible emptiness when I touched him was like going into a house that you thought would be full of people you loved, only to find it empty, and even the furniture taken. You walk from room to room, hearing your footsteps echo on the naked floors. Your voice bounces back from the empty walls, where the lines of beloved photos still show like the line around a body at a crime scene. He was gone.
 * memories of Princess Meredith about encountering the body of her father, Essus; p. 40

 * You cannot die of grief, though it feels as if you can. A heart does not actually break, though sometimes your chest aches as if it is breaking. Grief dims with time. It is the way of things. There comes a day when you smile again, and you feel like a traitor. How dare I feel happy. How dare I be glad in a world where my father is no more. And then you cry fresh tears, because you do not miss him as much as you once did, and giving up your grief is another kind of death.
 * musings of Princess Meredith; p. 41

 * Love is too precious to be ashamed of.
 * Galen; p. 105

 * A flower may be beautiful all on its own, but a person is never truly beautiful unless someone's eyes show him that he is beautiful.
 * Ivi; p. 147

 * After a good, successful torture, she was as happy as I ever saw her. I guess everyone needed a hobby.
 * Musings of Princess Meredith about her aunt, Queen Andais; p. 357

title: Laurell K. Hamilton


text:
User talk:HeavyD~enwikiquote

Welcome to Wikiquote. I hope that you will help us to build a useful and authoritative encyclopedia of quotes from notable people, publications, and events. To this end, I have reverted the quote you added to Computers, because is it not Wikiquote policy to include quotes from its contributors, unless they are themselves published or otherwise famous. Personal quotes can, however, be placed on one's User page. You can create your own User page by clicking on the "HeavyD" link at the top of your screen, next to the head-and-shoulders icon. (You can see one example of self-quotes on my own user page.) If you have any questions, you can review the materials at Help:Contents, post a question on the Village pump, or ask me on my Talk page. Thank you for joining the community! — Jeff Q (talk) 11:53, 7 Apr 2005 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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

Sorry for the inconvenience.

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Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:48, 19 April 2015 (UTC)

title: User talk:HeavyD~enwikiquote


text:
8-Bit Theater

8-Bit Theater (also spelled 8-Bit Theatre) is a sprite comic created by Brian Clevinger based on the game Final Fantasy. It launched in March 2001. The plot of the comic roughly parallels the course of the game, following the four Light Warriors in their quest to vanquish the King of Demons, Chaos. However, the comic is not a serious epic; much of 8-Bit Theater's humor is derived from the blunderings and misadventures of the protagonists and their foes.

See Also: Brian Clevinger

Episodes 1-99

 * White Mage: Excuse me. Do you carry any restraining order spells?
 * 05/05/2001, Episode 025 Real: He's One Smooth Operator

 * Fighter: I trust Black Mage 'cause he told me to.
 * 06/06/2001, Episode 039: Survivor 8-bit Style Part 4

 * Fighter: I love you phallic-sword worshiping warrior woman. Take me.
 * 06/30/2001, Episode 049: What Else Would He Think About?

 * Red Mage: For +3 endurance, I'd wear my own underwear over my armor.
 * 08/09/2001, Episode 066: Is It Possible to be a Fourth Wheel?

 * Black Mage: The problem with guards is that they are too inquisitive for their own good. That and the clean up afterward is always such a bitch.
 * 08/28/2001, Episode 072: Why Does it Always End in Murder?

Episodes 100-199

 * White Mage: You are simply a horrible little monster and I pray for your quick and merciful death.
 * 12/12/2001, Episode 100: White Mage Makes It All Better

 * Black Mage: Well, at least I shall die as I have lived. Completely surrounded by morons.
 * 01/24/2002, Episode 111: The Unfurling of a Master Plan

 * Black Mage: ...So you see, by allowing me to kill you three, I'll be able to at least die with some dignity... and a smile.
 * 02/11/2002, Episode 116: The ol' Switcheroo!

 * Red Mage: If we disguise ourselves as dragon-food, we could take the dragon by surprise.
 * 07/13/2002, Episode 172: The Inhabitant of the Cave

Episodes 200-299

 * Bikke: Aye! They be like a thorny thorn in ye sidey side.
 * 10/31/2002, Episode 209: The Pillage Boat

 * Fighter: Jump overboard! It's the only way to save yourself from the sea-monsters!
 * 12/19/2002, Episode 227: Biology 101, RM Style

 * Fighter: Isn't it ironic to yell the word silence?
 * 04/08/2003, Episode 270: Fighter Morissette

 * Drizz'l: I could feel my brain contracting from your sheer stupidity.
 * 04/12/2003, Episode 272: Mind Games

 * Thief: I'll have you know "Drizz'L" roughly translates to "The Relentless Scourge".
 * Black Mage: Yeah, like the relentless scourge of having a really stupid name.
 * 04/17/2003, Episode 274: The Villain Revealed!

Episodes 300-399

 * Vilbert: Mom! How many times must I ask you to refer to me by my dark name of the damned?
 * 01/06/2004, Episode 369: "Oh, Sweet Mystery of LARP, at Last I've Found You"

 * Black Mage: Can we kill him now? He's a Goth, it's what he wants.
 * 01/08/2004, Episode 370: Really, It'd be Doing Him a Favor

 * Black Mage: You don't really practice bleeding to death from six dozen stab wounds. It's just gonna happen.
 * 01/13/2004, Episode 372: Sanguine Machinations

 * Young Black Mage: What part of being stabbed do you not understand?
 * 02/19/2004, Episode 386: "I live for the noise!"

 * Lich, Fiend of Earth: If I still had to consume food, I would feast upon your entrails, tonight.
 * 02/28/2004, Episode 390: A Deal with the Devil

Episodes 400-499

 * Black Mage: I should have mentioned this at the beginning. I solve my problems through violence.
 * 06/12/2004, Episode 428: Problem Solver

 * Red Mage: That's not how it works. There is no grand story to history. Things just happen. It's the act of looking back on it that interposes a sense of narrative.
 * Black Mage: And yet here we are, just as we were always going to be. Doesn't that drive you mad? Don't you hate yourself for it? For never having seen it coming until now? Every little thing is so painfully obvious now, isn't it? Now that it's too late, you have all the answers, don't you?
 * 06/26/2004, Episode 434: Wouldn't You Like to Know

 * Berserker: Just because I fly into a blind, homicidal rage at the drop of a helm doesn't mean I'm incapable of appreciating the finer things in life.
 * 07/10/2004, Episode 440: Berserkers want what we all want. Civilization.

 * Red Mage: Use your weapons, they are designed to inflict damage!
 * 08/26/2004, Episode 455: Self-Fulfilling Stupidity

 * Red Mage: Our weapons are useless, reliance upon them is death!
 * 08/26/2004, Episode 455: Self-Fulfilling Stupidity

Episodes 500-599

 * Vilbert: My dark soul burns with fiery agreement. Or possibly tacos.
 * 01/27/2005, Episode 508: Insurrection

 * Red Mage: I don't need a quest to teach me the importance of faking friendship.
 * 04/05/2005, Episode 536: Savvy Customers

 * Sarda: Yea, is it not written, "With great power comes great authority, but absolute power rocks absolutely"?
 * 05/28/2005, Episode 556: The Gang's All Here

 * Cleric: Well look at that, another beautiful miracle. If it weren't for my atheism, I'd be impressed by it.
 * 08/11/2005, Episode 585: A Lofty Goal

Episodes 600-699

 * Black Mage: You don't tend to see many ancient castles with such well manicured lawns.
 * 09/24/2005, Episode 603: You Can't Knock Them all out of the Park

 * Black Mage: If there was a way to get magic for free, do you really think I'd have spent so much time sacrificing children to my Dark Gods? For spells, I mean. Obviously there'd still be sacrifices. A hobby's a hobby.
 * 01/12/2006, Episode 647: Blue Herring

 * Red Mage: Evolution is my bitch.
 * 03/23/2006, Episode 676: Supernatural Selection

Episodes 700-799

 * Ur (Kraken), Fiend of Water: Oh, man, what a smell in that thing. Horrible. Anyway! You guys ordered an Apocalypse, if I'm right.
 * 11/04/2006, Episode 765: The Hatching Of A Plot

Episodes 800-899

 * Fighter: I like it. Needs a sword fight in the middle, but we can burn that river when we cross a bridge over the bush with two birds in glass houses.
 * 04/03/2007, Episode 828: Backfired

 * Red Mage: In the arena of logic, I fight unarmed.
 * 04/19/2007, Episode 835: Refining Moment

 * Black Mage: My hatred for you burns like the skin of that guy.
 * 05/17/2007, episode 847: Throw Away Gag

Episodes 900-999

 * Muffin (Tiamat), Fiend of Air: Moron. I never owned an invisible sky castle. Just that regularly visible one over there.
 * 12/15/2007, Episode 932: Unfold Behind The Clouds

 * Thief: Well, Red Mage had a stupid idea, and I'm making it better with my cunning.
 * 01/26/2008, Episode 947: Mo' Like COMBUSTIBLE MAGE

Episodes 1000-1099

 * Red Mage: Just once I'd like to go somewhere without killing everyone in the world.
 * 07/03/2008, Episode 1012: 1000 Away from the Mayan Apocalypse

 * Black Mage: Lies are just creative truths.
 * 07/17/2008, Episode 1018: Power Struggle

 * Red Mage: And thanks to my frankly brilliant allocation of points to animal husbandry, I possess a robust and intimate knowledge of monster genitals.
 * 09/02/2008, Episode 1032: Damn Yankees

 * Fighter: One might think waging a four-way double-elimination duel to the death with yourself could drive you insane. But really? It makes you super sane.
 * 12/02/2008, Episode 1066: Justifying Regicide

Episodes 1100-1199

 * Black Mage: We should all aspire to be Lex Luthor.
 * 03/17/2009, Episode 1106: From a Certain Point of View

 * Fighter: Can I take off my fire helm yet? It's a little on fire.
 * 03/26/2009, Episode 1109: Continuum vs. Quantum

 * Black Mage: Suddenly, living in your a-hole forever doesn't seem so bad.
 * 06/27/2009, Episode 1145: Dark Hearts and Coronets

title: 8-Bit Theater


text:
User:Chrisjwmartin

chrisjwmartin@wikipedia

title: User:Chrisjwmartin


text:
Elio Toaff

Elio Toaff (30 April 1915 – 19 April 2015) was the chief rabbi of Rome.

Quotes

 * The heart opens itself to the hope that the misfortunes of the past will be replaced by fruitful dialogue.
 * "Pope Speaks in Rome Synagogue, in the First Such Visit on Record" by E. J. Dionne Jr, The New York Times, 13 April 1986, retrieved 9 August 2010.

title: Elio Toaff


text:
Logan Pearsall Smith

Logan Pearsall Smith (October 18, 1865 – March 2, 1946) was an American-born British essayist and critic. Harvard and Oxford educated, he was known for his aphorisms and epigrams, and was an expert on 17th century divines.

Quotes

 * The emergence of a new term to describe a certain phenomenon, of a new adjective to designate a certain quality, is always of interest, both linguistically and from the point of view of the history of human thought. That history would be a much simpler matter (and language, too, a much more precise instrument) if new thoughts on their appearance, and new facts at their discovery, could at once be analysed and explained and named with scientific precision. But even in science this seldom happens; we find rather that a whole complex group of facts, like those for instance of gas or electricity, are at first somewhat vaguely noticed, and are given, more or less by chance, a name like that of gas, which is an arbitrary formation, or that of electricity, which is derived from the attractive power of electrum or amber when rubbed — the first electric phenomenon to be noticed.
 * "Four Romantic Words" in Words and Idioms : Studies in the English Language (1925), § I.

 * The truth is that the phenomena of artistic production are still so obscure, so baffling, we are still so far from an accurate scientific and psychological knowledge of their genesis or meaning, that we are forced to accept them as empirical facts; and empirical and non-explanatory names are the names that suit them best. The complete explanation of any fact is the very last step in human thought; and it is reached, as I have said, if indeed it is ever reached, by the preliminary processes of recognition, designation, and definition. It is with these preliminary processes that our aesthetic criticism is still occupied.
 * "Four Romantic Words" in Words and Idioms : Studies in the English Language (1925), § VI

Afterthoughts (1931)

 * The denunciation of the young is a necessary part of the hygiene of older people, and greatly assists in the circulation of their blood.
 * Age and Death

 * Don't laugh at a youth for his affectations; he is only trying on one face after another to find his own.
 * Age and Death

 * I cannot forgive my friends for dying; I do not find these vanishing acts of theirs at all amusing.
 * Age and Death

 * What music is more enchanting than the voices of young people, when you can't hear what they say?
 * Age and Death

 * The test of a vocation is the love of the drudgery it involves.
 * Art and Letters.

 * The notion of making money by popular work, and then retiring to do good work on the proceeds, is the most familiar of all the devil's traps for artists.
 * Art and Letters.

 * It is the wretchedness of being rich that you have to live with rich people.
 * In the World.

 * To suppose, as we all suppose, that we could be rich and not behave as the rich behave, is like supposing that we could drink all day and keep absolutely sober.
 * In the World.

 * How many of our daydreams would darken into nightmares if there seemed any danger of their coming true!
 * Life and Human Nature.

 * There are few sorrows, however poignant, in which a good income is of no avail.
 * Life and Human Nature.

 * There are two things to aim at in life: first, to get what you want; and, after that, to enjoy it. Only the wisest of mankind achieve the second.
 * Life and Human Nature.

 * The indefatigable pursuit of an unattainable perfection, even though it consist in nothing more than the pounding of an old piano, is what alone gives a meaning to our life on this unavailing star.
 * Life and Human Nature.

 * People say that life is the thing, but I prefer reading.
 * Myself

 * How can they say my life is not a success? Have I not for more than sixty years got enough to eat and escaped being eaten?
 * Myself

 * All Reformers, however strict their social conscience, live in houses just as big as they can pay for.
 * Other People.

 * Most people sell their souls, and live with a good conscience on the proceeds.
 * Other People.

 * When they come downstairs from their Ivory Towers, Idealists are very apt to walk straight into the gutter.
 * Other People.

All Trivia: Trivia, More Trivia, Afterthoughts, Last Words (1933)

 * Thank heavens, the sun has gone in, and I don't have to go out and enjoy it.
 * "Last words" — these are not actually Smith's last words, but a section title).

Reperusals and Recollections (1936)

 * There are readers—and I am one of them—whose reading is rather like a series of intoxications. We fall in love with a book; it is our book, we feel, for life; we shall not need another. We cram-throat our friends with it in the cruellest fashion; make it a Gospel, which we preach in a spirit of propaganda and indignation, putting a woe on the world for a neglect of which last week we were equally guilty.
 * I am not at all sorry that I have never been cured of this form of youthful susceptibility; one may after all become the victim of more inadvisable forms of folly. My infatuations have at least one advantage; they may lead to satiety, but they do not often end in disillusion. I have, of course (who hasn’t?), my Bluebeard’s closet of dead loves, abandoned for ever; but for the most part I find that the objects of my former adoration are quite capable of awakening my old affection. My experiences of love at first sight, being followed by love at second or third or fourth sight, I enjoy the bliss of both the constant and the inconstant lover. Indeed, these returns to old books—as I have just now returned to Montaigne’s Essays—have often proved, in a life of desultory reading, to be among the pleasantest experiences of that pleasant scheme of existence.
 * “Montaigne,” p. 1

 * We all endeavour, as Spinoza says, to persist in our own being; and that endeavour is, he adds, the very essence of our existence. When, therefore, we find that what delighted us once can still delight us: that though the objects of our admiration may be intermittent, yet they move in fixed orbits, and their return is certain, these reappearances will suggest that we have after all maintained something of our own integrity; that a sort of system lies beneath the apparent variability of our interests; that there is, so to speak, a continuity within ourselves, a core of meaning which has not disintegrated with the years.
 * “Montaigne,” p. 2

 * If we find, when we read again one of our classics—say Virgil for instance—that we like it better than ever, the experience may suggest an even more pleasing conjecture. Psychologists tell us that fullness of life is the goal of everything that lives, that the impulse towards completeness, towards ripeness and self-realization, is the most compelling of all motives. These discoveries in old books of new beauties and aspects of interest may persuade us, therefore, that we are not only still ourselves, but more ourselves than ever: that our spirit has not only persisted in its being, but has become more lucid in the process.
 * “Montaigne,” p. 2

 * Perhaps not only in his attitude towards truth, but in his attitude towards himself, Montaigne was a precursor. Perhaps here again he was ahead of his own time, ahead of our time also, since none of us would have the courage to imitate him. It may be that some future century will vindicate this unseemly performance; in the meanwhile it will be of interest to examine the reasons which he gives us for it. He says, in the first place, that he found this study of himself, this registering of his moods and imaginations, extremely amusing; it was an exploration of an unknown region, full of the queerest chimeras and monsters, a new art of discovery, in which he had become by practice “the cunningest man alive.” It was profitable also, for most people enjoy their pleasures without knowing it; they glide over them, and fix and feed their minds on the miseries of life. But to observe and record one’s pleasant experiences and imaginations, to associate one’s mind with them, not to let them dully and unfeelingly escape us, was to make them not only more delightful but more lasting. As life grows shorter we should endeavour, he says, to make it deeper and more full. But he found moral profit also in this self-study; for how, he asked, can we correct our vices if we do not know them, how cure the diseases of our soul if we never observe their symptoms? The man who has not learned to know himself is not the master, but the slave of life: he is the “explorer without knowledge, the magistrate without jurisdiction, and when all is done, the fool of the play.”
 * “Montaigne,” p. 6

 * It is certainly curious that among all the millions of books that have been written on every conceivable subject, so few writers have really tried to describe the tissue of their thoughts and the actual taste of consciousness. And yet this is, after all, our most immediate and direct experience, the only experience of whose reality we are absolutely certain.
 * “Montaigne,” p. 7

 * Experience is always seeking for special literary forms in which its various aspects can find their most adequate expression; and there are many of these aspects which are best rendered in a fragmentary fashion, because they are themselves fragments of experience, gleams and flashes of light, rather than the steady glow of a larger illumination.
 * “English Aphorists,” pp. 102-103

 * The disconnected impressions which we derive from life form a kind of knowledge ‘in growth,’ as Bacon called it; an over-early and peremptory attempt to digest this knowledge into a system tends, as he suggests, to falsify and distort it.
 * “English Aphorists,” p. 103

 * We frequently fall into error and folly, Dr. Johnson tells us, “not because the true principles of action are not known, but because, for a time, they are not remembered.” To compress, therefore, the great and obvious rules of life into brief sentences which are not easily forgotten is, as he said, to confer a real benefit upon us.
 * “English Aphorists,” p. 108

 * Few things are more shocking to those who practice the arts of success than the frank description of those arts.
 * “English Aphorists,” p. 123

 * That one should practice what one preaches is generally agreed, but anyone who has the indiscretion to preach what both he and his hearers practice must always incur—as Lord Chesterfield has incurred—the gravest moral reprobation.
 * “English Aphorists,” p. 123

 * What draws us to him so closely is that he combined a disillusioned estimate of human nature sufficient to launch twenty little cynics, with a craving for love and sympathy urgent enough to turn a weaker nature into a benign sentimentalist.
 * recounting Desmond McCarthy’s description of Samuel Johnson, “English Aphorists,” p. 138

 * Time spent in labouring to perfect one’s style, or to make of it an instrument for the production of imaginative effects, is, Mr. Read tells us, just so much time wasted. Indeed Mr. Middleton Murry says it is worse than this, for nothing could be more dangerous than the notion that the more poetic is prose, the finer it is; this is a heresy that cannot be too much deplored and combated. ‘The terrible attraction of words, the impulse to use them for anything more than exact symbols of the things they stand for, is another danger; any sacrifice of sense to euphony being, these critics tell us, the beginning of decadence: ‘it is a step on the downward path.’ The histories and associations of words, are, Mr. Read says, entirely irrelevant to prose-style, their face-value in current usage being their only value. The young writer is also warned against rhythmical effects and the use of images, and is told that any conscious care for such devices, any playing, like Stevenson, of the sedulous ape to the masters of this technique, must be carefully eschewed.
 * “Fine Writing,” p. 304

 * May it [the opposition to fine writing] be accounted for by the fact that the spirit of Puritanism, having been banished from the province of moral conduct, has found a refuge among the arts?
 * “Fine Writing,” p. 306

 * The disconcerting fact may first be pointed out that if you write badly about good writing, however profound may be your convictions or emphatic your expression of them, your style has a tiresome trick (as a wit once pointed out) of whispering: ‘Don’t listen!’ in your readers’ ears. And it is possible also to suggest that the promulgation of new-fangled aesthetic dogmas in unwieldy sentences may be accounted for—not perhaps unspitefully—by a certain deficiency in aesthetic sensibility; as being due to a lack of that delicate, unreasoned, prompt delight in all the varied and subtle manifestations in which beauty may enchant us.
 * Or, if the controversy is to be carried further; and if, to place it on a more modern basis, we adopt the materialistic method of interpreting aesthetic phenomena now in fashion, may we not find reason to believe that the antagonism between journalist critics and the fine writers they disapprove of is due in its ultimate analysis to what we may designate as economic causes? Are not the authors who earn their livings by their pens, and those who, by what some regard as a social injustice, have been more or less freed from this necessity—are not these two classes of authors in a sort of natural opposition to each other? He who writes at his leisure, with the desire to master his difficult art, can hardly help envying the profits of money-making authors.
 * criticizing the Cambridge School of criticism, e.g. John Middleton Murry and Herbert Read, “Fine Writing,” pp. 306-307

 * The enormous and half-educated publics of present-day England and America… acclaim as masterpieces books that are soon forgotten, while ignoring all that is exquisite and rare.
 * “Fine Writing,” p. 308

title: Logan Pearsall Smith


text:
User talk:82.155.110.190

Veronica Mars
Welcome to Wikiquote! I see you voted to keep the article on Veronica Mars, but you did not sign your vote. We need people to sign their votes (by ending them in four tildes [ ~ ], which adds your user ID or IP address and a timestamp) to verify that each person only votes once. Could you edit your vote and add your signature, please?

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In any case, thanks for joining the Wikiquote community. I hope you find it very useful and entertaining! — Jeff Q (talk) 00:21, 8 Apr 2005 (UTC)

title: User talk:82.155.110.190


text:
The Brothers Chaps

Mike Chapman (b. 1973) and Matt Chapman (b. 1976), known as The Brothers Chaps, are American cartoonist and satirists; co-creators of the animated series Homestar Runner.

Quotes

 * Mike: I'm Mike Chapman from homestarrunner.com! People are all the time asking me "Mike, how do you do those stupid voices for your dumb animal characters?" and I say "I'm Mike! Matt does the voices!" Let's go!
 * Sample of Style
 * Matt: Having no plan and low expectations always makes the future look brighter.
 * Matt: ... Expectations, keep 'em down. Ankle level.
 * Flashforward 2006

title: The Brothers Chaps


text:
The Phantom of the Opera (1986 musical)

The Phantom of the Opera is a musical composed by Andrew Lloyd Webber, based on the novel The Phantom of the Opera by Gaston Leroux.

The Phantom

 * I am your angel of Music. Come to me, Angel of Music.
 * The Mirror/Angel of Music

 * Sing, my angel of Music! Sing for me!
 * The Phantom of the Opera

 * And though you turn from me to glance behind, the Phantom of the Opera is there. Inside your mind.
 * The Phantom of the Opera

 * The bridge is crossed so stand and watch it burn.
 * "The Point of No Return"

 * Wandering child, so lost, so helpless! Yearning for my guidance!
 * Wandering child

 * Angel of music, you denied me, turning from true beauty.
 * "Wandering Child"

 * No "buts"! for once, Monsieur le Vicomte is right.
 * "Bravo Monsieur"

 * Say you'll share with me one love, one lifetime. Lead me, save me from my solitude. Say you want me with you here, beside you. Anywhere you go let me go too. Christine, that's all I ask of —
 * "All I Ask Of You" (reprise, following "The Point of No Return")

 * Masquerade! Paper faces on parade. Masquerade! Hide your face so the world will never find you.
 * "Final Lair"

 * The world showed no compassion to me!
 * To Raoul

 * Past the point of no return, the final threshold. What warm unspoken secrets will we learn?
 * "The Point of No Return"

 * You alone can make my song take flight. Help me make the music of the night.
 * "The Music of the Night"

 * Wait! I think, my dear, we have a guest. Sir, this is indeed an unparalleled delight. I had rather hoped that you would come. And now, my wish comes true. You have truly made my night.
 * "Down Once More"

 * A toad, Madam? Perhaps it is you who are the toad.
 * To Carlotta

 * You will curse the day you did not do all that the Phantom asked of you!
 * All I Ask of You" (Reprise)

 * I gave you my music, made your song take wing, and now how you've repaid me: denied me and betrayed me.
 * "All I Ask of You" (Reprise)

 * Why so silent, good messieurs? Did you think that I had left you for good? Have you missed me, good messieurs? I have written you an opera! Here I bring the finished score - Don Juan Triumphant! I advise you to comply; my instructions should be clear. Remember, there are worse things than a shattered chandelier.
 * "Why So Silent?"

 * Carlotta must be taught to act, not her normal trick of strutting 'round the stage. Our Don Juan must lose some weight; it's not healthy in a man of Piangi's age. And my managers must learn that their place is in an office, not the arts. As for Miss Christine Daae...no doubt she'll do her best, it's true her voice is good. She knows, though, should she wish to excel, she has much still to learn, if pride will let her return to me, her teacher, her teacher...
 * "Notes…/Twisted Every Way"

 * Stranger than you dreamt it, can you even bear to look? Or dare to think of me... this loathsome gargoyle who burns in hell but secretly, secretly yearns for heaven, secretly... But Christine... Fear can turn to love. You'll learn to see, to find the man behind the monster, this... repulsive carcass that seems a beast but secretly dreams of beauty... Oh, Christine...
 * "Stranger Than You Dreamt It"

 * Christine Daae has returned to you, and I am anxious her career should progress. In the new production of Il Muto, you will therefore cast Carlotta as the Pageboy, and put Miss Daae in the role of Countess. The role which Miss Daae plays calls for charm and appeal. The role of the Pageboy is silent, which makes my casting, in a word, ideal. [Spoken] I shall watch the performance from my normal seat in Box Five, which will be kept empty for me. Should these commands be ignored, a disaster beyond your imagination will occur.
 * "Notes"

 * Monsieur, I bid you welcome. Did you think that I would harm her? Why would I make her pay for the sins which are yours! Order your fine horses now! Raise up your hand at the level of your eye! No one can save you now except perhaps Christine. Start a new life with me. Buy his freedom with your love. Refuse me and you send your lover to his death. This is the choice! This is the point of no return!
 * "Track Down This Murderer"

 * Either way you choose you cannot win.

 * You alone can make my song take flight... It's over now - the music of the night.
 * "Finale"

 * Why, you ask, was I bound and chained in this cold and dismal place? Not for any mortal sin, but the wickedness of my abhorrent face! Hounded out by everyone, met with hatred everywhere, no kind word from anyone, no compassion anywhere! Christine, Christine! Why?...Why?
 * "Down Once More"

 * Down once more, to the dungeon of my black despair, down we plunge to the prison of my mind. Down that path into darkness, deep as hell!
 * "Down Once More"

 * That fate which condemns me to wallow in blood, has also denied me the joys of the flesh. This face, the infection which poisons our love...This face, which earned a mother's fear and loathing. A mask, my first unfeeling scrap of clothing. Pity comes too late! Turn around and face your fate - an eternity of this before your eyes!
 * "Down Once More"

Raoul

 * A collector's piece, indeed. Every detail exactly as she said. She often spoke of you, my friend - your velvet lining and your figurine of lead. Will you still play when all the rest of us are dead?
 * Old Raoul, looking at the music box in the auction prologue scene

 * Can it be? Can it be Christine? Bravo! What a change! You're really not a bit the gawkish girl that once you were... She may not remember me, but I remember her...
 * "Think of Me"

 * There is no Phantom of the Opera!
 * "Why Have You Brought Us Here?/Raoul, I've Seen Him"

 * Once again she is his... Once again she returns... to the arms of her angel! Angel or demon? Still he calls her, luring her back from the grave! Angel, or dark seducer? Who are you, strange angel?
 * "Wandering Child"

 * Christine... Christine, listen to me — whatever you may believe, this man, this thing is not your father! Let her go, for God's sake let her go! Christine!
 * "Wandering Child"

 * We have all been blind, and yet the answer is staring us in the face. This could be the chance to ensnare our clever friend. We shall play his game, perform his work, but remember we hold the ace; for if Miss Daaé sings, he is certain to attend.
 * "Notes" reprise

 * So it is to be war between us. But this time, my clever friend, the disaster will be yours.
 * "Notes" Reprise

 * You can't win her love by making her your prisoner
 * "Bravo, Monsieur"

 * Let me be your shelter, let me be your light! You're safe - no one will find you. Your fears are far behind you!
 * "All I Ask of You"

 * For pity's sake, Christine, say no! Don't throw your life away for my sake!
 * "Finale"

 * I fought so hard to free you...
 * "Finale"

Christine

 * In sleep he sang to me; in dreams he came... that voice which calls to me and speaks my name. And do I dream again? For now I find the Phantom of the Opera is there, inside my mind!
 * "The Phantom of the Opera"

 * Angel of music guide and guardian grant to me your glory!
 * "Angel of Music"
 * No more memories, no more silent tears. No more gazing across the wasted years... Help me say goodbye.
 * "Wishing You Were Somehow Here Again"

 * His eyes will find us there! Those eyes that burn! And if he has to kill 1,000 men, the Phantom of the Opera will kill and kill again.
 * "Why Have You Brought Me Here?"

 * But his voice filled my spirit with a strange, sweet sound. In that night, there was music in my mind. And through music my soul began to soar...and I heard, as I've never heard before.
 * To Raoul, in "Why Have You Brought Me Here?",

 * The tears I might have shed for your dark fate grow cold and turn to tears of hate!
 * Talking to the Phantom, in "Down Once More/Track Down This Murderer"

 * Pitiful creature of darkness, what kind of life have you known? God give me courage to show you, you are not alone...
 * "Down Once More/Track Down This Murderer," before kissing the Phantom.

 * This haunted face holds no horror for me now. It's in your soul that the true distortion lies.

 * Yet in his eyes...all the sadness of the world. Those pleading eyes that both threaten and adore...
 * "Why Have You Brought Me Here?"

 * Think of me, think of me fondly when we've said goodbye. Remember me, once in a while — please promise me you'll try.
 * As Elissa in Hannibal

 * Here in this room, he calls me softly - somewhere inside, hiding... Somehow I know he's always with me, he the unseen genius!
 * "Angel of Music"

 * "No, what I love best," Lotte said, "is when I'm asleep in my bed and the Angel of Music sings songs in my head... the Angel of Music sings songs in my head..."
 * "Little Lotte"

 * Who was that shape in the shadows? Whose is the face in the mask?
 * "I Remember"

 * Say you'll share with me one love, one lifetime
 * "All I ask of you"

 * His eyes will find me there, Those eyes that burn! And if he has to kill a thousand men, the Phantom of the Opera will kill and kill again! My God who is this man who hunts to kill? I can't escape from him, I never will. And in this labyrinth where night is blind the Phantom of the Opera is there inside my mind
 * "Why Have You Brought Me Here?"

 * Twisted every way, what answer can I give? Am I to risk my life to win the chance to live? Can I betray the man who once inspired my voice? Do I become his prey? Do I have any choice? He kills without a thought, he murders all that's good. I know I can't refuse, and yet I wish I could. Oh, God, if I agree, what horrors wait for me in this, the Phantom's opera?
 * "Twisted Every Way"

 * Angel or father, friend or phantom? Who is it there, staring...? Angel, oh, speak! What endless longing echo in this whisper?
 * "Wandering Child"
 * Angel of Music .You deceived me .I gave my mind blindly.
 * Talking to Phantom"Down Once More/Track Down This Murder"
 * Raoul I've been there! To his world of unending light. To his world where the daylight dissolves into darkness, darkness. Raoul I've seen him! Can I ever forget that sight? Can I ever forget that face so badly deformed it was hardly face in that darkness
 * ¨Why have you brought me here?¨
 * Order your fine horses, be with them at the door!
 * ¨All I ask of you¨

Madame Giry

 * Those who speak of what they know, find too late that prudent silence is wise. Joseph Buquet, hold your tongue! He will burn you with the heat of his eyes!
 * "Magical Lasso"

 * Who scorn his words, beware to those. The Angel sees, the Angel knows.
 * "Notes / Prima Donna"

 * The world forgot him, but I never can, for in this darkness, I have seen him again.
 * To Raoul, after the Masquerade

 * Messieurs, believe me! I intend you no ill, but messieurs, be careful, we have seen him kill!
 * "Notes II"

Meg Giry

 * I watched your face from the shadow distant through all the applause
 * ¨Angel of Music¨
 * I hear your voice in the darkness, yet the words aren't yours!
 * ¨Angel of music¨
 * He's there the phantom of the opera!
 * Beginning in Hannibal

title: The Phantom of the Opera (1986 musical)


text:
Seussical

Seussical (2001–2001), a musical of the works of Dr. Seuss.

Quotes

 * Cat: Now imagine a sky...Jojo: I'll imagine bright blue...Cat: It's the jungle of Nool...Jojo: Near the river Waloo!

-Court Marshall
 * "The defendant has been charged with talking to a speck, disturbing the peace, and loitering-- on an egg."

- All
 * "Seuss!"

- Horton the Elephant
 * "I'll just have to save him because after all, a persons a person no matter how small."

- Horton and Gertrude McFuzz
 * " A person's a person, no matter how small.."

-Gertrude McFuzz
 * "On the fifteenth of May, Ms. Gertrude McFuzz discovered how truely unique Horton was. But she knew to approach him would probably fail, because who'd notice a bird with a one feather tail?"

-Horton
 * "I'm alone in the universe, so alone in the universe..."

 * Hunches: And oh, the places you'll go! You're on your own, you know what you know, don't worry about how fast or how slow! Be certain you step with caution and tact, 'cause life is one great big balancing act! And will you succeed? You will, yes indeed! Jojo: 98 and 3/4 percent guaranteed!

-Horton
 * "Cause I have wings, yes I can fly. Around the moon and far beyond the sky."

-Mr. Mayor
 * "I have a picture of how it will be."

-Mr. & Ms. Mayor
 * "On the day I do troubles will be through, and I'll be home with you."

-Sour Kangaroo
 * "You're the biggest blame fool in the Jungle of Nool..."

-Whos
 * "...on the other side of town, the Truffula trees were all cut down..."

-Cat in the Hat
 * "Oh the thinks you can think..."

-Cat in the Hat
 * "Tell yourself how lucky you are.."

-Horton
 * "There's a faraway land, so the stories all tell, somewhere beyond the horizon. If we can find it then all will be well, troubles there are few.  Someday we'll go to Solla Sollew."

-Cat in the Hat
 * "And if worse comes to worse, as we all know it will, thank your lucky stars you've gotten this far"

-Jungle Animals
 * "...and as for your dust speck, that we will boil, boil, boil, in a hot steaming kettle of beezlenut oil!"

-Cat in the Hat
 * "Now, imagine a curtain and what lies behind; the kind of a place you might see in your mind... From the page to the stage, come along and enjoy — this tale of an elephant, a bird, and a boy!"

 * JoJo:"I've got brains in my head and feet in my shoes!

Hunches: So steer yourself any direction you chose!"

-Boy
 * "Now that is a very unusual hat. I wonder what could be under a hat such as that? It might be the creature they call the Ga-Zat, who balances things on its head, cause it's flat. Or a pipe-loving pipester from upper mount bat. Or a sort of, kind of, hat wearing... CAT!!!"

-Cat in the Hat
 * "After all of those years being stuck on a page, did you ever imagine you'd see me on stage? Now I'm here there's no telling what may ensue, with a cat such as me and a thinker like you!"

-All
 * "Oh the thinks you can think! Think and wonder and dream far and wide as you dare! When your thinks have run dry, in the blink of an eye, there's another think there!"

 * Cat - "the adventures were over. The sky became--"

JoJo - "Pink!"

Cat - "And then guess what happened. Well, what do you think?"

Mr. Mayor: They say the breezes are warm there,
 * Jojo: Dear Mom and Dad, I'm thinking of you and wishing we were all in Solla Sollew.

Mrs. Mayor: And the people are kind.

JoJo: Maybe it's something like heaven.

title: Seussical


text:
Cordell Hull

Cordell Hull (2 October 1871 – 23 July 1955) was United States Secretary of State from 1933 to 1944 under Franklin Delano Roosevelt, and was awarded the Nobel Peace Prize in 1945 for his role in establishing the United Nations.

Quotes

 * There will no longer be need for spheres of influence, for alliances, for balance of power, or any other of the separate alliances through which in the unhappy past the nations strove to safeguard their security or promote their interest.
 * 1945 Testimony before the U.S. Congress hearings on the United Nations Charter

 * A lie will gallop halfway round the world before the truth has time to pull its breeches on.
 * Memoirs of Cordell Hull (1948), 1:220
 * This is a variant of similar statements attributed earlier to Mark Twain, e.g., "A lie will fly around the whole world while the truth is getting its boots on." The oldest attribution (1831) is to Fisher Ames: “falsehood proceeds from Maine to Georgia, while truth is pulling on his boots”.

Quotes about Hull

 * Perhaps the real fantasists were the Americans, who adopted a remarkably confrontational stance in the final pre-war months, given the vulnerability of their own military installations in the Pacific, particularly the Philippines. The British were markedly more conciliatory, even temporarily closing the Burma Road - 700 mostly mountainous miles along which supplies were travelling to China - in response to Japanese pressure. For reasons that are not easy to fathom, Roosevelt consistently exaggerated the actual economic and future strategic importance of China and underestimated the perils of war with Japan. He declined an invitation from Konoe to attend a summit conference in the summer of 1941. Secretary of State Cordell Hull wanted complete withdrawal of Japanese troops from China and Indo-China; he would not hear of any suspension of US aid to Chiang, which the Japanese demanded. In his fateful note of November 26, Hull even proposed a mutual surrender of extraterritorial rights in China - an end, in effect, to the old Open Door system - and recognition of the Guomindang government. With some justification, the policy of the United States towards Japan in this period has been likened to her policy towards the Soviet Union during the Cold War.
 * Niall Ferguson, The War of the World: Twentieth-Century Conflict and the Descent of the West (2006), p. 491

 * Hull has passed most of his threescore years and ten in useful service to his country and to the world. His rank in history will depend on the fate of democracy, for he has been one of its most ardent champions. If democracy should fail and disappear at this critical point in its history, he will be forgotten as a minor prophet of an unimportant illusion in the development of the human race. If democracy emerges triumphant from the tempering furnace, he will be hailed as a major prophet whose words have lighted his fellow men to hope and progress.
 * Harold B. Hinton, Cordell Hull (1942), London: Hurst & Blackett, Ltd., hardcover, p. 245

 * I think it would have been humanly impossible for two people, over a period of eight years, to agree more consistently and thoroughly than Mr. Hull and I have done. There has never been the slightest important difference of opinion between us, and so far as I am personally concerned I think it would be impossible for any man in my position, who has been so closely associated with the Secretary- who has had the opportunity of being associated wuth a man of his extraordinary moral courage and consistency, and I think an almost unique intellectual integrity- to have anything except very deep devotion for him.
 * Sumner Welles, 11th U.S. Under Secretary of State, on 28 December 1940 in a response to rumors that he and Hull were at odds. Discord between the two and allegations of Welles (who was a closeted bisexual) being homosexual led to Welles being forced out of office by Hull in 1943, after which he returned to private life. As quoted by Harold B. Hinton, Cordell Hull (1942), London: Hurst & Blackett, Ltd., hardcover, p. 244

title: Cordell Hull


text:
User talk:62.64.220.166

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. — refers to edit of Genesis — Jeff Q (talk) 02:18, 8 Apr 2005 (UTC)

title: User talk:62.64.220.166


text: Template:Move to Wikibooks

title: Template:Move to Wikibooks


text:
Category:Move to Wikibooks

These articles should be moved to Wikibooks, as they are not quotations, but rather textbook material. For detailed instructions on how to use the Transwiki process, see Help:Transwiki.

title: Category:Move to Wikibooks


text:
The Godfather Part III

The Godfather: Part III is a 1990 film about aging mafia don Michael Corleone, who seeks to atone for his sins while taking a young protege under his wing.
 * Directed by Francis Ford Coppola. Written by Francis Ford Coppola and Mario Puzo.

All the power on Earth can't change destiny. Taglines

Michael Corleone

 * Just when I thought I was out, they pull me back in.

 * When they come... they come at what you love.

 * [at Don Tommasino's funeral] Goodbye, my old friend. You could have lived a little longer; I could be closer to my dream. You were so loved, Don Tommasino. Why was I so feared, and you so loved? What was it? I was no less honorable. I wanted to do good. What betrayed me? Was it my mind? My heart? Why do I condemn myself so? I swear on the lives of my children: Give me a chance to redeem myself, and I will sin no more.

Dialogue

 * Johnny Fontane: Michael, it's your favorite song! Where are you going?
 * Michael Corleone: I'm just gonna go into the kitchen and listen to some Tony Bennett records.

 * [Michael's son Anthony has refused to join the "family business"]
 * Michael Corleone: You could have helped me, Kay. You could have helped me to convince him.
 * Kay Adams-Corleone: Convince him of what?
 * Michael: He throws his life away. He throws greatness away!
 * Kay: This is greatness? You know, Michael, now that you're so respectable I think you're more dangerous than you ever were. In fact, I preferred you when you were just a common Mafia hood.
 * Michael: Alright, can we talk now? Common sense?
 * Kay: Alright. Tony knows you killed Fredo.
 * Michael: [angry] Why did you come here?
 * Kay: I came here to protect my son. I didn't come here to see you disguised by your church. I thought that was a shameful ceremony.
 * Michael: I spent my life protecting my son. I spent my life protecting my family!
 * Kay: Let's be reasonable here, Michael. I mean, that's your big thing, isn't it? Reason backed up by murder.
 * Michael: Oh, God, you hate me. You hate me.
 * Kay: No, I don't hate you, Michael. I dread you.
 * Michael : I did what I could to protect you from the horrors of the world.
 * Kay: But you became my horror.

 * Vincent Mancini: You like to gamble? Why don't we go to Atlantic City? My town. I'll show you how to gamble.
 * Grace Hamilton: Yeah, but I like to win. How will I know what numbers to pick?
 * Vincent: Do I look like a guy who's gonna lose?

 * [Vincent reports to Michael about the thugs Joey Zasa sent to kill him]
 * Michael Corleone: You had a gun. They only had a knife. You could have talked them into surrendering. Turned them over to the police.
 * Vincent Mancini: Hey, Uncle Mike, Zasa sent these guys I was just sending him a message that's all.
 * Michael: Now he has to send you a message back.
 * Vincent: Joey Zasa's gonna send me a message? Joey Zasa's gonna send me a message?
 * Connie Corleone-Rizzi: Michael, he did the right thing. He got Zasa's name.
 * Michael: What's Joey Zasa got to do this this? Joey Zasa's a patso. Joey Zasa. Alright, you are what you are. It's in your nature. From now on you stick close to me. You don't go anywhere, you don't do anything, you don't talk to anyone without checking with me first, understand?
 * Vincent: Yeah.
 * Michael: I've got problems with the commission, young man!
 * Vincent: Yeah, I know.
 * Michael: You don't make them any easier.
 * Vincent: I know.
 * Michael: Alright, go on. Get out of here.
 * [Vincent leaves]
 * Connie: Michael.
 * Michael: Yes.
 * Connie: Now they'll fear you.
 * Michael: Maybe they should fear you.

 * [at The Commission meeting, Joey Zasa is uneasy because Michael gave the other Dons their slice of proceeds from a recent sale of casinos - but he gets nothing]
 * Michael Corleone: You all know Joey Zasa. He is, I admit, an important man. His picture is on the cover of the New York Times Magazine. He gets the Esquire Magazine award for the best dressed gangster. [the assembled Dons laugh] The newspapers praise him because he hires the blacks into his family, which shows he has a good heart. Who knows, maybe someday he will make all of you popular.
 * Joey Zasa: [walks around the table] It's true, I make more of a bella figura. That is my nature. But I also want to make a move into legitimate enterprises. I also want a pin from the Pope. Sure, I take the blacks and the Spanish into my family, because that's America.
 * Michael: And you guarantee that they don't deal the drugs in those neighborhoods?
 * Joey: I don't guarantee that. I guarantee that I'll kill anyone who does.
 * Don Altobello: [to Michael, nervously] Let me talk to him.
 * Michael: Who can refuse Don Altobello?
 * [Zasa makes to leave]
 * Don Altobello: Joey...
 * Joey: [angry] No! I say to all of you that I have been treated this day with no respect! I've made you all money. And I asked for little. Good. You won't give, I'll take! As for Don Corleone, he has made it very clear today that he is my enemy! You must choose between us.

 * Michael Corleone: Joe Zasa would never pull something like this without backing. He doesn't have the wit for that helicopter attack. He doesn't even have the ambition to wipe out the whole Commission. Certainly not the balls.
 * Vincent Mancini: I say we hit back and take Zasa out!
 * Michael: [leaning to Vincent] Never let anyone know what you're thinking. [to Vincent, Connie and Neri] All right, let's get a ... let's get a message to Joey Zasa. I respect what he's done. The new overthrows the old, it's natural.
 * Vincent: How can you do business with this guy?
 * Michael: I'm a businessman, first and foremost. I want no conflict with anyone.
 * Vincent: Well, you can tell him from me that he can live or he can die.
 * Michael: Vincent, WILL YOU SHUT UP?!

 * Don Altobello: Treachery is everywhere.
 * Michael Corleone: You still have your fingers on the strings, even now.

 * Vincent Mancini: [in a helicopter] I'd like to take Joey Zasa up in one of these and drop him.
 * Michael Corleone: Joey Zasa is nothing. He's a small-time enforcer. He bluffs, he threatens, but nothing. You can see him coming a mile away.
 * Vincent: We should kill him before he kills...
 * Michael: No! Never hate your enemies. It affects your judgment.

 * Michael Corleone: I feel... I'm getting wiser now.
 * Kay Adams-Corleone: The sicker you get, the wiser you get, huh?
 * Michael: When I'm dead, I'm gonna be really smart.

 * Cardinal Lamberto: Would you like to make your confession?
 * Michael Corleone: Your eminence, I'm— It's been so long. I wouldn't know where to— It's been 30 years. I'd use up too much of your time, I think.
 * Lamberto: I always have time to save souls.
 * Michael: Oh, I'm beyond redemption.
 * Lamberto: I hear the confessions of my own priests here. Sometimes the desire to confess is overwhelming, and we must seize the moment.
 * Michael: What is the point of confessing if I don't repent?
 * Lamberto: I hear you are a practical man. What have you got to lose, huh? Go on.
 * Michael: I— I betrayed my wife.
 * Lamberto: Go on, my son.
 * Michael: I betrayed myself. I killed men, and I ordered men to be killed.
 * Lamberto: Go on, my son. Go on.
 * Michael: Ah, it's useless.
 * Lamberto: Go on, my son.
 * Michael: [choking up] I killed— I ordered the death of my brother. He injured me. [sobbing] I killed my mother's son. I killed my father's son!
 * Lamberto: Your sins are terrible, and it is just that you suffer. Your life could be redeemed, but I know you do not believe that. You will not change. Ego te absolvo in nomine Patris et Filii et Spiritus Sancti. Amen.

 * Michael Corleone: [after learning of Zasa's assassination] Don't ever again give that kind of order. Not while I'm alive. You understand?
 * Vincent Mancini: Uncle Mike, it had to be done. You were too sick to make a decision. I got the go-ahead from Neri. I got the go-ahead from Connie.
 * Michael: Connie.
 * Vincent: It was the right thing to do.
 * Michael: It was the wrong thing to do. I command this family, right or wrong. It was not what I WANTED! Understand?
 * Vincent: Yes.
 * [Michael looks at Neri]
 * Al Neri: Yes.
 * [Michael looks at Connie for a long time]
 * Connie Corleone-Rizzi: Yes!
 * Michael: Vincent, help me to my bed. I want to talk to you alone. [in his room] Your father, my brother...he and I. Opposites. But I never doubted his love. He would do anything for me. But his temper. It was too much. Clouded his judgement. I don't want to see the same thing happen to you.

 * [as Michael and Kay tour Sicily and they dine at a certain home, some things have to be said]
 * Michael Corleone: I want you to forgive me.
 * Kay Adams-Corleone: For what?
 * Michael: Everything.
 * Kay: Like God, huh?
 * Michael: I need something a little closer. You could never understand, back in those days. I loved my father. I swore I would never be a man like him, but I loved him, and he was in danger. What could I do? Then, later, you were in danger, our children were in danger. What could I do? You were all I loved and valued in the world, and now I'm losing you — I've lost you anyway, and it was all for nothing, so... You have to understand, I had a whole different destiny planned. Alright, I'll stop.
 * Kay: [crying] I really don't know what you want from me, Michael. I really don't know.
 * Michael: I'm not the man you think I am.
 * Kay: I just don't know...
 * Michael: I love you, Kay. You know, every night here in Sicily, I dream of my wife and my children, and how I lost them.
 * Kay: I guess, if it's any consolation, Michael... I want you to know that I've always loved you, and... and I always will.

 * Vincent Mancini: Don Lucchesi, you are a man of finance and politics. These things I don't understand.
 * Don Lucchesi: You understand guns?
 * Vincent: Yes.
 * Don Lucchesi: Finance is a gun. Politics is knowing when to pull the trigger.

 * B.J. Harrison: [about the newly ordained Pope John Paul I] The Pope's doing exactly what you said he'd do, he's cleaning house.
 * Michael Corleone: He should be careful. It's dangerous to be an honest man.

 * [at a meeting in the Vatican to discuss the papal ratification of Corleone Group's takeover of Immobilaire]
 * Archbishop Gilday: The Pope is gravely ill. Until he recovers, I am powerless.
 * B.J. Harrison: What if he dies?
 * Frederick Keinszig: Then, as you Americans say, all bets are off.

 * Vincent Mancini: I am your son. Command me in all things.
 * Michael Corleone: Give up my daughter. It's the price you pay for the life you choose.
 * Vincent: Done.
 * Michael: Nephew, from this moment, call yourself Vincent Corleone.

 * [Vincent has broken off his romance with Mary]
 * Mary Corleone: I'll always love you.
 * Vincent Mancini: Love somebody else.

Taglines

 * All the power on earth can't change destiny.

 * Real power can't be given. It must be taken.

Cast

 * Al Pacino - Don Michael Corleone
 * Diane Keaton - Kay Adams-Corleone
 * Talia Shire - Connie Corleone-Rizzi
 * Andy Garcia - Don Vincent 'Vinnie' Mancini-Corleone
 * Eli Wallach - Don Altobello
 * Joe Mantegna - Joey Zasa
 * George Hamilton - B.J. Harrison
 * Bridget Fonda - Grace Hamilton
 * Sofia Coppola - Mary Corleone
 * Raf Vallone - Cardinal Lamberto
 * Franc D'Ambrosio - Anthony Vito Corleone
 * Donal Donnelly - Archbishop Gilday
 * Richard Bright - Al Neri
 * Al Martino - Johnny Fontane
 * Helmut Berger - Frederick Keinszig
 * Don Novello - Dominic Abbandando
 * John Savage - Father Andrew Hagen
 * Franco Citti - Calò

title: The Godfather Part III


text:
Talk:Friends (TV series)

lifted from article for cleanup:

Quotes in Fortune Format
[http://vipe.technion.ac.il/~shlomif/humour/fortunes/friends Shlomi Fish' Collection of Favourite Friends' Quotes] - no episode, chapter name or number, and no particular order, but may be a good start. Covers only the first three episodes.

Created a new layout and moved the above bit here for reference --Hooloovoo 04:19, 8 Apr 2005 (UTC)

title: Talk:Friends (TV series)


text:
Help:Transwiki

Some articles created in one wiki project are more appropriate for other projects. For example, a Wikipedia article containing only quotes should be in Wikiquote, or an article written in French for an English-language wiki should be moved to its French equivalent. Transwiki is the process that has been created to move articles between Wiki projects. It uses the following steps:

 * 1) On the originating wiki project:
 * 2) Nominate an article for a transwiki move.
 * 3) Move the article into the new project's transwiki space.
 * 4) On the destination wiki project:
 * 5) Move, merge, or delete the incoming article.

Each wiki project establishes its own detailed practices for the transwiki process, but they are all based on the process described at Transwiki. This page discusses the outgoing and incoming transwiki process for Wikiquote.

General information
All Wikiquote transwiki activity is recorded in Transwiki log, which can also be reached by entering "transwiki" in the Search box. All articles being transwikied are listed in subcategories under Category:Transwiki. Articles coming into Wikiquote are in Category:Move into Wikiquote, and articles to be moved out of Wikiquote are in a "Move to" category that corresponds to their destination project. See also m:Help:Transwiki for general transwiki direction.

Outgoing transwikis
The two major steps for moving an article out of Wikiquote are as follows.

A. Nominate an article
You can suggest that an article be moved to another wiki project by adding the following template to the top of the article:

where PROJECT is one of:
 * Wikipedia (for encyclopedia articles)
 * Wikisource (for entire speeches and other large works)
 * Wikibooks (for books or chapters of books)
 * Wiktionary (for dictionary definitions)

If you feel the article should be moved to a non-English project or a project not listed here, you should add the template:

replacing PROJECT with the destination project's name. If you feel comfortable moving articles between projects, this nomination step is optional, but it is recommended to give the community a chance to review the possibility of making the article useful for Wikiquote. If you aren't comfortable with executing a move, you can leave the actual move to another Wikiquotian.

B. Move the article
Articles cannot currently be moved between wikis as easily as using the "Move" function, so a transwikied article (and its Talk page, if it exists) must be cut and pasted into a new article in the destination project. There are six steps to this process:

 * 1) Create a new-project article. To allow the new project's readers to format the material by their standards before placing it in their main article space, you must create a new article in the "Transwiki:" namespace, using the same title as the article you're moving.
 * 2) Record the edit history. The CC-BY-SA policy under which many wiki projects operate requires that the edit history of pages be retained. For this reason, you must record in the new article what edits have been done in the original project's pages (both the article and its Talk page, if it exists). If there is only one edit, you can paste the single history line and its author into the Edit Summary when you create the page. If there is more than one edit, you must copy the entire page history onto the new article's talk page. (NEED AN EXPLANATION OF HOW TO DO THIS.)
 * 3) Log the new article creation. In the new project's Search box, enter "transwiki" to get its transwiki log. Add a line, following the new project's instructions and formats, to indicate the old Wikiquote article and its new-project Transwiki name. Be sure to sign the log entry.
 * 4) Tag the old article for speedy deletion. Add the template    (replacing PROJECT with the appropriate project's name) so that it may be deleted.
 * 5) Log the old article deletion. In Transwiki log, add a line, following Wikiquote's instructions and formats, to indicate the same information you recorded in the new project's log. Again, don't forget to sign the entry.

Incoming transwikis
Incoming articles for Wikiquote have three possible fates: The process of finishing an incoming transwiki depends on which of these cases seems most appropriate. It is up to the editor who is processing the transwiki article to determine which option makes the most sense. (If others later disagree, the process may be undone, not without difficulty, so please do your research.)
 * 1) They may form a unique new article that can be moved into place.
 * 2) They may overlap one or more existing articles, into which they must be merged.
 * 3) They may appear inappropriate for Wikiquote, which suggests they be nominated for deletion.

Move the article
If you have found no identically-named or overlapping article already in the Wikiquote article space, or if you feel this page can stand on its own, you can simply perform a Move to place the article in the main Wikiquote namespace (e.g., Move "Transwiki:Alfred Pennyworth" to "Alfred Pennyworth").

A redirect will remain in the transwiki namespace to point to the new article title. (NOTE: At present, it is transwiki policy to maintain this redirect indefinitely. Do not delete it.) When the move is complete, check the redirect page for "What links here" (and for its Talk page, if any) and update any pages that link to it (except Transwiki log) so they point directly to the new article title. Your work on this article is then done.

Merge and delete the article
If Wikiquote already has an article with the transwiki page's title, or if there is a more appropriate article or articles that should receive this transwiki page's quotes, it must be merged into these other articles and then deleted. In addition to copying the material into existing articles, you must also record the page history of the old article.
 * If it has only one editor, you can paste the history information (along with the user name or IP) into the Edit Summary for your edit.
 * If it has two or more edits, you must copy and paste the entire history onto the Talk page of the new article. (See Talk:Go for an example of what this looks like. This page history is important not only to comply with the CC-BY-SA policies under which Wikiquote operates, but also to aid sysops in resolving any problems that may occur, or restoring lost material at a later date. It is probably a good idea to copy the page history before adding the quote material so you don't forget to do this later.

Once you have completed copying the material and page history to the one or more articles into which you are merging, you can nominate the old transwiki article for speedy deletion by adding a line like the following to the top of the article:

replacing ARTICLE with the article or articles you merged the transwikied quotes into. This will help sysops understand why this article should be speedily deleted.

Your work on this transwiki article is now done.

Nominate the article for deletion
Some articles coming into Wikiquote will not seem to be useful quote pages, so a transwiki reviewer may consider them worthy of deletion. In these cases, please follow the Votes for deletion process to nominate the article for deletion. If the community agrees with this assessment, a sysop will delete the article. If not, other actions can be taken by other editors. In either case, your work on the article is done.

title: Help:Transwiki


text:
Help talk:Transwiki

Initial instructions
I've created this page to provide an initial set of instructions on the exact process for transferring articles into and out of Wikiquote. It's more specific than what Transwiki has, but the latter has some details I've omitted here, so it's still a good idea to review it. This page has two urgent needs at the moment: I invite the community to comment on this instruction set and enhance it as needed. (I'm still working on it, too, but I don't want to hog all the fun. ☺) If there are any questions or concerns about the policies or procedures discussed, please bring them up here on the Talk page so we can thrash them out. Thank you. — Jeff Q (talk) 06:18, 8 Apr 2005 (UTC)
 * Instructions on how to copy page histories into an edit box.
 * Examples

Deleting transwikied articles
We are currently having our third round of discussions on Votes for deletion on whether to delete articles that have been transwikied to Wikisource. Current policy follows the Transwiki policy of retaining these articles as a link to the new location, which Wikiquote follows only irregularly and no project that I'm aware of follows completely. (Some totally ignore this practice and just delete the supplanted article.) Unless there is some significant objection to this, I expect to update Wikiquote policy after the current vote to reflect its outcome, which will almost certainly recommend universal deletion. — Jeff Q (talk) 00:16, 10 July 2005 (UTC)
 * Seconded. I think a documentation on Transwiki is okay ... most of transwikied article from Wikipedia hasn't been through transiki pseudo-namespace and directly posted. In comparison, keeping a track on the log is far decent in my opinion: people can reach those tracks via search. --Aphaia 00:20, 10 July 2005 (UTC)

Folks might also want to review the earlier discussion at Category talk:Transwiki for alternatives. — Jeff Q (talk) 00:34, 10 July 2005 (UTC)

 * As I said on WQ:VFD, I vote for killing those articles. The biggest rationale, in my opinion, is keeping Special:Random useful. Landing on a "this article has been transwikied" is probably not the intention of someone clicking "Random" on WQ. ~ MosheZadka (Talk) 04:46, 10 July 2005 (UTC)

 * Ah, Random feature is very importanto to browse Wikiquote. My reason for support those deletion is similar, but from mainly benefits on maintenance. They occupy also Special:shortpages, Special:Ancientpages and Special:Uncategorizedpages. --Aphaia 05:30, 10 July 2005 (UTC)

 * My memory is faulty. I thought that I had copied over the ambiguity of the Meta policy in Help:Transwiki, but upon review, I realize that I'd assumed that we'd want to delete transwikied articles, as is the common practice. Since I had had the nerve to add it to Category:Wikiquote official policy, too, I guess the issue was already resolved. I think we can treat the latest speech VfD as an enthusiatic consensus to practice this policy. ~ Jeff Q (talk) 09:21, 23 July 2005 (UTC)

Related discussions

 * WQ:VFDA from 4 Apr 2005 (UTC) to 29 Apr 2005 (UTC); then the transwikied page was kept.
 * Category talk:Transwiki from 8 Apr 2005 (UTC) to 10 July 2005 (UTC)
 * WQ:VFDA from 5 Jun 2005 (UTC) to 20 Jun 2005 (UTC), then the transwikied page was deleted.

Automated transwiki
As I've been filling in the gaps in our and Wikisource's transwiki operations for the speeches we've moved from here to there, I've made some notes on an idea I've been contemplating ever since I started working on Transwiki: how to automate the process. Considering how easy it is to fail to do the required steps, and the problems that remain even when one does everything "correctly" PS, I took the liberty of pseudocoding a process that improves on the existing meta practice as well as our own (and Wikipedia's, and probably others). A rough idea of the improved results can be found in the logs and talk pages of some of the transwikied articles that I did some auxiliary work on, like wikisource:Talk:Ich bin ein Berliner and wikisource:Talk:MacArthur's Farewell Speech to Congress.

My process only covers the inital transfer from one project to another, but that's the hardest part, IMHO. If anyone's interested in this, take a look at User:Jeffq/Transwiki automation and post comments on its talk page. Thanks. ~ Jeff Q (talk) 14:04, 29 July 2005 (UTC)

 * P.S. Notice that the posted edit histories of nearly all transwikied articles share the same flaws:
 * Timestamps whose timezone cannot be determined. They're actually the (unknown) timezone of the transwiki editor, which is not only undetectable in principle but may or may not include a daylight saving time adjustment.
 * No links to the user pages of the original article's editors. Note that, to work correctly, they would need to include a proper project prefix (e.g., "q:en:" to link from Wikisource to en:Wikiquote).
 * Discussion pages of the original article frequently (nearly always?) absent. These often have a bearing on the content of an article. Also missing are the discussion page's edit histories, which are useful in tracking down further information, since people frequently fail to sign their postings.
 * Just some food for thought. Of course, without an automated process, the already absurdly complex transwiki process could hardly bear these additional burdens. ~ Jeff Q (talk) 14:04, 29 July 2005 (UTC)

title: Help talk:Transwiki


text:
Israel Shahak

Israel Shahak (28 April 1933 – 2 July 2001) was a Professor of Chemistry at Hebrew University in Jerusalem, Holocaust Survivor, and an outspoken critic of the Israeli government and of Israeli society in general.

Quotes

 * You cannot have humane Zionism, it is a contradiction in terms.
 * "An Interview with Israel Shahak" in Journal of Palestine Studies Vol. IV, No. 3 (1975), p. 3.

 * It is my considered opinion that the State of Israel is a racist state in the full meaning of this term: In this state people are discriminated against, in the most permanent and legal way and in the most important areas of life, only because of their origin. This racist discrimination began in Zionism and is carried out today mainly in co-operation with the institutions of the Zionist movement.
 * "The Racist Nature of Zionism and of the Zionist State of Israel" in the student newspaper of Hebrew University of Jerusalem, Pi-Ha'aton (5 November 1975).

 * That is a Nazi expression. The Nazis called Germans who defended Jewish rights self-hating Germans.
 * On the accusation of being a self-hating Jew, in "Personality: Dr. Israel Shahak" by Richard H. Curtiss" in the Washington Report on Middle East Affairs (June 1989).

Jewish History, Jewish Religion (1994)

 * I strongly believe that antisemitism and Jewish chauvinism can only be fought simultaneously.

 * Modern racism (of which antisemitism is part) although caused by specific social conditions, becomes, when it gains strength, a force that in my opinion can only be described as demonic.

 * Both before and after a meal, a pious Jew ritually washes his hands, uttering a special blessing. On one of these two occasions he is worshiping God, by promoting the divine union of Son and Daughter; but on the other he is worshiping Satan, who likes Jewish prayers and ritual acts so much that when he is offered a few of them it keeps him busy for a while and he forgets to pester the divine daughter.

Jewish Fundamentalism In Israel (1997)

 * We realize that by criticizing Jewish fundamentalism we are criticizing a part of the past that we love. We wish that members of every human grouping would criticize their own past, even before criticizing others.
 * With Norton Mezvinsky.

Quotes about Israel Shahak

 * Gore Vidal referred to Israel Shahak as the "latest – if not the last – of the great prophets." Edward Said saw him as one of the "most remarkable individuals in the contemporary Middle East." Noam Chomsky regarded him as "an outstanding scholar, with remarkable insight and depth of knowledge."
 * Norton Mezvinsky, in the preface to the second edition of Jewish Fundamentalism in Israel, Israel Shahak and Norton Mezvinsky, Pluto Press (1999), p. vi. ISBN: 0-7453-2091-0.

title: Israel Shahak


text:
Wikiquote talk:Transwiki log

Log format
The current log is very hard to read, even though it has relatively few entries. This comes from having the whole three-article process, plus links, plus explanations, plus signatures, plus step separators, all in a single line. I propose the following format, shown by example: This makes each step stand out, making it easier to scan for entries with no conclusion, and gives ample room per line for signatures and explanations (since the final step can involve several articles). Comments? — Jeff Q (talk) 07:07, 8 Apr 2005 (UTC)
 * Winston Churchill Quotes →
 * Transwiki:Winston Churchill. -- Netoholic 07:26, 14 Aug 2004 (UTC)
 * Famous political quotations →
 * Transwiki:Famous political quotations -- Francs2000 12:19, 15 Nov 2004 (UTC)
 * Go famous quotations →
 * Transwiki:Go famous quotations -- 216.177.2.121 19:23, 8 Dec 2004 (UTC) →
 * Go -- Jeff Q 10:49, 28 Mar 2005 (UTC)
 * w:By Lucifer's Beard →
 * Transwiki:By Lucifer's Beard -- 216.177.2.140 02:20, 24 Jan 2005 (UTC) →
 * merged with The Simpsons -- Jeff Q 03:10, 29 Mar 2005 (UTC)
 * w:Less is more →
 * Transwiki:Less is more -- 216.177.2.140 02:20, 24 Jan 2005 (UTC) →
 * merged with Robert Browning, Buckminster Fuller -- Jeff Q 02:35, 29 Mar 2005 (UTC)

title: Wikiquote talk:Transwiki log


text:
Category:Move to other project

These articles should be moved to other wiki projects, as they are not quotations. For detailed instructions on how to use the Transwiki process, see Help:Transwiki.

title: Category:Move to other project


text: Template:Move to other project

title: Template:Move to other project


text:
User talk:66.75.75.208

Hi, you erased on-going discussion from our votes for deletion page. I wonder if you intended it or just an accident. I hope the latter was the case. It is on-going so please be nice and keep it. Thanks. --Aphaia 07:38, 8 Apr 2005 (UTC)

Hi again, I am sorry to erase your vote from our WQ:VFD for support Reirom, not because we dislike him or you, but only just you are anonymous and left no signature nor timestamp. It is a place to decide community will, so you are expected to make legitimate edits on this project and show yourself as a part of community. You edits only on votes and talk. It is not acceptable on our community in general. I recommend you to create an account and become a respectable part of community with a name, not remaining as an anonym who left never his signature. Thanks. --Aphaia 01:53, 20 Apr 2005 (UTC)

Your refusal to sign your edits
You have been told this in different ways several times now, but I'll try to make this abundantly clear:

 * Not signing a posting on a wiki is like thumbing your nose at the wiki community.

If you walk up to someone on the street and make a rude gesture, they are not likely to take anything you tell them seriously. This is one reason why you are so quickly dismissed on Wikiquote. No matter how many times we've told you, and how often we explained how to sign your posts, you refuse to do so. It is impossible to interpret this as anything but rudeness.

Wiki communities are usually forgiving for newbies who don't know the procedures, but rarely do they take this much trouble to hammer home an idea. It is the responsibility of each wiki user to learn wiki etiquette, and abject refusal to do so will usually make it impossible to get people to listen to you.

Furthermore, refusal to sign a VfD posting will get your vote deleted. That's policy, and that will happen to anyone who fails to sign, even if it's a sysop. (Community members may ask someone they know to remember to sign a VfD entry when they forget, but they are not obligated to do so, and they do it because of a friendly working relationship. You can be sure that such consideration will not be shown to users who thumb their noses at the community, and you shouldn't expect such civil behavior if you don't even try to be a good wiki member.)

You have been working hard to make a case to create and maintain a specific article, but you haven't even bothered to learn and follow the rules and practices of the system you're trying to participate in. This is a recipe for failure in any field of endeavor, not just wiki. Please learn how things work and show that you can participate in the community. It won't automatically get the article here — that's still a community decision — but failure to do so pretty much guarantees that no one will take you seriously. — Jeff Q (talk) 09:15, 20 Apr 2005 (UTC)

title: User talk:66.75.75.208


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Category:Computer scientists

 * See also Category:Computer science (themes).

title: Category:Computer scientists


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User talk:Glenford

--Aphaia 08:01, 8 Apr 2005 (UTC)

title: User talk:Glenford


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User talk:Ross Uber

--Aphaia 08:10, 8 Apr 2005 (UTC)

title: User talk:Ross Uber


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User:Computor

Greetings.

I am Computor, who joined Wikiquote in April 2005. Please feel free to visit my user page on the English Wikipedia.

zh:User:Computor

title: User:Computor


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User talk:Computor

Welcome to my Wikiquote discussion page.

Please feel free to append your messages at the end of this page, but if you are seeking a speedier reply, you are invited to paste your message on the my discussion page in Wikipedia instead. Thank you.

title: User talk:Computor