text:
Autodidacticism

Autodidacticism (also autodidactism) is self-education or self-directed learning. An autodidact, also known as an automath, is a mostly self-taught person — typically someone who has an enthusiasm for self-education and a high degree of self-motivation.

Quotes

 * Lenin, an 'innocent' and an autodidact in philosophy ... had the audacity to suggest the idea that a theory of philosophy is essential to a really conscious and responsible practice of philosophy.
 * Louis Althusser, Lenin and Philosophy (1971), pp. 17-18

 * In hastening to solitude and exile, do not wait for world-loving souls, because the thief comes unexpectedly. In trying to save the careless and indolent along with themselves, many perish with them, because in course of time the fire goes out. As soon as the flame is burning within you, run; for you do not know when it will go out and leave you in darkness. Not all of us are required to save others. The divine Apostle says, ... "Thou therefore who teachest another, teachest thou not thyself?" This is like saying: I do not know whether we must teach others; but teach yourselves at all costs.
 * Johannes Climacus, The Ladder of Divine Ascent, as translated by Archimandrite Lazarus Moore (Holy Transfiguration Monastery: 1959), § 3:4, p. 17

 * One who knows little may explain that little with more ease and efficacy than one who has his head stuffed full of the prescribed bunch of official wisdom.
 * Joseph Dietzgen, Letters on Logic: Especially Democratic-Proletarian Logic (1906), Letter 1

 * For dear to gods and men is sacred song. Self-taught I sing; by Heaven and Heaven alone, The genuine seeds of poesy are sown.
 * Homer, Odyssey bk. XXII, line 382, Pope's translation

 * When brought to the proletariat from the capitalist class, science is invariably adapted to suit capitalist interests. What the proletariat needs is a scientific understanding of its own position in society. That kind of science a worker cannot obtain in the officially and socially approved manner. The proletarian himself must develop his own theory. For this reason he must be completely self-taught.
 * Karl Kautsky, "The intellectuals and the workers," Die Neue Zeit, vol. 22, no. 4 (1903)

 * When it came to formal classes, I was a slacker. But I’ve always been a diligent autodidact and can teach myself virtually any subject — if I have a serious interest in it.
 * Dean Koontz,

 * That man is intellectually of the mass who, in the face of any problem, is satisfied with thinking the first thing he finds in his head. On the contrary, the excellent man is he who condemns what he finds in his mind without previous effort, and only accepts as worthy of him what is still far above him and what requires a further effort in order to be reached.
 * José Ortega y Gasset, The Revolt of the Masses (1929), p. 63

 * Institutions are not pretty. Show me a pretty government. Healing is wonderful, but the American Medical Association? Learning is wonderful, but universities? The same is true for religion... religion is institutionalized spirituality.
 * Huston Smith; quoted in

 * "Self-taught, are you?" Julian Castle asked Newt. "Isn't everybody?" Newt inquired. "Very good answer." Castle was respectful.
 * Kurt Vonnegut, Cat's Cradle (1963)

 * Drop out of school before your mind rots from exposure to our mediocre educational system. Forget about the Senior Prom and go to the library and educate yourself if you've got any guts. Some of you like Pep rallies and plastic robots who tell you what to read. Forget I mentioned it. This song has no message. Rise for the flag salute.
 * Frank Zappa, liner notes for song "Hungry Freaks Daddy" on the album Freak Out!

title: Autodidacticism


text:
Alexandre Koyré

Alexandre Koyré (29 August 1892 – 28 April 1964) was a French philosopher of Russian origin who wrote on history and the philosophy of science.

Quotes

 * What the founders of modern science … had to do, was not criticize and to combat certain faulty theories, and to correct or to replace them by better ones. They had to do something quite different. They had to destroy one world and replace it by another. They had to reshape the framework of our intellect itself, to restate and to reform its concepts, to evolve a new approach to Being, a new concept of knowledge, and a new concept of science — and even to replace a pretty natural approach, that of common sense, by another which is not natural at all.
 * "Galileo to Plato" in the Journal of the History of Ideas (1957).

 * The infinite Universe of the New Cosmology, infinite in Duration as well as Extension, in which eternal matter in accordance with eternal and necessary laws moves endlessly and aimlessly in eternal space, inherited all the ontological attributes of Divinity. Yet only those — all the others the departed God took with him... The Divine Artifex had therefore less and less to do in the world. He did not even have to conserve it, as the world, more and more, became able to dispense with this service...
 * From the Closed World to the Infinite Universe (1957).

 * There is something for which Newton — or better to say not Newton alone, but modern science in general — can still be made responsible: it is splitting of our world in two. I have been saying that modern science broke down the barriers that separated the heavens and the earth, and that it united and unified the universe. And that is true. But, as I have said, too, it did this by substituting for our world of quality and sense perception, the world in which we live, and love, and die, another world — the world of quantity, or reified geometry, a world in which, though there is place for everything, there is no place for man. Thus the world of science — the real world — became estranged and utterly divorced from the world of life, which science has been unable to explain — not even to explain away by calling it "subjective". True, these worlds are everyday — and even more and more — connected by praxis. Yet for theory they are divided by an abyss. Two worlds: this means two truths. Or no truth at all. This is the tragedy of the modern mind which "solved the riddle of the universe," but only to replace it by another riddle: the riddle of itself.
 * Newtonian Studies (1965).

 * The belief in creation as the background of empiricomathematical [sic] science–that seems strange. Yet the ways of thought, human thought, in its search for truth are, indeed, very strange.
 * Newtonian Studies (1965), p. 114.

Quotes about Koyré

 * Koyré based his analysis on a narrow definition of science that focuses only on its purely theoretical aspects. He saw the Scientific Revolution as the advent and triumph of what he called the "mathematization of nature." At the same time he downplayed experimentalism as a relatively unimportant aspect of the new science.
 * Clifford D. Conner, A People's History of Science (2005).

 * Koyré's exaltation of the "Platonic and Pythagorean" elements of the Scientific Revolution... was based on a demonstrably false understanding of how Galileo reached his conclusions. ...By avoiding consideration of nonmathematical sciences, Koyré reduced the Scientific Revolution to the ideas of Copernicus, Kepler, Galileo, and Newton.
 * Clifford D. Conner, A People's History of Science (2005).

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

title: Alexandre Koyré


text:
User talk:Powerbomb1411~enwikiquote

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title: User talk:Powerbomb1411~enwikiquote


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User talk:Arielle~enwikiquote

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title: User talk:Arielle~enwikiquote


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User talk:Mailmeletters

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User talk:Garret~enwikiquote

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Unfortunately, your account clashes with another account also called Garret. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Garret~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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User talk:Dignaen

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User talk:Tranthanhha

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User talk:EricBaumansucks

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User talk:Jaysubhashis

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User talk:Picasso1

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User talk:Neoner

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User talk:Akulashashi

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User talk:Navneetmathur

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User talk:Dhiraj~enwikiquote

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Unfortunately, your account clashes with another account also called Dhiraj. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dhiraj~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

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User talk:Gionnico

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Catch-22 (film)

Catch-22 is a 1970 black comedy film about a man who is trying desperately to be certified insane during World War II, so he can stop flying missions.
 * Directed by Mike Nichols. Written by Buck Henry, based on the book of the same name by Joseph Heller.

The anti-war satire of epic proportions.

Major Danby

 * Weather conditions have improved tremendously over the mainland, so you won't have any trouble at all seeing the target. Of course, we mustn't forget, that means that they won't have any trouble at all seeing you.

Other

 * General Dreedle: Get back in the car, you smirking slut!

Dialogue

 * Old man in whorehouse: You see, Italy is a very poor, weak country and that is what makes us so strong, strong enough to survive this war and still be in existence, long after your country has been destroyed.
 * Capt. Nately: What are you talking about? America is not going to be destroyed.
 * Old man in whorehouse: Never?
 * Capt. Nately: Well...
 * Old man in whorehouse: Rome was destroyed. Greece was destroyed. Persia was destroyed. Spain was destroyed. All great countries are destroyed. Why not yours? How much longer do you think your country will last? Forever?
 * Capt. Nately: Well, forever is a long time.
 * Old man in whorehouse: Very long.

 * Capt. Nately: Don't you have any principles?
 * Old man in whorehouse: Of course not!
 * Capt. Nately: No morality?
 * Old man in whorehouse: I'm a very moral man, and Italy is a very moral country. That's why we will certainly come out on top again if we succeed in being defeated.
 * Capt. Nately: You talk like a madman.
 * Old man in whorehouse: But I live like a sane one. I was a fascist when Mussolini was on top. Now that he has been deposed, I am anti-fascist. When the Germans were here, I was fanatically pro-German. Now I'm fanatically pro-American. You'll find no more loyal partisan in all of Italy than myself.
 * Capt. Nately: You're a shameful opportunist! What you don't understand is that it's better to die on your feet than to live on your knees.
 * Old man in whorehouse: You have it backwards. It's better to live on your feet than to die on your knees. I know.
 * Capt. Nately: How do you know?
 * Old man in whorehouse: Because I am 107-years-old. How old are you?
 * Capt. Nately: I'll be 20 in January.
 * Old man in whorehouse (with pity): If you live.

 * 1st Lt. Milo Minderbinder: We're gonna come out of this war rich!
 * Yossarian: You're gonna come out rich. We're gonna come out dead.

 * Doc Daneeka: You're wasting your time
 * Yossarian: Can't you ground someone who's crazy?
 * Doc Daneeka: Oh, sure. I have to. There's a rule saying I have to ground anyone who's crazy.
 * Yossarian: Then why don't you ground me? I'm crazy. Ask Clevinger.
 * Doc Daneeka: Clevinger? Where is Clevinger? You find Clevinger and I'll ask him.
 * Yossarian: Then ask any of the others. They'll tell you how crazy I am.
 * Doc Daneeka: They're crazy
 * Yossarian: Then why don't you ground them?
 * Doc Daneeka: Why don't they ask me to ground them?
 * Yossarian: Because they're crazy, that's why.
 * Doc Daneeka: Of course they're crazy, I just told you they're crazy, didn't I? And you can't let crazy people decide if they crazy or not.
 * Yossarian: Is Orr crazy?
 * Doc Daneeka: He sure is.
 * Yossarian: Can you ground him?
 * Doc Daneeka: I sure can. But first he has to ask me to. That's part of the rule.
 * Yossarian: Then why doesn't he ask you to?
 * Doc Daneeka: Because he's crazy, He has to be crazy to keep flying combat missions after all the close calls he's had. Sure, I can ground Orr. But first he has to ask me to.
 * Yossarian: That's all he has to do to be grounded?
 * Doc Daneeka: That's all. Let him ask me.
 * Yossarian: And then you can ground him?
 * Doc Daneeka: No. Then I cannot ground him. (Yossarian cries out in frustration) See, there's a catch, Catch-22. Anyone who wants to get out of combat duty isn't really crazy.
 * Yossarian: That's some catch, that Catch-22.
 * Doc Daneeka: It's the best there is.

 * Yossarian: Those bastards are trying to kill me.
 * 1st Lt. Milo Minderbinder: No one is trying to kill you sweetheart. Now eat your dessert like a good boy.
 * Yossarian: Oh yeah? Then why are they shooting at me Milo?
 * Dobbs: They're shooting at everyone Yossarian.
 * Yossarian: And what difference does that make?
 * Dobbs: Look Yossarian, suppose, I mean just suppose everyone thought the same way you do.
 * Yossarian: Then I'd be a damn fool to think any different.

 * Colonel Cathcart: You're a disgrace. I'd like to know how you got to be a Captain, anyway.
 * Yossarian: You promoted me.
 * Colonel Cathcart: That has got nothing to do with it.

 * 1st Lt. Milo Minderbinder: Yossarian, I want you to do something for me. [removes item from small bag] I want to serve this to the men. Taste it and let me know what you think.
 * [Yossarian takes a bite]
 * Yossarian: What is it?
 * 1st Lt. Milo Minderbinder: Chocolate-covered cotton.
 * Yossarian: What are you, crazy?
 * 1st Lt. Milo Minderbinder: No good, huh?
 * Yossarian: For Christ's sake, you didn't even take the seeds out!
 * 1st Lt. Milo Minderbinder: Is it really that bad?
 * Yossarian: It's cotton!
 * 1st Lt. Milo Minderbinder: They've got to learn to like it!
 * Yossarian: Why?
 * 1st Lt. Milo Minderbinder: Look, I saw this great opportunity to corner the market in Egyptian cotton. How was I supposed to know there was going to be a glut? I've got a hundred warehouses stacked with the stuff all over the European theater. I can't get rid of a penny's worth. People eat cotton candy, don't they? Well this stuff is better - it's made out of real cotton.
 * Yossarian: Milo, people can't eat cotton!
 * 1st Lt. Milo Minderbinder: They've got to - it's for the Syndicate!
 * Yossarian: It will make them sick! - why don't you try it yourself if you don't believe me?
 * 1st Lt. Milo Minderbinder: I did - and it made me sick.

 * Maj. Major Major Major: Sergeant, from now on, I don't want anyone to come in and see me while I'm in my office. Is that clear?
 * First Sgt. Towser: Yes, sir. What do I say to people who want to come in and see you while you're in your office?
 * Maj. Major Major Major: Tell them I'm in and ask them to wait.
 * First Sgt. Towser: For how long?
 * Maj. Major Major Major: Until I've left.
 * First Sgt. Towser: And then what do I do with them?
 * Maj. Major Major Major: I don't care.
 * First Sgt. Towser: May I send people in to see you after you've left?
 * Maj. Major Major Major: Yes.
 * First Sgt. Towser: You won't be here then, will you?
 * Maj. Major Major Major: No.
 * First Sgt. Towser: I see, sir. Will that be all?
 * Maj. Major Major Major: Also, Sergeant, I don't want you coming in while I'm in my office asking me if there's anything you can do for me. Is that clear?
 * First Sgt. Towser: Yes, sir. When should I come in your office and ask if there's anything I can do for you?
 * Maj. Major Major Major: When I'm not there.
 * First Sgt. Towser: What do I do then?
 * Maj. Major Major Major: Whatever has to be done.
 * First Sgt. Towser: Yes, sir.

 * Maj. Major Major Major: Is something wrong?
 * Tappman: No, no. I... just thought I saw something.
 * Maj. Major Major Major: A naked man in a tree?
 * Tappman: Yes, that's it.
 * Danby: [looking through binoculars] That's just Yossarian.

 * 1st Lt. Milo Minderbinder: Nately died a wealthy man, Yossarian. He had over sixty shares in the syndicate.
 * Yossarian: What difference does that make? He's dead.
 * 1st Lt. Milo Minderbinder: Then his family will get it.
 * Yossarian: He didn't have time to have a family.
 * 1st Lt. Milo Minderbinder: Then his parents will get it.
 * Yossarian: They don't need it, they're rich.
 * 1st Lt. Milo Minderbinder: Then they'll understand.

 * Yossarian: He was very old.
 * Luciana: But he was a boy.
 * Yossarian: Well, he died. You don't get any older than that.

 * Colonel Cathcart: [as the base is being bombed in an air raid] What are you doing, Yossarian! Get off the field!
 * [Yossarian fires a Colt .45 at him, but it clicks, empty]
 * Colonel Cathcart: I wanna' see you later. You're confined to the base. I won't forget this!
 * Yossarian: I don't think the Air Force is gonna' forget about this!
 * Colonel Cathcart: Don't be ridiculous! What's good for M&M Enterprises is good for the Air Force! We had to get rid of that cotton. The Germans promised to take it off our hands, if we ran this mission for them! It's all part of the deal!
 * Lt. Col. Korn, XO: [loud bomb explosion is heard] There goes the Officer's Club!
 * Yossarian: You made a deal with the Germans to bomb our own base?
 * Colonel Cathcart: A contract is a contract! That's what we're fighting for!

 * [Yossarian leaps out of the hospital window, fleeing the base.]
 * Danby: Yossarian!
 * Yossarian: I can do it, Danby!
 * Tappman: They'll catch you, they'll bring you back!
 * Yossarian: I can do it!
 * Danby: This is insane!
 * Yossarian: I can do it!
 * Tappman: What about your clothes?
 * Yossarian: They'll never recognize me without my uniform!
 * Danby: You'll be on the run with no friends! You'll live in constant danger of betrayal!
 * Yossarian: [laughs] I live that way now.
 * Danby: Yossarian, for God's sake, hurry up!
 * Yossarian: So long, Chaplain!
 * Tappman: How do you feel, Yossarian?
 * Yossarian: Fine... because I'm scared to death.
 * Danby: You'll have to keep on your toes every minute.
 * Yossarian: I'll keep on my toes.
 * Tappman: You'll have to jump.
 * Yossarian: I'll jump.
 * Tappman: JUMP!
 * [Yossarian jumps over a ditch and runs to the sea while inflating a life raft. He leaps into the sea, paddling furiously, and is gone]

Cast

 * Alan Arkin - Captain John Yossarian
 * Bob Balaban - Captain Orr
 * Martin Balsam - Colonel Cathcart
 * Buck Henry - Lt. Colonel Korn
 * Richard Benjamin - Major Danby
 * Susanne Benton - Dreedle's WAC
 * Marcel Dalio - Old Man in Whorehouse
 * Norman Fell - First Sgt. Towser
 * Art Garfunkel - Lt. Nately
 * Jack Gilford - Dr. "Doc" Daneeka
 * Charles Grodin - Captain "Aarfy" Aardvark
 * Bob Newhart - Captain/Major Major
 * Austin Pendleton - Lt. Col. Moodus
 * Anthony Perkins - Capt. Fr. A. T. Tappman
 * Paula Prentiss - Nurse Duckett
 * Martin Sheen - 1st Lt. Dobbs
 * Jon Voight - 1st Lt. Milo Minderbinder
 * Orson Welles - Brigadier General Dreedle

title: Catch-22 (film)


text:
User talk:81.156.72.63

- InvisibleSun 16:38, 1 September 2006 (UTC)

title: User talk:81.156.72.63


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User talk:24.98.63.5

Please refrain from removing content from Wikiquote, as you did to Gary swenson. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you. —LrdChaos 19:09, 1 September 2006 (UTC)

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User talk:Rathins~enwikiquote

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Welcome
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Frédéric Chopin

 (1 March 1810 – 17 October 1849) was a Polish pianist and composer of classical music who lived in Paris from age 21. He wrote almost solely for piano and remains the most widely played composer for that instrument. He also wrote for violin and viola. His music ranged from patriotic, melancholy, passionate to simple and beautiful, and he was known as a great teacher of piano.
 * See also
 * Études (Chopin)
 * Piano Sonata No. 1 (Chopin)

Quotes

 *  Give me a kiss, dearest lover. I'm certain that you still love me, and I fear you always, like some tyrant over me. I don't know why, but I fear you. Upon my word, only you have power over me, you and... no one else.
 * Chopin to Tytus Woyciechowski, 5 October 1830

 * I'm glad that the secret is submerged in my heart, that in me is the end of what is for you the beginning. And be glad that you have in me an abyss into which you can cast everything without fear - as if into a second self - because your spirit has long lain there at the very bottom. I keep your letters like a ribbon from a mistress. I have the ribbon; write to me, I'll caress you again in a week.
 * Chopin to Tytus Woyciechowski, 31 August 1830

 *  No one other than I has read your letter. As always, even now, I carry your letters with me. How blissful it will it be for me, having gone beyond the city walls in May, thinking about my approaching journey, to pull out a letter of yours and assure myself sincerely that you love me, or at least to gaze at the hand and the writing of him, whom only I am able to love!
 * Chopin to Tytus Woyciechowski, 27 March 1830

 * Messieurs, I should like to be granted the favour of performing at one of your admirable concerts, and this I beg to ask of you. Trusting, since I lack other qualifications to obtain this, in your goodwill towards artists, I dare to hope that you will greet my request favourably, I have the honour to be, Messieurs, your very humble servant. Frédéric Chopin Cité Bergère, No. 4
 * Letter of application to the Société des Concerts du Conservatoire.

 * My piano has not yet arrived. How did you send it? By Marseilles or by Perpignan? I dream music but I cannot make any because here there are not any pianos . . . in this respect this is a savage country.
 * Letter to Camille Pleyel.

 * I'm a revolutionary, money means nothing to me.
 * Quoted in Arthur Hedley, Chopin (1947).

 * I wish I could throw off the thoughts which poison my happiness, but I take a kind of pleasure in indulging them.
 * As quoted in Chopin.
 * Variant translation: I wish I could throw off the thoughts which poison my happiness. And yet I take a kind of pleasure in indulging them.

 * One needs only to study a certain positioning of the hand in relation to the keys to obtain with ease the most beautiful sounds, to know how to play long notes and short notes and to [attain] certain unlimited dexterity... A well formed technique, it seems to me, [is one] that can control and vary a beautiful sound quality.
 * As quoted in Chopin : Pianist and Teacher as Seen by His Pupils.

 * Time is still the best critic, and patience the best teacher.
 * As quoted in Chopin : Pianist and Teacher as Seen by His Pupils.

 * Sometimes I can only groan, and suffer, and pour out my despair at the piano!
 * As quoted in Chopin and the Swedish Nightingale.

 * Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.
 * As quoted in If Not God, Then What?

 * How strange! This bed on which I shall lie has been slept on by more than one dying man, but today it does not repel me! Who knows what corpses have lain on it and for how long? But is a corpse any worse than I? A corpse too knows nothing of its father, mother or sisters or Titus. Nor has a corpse a sweetheart. A corpse, too, is pale, like me. A corpse is cold, just as I am cold and indifferent to everything. A corpse has ceased to live, and I too have had enough of life.... Why do we live on through this wretched life which only devours us and serves to turn us into corpses? The clocks in the Stuttgart belfries strike the midnight hour. Oh how many people have become corpses at this moment! Mothers have been torn from their children, children from their mothers - how many plans have come to nothing, how much sorrow has sprung from these depths, and how much relief!... Virtue and vice have come in the end to the same thing! It seems that to die is man's finest action - and what might be his worst? To be born, since that is the exact opposite of his best deed. It is therefore right of me to be angry that I was ever born into this world! Why was I not prevented from remaining in a world where I am utterly useless? What good can my existence bring to anyone? … But wait, wait! What's this? Tears? How long it is since they flowed! How is this, seeing that an arid melancholy has held me for so long in its grip? How good it feels - and sorrowful. Sad but kindly tears! What a strange emotion! Sad but blessed. It is not good for one to be sad, and yet how pleasant it is - a strange state...
 * Stuttgart. After 8th September 1831.

 * Here you doubtless observe my tendency to do wrong against my will. As something has involuntarily crept into my head through my eyes, I love to indulge it, even though it may be all wrong.
 * As quoted when he talked about his piano concerto, op.11.

 * I could express my feelings more easily if they could be put into the notes of music, but as the very best concert would not cover my affection for you, dear daddy, I must use the simple words of my heart, to lay before you my utmost gratitude and filial affection
 * As quoted in Chopin's Letter.

 * How great a joy I feel in my heart. That a day so pleasant, so dear and glorious begins, a day that I greet with the wish. That long years may pass in happiness. In health and vigour, peacefully, successfully. May the gift of heaven fall richly upon you
 * As quoted in his letter to his father, dated December 6th 1817

 * You already know when I'm writing, so don't be surprised if it's short and dry, because I'm too hungry to write anything fat
 * As quoted in his letter to Jan Bialoblocki, written in Zelazowa Wola and dated back to December 24th 1826

 * I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc. — They are all zero beside Kalkbrenner. I confess that I have played like Herz, but would wish to play like Kalkbrenner. If Paganini is perfection, Kalkbrenner is his equal, but in quite another style.
 * His letter to Tytus Woyciechowski in Poturzyn. Paris, 12 December 1831.

 * I astonished Kalkbrenner, who at once asked me, was I not a pupil of Field, because I have Cramer's method and Field's touch. (That delighted me.)
 * His letter to Tytus Woyciechowski in Poturzyn. Paris, 12 December 1831.

 * Play Mozart in memory of me— and I will hear you.
 * Murmured by Chopin on his death-bed.

 * Concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art.
 * Said to one of his students, according to "Chopin: Pianist and Teacher: As Seen by His Pupils" by Jean-Jacques Eigeldinger

 * I am cross and depressed, and people bore me with their excessive attentions. I can't breathe, I can't work; I feel alone, alone, alone, although I am surrounded. There are a whole lot of ladies, 70 to 80 year-old lords, but no young folk: they are all out shooting. One can't get out of doors because it has been raining and blowing for several days.
 * Fingers of steel. Wrist of silk.

From Chopin's Polish letters

 * [...] mam mój ideał, któremu wiernie, nie mówiąc z nim już pół roku, służę, który mi się śni, na którego pamiątkę stanęło adagio od mojego koncertu, który mi inspirował tego walczyka dziś rano, co ci posyłam.
 * Translation 1: [...] I [...] have my own ideal, which I have served faithfully, though silently, for half a year; of which I dream, to thoughts of which the adagio of my concerto belongs, and which this morning inspired the little waltz I am sending you.
 * Translation 2: [...] I have [...] found my ideal, whom I have served faithfully, though without saying a word to her, for six months; whom I dream of, in whose memory the Adagio of my concerto has been written, and who this morning inspired me to write the little waltz I am sending you.
 * Translation 3: [...] I have my ideal, whom I faithfully serve, not having spoken to her for half a year now, about whom I dream, with thoughts of whom the Adagio from my Concerto came to be, who this morning inspired the little waltz that I am sending you.
 * Translation 4: [...] I have [...] found my ideal, whom I have served faithfully for six months, though without saying a word to her about my feelings; whom I dream of, who inspired the Adagio of my Concerto, and also this morning the little waltz I am sending you.
 * Polish: To Tytus Woyciechowski in Poturzyn (1829-10-03) at Fryderyk Chopin Institute website.
 * Translation 1: Voynich, Ethel (1931). Chopin's Letters. New York: Alfred A. Knopf, p. 69
 * Translation 2: Hedley, Arthur (1962). Selected Correspondence Of Fryderyk Chopin. Heinemann, p. 34
 * Translation 3: Frick, David (2016). Chopin's Polish Letters. Warsaw: Fryderyk Chopin Institute. ISBN 9788364823190, quoted in Weber, Moritz (16 November 2020). "Chopin war schwul – und niemand sollte davon erfahren" at Schweizer Radio und Fernsehen website.
 * Translation 4: Walker, Alan (2018). Fryderyk Chopin: A Life and Times. Farrar, Straus and Giroux. ISBN 9780374714376, p. 108.
 * See also:
 * Oltermann, Philip and Walker, Shaun (25 November 2020). "Chopin's interest in men airbrushed from history, programme claims: Journalist says he has found overt homoeroticism in Polish composer’s letters" in The Guardian.
 * Picheta, Rob (29 November 2020). "Was Chopin gay? The awkward question in one of the EU's worst countries for LGBTQ rights" at CNN.
 * Chilton, Louis (30 November 2020). "Frédéric Chopin’s same-sex love letters covered up by biographers and archivists, claims new programme: Swiss radio documentary explored evidence of the great composer’s attraction to men" in The Independent.

 * Idę się umywać, nie całuj mię teraz, bom się jeszcze nie umył. — Ty? chociażbym się olejkami wysmarował bizantyjskimi, nie pocałowałbyś, gdybym ja Ciebie magnetycznym sposobem do tego nie przymusił. Jest jakaś siła w naturze. Dziś Ci się śnić będzie, że mnie całujesz. Muszę Ci oddać za szkaradny sen, jakiś mi dziś w nocy sprowadził.
 * Translation 1: I am going to wash now; don't kiss me, I'm not washed yet. You? If I were smeared with the oils of Byzantium, you would not kiss me unless I forced you to it by magnetism. There's some kind of power in nature. Today you will dream of kissing me! I have got to pay you out for the horrible dream you gave me last night.
 * Translation 2: I must go now and wash. So don't embrace me now, as I haven't washed myself yet. – You? If I anointed myself with fragrant oils from the East, – you wouldn't embrace me, not unless I forced you to by magnetic means. But there are forces in Nature, and tonight you will dream that you are embracing me. – I have to pay you back for the nightmare you caused me last night!
 * Translation 3: Now I am going to wash myself. Please do not embrace me as I have not washed yet. And you? Even were I to anoint myself with fragrant oils from Byzantium, you would not embrace me—not unless forced to by magnetism. But there are forces in Nature! Today you will dream that you are embracing me! You have to pay for the nightmare you caused me last night!
 * Translation 4: I will go and wash. Don't kiss me now, because I haven't yet washed. – You? Even if I were to rub myself with Byzantine oils, you still wouldn't kiss me, unless I compelled you to do so with magnetism. There is some sort of force in nature. Today you will dream that you‘re kissing me! I have to pay you back for the nasty dream you brought me last night.
 * Polish: To Tytus Woyciechowski in Poturzyn (1830-09-04) at Fryderyk Chopin Institute website.
 * Translation 1: Voynich, Ethel (1931). Chopin's Letters. New York: Alfred A. Knopf, p. 102
 * Translation 2: Zamoyski, Adam (1979, revised 2010). "4. Adolescent Passions", pp. 43ff in Chopin: Prince of the Romantics. HarperCollins. ISBN 9780007351824
 * Translation 3: Walker, Alan (2018). Fryderyk Chopin: A Life and Times. Farrar, Straus and Giroux. ISBN 9780374714376, pp. 109–110.
 * Translation 4: Frick, David (2016). Chopin's Polish Letters. Warsaw: Fryderyk Chopin Institute. p. 174f ISBN 9788364823190
 * See also:
 * da Fonseca-Wollheim, Corinna (19 November 2018). "An Ingenious Frédéric Chopin" in The New York Times.
 * Oltermann, Philip and Walker, Shaun (25 November 2020). "Chopin's interest in men airbrushed from history, programme claims: Journalist says he has found overt homoeroticism in Polish composer’s letters" in The Guardian.
 * Picheta, Rob (29 November 2020). "Was Chopin gay? The awkward question in one of the EU's worst countries for LGBTQ rights" at CNN.
 * Chilton, Louis (30 November 2020). "Frédéric Chopin’s same-sex love letters covered up by biographers and archivists, claims new programme: Swiss radio documentary explored evidence of the great composer’s attraction to men" in The Independent.

Attributed

 * Nothing is more beautiful than a good guitar, save perhaps two.
 * Cited—as a "saying of Chopin"–by in Poor Folk in Spain (1922), p. 229.
 * 50 years later, the quote—almost always minus the word "good"—begins to appear periodically, with the occasional addition of such changes as "a guitar" to "one guitar" and "save, perhaps" to "except, possibly," as well as, very briefly (in conjunction with the equally brief return of "good"), "more beautiful" to simply "better" and "Nothing is more beautiful than" to "Only one thing is as beautiful as".

Quotes about Chopin

 * Alphabetized by author

 * Chopin‘s pianistic production is overall more voluminous and somewhat more consistent in emotional substance, however wonderful much of Schumann‘s work is.
 * Marc-André Hamelin, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Chopin did not need to append words to music to make it songful; in fact it seems to me that he does better without them! Incidentally, their lack of popularity must largely be due to their being set to Polish words, and as far as I know, translating them would lessen their effect.
 * Marc-André Hamelin, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Chopin is -- popularly, but not critically -- seen primarily as a great melodist, which reputation does him a great disservice.
 * Ashish Xiangyi Kumar, in his comments on Chopin's Ballades
 * ...Chopin rather made a habit out of gainsaying genre expectations: his Barcarolle isn’t a barcarolle, the Scherzi aren’t even remotely funny or even lighthearted, the Waltzes are completely undanceable, the Preludes aren’t prelude to anything, the Nocturnes render Field unlistenable…
 * Ashish Xiangyi Kumar, in his comments on Chopin's Fantaisie in F minor

 * Chopin wrote many small pieces – mazurkas, waltzes, préludes, nocturnes – many more than Schumann. That covers the needs of millions of amateurs who love music, but do not command the instrument well enough and who love Chopin’s music. It enters their hearts.
 * Elisabeth Leonskaja, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Chopin is played much more than Schumann in China, both in concert halls and music schools. The reason, if I put it in a most simple and direct way, Chopin is more universal, appeals more to the masses. Schumann is more personal, appeals more to the elites.
 * Ming-Qiang Li, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Being Chopin a pianist himself, his works are mainly conceived for the piano. When people use the word “pianistic“, it means that the pieces lay easily, naturally and smoothly under the fingers. This is true for Liszt and Debussy too.
 * Ming-Qiang Li, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Music was his language, the divine tongue through which he expressed a whole realm of sentiments that only the select few can appreciate... The muse of his homeland dictates his songs, and the anguished cries of Poland lend to his art a mysterious, indefinable poetry which, for all those who have truly experienced it, cannot be compared to anything else... The piano alone was not sufficient to reveal all that lies within him. In short he is a most remarkable individual who commands our highest degree of devotion.
 * Franz Liszt, "Revue et Gazette Musicale de Paris", May 2, 1841, pp. 245f.

 * According to a tradition—and, be it said, an erroneous one—Chopin’s playing was like that of one dreaming rather than awake—scarcely audible in its coninual pianissiomos and una cordoas, with feebly developed technique and quite lacking in confidence, or at least indistinct, and distorted out of all rhythmic form by an incessant tempo rubato! The effect of these notions could not be otherwise than very prejudicial to the interpretation of his works, even by the most able artists—in their very striving after truthfulness; besides, they are easily accounted for.
 * Carl Mikuli, Introductory Note of his edition of Chopin's works

 * In keeping time Chopin was inflexible, and many will be surprised to learn that the metronome never left his piano. Even in his oft-decried tempo rubato one hand—that having the accompaniment—always played on in strict time, while the other, singing the melody, either hesitating as if undecided, or, with increased animation, anticipating with a kind of impatient vehemence as if in passionate utterances, maintained the freedom of musical expression from the fetters of strict regularity.
 * Carl Mikuli, Introductory Note of his edition of Chopin's works

 * His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.
 * George Sand

 * There is no weak piece by Chopin. Still, his music is played so poorly so often, and that does not do him any good. The Sonata in B flat minor and the ballad in G minor are played much very often. It does not mean I wouldn’t play them, but I wouldn’t do it so much.
 * András Schiff, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * It was Chopin who properly set romantic pianism on its rails and gave it the impetus that shows no signs of deceleration. He did this all by himself, evolving from nowhere the most beautiful and original piano style of the century.
 * Harold C. Schonberg, The Great Pianists (2nd ed. 1987), Ch. IX. Tubercular, Romantic, Poetic

 * Chopin was a romantic who hated romanticism. This is the paradox. It was Chopin who, of all the early romantics, has turned out the most popular. Virtually everything he composed has remained in the repertoire, and a piano recital without some Chopin on it is still the exception. […] In his day he was a revolutionary. To many his music was exotic, inexplicable, perhaps insane. Critics like Rellstab in Germany, Chorley and Davison in England, dismissed much of Chopin’s music as eccentricities full of earsplitting dissonance.
 * Harold C. Schonberg, The Great Pianists (2nd ed. 1987), Ch. IX. Tubercular, Romantic, Poetic

 * Fortunately the picture as it stands is quite complete, and the figure of Chopin clearly emerges: that marvelously controlled, original, poetic, nuanced classic-romantic pianist and musician, whose physical resources may have been small but whose spirit and conception were epical.
 * Harold C. Schonberg, The Great Pianists (2nd ed. 1987), Ch. IX. Tubercular, Romantic, Poetic

 * Hats off, gentlemen — a genius!
 * Robert Schumann. "Opus 2" Allgemeine Musikalische Zeitung, 7 December 1831

 * If the mighty autocrat of the north knew what a dangerous enemy threatened him in Chopin's works in the simple tunes of his mazurkas, he would forbid this music. Chopin's works are canons buried in flowers.
 * Robert Schumann, Neue Zeitschrift für Musik, no. 33, 1836

 * After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own.
 * Oscar Wilde, 1891

 * We couldn’t do much outside. I found more details in my music.
 * Winner of Chopin piano competition, Montreal-trained Bruce (Xiaoyu) Liu "Montreal-trained Bruce (Xiaoyu) Liu wins prestigious Chopin piano competition in Warsaw" (October 21, 2021

 * Chopin was the first piano composer who knew exactly how to make piano sound reach fullness, radiance and grandness. What to regard and what, by all means, to avoid. Chopin was keenly aware of the overtones and he did take care of them so artfully.
 * Christian Zacharias, "Famous Pianists on Frédéric Chopin and Robert Schumann" (2010) by G. Henle Verlag

 * Chopin has done for the piano what Schubert has done for the voice.
 * 'The France musicale' review of Chopin's concert held on 26 April 1841. As quoted in Nocturne: a life of Chopin.

title: Frédéric Chopin


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Category talk:Astronomers

A link to Carl Sagan would be appropriate on this page. I'd do it myself, but I'm not sure quite how to add it.

title: Category talk:Astronomers


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Panentheism

Panentheism (from Greek πᾶν (pân) "all"; ἐν (en) "in"; and θεός (theós) "God"; "all-in-God") is a philosophical stance which posits that God (or Ultimate Reality or The All) interpenetrates every part of observable Nature, and extends beyond it. Panentheism is differentiated from pantheism, which treats the discernible Universe as a Cosmos synonymous with God; in pantheism, God is the whole Universe, while in panentheism, the whole universe is within or a portion of Ultimate Being, or God, conceived as an eternal sustaining presence or animating force beyond it. While pantheism asserts that God and the universe are coextensive, panentheism asserts that God is greater than the universe. Major traditions of Hinduism and many forms of mysticism involve either panentheism or pantheism.

Quotes

 * In Emerson's case, we know who the god was — even his name and address. His utterances are too highly differentiated for mistake. The divine voice is of course one. All things are one to Emerson. But the one in this instance seems sufficiently distinguished from its other articulatenesses to involve a polytheistic rather than a generally immanent explanation. To us the god is inescapably Emerson himself; it is at least excusable, practically, to identify what you find in no other conjunction. Naturally the inference is that we are all gods, and no doubt Emerson would willingly have adopted, with whatever modifications, the current “panentheism” which unites his pantheism with theism, for though he never lost sight of the existence of the many he always saw them as ultimately resident in the one.
 * William Crary Brownell, American Prose Masters (1909), p. 143.

 * Various advocates and critics of panentheism find evidence of incipient or implicit forms of panentheism present in religious thought as early as 1300 BCE. Hartshorne discovers the first indication of panentheistic themes in Ikhnaton (1375–1358 BCE), the Egyptian pharaoh often considered the first monotheist. In his poetic description of the sun god, Ikhnaton avoids both the separation of God from the world that will characterize theism and the identification of God with the world that will characterize pantheism … Early Vedantic thought, as well as some modern Indian thought, implies panentheism in non-Advaita forms that understand non-dualism as inclusive of differences.
 * John Culp, in "Panentheism" in The Stanford Encyclopedia of Philosophy (2009).

 * It is impossible to place any high value on mental work, unless we believe that it has a cosmic setting, and that behind human undertakings there is the support of a Divine Power. Thus religious conviction is looked upon with no disfavour, but it is rather an admission of infinity into man's finite life, an acknowledgment of an unseen order of things, than a movement toward a new world not to be gained save through shock and revolution. There is much closer kinship to Panentheism, the creed of the noblest minds of the Renaissance, than to the distinctively Christian view which these men incline to look upon as a mere refuge for the weak and sickly. Religion for them is rather an invisible Presence which attends their work than a specific form of spiritual experience.
 * Rudolf Eucken, on some forms of Humanism and related philosophies, in The Problem of Human Life as Viewed by the Great Thinkers from Plato to the Present Time (1910), p. 462.

 * The panentheistic God/universe setup is like a mutual admiration society: God needs you, and you need God. … God depends on the world, and the world depends on God … Since God is always growing, or "in process," he never perfectly achieves his aims. In metaphorical terms, God is always on the path but he never reaches his destination. The actual is what he is; the potential is what he is eternally becoming.
 * Norman Geisler, as quoted in The Last Temptation of Christ Denied (1989) by Bob Passatino and Gretchen Passatino.

 * These distinctions make sense only when AR [absolute perfection in some respects, relative perfection in all others] is assumed (hence Spinoza's failure, who assumed mere A). Just as AR is the whole positive content of perfection, so CW, or the conception of the Creator-and-the-Whole-of-what-he-has-created as constituting one life, the super-whole which in its everlasting essence is uncreated (and does not necessitate just the parts which the whole has) but in its de facto concreteness is created — this panentheistic doctrine contains all of deism and pandeism except their arbitrary negations. Thus ARCW, or absolute-relative panentheism, is the one doctrine that really states the whole of what all theists, if not all atheists as/well, are implicitly talking about.
 * Charles Hartshorne, Man's Vision of God and the Logic of Theism (1964), p. 348, ISBN 0-208-00498-X

 * It is important here to underscore panentheism (with the en in the middle) which is not to be confused with 'pantheism' (without the 'en' in the middle). The former signifies the immanent nature of God without a transcendent spirit, whereas the latter is nature worship characteristic of many pagan faiths, at least as characterized by their opponents. Panentheism refers to the world as God and at the same time God remaining transcendent. This dual character of God is central to integral unity. God is the unchangeable transcendent and also everything that exists, and hence ever in flux. Charles Hartshorne, a prominent philosopher and theologian, introduced the term 'panentheism' into the Western lexicon after his detailed study of Hindu metaphysics in the 1930s (especially Ramanuja and Sri Jiva Goswami).
 * Malhotra, R., & Infinity Foundation (Princeton, N.J.). (2018). Being different: An Indian challenge to western universalism.

 * Since God is continuously present, why do you worry? For in Him we live and move. We are carried in His arms. We breathe God; we are vested with God; we touch God; we consume God in the Mystery. Wherever you turn, wherever you look, God is everywhere: in the heavens, on the earth, in the abysses, in the trees, within the rocks, in your nous, in your heart.
 * Elder Joseph the Hesychast (2016). Monastic Wisdom: the letters of Elder Joseph the Hesychast. Florence, Arizona: St. Anthony's Greek Orthodox Monastery, Letter 13.

 * God is everywhere. There is no place where God is not. The more you pay attention to Him, the more He pays attention to you. You cry out to Him, “Where art Thou, my God?” And He answers, “I am present, my child! I am always beside you.” Both inside and outside, above and below, wherever you turn, everything shouts, “God!” In Him we live and move. We breathe God, we eat God, we clothe ourselves with God. Everything praises and blesses God. All of creation shouts His praise. Everything animate and inanimate speaks wondrously and glorifies the Creator. Let every breath praise the Lord!
 * Elder Joseph the Hesychast (2016). Monastic Wisdom: the letters of Elder Joseph the Hesychast. Florence, Arizona: St. Anthony's Greek Orthodox Monastery, Letter 78.

title: Panentheism


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User:Hydnjo

We're usually at w:User:Hydnjo.

 * Shortcuts
 * Useful shortcuts

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User talk:Hydnjo

We're usually at w:User talk:Hydnjo.

Thanks
Thanks for the maintenance work you've been doing recently! Your fresh eye on various issues and pages has been quite helpful. (I hadn't even noticed the lack of the shortcut box on VFD, and you inspired me to find two more we'd missed.) Keep up the good work! ~ Jeff Q (talk) 22:01, 9 September 2006 (UTC)
 * Well you're quite welcome. BTW, take a look at the shortcut box at WQ:MOS. I've done two things, placed the multiple shortcuts one over the other and linked them to their redirects. I don't think there is any rule about this so let me know which you prefer. I obviously prefer the narrower more colorful version (I'm Italian).  --hydnjo talk 22:17, 9 September 2006 (UTC)

 * I don't really care much about either the links (which are essentially redundant) or the arrangement, but I agree they look better now. Consistency is also nice. Knock yourself out if you find any others that you'd like to reformat. (Just don't make them green-white-red for Madre Italia. ☺) ~ Jeff Q (talk) 22:39, 9 September 2006 (UTC)

 * Hmmm, not a bad idea! ;-)  --hydnjo talk 02:50, 10 September 2006 (UTC)

title: User talk:Hydnjo


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User:JeffyBot

This is the user account of JeffyBot, a bot program that may eventually do specific Wikiquote maintenance tasks. Like the Buffybot (from Buffy the Vampire Slayer) for which it was named, it is expected to be powerful but not terribly bright. Because of this, it will be closely monitored by its creator, Wikiquote sysop Jeff Q. Unlike Buffybot's amoral, megalomaniacal creator, Jeff is quite worried about what harm he may do to perfectly fine articles — or to his fellow Wikiquotians, for that matter. (Unfortunately, he can be just as annoying as Buffybot's creator, but he's working on that.)

To help Jeff Q avoid bringing about automated Armageddon, administrators are encouraged to hit JeffyBot's stop button at the first sign of trouble (or even doubt of usefulness), and to post comments or questions about its operation at User talk:Jeffq.

 This bot is not yet active. The account is only being used for testing at this point.

title: User:JeffyBot


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User talk:JeffyBot

For the time being, questions about this bot account should be posted to my talk page. Thank you. ~ Jeff Q (talk) 03:31, 2 September 2006 (UTC)

title: User talk:JeffyBot


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User:Extrajimmies

im carlos, i think they deleted my last page, yep, fuck

title: User:Extrajimmies


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Category:Emergency shutoff compliant bots

The following are user pages of Wikiquote bots that include an emergency shutoff button, a large red graphic pushbutton that brings up a block-user request for the bot account.