The Oxford Dictionary of Modern Quotations - The Free Information ...
The Oxford Dictionary of Modern Quotations - The Free Information ...
The Oxford Dictionary of Modern Quotations - The Free Information ...
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<strong>The</strong> <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Modern</strong> <strong>Quotations</strong><br />
PREFACE Preface<br />
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This is a completely new dictionary, containing about 5,000 quotations.<br />
What is a "quotation"? It is a saying or piece <strong>of</strong> writing that strikes<br />
people as so true or memorable that they quote it (or allude to it) in<br />
speech or writing. Often they will quote it directly, introducing it with<br />
a phrase like "As ---- says" but equally <strong>of</strong>ten they will assume that the<br />
reader or listener already knows the quotation, and they will simply<br />
allude to it without mentioning its source (as in the headline "A ros‚ is<br />
a ros‚ is a ros‚," referring obliquely to a line by Gertrude Stein).<br />
This dictionary has been compiled from extensive evidence <strong>of</strong> the<br />
quotations that are actually used in this way. <strong>The</strong> dictionary includes<br />
the commonest quotations which were found in a collection <strong>of</strong> more than<br />
200,000 citations assembled by combing books, magazines, and newspapers.<br />
For example, our collections contained more than thirty examples each for<br />
Edward Heath's "unacceptable face <strong>of</strong> capitalism" and Marshal McLuhan's<br />
"<strong>The</strong> medium is the message," so both these quotations had to be included.<br />
As a result, this book is not--like many quotations dictionaries--a<br />
subjective anthology <strong>of</strong> the editor's favourite quotations, but an<br />
objective selection <strong>of</strong> the quotations which are most widely known and<br />
used. Popularity and familiarity are the main criteria for inclusion,<br />
although no reader is likely to be familiar with all the quotations in<br />
this dictionary.<br />
<strong>The</strong> book can be used for reference or for browsing: to trace the source <strong>of</strong><br />
a particular quotation or to find an appropriate saying for a special<br />
need.<br />
<strong>The</strong> quotations are drawn from novels, plays, poems, essays, speeches,<br />
films radio and television broadcasts, songs, advertisements, and even<br />
book titles. It is difficult to draw the line between quotations and<br />
similar sayings like proverbs, catch-phrases, and idioms. For example,<br />
some quotations (like "<strong>The</strong> opera ain't over till the fat lady sings")<br />
become proverbial. <strong>The</strong>se are usually included if they can be traced to a<br />
particular originator. However, we have generally omitted phrases like<br />
"agonizing reappraisal" which are covered adequately in the <strong>Oxford</strong> English<br />
<strong>Dictionary</strong>. Catch-phrases are included if there is evidence that they are<br />
widely remembered or used.<br />
We have taken care to verify all the quotations in original or<br />
authoritative sources--something which few other quotations dictionaries<br />
have tried to do. We have corrected many errors found in other<br />
dictionaries, and we have traced the true origins <strong>of</strong> such phrases as<br />
"<strong>The</strong>re ain't no such thing as a free lunch" and "Shaken and not stirred."<br />
<strong>The</strong> quotations are arranged in alphabetical order <strong>of</strong> authors, with<br />
anonymous quotations in the middle <strong>of</strong> "A." Under each author, the<br />
quotations are arranged in alphabetical order <strong>of</strong> their first words.<br />
Foreign quotations are, wherever possible, given in the original language<br />
as well as in translation.<br />
Authors are cited under the names by which they are best known: for<br />
example, Graham Greene (not Henry Graham Greene); F. Scott Fitzgerald (not
Francis Scott Key Fitzgerald); George Orwell (not Eric Blair); W. C.<br />
Fields (not William Claude Dukenfield). Authors' dates <strong>of</strong> birth and death<br />
are given when ascertainable. <strong>The</strong> actual writers <strong>of</strong> the words are<br />
credited for quotations from songs, film-scripts, etc.<br />
<strong>The</strong> references after each quotation are designed to be as helpful as<br />
possible, enabling the reader to trace quotations in their original<br />
sources if desired.<br />
<strong>The</strong> index (1) has been carefully prepared--with ingenious computer<br />
assistance--to help the reader to trace quotations from their most<br />
important keywords. Each reference includes not only the page and the<br />
number <strong>of</strong> the quotation on the page but also the first few letters <strong>of</strong> the<br />
author's name. <strong>The</strong> index includes references to book-titles which have<br />
become well known as quotations in their own right.<br />
One difficulty in a dictionary <strong>of</strong> modern quotations is to decide what the<br />
word "modern" means. In this dictionary it means "twentieth-century."<br />
<strong>Quotations</strong> are eligible if they originated from someone who was still<br />
alive after 1900. Where an author (like George Bernard Shaw, who died in<br />
1950) said memorable things before and after 1900, these are all included.<br />
This dictionary could not have been compiled without the work <strong>of</strong> many<br />
people, most notably Paula Clifford, Angela Partington, Fiona Mullan,<br />
Penelope Newsome, Julia Cresswell, Michael McKinley, Charles McCreery,<br />
Heidi Abbey, Jean Harder, Elizabeth Knowles, George Chowdharay-Best,<br />
Tracey Ward, and Ernest Trehern. I am also very grateful to the OUP<br />
<strong>Dictionary</strong> Department's team <strong>of</strong> checkers, who verified the quotations at<br />
libraries in <strong>Oxford</strong>, London, Washington, New York, and elsewhere. James<br />
Howes deserves credit for his work in computerizing the index.<br />
<strong>The</strong> Editor is responsible for any errors, which he will be grateful to<br />
have drawn to his attention. As the quotation from Simeon Strunsky reminds<br />
us, "Famous remarks are very seldom quoted correctly," but we have<br />
endeavoured to make this book more accurate, authoritative, and helpful<br />
than any other dictionary <strong>of</strong> modern quotations.<br />
TONY AUGARDE<br />
(1) Discussions <strong>of</strong> the index features in this preface and in the<br />
"How to Use this <strong>Dictionary</strong>" section <strong>of</strong> this book refer to<br />
the hard-copy edition printed in 1991. No index has been<br />
included in this s<strong>of</strong>t-copy edition. See "Notices" in<br />
topic NOTICES for additional information about this s<strong>of</strong>t-copy<br />
edition.<br />
HOWTO How to Use this <strong>Dictionary</strong><br />
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HOWTO.1 General Principles<br />
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<strong>The</strong> arrangement is alphabetical by the names <strong>of</strong> authors: usually the<br />
names by which each person is best known. So look under Maya Angelou, not<br />
Maya Johnson; Princess Anne, not HRH <strong>The</strong> Princess Royal; Lord Beaverbrook,<br />
not William Maxwell Aitken; Irving Berlin, not Israel Balin; Greta Garbo,<br />
not Greta Lovisa Gustafsson,
Anonymous quotations are all together, starting in "Anonymous" in<br />
topic 1.43 <strong>The</strong>y are arranged in alphabetical order <strong>of</strong> their first<br />
significant word.<br />
Under each author, quotations are arranged by the alphabetical order <strong>of</strong><br />
the titles <strong>of</strong> the works from which they come, even if those works were not<br />
written by the person who is being quoted. Poems are usually cited from<br />
the first book in which they appeared.<br />
<strong>Quotations</strong> by foreign authors are, where possible, given in the original<br />
language and also in an English translation.<br />
A reference is given after each quotation to its original source or to an<br />
authoritative record <strong>of</strong> its use. <strong>The</strong> reference usually consists <strong>of</strong> either<br />
(a) a book-title with its date <strong>of</strong> publication and a reference to where the<br />
quotation occurs in the book; or (b) the title <strong>of</strong> a newspaper or magazine<br />
with its date <strong>of</strong> publication. <strong>The</strong> reference is preceded by "In" if the<br />
quotation comes from a secondary source: for example if a writer is quoted<br />
by another author in a newspaper article, or if a book refers to a saying<br />
but does not indicate where or when it was made.<br />
HOWTO.2 Examples<br />
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Here are some typical entries, with notes to clarify the meaning <strong>of</strong> each<br />
part.<br />
Charlie Chaplin (Sir Charles Spencer Chaplin)<br />
1889-1977<br />
All I need to make a comedy is a park, a policeman and<br />
a pretty girl.<br />
My Autobiography (1964) ch. 10<br />
Charlie Chaplin is the name by which this person is best known but Sir<br />
Charles Spencer Chaplin is the name which would appear in reference books<br />
such as Who's Who.<br />
Charlie Chaplin was born in 1889 and died in 1977. <strong>The</strong> quotation comes<br />
from the tenth chapter <strong>of</strong> Chaplin's autobiography, which was published in<br />
1964.<br />
Martin Luther King<br />
1929-1968<br />
Injustice anywhere is a threat to justice everywhere.<br />
Letter from Birmingham Jail, Alabama, 16 Apr. 1963, in<br />
Atlantic Monthly Aug. 1963, p. 78<br />
Martin Luther King wrote these words in a letter that he sent from<br />
Birmingham Jail on 16 April 1963. <strong>The</strong> letter was published later that year<br />
on page 78 <strong>of</strong> the August issue <strong>of</strong> the Atlanta Monthly.
Dorothy Parker<br />
1893-1967<br />
One more drink and I'd have been under the host.<br />
In Howard Teichmann George S. Kaufman (1972) p. 68<br />
Dorothy Parker must have said this before she died in 1967 but the<br />
earliest reliable source we can find is a 1972 book by Howard Teichmann.<br />
"In" signals the fact that the quotation is cited from a secondary source.<br />
HOWTO.3 Index<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
If you remember part <strong>of</strong> a quotation and want to know the rest <strong>of</strong> it, or<br />
who said it, you can trace it by means <strong>of</strong> the index (1).<br />
<strong>The</strong> index lists the most significant words from each quotation. <strong>The</strong>se<br />
keywords are listed alphabetically in the index, each with a section <strong>of</strong><br />
the text to show the context <strong>of</strong> every keyword. <strong>The</strong>se sections are listed<br />
in strict alphabetical order under each keyword. Foreign keywords are<br />
included in their alphabetical place.<br />
<strong>The</strong> references show the first few letters <strong>of</strong> the author's name, followed<br />
by the page and item numbers (e.g. 163:15 refers to the fifteenth<br />
quotation on page 163).<br />
As an example, suppose that you want to verify a quotation which you<br />
remember contains the line "to purify the dialect <strong>of</strong> the tribe." If you<br />
decide that tribe is a significant word and refer to it in the index, you<br />
will find this entry:<br />
tribe: To purify the dialect <strong>of</strong> the t. ELIOT 74:19<br />
This will lead you to the poem by T. S. Eliot which is the nineteenth<br />
quotation on page 74.<br />
CONTENTS Table <strong>of</strong> Contents<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Title Page TITLE<br />
Edition Notice EDITION<br />
Notices NOTICES<br />
Preface PREFACE<br />
How to Use this <strong>Dictionary</strong> HOWTO<br />
General Principles HOWTO.1<br />
Examples HOWTO.2<br />
Index HOWTO.3<br />
Table <strong>of</strong> Contents CONTENTS<br />
A 1.0<br />
Bud Abbott and Lou Costello (Louis Francis Cristillo) 1.1
Dannie Abse 1.2<br />
Goodman Ace 1.3<br />
Dean Acheson 1.4<br />
J. R. Ackerley 1.5<br />
Douglas Adams 1.6<br />
Frank Adams and Will M. Hough 1.7<br />
Franklin P. Adams 1.8<br />
Henry Brooks Adams 1.9<br />
Harold Adamson 1.10<br />
George Ade 1.11<br />
Konrad Adenauer 1.12<br />
Alfred Adler 1.13<br />
Polly Adler 1.14<br />
AE (A.E., ’) (George William Russell) 1.15<br />
Herbert Agar 1.16<br />
James Agate 1.17<br />
Spiro T. Agnew 1.18<br />
Max Aitken 1.19<br />
Zo‰ Akins 1.20<br />
Alain (mile-Auguste Chartier) 1.21<br />
Edward Albee 1.22<br />
Richard Aldington 1.23<br />
Brian Aldiss 1.24<br />
Nelson Algren 1.25<br />
Muhammad Ali (Cassius Clay) 1.26<br />
Fred Allen (John Florence Sullivan) 1.27<br />
Woody Allen (Allen Stewart Konigsberg) 1.28<br />
Woody Allen (Allen Stewart Konigsberg) and Marshall Brickman 1.29<br />
Margery Allingham 1.30<br />
Joseph Alsop 1.31<br />
Robert Altman 1.32<br />
Leo Amery 1.33<br />
Kingsley Amis 1.34<br />
Maxwell Anderson 1.35<br />
Maxwell Anderson and Lawrence Stallings 1.36<br />
Robert Anderson 1.37<br />
James Anderton 1.38<br />
Sir Norman Angell 1.39<br />
Maya Angelou (Maya Johnson) 1.40<br />
Paul Anka 1.41<br />
Princess Anne (HRH the Princess Royal) 1.42<br />
Anonymous 1.43<br />
Jean Anouilh 1.44<br />
Guillaume Apollinaire 1.45<br />
Sir Edward Appleton 1.46<br />
Louis Aragon 1.47<br />
Hannah Arendt 1.48<br />
G. D. Armour 1.49<br />
Harry Armstrong 1.50<br />
Louis Armstrong 1.51<br />
Neil Armstrong 1.52<br />
Sir Robert Armstrong 1.53<br />
Raymond Aron 1.54<br />
George Asaf 1.55<br />
Dame Peggy Ashcr<strong>of</strong>t 1.56<br />
Daisy Ashford 1.57<br />
Isaac Asimov 1.58<br />
Elizabeth Asquith (Princess Antoine Bibesco) 1.59<br />
Herbert Henry Asquith (Earl <strong>of</strong> <strong>Oxford</strong> and Asquith) 1.60<br />
Margot Asquith (Countess <strong>of</strong> <strong>Oxford</strong> and Asquith) 1.61
Raymond Asquith 1.62<br />
Nancy Astor (Viscountess Astor) 1.63<br />
Brooks Atkinson 1.64<br />
E. L. Atkinson and Apsley Cherry-Garrard 1.65<br />
Clement Attlee 1.66<br />
W. H. Auden 1.67<br />
W. H. Auden and Christopher Isherwood 1.68<br />
Tex Avery (Fred Avery) 1.69<br />
Earl <strong>of</strong> Avon 1.70<br />
Revd W. Awdry 1.71<br />
Alan Ayckbourn 1.72<br />
A. J. Ayer 1.73<br />
Pam Ayres 1.74<br />
B 2.0<br />
Robert Baden-Powell (Baron Baden-Powell) 2.1<br />
Joan Baez 2.2<br />
Sydney D. Bailey 2.3<br />
Bruce Bairnsfather 2.4<br />
Hylda Baker 2.5<br />
James Baldwin 2.6<br />
Stanley Baldwin (Earl Baldwin <strong>of</strong> Bewdley) 2.7<br />
Arthur James Balfour (Earl <strong>of</strong> Balfour) 2.8<br />
Whitney Balliett 2.9<br />
Pierre Balmain 2.10<br />
Tallulah Bankhead 2.11<br />
Nancy Banks-Smith 2.12<br />
Imamu Amiri Baraka (Everett LeRoi Jones) 2.13<br />
W. N. P. Barbellion (Bruce Frederick Cummings) 2.14<br />
Maurice Baring 2.15<br />
Ronnie Barker 2.16<br />
Frederick R. Barnard 2.17<br />
Clive Barnes 2.18<br />
Julian Barnes 2.19<br />
Peter Barnes 2.20<br />
Sir J. M. Barrie 2.21<br />
Ethel Barrymore 2.22<br />
John Barrymore 2.23<br />
Lionel Bart 2.24<br />
Karl Barth 2.25<br />
Roland Barthes 2.26<br />
Bernard Baruch 2.27<br />
Jacques Barzun 2.28<br />
L. Frank Baum 2.29<br />
Vicki Baum 2.30<br />
Sir Arnold Bax 2.31<br />
Sir Beverley Baxter 2.32<br />
Beachcomber 2.33<br />
David, First Earl Beatty 2.34<br />
Lord Beaverbrook (William Maxwell Aitken, first Baron Beaverbrook) 2.35<br />
Carl Becker 2.36<br />
Samuel Beckett 2.37<br />
Harry Bedford and Terry Sullivan 2.38<br />
Sir Thomas Beecham 2.39<br />
Sir Max Beerbohm 2.40<br />
Brendan Behan 2.41<br />
John Hay Beith 2.42<br />
Clive Bell 2.43<br />
Henry Bellamann 2.44<br />
Hilaire Belloc 2.45
Saul Bellow 2.46<br />
Robert Benchley 2.47<br />
Julien Benda 2.48<br />
Stephen Vincent Ben‚t 2.49<br />
William Rose Ben‚t 2.50<br />
Tony Benn 2.51<br />
George Bennard 2.52<br />
Alan Bennett 2.53<br />
Arnold Bennett 2.54<br />
Ada Benson and Fred Fisher 2.55<br />
A. C. Benson 2.56<br />
Stella Benson 2.57<br />
Edmund Clerihew Bentley 2.58<br />
Eric Bentley 2.59<br />
Nikolai Berdyaev 2.60<br />
Lord Charles Beresford 2.61<br />
Henri Bergson 2.62<br />
Irving Berlin (Israel Baline) 2.63<br />
Sir Isaiah Berlin 2.64<br />
Georges Bernanos 2.65<br />
Jeffrey Bernard 2.66<br />
Eric Berne 2.67<br />
Carl Bernstein and Bob Woodward 2.68<br />
Chuck Berry 2.69<br />
John Berryman 2.70<br />
Pierre Berton 2.71<br />
<strong>The</strong>obald von Bethmann Hollweg 2.72<br />
Sir John Betjeman 2.73<br />
Aneurin Bevan 2.74<br />
William Henry Beveridge (First Baron Beveridge) 2.75<br />
Ernest Bevin 2.76<br />
Georges Bidault 2.77<br />
Ambrose Bierce 2.78<br />
Laurence Binyon 2.79<br />
Nigel Birch (Baron Rhyl) 2.80<br />
John Bird 2.81<br />
Earl <strong>of</strong> Birkenhead 2.82<br />
Lord Birkett (William Norman Birkett, Baron Birkett) 2.83<br />
Eric Blair 2.84<br />
Eubie Blake (James Hubert Blake) 2.85<br />
Lesley Blanch 2.86<br />
Alan Bleasdale 2.87<br />
Karen Blixen 2.88<br />
Edmund Blunden 2.89<br />
Alfred Blunt (Bishop <strong>of</strong> Bradford) 2.90<br />
Wilfrid Scawen Blunt 2.91<br />
Ronald Blythe 2.92<br />
Enid Blyton 2.93<br />
Louise Bogan 2.94<br />
Humphrey Bogart 2.95<br />
John B. Bogart 2.96<br />
Niels Bohr 2.97<br />
Alan Bold 2.98<br />
Robert Bolt 2.99<br />
Andrew Bonar Law 2.100<br />
Carrie Jacobs Bond 2.101<br />
Sir David Bone 2.102<br />
Dietrich Bonhoeffer 2.103<br />
Sonny Bono (Salvatore Bono) 2.104<br />
Daniel J. Boorstin 2.105
James H. Boren 2.106<br />
Jorge Luis Borges 2.107<br />
Max Born 2.108<br />
John Collins Bossidy 2.109<br />
Gordon Bottomley 2.110<br />
Horatio Bottomley 2.111<br />
Sir Harold Edwin Boulton 2.112<br />
Elizabeth Bowen 2.113<br />
David Bowie (David Jones) 2.114<br />
Sir Maurice Bowra 2.115<br />
Charles Boyer 2.116<br />
Lord Brabazon (Baron Brabazon <strong>of</strong> Tara) 2.117<br />
Charles Brackett, Billy Wilder, and D. M. Marshman Jr. 2.118<br />
Charles Brackett, Billy Wilder, and Walter Reisch 2.119<br />
F. H. Bradley 2.120<br />
Omar Bradley 2.121<br />
Caryl Brahms (Doris Caroline Abrahams) and S. J. Simon (Simon Jasha Skidelsky) 2.122<br />
John Braine 2.123<br />
Ernest Bramah (Ernest Bramah Smith) 2.124<br />
Georges Braque 2.125<br />
John Bratby 2.126<br />
Irving Brecher 2.127<br />
Bertolt Brecht 2.128<br />
Gerald Brenan 2.129<br />
Aristide Briand 2.130<br />
Vera Brittain 2.131<br />
David Broder 2.132<br />
Jacob Bronowski 2.133<br />
Rupert Brooke 2.134<br />
Anita Brookner 2.135<br />
Mel Brooks 2.136<br />
Heywood Broun 2.137<br />
H. Rap Brown 2.138<br />
Helen Gurley Brown 2.139<br />
Ivor Brown 2.140<br />
John Mason Brown 2.141<br />
Lew Brown (Louis Brownstein) 2.142<br />
Nacio Herb Brown 2.143<br />
Cecil Browne 2.144<br />
Sir Frederick Browning 2.145<br />
Lenny Bruce (Leonard Alfred Schneider) 2.146<br />
Anita Bryant 2.147<br />
Martin Buber 2.148<br />
John Buchan (Baron Tweedsmuir) 2.149<br />
Frank Buchman 2.150<br />
Gene Buck (Edward Eugene Buck) and Herman Ruby 2.151<br />
Richard Buckle 2.152<br />
Arthur Buller 2.153<br />
Ivor Bulmer-Thomas 2.154<br />
Luis Bu¤uel 2.155<br />
Anthony Burgess 2.156<br />
Johnny Burke 2.157<br />
John Burns 2.158<br />
William S. Burroughs 2.159<br />
Benjamin Hapgood Burt 2.160<br />
Nat Burton 2.161<br />
R. A. Butler (Baron Butler <strong>of</strong> Saffron Walden) 2.162<br />
Ralph Butler and Noel Gay (Richard Moxon Armitage) 2.163<br />
Samuel Butler 2.164<br />
Max Bygraves 2.165
James Branch Cabell 2.166<br />
C 3.0<br />
Irving Caesar 3.1<br />
John Cage 3.2<br />
James Cagney 3.3<br />
Sammy Cahn (Samuel Cohen) 3.4<br />
James M. Cain 3.5<br />
Michael Caine (Maurice Joseph Micklewhite) 3.6<br />
Sir Joseph Cairns 3.7<br />
Charles Calhoun 3.8<br />
James Callaghan (Leonard James Callaghan, Baron Callaghan <strong>of</strong> Cardiff) 3.9<br />
Joseph Campbell (Seosamh MacCathmhaoil) 3.10<br />
Mrs Patrick Campbell (Beatrice Stella Campbell) 3.11<br />
Roy Campbell 3.12<br />
Sir Henry Campbell-Bannerman 3.13<br />
Albert Camus 3.14<br />
Elias Canetti 3.15<br />
Hughie Cannon 3.16<br />
John R. Caples 3.17<br />
Al Capone 3.18<br />
Truman Capote 3.19<br />
Al Capp 3.20<br />
Ethna Carbery (Anna MacManus) 3.21<br />
Hoagy Carmichael (Hoagland Howard Carmichael) 3.22<br />
Stokely Carmichael and Charles Vernon Hamilton 3.23<br />
Dale Carnegie 3.24<br />
J. L. Carr 3.25<br />
Edward Carson (Baron Carson) 3.26<br />
Jimmy Carter 3.27<br />
Sydney Carter 3.28<br />
Pablo Casals 3.29<br />
Ted Castle (Baron Castle <strong>of</strong> Islington) 3.30<br />
Harry Castling and C. W. Murphy 3.31<br />
Fidel Castro 3.32<br />
Willa Cather 3.33<br />
Mr Justice Caulfield (Sir Bernard Caulfield) 3.34<br />
Charles Causley 3.35<br />
Constantine Cavafy 3.36<br />
Edith Cavell 3.37<br />
Lord David Cecil 3.38<br />
Patrick Reginald Chalmers 3.39<br />
Joseph Chamberlain 3.40<br />
Neville Chamberlain 3.41<br />
Harry Champion 3.42<br />
Raymond Chandler 3.43<br />
Coco Chanel 3.44<br />
Charlie Chaplin (Sir Charles Spencer Chaplin) 3.45<br />
Arthur Chapman 3.46<br />
Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin 3.47<br />
Prince Charles (Charles Philip Arthur George, Prince <strong>of</strong> Wales) 3.48<br />
Apsley Cherry-Garrard 3.49<br />
G. K. Chesterton 3.50<br />
Maurice Chevalier 3.51<br />
Erskine Childers 3.52<br />
Charles Chilton 3.53<br />
Noam Chomsky 3.54<br />
Dame Agatha Christie 3.55<br />
Frank E. Churchill 3.56<br />
Sir Winston Churchill 3.57
Count Galeazzo Ciano 3.58<br />
Brian Clark 3.59<br />
Kenneth Clark (Baron Clark) 3.60<br />
Arthur C. Clarke 3.61<br />
Grant Clarke and Edgar Leslie 3.62<br />
Eldridge Cleaver 3.63<br />
John Cleese 3.64<br />
John Cleese and Connie Booth 3.65<br />
Sarah Norcliffe Cleghorn 3.66<br />
Georges Clemenceau 3.67<br />
Harlan Cleveland 3.68<br />
Richard Cobb 3.69<br />
Claud Cockburn 3.70<br />
Jean Cocteau 3.71<br />
Lenore C<strong>of</strong>fee 3.72<br />
George M. Cohan 3.73<br />
Desmond Coke 3.74<br />
Colette (Sidonie-Gabrielle Colette) 3.75<br />
R. G. Collingwood 3.76<br />
Charles Collins and Fred W. Leigh 3.77<br />
Charles Collins and Fred Murray 3.78<br />
Charles Collins, E. A. Sheppard, and Fred Terry 3.79<br />
John Churton Collins 3.80<br />
Michael Collins 3.81<br />
Betty Comden and Adolph Green 3.82<br />
Dame Ivy Compton-Burnett 3.83<br />
Billy Connolly 3.84<br />
Cyril Connolly 3.85<br />
James Connolly 3.86<br />
Joseph Conrad (Teodor Josef Konrad Korzeniowski) 3.87<br />
Shirley Conran 3.88<br />
A. J. Cook 3.89<br />
Dan Cook 3.90<br />
Peter Cook 3.91<br />
Calvin Coolidge 3.92<br />
Ananda Coomaraswamy 3.93<br />
Alfred Duff Cooper (Viscount Norwich) 3.94<br />
Tommy Cooper 3.95<br />
Wendy Cope 3.96<br />
Aaron Copland 3.97<br />
Bernard Cornfeld 3.98<br />
Frances Cornford 3.99<br />
Francis Macdonald Cornford 3.100<br />
Baron Pierre de Coubertin 3.101<br />
mile Cou‚ 3.102<br />
No‰l Coward 3.103<br />
Hart Crane 3.104<br />
James Creelman and Ruth Rose 3.105<br />
Bishop Mandell Creighton 3.106<br />
Quentin Crisp 3.107<br />
Julian Critchley 3.108<br />
Richmal Crompton (Richmal Crompton Lamburn) 3.109<br />
Bing Crosby (Harry Lillis Crosby) 3.110<br />
Bing Crosby, Roy Turk, and Fred Ahlert 3.111<br />
Richard Crossman 3.112<br />
Aleister Crowley 3.113<br />
Leslie Crowther 3.114<br />
Robert Crumb 3.115<br />
Bruce Frederick Cummings 3.116<br />
e. e. cummings 3.117
William Thomas Cummings 3.118<br />
Will Cuppy 3.119<br />
Edwina Currie 3.120<br />
Michael Curtiz 3.121<br />
Lord Curzon (George Nathaniel Curzon, Marquess Curzon <strong>of</strong> Kedleston) 3.122<br />
D 4.0<br />
Paul Daniels 4.1<br />
Charles Brace Darrow 4.2<br />
Clarence Darrow 4.3<br />
Sir Francis Darwin 4.4<br />
Jules Dassin 4.5<br />
Worton David and Lawrence Wright 4.6<br />
Jack Davies and Ken Annakin 4.7<br />
W. H. Davies 4.8<br />
Bette Davis (Ruth Elizabeth Davis) 4.9<br />
Lord Dawson <strong>of</strong> Penn (Bertrand Edward Dawson, Viscount Dawson <strong>of</strong> Penn) 4.10<br />
C. Day-Lewis 4.11<br />
Simone de Beauvoir 4.12<br />
Edward de Bono 4.13<br />
Eugene Victor Debs 4.14<br />
Edgar Degas 4.15<br />
Charles de Gaulle 4.16<br />
J. de Knight (James E. Myers) and M. <strong>Free</strong>dman 4.17<br />
Walter de la Mare 4.18<br />
Shelagh Delaney 4.19<br />
Jack Dempsey 4.20<br />
Nigel Dennis 4.21<br />
Buddy De Sylva (George Gard De Sylva) and Lew Brown 4.22<br />
Peter De Vries 4.23<br />
Lord Dewar 4.24<br />
Sergei Diaghilev 4.25<br />
Paul Dickson 4.26<br />
Joan Didion 4.27<br />
Howard Dietz 4.28<br />
William Dillon 4.29<br />
Ernest Dimnet 4.30<br />
Isak Dinesen (Karen Blixen) 4.31<br />
Mort Dixon 4.32<br />
Milovan Djilas 4.33<br />
Austin Dobson (Henry Austin Dobson) 4.34<br />
Ken Dodd 4.35<br />
J. P. Donleavy 4.36<br />
Sir Reginald Dorman-Smith 4.37<br />
Keith Douglas 4.38<br />
Norman Douglas 4.39<br />
Sir Alec Douglas-Home 4.40<br />
Caroline Douglas-Home 4.41<br />
Sir Arthur Conan Doyle 4.42<br />
Maurice Drake 4.43<br />
William A. Drake 4.44<br />
John Drinkwater 4.45<br />
Alexander Dubcek 4.46<br />
Al Dubin 4.47<br />
W. E. B. DuBois 4.48<br />
Georges Duhamel 4.49<br />
Raoul Duke 4.50<br />
John Foster Dulles 4.51<br />
Dame Daphne du Maurier 4.52<br />
Isadora Duncan 4.53
Ian Dunlop 4.54<br />
Jimmy Durante 4.55<br />
Leo Durocher 4.56<br />
Ian Dury 4.57<br />
Lillian K. Dykstra 4.58<br />
Bob Dylan (Robert Zimmerman) 4.59<br />
E 5.0<br />
Stephen T. Early 5.1<br />
Clint Eastwood 5.2<br />
Abba Eban 5.3<br />
Sir Anthony Eden (Earl <strong>of</strong> Avon) 5.4<br />
Clarissa Eden (Countess <strong>of</strong> Avon) 5.5<br />
Marriott Edgar 5.6<br />
Duke <strong>of</strong> Edinburgh 5.7<br />
Thomas Alva Edison 5.8<br />
John Maxwell Edmonds 5.9<br />
King Edward VII 5.10<br />
King Edward VIII (Duke <strong>of</strong> Windsor) 5.11<br />
John Ehrlichman 5.12<br />
Albert Einstein 5.13<br />
Dwight D. Eisenhower 5.14<br />
T. S. Eliot 5.15<br />
Queen Elizabeth II 5.16<br />
Queen Elizabeth, the Queen Mother 5.17<br />
Alf Ellerton 5.18<br />
Havelock Ellis (Henry Havelock Ellis) 5.19<br />
Paul Eluard 5.20<br />
Sir William Empson 5.21<br />
Julius J. Epstein, Philip G. Epstein, and Howard Koch 5.22<br />
Susan Ertz 5.23<br />
Dudley Erwin 5.24<br />
Howard Estabrook and Harry Behn 5.25<br />
Gavin Ewart 5.26<br />
William Norman Ewer 5.27<br />
F 6.0<br />
Clifton Fadiman 6.1<br />
Eleanor Farjeon 6.2<br />
King Farouk <strong>of</strong> Egypt 6.3<br />
William Faulkner 6.4<br />
George Fearon 6.5<br />
James Fenton 6.6<br />
Edna Ferber 6.7<br />
Kathleen Ferrier 6.8<br />
Eric Field 6.9<br />
Dorothy Fields 6.10<br />
Dame Gracie Fields (Grace Stansfield) 6.11<br />
W. C. Fields (William Claude Dukenfield) 6.12<br />
Harry Julian Fink, Rita M. Fink, and Dean Riesner 6.13<br />
Ronald Firbank 6.14<br />
Fred Fisher 6.15<br />
H. A. L. Fisher 6.16<br />
John Arbuthnot Fisher (Baron Fisher) 6.17<br />
Marve Fisher 6.18<br />
Albert H. Fitz 6.19<br />
F. Scott Fitzgerald 6.20<br />
Zelda Fitzgerald 6.21<br />
Robert Fitzsimmons 6.22<br />
Bud Flanagan (Chaim Reeven Weintrop) 6.23
Michael Flanders and Donald Swann 6.24<br />
James Elroy Flecker 6.25<br />
Ian Fleming 6.26<br />
Robert, Marquis de Flers and Arman de Caillavet 6.27<br />
Dario Fo 6.28<br />
Marshal Ferdinand Foch 6.29<br />
J. Foley 6.30<br />
Michael Foot 6.31<br />
Anna Ford 6.32<br />
Gerald Ford 6.33<br />
Henry Ford 6.34<br />
Lena Guilbert Ford 6.35<br />
Howell Forgy 6.36<br />
E. M. Forster 6.37<br />
Bruce Forsyth 6.38<br />
Harry Emerson Fosdick 6.39<br />
Anatole France (Jacques-Anatole-Fran‡ois Thibault) 6.40<br />
Georges Franju 6.41<br />
Sir James George Frazer 6.42<br />
Stan Freberg 6.43<br />
Arthur <strong>Free</strong>d 6.44<br />
Ralph <strong>Free</strong>d 6.45<br />
Cliff <strong>Free</strong>man 6.46<br />
John <strong>Free</strong>man 6.47<br />
Marilyn French 6.48<br />
Sigmund Freud 6.49<br />
Max Frisch 6.50<br />
Charles Frohman 6.51<br />
Erich Fromm 6.52<br />
David Frost 6.53<br />
Robert Frost 6.54<br />
Christopher Fry 6.55<br />
Roger Fry 6.56<br />
R. Buckminster Fuller 6.57<br />
Alfred Funke 6.58<br />
Sir David Maxwell Fyfe 6.59<br />
Will Fyffe 6.60<br />
Rose Fyleman 6.61<br />
G 7.0<br />
Zsa Zsa Gabor (Sari Gabor) 7.1<br />
Norman Gaff 7.2<br />
Hugh Gaitskell 7.3<br />
J. K. Galbraith 7.4<br />
John Galsworthy 7.5<br />
Ray Galton and Alan Simpson 7.6<br />
Mohandas Karamchand Gandhi 7.7<br />
Greta Garbo (Greta Lovisa Gustafsson) 7.8<br />
Ed Gardner 7.9<br />
John Nance Garner 7.10<br />
Bamber Gascoigne 7.11<br />
Noel Gay (Richard Moxon Armitage) 7.12<br />
Noel Gay and Ralph Butler 7.13<br />
Sir Eric Geddes 7.14<br />
Bob Geld<strong>of</strong> 7.15<br />
Bob Geld<strong>of</strong> and Midge Ure 7.16<br />
King George V 7.17<br />
Daniel George (Daniel George Bunting) 7.18<br />
George Gershwin 7.19<br />
Ira Gershwin 7.20
Stella Gibbons 7.21<br />
Wolcott Gibbs 7.22<br />
Kahlil Gibran 7.23<br />
Wilfrid Wilson Gibson 7.24<br />
Andr‚ Gide 7.25<br />
Eric Gill 7.26<br />
Terry Gilliam 7.27<br />
Penelope Gilliatt 7.28<br />
Allen Ginsberg 7.29<br />
George Gipp 7.30<br />
Jean Giraudoux 7.31<br />
George Glass 7.32<br />
John A. Glover-Kind 7.33<br />
Jean-Luc Godard 7.34<br />
A. D. Godley 7.35<br />
Joseph Goebbels 7.36<br />
Hermann Goering 7.37<br />
Ivan G<strong>of</strong>f and Ben Roberts (Benjamin Eisenberg) 7.38<br />
Isaac Goldberg 7.39<br />
William Golding 7.40<br />
Emma Goldman 7.41<br />
Barry Goldwater 7.42<br />
Sam Goldwyn (Samuel Goldfish) 7.43<br />
Paul Goodman 7.44<br />
Mack Gordon 7.45<br />
Stuart Gorrell 7.46<br />
Sir Edmund Gosse 7.47<br />
Lord Gowrie (2nd Earl <strong>of</strong> Gowrie) 7.48<br />
Lew Grade (Baron Grade) 7.49<br />
D. M. Graham 7.50<br />
Harry Graham 7.51<br />
Kenneth Grahame 7.52<br />
Bernie Grant 7.53<br />
Ethel Watts-Mumford Grant 7.54<br />
Robert Graves 7.55<br />
Hannah Green (Joanne Greenberg) 7.56<br />
Graham Greene 7.57<br />
Oswald Greene 7.58<br />
Germaine Greer 7.59<br />
Hubert Gregg 7.60<br />
Joyce Grenfell 7.61<br />
Julian Grenfell 7.62<br />
Clifford Grey 7.63<br />
Sir Edward Grey (Viscount Grey <strong>of</strong> Fallodon) 7.64<br />
Mervyn Griffith-Jones 7.65<br />
Leon Griffiths 7.66<br />
Jo Grimond (Baron Grimond) 7.67<br />
Philip Guedalla 7.68<br />
R. Guidry 7.69<br />
Texas Guinan (Mary Louise Cecilia Guinan) 7.70<br />
Nubar Gulbenkian 7.71<br />
Thom Gunn 7.72<br />
Dorothy Frances Gurney 7.73<br />
Woody Guthrie (Woodrow Wilson Guthrie) 7.74<br />
H 8.0<br />
Earl Haig 8.1<br />
Lord Hailsham (Baron Hailsham, Quintin Hogg) 8.2<br />
J. B. S. Haldane 8.3<br />
H. R. Haldeman 8.4
Sir William Haley 8.5<br />
Henry Hall 8.6<br />
Sir Peter Hall 8.7<br />
Margaret Halsey 8.8<br />
Oscar Hammerstein II 8.9<br />
Christopher Hampton 8.10<br />
Learned Hand 8.11<br />
Minnie Hanff 8.12<br />
Brian Hanrahan 8.13<br />
Otto Harbach 8.14<br />
E. Y. 'Yip' Harburg 8.15<br />
Gilbert Harding 8.16<br />
Warren G. Harding 8.17<br />
Godfrey Harold Hardy 8.18<br />
Thomas Hardy 8.19<br />
Maurice Evan Hare 8.20<br />
Robertson Hare 8.21<br />
W. F. Hargreaves 8.22<br />
Lord Harlech (David Ormsby Gore) 8.23<br />
Jimmy Harper, Will E. Haines, and Tommie Connor 8.24<br />
Frank Harris (James Thomas Harris) 8.25<br />
H. H. Harris 8.26<br />
Lorenz Hart 8.27<br />
Moss Hart and George Kaufman 8.28<br />
L. P. Hartley 8.29<br />
F. W. Harvey 8.30<br />
Minnie Louise Haskins 8.31<br />
Lord Haw-Haw 8.32<br />
Ian Hay (John Hay Beith) 8.33<br />
J. Milton Hayes 8.34<br />
Lee Hazlewood 8.35<br />
Denis Healey 8.36<br />
Seamus Heaney 8.37<br />
Edward Heath 8.38<br />
Fred Heatherton 8.39<br />
Robert A. Heinlein 8.40<br />
Werner Heisenberg 8.41<br />
Joseph Heller 8.42<br />
Lillian Hellman 8.43<br />
Sir Robert Helpmann 8.44<br />
Ernest Hemingway 8.45<br />
Arthur W. D. Henley 8.46<br />
O. Henry (William Sydney Porter) 8.47<br />
A. P. Herbert 8.48<br />
Oliver Herford 8.49<br />
Jerry Herman 8.50<br />
June Hershey 8.51<br />
Hermann Hesse 8.52<br />
Gordon Hewart (Viscount Hewart) 8.53<br />
Patricia Hewitt 8.54<br />
Du Bose Heyward and Ira Gershwin 8.55<br />
Sir Seymour Hicks 8.56<br />
Jack Higgins (Henry Patterson) 8.57<br />
Joe Hill 8.58<br />
Pattie S. Hill 8.59<br />
Sir Edmund Hillary 8.60<br />
Fred Hillebrand 8.61<br />
Lady Hillingdon 8.62<br />
James Hilton 8.63<br />
Alfred Hitchcock 8.64
Adolf Hitler 8.65<br />
Ralph Hodgson 8.66<br />
'Red' Hodgson 8.67<br />
Eric H<strong>of</strong>fer 8.68<br />
Al H<strong>of</strong>fman and Dick Manning 8.69<br />
Gerard H<strong>of</strong>fnung 8.70<br />
Lancelot Hogben 8.71<br />
Billie Holiday (Eleanor Fagan) and Arthur Herzog Jr. 8.72<br />
Stanley Holloway 8.73<br />
John H. Holmes 8.74<br />
Lord Home (Baron Home <strong>of</strong> the Hirsel, formerly Sir Alec Douglas-Home) 8.75<br />
Arthur Honegger 8.76<br />
Herbert Hoover 8.77<br />
Anthony Hope (Sir Anthony Hope Hawkins) 8.78<br />
Bob Hope 8.79<br />
Francis Hope 8.80<br />
Laurence Hope (Adela Florence Nicolson) 8.81<br />
Zilphia Horton 8.82<br />
A. E. Housman 8.83<br />
Sidney Howard 8.84<br />
Elbert Hubbard 8.85<br />
Frank McKinney ('Kin') Hubbard 8.86<br />
L. Ron Hubbard 8.87<br />
Howard Hughes Jr. 8.88<br />
Jimmy Hughes and Frank Lake 8.89<br />
Langston Hughes 8.90<br />
Ted Hughes 8.91<br />
Josephine Hull 8.92<br />
Hubert Humphrey 8.93<br />
Herman Hupfeld 8.94<br />
Aldous Huxley 8.95<br />
Sir Julian Huxley 8.96<br />
I 9.0<br />
Dolores Ibarruri ('La Pasionaria') 9.1<br />
Henrik Ibsen 9.2<br />
Harold L. Ickes 9.3<br />
Eric Idle 9.4<br />
Francis Iles (Anthony Berkeley Cox) 9.5<br />
Ivan Illich 9.6<br />
Charles Inge 9.7<br />
William Ralph Inge (Dean Inge) 9.8<br />
EugŠne Ionesco 9.9<br />
Weldon J. Irvine 9.10<br />
Christopher Isherwood 9.11<br />
J 10.0<br />
Holbrook Jackson 10.1<br />
Joe Jacobs 10.2<br />
Mick Jagger and Keith Richard (Keith Richards) 10.3<br />
Henry James 10.4<br />
William James 10.5<br />
Randall Jarrell 10.6<br />
Douglas Jay 10.7<br />
Sir James Jeans 10.8<br />
Patrick Jenkin 10.9<br />
Rt. Revd David Jenkins (Bishop <strong>of</strong> Durham) 10.10<br />
Roy Jenkins (Baron Jenkins <strong>of</strong> Hillhead) 10.11<br />
Paul Jennings 10.12<br />
Jerome K. Jerome 10.13
William Jerome 10.14<br />
C. E. M. Joad 10.15<br />
Pope John XXIII (Angelo Giuseppe Roncalli) 10.16<br />
Lyndon Baines Johnson 10.17<br />
Philander Chase Johnson 10.18<br />
Philip Johnson 10.19<br />
Hanns Johst 10.20<br />
Al Jolson 10.21<br />
James Jones 10.22<br />
LeRoi Jones 10.23<br />
Erica Jong 10.24<br />
Janis Joplin 10.25<br />
Sir Keith Joseph 10.26<br />
James Joyce 10.27<br />
William Joyce (Lord Haw-Haw) 10.28<br />
Jack Judge and Harry Williams 10.29<br />
Carl Gustav Jung 10.30<br />
K 11.0<br />
Pauline Kael 11.1<br />
Franz Kafka 11.2<br />
Gus Kahn and Raymond B. Egan 11.3<br />
Bert Kalmar, Harry Ruby, Arthur Sheekman, and Nat Perrin 11.4<br />
George S. Kaufman 11.5<br />
George S. Kaufman and Moss Hart 11.6<br />
George S. Kaufman and Morrie Ryskind 11.7<br />
Gerald Kaufman 11.8<br />
Paul Kaufman and Mike Anthony 11.9<br />
Patrick Kavanagh 11.10<br />
Ted Kavanagh 11.11<br />
Helen Keller 11.12<br />
Jaan Kenbrovin and John William Kellette 11.13<br />
Florynce Kennedy 11.14<br />
Jimmy Kennedy 11.15<br />
Jimmy Kennedy and Michael Carr 11.16<br />
Jimmy Kennedy and Hugh Williams (Will Grosz) 11.17<br />
John F. Kennedy 11.18<br />
Joseph P. Kennedy 11.19<br />
Robert F. Kennedy 11.20<br />
Jack Kerouac 11.21<br />
Jean Kerr 11.22<br />
Joseph Kesselring 11.23<br />
John Maynard Keynes (Baron Keynes) 11.24<br />
Nikita Khrushchev 11.25<br />
Joyce Kilmer 11.26<br />
Lord Kilmuir (Sir David Maxwell Fyfe) 11.27<br />
Martin Luther King 11.28<br />
Stoddard King 11.29<br />
David Kingsley, Dennis Lyons, and Peter Lovell-Davis 11.30<br />
Hugh Kingsmill (Hugh Kingsmill Lunn) 11.31<br />
Neil Kinnock 11.32<br />
Rudyard Kipling 11.33<br />
Henry Kissinger 11.34<br />
Fred Kitchen 11.35<br />
Lord Kitchener 11.36<br />
Paul Klee 11.37<br />
Charles Knight and Kenneth Lyle 11.38<br />
Frederick Knott 11.39<br />
Monsignor Ronald Knox 11.40<br />
Arthur Koestler 11.41
Jiddu Krishnamurti 11.42<br />
Kris Krist<strong>of</strong>ferson and Fred Foster 11.43<br />
Joseph Wood Krutch 11.44<br />
Stanley Kubrick 11.45<br />
Satish Kumar 11.46<br />
L 12.0<br />
Henry Labouchere 12.1<br />
Fiorello La Guardia 12.2<br />
R. D. Laing 12.3<br />
Arthur J. Lamb 12.4<br />
Constant Lambert 12.5<br />
Giuseppe di Lampedusa 12.6<br />
Sir Osbert Lancaster 12.7<br />
Bert Lance 12.8<br />
Andrew Lang 12.9<br />
Julia Lang 12.10<br />
Suzanne K. Langer 12.11<br />
Ring Lardner 12.12<br />
Philip Larkin 12.13<br />
Sir Harry Lauder 12.14<br />
Stan Laurel (Arthur Stanley Jefferson) 12.15<br />
James Laver 12.16<br />
Andrew Bonar Law 12.17<br />
D. H. Lawrence 12.18<br />
T. E. Lawrence 12.19<br />
Sir Edmund Leach 12.20<br />
Stephen Leacock 12.21<br />
Timothy Leary 12.22<br />
F. R. Leavis 12.23<br />
Fran Lebowitz 12.24<br />
Stanislaw Lec 12.25<br />
John le Carr‚ (David John Moore Cornwell) 12.26<br />
Le Corbusier (Charles douard Jeanneret) 12.27<br />
Harper Lee 12.28<br />
Laurie Lee 12.29<br />
Ernest Lehman 12.30<br />
Tom Lehrer 12.31<br />
Jerry Leiber and Mike Stoller 12.32<br />
Fred W. Leigh 12.33<br />
Fred W. Leigh, Charles Collins, and Lily Morris 12.34<br />
Fred W. Leigh and George Arthurs 12.35<br />
Curtis E. LeMay 12.36<br />
Lenin (Vladimir Ilich Ulyanov) 12.37<br />
John Lennon 12.38<br />
John Lennon and Paul McCartney 12.39<br />
Dan Leno (George Galvin) 12.40<br />
Alan Jay Lerner 12.41<br />
Doris Lessing 12.42<br />
Winifred Mary Letts 12.43<br />
Oscar Levant 12.44<br />
Ros Levenstein 12.45<br />
Viscount Leverhulme (William Hesketh Lever) 12.46<br />
Ada Leverson 12.47<br />
Bernard Levin 12.48<br />
Claude L‚vi-Strauss 12.49<br />
Cecil Day Lewis 12.50<br />
C. S. Lewis 12.51<br />
John Spedan Lewis 12.52<br />
Percy Wyndham Lewis 12.53
Sam M. Lewis and Joe Young 12.54<br />
Sinclair Lewis 12.55<br />
Robert Ley 12.56<br />
Liberace (Wladziu Valentino Liberace) 12.57<br />
Beatrice Lillie 12.58<br />
R. M. Lindner 12.59<br />
Audrey Erskine Lindop 12.60<br />
Howard Lindsay and Russel Crouse 12.61<br />
Vachel Lindsay 12.62<br />
Eric Linklater 12.63<br />
Art Linkletter 12.64<br />
Walter Lippmann 12.65<br />
Joan Littlewood and Charles Chilton 12.66<br />
Maxim Litvinov 12.67<br />
Ken Livingstone 12.68<br />
Richard Llewellyn (Richard Dafydd Vivian Llewellyn Lloyd) 12.69<br />
Jack Llewelyn-Davies 12.70<br />
David Lloyd George (Earl Lloyd-George <strong>of</strong> Dwyfor) 12.71<br />
David Lodge 12.72<br />
Frank Loesser 12.73<br />
Jack London (John Griffith London) 12.74<br />
Alice Roosevelt Longworth 12.75<br />
Frederick Lonsdale 12.76<br />
Anita Loos 12.77<br />
Frederico Garc¡a Lorca 12.78<br />
Konrad Lorenz 12.79<br />
Joe Louis 12.80<br />
Terry Lovelock 12.81<br />
Robert Loveman 12.82<br />
David Low 12.83<br />
Amy Lowell 12.84<br />
Robert Lowell 12.85<br />
L. S. Lowry 12.86<br />
Malcolm Lowry 12.87<br />
E. V. Lucas 12.88<br />
George Lucas 12.89<br />
Clare Booth Luce 12.90<br />
Joanna Lumley 12.91<br />
Sir Edwin Lutyens 12.92<br />
Rosa Luxemburg 12.93<br />
Lady Lytton (Pamela Frances Audrey, Countess <strong>of</strong> Lytton) 12.94<br />
M 13.0<br />
Alexander McArthur and H. Kingsley Long 13.1<br />
Charles MacArthur and Ben Hecht 13.2<br />
General Douglas MacArthur 13.3<br />
Dame Rose Macaulay 13.4<br />
General Anthony McAuliffe 13.5<br />
Sir Desmond MacCarthy 13.6<br />
Joe McCarthy 13.7<br />
Joseph McCarthy 13.8<br />
Mary McCarthy 13.9<br />
Paul McCartney 13.10<br />
David McCord 13.11<br />
Horace McCoy 13.12<br />
John McCrae 13.13<br />
Carson McCullers 13.14<br />
Derek McCulloch 13.15<br />
Hugh MacDiarmid (Christopher Murray Grieve) 13.16<br />
Ramsay MacDonald 13.17
A. G. Macdonell 13.18<br />
John McEnroe 13.19<br />
Arthur McEwen 13.20<br />
Roger McGough 13.21<br />
Sir Ian MacGregor 13.22<br />
Jimmy McGregor 13.23<br />
Dennis McHarrie 13.24<br />
Colin MacInnes 13.25<br />
Claude McKay 13.26<br />
Sir Compton Mackenzie 13.27<br />
Joyce McKinney 13.28<br />
Alexander Maclaren 13.29<br />
Alistair Maclean 13.30<br />
Archibald MacLeish 13.31<br />
Irene Rutherford McLeod 13.32<br />
Marshall McLuhan 13.33<br />
Ed McMahon 13.34<br />
Harold Macmillan (Lord Stockton) 13.35<br />
Louis MacNeice 13.36<br />
Salvador de Madariaga 13.37<br />
Maurice Maeterlinck 13.38<br />
John Gillespie Magee 13.39<br />
Magnus Magnusson 13.40<br />
Sir John Pentland Mahaffy 13.41<br />
Gustav Mahler 13.42<br />
Derek Mahon 13.43<br />
Norman Mailer 13.44<br />
Bernard Malamud 13.45<br />
George Leigh Mallory 13.46<br />
Andr‚ Malraux 13.47<br />
Lord Mancr<strong>of</strong>t (Baron Mancr<strong>of</strong>t) 13.48<br />
Winnie Mandela 13.49<br />
Osip Mandelstam 13.50<br />
Herman J. Mankiewicz and Orson Welles 13.51<br />
Joseph L. Mankiewicz 13.52<br />
Thomas Mann 13.53<br />
Katherine Mansfield (Kathleen Mansfield Beauchamp) 13.54<br />
Mao Tse-Tung 13.55<br />
Edwin Markham 13.56<br />
Dewey 'Pigmeat' Markham 13.57<br />
Johnny Marks 13.58<br />
Don Marquis 13.59<br />
Anthony Marriott and Alistair Foot 13.60<br />
Arthur Marshall 13.61<br />
Thomas R. Marshall 13.62<br />
Dean Martin 13.63<br />
Holt Marvell 13.64<br />
Chico Marx 13.65<br />
Groucho Marx 13.66<br />
Queen Mary 13.67<br />
Eric Maschwitz 13.68<br />
John Masefield 13.69<br />
Donald Mason 13.70<br />
Sir James Mathew 13.71<br />
Melissa Mathison 13.72<br />
Henri Matisse 13.73<br />
Reginald Maudling 13.74<br />
W. Somerset Maugham 13.75<br />
Bill Mauldin 13.76<br />
James Maxton 13.77
John May 13.78<br />
Percy Mayfield 13.79<br />
Charles H. Mayo 13.80<br />
Margaret Mead 13.81<br />
Shepherd Mead 13.82<br />
Hughes Mearns 13.83<br />
Dame Nellie Melba (Helen Porter Mitchell) 13.84<br />
H. L. Mencken 13.85<br />
David Mercer 13.86<br />
Johnny Mercer 13.87<br />
Bob Merrill 13.88<br />
Dixon Lanier Merritt 13.89<br />
Viola Meynell 13.90<br />
Princess Michael <strong>of</strong> Kent 13.91<br />
George Mikes 13.92<br />
Edna St Vincent Millay 13.93<br />
Alice Duer Miller 13.94<br />
Arthur Miller 13.95<br />
Henry Miller 13.96<br />
Jonathan Miller 13.97<br />
Spike Milligan (Terence Alan Milligan) 13.98<br />
A. J. Mills, Fred Godfrey, and Bennett Scott 13.99<br />
Irving Mills 13.100<br />
A. A. Milne 13.101<br />
Lord Milner (Alfred, Viscount Milner) 13.102<br />
Adrian Mitchell 13.103<br />
Joni Mitchell 13.104<br />
Margaret Mitchell 13.105<br />
Jessica Mitford 13.106<br />
Nancy Mitford 13.107<br />
Addison Mizner 13.108<br />
Wilson Mizner 13.109<br />
Walter Mondale 13.110<br />
William Cosmo Monkhouse 13.111<br />
Harold Monro 13.112<br />
Marilyn Monroe 13.113<br />
C. E. Montague 13.114<br />
Field-Marshal Montgomery (Viscount Montgomery <strong>of</strong> Alamein) 13.115<br />
George Moore 13.116<br />
Marianne Moore 13.117<br />
Larry Morey 13.118<br />
Robin Morgan 13.119<br />
Christian Morgenstern 13.120<br />
Christopher Morley 13.121<br />
Lord Morley (John, Viscount Morley <strong>of</strong> Blackburn) 13.122<br />
Desmond Morris 13.123<br />
Herbert Morrison (Baron Morrison <strong>of</strong> Lambeth) 13.124<br />
Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore 13.125<br />
R. F. Morrison 13.126<br />
Dwight Morrow 13.127<br />
John Mortimer 13.128<br />
J. B. Morton ('Beachcomber') 13.129<br />
Rogers Morton 13.130<br />
Sir Oswald Mosley 13.131<br />
Lord Louis Mountbatten (Viscount Mountbatten <strong>of</strong> Burma) 13.132<br />
Lord Moynihan (Berkeley Moynihan, Baron Moynihan) 13.133<br />
Robert Mugabe 13.134<br />
Kitty Muggeridge 13.135<br />
Malcolm Muggeridge 13.136<br />
Edwin Muir 13.137
Herbert J. Muller 13.138<br />
Ethel Watts Mumford, Oliver Herford, and Addison Mizner 13.139<br />
Lewis Mumford 13.140<br />
Sir Alfred Munnings 13.141<br />
Richard Murdoch, and Kenneth Horne 13.142<br />
C. W. Murphy and Will Letters 13.143<br />
Ed Murphy 13.144<br />
Fred Murray 13.145<br />
Edward R. Murrow 13.146<br />
Benito Mussolini 13.147<br />
A. J. Muste 13.148<br />
N 14.0<br />
Vladimir Nabokov 14.1<br />
Ralph Nader 14.2<br />
Sarojini Naidu 14.3<br />
Fridtj<strong>of</strong> Nansen 14.4<br />
Ogden Nash 14.5<br />
George Jean Nathan 14.6<br />
Terry Nation 14.7<br />
James Ball Naylor 14.8<br />
Jawaharlal Nehru 14.9<br />
Allan Nevins 14.10<br />
Anthony Newley and Leslie Bricusse 14.11<br />
Huey Newton 14.12<br />
Vivian Nicholson 14.13<br />
Sir Harold Nicolson 14.14<br />
Reinhold Niebuhr 14.15<br />
Carl Nielsen 14.16<br />
Martin Niem”ller 14.17<br />
Florence Nightingale 14.18<br />
Richard Milhous Nixon 14.19<br />
David Nobbs 14.20<br />
Milton Nobles 14.21<br />
Albert J. Nock 14.22<br />
Frank Norman and Lionel Bart 14.23<br />
Lord Northcliffe (Alfred Charles William Harmsworth, Viscount Northcliffe) 14.24<br />
Jack Norworth 14.25<br />
Alfred Noyes 14.26<br />
Bill Nye (Edgar Wilson Nye) 14.27<br />
O 15.0<br />
Captain Lawrence Oates 15.1<br />
Edna O'Brien 15.2<br />
Flann O'Brien (Brian O'Nolan or O Nuallain) 15.3<br />
Sean O'Casey 15.4<br />
Edwin O'Connor 15.5<br />
Se n O'Faol in 15.6<br />
David Ogilvy 15.7<br />
Ge<strong>of</strong>frey O'Hara 15.8<br />
John O'Hara 15.9<br />
Patrick O'Keefe 15.10<br />
Chauncey Olcott and George Graff Jr. 15.11<br />
Frederick Scott Oliver 15.12<br />
Laurence Olivier (Baron Olivier <strong>of</strong> Brighton) 15.13<br />
Frank Ward O'Malley 15.14<br />
Mary O'Malley 15.15<br />
Eugene O'Neill 15.16<br />
Brian O'Nolan 15.17<br />
J. Robert Oppenheimer 15.18
Susie Orbach 15.19<br />
Baroness Orczy 15.20<br />
David Ormsby Gore 15.21<br />
Jos‚ Ortega y Gasset 15.22<br />
Joe Orton 15.23<br />
George Orwell (Eric Blair) 15.24<br />
John Osborne 15.25<br />
Sir William Osler 15.26<br />
Peter Demianovich Ouspensky 15.27<br />
David Owen 15.28<br />
Wilfred Owen 15.29<br />
<strong>Oxford</strong> and Asquith, Countess <strong>of</strong> 15.30<br />
<strong>Oxford</strong> and Asquith, Earl <strong>of</strong> 15.31<br />
P 16.0<br />
Vance Packard 16.1<br />
William Tyler Page 16.2<br />
Reginald Paget 16.3<br />
Gerald Page-Wood 16.4<br />
Revd Ian Paisley 16.5<br />
Michael Palin 16.6<br />
Norman Panama and Melvin Frank 16.7<br />
Dame Christabel Pankhurst 16.8<br />
Emmeline Pankhurst 16.9<br />
Emmeline Pankhurst, Dame Christabel Pankhurst, and Annie Kenney 16.10<br />
Charlie Parker 16.11<br />
Dorothy Parker 16.12<br />
Dorothy Parker, Alan Campbell, and Robert Carson 16.13<br />
Ross Parker and Hugh Charles 16.14<br />
C. Northcote Parkinson 16.15<br />
'Banjo' Paterson (Andrew Barton Paterson) 16.16<br />
Alan Paton 16.17<br />
Norman Vincent Peale 16.18<br />
Charles S. Pearce 16.19<br />
Hesketh Pearson 16.20<br />
Lester Pearson 16.21<br />
Charles P‚guy 16.22<br />
Vladimir Peniak<strong>of</strong>f 16.23<br />
William H. Penn 16.24<br />
S. J. Perelman 16.25<br />
S. J. Perelman, Will B. Johnstone, and Arthur Sheekman 16.26<br />
Carl Perkins 16.27<br />
Frances Perkins 16.28<br />
Juan Per¢n 16.29<br />
Ted Persons 16.30<br />
Henri Philippe P‚tain 16.31<br />
Laurence Peter and Raymond Hull 16.32<br />
Kim Philby (Harold Adrian Russell Philby) 16.33<br />
Prince Philip, Duke <strong>of</strong> Edinburgh 16.34<br />
Morgan Phillips 16.35<br />
Stephen Phillips 16.36<br />
Eden Phillpotts 16.37<br />
Pablo Picasso 16.38<br />
Wilfred Pickles 16.39<br />
Harold Pinter 16.40<br />
Luigi Pirandello 16.41<br />
Armand J. Piron 16.42<br />
Robert Pirosh, George Seaton, and George Oppenheimer 16.43<br />
Robert M. Pirsig 16.44<br />
Walter B. Pitkin 16.45
Ruth Pitter 16.46<br />
Sylvia Plath 16.47<br />
William Plomer 16.48<br />
Henri Poincar‚ 16.49<br />
Georges Pompidou 16.50<br />
Arthur Ponsonby (first Baron Ponsonby <strong>of</strong> Shulbrede) 16.51<br />
Sir Karl Popper 16.52<br />
Cole Porter 16.53<br />
Beatrix Potter 16.54<br />
Gillie Potter (Hugh William Peel) 16.55<br />
Stephen Potter 16.56<br />
Ezra Pound 16.57<br />
Anthony Powell 16.58<br />
Enoch Powell 16.59<br />
Sandy Powell 16.60<br />
Vince Powell and Harry Driver 16.61<br />
Jacques Pr‚vert 16.62<br />
J. B. Priestley 16.63<br />
V. S. Pritchett 16.64<br />
Marcel Proust 16.65<br />
Olive Higgins Prouty 16.66<br />
John Pudney 16.67<br />
Mario Puzo 16.68<br />
Q 17.0<br />
Q 17.1<br />
Salvatore Quasimodo 17.2<br />
Peter Quennell 17.3<br />
Sir Arthur Quiller-Couch (<strong>of</strong>ten used the pseudonym 'Q') 17.4<br />
R 18.0<br />
James Rado and Gerome Ragni 18.1<br />
John Rae 18.2<br />
Milton Rakove 18.3<br />
Sir Walter Raleigh 18.4<br />
Srinivasa Ramanujan 18.5<br />
John Crowe Ransom 18.6<br />
Arthur Ransome 18.7<br />
Frederic Raphael 18.8<br />
Terence Rattigan 18.9<br />
Gwen Raverat 18.10<br />
Irving Ravetch and Harriet Frank 18.11<br />
Ted Ray (Charles Olden) 18.12<br />
Sam Rayburn 18.13<br />
Sir Herbert Read 18.14<br />
Nancy Reagan 18.15<br />
Ronald Reagan 18.16<br />
Erell Reaves 18.17<br />
Henry Reed 18.18<br />
John Reed 18.19<br />
Max Reger 18.20<br />
Charles A. Reich 18.21<br />
Keith Reid and Gary Brooker 18.22<br />
Erich Maria Remarque 18.23<br />
Dr Montague John Rendall 18.24<br />
James Reston 18.25<br />
David Reuben 18.26<br />
Charles Revson 18.27<br />
Malvina Reynolds 18.28<br />
Quentin Reynolds 18.29
Cecil Rhodes 18.30<br />
Jean Rhys (Ella Gwendolen Rees Williams) 18.31<br />
Grantland Rice 18.32<br />
Tim Rice 18.33<br />
Mandy Rice-Davies 18.34<br />
Dicky Richards 18.35<br />
Frank Richards (Charles Hamilton) 18.36<br />
I. A. Richards 18.37<br />
Sir Ralph Richardson 18.38<br />
Hans Richter 18.39<br />
Rainer Maria Rilke 18.40<br />
Hal Riney 18.41<br />
Robert L. Ripley 18.42<br />
C‚sar Ritz 18.43<br />
Joan Riviere 18.44<br />
Lord Robbins (Lionel Charles Robbins, Baron Robbins) 18.45<br />
Leo Robin 18.46<br />
Leo Robin and Ralph Rainger 18.47<br />
Edwin Arlington Robinson 18.48<br />
Rt. Rev John Robinson (Bishop <strong>of</strong> Woolwich) 18.49<br />
John D. Rockefeller 18.50<br />
Knute Rockne 18.51<br />
Cecil Rodd 18.52<br />
Gene Roddenberry 18.53<br />
<strong>The</strong>odore Roethke 18.54<br />
Will Rogers 18.55<br />
Frederick William Rolfe ('Baron Corvo') 18.56<br />
Angelo Giuseppe Roncalli 18.57<br />
Eleanor Roosevelt 18.58<br />
Franklin D. Roosevelt 18.59<br />
<strong>The</strong>odore Roosevelt 18.60<br />
Arthur Rose and Douglas Furber 18.61<br />
Billy Rose 18.62<br />
Billy Rose and Marty Bloom 18.63<br />
Billy Rose and Willie Raskin 18.64<br />
William Rose 18.65<br />
Lord Rosebery (Archibald Philip Primrose, 5th Earl <strong>of</strong> Rosebery) 18.66<br />
Ethel Rosenberg and Julius Rosenberg 18.67<br />
Alan S. C. Ross 18.68<br />
Harold Ross 18.69<br />
Sir Ronald Ross 18.70<br />
Jean Rostand 18.71<br />
Leo Rosten 18.72<br />
Philip Roth 18.73<br />
Dan Rowan and Dick Martin 18.74<br />
Helen Rowland 18.75<br />
Richard Rowland 18.76<br />
Maude Royden 18.77<br />
Naomi Royde-Smith 18.78<br />
Paul Alfred Rubens 18.79<br />
Damon Runyon 18.80<br />
Dean Rusk 18.81<br />
Bertrand Russell (Bertrand Arthur William, third Earl Russell) 18.82<br />
Dora Russell (Countess Russell) 18.83<br />
George William Russell 18.84<br />
John Russell 18.85<br />
Ernest Rutherford (Baron Rutherford <strong>of</strong> Nelson) 18.86<br />
Gilbert Ryle 18.87<br />
S 19.0
Rafael Sabatini 19.1<br />
Oliver Sacks 19.2<br />
Victoria ('Vita') Sackville-West 19.3<br />
Fran‡oise Sagan 19.4<br />
Antoine de Saint-Exup‚ry 19.5<br />
George Saintsbury 19.6<br />
Saki (Hector Hugh Munro) 19.7<br />
J. D. Salinger 19.8<br />
Lord Salisbury (Robert Arthur James Gascoyne-Cecil, fifth Marquess <strong>of</strong> Salisbury) 19.9<br />
Anthony Sampson 19.10<br />
Lord Samuel (Herbert Louis, first Viscount Samuel) 19.11<br />
Carl Sandburg 19.12<br />
Henry 'Red' Sanders 19.13<br />
William Sansom 19.14<br />
George Santayana 19.15<br />
'Sapper' (Herman Cyril MacNeile) 19.16<br />
John Singer Sargent 19.17<br />
Leslie Sarony 19.18<br />
Nathalie Sarraute 19.19<br />
Jean-Paul Sartre 19.20<br />
Siegfried Sassoon 19.21<br />
Erik Satie 19.22<br />
Telly Savalas 19.23<br />
Dorothy L. Sayers 19.24<br />
Al Scalpone 19.25<br />
Hugh Scanlon (Baron Scanlon) 19.26<br />
Arthur Scargill 19.27<br />
Age Scarpelli, Luciano Vincenzoni, and Sergio Leone 19.28<br />
Moritz Schlick 19.29<br />
Artur Schnabel 19.30<br />
Arnold Schoenberg 19.31<br />
Budd Schulberg 19.32<br />
Diane B. Schulder 19.33<br />
E. F. Schumacher 19.34<br />
Albert Schweitzer 19.35<br />
Kurt Schwitters 19.36<br />
Martin Scorsese and Mardik Martin 19.37<br />
C. P. Scott 19.38<br />
Paul Scott 19.39<br />
Robert Falcon Scott 19.40<br />
Florida Scott-Maxwell 19.41<br />
Alan Seeger 19.42<br />
Pete Seeger 19.43<br />
Erich Segal 19.44<br />
W. C. Sellar and R. J. Yeatman 19.45<br />
Robert W. Service 19.46<br />
Anne Sexton 19.47<br />
James Seymour and Rian James 19.48<br />
Peter Shaffer 19.49<br />
Eileen Shanahan 19.50<br />
Bill Shankly 19.51<br />
Tom Sharpe 19.52<br />
George Bernard Shaw 19.53<br />
Sir Hartley Shawcross (Baron Shawcross) 19.54<br />
Patrick Shaw-Stewart 19.55<br />
Gloria Shayne 19.56<br />
E. A. Sheppard 19.57<br />
Burt Shevelove and Larry Gelbart 19.58<br />
Emanuel Shinwell (Baron Shinwell) 19.59<br />
Jean Sibelius 19.60
Walter Sickert 19.61<br />
Maurice Sigler and Al H<strong>of</strong>fman 19.62<br />
Alan Sillitoe 19.63<br />
Frank Silver and Irving Cohn 19.64<br />
Georges Simenon 19.65<br />
James Simmons 19.66<br />
Paul Simon 19.67<br />
Harold Simpson 19.68<br />
Kirke Simpson 19.69<br />
N. F. Simpson 19.70<br />
Noble Sissle and Eubie Blake 19.71<br />
C. H. Sisson 19.72<br />
Dame Edith Sitwell 19.73<br />
Sir Osbert Sitwell 19.74<br />
'Red Skelton' (Richard Skelton) 19.75<br />
B. F. Skinner 19.76<br />
Elizabeth Smart 19.77<br />
Alfred Emanuel Smith 19.78<br />
Sir Cyril Smith 19.79<br />
Dodie Smith 19.80<br />
Edgar Smith 19.81<br />
F. E. Smith (Earl <strong>of</strong> Birkenhead) 19.82<br />
Ian Smith 19.83<br />
Logan Pearsall Smith 19.84<br />
Stevie Smith (Florence Margaret Smith) 19.85<br />
John Snagge 19.86<br />
C. P. Snow (Baron Snow <strong>of</strong> Leicester) 19.87<br />
Philip Snowden (Viscount Snowden) 19.88<br />
Alexander Solzhenitsyn 19.89<br />
Anastasio Somoza 19.90<br />
Stephen Sondheim 19.91<br />
Susan Sontag 19.92<br />
Donald Soper (Baron Soper) 19.93<br />
Charles Hamilton Sorley 19.94<br />
Henry D. Spalding 19.95<br />
Muriel Spark 19.96<br />
John Sparrow 19.97<br />
Countess Spencer (Raine Spencer) 19.98<br />
Sir Stanley Spencer 19.99<br />
Stephen Spender 19.100<br />
Oswald Spengler 19.101<br />
Steven Spielberg 19.102<br />
Dr Benjamin Spock 19.103<br />
William Archibald Spooner 19.104<br />
Sir Cecil Spring Rice 19.105<br />
Bruce Springsteen 19.106<br />
Sir J. C. Squire 19.107<br />
Joseph Stalin (Iosif Vissarionovich Dzhugashvili) 19.108<br />
Charles E. Stanton 19.109<br />
Frank L. Stanton 19.110<br />
Dame Freya Stark 19.111<br />
Enid Starkie 19.112<br />
Christina Stead 19.113<br />
Sir David Steel 19.114<br />
Lincoln Steffens 19.115<br />
Gertrude Stein 19.116<br />
John Steinbeck 19.117<br />
Gloria Steinem 19.118<br />
James Stephens 19.119<br />
Andrew B. Sterling 19.120
Wallace Stevens 19.121<br />
Adlai Stevenson 19.122<br />
Anne Stevenson 19.123<br />
Caskie Stinnett 19.124<br />
Rt. Revd Mervyn Stockwood 19.125<br />
Tom Stoppard 19.126<br />
Lytton Strachey 19.127<br />
Igor Stravinsky 19.128<br />
Simeon Strunsky 19.129<br />
G. A. Studdert Kennedy 19.130<br />
Terry Sullivan 19.131<br />
Arthur Hays Sulzberger 19.132<br />
Edith Summerskill 19.133<br />
Jacqueline Susann (Mrs Irving Mansfield) 19.134<br />
Hannen Swaffer 19.135<br />
Herbert Bayard Swope 19.136<br />
Eric Sykes and Max Bygraves 19.137<br />
John Millington Synge 19.138<br />
Thomas Szasz 19.139<br />
George Szell 19.140<br />
Albert von Szent-Gy”rgyi 19.141<br />
T 20.0<br />
Sir Rabindranath Tagore 20.1<br />
Nellie Talbot 20.2<br />
S. G. Tallentyre (E. Beatrice Hall) 20.3<br />
Booth Tarkington 20.4<br />
A. J. P. Taylor 20.5<br />
Bert Leston Taylor 20.6<br />
Norman Tebbit 20.7<br />
Archbishop William Temple 20.8<br />
A. S. J. Tessimond 20.9<br />
Margaret Thatcher 20.10<br />
Sam <strong>The</strong>ard and Fleecie Moore 20.11<br />
Diane Thomas 20.12<br />
Dylan Thomas 20.13<br />
Edward Thomas 20.14<br />
Gwyn Thomas 20.15<br />
Francis Thompson 20.16<br />
Hunter S. Thompson 20.17<br />
Lord Thomson (Roy Herbert Thomson, Baron Thomson <strong>of</strong> Fleet) 20.18<br />
Jeremy Thorpe 20.19<br />
James Thurber 20.20<br />
Paul Tillich 20.21<br />
Dion Titheradge 20.22<br />
Alvin T<strong>of</strong>fler 20.23<br />
J. R. R. Tolkien 20.24<br />
Nicholas Tomalin 20.25<br />
Barry Took and Marty Feldman 20.26<br />
Sue Townsend 20.27<br />
Pete Townshend 20.28<br />
Polly Toynbee 20.29<br />
Sir Herbert Beerbohm Tree 20.30<br />
Herbert Trench 20.31<br />
G. M. Trevelyan 20.32<br />
Lionel Trilling 20.33<br />
Tommy Trinder 20.34<br />
Leon Trotsky (Lev Davidovich Bronstein) 20.35<br />
Harry S. Truman 20.36<br />
Barbara W. Tuchman 20.37
Sophie Tucker 20.38<br />
Walter James Redfern Turner 20.39<br />
Mark Twain (Samuel Langhorne Clemens) 20.40<br />
Kenneth Tynan 20.41<br />
U 21.0<br />
Miguel de Unamuno 21.1<br />
John Updike 21.2<br />
Sir Peter Ustinov 21.3<br />
V 22.0<br />
Paul Val‚ry 22.1<br />
Paul Vance and Lee Pockriss 22.2<br />
Vivien van Damm 22.3<br />
Laurens van der Post 22.4<br />
Bartolomeo Vanzetti 22.5<br />
Harry Vaughan 22.6<br />
Ralph Vaughan Williams 22.7<br />
Thorstein Veblen 22.8<br />
Gore Vidal 22.9<br />
King Vidor 22.10<br />
Jos‚ Antonio Viera Gallo 22.11<br />
W 23.0<br />
John Wain 23.1<br />
Jerry Wald and Richard Macaulay 23.2<br />
Prince <strong>of</strong> Wales 23.3<br />
Arthur Waley 23.4<br />
Edgar Wallace 23.5<br />
George Wallace 23.6<br />
Henry Wallace 23.7<br />
Graham Wallas 23.8<br />
Sir Hugh Walpole 23.9<br />
Andy Warhol 23.10<br />
Jack Warner (Horace Waters) 23.11<br />
Ned Washington 23.12<br />
Sir William Watson 23.13<br />
Evelyn Waugh 23.14<br />
Frederick Weatherly 23.15<br />
Beatrice Webb 23.16<br />
Ge<strong>of</strong>frey Webb and Edward J. Mason 23.17<br />
Jim Webb 23.18<br />
Sidney Webb (Baron Passfield) 23.19<br />
Sidney Webb (Baron Passfield) and Beatrice Webb 23.20<br />
Simone Weil 23.21<br />
Johnny Weissmuller 23.22<br />
Thomas Earle Welby 23.23<br />
Fay Weldon 23.24<br />
Colin Welland 23.25<br />
Orson Welles 23.26<br />
H. G. Wells 23.27<br />
Arnold Wesker 23.28<br />
Mae West 23.29<br />
Dame Rebecca West (Cicily Isabel Fairfield) 23.30<br />
Edith Wharton 23.31<br />
E. B. White 23.32<br />
T. H. White 23.33<br />
Alfred North Whitehead 23.34<br />
Bertrand Whitehead 23.35<br />
Katharine Whitehorn 23.36
George Whiting 23.37<br />
Gough Whitlam 23.38<br />
Charlotte Whitton 23.39<br />
William H. Whyte 23.40<br />
Anna Wickham (Edith Alice Mary Harper) 23.41<br />
Richard Wilbur 23.42<br />
Billy Wilder (Samuel Wilder) 23.43<br />
Billy Wilder and I. A. L. Diamond 23.44<br />
Thornton Wilder 23.45<br />
Kaiser Wilhelm II 23.46<br />
Ge<strong>of</strong>frey Willans and Ronald Searle 23.47<br />
Harry Williams 23.48<br />
Kenneth Williams 23.49<br />
Tennessee Williams (Thomas Lanier Williams) 23.50<br />
William Carlos Williams 23.51<br />
Ted Willis (Edward Henry Willis, Baron Willis <strong>of</strong> Chislehurst) 23.52<br />
Wendell Willkie 23.53<br />
Angus Wilson 23.54<br />
Charles E. Wilson 23.55<br />
Edmund Wilson 23.56<br />
Harold Wilson (Baron Wilson <strong>of</strong> Rievaulx) 23.57<br />
McLandburgh Wilson 23.58<br />
Sandy Wilson 23.59<br />
Woodrow Wilson 23.60<br />
Robb Wilton 23.61<br />
Arthur Wimperis 23.62<br />
Owen Wister 23.63<br />
Ludwig Wittgenstein 23.64<br />
P. G. Wodehouse 23.65<br />
Humbert Wolfe 23.66<br />
Thomas Wolfe 23.67<br />
Tom Wolfe 23.68<br />
Woodbine Willie 23.69<br />
Lt.-Commander Thomas Woodro<strong>of</strong>e 23.70<br />
Harry Woods 23.71<br />
Virginia Woolf 23.72<br />
Alexander Woollcott 23.73<br />
Frank Lloyd Wright 23.74<br />
Woodrow Wyatt (Baron Wyatt) 23.75<br />
Laurie Wyman 23.76<br />
George Wyndham 23.77<br />
Tammy Wynette (Wynette Pugh) and Billy Sherrill 23.78<br />
Y 24.0<br />
R. J. Yeatman 24.1<br />
W. B. Yeats 24.2<br />
Jack Yellen 24.3<br />
Michael Young 24.4<br />
Waldemar Young et al. 24.5<br />
Z 25.0<br />
Darryl F. Zanuck 25.1<br />
Emiliano Zapata 25.2<br />
Frank Zappa 25.3<br />
Robert Zemeckis and Bob Gale 25.4<br />
Ronald L. Ziegler 25.5<br />
Grigori Zinoviev 25.6<br />
1.0 A<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1.1 Bud Abbott and Lou Costello (Louis Francis Cristillo)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Bud Abbott 1895-1974<br />
Lou Costello 1906-1959<br />
Abbott: Now, on the St Louis team we have Who's on first, What's on<br />
second, I Don't Know is on third.<br />
Costello: That's what I want to find out.<br />
Naughty Nineties (1945 film), in R. J. Anobile Who's On First? (1973)<br />
p. 224<br />
1.2 Dannie Abse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
I know the colour rose, and it is lovely,<br />
But not when it ripens in a tumour;<br />
And healing greens, leaves and grass, so springlike,<br />
In limbs that fester are not springlike.<br />
A Small Desperation (1968) "Pathology <strong>of</strong> Colours"<br />
So in the simple blessing <strong>of</strong> a rainbow,<br />
In the bevelled edge <strong>of</strong> a sunlit mirror,<br />
I have seen visible, Death's artifact<br />
Like a soldier's ribbon on a tunic tacked.<br />
A Small Desperation (1968) "Pathology <strong>of</strong> Colours"<br />
That Greek one then is my hero, who watched the bath water rise above his<br />
navel and rushed out naked, "I found it, I found it" into the street in<br />
all his shining, and forgot that others would only stare at his genitals.<br />
Walking under Water (1952) "Letter to Alex Comfort"<br />
1.3 Goodman Ace<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1982<br />
Jane and I got mixed up with a television show--or as we call it back east<br />
here: TV--a clever contraction derived from the words Terrible Vaudeville.<br />
However, it is our latest medium--we call it a medium because nothing's<br />
well done. It was discovered, I suppose you've heard, by a man named<br />
Fulton Berle, and it has already revolutionized social grace by cutting<br />
down parlour conversation to two sentences: "What's on television?" and<br />
"Good night."<br />
Letter to Groucho Marx, in <strong>The</strong> Groucho Letters (1967) p. 114<br />
1.4 Dean Acheson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1971<br />
<strong>The</strong> first requirement <strong>of</strong> a statesman is that he be dull. This is not
always easy to achieve.<br />
In Observer 21 June 1970<br />
I will undoubtedly have to seek what is happily known as gainful<br />
employment, which I am glad to say does not describe holding public<br />
<strong>of</strong>fice.<br />
In Time 22 Dec. 1952<br />
Great Britain has lost an empire and has not yet found a role.<br />
Speech at the Military Academy, West Point, 5 Dec. 1962, in Vital<br />
Speeches 1 Jan. 1963, p. 163<br />
A memorandum is written not to inform the reader but to protect the<br />
writer.<br />
In Wall Street Journal 8 Sept. 1977<br />
1.5 J. R. Ackerley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1967<br />
I was born in 1896 and my parents were married in 1919.<br />
My Father and Myself (1968) ch. 1<br />
1.6 Douglas Adams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1952-<br />
Don't panic.<br />
Hitch Hiker's Guide to the Galaxy (1979) preface<br />
"Life," said Marvin, "don't talk to me about Life."<br />
Hitch Hiker's Guide to the Galaxy (1979) ch. 11<br />
And <strong>of</strong> course I've got this terrible pain in all the diodes down my left<br />
hand side.<br />
Hitch Hiker's Guide to the Galaxy (1979) ch. 13<br />
<strong>The</strong> Answer to the Great Question Of....Life, the Universe and<br />
Everything....Is....Forty-two.<br />
Hitch Hiker's Guide to the Galaxy (1979) ch. 27<br />
"<strong>The</strong> first ten million years were the worst," said Marvin, "and the second<br />
ten million years, they were the worst too. <strong>The</strong> third ten million I didn't<br />
enjoy at all. After that I went into a bit <strong>of</strong> a decline."<br />
Restaurant at the End <strong>of</strong> the Universe (1980) ch. 18<br />
1.7 Frank Adams and Will M. Hough<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I wonder who's kissing her now.<br />
Title <strong>of</strong> song (1909)<br />
1.8 Franklin P. Adams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1960
When the political columnists say "Every thinking man" they mean<br />
themselves, and when candidates appeal to "Every intelligent voter" they<br />
mean everybody who is going to vote for them.<br />
Nods and Becks (1944) p. 3<br />
Years ago we discovered the exact point, the dead centre <strong>of</strong> middle age. It<br />
occurs when you are too young to take up golf and too old to rush up to<br />
the net.<br />
Nods and Becks (1944) p. 53<br />
<strong>The</strong> trouble with this country is that there are too many politicians who<br />
believe, with a conviction based on experience, that you can fool all <strong>of</strong><br />
the people all <strong>of</strong> the time.<br />
Nods and Becks (1944) p. 74<br />
Elections are won by men and women chiefly because most people vote<br />
against somebody rather than for somebody.<br />
Nods and Becks (1944) p. 206<br />
1.9 Henry Brooks Adams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1838-1918<br />
Politics, as a practice, whatever its pr<strong>of</strong>essions, has always been the<br />
systematic organization <strong>of</strong> hatreds.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 1<br />
A friend in power is a friend lost.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 7<br />
Chaos <strong>of</strong>ten breeds life, when order breeds habit.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 16<br />
One friend in a lifetime is much; two are many; three are hardly possible.<br />
Friendship needs a certain parallelism <strong>of</strong> life, a community <strong>of</strong> thought, a<br />
rivalry <strong>of</strong> aim.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 20<br />
What one knows is, in youth, <strong>of</strong> little moment; they know enough who know<br />
how to learn.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 21<br />
Practical politics consists in ignoring facts.<br />
Education <strong>of</strong> Henry Adams (1907) ch. 22<br />
Some day science may have the existence <strong>of</strong> mankind in its power, and the<br />
human race commit suicide, by blowing up the world.<br />
Letter 11 Apr. 1862, in Letters <strong>of</strong> Henry Adams (1982) vol. 1, p. 290<br />
1.10 Harold Adamson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1980<br />
Comin' in on a wing and a pray'r.<br />
Title <strong>of</strong> song (1943)<br />
1.11 George Ade<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1866-1944<br />
"Whom are you?" he asked, for he had attended business college.<br />
Chicago Record 16 Mar. 1898, "<strong>The</strong> Steel Box"<br />
Anybody can Win, unless there happens to be a Second Entry.<br />
Fables in Slang (1900) p. 133<br />
After being Turned Down by numerous Publishers, he had decided to write<br />
for posterity.<br />
Fables in Slang (1900) p. 158<br />
If it were not for the presents, an elopement would be preferable.<br />
Forty <strong>Modern</strong> Fables (1901) p. 218<br />
R-E-M-O-R-S-E!<br />
Those dry Martinis did the work for me;<br />
Last night at twelve I felt immense,<br />
Today I feel like thirty cents.<br />
My eyes are bleared, my coppers hot,<br />
I'll try to eat, but I cannot.<br />
It is no time for mirth and laughter,<br />
<strong>The</strong> cold, gray dawn <strong>of</strong> the morning after.<br />
Sultan <strong>of</strong> Sulu (1903) act 2, p. 63<br />
1.12 Konrad Adenauer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1967<br />
A thick skin is a gift from God.<br />
In New York Times 30 Dec. 1959, p. 5<br />
1.13 Alfred Adler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1937<br />
It is always easier to fight for one's principles than to live up to them.<br />
In Phyllis Bottome Alfred Adler (1939) p. 76<br />
<strong>The</strong> truth is <strong>of</strong>ten a terrible weapon <strong>of</strong> aggression. It is possible to lie,<br />
and even to murder, for the truth.<br />
Problems <strong>of</strong> Neurosis (1929) ch. 2<br />
1.14 Polly Adler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1962<br />
A house is not a home.<br />
Title <strong>of</strong> book (1954)<br />
1.15 AE (A.E., ’) (George William Russell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1935<br />
In ancient shadows and twilights
Where childhood had strayed,<br />
<strong>The</strong> world's great sorrows were born<br />
And its heroes were made.<br />
In the lost boyhood <strong>of</strong> Judas<br />
Christ was betrayed.<br />
Vale and Other Poems (1931) "Germinal"<br />
1.16 Herbert Agar<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1980<br />
<strong>The</strong> truth which makes men free is for the most part the truth which men<br />
prefer not to hear.<br />
Time for Greatness (1942) ch. 7<br />
1.17 James Agate<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1947<br />
I don't know very much, but what I do know I know better than anybody, and<br />
I don't want to argue about it. I know what I think about an actor or an<br />
actress, and am not interested in what anybody else thinks. My mind is not<br />
a bed to be made and re-made.<br />
Ego 6 (1944) 9 June 1943<br />
1.18 Spiro T. Agnew<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
I didn't say I wouldn't go into ghetto areas. I've been in many <strong>of</strong> them<br />
and to some extent I would have to say this: If you've seen one city slum<br />
you've seen them all.<br />
In Detroit <strong>Free</strong> Press 19 Oct. 1968<br />
A spirit <strong>of</strong> national masochism prevails, encouraged by an effete corps <strong>of</strong><br />
impudent snobs who characterize themselves as intellectuals.<br />
Speech in New Orleans, 19 Oct. 1969, in Frankly Speaking (1970) ch. 3<br />
1.19 Max Aitken<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Lord Beaverbrook (2.35)<br />
1.20 Zo‰ Akins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1958<br />
<strong>The</strong> Greeks had a word for it.<br />
Title <strong>of</strong> play (1930)<br />
1.21 Alain (mile-Auguste Chartier)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1951
Rien n'est plus dangereux qu'une id‚e,quand on n'a qu'une id‚e.<br />
Nothing is more dangerous than an idea, when you have only one idea.<br />
Propos sur la religion (Remarks on Religion, 1938) no. 74<br />
1.22 Edward Albee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Who's afraid <strong>of</strong> Virginia Woolf?<br />
Title <strong>of</strong> play (1962). Cf. Frank E. Churchill<br />
I have a fine sense <strong>of</strong> the ridiculous, but no sense <strong>of</strong> humour.<br />
Who's Afraid <strong>of</strong> Virginia Woolf? (1962) act 1<br />
1.23 Richard Aldington<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1962<br />
Patriotism is a lively sense <strong>of</strong> collective responsibility. Nationalism is<br />
a silly cock crowing on its own dunghill.<br />
Colonel's Daughter (1931) pt. 1, ch. 6<br />
1.24 Brian Aldiss<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-<br />
Keep violence in the mind<br />
Where it belongs.<br />
Barefoot in the Head (1969) (last lines <strong>of</strong> concluding poem "Charteris")<br />
1.25 Nelson Algren<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
Never play cards with a man called Doc. Never eat at a place called<br />
Mom's. Never sleep with a woman whose troubles are worse than your own.<br />
In Newsweek 2 July 1956<br />
A walk on the wild side.<br />
Title <strong>of</strong> novel (1956)<br />
I got a glimpse into the uses <strong>of</strong> a certain kind <strong>of</strong> criticism this past<br />
summer at a writers' conference into how the avocation <strong>of</strong> assessing the<br />
failures <strong>of</strong> better men can be turned into a comfortable livelihood,<br />
providing you back it up with a Ph.D. I saw how it was possible to gain a<br />
chair <strong>of</strong> literature on no qualification other than persistence in nipping<br />
the heels <strong>of</strong> Hemingway, Faulkner, and Steinbeck. I know, <strong>of</strong> course, that<br />
there are true critics, one or two. For the rest all I can say is, Deal<br />
around me.<br />
In Malcolm Cowley (ed.) Writers at Work (1958) 1st Ser. p. 222<br />
1.26 Muhammad Ali (Cassius Clay)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-
Float like a butterfly, sting like a bee.<br />
Catch-phrase used from circa 1964, in G. Sullivan Cassius Clay Story<br />
(1964) ch. 8<br />
I'm the greatest.<br />
Catch-phrase used from 1962, in Louisville Times 16 Nov. 1962<br />
1.27 Fred Allen (John Florence Sullivan)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1956<br />
California is a fine place to live--if you happen to be an orange.<br />
American Magazine Dec. 1945, p. 120<br />
Hollywood is a place where people from Iowa mistake each other for stars.<br />
In Maurice Zolotow No People like Show People (1951) ch. 8<br />
Committee--a group <strong>of</strong> men who individually can do nothing but as a group<br />
decide that nothing can be done.<br />
In Laurence J. Peter <strong>Quotations</strong> for our Time (1978) p. 120<br />
1.28 Woody Allen (Allen Stewart Konigsberg)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1935-<br />
It's not that I'm afraid to die. I just don't want to be there when it<br />
happens.<br />
Death (1975) p. 63<br />
Is sex dirty? Only if it's done right.<br />
Everything You Always Wanted to Know about Sex (1972 film)<br />
If it turns out that there is a God, I don't think that he's evil. But the<br />
worst that you can say about him is that basically he's an underachiever.<br />
Love and Death (1975 film)<br />
<strong>The</strong> lion and the calf shall lie down together but the calf won't get much<br />
sleep.<br />
New Republic 31 Aug. 1974 "<strong>The</strong> Scrolls"<br />
Not only is there no God, but try getting a plumber on weekends.<br />
New Yorker 27 Dec. 1969 "My Philosophy"<br />
If only God would give me some clear sign! Like making a large deposit in<br />
my name at a Swiss bank.<br />
New Yorker 5 Nov. 1973 "Selections from the Allen Notebooks"<br />
On bisexuality: It immediately doubles your chances for a date on Saturday<br />
night.<br />
New York Times 1 Dec. 1975, p. 33<br />
More than any other time in history, mankind faces a crossroads. One path<br />
leads to despair and utter hopelessness. <strong>The</strong> other, to total extinction.<br />
Let us pray we have the wisdom to choose correctly.<br />
Side Effects (1980) "My Speech to the Graduates"<br />
Take the money and run.
Title <strong>of</strong> film (1968)<br />
On the plus side, death is one <strong>of</strong> the few things that can be done as<br />
easily lying down.<br />
Without Feathers (1976) "Early Essays"<br />
Money is better than poverty, if only for financial reasons.<br />
Without Feathers (1976) "Early Essays"<br />
My one regret in life is that I am not someone else.<br />
Epigraph to Eric Lax Woody Allen and his Comedy (1975)<br />
And my parents finally realize that I'm kidnapped and they snap into<br />
action immediately: <strong>The</strong>y rent out my room.<br />
In Eric Lax Woody Allen and his Comedy (1975) ch. 1<br />
I don't want to achieve immortality through my work....I want to achieve<br />
it through not dying.<br />
In Eric Lax Woody Allen and his Comedy (1975) ch. 12<br />
It was partially my fault that we got divorced.... I tended to place my<br />
wife under a pedestal.<br />
At night-club in Chicago, Mar. 1964, recorded on Woody Allen Volume Two<br />
(Colpix CP 488) side 1, band 6<br />
I must say...a fast word about oral contraception. I asked a girl to go<br />
to bed with me and she said "no."<br />
At night-club in Washington, Apr. 1965, recorded on Woody Allen Volume Two<br />
(Colpix CP 488) side 4, band 6<br />
1.29 Woody Allen (Allen Stewart Konigsberg) and Marshall Brickman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Woody Allen 1935-<br />
Marshall Brickman 1941-<br />
That [sex] was the most fun I ever had without laughing.<br />
Annie Hall (1977 film)<br />
Don't knock masturbation. It's sex with someone I love.<br />
Annie Hall (1977 film)<br />
I feel that life is--is divided up into the horrible and the miserable.<br />
Annie Hall (1977 film)<br />
My brain? It's my second favourite organ.<br />
Sleeper (1973 film)<br />
I'm not the heroic type, really. I was beaten up by Quakers.<br />
Sleeper (1973 film)<br />
1.30 Margery Allingham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1966<br />
Once sex rears its ugly 'ead it's time to steer clear.<br />
Flowers for the Judge (1936) ch. 4
1.31 Joseph Alsop<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Gratitude, like love, is never a dependable international emotion.<br />
In Observer 30 Nov. 1952<br />
1.32 Robert Altman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
After all, what's a cult? It just means not enough people to make a<br />
minority.<br />
In Guardian 11 Apr. 1981<br />
1.33 Leo Amery<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1955<br />
I will quote certain other words. I do it with great reluctance, because I<br />
am speaking <strong>of</strong> those who are old friends and associates <strong>of</strong> mine, but they<br />
are words which, I think, are applicable to the present situation. This is<br />
what Cromwell said to the Long Parliament when he thought it was no longer<br />
fit to conduct the affairs <strong>of</strong> the nation: "You have sat too long here for<br />
any good you have been doing. Depart, I say, and let us have done with<br />
you. In the name <strong>of</strong> God, go."<br />
Hansard 7 May 1940, col. 1150. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
169:26<br />
Speak for England.<br />
Said to Arthur Greenwood in House <strong>of</strong> Commons, 2 Sept. 1939, in L. Amery<br />
My Political Life (1955) vol. 3, p. 324<br />
For twenty years he [H. H. Asquith] has held a season-ticket on the line<br />
<strong>of</strong> least resistance and has gone wherever the train <strong>of</strong> events has carried<br />
him, lucidly justifying his position at whatever point he has happened to<br />
find himself.<br />
Quarterly Review July 1914, p. 276<br />
1.34 Kingsley Amis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
<strong>The</strong> delusion that there are thousands <strong>of</strong> young people about who are<br />
capable <strong>of</strong> benefiting from university training, but have somehow failed to<br />
find their way there, is...a necessary component <strong>of</strong> the expansionist<br />
case....More will mean worse.<br />
Encounter July 1960<br />
<strong>The</strong> point about white Burgundies is that I hate them myself. I take<br />
whatever my wine supplier will let me have at a good price (which I would<br />
never dream <strong>of</strong> doing with any other drinkable). I enjoyed seeing those<br />
glasses <strong>of</strong> Chablis or Pouilly Fuiss‚, so closely resembling a blend <strong>of</strong><br />
cold chalk soup and alum cordial with an additive or two to bring it to<br />
the colour <strong>of</strong> children's pee, being peered and sniffed at, rolled round<br />
the shrinking tongue and forced down somehow by parties <strong>of</strong> young<br />
technology dons from Cambridge or junior television producers and their
girls.<br />
<strong>The</strong> Green Man (1969) ch. 1<br />
Dixon...tried to flail his features into some sort <strong>of</strong> response to humour.<br />
Mentally, however, he was making a different face and promising himself<br />
he'd make it actually when next alone. He'd draw his lower lip in under<br />
his top teeth and by degrees retract his chin as far as possible, all this<br />
while dilating his eyes and nostrils. By these means he would, he was<br />
confident, cause a deep dangerous flush to suffuse his face.<br />
Lucky Jim (1953) ch. 1<br />
Alun's life was coming to consist more and more exclusively <strong>of</strong> being told<br />
at dictation speed what he knew.<br />
<strong>The</strong> Old Devils (1986) ch. 7<br />
Outside every fat man there was an even fatter man trying to close in.<br />
One Fat Englishman (1963) ch. 3. See also Cyril Connolly (3.85) and<br />
George Orwell (15.24)<br />
He was <strong>of</strong> the faith chiefly in the sense that the church he currently did<br />
not attend was Catholic.<br />
One Fat Englishman (1963) ch. 8<br />
1.35 Maxwell Anderson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1959<br />
But it's a long, long while<br />
From May to December;<br />
And the days grow short<br />
When you reach September.<br />
September Song (1938 song; music by Kurt Weill)<br />
1.36 Maxwell Anderson and Lawrence Stallings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Maxwell Anderson 1888-1959<br />
Lawrence Stallings 1894-1968<br />
What price glory?<br />
Title <strong>of</strong> play (1924)<br />
1.37 Robert Anderson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
All you're supposed to do is every once in a while give the boys a little<br />
tea and sympathy.<br />
Tea and Sympathy (1957) act 1<br />
1.38 James Anderton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
God works in mysterious ways. Given my love <strong>of</strong> God and my belief in God<br />
and in Jesus Christ, I have to accept that I may well be used by God in
this way [as a prophet].<br />
In radio interview, 18 Jan. 1987, in Daily Telegraph 19 Jan. 1987<br />
Everywhere I go I see increasing evidence <strong>of</strong> people swirling about in a<br />
human cesspit <strong>of</strong> their own making.<br />
Speech at seminar on AIDS, 11 Dec. 1986, in Guardian 12 Dec. 1986<br />
1.39 Sir Norman Angell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1967<br />
<strong>The</strong> great illusion.<br />
Title <strong>of</strong> book (1910), first published as "Europe's optical illusion"<br />
(1909), on the futility <strong>of</strong> war<br />
1.40 Maya Angelou (Maya Johnson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
I know why the caged bird sings.<br />
Title <strong>of</strong> book (1969), taken from the last line <strong>of</strong> "Sympathy" by Paul<br />
Laurence Dunbar in Lyrics <strong>of</strong> Hearthside (1899). Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
<strong>Quotations</strong> (1979) 567:10<br />
1.41 Paul Anka<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
And now the end is near<br />
And so I face the final curtain,<br />
My friend, I'll say it clear,<br />
I'll state my case <strong>of</strong> which I'm certain.<br />
I've lived a life that's full, I've travelled each and ev'ry highway<br />
And more, much more than this. I did it my way.<br />
My Way (1969 song; music by Claude Fran‡ois and Jacques Revaux)<br />
1.42 Princess Anne (HRH the Princess Royal)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1950-<br />
It could be said that the Aids pandemic is a classic own-goal scored by<br />
the human race against itself.<br />
In Daily Telegraph 27 Jan. 1988<br />
1.43 Anonymous<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Access--your flexible friend.<br />
Advertising slogan for Access credit cards, 1981 onwards, in Nigel Rees<br />
Slogans (1982) p. 91<br />
All the way with LBJ.<br />
US Democratic Party campaign slogan, in Washington Post 4 June 1960<br />
American Express?...That'll do nicely, sir.
Advertisement for American Express credit card, 1970s, in F. Jenkins<br />
Advertising (1985) ch. 1<br />
Arbeit macht frei.<br />
Work liberates.<br />
Words inscribed on the gates <strong>of</strong> Dachau concentration camp, 1933<br />
Australians wouldn't give a XXXX for anything else.<br />
Advertisement for Castlemaine lager, 1986 onwards, in Philip Kleinman <strong>The</strong><br />
Saatchi and Saatchi Story (1987) ch. 5<br />
Ban the bomb.<br />
US anti-nuclear slogan, 1953 onwards, adopted by the Campaign for Nuclear<br />
Disarmament<br />
A bayonet is a weapon with a worker at each end.<br />
British pacifist slogan (1940)<br />
<strong>The</strong> best defence against the atom bomb is not to be there when it goes<br />
<strong>of</strong>f.<br />
Contributor to British Army Journal, in Observer 20 Feb. 1949<br />
Better red than dead.<br />
Slogan <strong>of</strong> nuclear disarmament campaigners, late 1950s<br />
Bigamy is having one husband too many. Monogamy is the same.<br />
In Erica Jong Fear <strong>of</strong> Flying (1973) ch. 1 (epigraph)<br />
A bigger bang for a buck.<br />
Description <strong>of</strong> Charles E. Wilson's defence policy, in Newsweek 22 Mar.<br />
1954<br />
Black is beautiful.<br />
Slogan <strong>of</strong> American civil rights campaigners in the mid-1960s, cited in<br />
Newsweek 11 July 1966<br />
Burn, baby, burn.<br />
Black extremist slogan used in Los Angeles riots, August 1965, in Los<br />
Angeles Times 15 Aug 1965, p. 1<br />
<strong>The</strong> butler did it!<br />
In Nigel Rees Sayings <strong>of</strong> the Century (1984) p. 45 (as a solution for<br />
detective stories. Rees cannot trace the origin <strong>of</strong> the phrase, but he<br />
quotes a correspondent who recalls hearing it at a cinema circa 1916)<br />
A camel is a horse designed by a committee.<br />
In Financial Times 31 Jan. 1976<br />
Can't act. Slightly bald. Also dances.<br />
Studio <strong>of</strong>ficial's comment on Fred Astaire, in Bob Thomas Astaire (1985)<br />
ch. 3<br />
Can you tell Stork from butter?<br />
Advertisement for Stork margarine, from circa 1956<br />
Careless talk costs lives.<br />
World War II publicity slogan, in J. Darracott and B. L<strong>of</strong>tus Second World<br />
War Posters (1972) p. 28
Coughs and sneezes spread diseases. Trap the germs in your handkerchief.<br />
1942 health slogan, in J. Darracott and B. L<strong>of</strong>tus Second World War<br />
Posters (1972) p. 19<br />
[Death is] nature's way <strong>of</strong> telling you to slow down.<br />
Newsweek, 25 Apr. 1960, p. 70<br />
Do not fold, spindle or mutilate in any way.<br />
1950s instruction on punched cards, found in various forms circa 1935<br />
onwards<br />
Don't ask a man to drink and drive.<br />
UK road safety slogan, from 1964<br />
Don't die <strong>of</strong> ignorance.<br />
Slogan used in AIDS publicity campaign, 1987: see <strong>The</strong> Times 9 and 13 Jan.<br />
1987<br />
Ein Reich, ein Volk, ein Fhrer.<br />
One realm, one people, one leader.<br />
Nazi Party slogan, early 1930s<br />
Even your closest friends won't tell you.<br />
US advertisement for Listerine mouthwash, in Woman's Home Companion Nov.<br />
1923, p. 63<br />
Every picture tells a story.<br />
Advertisement for Doan's Backache Kidney Pills, in Daily Mail 26 Feb.<br />
1904<br />
Expletive deleted.<br />
Submission <strong>of</strong> Recorded Presidential Conversations to the Committee on the<br />
Judiciary <strong>of</strong> the House <strong>of</strong> Representatives by President Richard M. Nixon 30<br />
Apr. 1974, app. 1, p. 2<br />
Faster than a speeding bullet! More powerful than a locomotive! Able to<br />
leap tall buildings at a single bound! Look! Up in the sky! It's a bird!<br />
It's a plane! It's Superman! Yes, it's Superman! Strange visitor from<br />
another planet, who came to earth with powers and abilities far beyond<br />
those <strong>of</strong> mortal men. Superman! Who can change the course <strong>of</strong> mighty rivers,<br />
bend steel with his bare hands, and who--disguised as Clark Kent,<br />
mild-mannered reporter for a great metropolitan newspaper--fights a never<br />
ending battle for truth, justice and the American way!<br />
Preamble to Superman, US radio show, 1940 onwards<br />
<strong>The</strong> following is a copy <strong>of</strong> Orders issued by the German Emperor on August<br />
19th: "It is my Royal and Imperial command that you concentrate your<br />
energies for the immediate present upon one single purpose, and that is<br />
that you address all your skill and all the valour <strong>of</strong> my soldiers to<br />
exterminate first, the treacherous English, walk over General French's<br />
contemptible little army...."<br />
Annexe to B.E.F. [British Expeditionary Force] Routine Orders <strong>of</strong> 24<br />
September 1914, in Arthur Ponsonby Falsehood in Wartime (1928) ch. 10<br />
(although this is <strong>of</strong>ten attributed to Kaiser Wilhelm II, it was most<br />
probably fabricated by the British)<br />
Frankie and Albert were lovers, O Lordy, how they could love.<br />
Swore to be true to each other, true as the stars above;<br />
He was her man, but he done her wrong.
"Frankie and Albert" in John Huston Frankie and Johnny (1930) p. 95 (St<br />
Louis ballad later better known as "Frankie and Johnny")<br />
Full <strong>of</strong> Eastern promise.<br />
Advertising slogan for Fry's Turkish Delight, 1950s onwards<br />
God gave Noah the rainbow sign,<br />
No more water, the fire next time.<br />
Home in that Rock (Negro spiritual). Cf. James Baldwin 16:14<br />
God is not dead but alive and working on a much less ambitious project.<br />
Graffito quoted in Guardian 26 Nov. 1975<br />
Gotcha!<br />
Headline on the sinking <strong>of</strong> the General Belgrano, in Sun 4 May 1982<br />
Go to work on an egg.<br />
Advertising slogan for the British Egg Marketing Board, from 1957; perhaps<br />
written by Fay Weldon or Mary Gowing: see Nigel Rees Slogans (1982) p. 133<br />
<strong>The</strong> Governments <strong>of</strong> the States parties to this Constitution on behalf <strong>of</strong><br />
their peoples declare, that since wars begin in the minds <strong>of</strong> men, it is in<br />
the minds <strong>of</strong> men that the defences <strong>of</strong> peace must be constructed.<br />
Constitution <strong>of</strong> the United Nations Educational, Scientific and Cultural<br />
Organisation (1945), in UK Parliamentary Papers 1945-6 vol. 26<br />
<strong>The</strong> hands that do dishes can be s<strong>of</strong>t as your face, with mild green Fairy<br />
Liquid.<br />
Advertising slogan for Procter & Gamble's washing-up liquid<br />
Hark the herald angels sing<br />
Mrs Simpson's pinched our king.<br />
1936 children's rhyme quoted in letter from Clement Attlee, 26 Dec.<br />
1938, in Kenneth Harris Attlee (1982) ch. 11<br />
Have you heard? <strong>The</strong> Prime Minister [Lloyd George] has resigned and<br />
Northcliffe has sent for the King.<br />
1919 saying in Hamilton Fyfe Northcliffe, an Intimate Biography (1930)<br />
ch. 16<br />
Here we go, here we go, here we go.<br />
Song sung by football supporters etc., 1980s<br />
His [W. S. Gilbert's] foe was folly and his weapon wit.<br />
Inscription on memorial to Gilbert on the Victoria Embankment, London,<br />
1915<br />
I don't like the family Stein!<br />
<strong>The</strong>re is Gert, there is Ep, there is Ein.<br />
Gert's writings are punk,<br />
Ep's statues are junk,<br />
Nor can anyone understand Ein.<br />
In R. Graves and A. Hodge <strong>The</strong> Long Weekend (1940) ch. 12 (rhyme current in<br />
the USA in the 1920s)<br />
If it moves, salute it; if it doesn't move, pick it up; and if you can't<br />
pick it up, paint it.<br />
1940s saying, in Paul Dickson <strong>The</strong> Official Rules (1978) p. 21<br />
If you want to get ahead, get a hat.
Advertising slogan for the Hat Council, UK, 1965<br />
Ils ne passeront pas.<br />
<strong>The</strong>y shall not pass.<br />
Slogan used by French army at defence <strong>of</strong> Verdun in 1916 ; variously<br />
attributed to Marshal P‚tain and to General Robert Nivelle. Cf. Dolores<br />
Ibarruri 109:18<br />
I'm backing Britain.<br />
Slogan coined by workers at the Colt factory, Surbiton, Surrey and<br />
subsequently used in a national campaign, in <strong>The</strong> Times 1 Jan. 1968<br />
I'm worried about Jim.<br />
Frequent line in Mrs Dale's Diary, BBC radio series 1948-69: see Denis<br />
Gifford <strong>The</strong> Golden Age <strong>of</strong> Radio (1985) p. 179 (where the line is given as<br />
"I'm a little worried about Jim")<br />
<strong>The</strong> iron lady.<br />
In Sunday Times 25 Jan. 1976 (name given to Margaret Thatcher, then Leader<br />
<strong>of</strong> the Opposition, by the Soviet defence ministry newspaper Red Star,<br />
which accused her <strong>of</strong> trying to revive the cold war)<br />
Is your journey really necessary?<br />
1939 slogan (coined to discourage Civil Servants from going home for<br />
Christmas), in Norman Longmate How We Lived <strong>The</strong>n (1971) ch. 25<br />
It became necessary to destroy the town to save it.<br />
Comment by unidentified United States Army Major in Associated Press<br />
Report, New York Times 8 Feb. 1968 [the town referred to is Ben Tre,<br />
Vietnam]<br />
It's for you-hoo!<br />
Slogan for British Telecom television advertisements, 1985 onwards<br />
It's that man again...! At the head <strong>of</strong> a cavalcade <strong>of</strong> seven black motor<br />
cars Hitler swept out <strong>of</strong> his Berlin Chancellery last night on a mystery<br />
journey.<br />
Headline in Daily Express 2 May 1939 [the abbreviation ITMA was used as<br />
title <strong>of</strong> a BBC radio show from 19 Sept. 1939]<br />
It will play in Peoria.<br />
In New York Times 9 June 1973 (catch-phrase <strong>of</strong> the Nixon administration)<br />
Je suis Marxiste--tendance Groucho.<br />
I am a Marxist--<strong>of</strong> the Groucho tendency.<br />
Slogan used at Nanterre in Paris, 1968<br />
Just when you thought it was safe to go back in the water.<br />
Advertisement for Jaws 2 (1978 film)<br />
Kentucky Fried Chicken...."It's finger lickin' good."<br />
American Restaurant Magazine June 1958<br />
King's Moll Reno'd in Wolsey's Home Town.<br />
In Frances Donaldson Edward VIII (1974) ch. 7 (American newspaper headline<br />
referring to Mrs Simpson's divorce proceedings in Ipswich)<br />
Labour isn't working.
In Philip Kleinman <strong>The</strong> Saatchi and Saatchi Story (1987) ch. 2 (British<br />
Conservative Party slogan, 1978-9, on poster showing a long queue outside<br />
an unemployment <strong>of</strong>fice)<br />
LBJ, LBJ, how many kids have you killed today?<br />
In Jacquin Sanders <strong>The</strong> Draft and the Vietnam War (1966) ch. 3<br />
(anti-Vietnam marching slogan)<br />
Let's get out <strong>of</strong> these wet clothes and into a dry Martini.<br />
Line coined in 1920s by press agent for Robert Benchley (and <strong>of</strong>ten<br />
attributed to Benchley), in Howard Teichmann Smart Alec (1976) ch. 9. Cf.<br />
Mae West 225:10<br />
Let the train take the strain.<br />
British Rail advertising slogan, 1970 onwards<br />
Let your fingers do the walking.<br />
1960s advertisement for Bell system Telephone Directory Yellow Pages, in<br />
Harold S. Sharp Advertising Slogans <strong>of</strong> America (1984) p. 44<br />
Liberty is always unfinished business.<br />
Title <strong>of</strong> 36th Annual Report <strong>of</strong> the American Civil Liberties Union,<br />
July 1955 -30 June 1956<br />
Life is a sexually transmitted disease.<br />
In D. J. Enright (ed.) Faber Book <strong>of</strong> Fevers and Frets (1989) (graffito in<br />
the London Underground)<br />
Life's better with the Conservatives. Don't let Labour ruin it.<br />
In David Butler and Richard Rose British General Election <strong>of</strong> 1959 (1960)<br />
ch. 3 (Conservative Party election slogan)<br />
Lloyd George knows my father,<br />
My father knows Lloyd George.<br />
Comic song consisting <strong>of</strong> these two lines sung over and over again to the<br />
tune <strong>of</strong> Onward, Christian Soldiers, perhaps originally by Tommy Rhys<br />
Roberts (1910-75); sometimes with "knew" instead <strong>of</strong> "knows"<br />
Lousy but loyal.<br />
London East End slogan at George V's Jubilee (1935), in Nigel Rees Slogans<br />
(1982)<br />
Mademoiselle from Armenteers,<br />
Hasn't been kissed for forty years,<br />
Hinky, dinky, parley-voo.<br />
Song <strong>of</strong> World War I, variously ascribed to Edward Rowland and Harry<br />
Carlton<br />
Make do and mend.<br />
Wartime slogan, 1940s<br />
Make love not war.<br />
Student slogan, 1960s<br />
<strong>The</strong> man from Del Monte says "Yes."<br />
Advertising slogan for tinned fruit, 1985<br />
<strong>The</strong> man you love to hate.<br />
Billing for Erich von Stroheim in the film <strong>The</strong> Heart <strong>of</strong> Humanity (1918),<br />
in Peter Noble Hollywood Scapegoat (1950) ch. 2
Mother may I go and bathe?<br />
Yes, my darling daughter.<br />
Hang your clothes on yonder tree,<br />
But don't go near the water.<br />
In Iona and Peter Opie <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> Nursery Rhymes (1951) p. 314.<br />
Cf. Walter de la Mare 66:20<br />
<strong>The</strong> nearest thing to death in life<br />
Is David Patrick Maxwell Fyfe,<br />
Though underneath that gloomy shell<br />
He does himself extremely well.<br />
In E. Grierson Confessions <strong>of</strong> a Country Magistrate (1972) p. 35 (rhyme<br />
about Sir David Maxwell Fyfe, said to have been current on the Northern<br />
circuit in the late 1930s)<br />
Nil carborundum illegitimi.<br />
Mock-Latin proverb translated as "Don't let the bastards grind you down";<br />
<strong>of</strong>ten simply "nil carborundum" or "illegitimi non carborundum"<br />
No manager ever got fired for buying IBM.<br />
IBM advertising slogan<br />
Nice one, Cyril.<br />
1972 television advertising campaign for Wonderloaf; taken up by<br />
supporters <strong>of</strong> Cyril Knowles, Tottenham Hotspur footballer; the Spurs team<br />
later made a record featuring the line<br />
No more Latin, no more French,<br />
No more sitting on a hard board bench.<br />
Rhyme used by children at the end <strong>of</strong> school term: see Iona and Peter Opie<br />
Lore and Language <strong>of</strong> Schoolchildren (1959) ch. 13; also found with<br />
variants such as: No more Latin, no more Greek, No more cares to make me<br />
squeak<br />
Nostalgia isn't what it used to be.<br />
Graffito, used as title <strong>of</strong> book by Simone Signoret<br />
Not so much a programme, more a way <strong>of</strong> life!<br />
Title <strong>of</strong> BBC television series, 1964<br />
O Death, where is thy sting-a-ling-a-ling,<br />
O grave, thy victory?<br />
<strong>The</strong> bells <strong>of</strong> Hell go ting-a-ling-a-ling<br />
For you but not for me.<br />
For You But Not For Me (song <strong>of</strong> World War I) in S. Louis Guiraud (ed.)<br />
Songs That Won the War (1930). Cf. Corinthians 15:55<br />
Once again we stop the mighty roar <strong>of</strong> London's traffic and from the great<br />
crowds we bring you some <strong>of</strong> the interesting people who have come by land,<br />
sea and air to be in town tonight.<br />
In Town Tonight (BBC radio series, 1933-60) introductory words<br />
Power to the people.<br />
Slogan <strong>of</strong> the Black Panther movement, circa 1968 onwards, in Black Panther<br />
14 Sept. 1968<br />
Puella Rigensis ridebat<br />
Quam tigris in tergo vehebat;<br />
Externa pr<strong>of</strong>ecta,
Interna revecta,<br />
Risusque cum tigre manebat.<br />
<strong>The</strong>re was a young lady <strong>of</strong> Riga<br />
Who went for a ride on a tiger;<br />
<strong>The</strong>y returned from the ride<br />
With the lady inside,<br />
And a smile on the face <strong>of</strong> the tiger.<br />
In R. L. Green (ed.) A Century <strong>of</strong> Humorous Verse (1959) p. 285<br />
<strong>The</strong> [or A] quick brown fox jumps over the lazy dog.<br />
Sentence used by typists etc. to ensure that all letters <strong>of</strong> the alphabet<br />
are printing properly: see R. Hunter Middleton's introduction to <strong>The</strong> Quick<br />
Brown Fox (1945) by Richard H. Templeton Jr.<br />
<strong>The</strong> rabbit has a charming face:<br />
Its private life is a disgrace.<br />
I really dare not name to you<br />
<strong>The</strong> awful things that rabbits do.<br />
<strong>The</strong> Rabbit, in <strong>The</strong> Week-End Book (1925) p. 171<br />
See the happy moron,<br />
He doesn't give a damn,<br />
I wish I were a moron,<br />
My God! perhaps I am!<br />
Eugenics Review July 1929<br />
She was poor but she was honest<br />
Victim <strong>of</strong> a rich man's game.<br />
First he loved her, than he left her,<br />
And she lost her maiden name. save<br />
See her on the bridge at midnight,<br />
Saying "Farewell, blighted love."<br />
<strong>The</strong>n a scream, a splash and goodness,<br />
What is she a-doin' <strong>of</strong>?<br />
It's the same the whole world over,<br />
It's the poor wot gets the blame,<br />
It's the rich wot gets the gravy.<br />
Ain't it all a bleedin shame?<br />
She was Poor but she was Honest (song sung by British soldiers in World<br />
War I)<br />
Shome mishtake, shurely?<br />
Catch-phrase in Private Eye magazine, 1980s<br />
Snap! Crackle! Pop!<br />
Slogan for Kellogg's Rice Krispies, from circa 1928<br />
So farewell then....<br />
Frequent opening <strong>of</strong> poems by "E. J. Thribb" in Private Eye magazine, 1970s<br />
onwards, usually as an obituary<br />
Some television programmes are so much chewing gum for the eyes.<br />
John Mason Brown, quoting a friend <strong>of</strong> his young son, in interview 28 July<br />
1955, in James Beasley Simpson Best Quotes <strong>of</strong> '50, '55, '56 (1957) p. 233<br />
Sticks nix hick pix.<br />
Variety 17 July 1935 (headline on lack <strong>of</strong> interest for farm dramas in<br />
rural areas)
Stop-look-and-listen.<br />
Safety slogan current in the US from 1912<br />
Take me to your leader.<br />
Catch-phrase from science-fiction stories<br />
Tell Sid.<br />
Advertising slogan for the privatization <strong>of</strong> British Gas, 1986, in Philip<br />
Kleinman <strong>The</strong> Saatchi and Saatchi Story (1987) ch. 11<br />
<strong>The</strong>re is one thing stronger than all the armies in the world; and that is<br />
an idea whose time has come.<br />
Nation 15 Apr. 1943. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 267:11<br />
<strong>The</strong>re is so much good in the worst <strong>of</strong> us,<br />
And so much bad in the best <strong>of</strong> us,<br />
That it hardly becomes [or saveoves] any <strong>of</strong> us<br />
To talk about the rest <strong>of</strong> us.<br />
Attributed to many authors, especially Edward Wallis Hoch (1849-1945)<br />
because printed in the Marion Record (Kansas) which he owned, but<br />
disclaimed by him<br />
<strong>The</strong>re was a faith-healer <strong>of</strong> Deal<br />
Who said, "Although pain isn't real,<br />
If I sit on a pin<br />
And it punctures my skin,<br />
I dislike what I fancy I feel."<br />
<strong>The</strong> Week-End Book (1925) p. 158<br />
<strong>The</strong>y [Jacob Epstein's sculptures for the former BMA building in the<br />
Strand] are a form <strong>of</strong> statuary which no careful father would wish his<br />
daughter, or no discerning young man his fianc‚e, to see.<br />
Evening Standard 19 June 1908<br />
<strong>The</strong>y come as a boon and a blessing to men,<br />
<strong>The</strong> Pickwick, the Owl, and the Waverley pen.<br />
Advertisement by MacNiven and H. Cameron Ltd., circa 1920<br />
[This film] is so cryptic as to be almost meaningless. If there is a<br />
meaning, it is doubtless objectionable.<br />
<strong>The</strong> British Board <strong>of</strong> Film Censors, banning Jean Cocteau's film <strong>The</strong><br />
Seashell and the Clergyman (1929), in J. C. Robertson Hidden Cinema (1989)<br />
ch. 1<br />
Though I yield to no one in my admiration for Mr Coolidge, I do wish he<br />
did not look as if he had been weaned on a pickle.<br />
Anonymous remark reported in Alice Roosevelt Longworth Crowded Hours<br />
(1933) ch. 21<br />
To err is human but to really foul things up requires a computer.<br />
Farmers' Almanac for 1978 (1977) "Capsules <strong>of</strong> Wisdom"<br />
Top people take <strong>The</strong> Times.<br />
Advertising slogan for <strong>The</strong> Times newspaper from Jan. 1959: see I.<br />
McDonald History <strong>of</strong> <strong>The</strong> Times (1984) vol. 5, ch. 16<br />
Tous les ˆtres humains naissent libres et ‚gaux en dignit‚ et en droits.<br />
All human beings are born free and equal in dignity and rights.
Universal Declaration <strong>of</strong> Human Rights (1948) Article 1 (modified from a<br />
draft by Ren‚ Cassin)<br />
Ulster says no.<br />
Slogan coined in response to the Anglo-Irish Agreement <strong>of</strong> 15 Nov. 1985,<br />
in Irish Times 25 Nov. 1985<br />
Vorsprung durch Technik.<br />
Progress through technology.<br />
Advertising slogan for Audi cars, from 1986<br />
Vote early. Vote <strong>of</strong>ten.<br />
Chicago (and Irish) election proverb, in David Frost and Michael Shea<br />
Mid-Atlantic Companion (1986) p. 95<br />
Wall St. lays an egg.<br />
Variety 30 Oct. 1929 (headline on the Wall Street Crash)<br />
War will cease when men refuse to fight.<br />
Pacifist slogan, from circa 1936 (<strong>of</strong>ten "Wars will cease..."): see<br />
Birmingham Gazette 21 Nov. 1936, p. 3, and Peace News 15 Oct. 1938, p. 12<br />
We are the Ovaltineys,<br />
Little [or Happy] girls and boys.<br />
We are the Ovaltineys (song promoting the drink Ovaltine, from circa<br />
1935)<br />
<strong>The</strong> weekend starts here.<br />
Catch-phrase <strong>of</strong> Ready, Steady, Go, British television series, circa 1963<br />
We're number two. We try harder.<br />
Advertising slogan for Avis car rentals<br />
We're here<br />
Because<br />
We're here<br />
Because<br />
We're here<br />
Because we're here.<br />
In John Brophy and Eric Partridge Songs and Slang <strong>of</strong> the British Soldier<br />
1914-18 (1930) p. 33 (sung to the tune <strong>of</strong> Auld Lang Syne )<br />
We shall not be moved.<br />
Title <strong>of</strong> song (1931)<br />
We shall not pretend that there is nothing in his long career which those<br />
who respect and admire him would wish otherwise.<br />
<strong>The</strong> Times 23 Jan. 1901 (leading article on the accession <strong>of</strong> Edward VII)<br />
We shall overcome,<br />
We shall overcome,<br />
We shall overcome some day.<br />
Oh, deep in my heart<br />
I do believe<br />
We shall overcome some day.<br />
We Shall Overcome (song derived from several sources, notably the singers<br />
Zilphia Horton and Pete Seeger)<br />
Who dares wins.
Motto on badge <strong>of</strong> British Special Air Service regiment, from 1942 (see J.<br />
L. Collins Elite Forces: the SAS (1986) introduction)<br />
Whose finger do you want on the trigger?<br />
Daily Mirror 21 Sept. 1951<br />
Winston is back.<br />
Board <strong>of</strong> Admiralty signal to the Fleet on Winston Churchill's<br />
reappointment as First Sea Lord, 3 Sept. 1939, in Martin Gilbert Winston<br />
S. Churchill (1976) vol. 5, ch. 53<br />
Would you like to sin<br />
With Elinor Glyn<br />
On a tiger skin?<br />
Or would you prefer<br />
To err<br />
With her<br />
On some other fur?<br />
In A. Glyn Elinor Glyn (1955) bk. 2<br />
1.44 Jean Anouilh<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1987<br />
Dieu est avec tout le monde....Et, en fin de compte, il est toujours avec<br />
ceux qui ont beaucoup d'argent et de grosses arm‚es.<br />
God is on everyone's side....And, in the last analysis, he is on the side<br />
with plenty <strong>of</strong> money and large armies.<br />
L'Alouette (<strong>The</strong> Lark, 1953) p. 120<br />
Il y a l'amour bien s–r. Et puis il y a la vie, son ennemie.<br />
<strong>The</strong>re is love <strong>of</strong> course. And then there's life, its enemy.<br />
ArdŠle(1949) p. 8<br />
Vous savez bien que l'amour, c'est avant tout le don de soi!<br />
You know very well that love is, above all, the gift <strong>of</strong> oneself!<br />
ArdŠle(1949) p. 79<br />
C'est trŠs jolie la vie, mais cela n'a pas de forme. L'art a pour objet de<br />
lui en donner une pr‚cis‚ment et de faire par tous les artifices<br />
possibles--plus vrai que le vrai.<br />
Life is very nice, but it has no shape. <strong>The</strong> object <strong>of</strong> art is actually to<br />
give it some and to do it by every artifice possible--truer than the<br />
truth.<br />
La R‚p‚tition (<strong>The</strong> Rehearsal, 1950) act 2<br />
1.45 Guillaume Apollinaire<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1918<br />
Sous le pont Mirabeau coule la Seine.<br />
Et nos amours, faut-il qu'il m'en souvienne?<br />
La joie venait toujours aprŠs la peine.<br />
Vienne la nuit, sonne l'heure,
Les jours s'en vont, je demeure.<br />
Under Mirabeau Bridge flows the Seine.<br />
And our loves, must I remember them?<br />
Joy always comes after pain.<br />
Let night come, ring out the hour,<br />
<strong>The</strong> days go by, I remain.<br />
Les Soir‚es de Paris Feb. 1912 "Le Pont Mirabeau"<br />
Les souvenirs sont cors de chasse<br />
Dont meurt le bruit parmi le vent.<br />
Memories are hunting horns<br />
Whose sound dies on the wind.<br />
Les Soir‚es de Paris Sept. 1912 "Cors de Chasse"<br />
1.46 Sir Edward Appleton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1965<br />
I do not mind what language an opera is sung in so long as it is a<br />
language I don't understand.<br />
In Observer 28 Aug. 1955<br />
1.47 Louis Aragon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1982<br />
O mois des floraisons mois des m‚tamorphoses<br />
Mai qui fut sans nuage et Juin poignard‚<br />
Je n'oublierai jamais les lilas ni les roses<br />
Ni ceux que le printemps dans ses plis a gard‚.<br />
O month <strong>of</strong> flowerings, month <strong>of</strong> metamorphoses,<br />
May without cloud and June that was stabbed,<br />
I shall never forget the lilac and the roses<br />
Nor those whom spring has kept in its folds.<br />
Le CrŠve-C”ur(Heartbreak, 1940) "Les lilas et les roses"<br />
1.48 Hannah Arendt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1975<br />
Under conditions <strong>of</strong> tyranny it is far easier to act than to think.<br />
In W. H. Auden A Certain World (1970) p. 369<br />
It was as though in those last minutes he [Eichmann] was summing up the<br />
lessons that this long course in human wickedness had taught us--the<br />
lesson <strong>of</strong> the fearsome, word-and-thought-defying banality <strong>of</strong> evil.<br />
Eichmann in Jerusalem: a Report on the Banality <strong>of</strong> Evil (1963) ch. 15<br />
It is well known that the most radical revolutionary will become a<br />
conservative on the day after the revolution.<br />
New Yorker 12 Sept. 1970, p. 88<br />
1.49 G. D. Armour<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1864-1949<br />
Look here, Steward, if this is c<strong>of</strong>fee, I want tea; but if this is tea,<br />
then I wish for c<strong>of</strong>fee.<br />
Punch 23 July 1902 (cartoon caption)<br />
1.50 Harry Armstrong<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1951<br />
<strong>The</strong>re's an old mill by the stream, Nellie Dean,<br />
Where we used to sit and dream, Nellie Dean.<br />
And the waters as they flow<br />
Seem to murmur sweet and low,<br />
"You're my heart's desire; I love you, Nellie Dean."<br />
Nellie Dean (1905 song)<br />
1.51 Louis Armstrong<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1971<br />
All music is folk music, I ain't never heard no horse sing a song.<br />
In New York Times 7 July 1971, p. 41<br />
If you still have to ask...shame on you.<br />
Habitual reply when asked what jazz is, in Max Jones et al. Salute to<br />
Satchmo (1970) p. 25<br />
1.52 Neil Armstrong<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
That's one small step for a man, one giant leap for mankind.<br />
In New York Times 31 July 1969, p. 20<br />
1.53 Sir Robert Armstrong<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-<br />
It [a letter] contains a misleading impression, not a lie. It was being<br />
economical with the truth.<br />
In Supreme Court, New South Wales, 18 Nov. 1986, in Daily Telegraph 19<br />
Nov. 1986. Cf. Edmund Burke's Two letters on Proposals for Peace (1796)<br />
pt. 1, p. 137: Falsehood and delusion are allowed in no case whatsoever:<br />
But, as in the exercise <strong>of</strong> all the virtues, there is an economy <strong>of</strong> truth.<br />
1.54 Raymond Aron<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
La pens‚e politique, en France, est r‚trospective ou utopique.<br />
Political thought, in France, is retrospective or utopian.<br />
L'opium des intellectuels (<strong>The</strong> opium <strong>of</strong> the intellectuals, 1955) ch. 1
1.55 George Asaf<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1951<br />
What's the use <strong>of</strong> worrying?<br />
It never was worth while,<br />
So, pack up your troubles in your old kit-bag,<br />
And smile, smile, smile.<br />
Pack up your Troubles (1915 song; music by Felix Powell)<br />
1.56 Dame Peggy Ashcr<strong>of</strong>t<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
It seems silly that more people should see me in "Jewel in the Crown" than<br />
in all my years in the theatre.<br />
In Observer 18 Mar. 1984<br />
1.57 Daisy Ashford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1972<br />
Mr Salteena was an elderly man <strong>of</strong> 42 and was fond <strong>of</strong> asking peaple to stay<br />
with him.<br />
Young Visiters (1919) ch. 1<br />
I do hope I shall enjoy myself with you. I am fond <strong>of</strong> digging in the<br />
garden and I am parshial to ladies if they are nice I suppose it is my<br />
nature. I am not quite a gentleman but you would hardly notice it but<br />
can't be helped anyhow.<br />
Young Visiters (1919) ch. 1<br />
You look rather rash my dear your colors dont quite match your face.<br />
Young Visiters (1919) ch. 2<br />
My own room is next the bath room said Bernard it is decerated dark red as<br />
I have somber tastes. <strong>The</strong> bath room has got a tip up bason and a hose<br />
thing for washing your head.<br />
Young Visiters (1919) ch. 2<br />
Bernard always had a few prayers in the hall and some whiskey afterwards<br />
as he was rarther pious but Mr Salteena was not very addicted to prayers<br />
so he marched up to bed.<br />
Young Visiters (1919) ch. 3<br />
It was a sumpshous spot all done up in gold with plenty <strong>of</strong> looking<br />
glasses.<br />
Young Visiters (1919) ch. 5<br />
Oh I see said the Earl but my own idear is that these things are as piffle<br />
before the wind.<br />
Young Visiters (1919) ch. 5<br />
<strong>The</strong> bearer <strong>of</strong> this letter is an old friend <strong>of</strong> mine not quite the right<br />
side <strong>of</strong> the blanket as they say in fact he is the son <strong>of</strong> a first rate<br />
butcher but his mother was a decent family called Hyssopps <strong>of</strong> the Glen so
you see he is not so bad and is desireus <strong>of</strong> being the correct article.<br />
Young Visiters (1919) ch. 5<br />
Ethel patted her hair and looked very sneery.<br />
Young Visiters (1919) ch. 8<br />
My life will be sour grapes and ashes without you.<br />
Young Visiters (1919) ch. 8<br />
Oh Bernard muttered Ethel this is so sudden. No no cried Bernard and<br />
taking the bull by both horns he kissed her violently on her dainty face.<br />
My bride to be he murmered several times.<br />
Young Visiters (1919) ch. 9<br />
1.58 Isaac Asimov<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
<strong>The</strong> three fundamental Rules <strong>of</strong> Robotics....One, a robot may not injure a<br />
human being, or, through inaction, allow a human being to come to<br />
harm....Two...a robot must obey the orders given it by human beings except<br />
where such orders would conflict with the First Law...three, a robot must<br />
protect its own existence as long as such protection does not conflict<br />
with the First or Second Laws.<br />
I, Robot (1950) "Runaround"<br />
1.59 Elizabeth Asquith (Princess Antoine Bibesco)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1945<br />
Kitchener is a great poster.<br />
In Margot Asquith More Memories (1933) ch. 6<br />
1.60 Herbert Henry Asquith (Earl <strong>of</strong> <strong>Oxford</strong> and Asquith)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1852-1928<br />
We had better wait and see.<br />
Hansard 3 Mar. 1910, col. 972 (expression used in various forms when<br />
answering questions on the Finance Bill)<br />
Happily there seems to be no reason why we should be anything more than<br />
spectators [<strong>of</strong> the approaching war].<br />
Letters to Venetia Stanley (1982) 24 July 1914<br />
Youth would be an ideal state if it came a little later in life.<br />
In Observer 15 Apr. 1923<br />
[<strong>The</strong> War Office kept three sets <strong>of</strong> figures:] one to mislead the public,<br />
another to mislead the Cabinet, and the third to mislead itself.<br />
In Alistair Horne Price <strong>of</strong> Glory (1962) ch. 2<br />
We shall never sheath the sword which we have not lightly drawn until<br />
Belgium recovers in full measure all and more than all that she has<br />
sacrificed, until France is adequately secured against the menace <strong>of</strong><br />
aggression, until the rights <strong>of</strong> the smaller nationalities <strong>of</strong> Europe are<br />
placed upon an unassailable foundation, and until the military domination
<strong>of</strong> Prussia is wholly and finally destroyed.<br />
Speech at the Guildhall, 9 Nov. 1914, in <strong>The</strong> Times 10 Nov. 1914<br />
It is fitting that we should have buried the Unknown Prime Minister [Bonar<br />
Law] by the side <strong>of</strong> the Unknown Soldier.<br />
In Robert Blake <strong>The</strong> Unknown Prime Minister (1955) p. 531<br />
1.61 Margot Asquith (Countess <strong>of</strong> <strong>Oxford</strong> and Asquith)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1945<br />
It [10 Downing Street] is an inconvenient house with three poor<br />
staircases, and after living there a few weeks I made up my mind that<br />
owing to the impossibility <strong>of</strong> circulation I could only entertain my<br />
Liberal friends at dinner or at garden parties.<br />
Autobiography (1922) vol. 2, ch. 5<br />
Ettie [Lady Desborough] is an ox: she will be made into Bovril when she<br />
dies.<br />
In Jeanne Mackenzie Children <strong>of</strong> the Souls (1986) ch. 4<br />
Jean Harlow kept calling Margot Asquith by her first name, or kept trying<br />
to: she pronounced it Margot. Finally Margot set her right. "No, no,<br />
Jean. <strong>The</strong> t is silent, as in Harlow."<br />
T. S. Matthews Great Tom (1973) ch. 7<br />
<strong>The</strong> King [George V] told me he would never have died if it had not been<br />
for that fool Dawson <strong>of</strong> Penn.<br />
In letter from Mark Bonham Carter to Kenneth Rose 23 Oct. 1978, quoted in<br />
Kenneth Rose King George V (1983) ch. 9<br />
Lord Birkenhead is very clever but sometimes his brains go to his head.<br />
In Listener 11 June 1953 "Margot <strong>Oxford</strong>: a Personal Impression" by Lady<br />
Violet Bonham Carter<br />
She [Lady Desborough] tells enough white lies to ice a wedding cake.<br />
In Listener 11 June 1953 "Margot <strong>Oxford</strong>: a Personal Impression" by Lady<br />
Violet Bonham Carter<br />
He [Lloyd George?] can't see a belt without hitting below it.<br />
In Listener 11 June 1953 "Margot <strong>Oxford</strong>: a Personal Impression" by Lady<br />
Violet Bonham Carter<br />
1.62 Raymond Asquith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1916<br />
<strong>The</strong> sun like a Bishop's bottom<br />
Rosy and round and hot<br />
Looked down upon us who shot 'em<br />
And down on the devils we shot.<br />
And the stink <strong>of</strong> the damned dead niggers<br />
Went up to the Lord high God<br />
But we stuck to our starboard triggers<br />
Though we yawned like dying cod.<br />
Letter, 4 Mar. 1900, in J. Jolliffe Raymond Asquith Life and Letters<br />
(1980) p. 64
1.63 Nancy Astor (Viscountess Astor)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1964<br />
One reason why I don't drink is because I wish to know when I am having a<br />
good time.<br />
In Christian Herald June 1960, p. 31<br />
I married beneath me, all women do.<br />
In <strong>Dictionary</strong> <strong>of</strong> National Biography 1961-1970 (1981) p. 43<br />
After a heated argument on some trivial matter Nancy...shouted, "If I were<br />
your wife I would put poison in your c<strong>of</strong>fee!" Whereupon Winston<br />
[Churchill] with equal heat and sincerity answered, "And if I were your<br />
husband I would drink it."<br />
Consuelo Vanderbilt Balsan Glitter and Gold (1952) ch. 7<br />
Jakie, is it my birthday or am I dying?<br />
In J. Grigg Nancy Astor (1980) p. 184<br />
1.64 Brooks Atkinson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1984<br />
After each war there is a little less democracy to save.<br />
Once Around the Sun (1951) 7 Jan.<br />
In every age "the good old days" were a myth. No one ever thought they<br />
were good at the time. For every age has consisted <strong>of</strong> crises that seemed<br />
intolerable to the people who lived through them.<br />
Once Around the Sun (1951) 8 Feb.<br />
<strong>The</strong>re is a good deal <strong>of</strong> solemn cant about the common interests <strong>of</strong> capital<br />
and labour. As matters stand, their only common interest is that <strong>of</strong><br />
cutting each other's throat.<br />
Once Around the Sun (1951) 7 Sept.<br />
1.65 E. L. Atkinson and Apsley Cherry-Garrard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
E. L. Atkinson 1882-1929<br />
Apsley Cherry-Garrard 1882-1959<br />
Hereabouts died a very gallant gentleman, Captain L. E. G. Oates <strong>of</strong> the<br />
Inniskilling Dragoons. In March 1912, returning from the Pole, he walked<br />
willingly to his death in a blizzard to try and save his comrades, beset<br />
by hardships.<br />
Epitaph on cairn erected in the Antarctic, 15 Nov. 1912, in Apsley<br />
Cherry-Garrard Worst Journey in the World (1922) p. 487<br />
1.66 Clement Attlee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1967<br />
Few thought he was even a starter<br />
<strong>The</strong>re were many who thought themselves smarter
But he ended PM<br />
CH and OM<br />
An earl and a knight <strong>of</strong> the garter.<br />
Letter to Tom Attlee, 8 Apr. 1956, in Kenneth Harris Attlee (1982) p. 545<br />
(describing himself)<br />
I should be a sad subject for any publicity expert. I have none <strong>of</strong> the<br />
qualities which create publicity.<br />
In Harold Nicolson Diary (1968) 14 Jan. 1949<br />
I think the British have the distinction above all other nations <strong>of</strong> being<br />
able to put new wine into old bottles without bursting them.<br />
Hansard 24 Oct. 1950, col. 2705<br />
<strong>The</strong> voice we heard was that <strong>of</strong> Mr Churchill but the mind was that <strong>of</strong> Lord<br />
Beaverbrook.<br />
Speech on radio, 5 June 1945, in Francis Williams Prime Minister Remembers<br />
(1961) ch. 6<br />
I remember he [Winston Churchill] complained once in Opposition that a<br />
matter had been brought up several times in Cabinet and I had to say, "I<br />
must remind the Right Honourable Gentleman that a monologue is not a<br />
decision."<br />
In Francis Williams Prime Minister Remembers (1961) ch. 7<br />
You have no right whatever to speak on behalf <strong>of</strong> the Government. Foreign<br />
Affairs are in the capable hands <strong>of</strong> Ernest Bevin. I can assure you there<br />
is widespread resentment in the Party at your activities and a period <strong>of</strong><br />
silence on your part would be welcome.<br />
Letter to Harold Laski, 20 Aug. 1945, in Francis Williams Prime Minister<br />
Remembers (1961) ch. 11<br />
[Russian Communism is] the illegitimate child <strong>of</strong> Karl Marx and Catherine<br />
the Great.<br />
Speech at Aarhus University, 11 Apr. 1956, in <strong>The</strong> Times 12 Apr. 1956<br />
Democracy means government by discussion, but it is only effective if you<br />
can stop people talking.<br />
Speech at <strong>Oxford</strong>, 14 June 1957, in <strong>The</strong> Times 15 June 1957<br />
1.67 W. H. Auden<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1973<br />
Some thirty inches from my nose<br />
<strong>The</strong> frontier <strong>of</strong> my Person goes,<br />
And all the untilled air between<br />
Is private pagus or demesne.<br />
Stranger, unless with bedroom eyes<br />
I beckon you to fraternize,<br />
Beware <strong>of</strong> rudely crossing it:<br />
I have no gun, but I can spit.<br />
About the House (1966) "Prologue: the Birth <strong>of</strong> Architecture"<br />
Sob, heavy world,<br />
Sob as you spin<br />
Mantled in mist, remote from the happy.<br />
Age <strong>of</strong> Anxiety (1947) p. 104
I'll love you, dear, I'll love you<br />
Till China and Africa meet<br />
And the river jumps over the mountain<br />
And the salmon sing in the street.<br />
I'll love you till the ocean<br />
Is folded and hung up to dry<br />
And the seven stars go squawking<br />
Like geese about the sky.<br />
Another Time (1940) "As I Walked Out One Evening"<br />
O plunge your hands in water,<br />
Plunge them in up to the wrist;<br />
Stare, stare in the basin<br />
And wonder what you've missed.<br />
<strong>The</strong> glacier knocks in the cupboard,<br />
<strong>The</strong> desert sighs in the bed,<br />
And the crack in the tea-cup opens<br />
A lane to the land <strong>of</strong> the dead.<br />
Another Time (1940) "As I Walked Out One Evening"<br />
Perfection, <strong>of</strong> a kind, was what he was after,<br />
And the poetry he invented was easy to understand;<br />
He knew human folly like the back <strong>of</strong> his hand,<br />
And was greatly interested in armies and fleets;<br />
When he laughed, respectable senators burst with laughter,<br />
And when he cried the little children died in the streets.<br />
Another Time (1940) "Epitaph on a Tyrant"<br />
To us he is no more a person<br />
Now but a whole climate <strong>of</strong> opinion.<br />
Another Time (1940) "In Memory <strong>of</strong> Sigmund Freud"<br />
He disappeared in the dead <strong>of</strong> winter:<br />
<strong>The</strong> brooks were frozen, the airports almost deserted,<br />
And snow disfigured the public statues;<br />
<strong>The</strong> mercury sank in the mouth <strong>of</strong> the dying day.<br />
What instruments we have agree<br />
<strong>The</strong> day <strong>of</strong> his death was a dark cold day.<br />
Another Time (1940) "In Memory <strong>of</strong> W. B. Yeats"<br />
You were silly like us: your gift survived it all;<br />
<strong>The</strong> parish <strong>of</strong> rich women, physical decay,<br />
Yourself; mad Ireland hurt you into poetry.<br />
Now Ireland has her madness and her weather still,<br />
For poetry makes nothing happen: it survives<br />
In the valley <strong>of</strong> its saying where executives<br />
Would never want to tamper; it flows south<br />
From ranches <strong>of</strong> isolation and the busy griefs,<br />
Raw towns that we believe and die in; it survives,<br />
A way <strong>of</strong> happening, a mouth.<br />
Another Time (1940) "In Memory <strong>of</strong> W. B. Yeats"<br />
Earth, receive an honoured guest;<br />
William Yeats is laid to rest:<br />
Let the Irish vessel lie<br />
Emptied <strong>of</strong> its poetry.<br />
Another Time (1940) "In Memory <strong>of</strong> W. B. Yeats"
In the nightmare <strong>of</strong> the dark<br />
All the dogs <strong>of</strong> Europe bark,<br />
And the living nations wait,<br />
Each sequestered in its hate;<br />
Intellectual disgrace<br />
Stares from every human face,<br />
And the seas <strong>of</strong> pity lie<br />
Locked and frozen in each eye.<br />
Another Time (1940) "In Memory <strong>of</strong> W. B. Yeats"<br />
In the deserts <strong>of</strong> the heart<br />
Let the healing fountain start,<br />
In the prison <strong>of</strong> his days<br />
Teach the free man how to praise.<br />
Another Time (1940) "In Memory <strong>of</strong> W. B. Yeats"<br />
About suffering they were never wrong,<br />
<strong>The</strong> Old Masters: how well they understood<br />
Its human position; how it takes place<br />
While someone else is eating or opening a window or just walking dully<br />
along.<br />
Another Time (1940) "Mus‚e des Beaux Arts"<br />
<strong>The</strong>y never forgot<br />
That even the dreadful martyrdom must run its course<br />
Anyhow in a corner, some untidy spot<br />
Where the dogs go on with their doggy life and the torturer's horse<br />
Scratches its innocent behind on a tree.<br />
Another Time (1940) "Mus‚e des Beaux Arts"<br />
Lay your sleeping head, my love,<br />
Human on my faithless arm;<br />
Time and fevers burn away<br />
Individual beauty from<br />
Thoughtful children, and the grave<br />
Proves the child ephemeral:<br />
But in my arms till break <strong>of</strong> day<br />
Let the living creature lie,<br />
Mortal, guilty, but to me<br />
<strong>The</strong> entirely beautiful.<br />
Another Time (1940) no. 18, p. 43<br />
I and the public know<br />
What all schoolchildren learn,<br />
Those to whom evil is done<br />
Do evil in return.<br />
Another Time (1940) "September 1, 1939"<br />
All I have is a voice<br />
To undo the folded lie,<br />
<strong>The</strong> romantic lie in the brain<br />
Of the sensual man-in-the-street<br />
And the lie <strong>of</strong> Authority<br />
Whose buildings grope the sky:<br />
<strong>The</strong>re is no such thing as the State<br />
And no one exists alone;<br />
Hunger allows no choice<br />
To the citizen or the police;<br />
We must love one another or die.
Another Time (1940) "September 1, 1939"<br />
Our researchers into Public Opinion are content<br />
That he held the proper opinions for the time <strong>of</strong> year;<br />
When there was peace, he was for peace; when there was war, he went.<br />
Another Time (1940) "<strong>The</strong> Unknown Citizen"<br />
Was he free? Was he happy? <strong>The</strong> question is absurd:<br />
Had anything been wrong, we should certainly have heard.<br />
Another Time (1940) "<strong>The</strong> Unknown Citizen"<br />
All sin tends to be addictive, and the terminal point <strong>of</strong> addiction is what<br />
is called damnation.<br />
A Certain World (1970) "Hell"<br />
Of course, Behaviourism "works." So does torture. Give me a no-nonsense,<br />
down-to-earth behaviourist, a few drugs, and simple electrical appliances,<br />
and in six months I will have him reciting the Athanasian Creed in public.<br />
A Certain World (1970) "Behaviourism"<br />
A poet's hope: to be,<br />
like some valley cheese,<br />
local, but prized elsewhere.<br />
Collected Poems (1976) p. 639<br />
It is a sad fact about our culture that a poet can earn much more money<br />
writing or talking about his art than he can by practising it.<br />
Dyer's Hand (1963) foreword<br />
Between the ages <strong>of</strong> twenty and forty we are engaged in the process <strong>of</strong><br />
discovering who we are, which involves learning the difference between<br />
accidental limitations which it is our duty to outgrow and the necessary<br />
limitations <strong>of</strong> our nature beyond which we cannot trespass with impunity.<br />
Dyer's Hand (1963) "Reading"<br />
Some books are undeservedly forgotten; none are undeservedly remembered.<br />
Dyer's Hand (1963) "Reading"<br />
One cannot review a bad book without showing <strong>of</strong>f.<br />
Dyer's Hand (1963) "Reading"<br />
No poet or novelist wishes he were the only one who ever lived, but most<br />
<strong>of</strong> them wish they were the only one alive, and quite a number fondly<br />
believe their wish has been granted.<br />
Dyer's Hand (1963) "Writing"<br />
It takes little talent to see clearly what lies under one's nose, a good<br />
deal <strong>of</strong> it to know in which direction to point that organ.<br />
Dyer's Hand (1963) "Writing"<br />
<strong>The</strong> true men <strong>of</strong> action in our time, those who transform the world, are not<br />
the politicians and statesmen, but the scientists. Unfortunately poetry<br />
cannot celebrate them, because their deeds are concerned with things, not<br />
persons, and are, therefore, speechless. When I find myself in the company<br />
<strong>of</strong> scientists, I feel like a shabby curate who has strayed by mistake into<br />
a drawing room full <strong>of</strong> dukes.<br />
Dyer's Hand (1963) "<strong>The</strong> Poet and the City"<br />
<strong>The</strong> image <strong>of</strong> myself which I try to create in my own mind in order that may<br />
love myself is very different from the image which I try to create in the
minds <strong>of</strong> others in order that they may love me.<br />
Dyer's Hand (1963) "Hic et Ille"<br />
Almost all <strong>of</strong> our relationships begin and most <strong>of</strong> them continue as forms<br />
<strong>of</strong> mutual exploitation, a mental or physical barter, to be terminated when<br />
one or both parties run out <strong>of</strong> goods.<br />
Dyer's Hand (1963) "Hic et Ille"<br />
Man is a history-making creature who can neither repeat his past nor leave<br />
it behind.<br />
Dyer's Hand (1963) "D. H. Lawrence"<br />
Among those whom I like or admire, I can find no common denominator, but<br />
among those whom I love, I can: all <strong>of</strong> them make me laugh.<br />
Dyer's Hand (1963) "Notes on the Comic"<br />
At Dirty Dick's and Sloppy Joe's<br />
We drank our liquor straight,<br />
Some went upstairs with Margery,<br />
And some, alas, with Kate.<br />
For the Time Being (1944) "<strong>The</strong> Sea and the Mirror"--"Master and<br />
Boatswain"<br />
My Dear One is mine as mirrors are lonely.<br />
For the Time Being (1944) "<strong>The</strong> Sea and the Mirror"--"Miranda"<br />
<strong>The</strong> desires <strong>of</strong> the heart are as crooked as corkscrews<br />
Not to be born is the best for man<br />
<strong>The</strong> second best is a formal order<br />
<strong>The</strong> dance's pattern, dance while you can.<br />
Dance, dance, for the figure is easy<br />
<strong>The</strong> tune is catching and will not stop<br />
Dance till the stars come down with the rafters<br />
Dance, dance, dance till you drop.<br />
Letter from Iceland (1937, by Auden and MacNeice) "Letter to William<br />
Coldstream, Esq."<br />
And make us as Newton was, who in his garden watching<br />
<strong>The</strong> apple falling towards England, became aware<br />
Between himself and her <strong>of</strong> an eternal tie.<br />
Look, Stranger! (1936) no. 1<br />
Out on the lawn I lie in bed,<br />
Vega conspicuous overhead.<br />
Look, Stranger! (1936) no. 2<br />
Let the florid music praise,<br />
<strong>The</strong> flute and the trumpet,<br />
Beauty's conquest <strong>of</strong> your face:<br />
In that land <strong>of</strong> flesh and bone,<br />
Where from citadels on high<br />
Her imperial standards fly,<br />
Let the hot sun<br />
Shine on, shine on.<br />
Look, Stranger! (1936) no. 4<br />
Look, stranger, at this island now<br />
<strong>The</strong> leaping light for your delight discovers,<br />
Stand stable here<br />
And silent be,
That through the channels <strong>of</strong> the ear<br />
May wander like a river<br />
<strong>The</strong> swaying sound <strong>of</strong> the sea.<br />
Look, Stranger! (1936) no. 5<br />
O what is that sound which so thrills the ear<br />
Down in the valley drumming, drumming?<br />
Only the scarlet soldiers, dear,<br />
<strong>The</strong> soldiers coming.<br />
Look, Stranger! (1936) no. 6<br />
O it's broken the lock and splintered the door,<br />
O it's the gate where they're turning, turning;<br />
<strong>The</strong>ir boots are heavy on the floor<br />
And their eyes are burning.<br />
Look, Stranger! (1936) no. 6<br />
A shilling life will give you all the facts.<br />
Look, Stranger! (1936) no. 13<br />
August for the people and their favourite islands.<br />
Daily the steamers sidle up to meet<br />
<strong>The</strong> effusive welcome <strong>of</strong> the pier.<br />
Look, Stranger! (1936) no. 30<br />
Geniuses are the luckiest <strong>of</strong> mortals because what they must do is the same<br />
as what they most want to do.<br />
In Dag Hammarskj”ld Markings (1964) foreword<br />
I see it <strong>of</strong>ten since you've been away:<br />
<strong>The</strong> island, the veranda, and the fruit;<br />
<strong>The</strong> tiny steamer breaking from the bay;<br />
<strong>The</strong> literary mornings with its hoot;<br />
Our ugly comic servant; and then you,<br />
Lovely and willing every afternoon.<br />
New Verse Oct. 1933, p. 15<br />
At the far end <strong>of</strong> the enormous room<br />
An orchestra is playing to the rich.<br />
New Verse Oct. 1933, p. 15<br />
To the man-in-the-street, who, I'm sorry to say,<br />
Is a keen observer <strong>of</strong> life,<br />
<strong>The</strong> word "Intellectual" suggests straight away<br />
A man who's untrue to his wife.<br />
New Year Letter (1961) note to line 1277<br />
This is the Night Mail crossing the Border,<br />
Bringing the cheque and the postal order,<br />
Letters for the rich, letters for the poor,<br />
<strong>The</strong> shop at the corner, the girl next door.<br />
Pulling up Beattock, a steady climb:<br />
<strong>The</strong> gradient's against her, but she's on time.<br />
Past cotton-grass and moorland border,<br />
Shovelling white steam over her shoulder.<br />
Night Mail (1936) in Collected Shorter Poems (1966)<br />
Letters <strong>of</strong> thanks, letters from banks,<br />
Letters <strong>of</strong> joy from girl and boy,<br />
Receipted bills and invitations
To inspect new stock or to visit relations,<br />
And applications for situations,<br />
And timid lovers' declarations,<br />
And gossip, gossip from all the nations.<br />
Night Mail (1936) in Collected Shorter Poems (1966)<br />
Altogether elsewhere, vast<br />
Herds <strong>of</strong> reindeer move across<br />
Miles and miles <strong>of</strong> golden moss,<br />
Silently and very fast.<br />
Nones (1951) "<strong>The</strong> Fall <strong>of</strong> Rome"<br />
Private faces in public places<br />
Are wiser and nicer<br />
Than public faces in private places.<br />
Orators (1932) dedication<br />
Sir, no man's enemy, forgiving all<br />
But will his negative inversion, be prodigal:<br />
Send to us power and light, a sovereign touch<br />
Curing the intolerable neutral itch,<br />
<strong>The</strong> exhaustion <strong>of</strong> weaning, the liar's quinsy,<br />
And the distortions <strong>of</strong> ingrown virginity.<br />
Poems (1930) "Sir, No Man's Enemy"<br />
Harrow the house <strong>of</strong> the dead; look shining at<br />
New styles <strong>of</strong> architecture, a change <strong>of</strong> heart.<br />
Poems (1930) "Sir, No Man's Enemy"<br />
Let us honour if we can<br />
<strong>The</strong> vertical man<br />
Though we value none<br />
But the horizontal one.<br />
Poems (1930) "To Christopher Isherwood"<br />
To ask the hard question is simple.<br />
Poems (1933) no. 27<br />
This great society is going smash;<br />
<strong>The</strong>y cannot fool us with how fast they go,<br />
How much they cost each other and the gods!<br />
A culture is no better than its woods.<br />
Shield <strong>of</strong> Achilles (1955) "Bucolics"<br />
To save your world you asked this man to die:<br />
Would this man, could he see you now, ask why?<br />
Shield <strong>of</strong> Achilles (1955) "Epitaph for the Unknown Soldier"<br />
Out <strong>of</strong> the air a voice without a face<br />
Proved by statistics that some cause was just<br />
In tones as dry and level as the place.<br />
Shield <strong>of</strong> Achilles (1955) "<strong>The</strong> Shield <strong>of</strong> Achilles"<br />
Tomorrow for the young the poets exploding like bombs,<br />
<strong>The</strong> walks by the lake, the weeks <strong>of</strong> perfect communion;<br />
Tomorrow the bicycle races<br />
Through the suburbs on summer evenings. But today the struggle.<br />
Spain (1937) p. 11<br />
<strong>The</strong> stars are dead. <strong>The</strong> animals will not look:
We are left alone with our day, and the time is short, and<br />
History to the defeated<br />
May say Alas but cannot help nor pardon.<br />
Spain (1937) p. 12<br />
In a garden shady this holy lady<br />
With reverent cadence and subtle psalm,<br />
Like a black swan as death came on<br />
Poured forth her song in perfect calm:<br />
And by ocean's margin this innocent virgin<br />
Constructed an organ to enlarge her prayer,<br />
And notes tremendous from her great engine<br />
Thundered out on the Roman air.<br />
Blonde Aphrodite rose up excited,<br />
Moved to delight by the melody,<br />
White as an orchid she rode quite naked<br />
In an oyster shell on top <strong>of</strong> the sea.<br />
Three Songs for St Cecilia's Day (1941). Dedicated to Benjamin Britten,<br />
and set to music by Britten as Hymn to St Cecilia , op. 27 (1942)<br />
Blessed Cecilia, appear in visions<br />
To all musicians, appear and inspire:<br />
Translated Daughter, come down and startle<br />
Composing mortals with immortal fire.<br />
Three Songs for St Cecilia's Day (1941)<br />
No opera plot can be sensible, for in sensible situations people do not<br />
sing. An opera plot must be, in both senses <strong>of</strong> the word, a melodrama.<br />
Times Literary Supplement 2 Nov. 1967, p. 1038<br />
Your cameraman might enjoy himself because my face looks like a<br />
wedding-cake left out in the rain.<br />
In Humphrey Carpenter W. H. Auden (1981) pt. 2, ch. 6<br />
You [Stephen Spender] are so infinitely capable <strong>of</strong> being humiliated. Art<br />
is born <strong>of</strong> humiliation.<br />
In Stephen Spender World Within World (1951) ch. 2<br />
1.68 W. H. Auden and Christopher Isherwood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
W. H. Auden 1907-1973<br />
Christopher Isherwood 1904-1986<br />
Happy the hare at morning, for she cannot read<br />
<strong>The</strong> Hunter's waking thoughts.<br />
Dog beneath the Skin (1935) chorus following act 2, sc. 2<br />
1.69 Tex Avery (Fred Avery)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1980<br />
What's up, Doc?<br />
Catch-phrase in Bugs Bunny cartoons, from circa 1940<br />
1.70 Earl <strong>of</strong> Avon<br />
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See Sir Anthony Eden (5.4)<br />
1.71 Revd W. Awdry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
You've a lot to learn about trucks, little Thomas. <strong>The</strong>y are silly things<br />
and must be kept in their place. After pushing them about here for a few<br />
weeks you'll know almost as much about them as Edward. <strong>The</strong>n you'll be a<br />
Really Useful Engine.<br />
Thomas the Tank Engine (1946) p. 46<br />
1.72 Alan Ayckbourn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
My mother used to say, Delia, if S-E-X ever rears its ugly head, close<br />
your eyes before you see the rest <strong>of</strong> it.<br />
Bedroom Farce (1978) act 2<br />
This place, you tell them you're interested in the arts, you get messages<br />
<strong>of</strong> sympathy.<br />
Chorus <strong>of</strong> Disapproval (1986) act 2<br />
Do you realize, Mrs Foster, the hours I've put into that woman? When I<br />
met her, you know, she was nothing. Nothing at all. With my own hands I<br />
have built her up. Encouraging her to join the public library and make<br />
use <strong>of</strong> her non-fiction tickets.<br />
How the Other Half Loves (1972) act 2, sc. 1<br />
I only wanted to make you happy.<br />
Round and Round the Garden (1975) act 2, sc. 2<br />
If you gave Ruth a rose, she'd peel all the petals <strong>of</strong>f to make sure there<br />
weren't any greenfly. And when she'd done that, she'd turn round and say,<br />
do you call that a rose? Look at it, it's all in bits.<br />
Table Manners (1975) act 1, sc. 2<br />
I always feel with Norman that I have him on loan from somewhere. Like one<br />
<strong>of</strong> his library books.<br />
Table Manners (1975) act 2, sc. 1<br />
1.73 A. J. Ayer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1989<br />
No moral system can rest solely on authority.<br />
Humanist Outlook (1968) introduction<br />
It seems that I have spent my entire time trying to make life more<br />
rational and that it was all wasted effort.<br />
In Observer 17 Aug. 1986<br />
1.74 Pam Ayres<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1947-<br />
I am a bunny rabbit,<br />
Sitting in me hutch,<br />
I like to sit up this end,<br />
I don't care for that end, much,<br />
I'm glad tomorrow's Thursday,<br />
'Cause with a bit <strong>of</strong> luck,<br />
As far as I remember,<br />
That's the day they pass the buck.<br />
Some <strong>of</strong> Me Poetry (1976) "<strong>The</strong> Bunny Poem"<br />
Oh, I wish I'd looked after me teeth,<br />
And spotted the perils beneath,<br />
All the t<strong>of</strong>fees I chewed,<br />
And the sweet sticky food,<br />
Oh, I wish I'd looked after me teeth.<br />
Some <strong>of</strong> Me Poetry (1976) "Oh, I wish I'd looked after me teeth"<br />
I might have been a farmyard hen,<br />
Scratchin' in the sun,<br />
<strong>The</strong>re might have been a crowd <strong>of</strong> chicks,<br />
After me to run,<br />
<strong>The</strong>re might have been a cockerel fine,<br />
To pay us his respects,<br />
Instead <strong>of</strong> sittin' here,<br />
Till someone comes and wrings our necks.<br />
I see the Time and Motion clock,<br />
Is sayin' nearly noon,<br />
I 'spec me squirt <strong>of</strong> water,<br />
Will come flyin' at me soon,<br />
And then me spray <strong>of</strong> pellets,<br />
Will nearly break me leg,<br />
And I'll bite the wire nettin'<br />
And lay one more bloody egg.<br />
Some <strong>of</strong> Me Poetry (1976) "<strong>The</strong> Battery Hen"<br />
Medicinal discovery,<br />
It moves in mighty leaps,<br />
It leapt straight past the common cold<br />
And gave it us for keeps.<br />
Now I'm not a fussy woman,<br />
<strong>The</strong>re's no malice in me eye<br />
But I wish that they could cure<br />
the common cold. That's all. Goodbye.<br />
Some <strong>of</strong> Me Poetry (1976) "Oh no, I got a cold"<br />
2.0 B<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
2.1 Robert Baden-Powell (Baron Baden-Powell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1941<br />
<strong>The</strong> scouts' motto is founded on my initials, it is: be prepared, which
means, you are always to be in a state <strong>of</strong> readiness in mind and body to do<br />
your duty.<br />
Scouting for Boys (1908) pt. 1<br />
2.2 Joan Baez<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
<strong>The</strong> only thing that's been a worse flop than the organization <strong>of</strong><br />
non-violence has been the organization <strong>of</strong> violence.<br />
Daybreak (1970) "What Would You Do If?"<br />
2.3 Sydney D. Bailey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
It has been said that this Minister [the Lord Privy Seal] is neither a<br />
Lord, nor a privy, nor a seal.<br />
British Parliamentary Democracy (ed. 3, 1971) ch. 8<br />
2.4 Bruce Bairnsfather<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1959<br />
Well, if you knows <strong>of</strong> a better 'ole, go to it.<br />
Fragments from France (1915) p. 1<br />
2.5 Hylda Baker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1986<br />
She knows, you know!<br />
Catch-phrase used in comedy act, about her friend Cynthia<br />
2.6 James Baldwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-1987<br />
Money, it turned out, was exactly like sex, you thought <strong>of</strong> nothing else if<br />
you didn't have it and thought <strong>of</strong> other things if you did.<br />
Esquire May 1961 "Black Boy looks at the White Boy"<br />
<strong>The</strong> fire next time.<br />
Title <strong>of</strong> book (1963). Cf. Anonymous 6:12<br />
At the root <strong>of</strong> the American Negro problem is the necessity <strong>of</strong> the American<br />
white man to find a way <strong>of</strong> living with the Negro in order to be able to<br />
live with himself.<br />
Harper's Magazine Oct. 1953 "Stranger in a Village"<br />
If the concept <strong>of</strong> God has any validity or any use, it can only be to make<br />
us larger, freer, and more loving. If God cannot do this, then it is time<br />
we got rid <strong>of</strong> Him.<br />
New Yorker 17 Nov. 1962 "Down at the Cross"
If they take you in the morning, they will be coming for us that night.<br />
New York Review <strong>of</strong> Books 7 Jan. 1971 "Open Letter to my Sister, Angela<br />
Davis"<br />
It comes as a great shock around the age <strong>of</strong> 5, 6 or 7 to discover that the<br />
flag to which you have pledged allegiance, along with everybody else, has<br />
not pledged allegiance to you. It comes as a great shock to see Gary<br />
Cooper killing <strong>of</strong>f the Indians and, although you are rooting for Gary<br />
Cooper, that the Indians are you.<br />
Speech at Cambridge University, 17 Feb. 1965, in New York Times Magazine 7<br />
March 1965, p. 32<br />
<strong>The</strong> situation <strong>of</strong> our youth is not mysterious. Children have never been<br />
very good at listening to their elders, but they have never failed to<br />
imitate them. <strong>The</strong>y must, they have no other models.<br />
Nobody Knows My Name (1961) "Fifth Avenue, Uptown: a letter from Harlem"<br />
Anyone who has ever struggled with poverty knows how extremely expensive<br />
it is to be poor.<br />
Nobody Knows My Name (1961) "Fifth Avenue, Uptown: a letter from Harlem"<br />
<strong>Free</strong>dom is not something that anybody can be given; freedom is something<br />
people take and people are as free as they want to be.<br />
Nobody Knows My Name (1961) "Notes for a Hypothetical Novel"<br />
2.7 Stanley Baldwin (Earl Baldwin <strong>of</strong> Bewdley)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1947<br />
Do not run up your nose dead against the Pope or the NUM!<br />
In Lord Butler Art <strong>of</strong> Memory (1982) p. 110<br />
You will find in politics that you are much exposed to the attribution <strong>of</strong><br />
false motive. Never complain and never explain.<br />
In Harold Nicolson Diary (1967) 21 July 1943<br />
<strong>The</strong>y [parliament] are a lot <strong>of</strong> hard-faced men who look as if they had done<br />
very well out <strong>of</strong> the war.<br />
In J. M. Keynes Economic Consequences <strong>of</strong> the Peace (1919) ch. 5<br />
A platitude is simply a truth repeated until people get tired <strong>of</strong> hearing<br />
it.<br />
Hansard 29 May 1924, col. 727<br />
I think it is well also for the man in the street to realize that there is<br />
no power on earth that can protect him from being bombed. Whatever people<br />
may tell him, the bomber will always get through. <strong>The</strong> only defence is in<br />
<strong>of</strong>fence, which means that you have to kill more women and children more<br />
quickly than the enemy if you want to save yourselves.<br />
Hansard 10 Nov. 1932, col. 632<br />
Let us never forget this; since the day <strong>of</strong> the air, the old frontiers are<br />
gone. When you think <strong>of</strong> the defence <strong>of</strong> England you no longer think <strong>of</strong> the<br />
chalk cliffs <strong>of</strong> Dover; you think <strong>of</strong> the Rhine. That is where our frontier<br />
lies.<br />
Hansard 30 July 1934, col. 2339<br />
I shall be but a short time tonight. I have seldom spoken with greater<br />
regret, for my lips are not yet unsealed. Were these troubles over I would
make case, and I guarantee that not a man would go into the lobby against<br />
us.<br />
Hansard 10 Dec. 1935, col. 856<br />
I put before the whole House my own views with an appalling frankness.<br />
...Supposing I had gone to the country and said that Germany was rearming<br />
and that we must rearm, does anybody think that this pacific democracy<br />
would have rallied to that cry at that moment? I cannot think <strong>of</strong> anything<br />
that would have made the loss <strong>of</strong> the election from my point <strong>of</strong> view more<br />
certain.<br />
Hansard 12 Nov. 1936, col. 1144<br />
<strong>The</strong>re are three classes which need sanctuary more than others--birds, wild<br />
flowers, and Prime Ministers.<br />
In Observer 24 May 1925<br />
<strong>The</strong>n comes Winston with his hundred-horse-power mind and what can I do?<br />
In G. M. Young Stanley Baldwin (1952) ch. 11<br />
<strong>The</strong> intelligent are to the intelligentsia what a gentleman is to a gent.<br />
In G. M. Young Stanley Baldwin (1952) ch. 13<br />
"Safety first" does not mean a smug self-satisfaction with everything as<br />
it is. It is a warning to all persons who are going to cross a road in<br />
dangerous circumstances.<br />
<strong>The</strong> Times 21 May 1929<br />
Had the employers <strong>of</strong> past generations all <strong>of</strong> them dealt fairly with their<br />
men there would have been no unions.<br />
Speech in Birmingham, 14 Jan. 1931, in <strong>The</strong> Times 15 Jan. 1931<br />
2.8 Arthur James Balfour (Earl <strong>of</strong> Balfour)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1848-1930<br />
His Majesty's Government view with favour the establishment in Palestine<br />
<strong>of</strong> a national home for the Jewish people, and will use their best<br />
endeavours to facilitate the achievement <strong>of</strong> this object, it being clearly<br />
understood that nothing shall be done which may prejudice the civil and<br />
religious rights <strong>of</strong> existing non-Jewish communities in Palestine, or the<br />
rights and political status enjoyed by Jews in any other country.<br />
Letter to Lord Rothschild 2 Nov. 1917, in K. Young A. J. Balfour (1963) p.<br />
478<br />
Frank Harris...said..."<strong>The</strong> fact is, Mr Balfour, all the faults <strong>of</strong> the age<br />
come from Christianity and journalism." To which Arthur<br />
replied..."Christianity, <strong>of</strong> course...but why journalism?"<br />
Margot Asquith Autobiography (1920) vol. 1, ch. 10<br />
I never forgive but I always forget.<br />
In R. Blake Conservative Party (1970) ch. 7<br />
I thought he [Churchill] was a young man <strong>of</strong> promise, but it appears he is<br />
a young man <strong>of</strong> promises.<br />
In Winston Churchill My Early Life (1930) ch. 17<br />
Biography should be written by an acute enemy.<br />
In Observer 30 Jan. 1927
It is unfortunate, considering that enthusiasm moves the world, that so<br />
few enthusiasts can be trusted to speak the truth.<br />
Letter to Mrs Drew, 19 May 1891, in Some Hawarden Letters (1917) ch. 7<br />
2.9 Whitney Balliett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
Critics are biased, and so are readers. (Indeed, a critic is a bundle <strong>of</strong><br />
biases held loosely together by a sense <strong>of</strong> taste.) But intelligent readers<br />
soon discover how to allow for the windage <strong>of</strong> their own and a critic's<br />
prejudices.<br />
Dinosaurs in the Morning (1962) introductory note<br />
<strong>The</strong> sound <strong>of</strong> surprise.<br />
Title <strong>of</strong> book on jazz (1959)<br />
2.10 Pierre Balmain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1982<br />
<strong>The</strong> trick <strong>of</strong> wearing mink is to look as though you were wearing a cloth<br />
coat. <strong>The</strong> trick <strong>of</strong> wearing a cloth coat is to look as though you are<br />
wearing mink.<br />
In Observer 25 Dec. 1955<br />
2.11 Tallulah Bankhead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1968<br />
I'm as pure as the driven slush.<br />
Quoted by Maurice Zolotow in Saturday Evening Post 12 Apr. 1947<br />
<strong>The</strong>re is less in this than meets the eye.<br />
In Alexander Woollcott Shouts and Murmurs (1922) ch. 4 (describing a<br />
revival <strong>of</strong> Maeterlinck's play "Aglavaine and Selysette")<br />
Cocaine habit-forming? Of course not. I ought to know. I've been using it<br />
for years.<br />
Tallulah (1952) ch. 4<br />
2.12 Nancy Banks-Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
In my experience, if you have to keep the lavatory door shut by extending<br />
your left leg, it's modern architecture.<br />
Guardian 20 Feb. 1979<br />
I'm still suffering from the big d‚nouement in [Jeffrey Archer's book] Not<br />
A Penny More when "the three stood motionless like sheep in the stare <strong>of</strong> a<br />
python." <strong>The</strong> whole thing keeps me awake at night. Here are these sheep,<br />
gambolling about in the Welsh jungle, when up pops a python. A python,<br />
what's more, who thinks he's a cobra.<br />
Guardian 26 Mar. 1990<br />
2.13 Imamu Amiri Baraka (Everett LeRoi Jones)
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
A rich man told me recently that a liberal is a man who tells other people<br />
what to do with their money.<br />
Kulchur Spring 1962 "Tokenism"<br />
A man is either free or he is not. <strong>The</strong>re cannot be any apprenticeship for<br />
freedom.<br />
Kulchur Spring 1962 "Tokenism"<br />
God has been replaced, as he has all over the West, with respectability<br />
and airconditioning.<br />
Midstream (1963) p. 39<br />
2.14 W. N. P. Barbellion (Bruce Frederick Cummings)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1919<br />
Give me the man who will surrender the whole world for a moss or a<br />
caterpillar, and impracticable visions for a simple human delight. Yes,<br />
that shall be my practice. I prefer Richard Jefferies to Swedenborg and<br />
Oscar Wilde to Thomas … Kempis.<br />
Enjoying Life and Other Literary Remains (1919) "Crying for the Moon"<br />
Am writing an essay on the life-history <strong>of</strong> insects and have abandoned the<br />
idea <strong>of</strong> writing on "How Cats Spend their Time."<br />
Journal <strong>of</strong> a Disappointed Man (1919) 3 Jan. 1903<br />
I can remember wondering as a child if I were a young Macaulay or Ruskin<br />
and secretly deciding that I was. My infant mind even was bitter with<br />
those who insisted on regarding me as a normal child and not as a prodigy.<br />
Journal <strong>of</strong> a Disappointed Man (1919) 23 Oct. 1910<br />
2.15 Maurice Baring<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1945<br />
In Mozart and Salieri we see the contrast between the genius which does<br />
what it must and the talent which does what it can.<br />
Outline <strong>of</strong> Russian Literature (1914) ch. 3<br />
2.16 Ronnie Barker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
<strong>The</strong> marvellous thing about a joke with a double meaning is that it can<br />
only mean one thing.<br />
Sauce (1977) "Daddie's Sauce"<br />
2.17 Frederick R. Barnard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
One picture is worth ten thousand words.<br />
Printers' Ink 10 Mar. 1927
2.18 Clive Barnes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-<br />
This [Oh, Calcutta!] is the kind <strong>of</strong> show to give pornography a dirty name.<br />
New York Times 18 June 1969, p. 33<br />
2.19 Julian Barnes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
What does this journey seem like to those who aren't British--as they head<br />
towards the land <strong>of</strong> embarrassment and breakfast?<br />
Flaubert's Parrot (1984) ch. 7<br />
<strong>The</strong> writer must be universal in sympathy and an outcast by nature: only<br />
then can he see clearly.<br />
Flaubert's Parrot (1984) ch. 10<br />
Do not imagine that Art is something which is designed to give gentle<br />
uplift and self-confidence. Art is not a brassiŠre. At least, not in the<br />
English sense. But do not forget that brassiŠre is the French for<br />
life-jacket.<br />
Flaubert's Parrot (1984) ch. 10<br />
Books say: she did this because. Life says: she did this. Books are where<br />
things are explained to you; life is where things aren't. I'm not<br />
surprised some people prefer books. Books make sense <strong>of</strong> life. <strong>The</strong> only<br />
problem is that the lives they make sense <strong>of</strong> are other people's lives,<br />
never your own.<br />
Flaubert's Parrot (1984) ch. 13<br />
2.20 Peter Barnes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
Claire: How do you know you're...God?<br />
Earl <strong>of</strong> gurney: Simple. When I pray to Him I find I'm talking to<br />
myself.<br />
<strong>The</strong> Ruling Class (1969) act 1, sc. 4<br />
2.21 Sir J. M. Barrie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1937<br />
I'm not young enough to know everything.<br />
<strong>The</strong> Admirable Crichton (performed 1902, pubd. 1914) act 1<br />
His lordship may compel us to be equal upstairs, but there will never be<br />
equality in the servants' hall.<br />
<strong>The</strong> Admirable Crichton (performed 1902, pubd. 1914) act 1<br />
It's my deserts; I'm a second eleven sort <strong>of</strong> chap.<br />
<strong>The</strong> Admirable Crichton (performed 1902, pubd. 1914) act 3
Times have changed since a certain author was executed for murdering his<br />
publisher. <strong>The</strong>y say that when the author was on the scaffold he said<br />
goodbye to the minister and to the reporters, and then he saw some<br />
publishers sitting in the front row below, and to them he did not say<br />
goodbye. He said instead, "I'll see you later."<br />
Speech at Aldine Club, New York, 5 Nov. 1896, in Critic 14 Nov. 1896<br />
<strong>The</strong> life <strong>of</strong> every man is a diary in which he means to write one story, and<br />
writes another; and his humblest hour is when he compares the volume as it<br />
is with what he vowed to make it.<br />
<strong>The</strong> Little Minister (1891) vol. 1, ch. 1<br />
It's grand, and you canna expect to be baith grand and comfortable.<br />
<strong>The</strong> Little Minister (1891) vol. 1, ch. 10<br />
I loathe entering upon explanations to anybody about anything.<br />
My Lady Nicotine (1890) ch. 14<br />
When the first baby laughed for the first time, the laugh broke into a<br />
thousand pieces and they all went skipping about, and that was the<br />
beginning <strong>of</strong> fairies.<br />
Peter Pan (1928) act 1<br />
Every time a child says "I don't believe in fairies" there is a little<br />
fairy somewhere that falls down dead.<br />
Peter Pan (1928) act 1<br />
To die will be an awfully big adventure.<br />
Peter Pan (1928) act 3. Cf. Charles Frohman<br />
Do you believe in fairies? Say quick that you believe! If you believe,<br />
clap your hands!<br />
Peter Pan (1928) act 4<br />
That is ever the way. 'Tis all jealousy to the bride and good wishes to<br />
the corpse.<br />
Quality Street (performed 1901, pubd. 1913) act 1<br />
<strong>The</strong> printing press is either the greatest blessing or the greatest curse<br />
<strong>of</strong> modern times, one sometimes forgets which.<br />
Sentimental Tommy (1896) ch. 5<br />
Someone said that God gave us memory so that we might have roses in<br />
December.<br />
Rectorial Address at St Andrew's, 3 May 1922, in <strong>The</strong> Times 4 May 1922<br />
Never ascribe to an opponent motives meaner than your own.<br />
Rectorial Address at St Andrew's, 3 May 1922, in <strong>The</strong> Times 4 May 1922<br />
Courage is the thing. All goes if courage goes!<br />
Rectorial Address at St Andrews, 3 May 1922, in <strong>The</strong> Times 4 May 1922<br />
For several days after my first book was published I carried it about in<br />
my pocket, and took surreptitious peeps at it to make sure that the ink<br />
had not faded.<br />
Speech at the Critics' Circle in London, 26 May 1922, in <strong>The</strong> Times 27 May<br />
1922<br />
Have you ever noticed, Harry, that many jewels make women either<br />
incredibly fat or incredibly thin?
<strong>The</strong> Twelve-Pound Look and Other Plays (1921) p. 27<br />
One's religion is whatever he is most interested in, and yours is Success.<br />
<strong>The</strong> Twelve-Pound Look and Other Plays (1921) p. 28<br />
Oh the gladness <strong>of</strong> her gladness when she's glad,<br />
And the sadness <strong>of</strong> her sadness when she's sad,<br />
But the gladness <strong>of</strong> her gladness<br />
And the sadness <strong>of</strong> her sadness<br />
Are as nothing, Charles,<br />
To the badness <strong>of</strong> her badness when she's bad.<br />
Rosalind in <strong>The</strong> Twelve-Pound Look and Other Plays (1921) p. 113<br />
Charm...it's a sort <strong>of</strong> bloom on a woman. If you have it, you don't need<br />
to have anything else; and if you don't have it, it doesn't much matter<br />
what else you have. Some women, the few, have charm for all; and most have<br />
charm for one. But some have charm for none.<br />
What Every Woman Knows (1918) act 1<br />
A young Scotsman <strong>of</strong> your ability let loose upon the world with œ300, what<br />
could he not do? It's almost appalling to think <strong>of</strong>; especially if he went<br />
among the English.<br />
What Every Woman Knows (1918) act 1<br />
My lady, there are few more impressive sights in the world than a Scotsman<br />
on the make.<br />
What Every Woman Knows (1918) act 2<br />
You've forgotten the grandest moral attribute <strong>of</strong> a Scotsman, Maggie, that<br />
he'll do nothing which might damage his career.<br />
What Every Woman Knows (1918) act 2<br />
<strong>The</strong> tragedy <strong>of</strong> a man who has found himself out.<br />
What Every Woman Knows (1918) act 4<br />
Every man who is high up loves to think that he has done it all himself;<br />
and the wife smiles, and lets it go at that. It's our only joke. Every<br />
woman knows that.<br />
What Every Woman Knows (1918) act 4<br />
2.22 Ethel Barrymore<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1959<br />
For an actress to be a success, she must have the face <strong>of</strong> a Venus, the<br />
brains <strong>of</strong> a Minerva, the grace <strong>of</strong> Terpsichore, the memory <strong>of</strong> a Macaulay,<br />
the figure <strong>of</strong> Juno, and the hide <strong>of</strong> a rhinoceros.<br />
In George Jean Nathan <strong>The</strong> <strong>The</strong>atre in the Fifties (1953) p. 30<br />
2.23 John Barrymore<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1942<br />
He [Barrymore] would quote from Genesis the text which says, "It is not<br />
good for man to be alone," and then add, "But O my God, what a relief."<br />
Alma Power-Waters John Barrymore (1941) ch. 13<br />
My only regret in the theatre is that I could never sit out front and
watch me.<br />
In Eddie Cantor <strong>The</strong> Way I See It (1959) ch. 2<br />
Die? I should say not, old fellow. No Barrymore would allow such a<br />
conventional thing to happen to him.<br />
In Lionel Barrymore We Barrymores (1951) ch. 26<br />
2.24 Lionel Bart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
See Frank Norman (14.23)<br />
2.25 Karl Barth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1968<br />
Die Menschen aber waren nie gut, sind es nicht und werden es auch nie<br />
sein.<br />
Men have never been good, they are not good and they never will be good.<br />
Christliche Gemeinde (Christian Community, 1948) p. 36<br />
Whether the angels play only Bach in praising God I am not quite sure; I<br />
am sure, however, that en famille they play Mozart.<br />
In New York Times 11 Dec. 1968, p. 42<br />
2.26 Roland Barthes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-1980<br />
Ce que le public r‚clame, c'est l'image de la passion, non la passion<br />
elle-mˆme.<br />
What the public wants is the image <strong>of</strong> passion, not passion itself.<br />
Esprit (1952) vol. 20, pt. 10, p. 412 "Le monde o— l'on catche" (<strong>The</strong><br />
world <strong>of</strong> wrestling)<br />
Je crois que l'automobile est aujourd'hui l'‚quivalent assez exact des<br />
grandes cath‚drales gothiques: je veux dire une grande cr‚ation d'‚poque,<br />
con‡ue passionn‚ment par des artistes inconnus, consomm‚e dans son image,<br />
sinon dans son usage, par un peuple entier qui s'approprie en elle un<br />
objet parfaitement magique.<br />
I think that cars today are almost the exact equivalent <strong>of</strong> the great<br />
Gothic cathedrals: I mean the supreme creation <strong>of</strong> an era, conceived with<br />
passion by unknown artists, and consumed in image if not in usage by a<br />
whole population which appropriates them as a purely magical object.<br />
Mythologies (1957) "La nouvelle Citro‰n" (<strong>The</strong> new Citro‰n)<br />
2.27 Bernard Baruch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1965<br />
To me old age is always fifteen years older than I am.<br />
In Newsweek 29 Aug. 1955
Vote for the man who promises least; he'll be the least disappointing.<br />
In Meyer Berger New York (1960)<br />
Let us not be deceived--we are today in the midst <strong>of</strong> a cold war.<br />
Speech to South Carolina Legislature 16 Apr. 1947, in New York Times 17<br />
Apr. 1947, p. 21<br />
A political leader must keep looking over his shoulder all the time to see<br />
if the boys are still there. If they aren't still there, he's no longer a<br />
political leader.<br />
In New York Times 21 June 1965, p. 16<br />
You can talk about capitalism and communism and all that sort <strong>of</strong> thing,<br />
but the important thing is the struggle everybody is engaged in to get<br />
better living conditions, and they are not interested too much in forms <strong>of</strong><br />
government.<br />
In <strong>The</strong> Times 20 Aug. 1964<br />
2.28 Jacques Barzun<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
If it were possible to talk to the unborn, one could never explain to them<br />
how it feels to be alive, for life is washed in the speechless real.<br />
<strong>The</strong> House <strong>of</strong> Intellect (1959) ch. 6<br />
Art distils sensation and embodies it with enhanced meaning in memorable<br />
form--or else it is not art.<br />
<strong>The</strong> House <strong>of</strong> Intellect (1959) ch. 6<br />
2.29 L. Frank Baum<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1919<br />
<strong>The</strong> road to the City <strong>of</strong> Emeralds is paved with yellow brick.<br />
Wonderful Wizard <strong>of</strong> Oz (1900) ch. 2<br />
2.30 Vicki Baum<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1960<br />
Verheiratet sein verlangt immer und berall die feinsten Kunst der<br />
Unaufrichtigkeit zwischen Mensch und Mensch.<br />
Marriage always demands the finest arts <strong>of</strong> insincerity possible between<br />
two human beings.<br />
Zwischenfall in Lohwinckel (1930) p. 140, translated by Margaret<br />
Goldsmith as Results <strong>of</strong> an Accident (1931) p. 140<br />
2.31 Sir Arnold Bax<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1953<br />
A sympathetic Scot summed it all up very neatly in the remark, "You should<br />
make a point <strong>of</strong> trying every experience once, excepting incest and
folk-dancing."<br />
Farewell, My Youth (1943) p. 17<br />
2.32 Sir Beverley Baxter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1964<br />
Beaverbrook is so pleased to be in the Government that he is like the town<br />
tart who has finally married the Mayor!<br />
In Sir Henry Channon Chips: the Diaries (1967) 12 June 1940<br />
2.33 Beachcomber<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See J. B. Morton (13.129)<br />
2.34 David, First Earl Beatty<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1936<br />
<strong>The</strong>re seems to be something wrong with our bloody ships today [at the<br />
Battle <strong>of</strong> Jutland].<br />
In S. Roskill Beatty (1980) ch. 8<br />
<strong>The</strong> German flag will be hauled down at sunset to-day (Thursday) and will<br />
not be hoisted again without permission.<br />
Signal to the Fleet, 21 Nov. 1918, in <strong>The</strong> Times 22 Nov. 1918<br />
2.35 Lord Beaverbrook (William Maxwell Aitken, first Baron Beaverbrook)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1964<br />
I ran the paper [Daily Express] purely for propaganda, and with no other<br />
purpose.<br />
Evidence to Royal Commission on the Press, 18 Mar. 1948, in A. J. P.<br />
Taylor Beaverbrook (1972) ch. 23<br />
This is my final word. It is time for me to become an apprentice once<br />
more. I have not settled in which direction. But somewhere, sometime soon.<br />
Speech at Dorchester Hotel, 25 May 1964, in A. J. P. Taylor Beaverbrook<br />
(1972) ch. 25<br />
<strong>The</strong> Flying Scotsman is no less splendid a sight when it travels north to<br />
Edinburgh than when it travels south to London. Mr Baldwin denouncing<br />
sanctions was as dignified as Mr Baldwin imposing them. At times it seemed<br />
that there were two Mr Baldwins on the stage, a prudent Mr Baldwin, who<br />
scented the danger in foolish projects, and a reckless Mr Baldwin, who<br />
plunged into them head down, eyes shut. But there was, in fact, only one<br />
Mr Baldwin, a well-meaning man <strong>of</strong> indifferent judgement, who, whether he<br />
did right or wrong, was always sustained by a belief that he was acting<br />
for the best.<br />
Daily Express 29 May 1937<br />
<strong>The</strong> Daily Express declares that Great Britain will not be involved in a<br />
European war this year or next year either.<br />
Daily Express 19 Sept. 1938
He [Lloyd George] did not seem to care which way he travelled providing he<br />
was in the driver's seat.<br />
Decline and Fall <strong>of</strong> Lloyd George (1963) ch. 7<br />
Now who is responsible for this work <strong>of</strong> development on which so much<br />
depends? To whom must the praise be given? To the boys in the back rooms.<br />
<strong>The</strong>y do not sit in the limelight. But they are the men who do the work.<br />
Listener 27 Mar. 1941. Cf. Frank Loesser<br />
With the publication <strong>of</strong> his [Earl Haig's] Private Papers in 1952, he<br />
committed suicide 25 years after his death.<br />
Men and Power (1956) p. xviii<br />
Churchill on top <strong>of</strong> the wave has in him the stuff <strong>of</strong> which tyrants are<br />
made.<br />
Politicians and the War (1932) vol. 2, ch. 6<br />
2.36 Carl Becker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1945<br />
<strong>The</strong> significance <strong>of</strong> man is that he is that part <strong>of</strong> the universe that asks<br />
the question, What is the significance <strong>of</strong> Man? He alone can stand apart<br />
imaginatively and, regarding himself and the universe in their eternal<br />
aspects, pronounce a judgment: <strong>The</strong> significance <strong>of</strong> man is that he is<br />
insignificant and is aware <strong>of</strong> it.<br />
Progress and Power (1936) ch. 3<br />
2.37 Samuel Beckett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1989<br />
It is suicide to be abroad. But what is it to be at home, Mr Tyler, what<br />
is it to be at home? A lingering dissolution.<br />
All That Fall (1957) p. 10<br />
We could have saved sixpence. We have saved fivepence. (Pause) But at what<br />
cost?<br />
All That Fall (1957) p. 25<br />
Clov: Do you believe in the life to come?<br />
Hamm: Mine was always that.<br />
Endgame (1958) p. 35<br />
Personally I have no bone to pick with graveyards, I take the air there<br />
willingly, perhaps more willingly than elsewhere, when take the air I<br />
must.<br />
First Love (1973) p. 8<br />
If I had the use <strong>of</strong> my body I would throw it out <strong>of</strong> the window.<br />
Malone Dies (1958) p. 44<br />
Where I am, I don't know, I'll never know, in the silence you don't know,<br />
you must go on, I can't go on, I'll go on.<br />
<strong>The</strong> Unnamable (1959) p. 418<br />
Nothing to be done.
Waiting for Godot (1955) act 1<br />
One <strong>of</strong> the thieves was saved. (Pause) It's a reasonable percentage.<br />
Waiting for Godot (1955) act 1<br />
Estragon: Charming spot. Inspiring prospects. Let's go.<br />
Vladimir: We can't.<br />
Estragon: Why not?<br />
Vladimir: We're waiting for Godot.<br />
Waiting for Godot (1955) act 1<br />
Nothing happens, nobody comes, nobody goes, it's awful!<br />
Waiting for Godot (1955) act 1<br />
He can't think without his hat.<br />
Waiting for Godot (1955) act 1<br />
Vladimir: That passed the time.<br />
Estragon: It would have passed in any case.<br />
Vladimir: Yes, but not so rapidly.<br />
Waiting for Godot (1955) act 1<br />
We always find something, eh, Didi, to give us the impression that we<br />
exist?<br />
Waiting for Godot (1955) act 2<br />
We are not saints, but we have kept our appointment. How many people can<br />
boast as much?<br />
Waiting for Godot (1955) act 2<br />
We all are born mad. Some remain so.<br />
Waiting for Godot (1955) act 2<br />
<strong>The</strong>y give birth astride <strong>of</strong> a grave, the light gleams an instant, then it's<br />
night once more.<br />
Waiting for Godot (1955) act 2<br />
<strong>The</strong> air is full <strong>of</strong> our cries. (He listens.) But habit is a great deadener.<br />
Waiting for Godot (1955) act 2<br />
2.38 Harry Bedford and Terry Sullivan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I'm a bit <strong>of</strong> a ruin that Cromwell knock'd about a bit.<br />
It's a Bit <strong>of</strong> a Ruin that Cromwell Knocked about a Bit (1920 song; written<br />
for Marie Lloyd)<br />
2.39 Sir Thomas Beecham<br />
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1879-1961<br />
A musicologist is a man who can read music but can't hear it.<br />
In H. Proctor-Gregg Beecham Remembered (1976) pt. 2, p. 154<br />
<strong>The</strong>re are two golden rules for an orchestra: start together and finish<br />
together. <strong>The</strong> public doesn't give a damn what goes on in between.<br />
In Harold Atkins and Archie Newman Beecham Stories (1978) p. 27
[<strong>The</strong> harpsichord] sounds like two skeletons copulating on a corrugated tin<br />
ro<strong>of</strong>.<br />
In Harold Atkins and Archie Newman Beecham Stories (1978) p. 34<br />
In the first movement alone, <strong>of</strong> the Seventh Symphony [by Bruckner], I took<br />
note <strong>of</strong> six pregnancies and at least four miscarriages.<br />
In Harold Atkins and Archie Newman Beecham Stories (1978) p. 50<br />
[Herbert von Karajan is] a kind <strong>of</strong> musical Malcolm Sargent.<br />
In Harold Atkins and Archie Newman Beecham Stories (1978) p. 61<br />
I am not the greatest conductor in this country. On the other hand I'm<br />
better than any damned foreigner.<br />
In Daily Express 9 Mar. 1961<br />
Musicians did not like the piece [Strauss's Elektra] at all. One eminent<br />
British composer on leaving the theatre was asked what he thought <strong>of</strong> it.<br />
"Words fail me," he replied, "and I'm going home at once to play the chord<br />
<strong>of</strong> C major twenty times over to satisfy myself that it still exists."<br />
Mingled Chime (1944) ch. 18<br />
<strong>The</strong> plain fact is that music per se means nothing; it is sheer sound, and<br />
the interpreter can do no more with it than his own capacities, mental and<br />
spiritual, will allow, and the same applies to the listener.<br />
Mingled Chime (1944) ch. 33<br />
<strong>The</strong> English may not like music, but they absolutely love the noise it<br />
makes.<br />
In New York Herald Tribune 9 Mar. 1961<br />
Good music is that which penetrates the ear with facility and quits the<br />
memory with difficulty.<br />
Speech, circa 1950, in New York Times 9 Mar. 1961<br />
All the arts in America are a gigantic racket run by unscrupulous men for<br />
unhealthy women.<br />
In Observer 5 May 1946<br />
Hark! the herald angels sing!<br />
Beecham's Pills are just the thing,<br />
Two for a woman, one for a child...<br />
Peace on earth and mercy mild!<br />
In Neville Cardus Sir Thomas Beecham (1961) p. 23<br />
At a rehearsal I let the orchestra play as they like. At the concert I<br />
make them play as I like.<br />
In Neville Cardus Sir Thomas Beecham (1961) p. 111<br />
Dear old Elgar --he is furious with me for drastically cutting his A flat<br />
symphony --it's a very long work, the musical equivalent <strong>of</strong> the Towers <strong>of</strong><br />
St Pancras Station--neo-Gothic, you know.<br />
In Neville Cardus Sir Thomas Beecham (1961) p. 113<br />
I am entirely with you in your obvious reluctance to rehearse on a morning<br />
as chilly and dismal as this--but please do try to keep in touch with us<br />
from time to time.<br />
In Neville Cardus Sir Thomas Beecham (1961) p. 113<br />
Why do we have to have all these third-rate foreign conductors<br />
around--when we have so many second-rate ones <strong>of</strong> our own?
In L. Ayre Wit <strong>of</strong> Music (1966) p. 70<br />
2.40 Sir Max Beerbohm<br />
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1872-1956<br />
I have known no man <strong>of</strong> genius who had not to pay, in some affliction or<br />
defect either physical or spiritual, for what the gods had given him.<br />
And Even Now (1920) "No. 2, <strong>The</strong> Pines"<br />
One might well say that mankind is divisible into two great classes: hosts<br />
and guests.<br />
And Even Now (1920) "Hosts and Guests"<br />
I maintain that though you would <strong>of</strong>ten in the fifteenth century have heard<br />
the snobbish Roman say, in a would-be <strong>of</strong>f-hand tone, "I am dining with the<br />
Borgias tonight," no Roman ever was able to say, "I dined last night with<br />
the Borgias."<br />
And Even Now (1920) "Hosts and Guests"<br />
<strong>The</strong>y so very indubitably are, you know!<br />
Christmas Garland (1912) "Mote in the Middle Distance"<br />
Of course he [William Morris] was a wonderful all-round man, but the act<br />
<strong>of</strong> walking round him has always tired me.<br />
Letter to S. N. Behrman circa1953, in Conversations with Max (1960) ch. 2<br />
A swear-word in a rustic slum<br />
A simple swear-word is to some,<br />
To Masefield something more.<br />
Fifty Caricatures (1912) no. 12<br />
Not that I had any special reason for hating school! Strange as it may<br />
seem to my readers, I was not unpopular there. I was a modest,<br />
good-humoured boy. It is <strong>Oxford</strong> that has made me insufferable.<br />
More (1899) "Going Back to School"<br />
Undergraduates owe their happiness chiefly to the consciousness that they<br />
are no longer at school. <strong>The</strong> nonsense which was knocked out <strong>of</strong> them at<br />
school is all put gently back at <strong>Oxford</strong> or Cambridge.<br />
More (1899) "Going Back to School"<br />
I have the satiric temperament: when I am laughing at anyone I am<br />
generally rather amusing, but when I am praising anyone, I am always<br />
deadly dull.<br />
Saturday Review 28 May 1898<br />
<strong>The</strong> only tribute a French translator can pay Shakespeare is not to<br />
translate him--even to please Sarah [Bernhardt].<br />
Saturday Review 17 June 1899<br />
"I'm afraid I found [the British Museum] rather a depressing place. It--it<br />
seemed to sap one's vitality." "It does. That's why I go there. <strong>The</strong> lower<br />
one's vitality, the more sensitive one is to great art."<br />
Seven Men (1919) "Enoch Soames"<br />
Enter Michael Angelo. Andrea del Sarto appears for a moment at a window.<br />
Pippa passes.<br />
Seven Men (1919) "Savonarola Brown" act 3
Most women are not so young as they are painted.<br />
Yellow Book (1894) vol. 1, p. 67<br />
"After all," as a pretty girl once said to me, "women are a sex by<br />
themselves, so to speak."<br />
Yellow Book (1894) vol. 1, p. 70<br />
Fate wrote her [Queen Caroline <strong>of</strong> Brunswick] a most tremendous tragedy,<br />
and she played it in tights.<br />
Yellow Book (1894) vol. 3, p. 260<br />
<strong>The</strong>re is always something rather absurd about the past.<br />
Yellow Book (1895) vol. 4, p. 282<br />
To give an accurate and exhaustive account <strong>of</strong> the period would need a far<br />
less brilliant pen than mine.<br />
Yellow Book (1895) vol. 4, p. 283<br />
None, it is said, <strong>of</strong> all who revelled with the Regent, was half so wicked<br />
as Lord George Hell.<br />
Yellow Book (1896) vol. 11, p. 11 "Happy Hypocrite" ch. 1<br />
<strong>The</strong> fading signals and grey eternal walls <strong>of</strong> that antique station, which,<br />
familiar to them and insignificant, does yet whisper to the tourist the<br />
last enchantments <strong>of</strong> the Middle Age.<br />
Zuleika Dobson (1911) ch. 1<br />
Zuleika, on a desert island, would have spent most <strong>of</strong> her time in looking<br />
for a man's footprint.<br />
Zuleika Dobson (1911) ch. 2<br />
<strong>The</strong> dullard's envy <strong>of</strong> brilliant men is always assuaged by the suspicion<br />
that they will come to bad end.<br />
Zuleika Dobson (1911) ch. 4<br />
Women who love the same man have a kind <strong>of</strong> bitter freemasonry.<br />
Zuleika Dobson (1911) ch. 4<br />
You will find that the woman who is really kind to dogs is always one who<br />
has failed to inspire sympathy in men.<br />
Zuleika Dobson (1911) ch. 6<br />
Beauty and the lust for learning have yet to be allied.<br />
Zuleika Dobson (1911) ch. 7<br />
You will think me lamentably crude: my experience <strong>of</strong> life has been drawn<br />
from life itself.<br />
Zuleika Dobson (1911) ch. 7<br />
He held, too, in his enlightened way, that Americans have a perfect right<br />
to exist. But he did <strong>of</strong>ten find himself wishing Mr Rhodes had not enabled<br />
them to exercise that right in <strong>Oxford</strong>.<br />
Zuleika Dobson (1911) ch. 8<br />
She was one <strong>of</strong> the people who say "I don't know anything about music<br />
really, but I know what I like."<br />
Zuleika Dobson (1911) ch. 9. Cf. Henry James 112:3<br />
You cannot make a man by standing a sheep on its hind-legs. But by
standing a flock <strong>of</strong> sheep in that position you can make a crowd <strong>of</strong> men.<br />
Zuleika Dobson (1911) ch. 9<br />
Deeply regret inform your grace last night two black owls came and perched<br />
on battlements remained there through night hooting at dawn flew away none<br />
knows whither awaiting instructions Jellings.<br />
Zuleika Dobson (1911) ch. 14<br />
Prepare vault for funeral Monday Dorset.<br />
Zuleika Dobson (1911) ch. 14<br />
<strong>The</strong> Socratic manner is not a game at which two can play. Please answer my<br />
question, to the best <strong>of</strong> your ability.<br />
Zuleika Dobson (1911) ch. 15<br />
Byron!--he would be all forgotten today if he had lived to be a florid old<br />
gentleman with iron-grey whiskers, writing very long, very able letters to<br />
<strong>The</strong> Times about the Repeal <strong>of</strong> the Corn Laws.<br />
Zuleika Dobson (1911) ch. 18<br />
2.41 Brendan Behan<br />
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1923-1964<br />
He was born an Englishman and remained one for years.<br />
Hostage (1958) act 1<br />
Pat: He was an Anglo-Irishman.<br />
Meg: In the blessed name <strong>of</strong> God what's that?<br />
Pat: A Protestant with a horse.<br />
Hostage (1958) act 1<br />
Meanwhile I'll sing that famous old song, "<strong>The</strong> Hound that Caught the Pubic<br />
Hare."<br />
Hostage (1958) act 1<br />
When I came back to Dublin, I was courtmartialled in my absence and<br />
sentenced to death in my absence, so I said they could shoot me in my<br />
absence.<br />
Hostage (1958) act 1<br />
Soldier: What's a mixed infant?<br />
Teresa: A little boy or girl under five years old. <strong>The</strong>y were called<br />
mixed infants because until that time the boys and girls were mixed<br />
together.<br />
Soldier: I wish I'd been a mixed infant.<br />
Hostage (1958) act 2<br />
I am a sociable worker. Have you your testament?<br />
Hostage (1958) act 2<br />
Go on, abuse me--your own husband that took you <strong>of</strong>f the streets on a<br />
Sunday morning, when there wasn't a pub open in the city.<br />
Hostage (1958) act 2<br />
We're here because we're queer<br />
Because we're queer because we're here.<br />
Hostage (1958) act 3
<strong>The</strong>re's no such thing as bad publicity except your own obituary.<br />
In Dominic Behan My Brother Brendan (1965) p. 158<br />
2.42 John Hay Beith<br />
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See Ian Hay (8.33)<br />
2.43 Clive Bell<br />
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1881-1964<br />
One account...given me by a very good artist, is that what he tries to<br />
express in a picture is "a passionate apprehension <strong>of</strong> form."<br />
Art (1914) pt. 1, ch. 3<br />
It would follow that "significant form" was form behind which we catch a<br />
sense <strong>of</strong> ultimate reality.<br />
Art (1914) pt. 1, ch. 3<br />
Art and Religion are, then, two roads by which men escape from<br />
circumstance to ecstasy. Between aesthetic and religious rapture there is<br />
a family alliance. Art and Religion are means to similar states <strong>of</strong> mind.<br />
Art (1914) pt. 2, ch. 1<br />
I will try to account for the degree <strong>of</strong> my aesthetic emotion. That, I<br />
conceive, is the function <strong>of</strong> the critic.<br />
Art (1914) pt. 3 ch. 3<br />
Only reason can convince us <strong>of</strong> those three fundamental truths without a<br />
recogniton <strong>of</strong> which there can be no effective liberty: that what we<br />
believe is not necessarily true; that what we like is not necessarily<br />
good; and that all questions are open.<br />
Civilization (1928) ch. 5<br />
2.44 Henry Bellamann<br />
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"Randy--where--where's the rest <strong>of</strong> me?" His voice rose to a sharp wail.<br />
King's Row (1940) pt. 5, ch. 1 (also used in the 1941 film <strong>of</strong> the book,<br />
where the line was spoken by Ronald Reagan)<br />
2.45 Hilaire Belloc<br />
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1870-1953<br />
Child! do not throw this book about;<br />
Refrain from the unholy pleasure<br />
Of cutting all the pictures out!<br />
Preserve it as your chiefest treasure.<br />
Bad Child's Book <strong>of</strong> Beasts (1896) dedication<br />
I call you bad, my little child,<br />
Upon the title page,<br />
Because a manner rude and wild<br />
Is common at your age.
Bad Child's Book <strong>of</strong> Beasts (1896) introduction<br />
Who take their manners from the Ape,<br />
<strong>The</strong>ir habits from the Bear,<br />
Indulge in loud unseemly jape,<br />
And never brush their hair.<br />
Bad Child's Book <strong>of</strong> Beasts (1896) introduction<br />
Mothers <strong>of</strong> large families (who claim to common sense)<br />
Will find a Tiger well repay the trouble and expense.<br />
Bad Child's Book <strong>of</strong> Beasts (1896) "<strong>The</strong> Tiger"<br />
I shoot the Hippopotamus<br />
With bullets made <strong>of</strong> platinum,<br />
Because if I use leaden ones<br />
His hide is sure to flatten 'em.<br />
Bad Child's Book <strong>of</strong> Beasts (1896) "<strong>The</strong> Hippopotamus"<br />
When people call this beast to mind,<br />
<strong>The</strong>y marvel more and more<br />
At such a little tail behind,<br />
So large a trunk before.<br />
Bad Child's Book <strong>of</strong> Beasts (1896) "<strong>The</strong> Elephant"<br />
And always keep a-hold <strong>of</strong> Nurse<br />
For fear <strong>of</strong> finding something worse.<br />
Cautionary Tales (1907) "Jim"<br />
<strong>The</strong> Chief Defect <strong>of</strong> Henry King<br />
Was chewing little bits <strong>of</strong> String.<br />
Cautionary Tales (1907) "Henry King"<br />
Physicians <strong>of</strong> the Utmost Fame<br />
Were called at once; but when they came<br />
<strong>The</strong>y answered, as they took their Fees,<br />
"<strong>The</strong>re is no Cure for this Disease."<br />
Cautionary Tales (1907) "Henry King"<br />
"Oh, my Friends, be warned by me,<br />
That Breakfast, Dinner, Lunch, and Tea<br />
Are all the Human Frame requires..."<br />
With that, the Wretched Child expires.<br />
Cautionary Tales (1907) "Henry King"<br />
Matilda told such Dreadful Lies,<br />
It made one Gasp and Stretch one's Eyes;<br />
Her Aunt, who, from her Earliest Youth,<br />
Had kept a Strict Regard for Truth,<br />
Attempted to Believe Matilda:<br />
<strong>The</strong> effort very nearly killed her.<br />
Cautionary Tales (1907) "Matilda"<br />
It happened that a few Weeks later<br />
Her Aunt was <strong>of</strong>f to the <strong>The</strong>atre<br />
To see that Interesting Play<br />
<strong>The</strong> Second Mrs Tanqueray.<br />
Cautionary Tales (1907) "Matilda"<br />
For every time She shouted "Fire!"<br />
<strong>The</strong>y only answered "Little Liar!"
And therefore when her Aunt returned,<br />
Matilda, and the House, were Burned.<br />
Cautionary Tales (1907) "Matilda"<br />
In my opinion, Butlers ought<br />
To know their place, and not to play<br />
<strong>The</strong> Old Retainer night and day.<br />
Cautionary Tales (1907) "Lord Lundy"<br />
Sir! you have disappointed us!<br />
We had intended you to be<br />
<strong>The</strong> next Prime Minister but three:<br />
<strong>The</strong> stocks were sold; the Press was squared;<br />
<strong>The</strong> Middle Class was quite prepared.<br />
But as it is!...My language fails!<br />
Go out and govern New South Wales!<br />
Cautionary Tales (1907) "Lord Lundy"<br />
A Trick that everyone abhors<br />
In Little Girls is slamming Doors.<br />
Cautionary Tales (1907) "Rebecca"<br />
She was not really bad at heart,<br />
But only rather rude and wild:<br />
She was an aggravating child.<br />
Cautionary Tales (1907) "Rebecca"<br />
<strong>The</strong> nicest child I ever knew<br />
Was Charles Augustus Fortescue.<br />
He never lost his cap, or tore<br />
His stockings or his pinafore :<br />
In eating Bread he made no Crumbs,<br />
He was extremely fond <strong>of</strong> sums.<br />
Cautionary Tales (1907) "Charles Augustus Fortescue"<br />
<strong>The</strong> pleasure politicians take in their limelight pleases me with a sort <strong>of</strong><br />
pleasure I get when I see a child's eyes gleam over a new toy.<br />
Conversation with a Cat (1931) ch. 17<br />
Gentlemen, I am a Catholic. As far as possible, I go to Mass every day.<br />
This is a rosary. As far as possible, I kneel down and tell these beads<br />
every day. If you reject me on account <strong>of</strong> my religion, I shall thank God<br />
that He has spared me the indignity <strong>of</strong> being your representative.<br />
Speech to voters <strong>of</strong> South Salford, 1906, in R. Speaight Life <strong>of</strong> Hilaire<br />
Belloc (1957) ch. 10<br />
I always like to associate with a lot <strong>of</strong> priests because it makes me<br />
understand anti-clerical things so well.<br />
Letter to E. S. P. Haynes, 9 Nov. 1909, in R. Speaight Life <strong>of</strong> Hilaire<br />
Belloc (1957) ch. 17<br />
Whatever happens we have got<br />
<strong>The</strong> Maxim Gun, and they have not.<br />
<strong>Modern</strong> Traveller (1898) pt. 6<br />
I had an Aunt in Yucatan<br />
Who bought a Python from a man<br />
And kept it for a pet.<br />
She died, because she never knew<br />
<strong>The</strong>se simple little rules and few;--
<strong>The</strong> Snake is living yet.<br />
More Beasts for Worse Children (1897) "<strong>The</strong> Python"<br />
<strong>The</strong> Llama is a woolly sort <strong>of</strong> fleecy hairy goat,<br />
With an indolent expression and an undulating throat<br />
Like an unsuccessful literary man.<br />
More Beasts for Worse Children (1897) "<strong>The</strong> Llama"<br />
<strong>The</strong> Microbe is so very small<br />
You cannot make him out at all.<br />
More Beasts for Worse Children (1897) "<strong>The</strong> Microbe"<br />
Oh! let us never, never doubt<br />
What nobody is sure about!<br />
More Beasts for Worse Children (1897) "<strong>The</strong> Microbe"<br />
Lord Finchley tried to mend the Electric Light<br />
Himself. It struck him dead: And serve him right!<br />
It is the business <strong>of</strong> the wealthy man<br />
To give employment to the artisan.<br />
More Peers (1911) "Lord Finchley"<br />
Lord Hippo suffered fearful loss<br />
By putting money on a horse<br />
Which he believed, if it were pressed,<br />
Would run far faster than the rest.<br />
More Peers (1911) "Lord Hippo"<br />
Like many <strong>of</strong> the Upper Class<br />
He liked the Sound <strong>of</strong> Broken Glass.<br />
New Cautionary Tales (1930) "About John." Cf. Evelyn Waugh 222:19<br />
Birds in their little nests agree<br />
With Chinamen, but not with me.<br />
New Cautionary Tales (1930) "On Food"<br />
It is the best <strong>of</strong> all trades, to make songs, and the second best to sing<br />
them.<br />
On Everything (1909) "On Song"<br />
Is there no Latin word for Tea? Upon my soul, if I had known that I would<br />
have let the vulgar stuff alone.<br />
On Nothing (1908) "On Tea"<br />
Strong brother in God and last companion, Wine.<br />
Short Talks with the Dead (1926) "Heroic Poem upon Wine"<br />
Sally is gone that was so kindly<br />
Sally is gone from Ha'nacker Hill.<br />
Sonnets and Verse (1923) "Ha'nacker Mill"<br />
Do you remember an Inn,<br />
Miranda?<br />
Do you remember an Inn?<br />
And the tedding and the spreading<br />
Of the straw for a bedding,<br />
And the fleas that tease in the High Pyrenees<br />
And the wine that tasted <strong>of</strong> the tar?<br />
Sonnets and Verse (1923) "Tarantella"
When I am dead, I hope it may be said:<br />
"His sins were scarlet, but his books were read."<br />
Sonnets and Verse (1923) "On His Books"<br />
<strong>The</strong> Devil, having nothing else to do,<br />
Went <strong>of</strong>f to tempt My Lady Poltagrue.<br />
My Lady, tempted by a private whim,<br />
To his extreme annoyance, tempted him.<br />
Sonnets and Verse (1923) "On Lady Poltagrue"<br />
Of this bad world the loveliest and the best<br />
Has smiled and said "Good Night," and gone to rest.<br />
Sonnets and Verse (1923) "On a Dead Hostess"<br />
<strong>The</strong> accursed power which stands on Privilege<br />
(And goes with Women, and Champagne, and Bridge)<br />
Broke--and Democracy resumed her reign:<br />
(Which goes with Bridge, and Women and Champagne).<br />
Sonnets and Verse (1923) "On a Great Election"<br />
Lady, when your lovely head<br />
Droops to sink among the Dead,<br />
And the quiet places keep<br />
You that so divinely sleep;<br />
<strong>The</strong>n the dead shall blessŠd be<br />
With a new solemnity,<br />
For such Beauty, so descending,<br />
Pledges them that Death is ending,<br />
Sleep your fill--but when you wake<br />
Dawn shall over Lethe break.<br />
Sonnets and Verse (1923) "On a Sleeping Friend"<br />
I'm tired <strong>of</strong> Love: I'm still more tired <strong>of</strong> Rhyme.<br />
But Money gives me pleasure all the time.<br />
Sonnets and Verse (1923) "Fatigued"<br />
Pale Ebenezer thought it wrong to fight,<br />
But Roaring Bill (who killed him) thought it right.<br />
Sonnets and Verse (ed. 2, 1938) "<strong>The</strong> Pacifist"<br />
I am a sundial, and I make a botch<br />
Of what is done much better by a watch.<br />
Sonnets and Verse (ed. 2, 1938) "On a Sundial"<br />
From the towns all Inns have been driven: from the villages most....Change<br />
your hearts or you will lose your Inns and you will deserve to have lost<br />
them. But when you have lost your Inns drown your empty selves, for you<br />
will have lost the last <strong>of</strong> England.<br />
This and That (1912) "On Inns"<br />
When I am living in the Midlands<br />
That are sodden and unkind,<br />
I light my lamp in the evening:<br />
My work is left behind;<br />
And the great hills <strong>of</strong> the South Country<br />
Come back into my mind.<br />
Verses (1910) "<strong>The</strong> South Country"<br />
If I ever become a rich man,<br />
Or if ever I grow to be old,
I will build a house with deep thatch<br />
To shelter me from the cold,<br />
And there shall the Sussex songs be sung<br />
And the story <strong>of</strong> Sussex told.<br />
I will hold my house in the high wood<br />
Within a walk <strong>of</strong> the sea,<br />
And the men that were boys when I was a boy<br />
Shall sit and drink with me.<br />
Verses (1910) "<strong>The</strong> South Country"<br />
Of Courtesy, it is much less<br />
Than Courage <strong>of</strong> Heart or Holiness,<br />
Yet in my Walks it seems to me<br />
That the Grace <strong>of</strong> God is in Courtesy.<br />
Verses (1910) "Courtesy"<br />
Balliol made me, Balliol fed me,<br />
Whatever I had she gave me again:<br />
And the best <strong>of</strong> Balliol loved and led me.<br />
God be with you, Balliol men.<br />
Verses (1910) "To the Balliol Men Still in Africa"<br />
From quiet homes and first beginning,<br />
Out to the undiscovered ends,<br />
<strong>The</strong>re's nothing worth the wear <strong>of</strong> winning,<br />
But laughter and the love <strong>of</strong> friends.<br />
Verses (1910) "Dedicatory Ode"<br />
Remote and ineffectual Don<br />
That dared attack my Chesterton.<br />
Verses (1910) "Lines to a Don"<br />
Don different from those regal Dons!<br />
With hearts <strong>of</strong> gold and lungs <strong>of</strong> bronze,<br />
Who shout and bang and roar and bawl<br />
<strong>The</strong> Absolute across the hall,<br />
Or sail in amply billowing gown<br />
Enormous through the Sacred Town,<br />
Bearing from College to their homes<br />
Deep cargoes <strong>of</strong> gigantic tomes;<br />
Dons admirable! Dons <strong>of</strong> Might!<br />
Uprising on my inward sight<br />
Compact <strong>of</strong> ancient tales, and port<br />
And sleep--and learning <strong>of</strong> a sort.<br />
Verses (1910) "Lines to a Don"<br />
A smell <strong>of</strong> burning fills the startled Air--<br />
<strong>The</strong> Electrician is no longer there!<br />
Verses (1910) "Newdigate Poem"<br />
I said to Heart, "How goes it?" Heart replied:<br />
"Right as a Ribstone Pippin!" But it lied.<br />
Verses (1910) "<strong>The</strong> False Heart"<br />
<strong>The</strong> Moon on the one hand, the Dawn on the other;<br />
<strong>The</strong> Moon is my sister, the Dawn is my brother.<br />
<strong>The</strong> Moon on my Left and the Dawn on my right.<br />
My Brother, good morning: my Sister good night.<br />
Verses and Sonnets (1896) "<strong>The</strong> Early Morning"
2.46 Saul Bellow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-<br />
If I am out <strong>of</strong> my mind, it's all right with me, thought Moses Herzog.<br />
Herzog (1961) p. 1 (opening sentence)<br />
<strong>The</strong> idea, anyway, was to ward <strong>of</strong>f trouble. But now the moronic inferno had<br />
caught up with me. My elegant car...was mutilated.<br />
Humboldt's Gift (1975) p. 35<br />
<strong>The</strong> only real distinction at this dangerous moment in human history and<br />
cosmic development has nothing to do with medals and ribbons. Not to fall<br />
asleep is distinguished. Everything else is mere popcorn.<br />
Humboldt's Gift (1975) p. 283<br />
I feel that art has something to do with the achievement <strong>of</strong> stillness in<br />
the midst <strong>of</strong> chaos. A stillness which characterizes prayer, too, and the<br />
eye <strong>of</strong> the storm. I think that art has something to do with an arrest <strong>of</strong><br />
attention in the midst <strong>of</strong> distraction.<br />
In George Plimpton Writers at Work (1967) 3rd series, p. 190<br />
2.47 Robert Benchley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1945<br />
I haven't been abroad in so long that I almost speak English without an<br />
accent now.<br />
After 1903--What? (1938) p. 241<br />
On a summer vacation trip Benchley arrived in Venice and immediately wired<br />
a friend: "streets flooded. please advise."<br />
In R. E. Drennan Algonquin Wits (1968) p. 45<br />
I do most <strong>of</strong> my work sitting down; that's where I shine.<br />
In R. E. Drennan Algonquin Wits (1968) p. 55<br />
My only solution for the problem <strong>of</strong> habitual accidents and, so far, nobody<br />
has asked me for my solution, is to stay in bed all day. Even then, there<br />
is always the chance that you will fall out.<br />
Chips <strong>of</strong>f the old Benchley (1949) "Safety Second"<br />
I had just dozed <strong>of</strong>f into a stupor when I heard what I thought was myself<br />
talking to myself. I didn't pay much attention to it, as I knew<br />
practically everything I would have to say to myself, and wasn't<br />
particularly interested.<br />
Chips <strong>of</strong>f the old Benchley (1949) "First Pigeon <strong>of</strong> Spring"<br />
A great many people have come up to me and asked how I manage to get so<br />
much work done and still keep looking so dissipated.<br />
Chips <strong>of</strong>f the old Benchley (1949) "How to get things Done"<br />
<strong>The</strong> biggest obstacle to pr<strong>of</strong>essional writing is the necessity for changing<br />
a typewriter ribbon.<br />
Chips <strong>of</strong>f the old Benchley (1949) "Learn to Write"<br />
Bob Benchley was one <strong>of</strong> the few writers I knew who always laughed at other
writers' lines. I always laughed at one <strong>of</strong> his. When he returned for his<br />
twenty-fifth homecoming at Harvard [in 1937], he stated to underclassmen,<br />
"I feel as I always have, except for an occasional heart attack."<br />
Groucho Marx Grouchophile (1976) p. 204<br />
<strong>The</strong> surest way to make a monkey <strong>of</strong> a man is to quote him.<br />
My Ten Years in a Quandary (1936) p. 204<br />
Tell us your phobias and we will tell you what you are afraid <strong>of</strong>.<br />
My Ten Years in a Quandary (1936) p. 295<br />
He [Benchley] came out <strong>of</strong> a night club one evening and, tapping a<br />
uniformed figure on the shoulder, said, "Get me a cab." <strong>The</strong> uniformed<br />
figure turned around furiously and informed him that he was not a doorman<br />
but a rear admiral. "O.K.," said Benchley, "Get me a battleship."<br />
New Yorker 5 Jan. 1946<br />
<strong>The</strong> famous <strong>of</strong>fice that Benchley and Dorothy Parker shared in the<br />
Metropolitan Opera House...was a cramped triangle stolen from a hallway.<br />
"One square foot less and it would be adulterous," said Benchley.<br />
New Yorker 5 Jan. 1946<br />
In America there are two classes <strong>of</strong> travel--first class, and with<br />
children.<br />
Pluck and Luck (1925) p. 6<br />
Often Daddy sat up very late working on a case <strong>of</strong> Scotch.<br />
Pluck and Luck (1925) p. 198<br />
A friend told him that the particular drink he was drinking was slow<br />
poison, and he replied, "So who's in a hurry?"<br />
Nathaniel Benchley Robert Benchley (1955) ch. 1<br />
It took me fifteen years to discover that I had no talent for writing, but<br />
I couldn't give it up because by that time I was too famous.<br />
In Nathaniel Benchley Robert Benchley (1955) ch. 1<br />
See also Mae West (23.29)<br />
2.48 Julien Benda<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1956<br />
La trahison des clercs.<br />
<strong>The</strong> treachery <strong>of</strong> the intellectuals.<br />
Title <strong>of</strong> book (1927)<br />
2.49 Stephen Vincent Ben‚t<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1943<br />
We thought we were done with these things but we were wrong.<br />
We thought, because we had power, we had wisdom.<br />
Atlantic Monthly Sept. 1935 "Litany for Dictatorships"<br />
I have fallen in love with American names,<br />
<strong>The</strong> sharp, gaunt names that never get fat,
<strong>The</strong> snakeskin-titles <strong>of</strong> mining-claims,<br />
<strong>The</strong> plumed war-bonnet <strong>of</strong> Medicine Hat,<br />
Tucson and Deadwood and Lost Mule Flat.<br />
Yale Review (1927) vol. 17, p. 63 "American Names"<br />
I shall not rest quiet in Montparnasse.<br />
I shall not lie easy at Winchelsea.<br />
You may bury my body in Sussex grass,<br />
You may bury my tongue at Champm‚dy.<br />
I shall not be there, I shall rise and pass.<br />
Bury my heart at Wounded Knee.<br />
Yale Review (1927) vol. 17, p. 64 "American Names"<br />
2.50 William Rose Ben‚t<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1950<br />
Blake saw a treefull <strong>of</strong> angels at Peckham Rye,<br />
And his hands could lay hold on the tiger's terrible heart.<br />
Blake knew how deep is Hell, and Heaven how high,<br />
And could build the universe from one tiny part.<br />
Burglar <strong>of</strong> Zodiac (1918) "Mad Blake"<br />
2.51 Tony Benn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-<br />
A holy war with atom bombs could end the human family for ever. I say this<br />
as a socialist whose political commitment owes much more to the teachings<br />
<strong>of</strong> Jesus--without the mysteries within which they are presented--than to<br />
the writings <strong>of</strong> Marx whose analysis seems to lack an understanding <strong>of</strong> the<br />
deeper needs <strong>of</strong> humanity.<br />
Arguments for Democracy (1981) ch. 7<br />
<strong>The</strong> distortion <strong>of</strong> the Marxist idea that developed in Russia was as great,<br />
and <strong>of</strong> the same character, as the distortion <strong>of</strong> the Christian teaching at<br />
the time <strong>of</strong> the Inquisition. But it is as wholly wrong to blame Marx for<br />
what was done in his name, as it is to blame Jesus for what was done in<br />
his.<br />
In Alan <strong>Free</strong>man <strong>The</strong> Benn Heresy (1982) p. 172<br />
In developing our industrial strategy for the period ahead, we have the<br />
benefit <strong>of</strong> much experience. Almost everything has been tried at least<br />
once.<br />
Hansard 13 Mar. 1974, col. 197<br />
Broadcasting is really too important to be left to the broadcasters.<br />
In Anthony Sampson <strong>The</strong> New Anatomy <strong>of</strong> Britain (1971) ch. 24<br />
It is arguable that what has really happened has amounted to such a<br />
breakdown in the social contract, upon which parliamentary democracy by<br />
universal suffrage was based, that that contract now needs to be<br />
re-negotiated on a basis that shares power much more widely, before it can<br />
win general assent again.<br />
<strong>The</strong> New Politics (1970) ch. 4<br />
<strong>The</strong> British House <strong>of</strong> Lords is the British Outer Mongolia for retired<br />
politicians.
In Observer 4 Feb. 1962<br />
We thought we could put the economy right in five years. We were wrong.<br />
It will probably take ten.<br />
Speech at Bristol, 18 Apr. 1968, in <strong>The</strong> Times 19 Apr. 1968<br />
2.52 George Bennard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1958<br />
I will cling to the old rugged cross,<br />
And exchange it some day for a crown.<br />
<strong>The</strong> Old Rugged Cross (1913 hymn)<br />
2.53 Alan Bennett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
Life, you know, is rather like opening a tin <strong>of</strong> sardines. We are all <strong>of</strong><br />
us looking for the key. And, I wonder, how many <strong>of</strong> you here tonight have<br />
wasted years <strong>of</strong> your lives looking behind the kitchen dressers <strong>of</strong> this<br />
life for that key. I know I have. Others think they've found the key,<br />
don't they? <strong>The</strong>y roll back the lid <strong>of</strong> the sardine tin <strong>of</strong> life, they reveal<br />
the sardines, the riches <strong>of</strong> life, therein, and they get them out, they<br />
enjoy them. But, you know, there's always a little bit in the corner you<br />
can't get out. I wonder--I wonder, is there a little bit in the corner <strong>of</strong><br />
your life? I know there is in mine.<br />
Beyond the Fringe (1961 revue) "Take a Pew," in Roger Wilmut Complete<br />
Beyond the Fringe (1987) p. 104<br />
I have never understood this liking for war. It panders to instincts<br />
already catered for within the scope <strong>of</strong> any respectable domestic<br />
establishment.<br />
Forty Years On (1969) act 1<br />
We started <strong>of</strong>f trying to set up a small anarchist community, but people<br />
wouldn't obey the rules.<br />
Getting On (1972) act 1<br />
One <strong>of</strong> the few lessons I have learned in life is that there is invariably<br />
something odd about women who wear ankle socks.<br />
Old Country (1978) act 1<br />
We were put to Dickens as children but it never quite took. That<br />
unremitting humanity soon had me cheesed <strong>of</strong>f.<br />
Old Country (1978) act 2<br />
2.54 Arnold Bennett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1931<br />
I place it upon record frankly--the Clayhanger trilogy is good....<strong>The</strong><br />
scene, for instance, where Darius Clayhanger dies that lingering death<br />
could scarcely be bettered....And why?...Because I took infinite pains<br />
over it. All the time my father was dying, I was at the bedside making<br />
copious notes. You can't just slap these things down. You have to take<br />
trouble.
Overheard conversation with Hugh Walpole circa 1926, in P. G. Wodehouse<br />
and Guy Bolton Bring on the Girls (1954) ch. 15<br />
His opinion <strong>of</strong> himself, having once risen, remained at "set fair."<br />
<strong>The</strong> Card (1911) ch. 1<br />
"Ye can call it influenza if ye like," said Mrs Machin. "<strong>The</strong>re was no<br />
influenza in my young days. We called a cold a cold."<br />
<strong>The</strong> Card (1911) ch. 8<br />
"And yet," demanded Councillor Barlow, "what's he done? Has he ever done<br />
a day's work in his life? What great cause is he identified with?" "He's<br />
identified," said the first speaker, "with the great cause <strong>of</strong> cheering us<br />
all up."<br />
<strong>The</strong> Card (1911) ch. 12<br />
My general impression is that Englishmen act better than Frenchmen, and<br />
Frenchwomen better than Englishwomen.<br />
Cupid and Commonsense (1909) preface<br />
Good taste is better than bad taste, but bad taste is better than no<br />
taste, and men without individuality have no taste--at any rate no taste<br />
that they can impose on their publics.<br />
Evening Standard 21 Aug. 1930<br />
"Bah!" she said. "With people like you, love only means one thing." "No,"<br />
he replied. "It means twenty things, but it doesn't mean nineteen."<br />
Journal (1932) 20 Nov. 1904<br />
A test <strong>of</strong> a first-rate work, and a test <strong>of</strong> your sincerity in calling it a<br />
first-rate work, is that you finish it.<br />
Things that have Interested Me (1921) "Finishing Books"<br />
In the meantime alcohol produces a delightful social atmosphere that<br />
nothing else can produce.<br />
Things that have Interested Me (1921) "For and Against Prohibition"<br />
Seventy minutes had passed before Mr Lloyd George arrived at his proper<br />
theme. He spoke for a hundred and seventeen minutes, in which period he<br />
was detected only once in the use <strong>of</strong> an argument.<br />
Things that have Interested Me (1921) "After the March Offensive."<br />
Pessimism, when you get used to it, is just as agreeable as optimism.<br />
Indeed, I think it must be more agreeable, must have a more real savour,<br />
than optimism--from the way in which pessimists abandon themselves to it.<br />
Things that have Interested Me (1921) "Slump in Pessimism"<br />
<strong>The</strong> price <strong>of</strong> justice is eternal publicity.<br />
Things that have Interested Me (2nd series, 1923) "Secret Trials"<br />
A cause may be inconvenient, but it's magnificent. It's like champagne or<br />
high heels, and one must be prepared to suffer for it.<br />
<strong>The</strong> Title (1918) act 1<br />
Examine the Honours List and you can instantly tell how the Government<br />
feels in its inside. When the Honours List is full <strong>of</strong> rascals,<br />
millionaires, and--er--chumps, you may be quite sure that the Government<br />
is dangerously ill.<br />
<strong>The</strong> Title (1918) act 1
Being a husband is a whole-time job. That is why so many husbands fail.<br />
<strong>The</strong>y cannot give their entire attention to it.<br />
<strong>The</strong> Title (1918) act 1<br />
Journalists say a thing that they know isn't true, in the hope that if<br />
they keep on saying it long enough it will be true.<br />
<strong>The</strong> Title (1918) act 2<br />
Literature's always a good card to play for Honours. It makes people<br />
think that Cabinet ministers are educated.<br />
<strong>The</strong> Title (1918) act 3<br />
2.55 Ada Benson and Fred Fisher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1942<br />
Your feet's too big,<br />
Don't want you 'cause your feet's too big,<br />
Mad at you 'cause your feet's too big,<br />
Hates you 'cause your feet's too big.<br />
Your Feet's Too Big (1936 song)<br />
2.56 A. C. Benson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1925<br />
I don't like authority, at least I don't like other people's authority.<br />
Excerpts from Letters to M. E. A. (1926) p. 41<br />
Land <strong>of</strong> Hope and Glory, Mother <strong>of</strong> the <strong>Free</strong>,<br />
How shall we extol thee who are born <strong>of</strong> thee?<br />
Wider still and wider shall thy bounds be set;<br />
God who made thee mighty, make thee mightier yet.<br />
Land <strong>of</strong> Hope and Glory (1902 song; music by Sir Edward Elgar)<br />
2.57 Stella Benson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1933<br />
Call no man foe, but never love a stranger.<br />
This is the End (1917) p. 63<br />
2.58 Edmund Clerihew Bentley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1956<br />
When their lordships asked Bacon<br />
How many bribes he had taken<br />
He had at least the grace<br />
To get very red in the face.<br />
Baseless Biography (1939) "Bacon"<br />
<strong>The</strong> Art <strong>of</strong> Biography<br />
Is different from Geography.<br />
Geography is about Maps,<br />
But Biography is about Chaps.
Biography for Beginners (1905) introd.<br />
Sir Christopher Wren<br />
Said, "I am going to dine with some men.<br />
If anybody calls<br />
Say I am designing St Paul's."<br />
Biography for Beginners (1905) "Sir Christopher Wren"<br />
Sir Humphrey Davy<br />
Abominated gravy.<br />
He lived in the odium<br />
Of having discovered Sodium.<br />
Biography for Beginners (1905) "Sir Humphrey Davy"<br />
John Stuart Mill,<br />
By a mighty effort <strong>of</strong> will,<br />
Overcame his natural bonhomie<br />
And wrote "Principles <strong>of</strong> Political Economy."<br />
Biography for Beginners (1905) "John Stuart Mill"<br />
What I like about Clive<br />
Is that he is no longer alive.<br />
<strong>The</strong>re is a great deal to be said<br />
For being dead.<br />
Biography for Beginners (1905) "Clive"<br />
Edward the Confessor<br />
Slept under the dresser.<br />
When that began to pall,<br />
He slept in the hall.<br />
Biography for Beginners (1905) "Edward the Confessor"<br />
Chapman & Hall<br />
Swore not at all.<br />
Mr Chapman's yea was yea,<br />
And Mr Hall's nay was nay.<br />
Biography for Beginners (1905) "Chapman & Hall"<br />
George the Third<br />
Ought never to have occurred.<br />
One can only wonder<br />
At so grotesque a blunder.<br />
More Biography (1929) "George the Third"<br />
2.59 Eric Bentley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
<strong>The</strong> theatre <strong>of</strong> farce is the theatre <strong>of</strong> the human body but <strong>of</strong> that body in<br />
a state as far from the natural as the voice <strong>of</strong> Chaliapin is from my voice<br />
or yours. It is a theatre in which, though the marionettes are men, the<br />
men are supermarionettes. It is the theatre <strong>of</strong> the surrealist body.<br />
Life <strong>of</strong> Drama (1964) ch. 7<br />
Ours is the age <strong>of</strong> substitutes: instead <strong>of</strong> language, we have jargon;<br />
instead <strong>of</strong> principles, slogans; and, instead <strong>of</strong> genuine ideas, Bright<br />
Ideas.<br />
New Republic 29 Dec. 1952
2.60 Nikolai Berdyaev<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1948<br />
Utopias are realizable, they are more realizable than what has been<br />
presented as "realist politics" and what has simply been the calculated<br />
rationalism <strong>of</strong> armchair politicians. Life is moving towards utopias. But<br />
perhaps a new age is opening up before us, in which the intelligentsia and<br />
the cultured classes will dream <strong>of</strong> ways to avoid utopias and to return to<br />
a non-utopian society, to a less "perfect" a freer society.<br />
Novoe srednevekov'e (New Middle Ages, 1924) p. 122<br />
2.61 Lord Charles Beresford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1846-1919<br />
On one occasion, when at the eleventh hour he [Beresford] had been<br />
summoned to dine with the then Prince <strong>of</strong> Wales, he is said to have<br />
telegraphed back: "Very sorry can't come. Lie follows by post." This story<br />
has been told <strong>of</strong> several other people, but Lord Charles was the real<br />
originator.<br />
Ralph Nevill World <strong>of</strong> Fashion 1837-1922 (1923) ch. 5. Cf. Marcel Proust<br />
176:5<br />
2.62 Henri Bergson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1941<br />
La fonction essentielle de l'univers, qui est une machine … faire des<br />
dieux.<br />
<strong>The</strong> essential function <strong>of</strong> the universe, which is a machine for making<br />
gods.<br />
Les Deux sources de la morale et de la religion (<strong>The</strong> Two Sources <strong>of</strong><br />
Morality and Religion, 1932) ch. 4<br />
2.63 Irving Berlin (Israel Baline)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1989<br />
Come on and hear,<br />
Come on and hear,<br />
Alexander's ragtime band,<br />
Come on and hear,<br />
Come on and hear,<br />
It's the best band in the land.<br />
Alexander's Ragtime Band (1911 song)<br />
Anything you can do, I can do better,<br />
I can do anything better than you.<br />
Anything You Can Do (1946 song)<br />
God bless America,<br />
Land that I love,<br />
Stand beside her and guide her<br />
Thru the night with a light from above.
From the mountains to the prairies,<br />
To the oceans white with foam,<br />
God bless America,<br />
My home sweet home.<br />
God Bless America (1939 song)<br />
Oh! how I hate to get up in the morning,<br />
Oh! how I'd love to remain in bed;<br />
For the hardest blow <strong>of</strong> all,<br />
Is to hear the bugler call,<br />
You've got to get up, you've got to get up,<br />
You've got to get up this morning!<br />
Oh! How I Hate to Get Up in the Morning (1918 song)<br />
A pretty girl is like a melody<br />
That haunts you night and day.<br />
A Pretty Girl is like a Melody (1919 song)<br />
<strong>The</strong> song is ended (but the melody lingers on).<br />
Title <strong>of</strong> song (1927)<br />
<strong>The</strong>re's no business like show business.<br />
Title <strong>of</strong> song (1946)<br />
I'm puttin' on my top hat,<br />
Tyin' up my white tie,<br />
Brushin' <strong>of</strong>f my tails.<br />
Top Hat, White Tie and Tails (1935 song)<br />
I'm dreaming <strong>of</strong> a white Christmas,<br />
Just like the ones I used to know,<br />
Where the tree-tops glisten<br />
And children listen<br />
To hear sleigh bells in the snow.<br />
White Christmas (1942 song)<br />
2.64 Sir Isaiah Berlin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
<strong>The</strong>re exists a great chasm between those, on one side, who relate<br />
everything to a single central vision...and, on the other side, those who<br />
pursue many ends, <strong>of</strong>ten unrelated and even contradictory....<strong>The</strong> first kind<br />
<strong>of</strong> intellectual and artistic personality belongs to the hedgehogs, the<br />
second to the foxes.<br />
Hedgehog and Fox (1953) ch. 1<br />
Rousseau was the first militant lowbrow.<br />
Observer 9 Nov. 1952<br />
Liberty is liberty, not equality or fairness or justice or human happiness<br />
or a quiet conscience.<br />
Two Concepts <strong>of</strong> Liberty (1958) p. 10<br />
2.65 Georges Bernanos<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1948
Le d‚sir de la priŠre est d‚j… une priŠre.<br />
<strong>The</strong> wish for prayer is a prayer in itself.<br />
Journal d'un cur‚ de campagne (Diary <strong>of</strong> a Country Priest, 1936) ch. 2<br />
L'enfer, madame, c'est de ne plus aimer.<br />
Hell, madam, is to love no more.<br />
Journal d'un cur‚ de campagne (Diary <strong>of</strong> a Country Priest, 1936) ch. 2<br />
2.66 Jeffrey Bernard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
When people say, "You're breaking my heart," they do in fact usually mean<br />
that you're breaking their genitals.<br />
Spectator 31 May 1986<br />
2.67 Eric Berne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1970<br />
<strong>The</strong> sombre picture presented in Parts I and II <strong>of</strong> this book, in which<br />
human life is mainly a process <strong>of</strong> filling in time until the arrival <strong>of</strong><br />
death, or Santa Claus, with very little choice, if any, <strong>of</strong> what kind <strong>of</strong><br />
business one is going to transact during the long wait, is a commonplace<br />
but not the final answer.<br />
Games People Play (1964) ch. 18<br />
Games people play: the psychology <strong>of</strong> human relationships.<br />
Title <strong>of</strong> book (1964)<br />
2.68 Carl Bernstein and Bob Woodward<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Carl Bernstein 1944-<br />
Bob Woodward 1943-<br />
All the President's men.<br />
Title <strong>of</strong> book (1974)<br />
2.69 Chuck Berry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
Roll over, Beethoven, and tell Tchaikovsky the news.<br />
Roll Over, Beethoven (1956 song)<br />
2.70 John Berryman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1972<br />
Blossomed Sarah, and I<br />
blossom. Is that thing alive? I hear a famisht howl.<br />
Partisan Review (1953) vol. 20, p. 494 "Homage to Mistress Bradstreet"
We must travel in the direction <strong>of</strong> our fear.<br />
Poems (1942) "A Point <strong>of</strong> Age"<br />
Life, friends, is boring. We must not say so.<br />
77 Dream Songs (1964) no. 14<br />
And moreover my mother taught me as a boy<br />
(repeatingly) "Ever to confess you're bored<br />
means you have no<br />
Inner Resources." I conclude now I have no<br />
inner resources, because I am heavy bored.<br />
77 Dream Songs (1964) no. 14<br />
I seldom go to films. <strong>The</strong>y are too exciting, said the Honourable Possum.<br />
77 Dream Songs (1964) no. 53<br />
2.71 Pierre Berton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
[Definition <strong>of</strong> a Canadian:] Somebody who knows how to make love in a<br />
canoe.<br />
Toronto Star, Canadian Mag. 22 Dec. 1973<br />
2.72 <strong>The</strong>obald von Bethmann Hollweg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1921<br />
He [Bethmann Hollweg] said that the step taken by His Majesty's Government<br />
was terrible to a degree, just for a word "neutrality"--a word which in<br />
wartime had so <strong>of</strong>ten been disregarded--just for a scrap <strong>of</strong> paper, Great<br />
Britain was going to make war on a kindred nation who desired nothing<br />
better than to be friends with her.<br />
Report by Sir E. Goschen to Sir Edward Grey, in British Documents on<br />
Origins <strong>of</strong> the War 1898-1914 (1926) vol. 11, p. 351<br />
2.73 Sir John Betjeman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1984<br />
He sipped at a weak hock and seltzer<br />
As he gazed at the London skies<br />
Through the Nottingham lace <strong>of</strong> the curtains<br />
Or was it his bees-winged eyes?<br />
He rose, and he put down <strong>The</strong> Yellow Book.<br />
He staggered--and, terrible-eyed,<br />
He brushed past the palms on the staircase<br />
And was helped to a hansom outside.<br />
Continual Dew (1937) "Arrest <strong>of</strong> Oscar Wilde at the Cadogan Hotel"<br />
Come, friendly bombs, and fall on Slough!<br />
It isn't fit for humans now,<br />
<strong>The</strong>re isn't grass to graze a cow.<br />
Swarm over, Death!<br />
Continual Dew (1937) "Slough"
Rime Intrinsica, Fontmell Magna, Sturminster Newton and Melbury Bubb,<br />
Whist upon whist upon whist upon whist drive, in Institute, Legion and<br />
Social Club.<br />
Horny hands that hold the aces which this morning held the plough--<br />
While Tranter Reuben, T. S. Eliot, H. G. Wells and Edith Sitwell lie in<br />
Mellstock churchyard now.<br />
Continual Dew (1937) "Dorset"<br />
Spirits <strong>of</strong> well-shot woodcock, partridge, snipe<br />
Flutter and bear him up the Norfolk sky:<br />
In that red house in a red mahogany book-case<br />
<strong>The</strong> stamp collection waits with mounts long dry.<br />
Continual Dew (1937) "Death <strong>of</strong> King George V"<br />
And girls in slacks remember Dad,<br />
And oafish louts remember Mum,<br />
And sleepless children's hearts are glad,<br />
And Christmas -morning bells say "Come!"<br />
Even to shining ones who dwell<br />
Safe in the Dorchester Hotel.<br />
And is it true? And is it true,<br />
This most tremendous tale <strong>of</strong> all,<br />
Seen in a stained-glass window's hue,<br />
A Baby in an ox's stall?<br />
<strong>The</strong> Maker <strong>of</strong> the stars and sea<br />
Become a Child on earth for me?<br />
Few Late Chrysanthemums (1954) "Christmas"<br />
In the licorice fields at Pontefract<br />
My love and I did meet<br />
And many a burdened licorice bush<br />
Was blooming round our feet;<br />
Red hair she had and golden skin,<br />
Her sulky lips were shaped for sin,<br />
Her sturdy legs were flannel-slack'd,<br />
<strong>The</strong> strongest legs in Pontefract.<br />
Few Late Chrysanthemums (1954) "<strong>The</strong> Licorice Fields at Pontefract"<br />
In the Garden City Caf‚ with its murals on the wall<br />
Before a talk on "Sex and Civics" I meditated on the Fall.<br />
Few Late Chrysanthemums (1954) "Huxley Hall"<br />
Gaily into Ruislip Gardens<br />
Runs the red electric train,<br />
With a thousand Ta's and Pardon's<br />
Daintily alights Elaine;<br />
Hurries down the concrete station<br />
With a frown <strong>of</strong> concentration,<br />
Out into the outskirt's edges<br />
Where a few surviving hedges<br />
Keep alive our lost Elysium--rural Middlesex again.<br />
Few Late Chrysanthemums (1954) "Middlesex"<br />
<strong>The</strong>re was sun enough for lazing upon beaches,<br />
<strong>The</strong>re was fun enough for far into the night.<br />
But I'm dying now and done for,<br />
What on earth was all the fun for?<br />
For God's sake keep that sunlight out <strong>of</strong> sight.<br />
Few Late Chrysanthemums (1954) "Sun and Fun"
It's awf'lly bad luck on Diana,<br />
Her ponies have swallowed their bits;<br />
She fished down their throats with a spanner<br />
And frightened them all into fits.<br />
Few Late Chrysanthemums (1954) "Hunter Trials"<br />
Oh wasn't it naughty <strong>of</strong> Smudges?<br />
Oh, Mummy, I'm sick with disgust.<br />
She threw me in front <strong>of</strong> the Judges<br />
And my silly old collarbone's bust.<br />
Few Late Chrysanthemums (1954) "Hunter Trials"<br />
Phone for the fish-knives, Norman<br />
As Cook is a little unnerved;<br />
You kiddies have crumpled the serviettes<br />
And I must have things daintily served.<br />
Few Late Chrysanthemums (1954) "How to get on in Society"<br />
Milk and then just as it comes dear?<br />
I'm afraid the preserve's full <strong>of</strong> stones;<br />
Beg pardon, I'm soiling the doileys<br />
With afternoon tea-cakes and scones.<br />
Few Late Chrysanthemums (1954) "How to get on in Society"<br />
Ghastly good taste, or a depressing story <strong>of</strong> the rise and fall <strong>of</strong> English<br />
architecture.<br />
Title <strong>of</strong> book (1933)<br />
Oh! Chintzy, Chintzy cheeriness,<br />
Half dead and half alive!<br />
Mount Zion (1931) "Death in Leamington"<br />
<strong>The</strong> Church's Restoration<br />
In eighteen-eighty-three<br />
Has left for contemplation<br />
Not what there used to be.<br />
Mount Zion (1931) "Hymn"<br />
Sing on, with hymns uproarious,<br />
Ye humble and alo<strong>of</strong>,<br />
Look up! and oh how glorious<br />
He has restored the ro<strong>of</strong>!<br />
Mount Zion (1931) "Hymn"<br />
Broad <strong>of</strong> Church and "broad <strong>of</strong> Mind,"<br />
Broad before and broad behind,<br />
A keen ecclesiologist,<br />
A rather dirty Wykehamist.<br />
Mount Zion (1931) "<strong>The</strong> Wykehamist"<br />
Oh shall I see the Thames again?<br />
<strong>The</strong> prow-promoted gems again,<br />
As beefy ATS<br />
Without their hats<br />
Come shooting through the bridge?<br />
And "cheerioh" or "cheeri-bye"<br />
Across the waste <strong>of</strong> waters die<br />
And low the mists <strong>of</strong> evening lie<br />
And lightly skims the midge.
New Bats in Old Belfries (1945) "Henley-on-Thames"<br />
Rumbling under blackened girders, Midland, bound for Cricklewood,<br />
Puffed its sulphur to the sunset where that Land <strong>of</strong> Laundries stood.<br />
Rumble under, thunder over, train and tram alternate go.<br />
Shake the floor and smudge the ledger, Charrington, Sells, Dale and Co.,<br />
Nuts and nuggets in the window, trucks along the lines below.<br />
New Bats in Old Belfries (1945) "Parliament Hill Fields"<br />
Miss J. Hunter Dunn, Miss J. Hunter Dunn,<br />
Furnish'd and burnish'd by Aldershot sun,<br />
What strenuous singles we played after tea,<br />
We in the tournament--you against me.<br />
Love-thirty, love-forty, oh! weakness <strong>of</strong> joy,<br />
<strong>The</strong> speed <strong>of</strong> a swallow, the grace <strong>of</strong> a boy,<br />
With carefullest carelessness, gaily you won,<br />
I am weak from your loveliness, Joan Hunter Dunn.<br />
Miss Joan Hunter Dunn, Miss Joan Hunter Dunn,<br />
How mad I am, sad I am, glad that you won.<br />
<strong>The</strong> warm-handled racket is back in its press,<br />
But my shock-headed victor, she loves me no less.<br />
New Bats in Old Belfries (1945) "Subaltern's Love-Song"<br />
<strong>The</strong> scent <strong>of</strong> the conifers, sound <strong>of</strong> the bath,<br />
<strong>The</strong> view from my bedroom <strong>of</strong> moss-dappled path,<br />
As I struggle with double-end evening tie,<br />
For we dance at the Golf Club, my victor and I.<br />
New Bats in Old Belfries (1945) "Subaltern's Love-Song"<br />
By roads "not adopted," by woodlanded ways,<br />
She drove to the club in the late summer haze,<br />
Into nine-o'clock Camberley, heavy with bells<br />
And mushroomy, pine-woody, evergreen smells.<br />
Miss Joan Hunter Dunn, Miss Joan Hunter Dunn,<br />
I can hear from the car-park the dance has begun.<br />
Oh! full Surrey twilight! importunate band!<br />
Oh! strongly adorable tennis-girl's hand!<br />
New Bats in Old Belfries (1945) "Subaltern's Love-Song"<br />
We sat in the car park till twenty to one<br />
And now I'm engaged to Miss Joan Hunter Dunn.<br />
New Bats in Old Belfries (1945) "Subaltern's Love-Song"<br />
Belbroughton Road is bonny, and pinkly bursts the spray<br />
Of prunus and forsythia across the public way,<br />
For a full spring-tide <strong>of</strong> blossom seethed and departed hence,<br />
Leaving land-locked pools <strong>of</strong> jonquils by sunny garden fence.<br />
And a constant sound <strong>of</strong> flushing runneth from windows where<br />
<strong>The</strong> toothbrush too is airing in this new North <strong>Oxford</strong> air.<br />
New Bats in Old Belfries (1945) "May-Day Song for North <strong>Oxford</strong>"<br />
Bells are booming down the bohreens,<br />
White the mist along the grass.<br />
Now the Julias, Maeves and Maureens<br />
Move between the fields to Mass.<br />
New Bats in Old Belfries (1945) "Ireland with Emily"
<strong>The</strong> gas was on in the Institute,<br />
<strong>The</strong> flare was up in the gymn,<br />
A man was running a mineral line,<br />
A lass was singing a hymn,<br />
When Captain Webb the Dawley man,<br />
Captain Webb from Dawley,<br />
Came swimming along in the old canal<br />
That carries the bricks to Lewley.<br />
Old Lights for New Chancels (1940) "A Shropshire Lad"<br />
Pam, I adore you, Pam, you great big mountainous sports girl,<br />
Whizzing them over the net, full <strong>of</strong> the strength <strong>of</strong> five:<br />
That old Malvernian brother, you zephyr and khaki shorts girl,<br />
Although he's playing for Woking,<br />
Can't stand up to your wonderful backhand drive.<br />
Old Lights for New Chancels (1940) "Pot Pourri from a Surrey Garden"<br />
Think <strong>of</strong> what our Nation stands for,<br />
Books from Boots' and country lanes,<br />
<strong>Free</strong> speech, free passes, class distinction,<br />
Democracy and proper drains.<br />
Lord, put beneath Thy special care<br />
One-eighty-nine Cadogan Square.<br />
Old Lights for New Chancels (1940) "In Westminster Abbey"<br />
<strong>The</strong> dread <strong>of</strong> beatings! Dread <strong>of</strong> being late!<br />
And, greatest dread <strong>of</strong> all, the dread <strong>of</strong> games!<br />
Summoned by Bells (1960) ch. 7<br />
Balkan Sobranies in a wooden box,<br />
<strong>The</strong> college arms upon the lid; Tokay<br />
And sherry in the cupboard; on the shelves<br />
<strong>The</strong> University Statutes bound in blue,<br />
Crome Yellow, Prancing Nigger, Blunden, Keats.<br />
Summoned by Bells (1960) ch. 9<br />
As one more solemn <strong>of</strong> our number said:<br />
"Spiritually I was at Eton, John."<br />
Summoned by Bells (1960) ch. 9<br />
2.74 Aneurin Bevan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1960<br />
He [Winston Churchill] is a man suffering from petrified adolescence.<br />
In Vincent Brome Aneurin Bevan (1953) ch. 11<br />
Listening to a speech by Chamberlain is like paying a visit to<br />
Woolworth's: everything in its place and nothing above sixpence.<br />
In Michael Foot Aneurin Bevan (1962) vol. 1, ch. 8<br />
I know that the right kind <strong>of</strong> leader for the Labour Party is a desiccated<br />
calculating machine who must not in any way permit himself to be swayed by<br />
indignation. If he sees suffering, privation or injustice he must not<br />
allow it to move him, for that would be evidence <strong>of</strong> the lack <strong>of</strong> proper<br />
education or <strong>of</strong> absence <strong>of</strong> self-control. He must speak in calm and<br />
objective accents and talk about a dying child in the same way as he would<br />
about the pieces inside an internal combustion engine.
In Michael Foot Aneurin Bevan (1973) vol. 2, ch. 11<br />
Damn it all, you can't have the crown <strong>of</strong> thorns and the thirty pieces <strong>of</strong><br />
silver.<br />
In Michael Foot Aneurin Bevan (1973) vol. 2, ch. 13<br />
This island is made mainly <strong>of</strong> coal and surrounded by fish. Only an<br />
organizing genius could produce a shortage <strong>of</strong> coal and fish at the same<br />
time.<br />
Speech at Blackpool 24 May 1945, in Daily Herald 25 May 1945<br />
I do not think Winston Churchill wants war, but the trouble with him is<br />
that he doesn't even know how to avoid it. He does not talk the language<br />
<strong>of</strong> the 20th century but that <strong>of</strong> the 18th. He is still fighting Blenheim<br />
all over again. His only answer to a difficult situation is send a<br />
gun-boat.<br />
Speech at Scarborough 2 Oct. 1951, in Daily Herald 3 Oct. 1951<br />
If you carry this resolution you will send Britain's Foreign Secretary<br />
naked into the conference chamber.<br />
Speech at Brighton, in Daily Herald 4 Oct. 1957<br />
<strong>The</strong> worst thing I can say about democracy is that it has tolerated the<br />
Right Honourable Gentleman [Neville Chamberlain] for four and a half<br />
years.<br />
Hansard 23 July 1929, col. 1191<br />
Why read the crystal when he can read the book?<br />
Hansard 29 Sept. 1949, col. 319<br />
I am not going to spend any time whatsoever in attacking the Foreign<br />
Secretary. Quite honestly, I am beginning to feel extremely sorry for<br />
him. If we complain about the tune, there is no reason to attack the<br />
monkey when the organ grinder is present.<br />
Hansard 16 May 1957, col. 680<br />
We know what happens to people who stay in the middle <strong>of</strong> the road. <strong>The</strong>y<br />
get run down.<br />
In Observer 6 Dec. 1953<br />
<strong>The</strong> language <strong>of</strong> priorities is the religion <strong>of</strong> Socialism.<br />
Speech at Labour Party Conference in Blackpool, 8 June 1949, in Report <strong>of</strong><br />
48th Annual Conference (1949) p. 172<br />
No amount <strong>of</strong> cajolery, and no attempts at ethical or social seduction, can<br />
eradicate from my heart a deep burning hatred for the Tory Party that<br />
inflicted those bitter experiences on me. So far as I am concerned they<br />
are lower than vermin. <strong>The</strong>y condemned millions <strong>of</strong> first-class people to<br />
semi-starvation.<br />
Speech at Manchester, 4 July 1948, in <strong>The</strong> Times 5 July 1948<br />
I read the newspapers avidly. It is my one form <strong>of</strong> continuous fiction.<br />
<strong>The</strong> Times 29 Mar. 1960<br />
2.75 William Henry Beveridge (First Baron Beveridge)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1963<br />
Ignorance is an evil weed, which dictators may cultivate among their
dupes, but which no democracy can afford among its citizens.<br />
Full Employment in a <strong>Free</strong> Society (1944) pt. 7<br />
<strong>The</strong> object <strong>of</strong> government in peace and in war is not the glory <strong>of</strong> rulers or<br />
<strong>of</strong> races, but the happiness <strong>of</strong> the common man.<br />
Social Insurance and Allied Services (1942) pt. 7<br />
<strong>The</strong> state is or can be master <strong>of</strong> money, but in a free society it is master<br />
<strong>of</strong> very little else.<br />
Voluntary Action (1948) ch. 12<br />
2.76 Ernest Bevin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1951<br />
If you open that Pandora's Box [the Council <strong>of</strong> Europe], you never know<br />
what Trojan 'orses will jump out.<br />
Sir Roderick Barclay Ernest Bevin and Foreign Office (1975) ch. 3<br />
A Ministerial colleague with whom Ernie [Bevin] was almost always on bad<br />
terms was Nye Bevan. <strong>The</strong>re was a well-known occasion when the latter had<br />
incurred Ernie's displeasure, and one <strong>of</strong> those present, seeking to excuse<br />
Nye, observed that he was sometimes his own worst enemy. "Not while I'm<br />
alive 'e aint!" retorted Ernie.<br />
In Sir Roderick Barclay Ernest Bevin and Foreign Office (1975) ch. 4<br />
<strong>The</strong>re never has been a war yet which, if the facts had been put calmly<br />
before the ordinary folk, could not have been prevented....<strong>The</strong> common man,<br />
I think, is the great protection against war.<br />
Hansard 23 Nov. 1945, col. 786<br />
<strong>The</strong> most conservative man in this world is the British Trade Unionist when<br />
you want to change him.<br />
Speech, 8 Sept. 1927, in Report <strong>of</strong> Proceedings <strong>of</strong> the Trades Union<br />
Congress (1927) p. 298<br />
I didn't ought never to have done it. It was you, Willie, what put me up<br />
to it.<br />
To Lord Strang, after <strong>of</strong>ficially recognizing Communist China, in C.<br />
Parrott Serpent and Nightingale (1977) ch. 3<br />
My policy is to be able to take a ticket at Victoria Station and go<br />
anywhere I damn well please.<br />
In Spectator 20 Apr. 1951, p. 514<br />
2.77 Georges Bidault<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1983<br />
<strong>The</strong> weak have one weapon: the errors <strong>of</strong> those who think they are strong.<br />
In Observer 15 July 1962<br />
2.78 Ambrose Bierce<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1842-?1914<br />
Acquaintance, n. A person whom we know well enough to borrow from, but
not well enough to lend to. A degree <strong>of</strong> friendship called slight when its<br />
object is poor or obscure, and intimate when he is rich or famous.<br />
Cynic's Word Book (1906) p. 12<br />
Admiration, n. Our polite recognition <strong>of</strong> another's resemblance to<br />
ourselves.<br />
Cynic's Word Book (1906) p. 13<br />
Advice, n. <strong>The</strong> smallest current coin.<br />
Cynic's Word Book (1906) p. 14<br />
Alliance, n. In international politics, the union <strong>of</strong> two thieves who have<br />
their hands so deeply inserted in each other's pocket that they cannot<br />
separately plunder a third.<br />
Cynic's Word Book (1906) p. 16<br />
Ambition, n. An overmastering desire to be vilified by enemies while<br />
living and made ridiculous by friends when dead.<br />
Cynic's Word Book (1906) p. 17<br />
Applause, n. <strong>The</strong> echo <strong>of</strong> a platitude.<br />
Cynic's Word Book (1906) p. 19<br />
Auctioneer, n. <strong>The</strong> man who proclaims with a hammer that he has picked a<br />
pocket with his tongue.<br />
Cynic's Word Book (1906) p. 24<br />
Battle, n. A method <strong>of</strong> untying with the teeth a political knot that would<br />
not yield to the tongue.<br />
Cynic's Word Book (1906) p. 30<br />
Bore, n. A person who talks when you wish him to listen.<br />
Cynic's Word Book (1906) p. 37<br />
Brain, n. An apparatus with which we think that we think.<br />
Cynic's Word Book (1906) p. 39<br />
Calamity, n....Calamities are <strong>of</strong> two kinds: misfortune to ourselves, and<br />
good fortune to others.<br />
Cynic's Word Book (1906) p. 41<br />
Conservative, n. A statesman who is enamoured <strong>of</strong> existing evils, as<br />
distinguished from the Liberal, who wishes to replace them with others.<br />
Cynic's Word Book (1906) p. 56<br />
Cynic, n. A blackguard whose faulty vision sees things as they are, not as<br />
they ought to be.<br />
Cynic's Word Book (1906) p. 63<br />
Education, n. That which discloses to the wise and disguises from the<br />
foolish their lack <strong>of</strong> understanding.<br />
Cynic's Word Book (1906) p. 86<br />
Egotist, n. A person <strong>of</strong> low taste, more interested in himself than in me.<br />
Cynic's Word Book (1906) p. 86<br />
Future, n. That period <strong>of</strong> time in which our affairs prosper, our friends<br />
are true, and our happiness is assured.<br />
Cynic's Word Book (1906) p. 129
History, n. An account, mostly false, <strong>of</strong> events, mostly unimportant, which<br />
are brought about by rulers, mostly knaves, and soldiers, mostly fools.<br />
Cynic's Word Book (1906) p. 161<br />
Marriage, n. <strong>The</strong> state or condition <strong>of</strong> a community consisting <strong>of</strong> a<br />
master, a mistress and two slaves, making in all, two.<br />
Devil's <strong>Dictionary</strong> (1911) p. 213<br />
Noise, n. A stench in the ear....<strong>The</strong> chief product and authenticating sign<br />
<strong>of</strong> civilization.<br />
Devil's <strong>Dictionary</strong> (1911) p. 228<br />
Patience, n. A minor form <strong>of</strong> despair, disguised as a virtue.<br />
Devil's <strong>Dictionary</strong> (1911) p. 248<br />
Peace, n. In international affairs, a period <strong>of</strong> cheating between two<br />
periods <strong>of</strong> fighting.<br />
Devil's <strong>Dictionary</strong> (1911) p. 248<br />
Prejudice, n. A vagrant opinion without visible means <strong>of</strong> support.<br />
Devil's <strong>Dictionary</strong> (1911) p. 264<br />
Saint, n. A dead sinner revised and edited.<br />
Devil's <strong>Dictionary</strong> (1911) p. 306<br />
Destiny, n. A tyrant's authority for crime and a fool 's excuse for<br />
failure.<br />
Enlarged Devil's <strong>Dictionary</strong> (1967) p. 64<br />
2.79 Laurence Binyon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1943<br />
Now is the time for the burning <strong>of</strong> the leaves.<br />
Horizon Oct. 1942, "<strong>The</strong> Ruins"<br />
With proud thanksgiving, a mother for her children,<br />
England mourns for her dead across the sea.<br />
Flesh <strong>of</strong> her flesh they were, spirit <strong>of</strong> her spirit,<br />
Fallen in the cause <strong>of</strong> the free.<br />
<strong>The</strong> Times 21 Sept. 1914, "For the Fallen"<br />
<strong>The</strong>y shall grow not old, as we that are left grow old.<br />
Age shall not weary them, nor the years condemn.<br />
At the going down <strong>of</strong> the sun and in the morning<br />
We will remember them.<br />
<strong>The</strong> Times 21 Sept. 1914, "For the Fallen"<br />
2.80 Nigel Birch (Baron Rhyl)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1981<br />
My God! <strong>The</strong>y've shot our fox! [said 13 Nov. 1947, when hearing <strong>of</strong> the<br />
resignation <strong>of</strong> Hugh Dalton, Chancellor <strong>of</strong> the Exchequer in the Labour<br />
Government].<br />
In Harold Macmillan Tides <strong>of</strong> Fortune (1969) ch. 3<br />
2.81 John Bird
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
That was the week that was.<br />
Title <strong>of</strong> BBC television series, 1962-3: see Ned Sherrin A Small<br />
Thing--Like an Earthquake (1983) p. 62<br />
2.82 Earl <strong>of</strong> Birkenhead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See F. E. Smith (19.82)<br />
2.83 Lord Birkett (William Norman Birkett, Baron Birkett)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1962<br />
I do not object to people looking at their watches when I am speaking. But<br />
I strongly object when they start shaking them to make certain they are<br />
still going.<br />
In Observer 30 Oct. 1960<br />
2.84 Eric Blair<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See George Orwell ("George Orwell (Eric Blair)" in topic 15.24<br />
form=pageonly.)<br />
2.85 Eubie Blake (James Hubert Blake)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1983<br />
If I'd known I was gonna live this long [100 years], I'd have taken better<br />
care <strong>of</strong> myself.<br />
In Observer 13 Feb. 1983<br />
2.86 Lesley Blanch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
She was an Amazon. Her whole life was spent riding at breakneck speed<br />
towards the wilder shores <strong>of</strong> love.<br />
<strong>The</strong> Wilder Shores <strong>of</strong> Love (1954) pt. 2, ch. 1<br />
2.87 Alan Bleasdale<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Yosser hughes: Gizza job.... I can do that.<br />
Boys from the Blackstuff (1985) p. 7 (<strong>of</strong>ten quoted as "Gissa job")<br />
2.88 Karen Blixen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
See Isak Dinesen (4.31)<br />
2.89 Edmund Blunden<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1974<br />
Dance on this ball-floor thin and wan,<br />
Use him as though you love him;<br />
Court him, elude him, reel and pass,<br />
And let him hate you through the glass.<br />
Masks <strong>of</strong> Time (1925) "Midnight Skaters"<br />
I have been young, and now am not too old;<br />
And I have seen the righteous forsaken,<br />
His health, his honour and his quality taken.<br />
This is not what we were formerly told.<br />
Near and Far (1929) "Report on Experience"<br />
This was my country and it may be yet,<br />
But something flew between me and the sun.<br />
Retreat (1928) "<strong>The</strong> Resignation"<br />
I am for the woods against the world,<br />
But are the woods for me?<br />
To <strong>The</strong>mis (1931) "<strong>The</strong> Kiss"<br />
2.90 Alfred Blunt (Bishop <strong>of</strong> Bradford)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1957<br />
<strong>The</strong> benefit <strong>of</strong> the King's Coronation depends, under God, upon two<br />
elements: First, on the faith, prayer, and self-dedication <strong>of</strong> the King<br />
himself, and on that it would be improper for me to say anything except to<br />
commend him, and ask you to commend him, to God's grace, which he will so<br />
abundantly need...if he is to do his duty faithfully. We hope that he is<br />
aware <strong>of</strong> his need. Some <strong>of</strong> us wish that he gave more positive signs <strong>of</strong> his<br />
awareness.<br />
Speech to Bradford Diocesan Conference, 1 Dec. 1936, in <strong>The</strong> Times 2 Dec.<br />
1936<br />
2.91 Wilfrid Scawen Blunt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1840-1922<br />
To the Grafton Gallery to look at...the Post-Impressionist pictures sent<br />
over from Paris....<strong>The</strong> drawing is on the level <strong>of</strong> that <strong>of</strong> an untaught<br />
child <strong>of</strong> seven or eight years old, the sense <strong>of</strong> colour that <strong>of</strong> a tea-tray<br />
painter, the method that <strong>of</strong> a schoolboy who wipes his fingers on a slate<br />
after spitting on them....<strong>The</strong>se are not works <strong>of</strong> art at all, unless<br />
throwing a handful <strong>of</strong> mud against a wall may be called one. <strong>The</strong>y are the<br />
works <strong>of</strong> idleness and impotent stupidity, a pornographic show.<br />
My Diaries (1920) 15 Nov. 1910<br />
I like the hunting <strong>of</strong> the hare<br />
Better than that <strong>of</strong> the fox.<br />
New Pilgrimage (1889) "<strong>The</strong> Old Squire"
2.92 Ronald Blythe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
As for the British churchman, he goes to church as he goes to the<br />
bathroom, with the minimum <strong>of</strong> fuss and with no explanation if he can help<br />
it.<br />
Age <strong>of</strong> Illusion (1963) ch. 12<br />
An industrial worker would sooner have a œ5 note but a countryman must<br />
have praise.<br />
Akenfield (1969) ch. 5<br />
2.93 Enid Blyton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1968<br />
Five go <strong>of</strong>f in a caravan.<br />
Title <strong>of</strong> children's story (1946)<br />
<strong>The</strong> naughtiest girl in the school.<br />
Title <strong>of</strong> children's story (1940)<br />
2.94 Louise Bogan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1970<br />
Women have no wilderness in them,<br />
<strong>The</strong>y are provident instead,<br />
Content in the tight hot cell <strong>of</strong> their hearts<br />
To eat dusty bread.<br />
Body <strong>of</strong> this Death (1923) "Women"<br />
2.95 Humphrey Bogart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1957<br />
Contrary to legend, as a juvenile I never said "Tennis, anyone?" just as<br />
I never said "Drop the gun, Louie" as a heavy.<br />
In Ezra Goodman Bogey: the Good-Bad Guy (1965) ch. 4. Cf. George Bernard<br />
Shaw 199:4 See also Julius J. Epstein et al (5.22)<br />
2.96 John B. Bogart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1848-1921<br />
When a dog bites a man, that is not news, because it happens so <strong>of</strong>ten. But<br />
if a man bites a dog, that is news.<br />
In F. M. O'Brien Story <strong>of</strong> the Sun (1918) ch. 10 (the quotation is <strong>of</strong>ten<br />
attributed to Charles A. Dana)<br />
2.97 Niels Bohr<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1962
One <strong>of</strong> the favourite maxims <strong>of</strong> my father was the distinction between the<br />
two sorts <strong>of</strong> truths, pr<strong>of</strong>ound truths recognized by the fact that the<br />
opposite is also a pr<strong>of</strong>ound truth, in contrast to trivialities where<br />
opposites are obviously absurd.<br />
In S. Rozental Niels Bohr (1967) p. 328<br />
2.98 Alan Bold<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
<strong>The</strong>y mattered more than they should have. It is so<br />
In Scotland, land <strong>of</strong> the omnipotent No.<br />
Perpetual Motion Machine (1969) "A Memory <strong>of</strong> Death"<br />
2.99 Robert Bolt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-<br />
Morality's not practical. Morality's a gesture. A complicated gesture<br />
learned from books.<br />
A Man for All Seasons (1960) act 2<br />
2.100 Andrew Bonar Law<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1923<br />
If, therefore, war should ever come between these two countries [Great<br />
Britain and Germany], which Heaven forbid! it will not, I think, be due to<br />
irresistible natural laws; it will be due to the want <strong>of</strong> human wisdom.<br />
Hansard 27 Nov. 1911, col. 167<br />
If I am a great man, then all great men are frauds.<br />
In Lord Beaverbrook Politicians and the War (1932) vol. 2, ch. 4<br />
2.101 Carrie Jacobs Bond<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1946<br />
When you come to the end <strong>of</strong> a perfect day,<br />
And you sit alone with your thought,<br />
While the chimes ring out with a carol gay<br />
For the joy that the day has brought,<br />
Do you think what the end <strong>of</strong> a perfect day<br />
Can mean to a tired heart,<br />
When the sun goes down with a flaming ray,<br />
And the dear friends have to part?<br />
Well, this is the end <strong>of</strong> a perfect day,<br />
Near the end <strong>of</strong> a journey, too;<br />
But it leaves a thought that is big and strong,<br />
With a wish that is kind and true.<br />
For mem'ry has painted this perfect day<br />
With colours that never fade,<br />
And we find, at the end <strong>of</strong> a perfect day,<br />
<strong>The</strong> soul <strong>of</strong> a friend we've made.
A Perfect Day (1910 song)<br />
2.102 Sir David Bone<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1959<br />
It's "Damn you, Jack--I'm all right!" with you chaps.<br />
Brassbounder (1910) ch. 3<br />
2.103 Dietrich Bonhoeffer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1945<br />
Es ist der Vorzug und das Wesen der Starken, dass sie die grossen<br />
Entscheidungsfragen stellen und zu ihnen klar Stellung nehmen k”nnen. Die<br />
Schwachen mssen sich immer zwischen Alternativen entscheiden, die nicht<br />
die ihren sind.<br />
It is the nature, and the advantage, <strong>of</strong> strong people that they can bring<br />
out the crucial questions and form a clear opinion about them. <strong>The</strong> weak<br />
always have to decide between alternatives that are not their own.<br />
Widerstand und Ergebung (Resistance and Submission, 1951) "Ein paat<br />
Gedanken ber Verschiedenes"<br />
Jesus nur "fr andere da ist."...Gott in Menschengestalt!...nicht die<br />
griechische Gott-Menschgestalt des "Menschen an sich," sondern "der Mensch<br />
fr andere," darum der Gekreuzigte.<br />
Jesus is there only for others....God in human form! not...in the Greek<br />
divine-human form <strong>of</strong> "man in himself," but "the man for others," and<br />
therefore the crucified.<br />
Widerstand und Ergebung (Resistance and Submission, 1951) "Entwurf einer<br />
Arbeit"<br />
2.104 Sonny Bono (Salvatore Bono)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1953-<br />
<strong>The</strong> beat goes on.<br />
Title <strong>of</strong> song (1966)<br />
2.105 Daniel J. Boorstin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
<strong>The</strong> celebrity is a person who is known for his well-knownness.<br />
<strong>The</strong> Image (1961) ch. 2<br />
A bestseller was a book which somehow sold well simply because it was<br />
selling well.<br />
<strong>The</strong> Image (1961) ch. 4<br />
2.106 James H. Boren<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-
Guidelines for bureaucrats: (1) When in charge, ponder. (2) When in<br />
trouble, delegate. (3) When in doubt, mumble.<br />
In New York Times 8 Nov. 1970, p. 45<br />
2.107 Jorge Luis Borges<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1986<br />
El original es infiel a la traducci¢n.<br />
<strong>The</strong> original is unfaithful to the translation [Henley's translation <strong>of</strong><br />
Beckford's Vathek].<br />
Sobre el "Vathek"de William Beckford (1943) in Obras Completas (1974)<br />
p. 730<br />
Para uno de esos gn¢sticos, el visible universo era una ilusi¢n ¢ (mas<br />
precisamente) un s<strong>of</strong>isma. Los espejos y la paternidad son abominables<br />
porque lo multiplican y lo divulgan.<br />
For one <strong>of</strong> those gnostics, the visible universe was an illusion or, more<br />
precisely, a sophism. Mirrors and fatherhood are abominable because they<br />
multiply it and extend it.<br />
Tl”n, Uqbar, Orbis, Tertius (1941) in Obras Completas (1974) p. 431<br />
<strong>The</strong> Falklands thing [the Falklands War <strong>of</strong> 1982] was a fight between two<br />
bald men over a comb.<br />
In Time 14 Feb. 1983<br />
2.108 Max Born<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1970<br />
<strong>The</strong> human race has today the means for annihilating itself--either in<br />
a fit <strong>of</strong> complete lunacy, i.e., in a big war, by a brief fit <strong>of</strong><br />
destruction, or by careless handling <strong>of</strong> atomic technology, through a slow<br />
process <strong>of</strong> poisoning and <strong>of</strong> deterioration in its genetic structure.<br />
Bulletin <strong>of</strong> Atomic Scientists (1957) vol. 13, p. 186<br />
2.109 John Collins Bossidy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1928<br />
And this is good old Boston,<br />
<strong>The</strong> home <strong>of</strong> the bean and the cod,<br />
Where the Lowells talk to the Cabots<br />
And the Cabots talk only to God.<br />
Verse spoken at Holy Cross College alumni dinner in Boston, Mass., 1910,<br />
in Springfield Sunday Republican 14 Dec. 1924<br />
2.110 Gordon Bottomley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1948<br />
When you destroy a blade <strong>of</strong> grass<br />
You poison England at her roots:
Remember no man's foot can pass<br />
Where evermore no green life shoots.<br />
Chambers <strong>of</strong> Imagery (1912) "To Ironfounders and Others"<br />
Your worship is your furnaces,<br />
Which, like old idols, lost obscenes,<br />
Have molten bowels; your vision is<br />
Machines for making more machines.<br />
Chambers <strong>of</strong> Imagery (1912) "To Ironfounders and Others"<br />
2.111 Horatio Bottomley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1933<br />
During his incarceration at the Scrubbs [1922-3], Bottomley was largely<br />
employed in the making <strong>of</strong> mail-bags. It was while he was so engaged one<br />
afternoon that a prison visitor...saw him busily stitching away. "Ah,<br />
Bottomley," he remarked brightly, "sewing? " "No," grunted the old man<br />
without looking up, "reaping."<br />
In S.T. Felstead Horatio Bottomley (1936) ch. 16<br />
Gentlemen: I have not had your advantages. What poor education I have<br />
received has been gained in the University <strong>of</strong> Life.<br />
Speech at <strong>Oxford</strong> Union, 2 Dec. 1920, in Beverley Nichols 25 (1926) ch. 7<br />
2.112 Sir Harold Edwin Boulton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1935<br />
When Adam and Eve were dispossessed<br />
Of the garden hard by Heaven,<br />
<strong>The</strong>y planted another one down in the west,<br />
'Twas Devon, glorious Devon!<br />
Lyrics and other Poems (1902) "Glorious Devon"<br />
Speed, bonnie boat, like a bird on the wing,<br />
"Onward," the sailors cry;<br />
Carry the lad that's born to be king,<br />
Over the sea to Skye.<br />
National Songs and Some Ballads (1908) "Skye Boat Song"<br />
2.113 Elizabeth Bowen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1973<br />
Experience isn't interesting till it begins to repeat itself--in fact,<br />
till it does that, it hardly is experience.<br />
Death <strong>of</strong> the Heart (1938) pt. 1, ch. 1<br />
In fact, it is about five o'clock in an evening that the first hour <strong>of</strong><br />
spring strikes--autumn arrives in the early morning, but spring at the<br />
close <strong>of</strong> a winter day.<br />
Death <strong>of</strong> the Heart (1938) pt. 2, ch. 1<br />
Some people are moulded by their admirations, others by their hostilities.<br />
Death <strong>of</strong> the Heart (1938) pt. 2, ch. 2
<strong>The</strong> heart may think it knows better: the senses know that absence blots<br />
people out. We have really no absent friends.<br />
Death <strong>of</strong> the Heart (1938) pt. 2, ch. 2<br />
Elizabeth Bowen said that she [Edith Sitwell] looked like "a high altar on<br />
the move."<br />
V. Glendinning Edith Sitwell (1981) ch. 25<br />
I suppose art is the only thing that can go on mattering once it has<br />
stopped hurting.<br />
Heat <strong>of</strong> the Day (1949) ch. 16<br />
<strong>The</strong>re is no end to the violations committed by children on children,<br />
quietly talking alone.<br />
House in Paris (1935) pt. 1, ch. 2<br />
Nobody speaks the truth when there's something they must have.<br />
House in Paris (1935) pt. 1, ch. 5<br />
Meetings that do not come <strong>of</strong>f keep a character <strong>of</strong> their own. <strong>The</strong>y stay as<br />
they were projected.<br />
House in Paris (1935) pt. 2, ch. 1<br />
Fate is not an eagle, it creeps like a rat.<br />
House in Paris (1935) pt. 2, ch. 2<br />
Jealousy is no more than feeling alone against smiling enemies.<br />
House in Paris (1935) pt. 2, ch. 8<br />
My failing to have a nice ear for vowel sounds, and the Anglo-Irish<br />
slurred, hurried way <strong>of</strong> speaking made me take the words "Ireland" and<br />
"island" to be synonymous. Thus, all other countries quite surrounded by<br />
water took (it appeared) their generic name from ours.<br />
Seven Winters (1942) p. 12<br />
2.114 David Bowie (David Jones)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1947-<br />
Ground control to Major Tom.<br />
Space Oddity (1969 song)<br />
2.115 Sir Maurice Bowra<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1971<br />
<strong>The</strong>re is also that story, perhaps apocryphal, <strong>of</strong> Maurice [Bowra]'s<br />
decision to get married. When he announced that he had at last chosen<br />
a girl, a friend remonstrated: "But you can't marry anyone as plain as<br />
that." Maurice answered: "My dear fellow, buggers can't be choosers."<br />
Francis King in Hugh Lloyd-Jones Maurice Bowra: a Celebration (1974)<br />
p. 150<br />
I'm a man more dined against than dining.<br />
In John Betjeman Summoned by Bells (1960) ch. 9<br />
2.116 Charles Boyer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1898-1978<br />
Come with me to the Casbah.<br />
Catch-phrase <strong>of</strong>ten attributed to Boyer, but L. Swindell Charles Boyer<br />
(1983) ch. 7 says: Algiers...is the picture in which Charles Boyer did not<br />
say "Come wiz me to zee Casbah" to Hedy Lamarr....Boyer and Lamarr were in<br />
the Casbah in most <strong>of</strong> their Algiers scenes, and they did have an important<br />
scene in which they were not in the Casbah, but the dialogue was nowhere<br />
close.<br />
2.117 Lord Brabazon (Baron Brabazon <strong>of</strong> Tara)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1964<br />
I take the view, and always have, that if you cannot say what you are<br />
going to say in twenty minutes you ought to go away and write a book about<br />
it.<br />
Hansard (Lords) 21 June 1955, col. 207<br />
2.118 Charles Brackett, Billy Wilder, and D. M. Marshman Jr.<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Charles Brackett 1892-1969<br />
Billy Wilder 1906-<br />
JOE GILLIS: You used to be in pictures. You used to be big.<br />
NORMA DESMOND: I am big. It's the pictures that got small.<br />
Sunset Boulevard (1950 film)<br />
All right, Mr de Mille, I'm ready for my close-up now.<br />
Sunset Boulevard (1950 film)<br />
2.119 Charles Brackett, Billy Wilder, and Walter Reisch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Charles Brackett 1892-1969<br />
Billy Wilder 1906-<br />
Walter Reisch 1903-1983<br />
Iran<strong>of</strong>f: What a charming idea for Moscow to surprise us with a lady<br />
Comrade.<br />
Kopalski: If we had known we would have greeted you with flowers.<br />
Iran<strong>of</strong>f: Ahh--yes.<br />
Ninotchka: Don't make an issue <strong>of</strong> my womanhood.<br />
Ninotchka (1939 film)<br />
Ninotchka: Why should you carry other people's bags?<br />
Porter: Well, that's my business, Madame.<br />
Ninotchka: That's no business. That's social injustice.<br />
Porter: That depends on the tip.<br />
Ninotchka (1939 film)<br />
2.120 F. H. Bradley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1846-1924
<strong>The</strong> propriety <strong>of</strong> some persons seems to consist in having improper thoughts<br />
about their neighbours.<br />
Aphorisms (1930) no. 9<br />
True penitence condemns to silence. What a man is ready to recall he would<br />
be willing to repeat.<br />
Aphorisms (1930) no. 10<br />
<strong>The</strong> secret <strong>of</strong> happiness is to admire without desiring. And that is not<br />
happiness.<br />
Aphorisms (1930) no. 33<br />
Metaphysics is the finding <strong>of</strong> bad reasons for what we believe upon<br />
instinct; but to find these reasons is no less an instinct.<br />
Appearance and Reality (1893) preface<br />
Of Optimism I have said that "<strong>The</strong> world is the best <strong>of</strong> all possible<br />
worlds, and everything in it is a necessary evil."<br />
Appearance and Reality (1893) preface<br />
That the glory <strong>of</strong> this world...is appearance leaves the world more<br />
glorious, if we feel it is a show <strong>of</strong> some fuller splendour; but the<br />
sensuous curtain is a deception...if it hides some colourless movement <strong>of</strong><br />
atoms, some...unearthly ballet <strong>of</strong> bloodless categories.<br />
Principles <strong>of</strong> Logic (1883) bk. 3, pt. 2, ch. 4<br />
2.121 Omar Bradley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1981<br />
<strong>The</strong> way to win an atomic war is to make certain it never starts.<br />
Speech to Boston Chamber <strong>of</strong> Commerce, 10 Nov. 1948, in Collected Writings<br />
(1967) vol. 1, p. 588<br />
We have grasped the mystery <strong>of</strong> the atom and rejected the Sermon on the<br />
Mount.<br />
Speech to Boston Chamber <strong>of</strong> Commerce, 10 Nov. 1948, in Collected Writings<br />
(1967) vol. 1, p. 588<br />
Red China is not the powerful nation seeking to dominate the world.<br />
Frankly, in the opinion <strong>of</strong> the Joint Chiefs <strong>of</strong> Staff, this strategy would<br />
involve us in the wrong war, at the wrong place, at the wrong time, and<br />
with the wrong enemy.<br />
US Cong. Senate Comm. on Armed Services (1951) vol. 2, p. 732<br />
2.122 Caryl Brahms (Doris Caroline Abrahams) and S. J. Simon (Simon Jasha Skidelsky)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Caryl Brahms 1901-1982<br />
<strong>The</strong> suffragettes were triumphant. Woman's place was in the gaol.<br />
No Nightingales (1944) pt. 6, ch. 37<br />
2.123 John Braine<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-
Room at the top.<br />
Title <strong>of</strong> novel (1957). Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 566:9<br />
2.124 Ernest Bramah (Ernest Bramah Smith)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1942<br />
It is a mark <strong>of</strong> insincerity <strong>of</strong> purpose to spend one's time in looking for<br />
the sacred Emperor in the low-class tea-shops.<br />
Wallet <strong>of</strong> Kai Lung (1900) p. 6<br />
In his countenance this person read an expression <strong>of</strong> no-encouragement<br />
towards his venture.<br />
Wallet <strong>of</strong> Kai Lung (1900) p. 224<br />
<strong>The</strong> whole narrative is permeated with the odour <strong>of</strong> joss-sticks and<br />
honourable high-mindedness.<br />
Wallet <strong>of</strong> Kai Lung (1900) p. 330<br />
2.125 Georges Braque<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1963<br />
L'Art est fait pour troubler, la Science rassure.<br />
Art is meant to disturb, science reassures.<br />
Le Jour et la nuit: Cahiers 1917-52 (Day and Night, Notebooks, 1952)<br />
p. 11<br />
La v‚rit‚ existe; on n'invente que le mensonge.<br />
Truth exists; only lies are invented.<br />
Le Jour et la nuit: Cahiers 1917-52 (Day and Night, Notebooks, 1952)<br />
p. 20<br />
2.126 John Bratby<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
A real art student wears coloured socks, has a fringe and a beard, wears<br />
dirty jeans and an equally dirty seaman's pullover, carries a sketch-book,<br />
is despised by the rest <strong>of</strong> society, and loafs in a c<strong>of</strong>fee bar.<br />
Breakdown (1960) ch. 8<br />
2.127 Irving Brecher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
I'll bet your father spent the first year <strong>of</strong> your life throwing rocks at<br />
the stork.<br />
(Marx Brothers) At the Circus (1939 film)<br />
Time wounds all heals.<br />
Marx Brothers Go West (1940 film)
2.128 Bertolt Brecht<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1956<br />
Und der Haifisch, der hat Z„hne<br />
Und die tr„gt er im Gesicht<br />
Und Macheath, der hat ein Messer<br />
Doch das Messer sieht man nicht.<br />
Oh, the shark has pretty teeth, dear,<br />
And he shows them pearly white.<br />
Just a jack-knife has Macheath, dear<br />
And he keeps it out <strong>of</strong> sight.<br />
Dreigroschenoper (Threepenny Opera, 1928) prologue<br />
Erst kommt das Fressen, dann kommt die Moral.<br />
Food comes first, then morals.<br />
Dreigroschenoper (Threepenny Opera, 1928) act 2, sc. 3<br />
Was ist ein Einbruch in eine Bank gegen die Grndung einer Bank?<br />
What is robbing a bank compared with founding a bank?<br />
Dreigroschenoper (Threepenny Opera, 1928) act 3, sc. 3<br />
Andrea: Unglcklich das Land, das keine Helden hat!...<br />
Galilei: Nein. Unglcklich das Land, das Helden n”tig hat.<br />
Andrea: Unhappy the land that has no heroes!...<br />
Galileo: No. Unhappy the land that needs heroes.<br />
Leben des Galilei (Life <strong>of</strong> Galileo, 1939) sc. 13<br />
Man merkts, hier ist zu lang kein Krieg gewesen. Wo soll da Moral<br />
herkommen, frag ich? Frieden, das ist nur Schlamperei, erst der Krieg<br />
schafft Ordnung.<br />
One observes, they have gone too long without a war here. What is the<br />
moral, I ask? Peace is nothing but slovenliness, only war creates order.<br />
Mutter Courage (Mother Courage, 1939) sc. 1<br />
Weil ich ihm nicht trau, wir sind befreundet.<br />
Because I don't trust him, we are friends.<br />
Mutter Courage (Mother Courage, 1939) sc. 3<br />
Die sch”nsten Pl„n sind schon zuschanden geworden durch die Kleinlichheit<br />
von denen, wo sie ausfhren sollten, denn die Kaiser selber k”nnen ja nix<br />
machen.<br />
<strong>The</strong> finest plans are always ruined by the littleness <strong>of</strong> those who ought to<br />
carry them out, for the Emperor himself can actually do nothing.<br />
Mutter Courage (Mother Courage, 1939) sc. 6<br />
Der Krieg findet immer einen Ausweg.<br />
War always finds a way.<br />
Mutter Courage (Mother Courage, 1939) sc. 6<br />
Sagen Sie mir nicht, dass Friede ausgebrochen ist, wo ich eben neue
Vorr„te eingekauft hab.<br />
Don't tell me peace has broken out, when I've just bought some new<br />
supplies.<br />
Mutter Courage (Mother Courage, 1939) sc. 8<br />
2.129 Gerald Brenan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-<br />
Those who have some means think that the most important thing in the world<br />
is love. <strong>The</strong> poor know that it is money.<br />
Thoughts in a Dry Season (1978) p. 22<br />
Religions are kept alive by heresies, which are really sudden explosions<br />
<strong>of</strong> faith. Dead religions do not produce them.<br />
Thoughts in a Dry Season (1978) p. 45<br />
2.130 Aristide Briand<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1932<br />
Les hautes parties contractantes d‚clarent solennellement...qu'elles<br />
condamnent le recours … la guerre...et y renoncent en tant qu'instrument<br />
de politique nationale dans leurs relations mutuelles...le rŠglement ou la<br />
solution de tous les diff‚rends ou conflits--de quelque nature ou de<br />
quelque origine qu'ils puissent ˆtre--qui pourront surgir entre elles ne<br />
devra jamais ˆtre cherch‚ que par des moyens pacifiques.<br />
<strong>The</strong> high contracting powers solemnly declare. that they condemn recourse<br />
to war and renounce it...as an instrument <strong>of</strong> their national policy towards<br />
each other....<strong>The</strong> settlement or the solution <strong>of</strong> all disputes or conflicts<br />
<strong>of</strong> whatever nature or <strong>of</strong> whatever origin they may be which may<br />
arise...shall never be sought by either side except by pacific means.<br />
Draft, 20 June 1927, which became part <strong>of</strong> the Kellogg Pact, 1928 , in Le<br />
Temps 13 Apr. 1928<br />
2.131 Vera Brittain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1970<br />
Politics are usually the executive expression <strong>of</strong> human immaturity.<br />
Rebel Passion (1964) ch. 1<br />
2.132 David Broder<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Anybody that wants the presidency so much that he'll spend two years<br />
organizing and campaigning for it is not to be trusted with the <strong>of</strong>fice.<br />
Washington Post 18 July 1973, p. A 25<br />
2.133 Jacob Bronowski<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1974
We have to understand that the world can only be grasped by action, not by<br />
contemplation. <strong>The</strong> hand is more important than the eye....<strong>The</strong> hand is the<br />
cutting edge <strong>of</strong> the mind.<br />
Ascent <strong>of</strong> Man (1973) ch. 3<br />
That is the essence <strong>of</strong> science: ask an impertinent question, and you are<br />
on the way to a pertinent answer.<br />
Ascent <strong>of</strong> Man (1973) ch. 4<br />
<strong>The</strong> wish to hurt, the momentary intoxication with pain, is the loophole<br />
through which the pervert climbs into the minds <strong>of</strong> ordinary men.<br />
Face <strong>of</strong> Violence (1954) ch. 5<br />
<strong>The</strong> world is made <strong>of</strong> people who never quite get into the first team and<br />
who just miss the prizes at the flower show.<br />
Face <strong>of</strong> Violence (1954) ch. 6<br />
Man masters nature not by force but by understanding. This is why science<br />
has succeeded where magic failed: because it has looked for no spell to<br />
cast on nature.<br />
Universities Quarterly (1956) vol. 10, no. 3, p. 252<br />
2.134 Rupert Brooke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1915<br />
Breathless, we flung us on the windy hill,<br />
Laughed in the sun, and kissed the lovely grass.<br />
Cambridge Review 8 Dec. 1910, "Sonnet"<br />
<strong>The</strong>n, the cool kindliness <strong>of</strong> sheets, that soon<br />
Smooth away trouble; and the rough male kiss<br />
Of blankets; grainy wood; live hair that is<br />
Shining and free; blue-massing clouds; the keen<br />
Unpassioned beauty <strong>of</strong> a great machine;<br />
<strong>The</strong> benison <strong>of</strong> hot water; furs to touch;<br />
<strong>The</strong> good smell <strong>of</strong> old clothes.<br />
New Numbers no. 3 (1914) "<strong>The</strong> Great Lover"<br />
Now, God be thanked Who has matched us with His hour,<br />
And caught our youth, and wakened us from sleeping,<br />
With hand made sure, clear eye, and sharpened power,<br />
To turn, as swimmers into cleanness leaping,<br />
Glad from a world grown old and cold and weary,<br />
Leave the sick hearts that honour could not move,<br />
And half-men, and their dirty songs and dreary,<br />
And all the little emptiness <strong>of</strong> love!<br />
Oh! we, who have known shame, we have found release there,<br />
Where there's no ill, no grief, but sleep has mending,<br />
Naught broken save this body, lost but breath;<br />
Nothing to shake the laughing heart's long peace there<br />
But only agony, and that has ending;<br />
And the worst friend and enemy is but Death.<br />
New Numbers no. 4 (1914) "Peace"<br />
War knows no power. Safe shall be my going,<br />
Secretly armed against all death's endeavour;<br />
Safe though all safety's lost; safe where men fall;
And if these poor limbs die, safest <strong>of</strong> all.<br />
New Numbers no. 4 (1914) "Safety"<br />
Blow out, you bugles, over the rich Dead!<br />
<strong>The</strong>re's none <strong>of</strong> these so lonely and poor <strong>of</strong> old,<br />
But, dying, has made us rarer gifts than gold.<br />
<strong>The</strong>se laid the world away; poured out the red<br />
Sweet wine <strong>of</strong> youth; gave up the years to be<br />
Of work and joy, and that unhoped serene,<br />
That men call age; and those that would have been,<br />
<strong>The</strong>ir sons, they gave, their immortality.<br />
New Numbers no. 4 (1914) "<strong>The</strong> Dead"<br />
Honour has come back, as a king, to earth,<br />
And paid his subjects with a royal wage;<br />
And Nobleness walks in our ways again;<br />
And we have come into our heritage.<br />
New Numbers no. 4 (1914) "<strong>The</strong> Dead"<br />
If I should die, think only this <strong>of</strong> me:<br />
That there's some corner <strong>of</strong> a foreign field<br />
That is for ever England. <strong>The</strong>re shall be<br />
In that rich earth a richer dust concealed;<br />
A dust whom England bore, shaped, made aware,<br />
Gave, once, her flowers to love, her ways to roam,<br />
A body <strong>of</strong> England's, breathing English air,<br />
Washed by the rivers, blest by suns <strong>of</strong> home.<br />
And think, this heart, all evil shed away,<br />
A pulse in the eternal mind, no less<br />
Gives somewhere back the thoughts by England given;<br />
Her sights and sounds; dreams happy as her day;<br />
And laughter, learnt <strong>of</strong> friends; and gentleness,<br />
In hearts at peace, under an English heaven.<br />
New Numbers no. 4 (1914) "<strong>The</strong> Soldier"<br />
Fish say, they have their Stream and Pond;<br />
But is there anything Beyond?<br />
1914 and Other Poems (1915) "Heaven"<br />
But somewhere, beyond Space and Time<br />
Is wetter water, slimier slime!<br />
1914 and Other Poems (1915) "Heaven"<br />
Oh! never fly conceals a hook,<br />
Fish say, in the Eternal Brook,<br />
But more than mundane weeds are there,<br />
And mud, celestially fair;<br />
Fat caterpillars drift around,<br />
And Paradisal grubs are found;<br />
Unfading moths, immortal flies,<br />
And the worm that never dies.<br />
And in that Heaven <strong>of</strong> all their wish,<br />
<strong>The</strong>re shall be no more land, say fish.<br />
1914 and Other Poems (1915) "Heaven"<br />
But there's wisdom in women, <strong>of</strong> more than they have known,<br />
And thoughts go blowing through them, are wiser than their own.<br />
1914 and Other Poems (1915) "<strong>The</strong>re's Wisdom in Women"<br />
Just now the lilac is in bloom,
All before my little room.<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
Here tulips bloom as they are told;<br />
Unkempt about those hedges blows<br />
An English un<strong>of</strong>ficial rose;<br />
And there the unregulated sun<br />
Slopes down to rest when day is done,<br />
And wakes a vague unpunctual star,<br />
A slippered Hesper; and there are<br />
Meads towards Haslingfield and Coton<br />
Where das Betreten's not verboten.<br />
...would I were<br />
In Grantchester, in Grantchester!<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
And in that garden, black and white,<br />
Creep whispers through the grass all night;<br />
And spectral dance, before the dawn,<br />
A hundred Vicars down the lawn;<br />
Curates, long dust, will come and go<br />
On lissom, clerical, printless toe;<br />
And <strong>of</strong>t between the boughs is seen<br />
<strong>The</strong> sly shade <strong>of</strong> a Rural Dean.<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
God! I will pack, and take a train,<br />
And get me to England once again!<br />
For England's the one land, I know,<br />
Where men with Splendid Hearts may go;<br />
And Cambridgeshire, <strong>of</strong> all England,<br />
<strong>The</strong> shire for Men who Understand;<br />
And <strong>of</strong> that district I prefer<br />
<strong>The</strong> lovely hamlet Grantchester.<br />
For Cambridge people rarely smile,<br />
Being urban, squat, and packed with guile.<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
<strong>The</strong>y love the Good; they worship Truth;<br />
<strong>The</strong>y laugh uproariously in youth;<br />
(And when they get to feeling old,<br />
<strong>The</strong>y up and shoot themselves, I'm told).<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
Oh, is the water sweet and cool,<br />
Gentle and brown, above the pool?<br />
And laughs the immortal river still<br />
Under the mill, under the mill?<br />
Say, is there Beauty yet to find?<br />
And Certainty? and Quiet kind?<br />
Deep meadows yet, for to forget<br />
<strong>The</strong> lies, and truths, and pain?...oh! yet<br />
Stands the Church clock at ten to three?<br />
And is there honey still for tea?<br />
1914 and Other Poems (1915) "<strong>The</strong> Old Vicarage, Grantchester"<br />
2.135 Anita Brookner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1938-
Good women always think it is their fault when someone else is being<br />
<strong>of</strong>fensive. Bad women never take the blame for anything.<br />
Hotel du Lac (1984) ch. 7<br />
Blanche Vernon occupied her time most usefully in keeping feelings at bay.<br />
Misalliance (1986) ch. 1<br />
2.136 Mel Brooks<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
That's it baby, when you got it, flaunt it.<br />
<strong>The</strong> Producers (1968 film)<br />
2.137 Heywood Broun<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1939<br />
<strong>Free</strong> speech is about as good a cause as the world has ever known. But,<br />
like the poor, it is always with us and gets shoved aside in favour <strong>of</strong><br />
things which seem at some given moment more vital....Everybody favours<br />
free speech in the slack moments when no axes are being ground.<br />
New York World 23 Oct. 1926, p. 13<br />
Just as every conviction begins as a whim so does every emancipator serve<br />
his apprenticeship as a crank. A fanatic is a great leader who is just<br />
entering the room.<br />
New York World 6 Feb. 1928, p. 11<br />
Men build bridges and throw railroads across deserts, and yet they contend<br />
successfully that the job <strong>of</strong> sewing on a button is beyond them.<br />
Accordingly, they don't have to sew buttons.<br />
Seeing Things at Night (1921) "Holding a Baby"<br />
Posterity is as likely to be wrong as anybody else.<br />
Sitting on the World (1924) "<strong>The</strong> Last Review"<br />
2.138 H. Rap Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
I say violence is necessary. It is as American as cherry pie.<br />
Speech at Washington, 27 July 1967, in Washington Post 28 July 1967, p. A7<br />
2.139 Helen Gurley Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
Sex and the single girl.<br />
Title <strong>of</strong> book (1962)<br />
2.140 Ivor Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1974
For nearly a century after his death, Shakespeare remained more a theme<br />
for criticism by the few than a subject <strong>of</strong> adulation by the many.<br />
Shakespeare (1949) ch. 1<br />
2.141 John Mason Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1969<br />
Tallulah Bankhead barged down the Nile last night as Cleopatra--and sank.<br />
New York Post 11 Nov. 1937, p. 18<br />
2.142 Lew Brown (Louis Brownstein)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1958<br />
Life is just a bowl <strong>of</strong> cherries.<br />
Title <strong>of</strong> song (1931; music by Ray Henderson)<br />
2.143 Nacio Herb Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1964<br />
See Arthur <strong>Free</strong>d (6.44)<br />
2.144 Cecil Browne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
But not so odd<br />
As those who choose<br />
A Jewish God,<br />
But spurn the Jews.<br />
Reply to verse by William Norman Ewer: see 78:4<br />
2.145 Sir Frederick Browning<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1965<br />
I think we might be going a bridge too far.<br />
Expressing reservations about the Arnhem "Market Garden" operation to<br />
Field Marshal Montgomery on 10 Sept. 1944, in R. E. Urquhart Arnhem<br />
(1958) p. 4<br />
2.146 Lenny Bruce (Leonard Alfred Schneider)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-1966<br />
<strong>The</strong> liberals can understand everything but people who don't understand<br />
them.<br />
In John Cohen Essential Lenny Bruce (1970) p. 59<br />
2.147 Anita Bryant<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1940-<br />
If homosexuality were the normal way, God would have made Adam and Bruce.<br />
In New York Times 5 June 1977, p. 22<br />
2.148 Martin Buber<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1965<br />
Der Mensch wird am Du zum Ich.<br />
Through the Thou a person becomes I.<br />
Ich und Du (I and Thou, 1923) in Werke (1962) vol. 1, p. 97<br />
2.149 John Buchan (Baron Tweedsmuir)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1940<br />
To live for a time close to great minds is the best kind <strong>of</strong> education.<br />
Memory Hold-the-Door (1940) ch. 2<br />
"Back to Glasgow to do some work for the cause," I said lightly. "Just<br />
so," he said, with a grin. "It's a great life if you don't weaken."<br />
Mr Standfast (1919) ch. 5<br />
An atheist is man who has no invisible means <strong>of</strong> support.<br />
In H. E. Fosdick On Being a Real Person (1943) ch. 10<br />
2.150 Frank Buchman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1961<br />
I thank heaven for a man like Adolf Hitler, who built a front line <strong>of</strong><br />
defence against the anti-Christ <strong>of</strong> Communism.<br />
New York World-Telegram 26 Aug. 1936<br />
Suppose everybody cared enough, everybody shared enough, wouldn't<br />
everybody have enough? <strong>The</strong>re is enough in the world for everyone's need,<br />
but not enough for everyone's greed.<br />
Remaking the World (1947) p. 56<br />
2.151 Gene Buck (Edward Eugene Buck) and Herman Ruby<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Gene Buck 1885-1957<br />
Herman Ruby 1891-1959<br />
That Shakespearian rag,--<br />
Most intelligent, very elegant.<br />
That Shakespearian Rag (1912 song; music by David Stamper). Cf. T. S.<br />
Eliot 76:21<br />
2.152 Richard Buckle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-
John Lennon, Paul McCartney and George Harrison are the greatest composers<br />
since Beethoven, with Paul McCartney way out in front.<br />
Sunday Times 29 Dec. 1963<br />
2.153 Arthur Buller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1944<br />
<strong>The</strong>re was a young lady named Bright,<br />
Whose speed was far faster than light;<br />
She set out one day<br />
In a relative way<br />
And returned on the previous night.<br />
Punch 19 Dec. 1923, "Relativity"<br />
2.154 Ivor Bulmer-Thomas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
If he [Harold Wilson] ever went to school without any boots it was because<br />
he was too big for them.<br />
Speech at Conservative Party Conference, in Manchester Guardian 13 Oct.<br />
1949<br />
2.155 Luis Bu¤uel<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1983<br />
Le charme discret de la bourgeoisie.<br />
<strong>The</strong> discreet charm <strong>of</strong> the bourgeoisie.<br />
Title <strong>of</strong> film (1972)<br />
Grƒce … Dieu, je suis toujours ath‚e.<br />
Thanks to God, I am still an atheist.<br />
In Le Monde 16 Dec. 1959<br />
2.156 Anthony Burgess<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
Who ever heard <strong>of</strong> a clockwork orange? <strong>The</strong>n I read a malenky bit out loud<br />
in a sort <strong>of</strong> very high type preaching goloss: "<strong>The</strong> attempt to impose upon<br />
man, a creature <strong>of</strong> growth and capable <strong>of</strong> sweetness, to ooze juicily at the<br />
last round the bearded lips <strong>of</strong> God, to attempt to impose, I say, laws and<br />
conditions appropriate to a mechanical creation, against this I raise my<br />
sword-pen."<br />
A Clockwork Orange (1962) p. 21<br />
It was the afternoon <strong>of</strong> my eighty-first birthday, and I was in bed with my<br />
catamite when Ali announced that the archbishop had come to see me.<br />
Earthly Powers (1980) p. 7<br />
He said it was artificial respiration, but now I find I am to have his
child.<br />
Inside Mr Enderby (1963) pt. 1, ch. 4<br />
<strong>The</strong> possession <strong>of</strong> a book becomes a substitute for reading it.<br />
New York Times Book Review 4 Dec. 1966, p. 74<br />
2.157 Johnny Burke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1964<br />
Every time it rains, it rains<br />
Pennies from heaven.<br />
Don't you know each cloud contains<br />
Pennies from heaven?<br />
You'll find your fortune falling<br />
All over town<br />
Be sure that your umbrella<br />
Is upside down.<br />
Pennies from Heaven (1936 song; music by Arthur Johnston)<br />
Like Webster's <strong>Dictionary</strong>, we're Morocco bound.<br />
<strong>The</strong> Road to Morocco (1942 song from film <strong>The</strong> Road to Morocco; music by<br />
James van Heusen)<br />
2.158 John Burns<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1943<br />
"What have you in the Mississippi?" he [John Burns] asked an American who<br />
had spoken disparagingly <strong>of</strong> the Thames. <strong>The</strong> American replied that there<br />
was water--miles and miles <strong>of</strong> it. "Ah, but you see, the Thames is liquid<br />
history," said Burns.<br />
Daily Mail 25 Jan. 1943<br />
2.159 William S. Burroughs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
I think there are innumerable gods. What we on earth call God is a little<br />
tribal God who has made an awful mess. Certainly forces operating through<br />
human consciousness control events.<br />
Paris Review Fall 1965<br />
2.160 Benjamin Hapgood Burt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1950<br />
One evening in October, when I was one-third sober,<br />
An' taking home a "load" with manly pride;<br />
My poor feet began to stutter, so I lay down in the gutter,<br />
And a pig came up an' lay down by my side;<br />
<strong>The</strong>n we sang "It's all fair weather when good fellows get together,"<br />
Till a lady passing by was heard to say:<br />
"You can tell a man who 'boozes' by the company he chooses"<br />
And the pig got up and slowly walked away.<br />
<strong>The</strong> Pig Got Up and Slowly Walked Away (1933 song)
2.161 Nat Burton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong>re'll be bluebirds over the white cliffs <strong>of</strong> Dover,<br />
Tomorrow, just you wait and see.<br />
White Cliffs <strong>of</strong> Dover (1941 song; music by Walter Kent)<br />
2.162 R. A. Butler (Baron Butler <strong>of</strong> Saffron Walden)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1982<br />
Politics is the Art <strong>of</strong> the Possible. That is what these pages show I have<br />
tried to achieve--not more--and that is what I have called my book.<br />
<strong>The</strong> Art <strong>of</strong> the Possible (1971) p. xi. Cf. Bismarck's "Die Politik ist die<br />
Lehre vom M”glichen," <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 84:20<br />
Reporter: Mr Butler, would you say that this [Anthony Eden] is the best<br />
Prime Minister we have?<br />
R. A. Butler: Yes.<br />
Interview at London Airport, 8 Jan. 1956, in R. A. Butler <strong>The</strong> Art <strong>of</strong> the<br />
Possible (1971) ch. 9<br />
2.163 Ralph Butler and Noel Gay (Richard Moxon Armitage)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1954<br />
<strong>The</strong> sun has got his hat on<br />
Hip hip hip hooray!<br />
<strong>The</strong> sun has got his hat on<br />
And he's coming out today.<br />
<strong>The</strong> Sun Has Got His Hat On (1932 song)<br />
2.164 Samuel Butler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1835-1902<br />
Yet meet we shall, and part, and meet again<br />
Where dead men meet, on lips <strong>of</strong> living men.<br />
Athenaeum 4 Jan. 1902,<br />
It has been said that the love <strong>of</strong> money is the root <strong>of</strong> all evil. <strong>The</strong> want<br />
<strong>of</strong> money is so quite as truly.<br />
Erewhon (1872) ch. 20<br />
It has been said that though God cannot alter the past, historians can; it<br />
is perhaps because they can be useful to Him in this respect that He<br />
tolerates their existence.<br />
Erewhon Revisited (1901) ch. 14<br />
Life is like playing a violin solo in public and learning the instrument<br />
as one goes on.<br />
Speech at the Somerville Club, 27 Feb. 1895, in R. A. Streatfield Essays<br />
on Life, Art and Science (1904) p. 69<br />
An honest God's the noblest work <strong>of</strong> man.
Further Extracts from Notebooks (1934) p. 26. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
<strong>Quotations</strong> (1979) 270:17 and 379:24<br />
A lawyer's dream <strong>of</strong> heaven: every man reclaimed his own property at the<br />
resurrection, and each tried to recover it from all his forefathers.<br />
Further Extracts from Notebooks (1934) p. 27<br />
<strong>The</strong> three most important things a man has are, briefly, his private parts,<br />
his money, and his religious opinions.<br />
Further Extracts from Notebooks (1934) p. 93<br />
<strong>The</strong> course <strong>of</strong> true anything never does run smooth.<br />
Further Extracts from Notebooks (1934) p. 260<br />
Conscience is thoroughly well-bred and soon leaves <strong>of</strong>f talking to those<br />
who do not wish to hear it.<br />
Further Extracts from Notebooks (1934) p. 279<br />
I heard a man say that brigands demand your money or your life, whereas<br />
women require both.<br />
Further Extracts from Notebooks (1934) p. 315<br />
It was very good <strong>of</strong> God to let Carlyle and Mrs Carlyle marry one another<br />
and so make only two people miserable instead <strong>of</strong> four, besides being very<br />
amusing.<br />
Letters between Samuel Butler and Miss E. M. A. Savage 1871-1885 (1935)<br />
21 Nov. 1884<br />
<strong>The</strong> most perfect humour and irony is generally quite unconscious.<br />
Life and Habit (1877) ch. 2<br />
It has, I believe, been <strong>of</strong>ten remarked that a hen is only an egg's way <strong>of</strong><br />
making another egg.<br />
Life and Habit (1877) ch. 8<br />
Life is one long process <strong>of</strong> getting tired.<br />
Notebooks (1912) ch. 1<br />
Life is the art <strong>of</strong> drawing sufficient conclusions from insufficient<br />
premises.<br />
Notebooks (1912) ch. 1<br />
All progress is based upon a universal innate desire on the part <strong>of</strong> every<br />
organism to live beyond its income.<br />
Notebooks (1912) ch. 1<br />
<strong>The</strong> healthy stomach is nothing if not conservative. Few radicals have good<br />
digestions.<br />
Notebooks (1912) ch. 6<br />
Always eat grapes downwards--that is, always eat the best grape first; in<br />
this way there will be none better left on the bunch, and each grape will<br />
seem good down to the last. If you eat the other way, you will not have<br />
a good grape in the lot. Besides you will be tempting providence to kill<br />
you before you come to the best.<br />
Notebooks (1912) ch. 7<br />
How thankful we ought to be that Wordsworth was only a poet and not a<br />
musician. Fancy a symphony by Wordsworth! Fancy having to sit it out! And<br />
fancy what it would have been if he had written fugues!
Notebooks (1912) ch. 8<br />
<strong>The</strong> history <strong>of</strong> art is the history <strong>of</strong> revivals.<br />
Notebooks (1912) ch. 8<br />
Genius...has been defined as a supreme capacity for taking trouble....It<br />
might be more fitly described as a supreme capacity for getting its<br />
possessors into trouble <strong>of</strong> all kinds and keeping them therein so long as<br />
the genius remains.<br />
Notebooks (1912) ch. 11<br />
An apology for the Devil: It must be remembered that we have only heard<br />
one side <strong>of</strong> the case. God has written all the books.<br />
Notebooks (1912) ch. 14<br />
<strong>The</strong> great pleasure <strong>of</strong> a dog is that you may make a fool <strong>of</strong> yourself with<br />
him and not only will he not scold you, but he will make a fool <strong>of</strong> himself<br />
too.<br />
Notebooks (1912) ch. 14<br />
A definition is the enclosing a wilderness <strong>of</strong> idea within a wall <strong>of</strong> words.<br />
Notebooks (1912) ch. 14<br />
To live is like to love--all reason is against it, and all healthy<br />
instinct for it.<br />
Notebooks (1912) ch. 14<br />
<strong>The</strong> public buys its opinions as it buys its meat, or takes in its milk, on<br />
the principle that it is cheaper to do this than to keep a cow. So it is,<br />
but the milk is more likely to be watered.<br />
Notebooks (1912) ch. 17<br />
I do not mind lying, but I hate inaccuracy.<br />
Notebooks (1912) ch. 19<br />
Stowed away in a Montreal lumber room<br />
<strong>The</strong> Discobolus standeth and turneth his face to the wall;<br />
Dusty, cobweb-covered, maimed, and set at naught,<br />
Beauty crieth in an attic, and no man regardeth.<br />
O God! O Montreal!<br />
Spectator 18 May 1878, "Psalm <strong>of</strong> Montreal"<br />
I do not like books. I believe I have the smallest library <strong>of</strong> any literary<br />
man in London, and I have no wish to increase it. I keep my books at the<br />
British Museum and at Mudie's, and it makes me very angry if any one gives<br />
me one for my private library.<br />
Universal Review Dec. 1890, "Ramblings in Cheapside"<br />
Adversity, if a man is set down to it by degrees, is more supportable with<br />
equanimity by most people than any great prosperity arrived at in a single<br />
lifetime.<br />
Way <strong>of</strong> All Flesh (1903) ch. 5<br />
<strong>The</strong>y would have been equally horrified at hearing the Christian religion<br />
doubted, and at seeing it practised.<br />
Way <strong>of</strong> All Flesh (1903) ch. 15<br />
All animals, except man, know that the principal business <strong>of</strong> life is to<br />
enjoy it--and they do enjoy it as much as man and other circumstances will<br />
allow.
Way <strong>of</strong> All Flesh (1903) ch. 19<br />
<strong>The</strong> advantage <strong>of</strong> doing one's praising for oneself is that one can lay it<br />
on so thick and exactly in the right places.<br />
Way <strong>of</strong> All Flesh (1903) ch. 34<br />
Young as he was, his instinct told him that the best liar is he who makes<br />
the smallest amount <strong>of</strong> lying go the longest way.<br />
Way <strong>of</strong> All Flesh (1903) ch. 39<br />
Beyond a haricot vein in one <strong>of</strong> my legs, I'm as young as ever I was. Old<br />
indeed! <strong>The</strong>re's many a good tune played on an old fiddle!<br />
Way <strong>of</strong> All Flesh (1903) ch. 61<br />
'Tis better to have loved and lost than never to have lost at all.<br />
Way <strong>of</strong> All Flesh (1903) ch. 67. Cf. Tennyson in <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
<strong>Quotations</strong> (1979) 536:16<br />
2.165 Max Bygraves<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
See Eric Sykes and Max Bygraves (19.137)<br />
2.166 James Branch Cabell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1958<br />
<strong>The</strong> optimist proclaims that we live in the best <strong>of</strong> all possible worlds;<br />
and the pessimist fears this is true.<br />
Silver Stallion (1926) bk. 4, ch. 26<br />
3.0 C<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
3.1 Irving Caesar<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-<br />
Picture you upon my knee,<br />
Just tea for two and two for tea.<br />
Tea for Two (1925 song; music by Vincent Youmans)<br />
3.2 John Cage<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
poetry.<br />
I have nothing to say<br />
and I am saying it and that is<br />
Silence (1961) "Lecture on nothing"<br />
3.3 James Cagney
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1986<br />
Frank Gorshin--oh, Frankie, just in passing: I never said [in any film]<br />
"Mmm, you dirty rat!" What I actually did say was "Judy! Judy! Judy!"<br />
Speech at American Film Institute banquet, 13 Mar. 1974, in Cagney by<br />
Cagney (1976) ch. 14<br />
3.4 Sammy Cahn (Samuel Cohen)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
Love and marriage, love and marriage,<br />
Go together like a horse and carriage,<br />
This I tell ya, brother,<br />
Ya can't have one without the other.<br />
Love and Marriage (1955 song; music by James Van Heusen)<br />
It's that second time you hear your love song sung,<br />
Makes you think perhaps, that<br />
Love like youth is wasted on the young.<br />
<strong>The</strong> Second Time Around (1960 song; music by James Van Heusen)<br />
3.5 James M. Cain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1977<br />
<strong>The</strong> postman always rings twice.<br />
Title <strong>of</strong> novel (1934) and play (1936)<br />
3.6 Michael Caine (Maurice Joseph Micklewhite)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
Not many people know that.<br />
Title <strong>of</strong> book (1984)<br />
3.7 Sir Joseph Cairns<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
<strong>The</strong> betrayal <strong>of</strong> Ulster, the cynical and entirely undemocratic banishment<br />
<strong>of</strong> its properly elected Parliament and a relegation to the status <strong>of</strong><br />
a fuzzy wuzzy colony is, I hope, a last betrayal contemplated by Downing<br />
Street because it is the last that Ulster will countenance.<br />
Speech on retiring as Lord Mayor <strong>of</strong> Belfast, 31 May 1972, in Daily<br />
Telegraph 1 June 1972<br />
3.8 Charles Calhoun<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1972<br />
Shake, rattle and roll.<br />
Title <strong>of</strong> song (1954)
3.9 James Callaghan (Leonard James Callaghan, Baron Callaghan <strong>of</strong> Cardiff)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
We say that what Britain needs is a new social contract. That is what<br />
this document [Labour's Programme for Britain] is about.<br />
Speech at Labour Party Annual Conference, 2 Oct. 1972, in Conference<br />
Report (1972) p. 115<br />
A lie can be half-way around the world before truth has got his boots on.<br />
Hansard 1 Nov. 1976, col. 976<br />
I don't think other people in the world would share the view there is<br />
mounting chaos.<br />
In interview at London Airport, 10 Jan. 1979, in <strong>The</strong> Sun 11 Jan. 1979; the<br />
Sun headlined its report:"Crisis? What Crisis?"<br />
3.10 Joseph Campbell (Seosamh MacCathmhaoil)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1944<br />
As a white candle<br />
In a holy place,<br />
So is the beauty<br />
Of an ag‚d face.<br />
Irishry (1913) "Old Woman"<br />
3.11 Mrs Patrick Campbell (Beatrice Stella Campbell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1940<br />
Oh dear me--its too late to do anything but accept you and love you--but<br />
when you were quite a little boy somebody ought to have said "hush" just<br />
once!<br />
Letter to G. B. Shaw, 1 Nov. 1912, cited in Alan Dent Bernard Shaw and Mrs<br />
Patrick Campbell (1952) p. 52<br />
A popular anecdote describes a well known actor-manager [Sir Herbert<br />
Beerbohm Tree] as saying one day at rehearsal to an actress <strong>of</strong><br />
distinguished beauty [Mrs Patrick Campbell], "Let us give Shaw a beefsteak<br />
and put some red blood into him." "For heaven's sake, don't," she<br />
exclaimed: "he is bad enough as it is; but if you give him meat no woman<br />
in London will be safe."<br />
G. B. Shaw in Frank Harris Contemporary Portraits (1919) p. 331<br />
It doesn't matter what you do in the bedroom as long as you don't do it in<br />
the street and frighten the horses.<br />
In Daphne Fielding Duchess <strong>of</strong> Jermyn Street (1964) ch. 2<br />
Tallulah [Bankhead] is always skating on thin ice. Everyone wants to be<br />
there when it breaks.<br />
In <strong>The</strong> Times 13 Dec. 1968<br />
It was Mrs Campbell, for instance, who, on a celebrated occasion, threw<br />
her companion into a flurry by describing her recent marriage as "the<br />
deep, deep peace <strong>of</strong> the double-bed after the hurly-burly <strong>of</strong> the
chaise-longue."<br />
Alexander Woollcott While Rome Burns (1934) "<strong>The</strong> First Mrs Tanqueray"<br />
3.12 Roy Campbell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1957<br />
Of all the clever people round me here<br />
I most delight in Me--<br />
Mine is the only voice I care to hear,<br />
And mine the only face I like to see.<br />
Adamastor (1930) "Home Thoughts in Bloomsbury"<br />
You praise the firm restraint with which they write--<br />
I'm with you there, <strong>of</strong> course:<br />
<strong>The</strong>y use the snaffle and the curb all right,<br />
But where's the bloody horse?<br />
Adamastor (1930) "On Some South African Novelists"<br />
I hate "Humanity" and all such abstracts: but I love people. Lovers <strong>of</strong><br />
"Humanity" generally hate people and children, and keep parrots or puppy<br />
dogs.<br />
Light on a Dark Horse (1951) ch. 13<br />
Translations (like wives) are seldom strictly faithful if they are in the<br />
least attractive.<br />
Poetry Review June-July 1949<br />
Giraffes!--a People<br />
Who live between the earth and skies,<br />
Each in his lone religious steeple,<br />
Keeping a light-house with his eyes.<br />
Talking Bronco (1946) "Dreaming Spires"<br />
South Africa, renowned both far and wide<br />
For politics and little else beside.<br />
<strong>The</strong> Wayzgoose (1928) p. 7<br />
3.13 Sir Henry Campbell-Bannerman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1836-1908<br />
<strong>The</strong>re is a phrase which seems in itself somewhat self-evident, which is<br />
<strong>of</strong>ten used to account for a good deal--that "war is war." But when you<br />
come to ask about it, then you are told that the war now going on is not<br />
war. [Laughter] When is a war not a war? When it is carried on by methods<br />
<strong>of</strong> barbarism in South Africa.<br />
Speech to National Reform Union, 14 June 1901, in Daily News 15 June 1901<br />
Good government could never be a substitute for government by the people<br />
themselves.<br />
Speech at Stirling, 23 Nov. 1905, in Daily News 24 Nov. 1905<br />
3.14 Albert Camus<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-1960
Intellectuel = celui qui se d‚double.<br />
An intellectual is someone whose mind watches itself.<br />
Carnets, 1935-42 (Notebooks, 1962) p. 41<br />
La politique et le sort des hommes sont form‚s par des hommes sans id‚alet<br />
sans grandeur. Ceux qui ont une grandeur en eux ne font pas de politique.<br />
Politics and the fate <strong>of</strong> mankind are formed by men without ideals and<br />
without greatness. Those who have greatness within them do not go in for<br />
politics.<br />
Carnets, 1935-42 (Notebooks, 1962) p. 99<br />
Vous savez ce qu'est le charme: une maniŠre de s'entendre r‚pondre oui<br />
sans avoir pos‚ aucune question claire.<br />
You know what charm is: a way <strong>of</strong> getting the answer yes without having<br />
asked any clear question.<br />
La Chute (<strong>The</strong> Fall, 1956) p. 62<br />
Nous sommes tous des cas exceptionnels. Nous voulons tous faire appel de<br />
quelque chose! Chacun exige d'ˆtre innocent, … tout prix, mˆme si, pour<br />
cela, il faut accuser le genre humain et le ciel.<br />
We are all special cases. We all want to appeal to something! Everyone<br />
insists on his innocence, at all costs, even if it means accusing the rest<br />
<strong>of</strong> the human race and heaven.<br />
La Chute (<strong>The</strong> Fall, 1956) p. 95<br />
C'est si vrai que nous nous confions rarement … ceux qui sont meilleurs<br />
que nous.<br />
It is very true that we seldom confide in those who are better than<br />
ourselves.<br />
La Chute (<strong>The</strong> Fall, 1956) p. 97<br />
Je vais vous dire un grand secret, mon cher. N'attendez pas le jugement<br />
dernier. Il a lieu tous les jours.<br />
I'll tell you a great secret, my friend. Don't wait for the last<br />
judgement. It happens every day.<br />
La Chute (<strong>The</strong> Fall, 1956) p. 129<br />
Aujourd'hui, maman est morte. Ou peut-ˆtre hier, je ne sais pas.<br />
Mother died today. Or perhaps it was yesterday, I don't know.<br />
L'tranger (<strong>The</strong> Outsider, 1944) p. 9<br />
Qu'est-ce qu'un homme r‚volt‚? Un homme qui dit non.<br />
What is a rebel? A man who says no.<br />
L'Homme r‚volt‚ (<strong>The</strong> Rebel, 1951) p. 25<br />
Toutes les r‚volutions modernes ont abouti … un renforcement de l' tat.<br />
All modern revolutions have ended in a reinforcement <strong>of</strong> the State.<br />
L'Homme r‚volt‚ (<strong>The</strong> Rebel, 1951) p. 221<br />
Tout r‚volutionnaire finit en oppresseur ou en h‚r‚tique.
Every revolutionary ends as an oppressor or a heretic.<br />
L'Homme r‚volt‚ (<strong>The</strong> Rebel, 1951) p. 306<br />
La lutte elle-mˆme vers les sommets suffit … remplir un c”urd'homme. Il<br />
faut imaginer Sisyphe heureux.<br />
<strong>The</strong> struggle itself towards the heights is enough to fill a human heart.<br />
One must imagine that Sisyphus is happy.<br />
Le Mythe de Sisyphe (<strong>The</strong> Myth <strong>of</strong> Sisyphus, 1942) p. 168<br />
3.15 Elias Canetti<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
Alles was man vergessen hat, schreit im Traum um Hilfe.<br />
All the things one has forgotten scream for help in dreams.<br />
Die Provinz der Menschen (<strong>The</strong> Human Province, 1973) p. 269<br />
3.16 Hughie Cannon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1912<br />
Won't you come home Bill Bailey, won't you come home?<br />
Bill Bailey, Won't You Please Come Home (1902 song)<br />
3.17 John R. Caples<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-<br />
<strong>The</strong>y laughed when I sat down at the piano. But when I started to play!<br />
Advertisement for US School <strong>of</strong> Music, in Physical Culture Dec. 1925, p. 95<br />
3.18 Al Capone<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1947<br />
Don't you get the idea I'm one <strong>of</strong> these goddam radicals. Don't get the<br />
idea I'm knocking the American system.<br />
Interview, circa 1929, in Claud Cockburn In Time <strong>of</strong> Trouble (1956) ch. 16<br />
Once in the racket you're always in it.<br />
Philadelphia Public Ledger 18 May 1929<br />
3.19 Truman Capote<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-1984<br />
Mr Capote...commented on the difficulty he had reading the Beat novels.<br />
He had tried but he had been unable to finish any one <strong>of</strong> them...."None <strong>of</strong><br />
these people have anything interesting to say," he observed, "and none <strong>of</strong><br />
them can write, not even Mr Kerouac." What they do, he added, "isn't<br />
writing at all--it's typing."<br />
Report <strong>of</strong> television discussion, in New Republic 9 Feb. 1959
Venice is like eating an entire box <strong>of</strong> chocolate liqueurs in one go.<br />
In Observer 26 Nov. 1961<br />
Other voices, other rooms.<br />
Title <strong>of</strong> novel (1948)<br />
3.20 Al Capp<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1979<br />
[Abstract art is] a product <strong>of</strong> the untalented, sold by the unprincipled to<br />
the utterly bewildered.<br />
In National Observer 1 July 1963<br />
3.21 Ethna Carbery (Anna MacManus)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1902<br />
Oh, Kathaleen N¡ Houlihan, your road's a thorny way,<br />
And 'tis a faithful soul would walk the flints with you for aye,<br />
Would walk the sharp and cruel flints until his locks grew grey.<br />
Four Winds Of Eirinn (1902) "Passing <strong>of</strong> the Gael"<br />
3.22 Hoagy Carmichael (Hoagland Howard Carmichael)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1981<br />
See Stuart Gorrell (7.46)<br />
3.23 Stokely Carmichael and Charles Vernon Hamilton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Stokely Carmichael 1941-<br />
Charles Vernon Hamilton 1929-<br />
<strong>The</strong> adoption <strong>of</strong> the concept <strong>of</strong> Black Power is one <strong>of</strong> the most legitimate<br />
and healthy developments in American politics and race relations in our<br />
time....It is a call for black people in this country to unite, to<br />
recognize their heritage, to build a sense <strong>of</strong> community. It is a call for<br />
black people to begin to define their own goals, to lead their own<br />
organizations and to support those organizations. It is a call to reject<br />
the racist institutions and values <strong>of</strong> this society.<br />
Black Power (1967) ch. 2<br />
3.24 Dale Carnegie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1955<br />
How to win friends and influence people.<br />
Title <strong>of</strong> book (1936)<br />
3.25 J. L. Carr<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
"I've never been spoken to like this before in all my thirty years'<br />
experience," she wails. "You have not had thirty years' experience, Mrs<br />
Grindle-Jones," he says witheringly. "You have had one year's experience<br />
30 times."<br />
Harpole Report (1972) p. 128<br />
3.26 Edward Carson (Baron Carson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1854-1935<br />
My only great qualification for being put at the head <strong>of</strong> the Navy is that<br />
I am very much at sea.<br />
In Ian Colvin Life <strong>of</strong> Lord Carson (1936) vol. 3, ch. 23<br />
3.27 Jimmy Carter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-<br />
We should live our lives as though Christ were coming this afternoon.<br />
Speech to Bible class at Plains, Georgia, March 1976, in Boston Sunday<br />
Herald Advertiser 11 Apr. 1976<br />
I'm Jimmy Carter, and I'm going to be your next president.<br />
Said to the son <strong>of</strong> a campaign supporter, Nov. 1975, in I'll Never Lie to<br />
You (1976) ch. 1<br />
I've looked on a lot <strong>of</strong> women with lust. I've committed adultery in my<br />
heart many times. This is something that God recognizes I will do--and<br />
I have done it--and God forgives me for it.<br />
Playboy Nov. 1976<br />
3.28 Sydney Carter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-<br />
I danced in the morning<br />
When the world was begun<br />
And I danced in the moon<br />
And the stars and the sun<br />
And I came down from heaven<br />
And I danced on the earth--<br />
At Bethlehem I had my birth.<br />
Dance then wherever you may be,<br />
I am the Lord <strong>of</strong> the Dance, said he,<br />
And I'll lead you all, wherever you may be<br />
And I'll lead you all in the dance, said he.<br />
Nine Carols or Ballads (1967) "Lord <strong>of</strong> the Dance"<br />
It's God they ought to crucify<br />
Instead <strong>of</strong> you and me,<br />
I said to the carpenter<br />
A-hanging on the tree.<br />
Nine Carols or Ballads (1967) "Friday Morning"<br />
3.29 Pablo Casals<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1876-1973<br />
It [the cello] is like a beautiful woman who has not grown older, but<br />
younger with time, more slender, more supple, more graceful.<br />
In Time 29 Apr. 1957<br />
3.30 Ted Castle (Baron Castle <strong>of</strong> Islington)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1979<br />
In place <strong>of</strong> strife.<br />
Title <strong>of</strong> Labour Government's White Paper, 17 Jan. 1969, suggested by<br />
Castle to his wife, Barbara Castle (Secretary <strong>of</strong> State for<br />
Employment)--see Barbara Castle Diaries (1984) 15 Jan. 1969<br />
3.31 Harry Castling and C. W. Murphy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Let's all go down the Strand!<br />
Let's all go down the Strand!<br />
I'll be leader, you can march behind<br />
Come with me, and see what we can find<br />
Let's all go down the Strand!<br />
Let's All Go Down the Strand! (1909 song)<br />
3.32 Fidel Castro<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
La historia me absolv‚ra.<br />
History will absolve me.<br />
Title <strong>of</strong> pamphlet (1953)<br />
3.33 Willa Cather<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1947<br />
Religion and art spring from the same root and are close kin. Economics<br />
and art are strangers.<br />
Commonweal 17 Apr. 1936<br />
<strong>The</strong> history <strong>of</strong> every country begins in the heart <strong>of</strong> a man or a woman.<br />
O Pioneers! (1913) pt. 1, ch. 5<br />
I like trees because they seem more resigned to the way they have to live<br />
than other things do.<br />
O Pioneers! (1913) pt. 2, ch. 8<br />
3.34 Mr Justice Caulfield (Sir Bernard Caulfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
Remember Mary Archer in the witness box. Your vision <strong>of</strong> her will probably<br />
never disappear. Has she elegance? Has she fragrance? Would she
have--without the strain <strong>of</strong> this trial--a radiance?<br />
Summing up <strong>of</strong> court case between Jeffrey Archer and the News <strong>of</strong> the World,<br />
July 1987, in <strong>The</strong> Times 24 July 1987<br />
3.35 Charles Causley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
O are you the boy<br />
Who would wait on the quay<br />
With the silver penny<br />
And the apricot tree?<br />
Farewell, Aggie Weston (1951) "Nursery Rhyme <strong>of</strong> Innocence and Experience"<br />
Timothy Winters comes to school<br />
With eyes as wide as a football-pool,<br />
Ears like bombs and teeth like splinters:<br />
A blitz <strong>of</strong> a boy is Timothy Winters.<br />
Union Street (1957) "Timothy Winters"<br />
3.36 Constantine Cavafy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1933<br />
What are we all waiting for, gathered together like this on the public<br />
square?<br />
<strong>The</strong> Barbarians are coming today.<br />
(Waiting for the Barbarians, 1904) in Poems (1963)<br />
You will find no new places, no other seas,<br />
<strong>The</strong> town will follow you.<br />
(Poems, 1911) ("<strong>The</strong> Town")<br />
3.37 Edith Cavell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1915<br />
<strong>The</strong>y have all been very kind to me here. But this I would say, standing,<br />
as I do, in view <strong>of</strong> God and eternity, I realize that patriotism is not<br />
enough. I must have no hatred or bitterness towards anyone.<br />
Words spoken in prison the night before her execution, in <strong>The</strong> Times<br />
23 Oct. 1915<br />
3.38 Lord David Cecil<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1986<br />
<strong>The</strong> primary object <strong>of</strong> a student <strong>of</strong> literature is to be delighted. His duty<br />
is to enjoy himself: his efforts should be directed to developing his<br />
faculty <strong>of</strong> appreciation.<br />
Reading as one <strong>of</strong> the Fine Arts (1949) p. 4<br />
3.39 Patrick Reginald Chalmers<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1872-1942<br />
What's lost upon the roundabouts we pulls up on the swings!<br />
Green Days and Blue Days (1912) "Roundabouts and Swings"<br />
3.40 Joseph Chamberlain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1836-1914<br />
In politics, there is no use looking beyond the next fortnight.<br />
In letter from A. J. Balfour to 3rd Marquess <strong>of</strong> Salisbury, 24 Mar. 1886,<br />
in A. J. Balfour Chapters <strong>of</strong> Autobiography (1930) ch. 16<br />
It is said that the City is the centre <strong>of</strong> the world's finance, that the<br />
fate <strong>of</strong> our manufactures therefore is a secondary consideration; that,<br />
provided that the City <strong>of</strong> London remains, as it is at present, the<br />
clearing-house <strong>of</strong> the world, any other nation may be its workshop. Now<br />
I ask you, gentlemen, whether...that is not a very short-sighted view.<br />
Speech at the Guildhall, 19 Jan. 1904, in <strong>The</strong> Times 20 Jan. 1904<br />
In the great revolution which separated the United States from Great<br />
Britain the greatest man that that revolution produced...was Alexander<br />
Hamilton...he left a precious legacy to his countrymen when he disclosed<br />
to them the secrets <strong>of</strong> union and when he said to them, "Learn to think<br />
continentally." And, my fellow-citizens, if I may venture to give you<br />
a message, now I would say to you, "Learn to think Imperially."<br />
Speech at the Guildhall, 19 Jan. 1904, in <strong>The</strong> Times 20 Jan. 1904<br />
<strong>The</strong> day <strong>of</strong> small nations has long passed away. <strong>The</strong> day <strong>of</strong> Empires has<br />
come.<br />
Speech at Birmingham, 12 May 1904, in <strong>The</strong> Times 13 May 1904<br />
We are not downhearted. <strong>The</strong> only trouble is we cannot understand what is<br />
happening to our neighbours.<br />
Speech at Smethwick, 18 Jan. 1906, in <strong>The</strong> Times 19 Jan. 1906<br />
3.41 Neville Chamberlain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1940<br />
In war, whichever side may call itself the victor, there are no winners,<br />
but all are losers.<br />
Speech at Kettering, 3 July 1938, in <strong>The</strong> Times 4 July 1938<br />
How horrible, fantastic, incredible it is that we should be digging<br />
trenches and trying on gas-masks here because <strong>of</strong> a quarrel in a far away<br />
country [Czechoslovakia] between people <strong>of</strong> whom we know nothing.<br />
Broadcast speech, 27 Sept. 1938, in <strong>The</strong> Times 28 Sept. 1938<br />
This morning I had another talk with the German Chancellor, Herr Hitler,<br />
and here is the paper which bears his name upon it as well as mine...."We<br />
regard the agreement signed last night and the Anglo-German Naval<br />
Agreement, as symbolic <strong>of</strong> the desire <strong>of</strong> our two peoples never to go to war<br />
with one another again."<br />
Speech at Heston Airport, 30 Sept. 1938, in <strong>The</strong> Times 1 Oct. 1938<br />
My good friends, this is the second time in our history that there has<br />
come back from Germany to Downing Street peace with honour. I believe it
is peace for our time. We thank you from the bottom <strong>of</strong> our hearts. And<br />
now I recommend you to go home and sleep quietly in your beds.<br />
Speech from window <strong>of</strong> 10 Downing Street, 30 Sept. 1938, in <strong>The</strong> Times<br />
1 Oct. 1938<br />
This morning, the British Ambassador in Berlin handed the German<br />
government a final Note stating that, unless we heard from them by eleven<br />
o'clock that they were prepared at once to withdraw their troops from<br />
Poland, a state <strong>of</strong> war would exist between us. I have to tell you now that<br />
no such undertaking has been received, and that consequently this country<br />
is at war with Germany.<br />
Radio broadcast, 3 Sept. 1939, in <strong>The</strong> Times 4 Sept. 1939<br />
Whatever may be the reason--whether it was that Hitler thought he might<br />
get away with what he had got without fighting for it, or whether it was<br />
that after all the preparations were not sufficiently complete--however,<br />
one thing is certain--he missed the bus.<br />
Speech at Central Hall, Westminster, 4 Apr. 1940, in <strong>The</strong> Times 5 Apr. 1940<br />
3.42 Harry Champion<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1942<br />
See Charles Collins, E. A. Sheppard, and Fred Terry (3.79)<br />
3.43 Raymond Chandler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1959<br />
Down these mean streets a man must go who is not himself mean, who is<br />
neither tarnished nor afraid.<br />
Atlantic Monthly Dec. 1944 "<strong>The</strong> Simple Art <strong>of</strong> Murder"<br />
It was about eleven o'clock in the morning, mid October, with the sun not<br />
shining and a look <strong>of</strong> hard wet rain in the clearness <strong>of</strong> the foothills.<br />
I was wearing my powder-blue suit, with dark blue shirt, tie and display<br />
handkerchief, black brogues, black wool socks with dark blue clocks on<br />
them. I was neat, clean, shaved and sober, and I didn't care who knew it.<br />
<strong>The</strong> Big Sleep (1939) ch. 1<br />
It was a blonde. A blonde to make a bishop kick a hole in a stained glass<br />
window.<br />
Farewell, My Lovely (1940) ch. 13<br />
Would you convey my compliments to the purist who reads your pro<strong>of</strong>s and<br />
tell him or her that I write in a sort <strong>of</strong> broken-down patois which is<br />
something like the way a Swiss waiter talks, and that when I split an<br />
infinitive, God damn it, I split it so it will stay split.<br />
Letter to Edward Weeks, 18 Jan. 1947, in F. MacShane Life <strong>of</strong> Raymond<br />
Chandler (1976) ch. 7<br />
A big hard-boiled city with no more personality than a paper cup.<br />
<strong>The</strong> Little Sister (1949) ch. 26 (<strong>of</strong> Los Angeles)<br />
If my books had been any worse, I should not have been invited to<br />
Hollywood, and if they had been any better, I should not have come.<br />
Letter to Charles W. Morton, 12 Dec. 1945, in Dorothy Gardiner and<br />
Katherine S. Walker Raymond Chandler Speaking (1962) p. 126
3.44 Coco Chanel<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1971<br />
Youth is something very new: twenty years ago no one mentioned it.<br />
In Marcel Haedrich Coco Chanel, Her Life, Her Secrets (1971) ch. 1<br />
3.45 Charlie Chaplin (Sir Charles Spencer Chaplin)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1977<br />
All I need to make a comedy is a park, a policeman and a pretty girl.<br />
My Autobiography (1964) ch. 10<br />
3.46 Arthur Chapman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1935<br />
Out where the handclasp's a little stronger,<br />
Out where the smile dwells a little longer,<br />
That's where the West begins.<br />
Out Where the West Begins (1916) p. 1<br />
3.47 Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Graham Chapman 1941-1989<br />
John Cleese 1939-<br />
Terry Gilliam 1940-<br />
Eric Idle 1943-<br />
Terry Jones 1942-<br />
Michael Palin 1943-<br />
I'm a lumberjack<br />
And I'm OK<br />
I sleep all night<br />
And I work all day.<br />
Monty Python's Big Red Book (1971)<br />
And now for something completely different.<br />
Catch-phrase popularized in Monty Python's Flying Circus (BBC TV<br />
programme, 1969-74)<br />
Your wife interested in...photographs? Eh? Know what I mean--photographs?<br />
He asked him knowingly...nudge nudge, snap snap, grin grin, wink wink, say<br />
no more.<br />
Monty Python's Flying Circus (BBC TV programme, 1969), in Roger Wilmut<br />
From Fringe to Flying Circus (1980) ch. 11<br />
customer: I wish to complain about this parrot what I purchased not<br />
half an hour ago from this very boutique.<br />
shopkeeper: Oh yes, the Norwegian Blue--what's wrong with it?<br />
customer: I'll tell you what's wrong with it--it's dead that's what's<br />
wrong with it.<br />
shopkeeper: No, no--it's resting....It's probably pining for the
fiords....<br />
customer: It's not pining--it's passed on! This parrot is no more! It<br />
has ceased to be! It's expired and gone to meet its maker! This is a late<br />
parrot! It's a stiff! Bereft <strong>of</strong> life it rests in peace--if you hadn't<br />
nailed it to the perch it would be pushing up the daisies! It's rung down<br />
the curtain and joined the choir invisible! This is an ex-parrot!<br />
Monty Python's Flying Circus (BBC TV programme, 1969), in Roger Wilmut<br />
From Fringe to Flying Circus (1980) ch. 11<br />
Nobody expects the Spanish Inquisition! Our chief weapon is<br />
surprisesemdash.surprise and fear...fear and surprise...our two weapons<br />
are fear and surprise--and ruthless efficiency...our three weapons are<br />
fear and surprise and ruthless efficiency and an almost fanatical devotion<br />
to the Pope...our four...no....Amongst our weapons--amongst our<br />
weaponry--are such elements as fear, surprise....I'll come in again.<br />
Monty Python's Flying Circus (BBC TV programme, 1970), in Roger Wilmut<br />
From Fringe to Flying Circus (1980) ch. 11<br />
3.48 Prince Charles (Charles Philip Arthur George, Prince <strong>of</strong> Wales)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1948-<br />
I have not the slightest hesitation in making the observation that much <strong>of</strong><br />
British management doesn't seem to understand the importance <strong>of</strong> the human<br />
factor.<br />
Speech to Parliamentary and Scientific Committee, 21 Feb. 1979, in Daily<br />
Telegraph 22 Feb. 1979<br />
I just come and talk to the plants, really--very important to talk to<br />
them, they respond I find.<br />
Television interview, 21 Sept. 1986, in Daily Telegraph 22 Sept. 1986<br />
We do need a sense <strong>of</strong> urgency in our outlook in the regeneration <strong>of</strong><br />
industry and enterprise, because otherwise what really worries me is that<br />
we are going to end up as a fourth-rate country and I don't want to see<br />
that.<br />
Speech at Edinburgh, 26 Nov. 1985, in Scotsman 27 Nov. 1985<br />
Instead <strong>of</strong> designing an extension to the elegant fa‡ade <strong>of</strong> the National<br />
Gallery which complements it...it looks as if we may be presented with<br />
a kind <strong>of</strong> vast municipal fire station....I would understand better this<br />
type <strong>of</strong> high-tech approach if you demolished the whole <strong>of</strong> Trafalgar Square<br />
and started again...but what is proposed is like a monstrous carbuncle on<br />
the face <strong>of</strong> a much-loved and elegant friend.<br />
Speech to Royal Institute <strong>of</strong> British Architects, 30 May 1984, in <strong>The</strong> Times<br />
31 May 1984. Cf. Countess Spencer<br />
3.49 Apsley Cherry-Garrard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1959<br />
See E. L. Atkinson (1.65)<br />
3.50 G. K. Chesterton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1936
An adventure is only an inconvenience rightly considered. An inconvenience<br />
is only an adventure wrongly considered.<br />
All Things Considered (1908) "On Running after one's Hat"<br />
No animal ever invented anything so bad as drunkenness--or so good as<br />
drink.<br />
All Things Considered (1908) "Wine When it is Red"<br />
Of those days the tale is told that I once sent a telegram to my wife in<br />
London, which ran: "Am in Market Harborough. Where ought I to be?"<br />
I cannot remember whether this story is true; but it is not unlikely, or,<br />
I think, unreasonable.<br />
Autobiography (1936) ch. 16<br />
<strong>The</strong>y died to save their country and they only saved the world.<br />
Ballad <strong>of</strong> St Barbara and Other Verses (1922) "English Graves"<br />
Before the gods that made the gods<br />
Had seen their sunrise pass,<br />
<strong>The</strong> White Horse <strong>of</strong> the White Horse Vale<br />
Was cut out <strong>of</strong> the grass.<br />
Ballad <strong>of</strong> the White Horse (1911) bk. 1, p. 1<br />
I tell you naught for your comfort,<br />
Yea, naught for your desire,<br />
Save that the sky grows darker yet<br />
And the sea rises higher.<br />
Ballad <strong>of</strong> the White Horse (1911) bk. 1, p. 18<br />
For the great Gaels <strong>of</strong> Ireland<br />
Are the men that God made mad,<br />
For all their wars are merry,<br />
And all their songs are sad.<br />
Ballad <strong>of</strong> the White Horse (1911) bk. 2, p. 35<br />
<strong>The</strong> thing on the blind side <strong>of</strong> the heart,<br />
On the wrong side <strong>of</strong> the door,<br />
<strong>The</strong> green plant groweth, menacing<br />
Almighty lovers in the Spring;<br />
<strong>The</strong>re is always a forgotten thing,<br />
And love is not secure.<br />
Ballad <strong>of</strong> the White Horse (1911) bk. 3, p. 52<br />
Literature is a luxury; fiction is a necessity.<br />
Defendant (1901) "Defence <strong>of</strong> Penny Dreadfuls"<br />
All slang is metaphor, and all metaphor is poetry.<br />
Defendant (1901) "Defence <strong>of</strong> Slang"<br />
"My country, right or wrong," is a thing that no patriot would think <strong>of</strong><br />
saying except in a desperate case. It is like saying, "My mother, drunk or<br />
sober."<br />
Defendant (1901) "Defence <strong>of</strong> Patriotism"<br />
And Noah he <strong>of</strong>ten said to his wife when he sat down to dine,<br />
"I don't care where the water goes if it doesn't get into the wine."<br />
Flying Inn (1914) ch. 5 "Wine and Water"<br />
God made the wicked Grocer<br />
For a mystery and a sign,
That men might shun the awful shops<br />
And go to inns to dine.<br />
Flying Inn (1914) ch. 6 "Song against Grocers"<br />
He keeps a lady in a cage<br />
Most cruelly all day,<br />
And makes her count and calls her "Miss"<br />
Until she fades away.<br />
Flying Inn (1914) ch. 6 "Song against Grocers"<br />
<strong>The</strong> folk that live in Liverpool, their heart is in their boots;<br />
<strong>The</strong>y go to hell like lambs, they do, because the hooter hoots.<br />
Flying Inn (1914) ch. 7 "Me Heart"<br />
<strong>The</strong>y haven't got no noses,<br />
<strong>The</strong> fallen sons <strong>of</strong> Eve.<br />
Flying Inn (1914) ch. 15 "Song <strong>of</strong> Quoodle"<br />
And goodness only knowses<br />
<strong>The</strong> Noselessness <strong>of</strong> Man.<br />
Flying Inn (1914) ch. 15 "Song <strong>of</strong> Quoodle"<br />
<strong>The</strong> rich are the scum <strong>of</strong> the earth in every country.<br />
Flying Inn (1914) ch. 15<br />
Tea, although an Oriental,<br />
Is a gentleman at least;<br />
Cocoa is a cad and coward,<br />
Cocoa is a vulgar beast.<br />
Flying Inn (1914) ch. 18 "Song <strong>of</strong> Right and Wrong"<br />
Before the Roman came to Rye or out to Severn strode,<br />
<strong>The</strong> rolling English drunkard made the rolling English road.<br />
A reeling road, a rolling road, that rambles round the shire,<br />
And after him the parson ran, the sexton and the squire;<br />
A merry road, a mazy road, and such as we did tread<br />
<strong>The</strong> night we went to Birmingham by way <strong>of</strong> Beachy Head.<br />
Flying Inn (1914) ch. 21 "Rolling English Road"<br />
For there is good news yet to hear and fine things to be seen,<br />
Before we go to Paradise by way <strong>of</strong> Kensal Green.<br />
Flying Inn (1914) ch. 21 "Rolling English Road"<br />
Ten thousand women marched through the streets <strong>of</strong> London [in support <strong>of</strong><br />
women's suffrage] saying: "We will not be dictated to," and then went <strong>of</strong>f<br />
to become stenographers.<br />
In M. Ffinch G. K. Chesterton (1986) ch. 11<br />
<strong>The</strong> word "orthodoxy" not only no longer means being right; it practically<br />
means being wrong.<br />
Heretics (1905) ch. 1<br />
<strong>The</strong>re is no such thing on earth as an uninteresting subject; the only<br />
thing that can exist is an uninterested person.<br />
Heretics (1905) ch. 3<br />
<strong>The</strong> artistic temperament is a disease that afflicts amateurs. It is<br />
a disease which arises from men not having sufficient power <strong>of</strong> expression<br />
to utter and get rid <strong>of</strong> the element <strong>of</strong> art in their being.<br />
Heretics (1905) ch. 17
Bigotry may be roughly defined as the anger <strong>of</strong> men who have no opinions.<br />
Heretics (1905) ch. 20<br />
After the first silence the small man said to the other: "Where does a<br />
wise man hide a pebble?" And the tall man answered in a low voice: "On the<br />
beach." <strong>The</strong> small man nodded, and after a short silence said: "Where does<br />
a wise man hide a leaf?" And the other answered: "In the forest."<br />
Innocence <strong>of</strong> Father Brown (1911) "<strong>The</strong> Sign <strong>of</strong> the Broken Sword"<br />
Thieves respect property. <strong>The</strong>y merely wish the property to become their<br />
property that they may more perfectly respect it.<br />
Man who was Thursday (1908) ch. 4<br />
<strong>The</strong> human race, to which so many <strong>of</strong> my readers belong, has been playing at<br />
children's games from the beginning, and will probably do it till the end,<br />
which is a nuisance for the few people who grow up.<br />
Napoleon <strong>of</strong> Notting Hill (1904) bk. 1, ch. 1<br />
Why do you rush through the fields in trains,<br />
Guessing so much and so much.<br />
Why do you flash through the flowery meads,<br />
Fat-head poet that nobody reads;<br />
And why do you know such a frightful lot<br />
About people in gloves and such?<br />
New Poems (1933) "<strong>The</strong> Fat White Woman Speaks" (an answer to Frances<br />
Cornford, see 61:8)<br />
Democracy means government by the uneducated, while aristocracy means<br />
government by the badly educated.<br />
New York Times 1 Feb. 1931, pt. 5, p. 1<br />
<strong>The</strong> men who really believe in themselves are all in lunatic asylums.<br />
Orthodoxy (1908) ch. 2<br />
Poets do not go mad; but chess-players do. Mathematicians go mad, and<br />
cashiers; but creative artists very seldom. I am not, as will be seen, in<br />
any sense attacking logic: I only say that this danger does lie in logic,<br />
not in imagination.<br />
Orthodoxy (1908) ch. 2<br />
Mr Shaw is (I suspect) the only man on earth who has never written any<br />
poetry.<br />
Orthodoxy (1908) ch. 3<br />
Tradition may be defined as an extension <strong>of</strong> the franchise. Tradition<br />
means giving votes to the most obscure <strong>of</strong> all classes, our ancestors. It<br />
is the democracy <strong>of</strong> the dead. Tradition refuses to submit to the small<br />
and arrogant oligarchy <strong>of</strong> those who merely happen to be walking about. All<br />
democrats object to men being disqualified by the accident <strong>of</strong> birth;<br />
tradition objects to their being disqualified by the accident <strong>of</strong> death.<br />
Democracy tells us not to neglect a good man's opinion, even if he is our<br />
groom; tradition asks us not to neglect a good man's opinion, even if he<br />
is our father.<br />
Orthodoxy (1908) ch. 4<br />
All conservatism is based upon the idea that if you leave things alone you<br />
leave them as they are. But you do not. If you leave a thing alone you<br />
leave it to a torrent <strong>of</strong> change.<br />
Orthodoxy (1908) ch. 7
Angels can fly because they take themselves lightly.<br />
Orthodoxy (1908) ch. 7<br />
White founts falling in the Courts <strong>of</strong> the sun,<br />
And the Soldan <strong>of</strong> Byzantium is smiling as they run.<br />
Poems (1915) "Lepanto"<br />
Strong gongs groaning as the guns boom far,<br />
Don John <strong>of</strong> Austria is going to the war,<br />
Stiff flags straining in the night-blasts cold<br />
In the gloom black-purple, in the glint old-gold,<br />
Torchlight crimson on the copper kettle-drums,<br />
<strong>The</strong>n the tuckets, then the trumpets, then the cannon, and he comes.<br />
Poems (1915) "Lepanto"<br />
From all that terror teaches,<br />
From lies <strong>of</strong> tongue and pen,<br />
From all the easy speeches<br />
That comfort cruel men,<br />
From sale and pr<strong>of</strong>anation<br />
Of honour and the sword,<br />
From sleep and from damnation,<br />
Deliver us, good Lord!<br />
Poems (1915) "A Hymn"<br />
Are they clinging to their crosses, F. E. Smith?<br />
Poems (1915) "Antichrist"<br />
Talk about the pews and steeples<br />
And the Cash that goes therewith!<br />
But the souls <strong>of</strong> Christian peoples...<br />
Chuck it, Smith!<br />
Poems (1915) "Antichrist"<br />
<strong>The</strong> souls most fed with Shakespeare's flame<br />
Still sat unconquered in a ring,<br />
Remembering him like anything.<br />
Poems (1915) "Shakespeare Memorial"<br />
John Grubby, who was short and stout<br />
And troubled with religious doubt,<br />
Refused about the age <strong>of</strong> three<br />
To sit upon the curate's knee.<br />
Poems (1915) "New <strong>Free</strong>thinker"<br />
And I dream <strong>of</strong> the days when work was scrappy,<br />
And rare in our pockets the mark <strong>of</strong> the mint,<br />
When we were angry and poor and happy,<br />
And proud <strong>of</strong> seeing our names in print.<br />
Poems (1915) "Song <strong>of</strong> Defeat"<br />
Smile at us, pay us, pass us; but do not quite forget.<br />
For we are the people <strong>of</strong> England, that never have spoken yet.<br />
Poems (1915) "<strong>The</strong> Secret People"<br />
We only know the last sad squires ride slowly towards the sea,<br />
And a new people takes the land: and still it is not we.<br />
Poems (1915) "<strong>The</strong> Secret People"
<strong>The</strong>y spoke <strong>of</strong> Progress spiring round,<br />
Of Light and Mrs Humphry Ward--<br />
It is not true to say I frowned,<br />
Or ran about the room and roared;<br />
I might have simply sat and snored--<br />
I rose politely in the club<br />
And said,"I feel a little bored.<br />
Will someone take me to a pub?"<br />
Poems (1915) "Ballade <strong>of</strong> an Anti-Puritan"<br />
<strong>The</strong> gallows in my garden, people say,<br />
Is new and neat and adequately tall.<br />
I tie the noose on in a knowing way<br />
As one that knots his necktie for a ball;<br />
But just as all the neighbours--on the wall--<br />
Are drawing a long breath to shout "Hurray!"<br />
<strong>The</strong> strangest whim has seized me....After all<br />
I think I will not hang myself today.<br />
Poems (1915) "Ballade <strong>of</strong> Suicide"<br />
It isn't that they can't see the solution. It is that they can't see the<br />
problem.<br />
Scandal <strong>of</strong> Father Brown (1935) "Point <strong>of</strong> a Pin"<br />
Lying in bed would be an altogether perfect and supreme experience if only<br />
one had a coloured pencil long enough to draw on the ceiling.<br />
Tremendous Trifles (1909) "On Lying in Bed"<br />
Hardy went down to botanize in the swamp, while Meredith climbed towards<br />
the sun. Meredith became, at his best, a sort <strong>of</strong> daintily dressed Walt<br />
Whitman: Hardy became a sort <strong>of</strong> village atheist brooding and blaspheming<br />
over the village idiot.<br />
Victorian Age in Literature (1912) ch. 2<br />
He [Tennyson] could not think up to the height <strong>of</strong> his own towering style.<br />
Victorian Age in Literature (1912) ch. 3<br />
<strong>The</strong> Christian ideal has not been tried and found wanting. It has been<br />
found difficult; and left untried.<br />
What's Wrong with the World (1910) pt. 1, ch. 5<br />
She was maintaining the prime truth <strong>of</strong> woman, the universal mother: that<br />
if a thing is worth doing, it is worth doing badly.<br />
What's Wrong with the World (1910) pt. 4, ch. 14<br />
When fishes flew and forests walked<br />
And figs grew upon thorn,<br />
Some moment when the moon was blood<br />
<strong>The</strong>n surely I was born.<br />
With monstrous head and sickening cry<br />
And ears like errant wings,<br />
<strong>The</strong> devil's walking parody<br />
On all four-footed things.<br />
Wild Knight and Other Poems (1900) "<strong>The</strong> Donkey"<br />
Fools! For I also had my hour;<br />
One far fierce hour and sweet:<br />
<strong>The</strong>re was a shout about my ears,<br />
And palms before my feet.
Wild Knight and Other Poems (1900) "<strong>The</strong> Donkey"<br />
But Higgins is a Heathen,<br />
And to lecture rooms is forced,<br />
Where his aunts, who are not married,<br />
Demand to be divorced.<br />
Wine, Water and Song (1915) "Song <strong>of</strong> the Strange Ascetic"<br />
To be clever enough to get all that money, one must be stupid enough to<br />
want it.<br />
Wisdom <strong>of</strong> Father Brown (1914) "Paradise <strong>of</strong> Thieves"<br />
Journalism largely consists in saying "Lord Jones Dead" to people who<br />
never knew that Lord Jones was alive.<br />
Wisdom <strong>of</strong> Father Brown (1914) "<strong>The</strong> Purple Wig"<br />
3.51 Maurice Chevalier<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1972<br />
On his seventy-second birthday in 1960, he [Chevalier] was asked what he<br />
felt about the advancing years. "Considering the alternative," he said,<br />
"it's not too bad at all."<br />
Michael <strong>Free</strong>dland Maurice Chevalier (1981) ch. 20<br />
3.52 Erskine Childers<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1922<br />
<strong>The</strong> riddle <strong>of</strong> the sands.<br />
Title <strong>of</strong> novel (1903)<br />
<strong>The</strong> [firing] squad took up their positions across the prison yard. "Come<br />
closer, boys," Childers called out to them. "It will be easier for you."<br />
Burke Wilkinson Zeal <strong>of</strong> Convert (1976) ch. 26<br />
3.53 Charles Chilton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
See Joan Littlewood (12.66)<br />
3.54 Noam Chomsky<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
As soon as questions <strong>of</strong> will or decision or reason or choice <strong>of</strong> action<br />
arise, human science is at a loss.<br />
Television interview, 30 Mar. 1978, in Listener 6 Apr. 1978<br />
<strong>The</strong> notion "grammatical" cannot be identified with "meaningful" or<br />
"significant" in any semantic sense. Sentences (1) and (2) are equally<br />
nonsensical, but...only the former is grammatical.<br />
(1) Colourless green ideas sleep furiously.<br />
(2) Furiously sleep ideas green colourless.<br />
Syntactic Structures (1957) ch. 2
3.55 Dame Agatha Christie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1976<br />
One is left with the horrible feeling now that war settles nothing that to<br />
win a war is as disastrous as to lose one!<br />
Autobiography (1977) pt. 10<br />
"This affair must all be unravelled from within." He [Hercule Poirot]<br />
tapped his forehead. "<strong>The</strong>se little grey cells. It is 'up to them'--as you<br />
say over here."<br />
<strong>The</strong> Mysterious Affair at Styles (1920) ch. 10<br />
Trust the train, Mademoiselle, for it is le bon Dieu who drives it.<br />
<strong>The</strong> Mystery <strong>of</strong> the Blue Train (1928) ch. 36<br />
3.56 Frank E. Churchill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1942<br />
Who's afraid <strong>of</strong> the big bad wolf?<br />
Title <strong>of</strong> song (1933; probably written in collaboration with Ann Ronell)<br />
3.57 Sir Winston Churchill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1965<br />
In defeat unbeatable: in victory unbearable.<br />
In Edward Marsh Ambrosia and Small Beer (1964) ch. 5 (describing Viscount<br />
Montgomery)<br />
After the war one quip which went the rounds <strong>of</strong> Westminster was attributed<br />
to Churchill himself. "An empty taxi arrived at 10 Downing Street, and<br />
when the door was opened [Clement] Attlee got out." When [John] Colville<br />
repeated this, and its attribution, to Churchill he obviously did not like<br />
it. His face set hard, and "after an awful pause" he said: "Mr Attlee is<br />
an honourable and gallant gentleman, and a faithful colleague who served<br />
his country well at the time <strong>of</strong> her greatest need. I should be obliged if<br />
you would make it clear whenever an occasion arises that I would never<br />
make such a remark about him, and that I strongly disapprove <strong>of</strong> anybody<br />
who does."<br />
Kenneth Harris Attlee (1982) ch. 16<br />
Always remember, Clemmie, that I have taken more out <strong>of</strong> alcohol than<br />
alcohol has taken out <strong>of</strong> me.<br />
In Quentin Reynolds By Quentin Reynolds (1964) ch. 11<br />
[Clement Attlee is] a modest man who has a good deal to be modest about.<br />
In Chicago Sunday Tribune Magazine <strong>of</strong> Books 27 June 1954<br />
Question: What are the desirable qualifications for any young man who<br />
wishes to become a politician?<br />
Mr Churchill: It is the ability to foretell what is going to happen<br />
tomorrow, next week, next month, and next year. And to have the ability<br />
afterwards to explain why it didn't happen.<br />
In B. Adler Churchill Wit (1965) p. 4
<strong>The</strong> British people have taken for themselves this motto--"Business carried<br />
on as usual during alterations on the map <strong>of</strong> Europe." <strong>The</strong>y expect the<br />
navy, on which they have lavished so much care and expense, to make that<br />
good, and that is what, upon the whole, we are actually achieving at the<br />
present time.<br />
Speech at the Guildhall, 9 Nov. 1914, in Complete Speeches (1974) vol. 3,<br />
p. 2341<br />
Here is the answer which I will give to President Roosevelt....We shall<br />
not fail or falter; we shall not weaken or tire. Neither the sudden shock<br />
<strong>of</strong> battle nor the long-drawn trials <strong>of</strong> vigilance and exertion will wear us<br />
down. Give us the tools and we will finish the job.<br />
Speech on radio, 9 Feb. 1941, in Complete Speeches (1974) vol. 6, p. 6350<br />
<strong>The</strong> people <strong>of</strong> London with one voice would say to Hitler: "You have<br />
committed every crime under the sun....We will have no truce or parley<br />
with you, or the grisly gang who work your wicked will. You do your<br />
worst--and we will do our best."<br />
Speech at County Hall, London, 14 July 1941, in Complete Speeches (1974)<br />
vol. 6, p. 6451<br />
Do not let us speak <strong>of</strong> darker days; let us rather speak <strong>of</strong> sterner days.<br />
<strong>The</strong>se are not dark days: these are great days--the greatest days our<br />
country has ever lived; and we must all thank God that we have been<br />
allowed, each <strong>of</strong> us according to our stations, to play a part in making<br />
these days memorable in the history <strong>of</strong> our race.<br />
Speech at Harrow School, 29 Oct. 1941, in Complete Speeches (1974) vol. 6,<br />
p. 6500<br />
It becomes still more difficult to reconcile Japanese action with prudence<br />
or even with sanity. What kind <strong>of</strong> a people do they think we are?<br />
Speech to US Congress, 26 Dec. 1941, in Complete Speeches (1974) vol. 6,<br />
p. 6540<br />
When I warned them [the French Government] that Britain would fight on<br />
alone whatever they did, their generals told their Prime Minister and his<br />
divided Cabinet, "In three weeks England will have her neck wrung like<br />
a chicken." Some chicken! Some neck!<br />
Speech to Canadian Parliament, 30 Dec. 1941, in Complete Speeches (1974)<br />
vol. 6, p. 6544<br />
<strong>The</strong>re is no finer investment for any community than putting milk into<br />
babies. Healthy citizens are the greatest asset any country can have.<br />
Speech on radio, 21 Mar. 1943, in Complete Speeches (1974) vol. 7, p. 6761<br />
From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has<br />
descended across the Continent.<br />
Speech at Westminster College, Fulton, Missouri, 5 Mar. 1946, in Complete<br />
Speeches (1974) vol. 7, p. 7290<br />
Somebody said, "One never hears <strong>of</strong> Baldwin nowadays--he might as well be<br />
dead." "No," said Winston, "not dead. But the candle in that great turnip<br />
has gone out."<br />
Harold Nicolson Diary 17 Aug. 1950, in Diaries and Letters (1968) p. 193<br />
Now this is not the end. It is not even the beginning <strong>of</strong> the end. But it<br />
is, perhaps, the end <strong>of</strong> the beginning.<br />
Speech at the Mansion House, London, 10 Nov. 1942, in End <strong>of</strong> the Beginning
(1943) p. 214<br />
We mean to hold our own. I have not become the King's First Minister in<br />
order to preside over the liquidation <strong>of</strong> the British Empire.<br />
Speech in London, 10 Nov. 1942, in End <strong>of</strong> the Beginning (1943) p. 215<br />
Once he [Churchill] said to me, "Alfred, if you met Picasso coming down<br />
the street, would you join with me in kicking his something something<br />
something?" I said, "Yes, sir, I would."<br />
Sir Alfred Munnings in speech at Royal Academy, 28 Apr. 1949, in <strong>The</strong><br />
Finish (1952) ch. 22<br />
Don't talk to me about naval tradition. It's nothing but rum, sodomy and<br />
the lash.<br />
In Sir Peter Gretton Former Naval Person (1968) ch. 1<br />
A labour contract into which men enter voluntarily for a limited and for a<br />
brief period, under which they are paid wages which they consider<br />
adequate, under which they are not bought or sold and from which they can<br />
obtain relief...on payment <strong>of</strong> œ17.10s, the cost <strong>of</strong> their passage, may not<br />
be a healthy or proper contract, but it cannot in the opinion <strong>of</strong> His<br />
Majesty's Government be classified as slavery in the extreme acceptance <strong>of</strong><br />
the word without some risk <strong>of</strong> terminological inexactitude.<br />
Hansard 22 Feb. 1906, col. 555<br />
He [Lord Charles Beresford] is one <strong>of</strong> those orators <strong>of</strong> whom it was well<br />
said, "Before they get up, they do not know what they are going to say;<br />
when they are speaking, they do not know what they are saying; and when<br />
they have sat down, they do not know what they have said."<br />
Hansard 20 Dec. 1912, col. 1893<br />
<strong>The</strong> whole map <strong>of</strong> Europe has been changed. <strong>The</strong> position <strong>of</strong> countries has<br />
been violently altered. <strong>The</strong> modes <strong>of</strong> thought <strong>of</strong> men, the whole outlook on<br />
affairs, the grouping <strong>of</strong> parties, all have encountered violent and<br />
tremendous changes in the deluge <strong>of</strong> the world, but as the deluge subsides<br />
and the waters fall short we see the dreary steeples <strong>of</strong> Fermanagh and<br />
Tyrone emerging once again. <strong>The</strong> integrity <strong>of</strong> their quarrel is one <strong>of</strong> the<br />
few institutions that has been unaltered in the cataclysm which has swept<br />
the world.<br />
Hansard 16 Feb. 1922, col. 1270<br />
I decline utterly to be impartial as between the fire brigade and the<br />
fire.<br />
Hansard 7 July 1926, col. 2216 (replying to complaints <strong>of</strong> his bias in<br />
editing the British Gazette during the General Strike)<br />
I remember, when I was a child, being taken to the celebrated Barnum's<br />
circus, which contained an exhibition <strong>of</strong> freaks and monstrosities, but the<br />
exhibit on the programme which I most desired to see was the one described<br />
as "<strong>The</strong> Boneless Wonder." My parents judged that that spectacle would be<br />
too revolting and demoralizing for my youthful eyes, and I have waited 50<br />
years to see the boneless wonder [Ramsay Macdonald] sitting on the<br />
Treasury Bench.<br />
Hansard 28 Jan. 1931, col. 1021<br />
So they [the Government] go on in strange paradox, decided only to be<br />
undecided, resolved to be irresolute, adamant for drift, solid for<br />
fluidity, all-powerful to be impotent.<br />
Hansard 12 Nov. 1936, col. 1107
<strong>The</strong> utmost he [Neville Chamberlain] has been able to gain for<br />
Czechoslovakia and in the matters which were in dispute has been that the<br />
German dictator, instead <strong>of</strong> snatching his victuals from the table, has<br />
been content to have them served to him course by course.<br />
Hansard 5 Oct. 1938, col. 361<br />
I would say to the House, as I said to those who have joined this<br />
Government: "I have nothing to <strong>of</strong>fer but blood, toil, tears and sweat."<br />
Hansard 13 May 1940, col. 1502<br />
You ask, what is our policy? I will say: It is to wage war, by sea, land<br />
and air, with all our might and with all the strength that God can give<br />
us; to wage war against a monstrous tyranny, never surpassed in the dark,<br />
lamentable catalogue <strong>of</strong> human crime. That is our policy. You ask, what is<br />
our aim? I can answer in one word: Victory, victory at all costs, victory<br />
in spite <strong>of</strong> all terror; victory, however long and hard the road may be;<br />
for without victory, there is no survival.<br />
Hansard 13 May 1940, col. 1502<br />
At this time I feel entitled to claim the aid <strong>of</strong> all, and I say, "Come<br />
then, let us go forward together with our united strength."<br />
Hansard 13 May 1940, col. 1502<br />
Even though large tracts <strong>of</strong> Europe and many old and famous States have<br />
fallen or may fall into the grip <strong>of</strong> the Gestapo and all the odious<br />
apparatus <strong>of</strong> Nazi rule, we shall not flag or fail. We shall go on to the<br />
end. We shall fight in France, we shall fight on the seas and oceans, we<br />
shall fight with growing confidence and growing strength in the air, we<br />
shall defend our island, whatever the cost may be. We shall fight on the<br />
beaches, we shall fight on the landing grounds, we shall fight in the<br />
fields and in the streets, we shall fight in the hills; we shall never<br />
surrender, and even if, which I do not for a moment believe, this island<br />
or a large part <strong>of</strong> it were subjugated and starving, then our Empire beyond<br />
the seas, armed and guarded by the British Fleet, would carry on the<br />
struggle, until, in God's good time, the new world, with all its power and<br />
might, steps forth to the rescue and the liberation <strong>of</strong> the old.<br />
Hansard 4 June 1940, col. 796<br />
What General Weygand called the "Battle <strong>of</strong> France" is over. I expect that<br />
the Battle <strong>of</strong> Britain is about to begin. Upon this battle depends the<br />
survival <strong>of</strong> Christian civilization. Upon it depends our own British life<br />
and the long continuity <strong>of</strong> our institutions and our Empire. <strong>The</strong> whole fury<br />
and might <strong>of</strong> the enemy must very soon be turned on us. Hitler knows that<br />
he will have to break us in this island or lose the war. If we can stand<br />
up to him all Europe may be free and the life <strong>of</strong> the world may move<br />
forward into broad, sunlit uplands; but if we fail then the whole world,<br />
including the United States, and all that we have known and cared for,<br />
will sink into the abyss <strong>of</strong> a new dark age made more sinister, and perhaps<br />
more prolonged, by the lights <strong>of</strong> a perverted science. Let us therefore<br />
brace ourselves to our duty, and so bear ourselves that, if the British<br />
Commonwealth and its Empire lasts for a thousand years, men will still<br />
say, "This was their finest hour."<br />
Hansard 18 June 1940, col. 60<br />
<strong>The</strong> gratitude <strong>of</strong> every home in our Island, in our Empire, and indeed<br />
throughout the world, except in the abodes <strong>of</strong> the guilty, goes out to the<br />
British airmen who, undaunted by odds, unwearied in their constant<br />
challenge and mortal danger, are turning the tide <strong>of</strong> world war by their<br />
prowess and by their devotion. Never in the field <strong>of</strong> human conflict was so<br />
much owed by so many to so few.
Hansard 20 Aug. 1940, col. 1166<br />
<strong>The</strong> British nation is unique in this respect. <strong>The</strong>y are the only people who<br />
like to be told how bad things are, who like to be told the worst.<br />
Hansard 10 June 1941, col. 152<br />
We make this wide encircling movement in the Mediterranean, having for its<br />
primary object the recovery <strong>of</strong> the command <strong>of</strong> that vital sea, but also<br />
having for its object the exposure <strong>of</strong> the under-belly <strong>of</strong> the Axis,<br />
especially Italy, to heavy attack.<br />
Hansard 11 Nov. 1942, col. 28 (<strong>of</strong>ten misquoted as "the s<strong>of</strong>t under-belly<br />
<strong>of</strong> the Axis")<br />
He [President Roosevelt] devised the extraordinary measure <strong>of</strong> assistance<br />
called Lend-Lease, which will stand forth as the most unselfish and<br />
unsordid financial act <strong>of</strong> any country in all history.<br />
Hansard 17 Apr. 1945, col. 76<br />
Unless the right hon. Gentleman [Mr Bevan] changes his policy and methods<br />
and moves without the slightest delay, he will be as great a curse to this<br />
country in time <strong>of</strong> peace, as he was a squalid nuisance in time <strong>of</strong> war.<br />
Hansard 6 Dec. 1945, col. 2544<br />
Many forms <strong>of</strong> Government have been tried, and will be tried in this world<br />
<strong>of</strong> sin and woe. No one pretends that democracy is perfect or all-wise.<br />
Indeed, it has been said that democracy is the worst form <strong>of</strong> Government<br />
except all those other forms that have been tried from time to time.<br />
Hansard 11 Nov. 1947, col. 206<br />
I cannot forecast to you the action <strong>of</strong> Russia. It is a riddle wrapped in a<br />
mystery inside an enigma: but perhaps there is a key. That key is Russian<br />
national interest.<br />
Radio talk, 1 Oct. 1939, in Into Battle (1941) p. 131<br />
Nous attendons l'invasion promise de longue date. Les poissons aussi.<br />
We are waiting for the long-promised invasion. So are the fishes.<br />
Radio broadcast to the French people, 21 Oct. 1940, in Into Battle (1941)<br />
p. 298<br />
Shortly after returning from his tour <strong>of</strong> the Near East, Anthony Eden<br />
submitted a long-winded report to the Prime Minister on his experiences<br />
and impressions. Churchill, it is told, returned it to his War Minister<br />
with a note saying: "As far as I can see you have used every clich‚ except<br />
'God is Love' and 'Please adjust your dress before leaving.'"<br />
Life 9 Dec. 1940 (when this story was repeated in the Daily Mirror,<br />
Churchill denied that it was true)<br />
I wrote my name at the top <strong>of</strong> the page. I wrote down the number <strong>of</strong> the<br />
question "1." After much reflection I put a bracket round it thus "(1)."<br />
But thereafter I could not think <strong>of</strong> anything connected with it that was<br />
either relevant or true....It was from these slender indications <strong>of</strong><br />
scholarship that Mr Welldon drew the conclusion that I was worthy to pass<br />
into Harrow. It is very much to his credit.<br />
My Early Life (1930) ch. 2<br />
By being so long in the lowest form [at Harrow] I gained an immense<br />
advantage over the cleverer boys. <strong>The</strong>y all went on to learn Latin and<br />
Greek....But I was taught English....Thus I got into my bones the<br />
essential structure <strong>of</strong> the ordinary British sentence--which is a noble
thing....Naturally I am biased in favour <strong>of</strong> boys learning English. I would<br />
make them all learn English: and then I would let the clever ones learn<br />
Latin as an honour, and Greek as a treat.<br />
My Early Life (1930) ch. 2<br />
Headmasters have powers at their disposal with which Prime Ministers have<br />
never yet been invested.<br />
My Early Life (1930) ch. 2<br />
So they told me how Mr Gladstone read Homer for fun, which I thought<br />
served him right.<br />
My Early Life (1930) ch. 2<br />
It is a good thing for an uneducated man to read books <strong>of</strong> quotations.<br />
My Early Life (1930) ch. 9<br />
To jaw-jaw is always better than to war-war.<br />
Speech at White House, 26 June 1954, in New York Times 27 June 1954, p. 1<br />
I am prepared to meet my Maker. Whether my Maker is prepared for the<br />
great ordeal <strong>of</strong> meeting me is another matter.<br />
At news conference in Washington, 1954, in New York Times 25 Jan. 1965<br />
(Suppl.) p. 7<br />
<strong>The</strong> empires <strong>of</strong> the future are the empires <strong>of</strong> the mind.<br />
Speech at Harvard, 6 Sept. 1943, in Onwards to Victory (1944) p. 238<br />
It is said that Mr Winston Churchill once made this marginal comment<br />
against a sentence that clumsily avoided a prepositional ending: "This is<br />
the sort <strong>of</strong> English up with which I will not put."<br />
Ernest Gowers Plain Words (1948) ch. 9<br />
Moral <strong>of</strong> the Work. In war: resolution. In defeat: defiance. In victory:<br />
magnanimity. In peace: goodwill.<br />
Second World War (1948) vol. 1, epigraph (Sir Edward Marsh in A Number <strong>of</strong><br />
People (1939) p. 152, says that this motto occurred to Churchill shortly<br />
after the First World War)<br />
One day President Roosevelt told me that he was asking publicly for<br />
suggestions about what the war should be called. I said at once "<strong>The</strong><br />
Unnecessary War."<br />
Second World War (1948) vol. 1, p. viii<br />
I felt as if I were walking with destiny, and that all my past life had<br />
been but a preparation for this hour and this trial. Eleven years in the<br />
political wilderness had freed me from ordinary Party antagonisms. My<br />
warnings over the last six years had been so numerous, so detailed, and<br />
were now so terribly vindicated, that no one could gainsay me. I could not<br />
be reproached either for making the war or with want <strong>of</strong> preparation for<br />
it. I thought I knew a good deal about it all, and I was sure I should not<br />
fail. <strong>The</strong>refore, although impatient for the morning, I slept soundly and<br />
had no need for cheering dreams. Facts are better than dreams.<br />
Second World War (1948) vol. 1, p. 526<br />
No one can guarantee success in war, but only deserve it.<br />
Letter to Lord Wavell, 26 Nov. 1940, in Second World War (1949) vol. 2,<br />
ch. 27<br />
It may almost be said, "Before Alamein we never had a victory. After<br />
Alamein we never had a defeat."
Second World War (1951) vol. 4, ch. 33<br />
Dictators ride to and fro upon tigers which they dare not dismount. And<br />
the tigers are getting hungry.<br />
Letter, 11 Nov. 1937, in Step by Step (1939) p. 186. Cf. the proverb "He<br />
who rides a tiger is afraid to dismount" (see Concise <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
Proverbs under rides)<br />
You must rank me and my colleagues as strong partisans <strong>of</strong> national<br />
compulsory insurance for all classes for all purposes from the cradle to<br />
the grave.<br />
Radio broadcast, 21 Mar. 1943, in <strong>The</strong> Times 22 Mar. 1943<br />
I have never accepted what many people have kindly said--namely, that I<br />
inspired the nation....It was the nation and the race dwelling all round<br />
the globe that had the lion's heart. I had the luck to be called upon to<br />
give the roar. I also hope that I sometimes suggested to the lion the<br />
right place to use his claws.<br />
Speech at Westminster Hall, 30 Nov. 1954, in <strong>The</strong> Times 1 Dec. 1954<br />
Mr Attlee, whom Churchill once playfully described as a "sheep in sheep's<br />
clothing."<br />
Lord Home Way the Wind Blows (1976) ch. 6. Cf. Sir Edmund Gosse<br />
Take away that pudding--it has no theme.<br />
In Lord Home Way the Wind Blows (1976) ch. 16<br />
We are all worms. But I do believe that I am a glow-worm.<br />
In Violet Bonham-Carter Winston Churchill as I Knew Him (1965) ch. 1<br />
Jellicoe was the only man on either side who could lose the war in an<br />
afternoon.<br />
World Crisis (1927) pt. 1, ch. 5<br />
3.58 Count Galeazzo Ciano<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1944<br />
La vittoria trova cento padri, e nessuno vuole riconoscere l'insuccesso.<br />
Victory has a hundred fathers, but defeat is an orphan.<br />
Diary 9 Sept. 1942 (1946) vol. 2, p. 196<br />
3.59 Brian Clark<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
Whose life is it anyway?<br />
Title <strong>of</strong> play (1977)<br />
3.60 Kenneth Clark (Baron Clark)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1983<br />
Perrault's fa‡ade [<strong>of</strong> the Louvre] reflects the triumph <strong>of</strong> an authoritarian<br />
state, and <strong>of</strong> those logical solutions that Colbert, the great<br />
administrator <strong>of</strong> the seventeenth century, was imposing on politics,
economics and every department <strong>of</strong> contemporary life, including, above all,<br />
the arts. This gives French Classical architecture a certain inhumanity.<br />
It was the work not <strong>of</strong> craftsmen, but <strong>of</strong> wonderfully gifted civil<br />
servants.<br />
Civilization (1969) ch. 9<br />
3.61 Arthur C. Clarke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
If an elderly but distinguished scientist says that something is possible<br />
he is almost certainly right, but if he says that it is impossible he is<br />
very probably wrong.<br />
In New Yorker 9 Aug. 1969<br />
3.62 Grant Clarke and Edgar Leslie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Grant Clarke 1891-1931<br />
Edgar Leslie 1885-1976<br />
He'd have to get under, get out and get under<br />
And fix up his automobile.<br />
He'd Have to Get Under--Get Out and Get Under (1913 song; music by<br />
Maurice Abrahams)<br />
3.63 Eldridge Cleaver<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1935-<br />
What we're saying today is that you're either part <strong>of</strong> the solution or<br />
you're part <strong>of</strong> the problem.<br />
Speech in San Francisco, 1968, in R. Scheer Eldridge Cleaver, Post Prison<br />
Writings and Speeches (1969) p. xxxii<br />
3.64 John Cleese<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
See Graham Chapman (3.47)<br />
3.65 John Cleese and Connie Booth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
John Cleese 1939-<br />
<strong>The</strong>y're Germans. Don't mention the war.<br />
Fawlty Towers "<strong>The</strong> Germans" (BBC TV programme, 1975), in Complete Fawlty<br />
Towers (1988) p. 153<br />
So Harry says, "You don't like me any more. Why not?" And he says,<br />
"Because you've got so terribly pretentious." And Harry says,<br />
"Pretentious? Moi?"<br />
Fawlty Towers "<strong>The</strong> Psychiatrist" (BBC TV programme, 1979), in Complete<br />
Fawlty Towers (1988) p. 190
3.66 Sarah Norcliffe Cleghorn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1959<br />
<strong>The</strong> golf-links lie so near the mill<br />
That almost every day<br />
<strong>The</strong> labouring children can look out<br />
And watch the men at play.<br />
New York Tribune 23 Jan. 1914 "For Some Must Watch, While--"<br />
3.67 Georges Clemenceau<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1841-1929<br />
La guerre, c'est une chose trop grave pour la confier … des militaires.<br />
War is too serious a matter to entrust to military men.<br />
Attributed to Clemenceau e.g. in Hampden Jackson Clemenceau and the Third<br />
Republic (1946) p. 228, but also attributed to Briand and Talleyrand<br />
Politique int‚rieure, je fais la guerre; politique ext‚rieure, je fais<br />
toujours la guerre. Je fais toujours la guerre.<br />
My home policy: I wage war; my foreign policy: I wage war. All the time<br />
I wage war.<br />
Speech to French Chamber <strong>of</strong> Deputies, 8 Mar. 1918, in Discours de Guerre<br />
(War Speeches, 1968) p. 172<br />
Il est plus facile de faire la guerre que la paix.<br />
It is easier to make war than to make peace.<br />
Speech at Verdun, 20 July 1919, in Discours de Paix (Peace Speeches, 1938)<br />
p. 122<br />
3.68 Harlan Cleveland<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
In 1950 he [Harlan Cleveland] invented the phrase, so thrashed to death in<br />
later years, "the revolution <strong>of</strong> rising expectations."<br />
Arthur Schlesinger Thousand Days (1965) ch. 16<br />
3.69 Richard Cobb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
In an operation <strong>of</strong> this kind one would not go for a Proust or a Joyce--not<br />
that I would know about that, never having read either.<br />
Speech at Booker Prize awards in London, 18 Oct. 1984, in <strong>The</strong> Times<br />
19 Oct. 1984<br />
3.70 Claud Cockburn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-
Small earthquake in Chile. Not many dead.<br />
In Time <strong>of</strong> Trouble (1956) ch. 10 (the words with which Cockburn claims to<br />
have won a competition at <strong>The</strong> Times for the dullest headline)<br />
3.71 Jean Cocteau<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1963<br />
Le tact dans l' audace c'est de savoir jusqu'o— on peut aller trop loin.<br />
Being tactful in audacity is knowing how far one can go too far.<br />
Le Coq et l'Arlequin (1918) in Le Rappel … l'ordre (Recall to Order,<br />
1926) p. 2<br />
Le pire drame pour un poŠte, c'est d'ˆtre admir‚ par malentendu.<br />
<strong>The</strong> worst tragedy for a poet is to be admired through being misunderstood.<br />
Le Coq et l'Arlequin (1918) in Le Rappel … l'ordre (Recall to Order,<br />
1926) p. 20<br />
S'il faut choisir un crucifi‚, la foule sauve toujours Barabbas.<br />
If it has to choose who is to be crucified, the crowd will always save<br />
Barabbas.<br />
Le Coq et l'Arlequin (1918) in Le Rappel … l'ordre (Recall to Order,<br />
1926) p. 39<br />
L'Histoire est un alliage de r‚el et de mensonge. Le r‚el de l'Histoire<br />
devient un mensonge. L'irr‚el de la fable devient v‚rit‚.<br />
History is a combination <strong>of</strong> reality and lies. <strong>The</strong> reality <strong>of</strong> History<br />
becomes a lie. <strong>The</strong> unreality <strong>of</strong> the fable becomes the truth.<br />
Journal d'un inconnu (Diary <strong>of</strong> an Unknown Man, 1953) p. 143<br />
Vivre est une chute horizontale.<br />
Life is a horizontal fall.<br />
Opium (1930) p. 37<br />
Quand j'ai ‚crit que Victor Hugo ‚tait un fou qui se croyait Victor Hugo,<br />
je ne plaisantais pas.<br />
When I wrote that Victor Hugo was a madman who thought he was Victor Hugo,<br />
I was not joking.<br />
Opium (1930) p. 77<br />
3.72 Lenore C<strong>of</strong>fee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
?1897-1984<br />
What a dump!<br />
Beyond the Forest (1949 film; line spoken by Bette Davis, entering<br />
a room)<br />
3.73 George M. Cohan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1878-1942<br />
It was Cohan who first said to a newspaperman (who wanted some information<br />
about Broadway Jones in 1912), "I don't care what you say about me, as<br />
long as you say something about me, and as long as you spell my name<br />
right."<br />
John McCabe George M. Cohan (1973) ch. 13<br />
Give my regards to Broadway,<br />
Remember me to Herald Square,<br />
Tell all the gang at Forty-Second Street<br />
That I will soon be there.<br />
Give My Regards to Broadway (1904 song)<br />
Over there, over there,<br />
Send the word, send the word over there<br />
That the Yanks are coming, the Yanks are coming,<br />
<strong>The</strong> drums rum-tumming everywhere.<br />
So prepare, say a prayer,<br />
Send the word, send the word to beware.<br />
We'll be over, we're coming over<br />
And we won't come back till it's over, over there.<br />
Over <strong>The</strong>re (1917 song)<br />
I'm a Yankee Doodle Dandy,<br />
A Yankee Doodle, do or die;<br />
A real live nephew <strong>of</strong> my Uncle Sam's,<br />
Born on the fourth <strong>of</strong> July.<br />
I've got a Yankee Doodle sweetheart,<br />
She's my Yankee Doodle joy.<br />
Yankee Doodle came to London,<br />
Just to ride the ponies;<br />
I am the Yankee Doodle Boy.<br />
Yankee Doodle Boy (1904 song)<br />
3.74 Desmond Coke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1931<br />
His blade struck the water a full second before any other: the lad had<br />
started well. Nor did he flag as the race wore on: as the others tired, he<br />
seemed to grow more fresh, until at length, as the boats began to near the<br />
winning-post, his oar was dipping into the water nearly twice as <strong>of</strong>ten as<br />
any other.<br />
Sandford <strong>of</strong> Merton (1903) ch. 12 (<strong>of</strong>ten misquoted as "All rowed fast, but<br />
none so fast as stroke")<br />
3.75 Colette (Sidonie-Gabrielle Colette)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1954<br />
Il d‚couvrait...le monde des ‚motions qu'on nomme, … la l‚gŠre, physiques.<br />
He was discovering...the world <strong>of</strong> the emotions that are so lightly called<br />
physical.<br />
Le Bl‚ en herbe (Ripening Seed, 1923) p. 161<br />
Quand elle lŠve ses paupiŠres, on dirait qu'elle se d‚shabille.
When she raises her eyelids, it is as if she is undressing.<br />
Claudine s'en va (Claudine Goes Away, 1931) p. 59<br />
Ne porte jamais de bijoux artistiques, ‡a d‚considŠre complŠtement une<br />
femme.<br />
Don't ever wear artistic jewellery; it wrecks a woman's reputation.<br />
Gigi (1944) p. 40<br />
3.76 R. G. Collingwood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1943<br />
Perfect freedom is reserved for the man who lives by his own work and in<br />
that work does what he wants to do.<br />
Speculum Mentis (1924) p. 25<br />
3.77 Charles Collins and Fred W. Leigh<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
My old man said, "Follow the van,<br />
Don't dilly-dally on the way!"<br />
Off went the cart with the home packed in it,<br />
I walked behind with my old cock linnet.<br />
But I dillied and dallied, dallied and dillied,<br />
Lost the van and don't know where to roam.<br />
You can't trust the "specials" like the old time "coppers"<br />
When you can't find your way home.<br />
Don't Dilly-Dally on the Way (1919 song; made famous by Marie Lloyd)<br />
3.78 Charles Collins and Fred Murray<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Boiled beef and carrots.<br />
Title <strong>of</strong> song (1910; made famous by Harry Champion)<br />
3.79 Charles Collins, E. A. Sheppard, and Fred Terry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Any old iron, any old iron,<br />
Any any old old iron?<br />
You look neat<br />
Talk about a treat,<br />
You look dapper from your napper to your feet.<br />
Dressed in style, brand new tile,<br />
And your father's old green tie on,<br />
But I wouldn't give you tuppence for your old watch chain;<br />
Old iron, old iron?<br />
Any Old Iron (1911 song; made famous by Harry Champion; the second line<br />
is <strong>of</strong>ten sung as "Any any any old iron?")<br />
3.80 John Churton Collins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1848-1908
To ask advice is in nine cases out <strong>of</strong> ten to tout for flattery.<br />
In L. C. Collins Life <strong>of</strong> John Churton Collins (1912) p. 316<br />
3.81 Michael Collins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1922<br />
Think--what I have got for Ireland? Something which she has wanted these<br />
past seven hundred years. Will anyone be satisfied at the bargain? Will<br />
anyone? I tell you this--early this morning I signed my death warrant.<br />
I thought at the time how odd, how ridiculous--a bullet may just as well<br />
have done the job five years ago.<br />
Letter, 6 Dec. 1921, in T. R. Dwyer Michael Collins and the Treaty (1981)<br />
ch. 4<br />
3.82 Betty Comden and Adolph Green<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Betty Comden 1919-<br />
Adolph Green 1915-<br />
New York, New York,--a helluva town,<br />
<strong>The</strong> Bronx is up but the Battery's down,<br />
And people ride in a hole in the ground:<br />
New York, New York,--It's a helluva town.<br />
New York, New York (1945 song; music by Leonard Bernstein)<br />
<strong>The</strong> party's over.<br />
Title <strong>of</strong> song (1956; music by Jule Styne)<br />
3.83 Dame Ivy Compton-Burnett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1969<br />
"Well, <strong>of</strong> course, people are only human," said Dudley to his brother, as<br />
they walked to the house behind the women. "But it really does not seem<br />
much for them to be."<br />
A Family and a Fortune (1939) ch. 2<br />
<strong>The</strong>re are different kinds <strong>of</strong> wrong. <strong>The</strong> people sinned against are not<br />
always the best.<br />
<strong>The</strong> Mighty and their Fall (1961) ch. 7<br />
<strong>The</strong>re is more difference within the sexes than between them.<br />
Mother and Son (1955) ch. 10<br />
As regards plots I find real life no help at all. Real life seems to have<br />
no plots.<br />
In R. Lehmann et al. Orion I (1945) p. 25<br />
3.84 Billy Connolly<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-<br />
Marriage is a wonderful invention; but, then again, so is a bicycle repair
kit.<br />
In Duncan Campbell Billy Connolly (1976) p. 92<br />
3.85 Cyril Connolly<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1974<br />
Literature is the art <strong>of</strong> writing something that will be read twice;<br />
journalism what will be read once.<br />
Enemies <strong>of</strong> Promise (1938) ch. 3<br />
As repressed sadists are supposed to become policemen or butchers, so<br />
those with an irrational fear <strong>of</strong> life become publishers.<br />
Enemies <strong>of</strong> Promise (1938) ch. 10<br />
Whom the gods wish to destroy they first call promising.<br />
Enemies <strong>of</strong> Promise (1938) ch. 13<br />
<strong>The</strong>re is no more sombre enemy <strong>of</strong> good art than the pram in the hall.<br />
Enemies <strong>of</strong> Promise (1938) ch. 14<br />
All charming people have something to conceal, usually their total<br />
dependence on the appreciation <strong>of</strong> others.<br />
Enemies <strong>of</strong> Promise (1938) ch. 16<br />
I have called this style the Mandarin style, since it is beloved by<br />
literary pundits, by those who would make the written word as unlike as<br />
possible to the spoken one. It is the style <strong>of</strong> those writers whose<br />
tendency is to make their language convey more than they mean or more than<br />
they feel, it is the style <strong>of</strong> most artists and all humbugs.<br />
Enemies <strong>of</strong> Promise (1938) ch. 20<br />
In the eighteenth century he [Alec Douglas-Home] would have become Prime<br />
Minister before he was thirty; as it was he appeared honourably ineligible<br />
for the struggle <strong>of</strong> life.<br />
Enemies <strong>of</strong> Promise (1938) ch. 23<br />
Were I to deduce any system from my feelings on leaving Eton, it might be<br />
called <strong>The</strong> <strong>The</strong>ory <strong>of</strong> Permanent Adolescence.<br />
Enemies <strong>of</strong> Promise (1938) ch. 24<br />
It is closing time in the gardens <strong>of</strong> the West and from now on an artist<br />
will be judged only by the resonance <strong>of</strong> his solitude or the quality <strong>of</strong> his<br />
despair.<br />
Horizon Dec. 1949--Jan. 1950, p. 362<br />
Better to write for yourself and have no public, than to write for the<br />
public and have no self.<br />
New Statesman 25 Feb. 1933<br />
Destroy him as you will, the bourgeois always bounces up--execute him,<br />
expropriate him, starve him out en masse, and he reappears in your<br />
children.<br />
In Observer 7 Mar. 1937<br />
He [George Orwell] could not blow his nose without moralising on the state<br />
<strong>of</strong> the handkerchief industry.<br />
Sunday Times 29 Sept. 1968
<strong>The</strong> more books we read, the sooner we perceive that the only function <strong>of</strong> a<br />
writer is to produce a masterpiece. No other task is <strong>of</strong> any consequence.<br />
Unquiet Grave (1944) pt. 1<br />
<strong>The</strong>re is no fury like a woman looking for a new lover.<br />
Unquiet Grave (1944) pt. 1. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
160:15<br />
In the sex-war thoughtlessness is the weapon <strong>of</strong> the male, vindictiveness<br />
<strong>of</strong> the female.<br />
Unquiet Grave (1944) pt. 1<br />
Life is a maze in which we take the wrong turning before we have learnt to<br />
walk.<br />
Unquiet Grave (1944) pt. 1<br />
<strong>The</strong> civilization <strong>of</strong> one epoch becomes the manure <strong>of</strong> the next. Everything<br />
over-ripens in the same way. <strong>The</strong> disasters <strong>of</strong> the world are due to its<br />
inhabitants not being able to grow old simultaneously.<br />
Unquiet Grave (1944) pt. 2<br />
Imprisoned in every fat man a thin one is wildly signalling to be let out.<br />
Unquiet Grave (1944) pt. 2. See also George Orwell (15.24)<br />
<strong>The</strong> true index <strong>of</strong> a man's character is the health <strong>of</strong> his wife.<br />
Unquiet Grave (1944) pt. 2<br />
We are all serving a life-sentence in the dungeon <strong>of</strong> self.<br />
Unquiet Grave (1944) pt. 2<br />
Peeling <strong>of</strong>f the kilometres to the tune <strong>of</strong> "Blue Skies," sizzling down the<br />
long black liquid reaches <strong>of</strong> Nationale Sept, the plane trees going<br />
sha-sha-sha through the open window, the windscreen yellowing with crushed<br />
midges, she with the Michelin beside me, a handkerchief binding her hair.<br />
Unquiet Grave (1944) pt. 3<br />
Our memories are card-indexes consulted, and then put back in disorder by<br />
authorities whom we do not control.<br />
Unquiet Grave (1944) pt. 3<br />
3.86 James Connolly<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1916<br />
<strong>The</strong> worker is the slave <strong>of</strong> capitalist society, the female worker is the<br />
slave <strong>of</strong> that slave.<br />
Re-conquest <strong>of</strong> Ireland (1915) p. 38<br />
3.87 Joseph Conrad (Teodor Josef Konrad Korzeniowski)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1924<br />
In plucking the fruit <strong>of</strong> memory one runs the risk <strong>of</strong> spoiling its bloom.<br />
Arrow <strong>of</strong> Gold (author's note, 1920, to 1924 Uniform Edition) p. viii<br />
<strong>The</strong> conquest <strong>of</strong> the earth, which mostly means the taking it away from<br />
those who have a different complexion or slightly flatter noses than<br />
ourselves, is not a pretty thing when you look into it.
Heart <strong>of</strong> Darkness ch. 1, in Youth (1902)<br />
We live, as we dream--alone.<br />
Heart <strong>of</strong> Darkness ch. 1, in Youth (1902)<br />
Exterminate all the brutes!<br />
Heart <strong>of</strong> Darkness ch. 2, in Youth (1902)<br />
He [Kurtz] cried in a whisper at some image, at some vision,--he cried out<br />
twice, a cry that was no more than a breath--"<strong>The</strong> horror! <strong>The</strong> horror!"<br />
Heart <strong>of</strong> Darkness ch. 3, in Youth (1902)<br />
Mistah Kurtz--he dead.<br />
Heart <strong>of</strong> Darkness ch. 3, in Youth (1902)<br />
A man that is born falls into a dream like a man who falls into the sea.<br />
If he tries to climb out into the air as inexperienced people endeavour to<br />
do, he drowns--nicht wahr?...No! I tell you! <strong>The</strong> way is to the<br />
destructive element submit yourself, and with the exertions <strong>of</strong> your hands<br />
and feet in the water make the deep, deep sea keep you up....In the<br />
destructive element immerse....That was the way. To follow the dream, and<br />
again to follow the dream--and so--ewig--usque ad finem.<br />
Lord Jim (1900) ch. 20<br />
You shall judge <strong>of</strong> a man by his foes as well as by his friends.<br />
Lord Jim (1900) ch. 34<br />
Any work that aspires, however humbly, to the condition <strong>of</strong> art should<br />
carry its justification in every line.<br />
<strong>The</strong> Nigger <strong>of</strong> the Narcissus, author's note, in New Review Dec. 1897<br />
Action is consolatory. It is the enemy <strong>of</strong> thought and the friend <strong>of</strong><br />
flattering illusions.<br />
Nostromo (1904) pt. 1, ch. 6<br />
It's only those who do nothing that make no mistakes, I suppose.<br />
Outcast <strong>of</strong> the Islands (1896) pt. 3, ch. 2<br />
<strong>The</strong> terrorist and the policeman both come from the same basket.<br />
Secret Agent (1907) ch. 4<br />
All ambitions are lawful except those which climb upwards on the miseries<br />
or credulities <strong>of</strong> mankind.<br />
Some Reminiscences (1912; in USA entitled "A Personal Record") p. 19<br />
<strong>The</strong> scrupulous and the just, the noble, humane, and devoted natures; the<br />
unselfish and the intelligent may begin a movement--but it passes away<br />
from them. <strong>The</strong>y are not the leaders <strong>of</strong> a revolution. <strong>The</strong>y are its victims.<br />
Under Western Eyes (1911) pt. 2, ch. 3<br />
A belief in a supernatural source <strong>of</strong> evil is not necessary; men alone are<br />
quite capable <strong>of</strong> every wickedness.<br />
Under Western Eyes (1911) pt. 2, ch. 4<br />
I remember my youth and the feeling that will never come back any<br />
more--the feeling that I could last for ever, outlast the sea, the earth,<br />
and all men; the deceitful feeling that lures us on to joys, to perils, to<br />
love, to vain effort--to death; the triumphant conviction <strong>of</strong> strength, the<br />
heat <strong>of</strong> life in the handful <strong>of</strong> dust, the glow in the heart that with every<br />
year grows dim, grows cold, grows small, and expires--and expires, too
soon, too soon--before life itself.<br />
Youth (1902) p. 41<br />
3.88 Shirley Conran<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
Our motto: Life is too short to stuff a mushroom.<br />
Superwoman (1975) p. 15<br />
First things first, second things never.<br />
Superwoman (1975) p. 157<br />
3.89 A. J. Cook<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1931<br />
Not a penny <strong>of</strong>f the pay, not a second on the day.<br />
Speech at York, 3 Apr. 1926, in <strong>The</strong> Times 5 Apr. 1926 (referring to<br />
miners' slogan)<br />
3.90 Dan Cook<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> opera ain't over 'til the fat lady sings.<br />
In Washington Post 3 June 1978<br />
3.91 Peter Cook<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1937-<br />
I have recently been travelling round the world--on your behalf, and at<br />
your expense--visiting some <strong>of</strong> the chaps with whom I hope to be shaping<br />
your future. I went first to Germany, and there I spoke with the German<br />
Foreign Minister, Herr...Herr and there, and we exchanged many frank words<br />
in our respective languages.<br />
Beyond the Fringe (1961 revue) "TVPM," in Roger Wilmut Complete Beyond<br />
the Fringe (1987) p. 54<br />
Yes, I could have been a judge but I never had the Latin, never had the<br />
Latin for the judging, I just never had sufficient <strong>of</strong> it to get through<br />
the rigorous judging exams. <strong>The</strong>y're noted for their rigour. People come<br />
staggering out saying, "My God, what a rigorous exam"--and so I became a<br />
miner instead.<br />
Beyond the Fringe (1961 revue) "Sitting on the Bench," in Roger Wilmut<br />
Complete Beyond the Fringe (1987) p. 97<br />
3.92 Calvin Coolidge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1933<br />
Shortly after Mr Coolidge had gone to the White House, Mrs Coolidge was<br />
unable to go to church with him one Sunday. At lunch she asked what the<br />
sermon was about. "Sins," he said. "Well, what did he say about sin?" "He<br />
was against it."
John H. McKee Coolidge: Wit and Wisdom (1933) p. 4 (but Edward C.<br />
Lathem's Meet Calvin Coolidge (1960) p. 151 quotes Mrs Coolidge as saying<br />
that this was one <strong>of</strong> "the stories which might reasonably be attributed to<br />
him [Coolidge] but which did not originate with him")<br />
Mr Coolidge...interrupted a discussion <strong>of</strong> cancellation <strong>of</strong> the war debts<br />
with: "Well, they hired the money, didn't they?"<br />
John H. McKee Coolidge: Wit and Wisdom (1933) p. 118<br />
<strong>The</strong>re is no right to strike against the public safety by anybody,<br />
anywhere, any time.<br />
Telegram to Samuel Gompers, 14 Sept. 1919, in Have Faith in Massachusetts<br />
(1919) p. 223<br />
Civilization and pr<strong>of</strong>its go hand in hand.<br />
Speech in New York, 27 Nov. 1920, in New York Times 28 Nov. 1920, p. 20<br />
<strong>The</strong> chief business <strong>of</strong> the American people is business.<br />
Speech in Washington, 17 Jan. 1925, in New York Times 18 Jan. 1925, p. 19<br />
I do not choose to run for President in nineteen twenty-eight.<br />
Statement issued at Rapid City, South Dakota, 2 Aug. 1927, in New York<br />
Times 3 Aug. 1927, p. 1<br />
3.93 Ananda Coomaraswamy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1947<br />
<strong>The</strong> artist is not a special kind <strong>of</strong> man, but every man is a special kind<br />
<strong>of</strong> artist.<br />
Transformation <strong>of</strong> Nature in Art (1934) ch. 2<br />
3.94 Alfred Duff Cooper (Viscount Norwich)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1954<br />
I really did enjoy Belvoir you know....You must I think have enjoyed it<br />
too, with your two stout lovers frowning at one another across the hearth<br />
rug, while your small, but perfectly formed one kept the party in a roar.<br />
Letter to Lady Diana Manners, Oct. 1914, in Artemis Cooper Durable Fire<br />
(1983) p. 17<br />
3.95 Tommy Cooper<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-1984<br />
Just like that!<br />
Title <strong>of</strong> autobiography (1975), from his catch-phrase.<br />
3.96 Wendy Cope<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1945-<br />
I used to think all poets were Byronic--<br />
Mad, bad and dangerous to know.<br />
And then I met a few. Yes it's ironic--
I used to think all poets were Byronic.<br />
<strong>The</strong>y're mostly wicked as a ginless tonic<br />
And wild as pension plans.<br />
Making Cocoa for Kingsley Amis (1986) "Triolet." Cf. <strong>Oxford</strong> Dictonary <strong>of</strong><br />
<strong>Quotations</strong> (1979) 306:25<br />
It's nice to meet serious people<br />
And hear them explain their views:<br />
Your concern for the rights <strong>of</strong> women<br />
Is especially welcome news.<br />
I'm sure you'd never exploit one;<br />
I expect you'd rather be dead;<br />
I'm thoroughly convinced <strong>of</strong> it--<br />
Now can we go to bed?<br />
Making Cocoa for Kingsley Amis (1986) "From June to December"<br />
<strong>The</strong>re are so many kinds <strong>of</strong> awful men--<br />
One can't avoid them all. She <strong>of</strong>ten said<br />
She'd never make the same mistake again:<br />
She always made a new mistake instead.<br />
Making Cocoa for Kingsley Amis (1986) "Rondeau Redoubl‚"<br />
It was a dream I had last week<br />
And some kind <strong>of</strong> record seemed vital.<br />
I knew it wouldn't be much <strong>of</strong> a poem<br />
But I love the title.<br />
Making Cocoa for Kingsley Amis (1986) title-poem<br />
3.97 Aaron Copland<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1990<br />
<strong>The</strong> whole problem can be stated quite simply by asking, "Is there a<br />
meaning to music?" My answer to that would be, "Yes." And "Can you state<br />
in so many words what the meaning is?" My answer to that would be, "No."<br />
What to Listen for in Music (1939) ch. 2<br />
3.98 Bernard Cornfeld<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-<br />
Do you sincerely want to be rich?<br />
Question <strong>of</strong>ten asked by Cornfeld <strong>of</strong> salesmen in the 1960s, in Charles Raw<br />
et al. Do You Sincerely Want to be Rich? (1971) p. 67<br />
3.99 Frances Cornford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1960<br />
Whoso maintains that I am humbled now<br />
(Who wait the Awful Day) is still a liar;<br />
I hope to meet my Maker brow to brow<br />
And find my own the higher.<br />
Collected Poems (1954) "Epitaph for a Reviewer"<br />
A young Apollo, golden-haired,<br />
Stands dreaming on the verge <strong>of</strong> strife,
Magnificently unprepared<br />
For the long littleness <strong>of</strong> life.<br />
Poems (1910) "Youth"<br />
O why do you walk through the fields in gloves,<br />
Missing so much and so much?<br />
O fat white woman whom nobody loves,<br />
Why do you walk through the fields in gloves,<br />
When the grass is s<strong>of</strong>t as the breast <strong>of</strong> doves<br />
And shivering-sweet to the touch?<br />
O why do you walk through the fields in gloves,<br />
Missing so much and so much?<br />
Poems (1910) "To a Fat Lady seen from the Train." Cf. G. K. Chesterton<br />
51:8<br />
How long ago Hector took <strong>of</strong>f his plume,<br />
Not wanting that his little son should cry,<br />
<strong>The</strong>n kissed his sad Andromache goodbye--<br />
And now we three in Euston waiting-room.<br />
Travelling Home (1948) "Parting in Wartime"<br />
3.100 Francis Macdonald Cornford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1943<br />
If you persist to the threshold <strong>of</strong> old age--your fiftieth year, let us<br />
say--you will be a powerful person yourself, with an accretion <strong>of</strong><br />
peculiarities which other people will have to study in order to square<br />
you. <strong>The</strong> toes you will have trodden on by this time will be as sands on<br />
the sea-shore; and from far below you will mount the roar <strong>of</strong> a ruthless<br />
multitude <strong>of</strong> young men in a hurry. You may perhaps grow to be aware what<br />
they are in a hurry to do. <strong>The</strong>y are in a hurry to get you out <strong>of</strong> the way.<br />
Microcosmographia Academica (1908) p. 2<br />
Every public action, which is not customary, either is wrong, or, if it is<br />
right, is a dangerous precedent. It follows that nothing should ever be<br />
done for the first time.<br />
Microcosmographia Academica (1908) p. 28<br />
3.101 Baron Pierre de Coubertin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1937<br />
L'important dans la vie ce n'est point le triomphe mais le combat;<br />
l'essentiel ce n'est pas d'avoir vaincu mais de s'ˆtre bien battu.<br />
<strong>The</strong> important thing in life is not the victory but the contest; the<br />
essential thing is not to have won but to be well beaten.<br />
Speech at government banquet in London, 24 July 1908, in T. A. Cook Fourth<br />
Olympiad (1909) p. 793<br />
3.102 mile Cou‚<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1926<br />
Tous les jours, … tous points de vue, je vais de mieux en mieux.
Every day, in every way, I am getting better and better.<br />
De la suggestion et de ses applications (On Suggestion and its<br />
Applications, 1915) p. 17 (Cou‚ advised his patients to repeat this phrase<br />
15 to 20 times, morning and evening)<br />
3.103 No‰l Coward<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1973<br />
Let's drink to the spirit <strong>of</strong> gallantry and courage that made a strange<br />
Heaven out <strong>of</strong> unbelievable Hell, and let's drink to the hope that one day<br />
this country <strong>of</strong> ours, which we love so much, will find dignity and<br />
greatness and peace again.<br />
Cavalcade (1932) act 3<br />
Dance, dance, dance, little lady!<br />
Dance, dance, dance, little lady!<br />
Leave tomorrow behind.<br />
Dance, Little Lady (1928 song)<br />
Don't let's be beastly to the Germans<br />
When our Victory is ultimately won.<br />
Don't Let's Be Beastly to the Germans (1943 song)<br />
I believe that since my life began<br />
<strong>The</strong> most I've had is just<br />
A talent to amuse.<br />
Heigho, if love were all!<br />
If Love Were All (1929 song)<br />
I'll see you again,<br />
Whenever Spring breaks through again.<br />
I'll See You Again (1929 song)<br />
Dear 338171 (May I call you 338?)<br />
Letter to T. E. Lawrence, 25 Aug. 1930, in D. Garnett (ed.) Letters <strong>of</strong> T.<br />
E. Lawrence (1938) p. 696<br />
London Pride has been handed down to us.<br />
London Pride is a flower that's free.<br />
London Pride means our own dear town to us,<br />
And our pride it for ever will be.<br />
London Pride (1941 song)<br />
Mad about the boy,<br />
It's pretty funny but I'm mad about the boy.<br />
He has a gay appeal<br />
That makes me feel<br />
<strong>The</strong>re may be something sad about the boy.<br />
Mad about the Boy (1932 song)<br />
Mad dogs and Englishmen<br />
Go out in the midday sun.<br />
<strong>The</strong> Japanese don't care to,<br />
<strong>The</strong> Chinese wouldn't dare to,<br />
<strong>The</strong> Hindus and Argentines sleep firmly from twelve to one,<br />
But Englishmen detest a siesta.<br />
In the Philippines, there are lovely screens<br />
To protect you from the glare;
In the Malay states, they have hats like plates<br />
Which the Britishers won't wear.<br />
At twelve noon, the natives swoon,<br />
And no further work is done;<br />
But mad dogs and Englishmen go out in the midday sun.<br />
Mad Dogs and Englishmen (1931 song)<br />
Don't put your daughter on the stage, Mrs Worthington,<br />
Don't put your daughter on the stage.<br />
Mrs Worthington (1935 song)<br />
Poor little rich girl<br />
You're a bewitched girl,<br />
Better beware!<br />
Poor Little Rich Girl (1925 song)<br />
Extraordinary how potent cheap music is.<br />
Private Lives (1930) act 1 (in a gramophone recording also made in 1930,<br />
Gertrude Lawrence spoke the line as "Strange how potent cheap music is")<br />
Amanda: I've been brought up to believe that it's beyond the pale, for<br />
a man to strike a woman.<br />
Elyot: A very poor tradition. Certain women should be struck regularly,<br />
like gongs.<br />
Private Lives (1930) act 3<br />
Someday I'll find you,<br />
Moonlight behind you,<br />
True to the dream I am dreaming.<br />
Someday I'll Find You (1930 song)<br />
Dear Mrs A.,<br />
Hooray, hooray,<br />
At last you are deflowered.<br />
On this as every other day<br />
I love you--Noel Coward.<br />
Telegram to Gertrude Lawrence, 5 July 1940 (the day after her wedding), in<br />
Gertrude Lawrence A Star Danced (1945) p. 201<br />
<strong>The</strong> Stately Homes <strong>of</strong> England,<br />
How beautiful they stand,<br />
To prove the upper classes<br />
Have still the upper hand;<br />
Though the fact that they have to be rebuilt<br />
And frequently mortgaged to the hilt<br />
Is inclined to take the gilt<br />
Off the gingerbread,<br />
And certainly damps the fun<br />
Of the eldest son.<br />
<strong>The</strong> Stately Homes <strong>of</strong> England (1938 song). Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
<strong>Quotations</strong> (1979) 244:21<br />
Tho' the pipes that supply the bathroom burst<br />
And the lavatory makes you fear the worst,<br />
It was used by Charles the First<br />
Quite informally,<br />
And later by George the Fourth<br />
On a journey North.<br />
<strong>The</strong> Stately Homes <strong>of</strong> England (1938 song)
<strong>The</strong> Stately Homes <strong>of</strong> England,<br />
Tho' rather in the lurch,<br />
Provide a lot <strong>of</strong> chances<br />
For Psychical Research--<br />
<strong>The</strong>re's the ghost <strong>of</strong> a crazy younger son<br />
Who murdered, in thirteen fifty-one,<br />
An extremely rowdy Nun<br />
Who resented it,<br />
And people who come to call<br />
Meet her in the hall.<br />
<strong>The</strong> Stately Homes <strong>of</strong> England (1938 song)<br />
3.104 Hart Crane<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1932<br />
Cowslip and shad-blow, flaked like tethered foam<br />
Around bared teeth <strong>of</strong> stallions, bloomed that spring<br />
When first I read thy lines, rife as the loam<br />
Of prairies, yet like breakers cliffward leaping!<br />
...My hand<br />
in yours,<br />
Walt Whitman-so--<br />
<strong>The</strong> Bridge (1930) pt. 4<br />
O Sleepless as the river under thee,<br />
Vaulting the sea, the prairies' dreaming sod,<br />
Unto us lowliest sometime sweep, descend<br />
And <strong>of</strong> the curveship lend a myth to God.<br />
Dial June 1927, p. 490 "To Brooklyn Bridge"<br />
You who desired so much--in vain to ask--<br />
Yet fed your hunger like an endless task,<br />
Dared dignify the labor, bless the quest--<br />
Achieved that stillness ultimately best,<br />
Being, <strong>of</strong> all, least sought for: Emily, hear!<br />
Nation 29 June 1927, p. 718 "To Emily Dickinson"<br />
3.105 James Creelman and Ruth Rose<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
James Creelman 1901-1941<br />
Oh no, it wasn't the aeroplanes. It was Beauty killed the Beast.<br />
King Kong (1933 film; final words)<br />
3.106 Bishop Mandell Creighton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1843-1901<br />
No people do so much harm as those who go about doing good.<br />
In Louise Creighton Life (1904) vol. 2, p. 503<br />
3.107 Quentin Crisp<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1908-<br />
<strong>The</strong>re was no need to do any housework at all. After the first four years<br />
the dirt doesn't get any worse.<br />
Naked Civil Servant (1968) ch. 15<br />
I became one <strong>of</strong> the stately homos <strong>of</strong> England.<br />
Naked Civil Servant (1968) ch. 24<br />
An autobiography is an obituary in serial form with the last instalment<br />
missing.<br />
Naked Civil Servant (1968) ch. 29<br />
3.108 Julian Critchley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
<strong>The</strong> only safe pleasure for a parliamentarian is a bag <strong>of</strong> boiled sweets.<br />
Listener 10 June 1982<br />
She [Margaret Thatcher] has been beastly to the Bank <strong>of</strong> England, has<br />
demanded that the BBC "set its house in order" and tends to believe the<br />
worst <strong>of</strong> the Foreign and Commonwealth Office. She cannot see an<br />
institution without hitting it with her handbag.<br />
<strong>The</strong> Times 21 June 1982<br />
3.109 Richmal Crompton (Richmal Crompton Lamburn)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1969<br />
"If anyone trith to hang me," said Violet Elizabeth complacently, "I'll<br />
thcream and thcream and thcream till I'm thick. I can."<br />
Still--William (1925) ch. 8<br />
3.110 Bing Crosby (Harry Lillis Crosby)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1977<br />
Half joking, he [Crosby] asked that his epitaph read, "He was an average<br />
guy who could carry a tune."<br />
Newsweek 24 Oct. 1977, p. 102<br />
3.111 Bing Crosby, Roy Turk, and Fred Ahlert<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Bing Crosby 1903-1977<br />
Roy Turk 1892-1934<br />
Fred Ahlert 1892-1933<br />
Where the blue <strong>of</strong> the night<br />
Meets the gold <strong>of</strong> the day,<br />
Someone waits for me.<br />
Where the Blue <strong>of</strong> the Night (1931 song)<br />
3.112 Richard Crossman
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1974<br />
<strong>The</strong> Civil Service is pr<strong>of</strong>oundly deferential--"Yes, Minister! No, Minister!<br />
If you wish it, Minister!"<br />
Diary, 22 Oct. 1964, in Diaries <strong>of</strong> a Cabinet Minister (1975) vol. 1, p. 21<br />
3.113 Aleister Crowley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1947<br />
Do what thou wilt shall be the whole <strong>of</strong> the Law.<br />
Book <strong>of</strong> the Law (1909) l. 40. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
403:28<br />
3.114 Leslie Crowther<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
Come on down!<br />
Catch-phrase in "<strong>The</strong> Price is Right," ITV programme, 1984 onwards.<br />
3.115 Robert Crumb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
Keep on truckin'.<br />
Catch-phrase used in cartoons from circa 1972<br />
3.116 Bruce Frederick Cummings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See W. N. P. Barbellion (2.14)<br />
3.117 e. e. cummings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1962<br />
anyone lived in a pretty how town<br />
(with up so floating many bells down)<br />
spring summer autumn winter<br />
he sang his didn't he danced his did.<br />
50 Poems (1949) no. 29<br />
Humanity i love you because<br />
when you're hard up you pawn your<br />
intelligence to buy a drink.<br />
XLI Poems (1925) "La Guerre," no. 2<br />
"next to <strong>of</strong> course god america i<br />
love you land <strong>of</strong> the pilgrims" and so forth oh<br />
say can you see by the dawn's early my<br />
country 'tis <strong>of</strong> centuries come and go<br />
and are no more what <strong>of</strong> it we should worry
in every language even deafanddumb<br />
thy sons acclaim your glorious name by gorry<br />
by jingo by gee by gosh by gum<br />
why talk <strong>of</strong> beauty what could be more beautiful<br />
than these heroic happy dead<br />
who rushed like lions to the roaring slaughter<br />
they did not stop to think they died instead<br />
then shall the voices <strong>of</strong> liberty be mute?<br />
He spoke. And drank rapidly a glass <strong>of</strong> water.<br />
is 5 (1926) p. 62<br />
Buffalo Bill's<br />
defunct<br />
who used to<br />
ride a watersmooth-silver<br />
stallion<br />
and break onetwothreefourfive pigeonsjustlikethat<br />
Jesus<br />
he was a handsome man<br />
and what i want to know is<br />
how do you like your blueeyed boy<br />
Mister Death.<br />
Tulips and Chimneys (1923) "Portraits" no. 8<br />
the Cambridge ladies who live in furnished souls<br />
are unbeautiful and have comfortable minds.<br />
Tulips and Chimneys (1923) "Sonnets-Realities" no. 1<br />
(i do not know what it is about you that closes<br />
and opens; only something in me understands<br />
the voice <strong>of</strong> your eyes is deeper than all noses)<br />
nobody, not even the rain, has such small hands.<br />
W (1931) "somewhere I have never travelled"<br />
a politician is an arse upon<br />
which everyone has sat except a man.<br />
1 x 1 (1944) no. 10<br />
pity this busy monster, manunkind,<br />
not. Progress is a comfortable disease.<br />
1 x 1 (1944) no. 14<br />
We doctors know<br />
a hopeless case if--listen: there's a hell<br />
<strong>of</strong> a good universe next door; let's go.<br />
1 x 1 (1944) no. 14<br />
3.118 William Thomas Cummings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1945<br />
<strong>The</strong>re are no atheists in the foxholes.<br />
In Carlos P. Romulo I Saw the Fall <strong>of</strong> the Philippines (1943) ch. 15<br />
3.119 Will Cuppy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1884-1949<br />
<strong>The</strong> Dodo never had a chance. He seems to have been invented for the sole<br />
purpose <strong>of</strong> becoming extinct and that was all he was good for.<br />
How to Become Extinct (1941) p. 163<br />
3.120 Edwina Currie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Good Christian people who wouldn't dream <strong>of</strong> misbehaving will not catch<br />
Aids. My message to the businessmen <strong>of</strong> this country when they go abroad<br />
on business is that there is one thing above all they can take with them<br />
to stop them catching Aids--and that is the wife.<br />
Speech at Runcorn, 12 Feb. 1987, in Guardian 13 Feb. 1987<br />
We have problems here <strong>of</strong> high smoking and alcoholism. Some <strong>of</strong> these<br />
problems are things we can tackle by impressing on people the need to look<br />
after themselves better. That is something which is taken more seriously<br />
down South....I honestly don't think the problem has anything to do with<br />
poverty....<strong>The</strong> problem very <strong>of</strong>ten for people is, I think, just ignorance<br />
and failing to realise that they do have some control over their lives.<br />
Speech at Newcastle upon Tyne, 23 Sept. 1986, in Guardian 24 Sept. 1986<br />
3.121 Michael Curtiz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1962<br />
Bring on the empty horses!<br />
In David Niven Bring on the Empty Horses (1975) ch. 6 (said while Curtiz<br />
was directing the 1936 film, <strong>The</strong> Charge <strong>of</strong> the Light Brigade)<br />
3.122 Lord Curzon (George Nathaniel Curzon, Marquess Curzon <strong>of</strong> Kedleston)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1925<br />
Not even a public figure. A man <strong>of</strong> no experience. And <strong>of</strong> the utmost<br />
insignificance.<br />
In Harold Nicolson Curzon: the Last Phase (1934) ch. 12 (said <strong>of</strong> Stanley<br />
Baldwin on his being appointed Prime Minister in 1923)<br />
<strong>The</strong> Domestic Bursar <strong>of</strong> Balliol (according to his own story) sent Curzon<br />
a specimen menu [for a luncheon for Queen Mary in 1921], beginning with<br />
soup. <strong>The</strong> menu came back with one sentence written across the corner in<br />
Curzon's large and old-fashioned hand: "Gentlemen do not take soup at<br />
luncheon."<br />
E. L. Woodward Short Journey (1942) ch. 7<br />
Dear me, I never knew that the lower classes had such white skins.<br />
In K. Rose Superior Person (1969) ch. 12 (words supposedly said by Curzon<br />
when watching troops bathing during the First World War)<br />
4.0 D<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
4.1 Paul Daniels<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1938-<br />
You're going to like this...not a lot...but you'll like it!<br />
Catch-phrase used in his conjuring act, especially on television from 1981<br />
onwards<br />
4.2 Charles Brace Darrow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1967<br />
Go to jail. Go directly to jail. Do not pass go. Do not collect œ200.<br />
Instructions on "Community Chest" card in the game "Monopoly," invented by<br />
Darrow in 1931<br />
4.3 Clarence Darrow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1938<br />
When I was a boy I was told that anybody could become President. I'm<br />
beginning to believe it.<br />
In Irving Stone Clarence Darrow for the Defence (1941) ch. 6<br />
I do not consider it an insult, but rather a compliment to be called an<br />
agnostic. I do not pretend to know where many ignorant men are sure--that<br />
is all that agnosticism means.<br />
Speech at trial <strong>of</strong> John Thomas Scopes, 15 July 1925, in <strong>The</strong> World's Most<br />
Famous Court Trial (1925) ch. 4<br />
4.4 Sir Francis Darwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1848-1925<br />
In science the credit goes to the man who convinces the world, not to the<br />
man to whom the idea first occurs.<br />
Eugenics Review Apr. 1914, "Francis Galton"<br />
4.5 Jules Dassin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
Never on Sunday.<br />
Title <strong>of</strong> film (1959)<br />
4.6 Worton David and Lawrence Wright<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Not tonight, Josephine.<br />
Title <strong>of</strong> song (1915; popularized by Florrie Forde)<br />
4.7 Jack Davies and Ken Annakin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Those magnificent men in their flying machines, or How I flew from London<br />
to Paris in 25 hours and 11 minutes.<br />
Title <strong>of</strong> film (1965)<br />
4.8 W. H. Davies<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1940<br />
A rainbow and a cuckoo's song<br />
May never come together again;<br />
May never come<br />
This side the tomb.<br />
Bird <strong>of</strong> Paradise (1914) "A Great Time"<br />
And hear the pleasant cuckoo, loud and long--<br />
<strong>The</strong> simple bird that thinks two notes a song.<br />
Child Lovers (1916) "April's Charms"<br />
Girls scream,<br />
Boys shout;<br />
Dogs bark,<br />
School's out.<br />
Complete Poems (1963) "School's Out"<br />
It was the Rainbow gave thee birth,<br />
And left thee all her lovely hues.<br />
Farewell to Poesy (1910) "Kingfisher"<br />
Sweet Stay-at-Home, sweet Well-content,<br />
Thou knowest <strong>of</strong> no strange continent:<br />
Thou hast not felt thy bosom keep<br />
A gentle motion with the deep;<br />
Thou hast not sailed in Indian Seas,<br />
Where scent comes forth in every breeze.<br />
Foliage (1913) "Sweet Stay-At-Home"<br />
What is this life if, full <strong>of</strong> care,<br />
We have no time to stand and stare.<br />
Songs <strong>of</strong> Joy (1911) "Leisure"<br />
4.9 Bette Davis (Ruth Elizabeth Davis)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1989<br />
See Lenore C<strong>of</strong>fee (3.72), Joseph L. Mankiewicz (13.52), and Olive Higgins<br />
Prouty (16.66)<br />
4.10 Lord Dawson <strong>of</strong> Penn (Bertrand Edward Dawson, Viscount Dawson <strong>of</strong> Penn)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1945<br />
<strong>The</strong> King's life is moving peacefully towards its close.<br />
Bulletin on George V, 20 Jan. 1936, in History Today Dec. 1986, p. 28<br />
4.11 C. Day-Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1904-1972<br />
Do not expect again a phoenix hour,<br />
<strong>The</strong> triple-towered sky, the dove complaining,<br />
Sudden the rain <strong>of</strong> gold and heart's first ease<br />
Traced under trees by the eldritch light <strong>of</strong> sundown.<br />
Collected Poems, 1929-33 (1935) "From Feathers to Iron"<br />
Hurry! We burn<br />
For Rome so near us, for the phoenix moment<br />
When we have thrown <strong>of</strong>f this traveller's trance,<br />
And mother-naked and ageless-ancient<br />
Wake in her warm nest <strong>of</strong> renaissance.<br />
Italian Visit (1953) "Flight to Italy"<br />
Tempt me no more; for I<br />
Have known the lightning's hour,<br />
<strong>The</strong> poet's inward pride,<br />
<strong>The</strong> certainty <strong>of</strong> power.<br />
Magnetic Mountain (1933) pt. 3, no. 24<br />
You that love England, who have an ear for her music,<br />
<strong>The</strong> slow movement <strong>of</strong> clouds in benediction,<br />
Clear arias <strong>of</strong> light thrilling over her uplands,<br />
Over the chords <strong>of</strong> summer sustained peacefully.<br />
Magnetic Mountain (1933) pt. 4, no. 32<br />
It is the logic <strong>of</strong> our times,<br />
No subject for immortal verse--<br />
That we who lived by honest dreams<br />
Defend the bad against the worse.<br />
Word over All (1943) "Where are the War Poets?"<br />
4.12 Simone de Beauvoir<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1986<br />
On ne naŒt pas femme: on le devient. Aucun destin biologique, psychique,<br />
‚conomique ne d‚finit la figure que revˆt au sein de la soci‚t‚ la femelle<br />
humaine.<br />
One is not born a woman: one becomes a woman. No biological, psychological<br />
or economic destiny can determine how the human female will appear in<br />
society.<br />
Le deuxiŠme sexe (<strong>The</strong> Second Sex, 1949) vol. 2, pt. 1, ch. 1<br />
4.13 Edward de Bono<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
Unhappiness is best defined as the difference between our talents and our<br />
expectations.<br />
In Observer 12 June 1977<br />
4.14 Eugene Victor Debs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1855-1926<br />
I said then, I say now, that while there is a lower class, I am in it;<br />
while there is a criminal element, I am <strong>of</strong> it; while there is a soul in<br />
prison, I am not free.<br />
Speech at trial in Cleveland, Ohio, 14 Sept. 1918, in Liberator Nov. 1918,<br />
p. 12<br />
When great changes occur in history, when great principles are involved,<br />
as a rule the majority are wrong. <strong>The</strong> minority are right.<br />
Speech at Federal Court, Cleveland, Ohio, 11 Sept. 1918, in Speeches<br />
(1928) p. 66<br />
4.15 Edgar Degas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1834-1917<br />
L'art, c'est le vice. On ne l'‚pouse pas l‚gitimement, on le viole.<br />
Art is vice. You don't marry it legitimately, you rape it.<br />
In Paul Lafond Degas (1918) p. 140<br />
4.16 Charles de Gaulle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1970<br />
Les trait‚s, voyez-vous, sont comme les jeunes filles et comme les roses:<br />
‡a dure ce que ‡a dure.<br />
Treaties, you see, are like girls and roses: they last while they last.<br />
Speech at Elys‚e Palace, 2 July 1963, in Andr‚ Passeron De Gaulle parle<br />
1962-6 (1966) p. 340<br />
Vive Le Qu‚bec Libre.<br />
Long Live <strong>Free</strong> Quebec.<br />
Speech in Montreal, 24 July 1967, in Discours et messages (1970) p. 192<br />
La France a perdu une bataille! Mais la France n'a pas perdu la guerre!<br />
France has lost a battle. But France has not lost the war!<br />
Proclamation, 18 June 1940, in Discours, messages et d‚clarations du<br />
G‚n‚ral de Gaulle (1941)<br />
Comment voulez-vous gouverner un pays qui a deux cent quarante-six<br />
vari‚t‚s de fromage?<br />
How can you govern a country which has 246 varieties <strong>of</strong> cheese?<br />
In Ernest Mignon Les Mots du G‚n‚ral (1962) p. 57<br />
Comme un homme politique ne croit jamais ce qu'il dit, il est tout ‚tonn‚<br />
quand il est cru sur parole.<br />
Since a politician never believes what he says, he is quite surprised to<br />
be taken at his word.<br />
In Ernest Mignon Les Mots du G‚n‚ral (1962) p. 67<br />
I reviewed a book <strong>of</strong> his after the war. I said, "General de Gaulle is
a very good soldier and a very bad politician." So he wrote back to me and<br />
said, "I have come to the conclusion that politics are too serious<br />
a matter to be left to the politicians."<br />
Clement Attlee Prime Minister Remembers (1961) ch. 4<br />
4.17 J. de Knight (James E. Myers) and M. <strong>Free</strong>dman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
J. de Knight 1919-<br />
M. <strong>Free</strong>dman 1893-1962<br />
(We're gonna) rock around the clock.<br />
Title <strong>of</strong> song (1953)<br />
4.18 Walter de la Mare<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1956<br />
Oh, no man knows<br />
Through what wild centuries<br />
Roves back the rose.<br />
<strong>The</strong> Listeners and Other Poems (1912) "All That's Past"<br />
S<strong>of</strong>tly along the road <strong>of</strong> evening,<br />
In a twilight dim with rose,<br />
Wrinkled with age, and drenched with dew,<br />
Old Nod, the shepherd, goes.<br />
<strong>The</strong> Listeners and Other Poems (1912) "Nod"<br />
He is crazed with the spell <strong>of</strong> far Arabia,<br />
<strong>The</strong>y have stolen his wits away.<br />
<strong>The</strong> Listeners and Other Poems (1912) "Arabia"<br />
"Is there anybody there?" said the Traveller,<br />
Knocking on the moonlit door;<br />
And his horse in the silence champed the grasses<br />
Of the forest's ferny floor.<br />
<strong>The</strong> Listeners and Other Poems (1912) "<strong>The</strong> Listeners"<br />
"Tell them I came, and no one answered,<br />
That I kept my word," he said.<br />
<strong>The</strong> Listeners and Other Poems (1912) "<strong>The</strong> Listeners"<br />
Here lies a most beautiful lady,<br />
Light <strong>of</strong> step and heart was she;<br />
I think she was the most beautiful lady<br />
That ever was in the West Country.<br />
But beauty vanishes; beauty passes;<br />
However rare--rare it be;<br />
And when I crumble, who will remember<br />
This lady <strong>of</strong> the West Country?<br />
<strong>The</strong> Listeners and Other Poems (1912) "Epitaph"<br />
A face peered. All the grey night<br />
In chaos <strong>of</strong> vacancy shone;<br />
Nought but vast Sorrow was there--<br />
<strong>The</strong> sweet cheat gone.<br />
Motley and Other Poems (1918) "<strong>The</strong> Ghost"
Look thy last on all things lovely,<br />
Every hour. Let no night<br />
Seal thy sense in deathly slumber<br />
Till to delight<br />
Thou have paid thy utmost blessing;<br />
Since that all things thou wouldst praise<br />
Beauty took from those who loved them<br />
In other days.<br />
Motley and Other Poems (1918) "Fare Well"<br />
Ann, Ann!<br />
Come! quick as you can!<br />
<strong>The</strong>re's a fish that talks<br />
In the frying-pan.<br />
Peacock Pie (1913) "Alas, Alack"<br />
Three jolly gentlemen,<br />
In coats <strong>of</strong> red,<br />
Rode their horses<br />
Up to bed.<br />
Peacock Pie (1913) "<strong>The</strong> Huntsmen"<br />
It's a very odd thing--<br />
As odd as can be--<br />
That whatever Miss T eats<br />
Turns into Miss T.<br />
Peacock Pie (1913) "Miss T"<br />
Three jolly Farmers<br />
Once bet a pound<br />
Each dance the others would<br />
Off the ground.<br />
Peacock Pie (1913) "Off the Ground"<br />
Slowly, silently, now the moon<br />
Walks the night in her silver shoon.<br />
Peacock Pie (1913) "Silver"<br />
What is the world, O soldiers?<br />
It is I:<br />
I, this incessant snow,<br />
This northern sky;<br />
Soldiers, this solitude<br />
Through which we go<br />
Is I.<br />
Poems (1906) "Napoleon"<br />
Hi! handsome hunting man<br />
Fire your little gun.<br />
Bang! Now the animal<br />
Is dead and dumb and done.<br />
Nevermore to peep again, creep again, leap again,<br />
Eat or sleep or drink again, Oh, what fun!<br />
Poems for Children (1930) "Hi!"<br />
"Holiday tasks always remind me, my dear, <strong>of</strong> the young lady who wanted<br />
to go out to swim:<br />
Mother may I go out to swim?<br />
Yes, my darling daughter.
Fold your clothes up neat and trim,<br />
And don't go near the water."<br />
"<strong>The</strong> rhyme I know," said Laetitia, "is, Hang your clothes on a hickory<br />
limb."<br />
"That's all very well," said her uncle, "but just you show me one!"<br />
<strong>The</strong> Scarecrow (1945) p. 11. Cf. Anonymous 7:25<br />
4.19 Shelagh Delaney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
Women never have young minds. <strong>The</strong>y are born three thousand years old.<br />
A Taste <strong>of</strong> Honey (1959) act 1, sc. 2<br />
4.20 Jack Dempsey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1983<br />
Honey, I just forgot to duck.<br />
Comment to his wife Estelle after losing his World Heavyweight title,<br />
23 Sept. 1926, in J. and B. P. Dempsey Dempsey (1977) p. 202 (after<br />
someone tried to assassinate Ronald Reagan in 1981, Reagan told his wife:<br />
"Honey, I forgot to duck")<br />
4.21 Nigel Dennis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
I am a well-to-do, revered and powerful figure. That Establishment which<br />
we call England has taken me in: I am become her Fortieth Article. I sit<br />
upon her Boards, I dominate her stage, her museums, her dances and her<br />
costumes; I have an honoured voice in her elected House. To her--and her<br />
alone--I bend the knee, and in return for my homage she is gently blind to<br />
my small failings, asking only that I indulge them privately.<br />
Cards <strong>of</strong> Identity (1955) pt. 2, p. 230<br />
4.22 Buddy De Sylva (George Gard De Sylva) and Lew Brown<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Buddy De Sylva 1895-1950<br />
Lew Brown 1893-1958<br />
<strong>The</strong> moon belongs to everyone,<br />
<strong>The</strong> best things in life are free,<br />
<strong>The</strong> stars belong to everyone,<br />
<strong>The</strong>y gleam there for you and me.<br />
<strong>The</strong> Best Things in Life are <strong>Free</strong> (1927 song; music by Ray Henderson)<br />
4.23 Peter De Vries<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-<br />
You can make a sordid thing sound like a brilliant drawing-room comedy.<br />
Probably a fear we have <strong>of</strong> facing up to the real issues. Could you say we<br />
were guilty <strong>of</strong> Noel Cowardice?
Comfort me with Apples (1956) ch. 15<br />
It is the final pro<strong>of</strong> <strong>of</strong> God's omnipotence that he need not exist in order<br />
to save us.<br />
Mackerel Plaza (1958) ch. 1<br />
Who <strong>of</strong> us is mature enough for <strong>of</strong>fspring before the <strong>of</strong>fspring themselves<br />
arrive? <strong>The</strong> value <strong>of</strong> marriage is not that adults produce children but that<br />
children produce adults.<br />
Tunnel <strong>of</strong> Love (1954) ch. 8<br />
4.24 Lord Dewar<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1930<br />
Lord Dewar...made the famous epigram about there being only two classes <strong>of</strong><br />
pedestrians in these days <strong>of</strong> reckless motor traffic--the quick, and the<br />
dead.<br />
George Robey Looking Back on Life (1933) ch. 28<br />
4.25 Sergei Diaghilev<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1929<br />
tonne-moi.<br />
Astonish me.<br />
In Journals <strong>of</strong> Jean Cocteau (1957) ch. 1<br />
4.26 Paul Dickson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
Rowe's Rule: the odds are five to six that the light at the end <strong>of</strong> the<br />
tunnel is the headlight <strong>of</strong> an oncoming train.<br />
Washingtonian Nov. 1978. Cf. Robert Lowell 139:21<br />
4.27 Joan Didion<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
That is one last thing to remember: writers are always selling somebody<br />
out.<br />
Slouching towards Bethlehem (1968) p. xvi<br />
4.28 Howard Dietz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ars gratia artis.<br />
Art for art's sake.<br />
Motto <strong>of</strong> Metro-Goldwyn-Mayer film studios: see Bosley Crowthier <strong>The</strong> Lion's<br />
Share (1957) p. 64<br />
4.29 William Dillon
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I want a girl (just like the girl that married dear old dad).<br />
Title <strong>of</strong> song (1911; music by Harry von Tilzer)<br />
4.30 Ernest Dimnet<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Architecture, <strong>of</strong> all the arts, is the one which acts the most slowly, but<br />
the most surely, on the soul.<br />
What We Live By (1932) pt. 2, ch. 12<br />
4.31 Isak Dinesen (Karen Blixen)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1962<br />
Out <strong>of</strong> Africa.<br />
English title <strong>of</strong> her novel Den Afrikanske Farm (1937). Cf. Pliny the<br />
Elder's Historia Naturalis bk. 8, sec. 6: Semper aliquid novi Africam<br />
adferre. Always bringing something new out <strong>of</strong> Africa.<br />
What is man, when you come to think upon him, but a minutely set,<br />
ingenious machine for turning, with infinite artfulness, the red wine <strong>of</strong><br />
Shiraz into urine?<br />
Seven Gothic Tales (1934) p. 275<br />
4.32 Mort Dixon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1956<br />
Bye bye blackbird.<br />
Title <strong>of</strong> song (1926; music by Ray Henderson)<br />
I'm looking over a four leaf clover<br />
That I overlooked before.<br />
I'm Looking Over a Four Leaf Clover (1927 song; music by Harry Woods)<br />
4.33 Milovan Djilas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
<strong>The</strong> Party line is that there is no Party line.<br />
Comment on reforms <strong>of</strong> Yugoslavian Communist Party, Nov. 1952, in Fitzroy<br />
Maclean Disputed Barricade (1957) caption facing p. 416<br />
4.34 Austin Dobson (Henry Austin Dobson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1840-1921<br />
Fame is a food that dead men eat,--<br />
I have no stomach for such meat.<br />
Century Nov. 1906, "Fame is a Food"<br />
I intended an Ode,
And it turned to a Sonnet.<br />
It began la mode,<br />
I intended an Ode;<br />
But Rose crossed the road<br />
In her latest new bonnet;<br />
I intended an Ode;<br />
And it turned to a Sonnet.<br />
Graphic 23 May 1874, "Rose-Leaves"<br />
<strong>The</strong> ladies <strong>of</strong> St James's!<br />
<strong>The</strong>y're painted to the eyes;<br />
<strong>The</strong>ir white it stays for ever,<br />
<strong>The</strong>ir red it never dies:<br />
But Phyllida, my Phyllida!<br />
Her colour comes and goes;<br />
It trembles to a lily,--<br />
It wavers to a rose.<br />
Harper's Jan. 1883, "Ladies <strong>of</strong> St James's"<br />
Time goes, you say? Ah no!<br />
Alas, Time stays, we go.<br />
Proverbs in Porcelain (1877) "Paradox <strong>of</strong> Time"<br />
4.35 Ken Dodd<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
<strong>The</strong> trouble with [Sigmund] Freud is that he never played the Glasgow<br />
Empire Saturday night.<br />
In <strong>The</strong> Times 7 Aug. 1965<br />
4.36 J. P. Donleavy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
But Jesus, when you don't have any money, the problem is food. When you<br />
have money, it's sex. When you have both it's health, you worry about<br />
getting rupture or something. If everything is simply jake then you're<br />
frightened <strong>of</strong> death.<br />
Ginger Man (1955) ch. 5<br />
When I die I want to decompose in a barrel <strong>of</strong> porter and have it served in<br />
all the pubs in Dublin. I wonder would they know it was me?<br />
Ginger Man (1955) ch. 31<br />
4.37 Sir Reginald Dorman-Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1977<br />
Half a million more allotments properly worked will provide potatoes and<br />
vegetables that will feed another million adults and 1-1/2 million<br />
children for eight months out <strong>of</strong> 12. <strong>The</strong> matter is not one that can wait.<br />
So--let's get going. Let "Dig for Victory" be the motto <strong>of</strong> every one with<br />
a garden and <strong>of</strong> every able-bodied man and woman capable <strong>of</strong> digging an<br />
allotment in their spare time.<br />
Radio broadcast, 3 Oct. 1939, in <strong>The</strong> Times 4 Oct. 1939
4.38 Keith Douglas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-1944<br />
And all my endeavours are unlucky explorers<br />
come back, abandoning the expedition;<br />
the specimens, the lilies <strong>of</strong> ambition<br />
still spring in their climate, still unpicked:<br />
but time, time is all I lacked<br />
to find them, as the great collectors before me.<br />
Alamein to Zem Zem (1946) "On Return from Egypt, 1943-4"<br />
Remember me when I am dead<br />
And simplify me when I'm dead.<br />
Collected Poems (1966) "Simplify me when I'm Dead" (1941)<br />
But she would weep to see today<br />
how on his skin the swart flies move;<br />
the dust upon the paper eye<br />
and the burst stomach like a cave.<br />
For here the lover and killer are mingled<br />
who had one body and one heart.<br />
And death, who had the soldier singled<br />
has done the lover mortal hurt.<br />
Collected Poems (1966) "Vergissmeinnicht, 1943"<br />
If at times my eyes are lenses<br />
through which the brain explores<br />
constellations <strong>of</strong> feeling<br />
my ears yielding like swinging doors<br />
admit princes to the corridors<br />
into the mind, do not envy me.<br />
I have a beast on my back.<br />
Collected Poems (1966) "Bˆte Noire" (1944)<br />
4.39 Norman Douglas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1952<br />
To find a friend one must close one eye. To keep him--two.<br />
Almanac (1941) p. 77<br />
<strong>The</strong> bishop was feeling rather sea-sick. Confoundedly sea-sick, in fact.<br />
South Wind (1917) ch. 1<br />
You can tell the ideals <strong>of</strong> a nation by its advertisements.<br />
South Wind (1917) ch. 6<br />
Many a man who thinks to found a home discovers that he has merely opened<br />
a tavern for his friends.<br />
South Wind (1917) ch. 20<br />
4.40 Sir Alec Douglas-Home<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Lord Home (8.75)
4.41 Caroline Douglas-Home<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1937-<br />
He [Lord Home] is used to dealing with estate workers. I cannot see how<br />
anyone can say he is out <strong>of</strong> touch.<br />
Comment on her father becoming Prime Minister, in Daily Herald 21 Oct.<br />
1963<br />
4.42 Sir Arthur Conan Doyle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1930<br />
To Sherlock Holmes she [Irene Adler] is always the woman. I have seldom<br />
heard him mention her under any other name. In his eyes she eclipses and<br />
predominates the whole <strong>of</strong> her sex.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Scandal in Bohemia"<br />
You see, but you do not observe.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Scandal in Bohemia"<br />
It is quite a three-pipe problem, and I beg that you won't speak to me for<br />
fifty minutes.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Red-Headed League"<br />
It has long been an axiom <strong>of</strong> mine that the little things are infinitely<br />
the most important.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Case <strong>of</strong> Identity"<br />
<strong>The</strong> case has, in some respects, been not entirely devoid <strong>of</strong> interest.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Case <strong>of</strong> Identity"<br />
Singularity is almost invariably a clue. <strong>The</strong> more featureless and<br />
commonplace a crime is, the more difficult is it to bring it home.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Boscombe Valley Mystery"<br />
A man should keep his little brain attic stocked with all the furniture<br />
that he is likely to use, and the rest he can put away in the lumber room<br />
<strong>of</strong> his library, where he can get it if he wants it.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Five Orange Pips"<br />
It is my belief, Watson, founded upon my experience, that the lowest and<br />
vilest alleys in London do not present a more dreadful record <strong>of</strong> sin than<br />
does the smiling and beautiful countryside.<br />
Adventures <strong>of</strong> Sherlock Holmes (1892) "Copper Beeches"<br />
Matilda Briggs...was a ship which is associated with the giant rat <strong>of</strong><br />
Sumatra, a story for which the world is not yet prepared.<br />
Case-Book <strong>of</strong> Sherlock Holmes (1927) "Sussex Vampire"<br />
But here, unless I am mistaken, is our client.<br />
His Last Bow (1917) "Wisteria Lodge"<br />
All other men are specialists, but his specialism is omniscience.<br />
His Last Bow (1917) "Bruce-Partington Plans"<br />
"I [Sherlock Holmes] followed you." "I saw no one." "That is what you may
expect to see when I follow you."<br />
His Last Bow (1917) "Devil's Foot"<br />
Good old Watson! You are the one fixed point in a changing age.<br />
His Last Bow (1917) title story<br />
<strong>The</strong>y were the footprints <strong>of</strong> a gigantic hound!<br />
Hound <strong>of</strong> the Baskervilles (1902) ch. 2<br />
A long shot, Watson; a very long shot!<br />
Memoirs <strong>of</strong> Sherlock Holmes (1894) "Silver Blaze"<br />
"Is there any other point to which you would wish to draw my attention?"<br />
"To the curious incident <strong>of</strong> the dog in the night-time."<br />
"<strong>The</strong> dog did nothing in the night-time."<br />
"That was the curious incident," remarked Sherlock Holmes.<br />
Memoirs <strong>of</strong> Sherlock Holmes (1894) "Silver Blaze"<br />
"Excellent," I [Dr Watson] cried. "Elementary," said he [Sherlock<br />
Holmes].<br />
Memoirs <strong>of</strong> Sherlock Holmes (1894) "<strong>The</strong> Crooked Man" ("Elementary" is<br />
<strong>of</strong>ten expanded into "Elementary, my dear Watson" but the longer phrase is<br />
not found in any book by Conan Doyle, although a review <strong>of</strong> the film <strong>The</strong><br />
Return <strong>of</strong> Sherlock Holmes in New York Times 19 Oct. 1929, p. 22, says: In<br />
the final scene Dr Watson is there with his "Amazing Holmes," and Holmes<br />
comes forth with his "Elementary, my dear Watson, elementary.")<br />
Ex-Pr<strong>of</strong>essor Moriarty <strong>of</strong> mathematical celebrity...is the Napoleon <strong>of</strong><br />
crime, Watson.<br />
Memoirs <strong>of</strong> Sherlock Holmes (1894) "<strong>The</strong> Final Problem"<br />
You mentioned your name as if I should recognise it, but I assure you<br />
that, beyond the obvious facts that you are a bachelor, a solicitor, a<br />
<strong>Free</strong>mason, and an asthmatic, I know nothing whatever about you.<br />
Return <strong>of</strong> Sherlock Holmes (1905) "<strong>The</strong> Norwood Builder"<br />
Now, Watson, the fair sex is your department.<br />
Return <strong>of</strong> Sherlock Holmes (1905) "<strong>The</strong> Second Stain"<br />
Detection is, or ought to be, an exact science, and should be treated in<br />
the same cold and unemotional manner. You have attempted to tinge it with<br />
romanticism, which produces much the same effect as if you worked a<br />
love-story or an elopement into the fifth proposition <strong>of</strong> Euclid.<br />
Sign <strong>of</strong> Four (1890) ch. 1<br />
Yes, I have been guilty <strong>of</strong> several monographs....Here...is one "Upon the<br />
Distinction between the Ashes <strong>of</strong> the Various Tobaccos." In it I enumerate<br />
a hundred and forty forms <strong>of</strong> cigar, cigarette and pipe tobacco.<br />
Sign <strong>of</strong> Four (1890) ch. 1<br />
In an experience <strong>of</strong> women that extends over many nations and three<br />
separate continents, I have never looked upon a face which gave a clearer<br />
promise <strong>of</strong> a refined and sensitive nature.<br />
Sign <strong>of</strong> Four (1890) ch. 2<br />
How <strong>of</strong>ten have I said to you that when you have eliminated the impossible,<br />
whatever remains, however improbable, must be the truth?<br />
Sign <strong>of</strong> Four (1890) ch. 6<br />
You know my methods. Apply them.
Sign <strong>of</strong> Four (1890) ch. 6<br />
"It is the un<strong>of</strong>ficial force--the Baker Street irregulars." As he spoke,<br />
there came a swift pattering <strong>of</strong> naked feet upon the stairs, a clatter <strong>of</strong><br />
high voices, and in rushed a dozen dirty and ragged little street Arabs.<br />
Sign <strong>of</strong> Four (1890) ch. 8<br />
London, that great cesspool into which all the loungers and idlers <strong>of</strong> the<br />
Empire are irresistibly drained.<br />
Study in Scarlet (1888) ch. 1<br />
It is a capital mistake to theorize before you have all the evidence. It<br />
biases the judgement.<br />
Study in Scarlet (1888) ch. 3<br />
Where there is no imagination there is no horror.<br />
Study in Scarlet (1888) ch. 5<br />
It is a mistake to confound strangeness with mystery. <strong>The</strong> most<br />
commonplace crime is <strong>of</strong>ten the most mysterious, because it presents no new<br />
or special features from which deductions may be drawn.<br />
Study in Scarlet (1888) ch. 7<br />
"I am inclined to think--" said I [Dr Watson]. "I should do so," Sherlock<br />
Holmes remarked, impatiently.<br />
Valley <strong>of</strong> Fear (1915) ch. 1<br />
<strong>The</strong> vocabulary <strong>of</strong> "Bradshaw" is nervous and terse, but limited. <strong>The</strong><br />
selection <strong>of</strong> words would hardly lend itself to the sending <strong>of</strong> general<br />
messages.<br />
Valley <strong>of</strong> Fear (1915) ch. 1<br />
Mediocrity knows nothing higher than itself, but talent instantly<br />
recognizes genius.<br />
Valley <strong>of</strong> Fear (1915) ch. 1<br />
What <strong>of</strong> the bow?<br />
<strong>The</strong> bow was made in England,<br />
Of true wood, <strong>of</strong> yew wood,<br />
<strong>The</strong> wood <strong>of</strong> English bows.<br />
White Company (1891) "Song <strong>of</strong> the Bow"<br />
4.43 Maurice Drake<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Beanz meanz Heinz.<br />
Advertising slogan for Heinz baked beans circa 1967, in Nigel Rees Slogans<br />
(1982) p. 131<br />
4.44 William A. Drake<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-<br />
See Greta Garbo (7.8)<br />
4.45 John Drinkwater<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1882-1937<br />
In the corridors under there is nothing but sleep.<br />
And stiller than ever on orchard boughs they keep<br />
Tryst with the moon, and deep is the silence, deep<br />
On moon-washed apples <strong>of</strong> wonder.<br />
Tides (1917) "Moonlit Apples"<br />
4.46 Alexander Dubcek<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
Proto veden¡ strany klade takov° duraz na to, aby...nase zeme hospod rsky<br />
a kulturne nezaost vala a hlavne abychom ve sluzb ch lidu delali takovou<br />
politiku, aby socialismus neztr cel svou lidskou tv r.<br />
That is why the leadership <strong>of</strong> the country has put such emphasis on<br />
ensuring that...our land did not lag behind economically or culturally,<br />
and, most important, why in the service <strong>of</strong> the people we followed a policy<br />
so that socialism would not lose its human face.<br />
In Rud‚ Pr vo19 July 1968<br />
4.47 Al Dubin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1945<br />
Tiptoe through the tulips.<br />
Title <strong>of</strong> song (1929; music by Joseph Burke)<br />
4.48 W. E. B. DuBois<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1963<br />
One thing alone I charge you. As you live, believe in life! Always human<br />
beings will live and progress to greater, broader and fuller life.<br />
<strong>The</strong> only possible death is to lose belief in this truth simply because the<br />
great end comes slowly, because time is long.<br />
Last message (written 26 June, 1957) read at his funeral, 1963, in Journal<br />
<strong>of</strong> Negro History Apr. 1964<br />
<strong>The</strong> problem <strong>of</strong> the twentieth century is the problem <strong>of</strong> the colour<br />
line--the relation <strong>of</strong> the darker to the lighter races <strong>of</strong> men in Asia and<br />
Africa, in America and the islands <strong>of</strong> the sea.<br />
Souls <strong>of</strong> Black Folk (1903) ch. 2<br />
4.49 Georges Duhamel<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1966<br />
Je respecte trop l' id‚e de Dieu pour la rendre responsable d'un monde<br />
aussi absurde.<br />
I have too much respect for the idea <strong>of</strong> God to make it responsible for<br />
such an absurd world.<br />
Le d‚sert de BiŠvres (1937) in Chronique des Pasquier (1948) vol. 5,
p. 249<br />
4.50 Raoul Duke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Hunter S. Thompson (20.17)<br />
4.51 John Foster Dulles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1959<br />
You have to take chances for peace, just as you must take chances in war.<br />
Some say that we were brought to the verge <strong>of</strong> war. Of course we were<br />
brought to the verge <strong>of</strong> war. <strong>The</strong> ability to get to the verge without<br />
getting into the war is the necessary art. If you cannot master it, you<br />
inevitably get into war. If you try to run away from it, if you are scared<br />
to go to the brink, you are lost. We've had to look it square in the<br />
face--on the question <strong>of</strong> enlarging the Korean war, on the question <strong>of</strong><br />
getting into the Indochina war, on the question <strong>of</strong> Formosa. We walked to<br />
the brink and we looked it in the face.<br />
In Life 16 Jan. 1956<br />
If...the European Defence Community should not become effective; if France<br />
and Germany remain apart....That would compel an agonizing reappraisal <strong>of</strong><br />
basic United States policy.<br />
Speech to NATO Council in Paris, 14 Dec. 1953, in New York Times 15 Dec.<br />
1953, p. 14<br />
4.52 Dame Daphne du Maurier<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1989<br />
Last night I dreamt I went to Manderley again.<br />
Rebecca (1938) ch. 1 (opening sentence)<br />
4.53 Isadora Duncan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1927<br />
Adieu, mes amis. Je vais … la gloire.<br />
Farewell, my friends. I am going to glory.<br />
Last words before her scarf caught in a car wheel and broke her neck, in<br />
Mary Desti Isadora Duncan's End (1929) ch. 25<br />
4.54 Ian Dunlop<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> shock <strong>of</strong> the new: seven historic exhibitions <strong>of</strong> modern art.<br />
Title <strong>of</strong> book (1972)<br />
4.55 Jimmy Durante<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1980
Everybody wants to get inta the act!<br />
Catch-phrase, in W. Cahn Good Night, Mrs Calabash (1963) p. 95<br />
4.56 Leo Durocher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
I called <strong>of</strong>f his players' names as they came marching up the steps behind<br />
him, "Walker, Cooper, Mize, Marshall, Kerr, Gordon, Thomson. Take a look<br />
at them. All nice guys. <strong>The</strong>y'll finish last. Nice guys. Finish last."<br />
Said on 6 July 1946, in Nice Guys Finish Last (1975) pt. 1, p. 14<br />
(generally quoted as "Nice guys finish last")<br />
4.57 Ian Dury<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Sex and drugs and rock and roll.<br />
Title <strong>of</strong> song (1977; music by Chaz Jankel)<br />
I could be the catalyst that sparks the revolution.<br />
I could be an inmate in a long term institution<br />
I could lean to wild extremes I could do or die,<br />
I could yawn and be withdrawn and watch them gallop by,<br />
What a waste, what a waste, what a waste, what a waste.<br />
What a Waste (1978 song; music by Chaz Jankel)<br />
4.58 Lillian K. Dykstra<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
He [Thomas Dewey] is just about the nastiest little man I've ever known.<br />
He struts sitting down.<br />
Letter to Franz Dykstra, 8 July 1952, in James T. Patterson Mr Republican<br />
(1972) ch. 35<br />
4.59 Bob Dylan (Robert Zimmerman)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
How many roads must a man walk down<br />
Before you can call him a man?...<br />
<strong>The</strong> answer, my friend, is blowin' in the wind,<br />
<strong>The</strong> answer is blowin' in the wind.<br />
Blowin' in the Wind (1962 song)<br />
Don't think twice, it's all right.<br />
Title <strong>of</strong> song (1963)<br />
I saw ten thousand talkers whose tongues were all broken,<br />
I saw guns and sharp swords, in the hands <strong>of</strong> young children,<br />
And it's a hard, and it's a hard, it's a hard, it's a hard,<br />
And it's a hard rain's a gonna fall.<br />
A Hard Rain's A Gonna Fall (1963 song)<br />
Money doesn't talk, it swears.<br />
It's Alright, Ma (1965 song)
How does it feel<br />
To be on your own<br />
With no direction home<br />
Like a complete unknown<br />
Like a rolling stone?<br />
Like a Rolling Stone (1965 song)<br />
She knows there's no success like failure<br />
And that failure's no success at all.<br />
Love Minus Zero/ No Limit (1965 song)<br />
I ain't gonna work on Maggie's Farm no more.<br />
Maggie's Farm (1965 song)<br />
Hey! Mr Tambourine Man, play a song for me.<br />
I'm not sleepy and there is no place I'm going to.<br />
Mr Tambourine Man (1965 song)<br />
"Equality," I spoke the word<br />
As if a wedding vow<br />
Ah, but I was so much older then,<br />
I'm younger than that now.<br />
My Back Pages (1964 song)<br />
Don't follow leaders<br />
Watch the parkin' meters.<br />
Subterranean Homesick Blues (1965 song)<br />
Come mothers and fathers,<br />
Throughout the land<br />
And don't criticize<br />
What you can't understand.<br />
Your sons and your daughters<br />
Are beyond your command<br />
Your old road is<br />
Rapidly agin'<br />
Please get out <strong>of</strong> the new one<br />
If you can't lend your hand<br />
For the times they are a-changin'!<br />
<strong>The</strong> Times <strong>The</strong>y Are A-Changing (1964 song)<br />
But I can't think for you<br />
You'll have to decide,<br />
Whether Judas Iscariot<br />
Had God on his side.<br />
With God on our Side (1963 song)<br />
5.0 E<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
5.1 Stephen T. Early<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1951<br />
I received a card the other day from Steve Early which said, "Don't Worry<br />
Me--I am an 8 Ulcer Man on 4 Ulcer Pay."
William Hillman Mr President; the First Publication from the Personal<br />
Diaries, Private Letters, Papers and Revealing Interviews <strong>of</strong> Harry S.<br />
Truman (1952) pt. 5, p. 222<br />
5.2 Clint Eastwood<br />
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1930-<br />
See Harry Julian Fink, Rita M. Fink, and Dean Riesner (6.13)<br />
5.3 Abba Eban<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-<br />
History teaches us that men and nations behave wisely once they have<br />
exhausted all other alternatives.<br />
Speech in London, 16 Dec. 1970, in <strong>The</strong> Times 17 Dec. 1970<br />
5.4 Sir Anthony Eden (Earl <strong>of</strong> Avon)<br />
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1897-1977<br />
We are in an armed conflict; that is the phrase I have used. <strong>The</strong>re has<br />
been no declaration <strong>of</strong> war.<br />
Hansard 1 Nov. 1956, col. 1641<br />
5.5 Clarissa Eden (Countess <strong>of</strong> Avon)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
For the past few weeks I have really felt as if the Suez Canal was flowing<br />
through my drawing room.<br />
Speech at Gateshead, 20 Nov. 1956, in Gateshead Post 23 Nov. 1956<br />
5.6 Marriott Edgar<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1951<br />
<strong>The</strong>re's a famous seaside place called Blackpool,<br />
That's noted for fresh air and fun,<br />
And Mr and Mrs Ramsbottom<br />
Went there with young Albert, their son.<br />
A grand little lad was young Albert,<br />
All dressed in his best; quite a swell<br />
With a stick with an 'orse's 'ead 'andle,<br />
<strong>The</strong> finest that Woolworth's could sell.<br />
<strong>The</strong>y didn't think much to the Ocean:<br />
<strong>The</strong> waves, they were fiddlin' and small,<br />
<strong>The</strong>re was no wrecks and nobody drownded,<br />
Fact, nothing to laugh at at all.<br />
<strong>The</strong> Lion and Albert (1932) in Albert, 'Arold and Others (1937)--monologue<br />
recorded by Stanley Holloway in 1932
<strong>The</strong> Magistrate gave his opinion<br />
That no one was really to blame<br />
And he said that he hoped the Ramsbottoms<br />
Would have further sons to their name.<br />
At that Mother got proper blazing,<br />
"And thank you, sir, kindly," said she.<br />
"What, waste all our lives raising children<br />
To feed ruddy Lions? Not me!"<br />
<strong>The</strong> Lion and Albert (1932) in Albert, 'Arold and Others (1937)<br />
5.7 Duke <strong>of</strong> Edinburgh<br />
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1921-<br />
See Prince Philip, Duke <strong>of</strong> Edinburgh (16.34)<br />
5.8 Thomas Alva Edison<br />
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1847-1931<br />
Genius is one per cent inspiration, ninety-nine per cent perspiration.<br />
Harper's Monthly Magazine Sept. 1932 (quoted by M. A. Rosan<strong>of</strong>f as having<br />
been said by Edison circa 1903)<br />
5.9 John Maxwell Edmonds<br />
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1875-1958<br />
When you go home, tell them <strong>of</strong> us and say,<br />
"For your tomorrows these gave their today."<br />
Inscriptions Suggested for War Memorials (1919)<br />
5.10 King Edward VII<br />
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1841-1910<br />
That's the fourth time that infernal noise has roused me.<br />
Said to his secretary "Fritz" Ponsonby at the first performance <strong>of</strong> "<strong>The</strong><br />
Wreckers," an opera by Dame Ethel Smyth, quoted in H. Atkins and A. Newman<br />
Beecham Stories (1978) p. 43<br />
I thought everyone must know that a short jacket is always worn with<br />
a silk hat at a private view in the morning.<br />
In Sir P. Magnus Edward VII (1964) ch. 19 (said to Sir Frederick Ponsonby,<br />
who had proposed to accompany him in a tail-coat)<br />
Because a man has a black face and a different religion from our own,<br />
there is no reason why he should be treated as a brute.<br />
Letter to Lord Granville, 30 Nov. 1875, in Sir Sydney Lee King Edward VII<br />
(1925) vol. 1, ch. 21<br />
5.11 King Edward VIII (Duke <strong>of</strong> Windsor)<br />
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1894-1972
<strong>The</strong> thing that impresses me most about America is the way parents obey<br />
their children.<br />
Look 5 Mar. 1957<br />
At long last I am able to say a few words <strong>of</strong> my own. I have never wanted<br />
to withhold anything, but until now it has not been constitutionally<br />
possible for me to speak. A few hours ago I discharged my last duty as<br />
King and Emperor, and now that I have been succeeded by my brother, the<br />
Duke <strong>of</strong> York, my first words must be to declare allegiance to him. This<br />
I do with all my heart.<br />
You all know the reasons which have impelled me to renounce the throne.<br />
But I want you to understand that in making up my mind I did not forget<br />
the country or the Empire which as Prince <strong>of</strong> Wales, and lately as King,<br />
I have for twenty-five years tried to serve. But you must believe me when<br />
I tell you that I have found it impossible to carry the heavy burden <strong>of</strong><br />
responsibility and to discharge my duties as King as I would wish to do<br />
without the help and support <strong>of</strong> the woman I love....<br />
This decision has been made less difficult to me by the sure knowledge<br />
that my brother, with his long training in the public affairs <strong>of</strong> this<br />
country and with his fine qualities, will be able to take my place<br />
forthwith, without interruption or injury to the life and progress <strong>of</strong> the<br />
Empire. And he has one matchless blessing, enjoyed by so many <strong>of</strong> you and<br />
not bestowed on me--a happy home with his wife and children....<br />
I now quit altogether public affairs, and I lay down my burden....God<br />
bless you all. God save the King.<br />
Broadcast, 11 Dec. 1936, in <strong>The</strong> Times 12 Dec. 1936<br />
<strong>The</strong>se works [the derelict Dowlais Iron and Steel Works] brought all these<br />
people here. Something should be done to get them at work again.<br />
Spoken to Charles Keen, 18 Nov. 1936, in Western Mail 19 Nov. 1936<br />
5.12 John Ehrlichman<br />
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1925-<br />
I think we ought to let him [Patrick Gray] hang there. Let him twist<br />
slowly, slowly in the wind.<br />
Telephone conversation with John Dean, 7 or 8 Mar. 1973, in Washington<br />
Post 27 July 1973, p. A27 (regarding Patrick Gray's nomination as Director<br />
<strong>of</strong> the FBI)<br />
5.13 Albert Einstein<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1955<br />
Nationalism is an infantile sickness. It is the measles <strong>of</strong> the human race.<br />
In Helen Dukas and Banesh H<strong>of</strong>fman Albert Einstein, the Human Side (1979)<br />
p. 38<br />
I am an absolute pacifist....It is an instinctive feeling. It is a feeling<br />
that possesses me, because the murder <strong>of</strong> men is disgusting.<br />
Interview with Paul Hutchinson, in Christian Century 28 Aug. 1929
Raffiniert ist der Herrgott, aber boshaft ist er nicht.<br />
God is subtle but he is not malicious.<br />
Remark made during a week at Princeton beginning 9 May 1921, later carved<br />
above the fireplace <strong>of</strong> the Common Room <strong>of</strong> Fine Hall (the Mathematical<br />
Institute), Princeton University - in R. W. Clark Einstein (1973) ch. 14<br />
Jedenfalls bin ich berzeugt, dass der nicht wrfelt.<br />
At any rate, I am convinced that He [God] does not play dice.<br />
Letter to Max Born, 4 Dec. 1926, in Einstein und Born Briefwechsel (1969)<br />
p. 130 (<strong>of</strong>ten quoted as Gott wrfelt nicht God does not play dice, e.g. in<br />
B. H<strong>of</strong>fmann Albert Einstein (1973) ch. 10)<br />
If my theory <strong>of</strong> relativity is proven correct, Germany will claim me as<br />
a German and France will declare that I am a citizen <strong>of</strong> the world. Should<br />
my theory prove untrue, France will say that I am a German and Germany<br />
will declare that I am a Jew.<br />
Address at the Sorbonne, Paris, ?early Dec. 1929, in New York Times<br />
16 Feb. 1930<br />
<strong>The</strong> unleashed power <strong>of</strong> the atom has changed everything save our modes <strong>of</strong><br />
thinking and we thus drift toward unparalleled catastrophe.<br />
Telegram sent to prominent Americans, 24 May 1946, in New York Times<br />
25 May 1946<br />
If A is a success in life, then A equals x plus y plus z. Work is x; y is<br />
play; and z is keeping your mouth shut.<br />
In Observer 15 Jan. 1950<br />
If I would be a young man again and had to decide how to make my living,<br />
I would not try to become a scientist or scholar or teacher. I would<br />
rather choose to be a plumber or a peddler in the hope to find that modest<br />
degree <strong>of</strong> independence still available under present circumstances.<br />
Reporter 18 Nov. 1954<br />
Science without religion is lame, religion without science is blind.<br />
Science, Philosophy and Religion: a Symposium (1941) ch. 13<br />
5.14 Dwight D. Eisenhower<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1969<br />
This conjunction <strong>of</strong> an immense military establishment and a large arms<br />
industry is new in the American experience....We recognize the imperative<br />
need for this development. Yet we must not fail to comprehend its grave<br />
implications....In the councils <strong>of</strong> government, we must guard against the<br />
acquisition <strong>of</strong> unwarranted influence, whether sought or unsought, by the<br />
military-industrial complex. <strong>The</strong> potential for the disastrous rise <strong>of</strong><br />
misplaced power exists and will persist.<br />
Farewell broadcast, 17 Jan. 1961, in New York Times 18 Jan. 1961<br />
Every gun that is made, every warship launched, every rocket fired<br />
signifies, in the final sense, a theft from those who hunger and are not<br />
fed, those who are cold and are not clothed. This world in arms is not<br />
spending money alone. It is spending the sweat <strong>of</strong> its laborers, the genius<br />
<strong>of</strong> its scientists, the hopes <strong>of</strong> its children.<br />
Speech in Washington, 16 Apr. 1953, in Public Papers <strong>of</strong> Presidents 1953<br />
(1960) p. 182
You have broader considerations that might follow what you might call the<br />
"falling domino" principle. You have a row <strong>of</strong> dominoes set up. You knock<br />
over the first one, and what will happen to the last one is that it will<br />
go over very quickly. So you have the beginning <strong>of</strong> a disintegration that<br />
would have the most pr<strong>of</strong>ound influences.<br />
Speech at press conference, 7 Apr. 1954, in Public Papers <strong>of</strong> Presidents<br />
1954 (1960) p. 383<br />
I think that people want peace so much that one <strong>of</strong> these days governments<br />
had better get out <strong>of</strong> the way and let them have it.<br />
Broadcast discussion, 31 Aug. 1959, in Public Papers <strong>of</strong> Presidents 1959<br />
(1960) p. 625<br />
5.15 T. S. Eliot<br />
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1888-1965<br />
Where are the eagles and the trumpets?<br />
Buried beneath some snow-deep Alps.<br />
Over buttered scones and crumpets<br />
Weeping, weeping multitudes<br />
Droop in a hundred A.B.C.'s.<br />
Ara Vus Prec (1920) "Cooking Egg"<br />
Here I am, an old man in a dry month<br />
Being read to by a boy, waiting for rain.<br />
Ara Vus Prec (1920) "Gerontion"<br />
After such knowledge, what forgiveness? Think now<br />
History has many cunning passages, contrived corridors<br />
And issues, deceives with whispering ambitions,<br />
Guides us by vanities.<br />
Ara Vus Prec (1920) "Gerontion"<br />
Tenants <strong>of</strong> the house,<br />
Thoughts <strong>of</strong> a dry brain in a dry season.<br />
Ara Vus Prec (1920) "Gerontion"<br />
A cold coming we had <strong>of</strong> it,<br />
Just the worst time <strong>of</strong> the year<br />
For a journey, and such a long journey:<br />
<strong>The</strong> ways deep and the weather sharp,<br />
<strong>The</strong> very dead <strong>of</strong> winter.<br />
Ariel Poems (1927) "Journey <strong>of</strong> the Magi"<br />
But set down<br />
This set down<br />
This: were we led all that way for<br />
Birth or Death? <strong>The</strong>re was a Birth, certainly,<br />
We had evidence and no doubt. I had seen birth and death<br />
But had thought they were different; this Birth was<br />
Hard and bitter agony for us, like Death, our death.<br />
We returned to our places, these Kingdoms,<br />
But no longer at ease here, in the old dispensation,<br />
With an alien people clutching their gods.<br />
I should be glad <strong>of</strong> another death.<br />
Ariel Poems (1927) "Journey <strong>of</strong> the Magi"
Because I do not hope to turn again<br />
Because I do not hope<br />
Because I do not hope to turn.<br />
Ash-Wednesday (1930) pt. 1<br />
Because these wings are no longer wings to fly<br />
But merely vans to beat the air<br />
<strong>The</strong> air which is now thoroughly small and dry<br />
Smaller and dryer than the will<br />
Teach us to care and not to care<br />
Teach us to sit still.<br />
Ash-Wednesday (1930) pt. 1<br />
Lady, three white leopards sat under a juniper-tree<br />
In the cool <strong>of</strong> the day.<br />
Ash-Wednesday (1930) pt. 2<br />
You've missed the point completely, Julia:<br />
<strong>The</strong>re were no tigers. That was the point.<br />
Cocktail Party (1950) act 1, sc. 1<br />
What is hell?<br />
Hell is oneself,<br />
Hell is alone, the other figures in it<br />
Merely projections. <strong>The</strong>re is nothing to escape from<br />
And nothing to escape to. One is always alone.<br />
Cocktail Party (1950) act 1, sc. 3<br />
How unpleasant to meet Mr Eliot!<br />
With his features <strong>of</strong> clerical cut,<br />
And his brow so grim<br />
And his mouth so prim<br />
And his conversation, so nicely<br />
Restricted to What Precisely<br />
And If and Perhaps and But.<br />
Collected Poems (1936) "Five-Finger Exercises"<br />
Time present and time past<br />
Are both perhaps present in time future,<br />
And time future contained in time past.<br />
Collected Poems (1936) "Burnt Norton" pt. 1<br />
Footfalls echo in the memory<br />
Down the passage which we did not take<br />
Towards the door we never opened<br />
Into the rose-garden. My words echo<br />
Thus, in your mind.<br />
Collected Poems (1936) "Burnt Norton" pt. 1<br />
Human kind<br />
Cannot bear very much reality.<br />
Collected Poems (1936) "Burnt Norton" pt. 1.<br />
At the still point <strong>of</strong> the turning world. Neither flesh nor fleshless;<br />
Neither from nor towards; at the still point, there the dance is,<br />
But neither arrest nor movement.<br />
Collected Poems (1936) "Burnt Norton" pt. 2<br />
Words strain,
Crack and sometimes break, under the burden,<br />
Under the tension, slip, slide, perish,<br />
Decay with imprecision, will not stay in place,<br />
Will not stay still.<br />
Collected Poems (1936) "Burnt Norton" pt. 5<br />
I do not know much about gods; but I think that the river<br />
Is a strong brown god--sullen, untamed and intractable.<br />
Dry Salvages (1941) pt. 1<br />
In my beginning is my end.<br />
East Coker (1940) pt. 1<br />
That was a way <strong>of</strong> putting it--not very satisfactory:<br />
A periphrastic study in a worn-out poetical fashion,<br />
Leaving one still with the intolerable wrestle<br />
With words and meanings. <strong>The</strong> poetry does not matter.<br />
East Coker (1940) pt. 2<br />
<strong>The</strong> houses are all gone under the sea.<br />
<strong>The</strong> dancers are all gone under the hill.<br />
East Coker (1940) pt. 2<br />
O dark dark dark. <strong>The</strong>y all go into the dark,<br />
<strong>The</strong> vacant interstellar spaces, the vacant into the vacant.<br />
East Coker (1940) pt. 3<br />
<strong>The</strong> wounded surgeon plies the steel<br />
That questions the distempered part;<br />
Beneath the bleeding hands we feel<br />
<strong>The</strong> sharp compassion <strong>of</strong> the healer's art<br />
Resolving the enigma <strong>of</strong> the fever chart.<br />
East Coker (1940) pt. 4<br />
Each venture<br />
Is a new beginning, a raid on the inarticulate<br />
With shabby equipment always deteriorating<br />
In the general mess <strong>of</strong> imprecision <strong>of</strong> feeling.<br />
East Coker (1940) pt. 5<br />
Success is relative:<br />
It is what we can make <strong>of</strong> the mess we have made <strong>of</strong> things.<br />
Family Reunion (1939) pt. 2, sc. 3<br />
Agatha! Mary! come!<br />
<strong>The</strong> clock has stopped in the dark!<br />
Family Reunion (1939) pt. 2, sc. 3<br />
Round and round the circle<br />
Completing the charm<br />
So the knot be unknotted<br />
<strong>The</strong> cross be uncrossed<br />
<strong>The</strong> crooked be made straight<br />
And the curse be ended.<br />
Family Reunion (1939) pt. 2, sc. 3<br />
And what the dead had no speech for, when living,<br />
<strong>The</strong>y can tell you, being dead: the communication<br />
Of the dead is tongued with fire beyond the language <strong>of</strong> the living.<br />
Little Gidding (1942) pt. 1
Ash on an old man's sleeve<br />
Is all the ash the burnt roses leave.<br />
Dust in the air suspended<br />
Marks the place where a story ended.<br />
Dust inbreathed was a house--<br />
<strong>The</strong> wall, the wainscot and the mouse.<br />
<strong>The</strong> death <strong>of</strong> hope and despair,<br />
This is the death <strong>of</strong> air.<br />
Little Gidding (1942) pt. 2<br />
Since our concern was speech, and speech impelled us<br />
To purify the dialect <strong>of</strong> the tribe<br />
And urge the mind to aftersight and foresight.<br />
Little Gidding (1942) pt. 2<br />
We shall not cease from exploration<br />
And the end <strong>of</strong> all our exploring<br />
Will be to arrive where we started<br />
And know the place for the first time.<br />
Little Gidding (1942) pt. 5<br />
What we call the beginning is <strong>of</strong>ten the end<br />
And to make an end is to make a beginning.<br />
<strong>The</strong> end is where we start from.<br />
Little Gidding (1942) pt. 5<br />
A people without history<br />
Is not redeemed from time, for history is a pattern<br />
Of timeless moments. So, while the light fails<br />
On a winter's afternoon, in a secluded chapel<br />
History is now and England.<br />
Little Gidding (1942) pt. 5<br />
A condition <strong>of</strong> complete simplicity<br />
(Costing not less than everything)<br />
And all shall be well and<br />
All manner <strong>of</strong> thing shall be well<br />
When the tongues <strong>of</strong> flame are in-folded<br />
Into the crowned knot <strong>of</strong> fire<br />
And the fire and the rose are one.<br />
Little Gidding (1942) pt. 5<br />
Yet we have gone on living,<br />
Living and partly living.<br />
Murder in the Cathedral (1935) pt. 1<br />
<strong>The</strong> last temptation is the greatest treason:<br />
To do the right deed for the wrong reason.<br />
Murder in the Cathedral (1935) pt. 1<br />
Clear the air! clean the sky! wash the wind! take the stone from stone,<br />
take the skin from the arm, take the muscle from bone, and wash them.<br />
Murder in the Cathedral (1935) pt. 2<br />
Culture may even be described simply as that which makes life worth<br />
living.<br />
Notes Towards a Definition <strong>of</strong> Culture (1948) ch. 1<br />
Macavity, Macavity, there's no one like Macavity,
<strong>The</strong>re never was a Cat <strong>of</strong> such deceitfulness and suavity.<br />
He always has an alibi, and one or two to spare:<br />
At whatever time the deed took place--MACAVITY WASN'T THERE!<br />
And they say that all the Cats whose wicked deeds are widely known<br />
(I might mention Mungojerrie, I might mention Griddlebone)<br />
Are nothing more than agents for the Cat who all the time<br />
Just controls their operations: the Napoleon <strong>of</strong> Crime!<br />
Old Possum's Book <strong>of</strong> Practical Cats (1939) "Macavity: the Mystery Cat."<br />
Cf. Conan Doyle 69:16<br />
<strong>The</strong> host with someone indistinct<br />
Converses at the door apart,<br />
<strong>The</strong> nightingales are singing near<br />
<strong>The</strong> Convent <strong>of</strong> the Sacred Heart,<br />
And sang within the bloody wood<br />
When Agamemnon cried aloud<br />
And let their liquid siftings fall<br />
To stain the stiff dishonoured shroud.<br />
Poems (1919) "Sweeney among the Nightingales"<br />
<strong>The</strong> hippopotamus's day<br />
Is passed in sleep; at night he hunts;<br />
God works in a mysterious way--<br />
<strong>The</strong> Church can feed and sleep at once.<br />
Poems (1919) "<strong>The</strong> Hippopotamus"<br />
Polyphiloprogenitive<br />
<strong>The</strong> sapient sutlers <strong>of</strong> the Lord<br />
Drift across window-panes<br />
In the beginning was the Word.<br />
Poems (1919) "Mr Eliot's Sunday Morning Service"<br />
Webster was much possessed by death<br />
And saw the skull beneath the skin;<br />
And breastless creatures underground<br />
Leaned backward with a lipless grin.<br />
Poems (1919) "Whispers <strong>of</strong> Immortality"<br />
Grishkin is nice: her Russian eye<br />
Is underlined for emphasis;<br />
Uncorseted, her friendly bust<br />
Gives promise <strong>of</strong> pneumatic bliss.<br />
Poems (1919) "Whispers <strong>of</strong> Immortality"<br />
We are the hollow men<br />
We are the stuffed men<br />
Leaning together<br />
Headpiece filled with straw. Alas!<br />
Poems 1909-1925 (1925) "<strong>The</strong> Hollow Men"<br />
Here we go round the prickly pear<br />
Prickly pear prickly pear<br />
Here we go round the prickly pear<br />
At five o'clock in the morning.<br />
Between the idea<br />
And the reality<br />
Between the motion<br />
And the act
Falls the Shadow.<br />
Poems 1909-1925 (1925) "<strong>The</strong> Hollow Men"<br />
This is the way the world ends<br />
Not with a bang but a whimper.<br />
Poems 1909-1925 (1925) "<strong>The</strong> Hollow Men"<br />
Let us go then, you and I,<br />
When the evening is spread out against the sky<br />
Like a patient etherized upon a table.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
In the room the women come and go<br />
Talking <strong>of</strong> Michelangelo.<br />
<strong>The</strong> yellow fog that rubs its back upon the window-panes.<br />
<strong>The</strong> yellow smoke that rubs its muzzle on the window-panes.<br />
Licked its tongue into the corners <strong>of</strong> the evening.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
I have measured out my life with c<strong>of</strong>fee spoons.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
I should have been a pair <strong>of</strong> ragged claws<br />
Scuttling across the floors <strong>of</strong> silent seas.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
I have seen the moment <strong>of</strong> my greatness flicker,<br />
And I have seen the eternal Footman hold my coat, and snicker,<br />
And in short, I was afraid.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
No! I am not Prince Hamlet, nor was meant to be;<br />
Am an attendant lord, one that will do<br />
To swell a progress, start a scene or two,<br />
Advise the prince.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
I grow old...I grow old...<br />
I shall wear the bottoms <strong>of</strong> my trousers rolled.<br />
Shall I part my hair behind? Do I dare to eat a peach?<br />
I shall wear white flannel trousers, and walk upon the beach.<br />
I have heard the mermaids singing, each to each.<br />
I do not think that they will sing to me.<br />
Prufrock (1917) "Love Song <strong>of</strong> J. Alfred Prufrock"<br />
<strong>The</strong> winter evening settles down<br />
With smell <strong>of</strong> steaks in passageways.<br />
Six o'clock.<br />
<strong>The</strong> burnt-out ends <strong>of</strong> smoky days.<br />
Prufrock (1917) "Preludes"<br />
Every street lamp that I pass<br />
Beats like a fatalistic drum,<br />
And through the spaces <strong>of</strong> the dark<br />
Midnight shakes the memory<br />
As a madman shakes a dead geranium.<br />
Prufrock (1917) "Rhapsody on a Windy Night"
I am aware <strong>of</strong> the damp souls <strong>of</strong> housemaids<br />
Sprouting despondently at area gates.<br />
Prufrock (1917) "Morning at the Window"<br />
Stand on the highest pavement <strong>of</strong> the stair--<br />
Lean on a garden urn--<br />
Weave, weave the sunlight in your hair.<br />
Prufrock (1917) "La Figlia Che Piange"<br />
Sometimes these cogitations still amaze<br />
<strong>The</strong> troubled midnight and the noon's repose.<br />
Prufrock (1917) "La Figlia Che Piange"<br />
Where is the Life we have lost in living?<br />
Where is the wisdom we have lost in knowledge?<br />
Where is the knowledge we have lost in information?<br />
<strong>The</strong> Rock (1934) pt. 1<br />
And the wind shall say: "Here were decent godless people:<br />
<strong>The</strong>ir only monument the asphalt road<br />
And a thousand lost golf balls."<br />
<strong>The</strong> Rock (1934) pt. 1<br />
Poetry is not a turning loose <strong>of</strong> emotion, but an escape from emotion; it<br />
is not the expression <strong>of</strong> personality but an escape from personality. But,<br />
<strong>of</strong> course, only those who have personality and emotions know what it means<br />
to want to escape from these things.<br />
Sacred Wood (1920) "Tradition and Individual Talent"<br />
<strong>The</strong> only way <strong>of</strong> expressing emotion in the form <strong>of</strong> art is by finding an<br />
"objective correlative"; in other words, a set <strong>of</strong> objects, a situation,<br />
a chain <strong>of</strong> events which shall be the formula <strong>of</strong> that particular emotion;<br />
such that when the external facts, which must terminate in sensory<br />
experience, are given, the emotion is immediately evoked.<br />
Sacred Wood (1920) "Hamlet and his Problems"<br />
Immature poets imitate; mature poets steal.<br />
Sacred Wood (1920) "Philip Massinger"<br />
Birth, and copulation, and death.<br />
That's all the facts when you come to brass tacks:<br />
Birth, and copulation, and death.<br />
I've been born, and once is enough.<br />
Sweeney Agonistes (1932) p. 24<br />
In the seventeenth century a dissociation <strong>of</strong> sensibility set in, from<br />
which we have never recovered; and this dissociation, as is natural, was<br />
due to the influence <strong>of</strong> the two most powerful poets <strong>of</strong> the century, Milton<br />
and Dryden.<br />
Times Literary Supplement 20 Oct. 1921<br />
We can only say that it appears likely that poets in our civilization, as<br />
it exists at present, must be difficult.<br />
Times Literary Supplement 20 Oct. 1921<br />
Stone, bronze, stone, steel, stone, oakleaves, horses' heels<br />
Over the paving.<br />
Triumphal March (1931)
April is the cruellest month, breeding<br />
Lilacs out <strong>of</strong> the dead land, mixing<br />
Memory and desire, stirring<br />
Dull roots with spring rain.<br />
Winter kept us warm, covering<br />
Earth in forgetful snow, feeding<br />
A little life with dried tubers.<br />
Waste Land (1922) pt. 1<br />
I read, much <strong>of</strong> the night, and go south in the winter.<br />
Waste Land (1922) pt. 1<br />
And I will show you something different from either<br />
Your shadow at morning striding behind you<br />
Or your shadow at evening rising to meet you;<br />
I will show you fear in a handful <strong>of</strong> dust.<br />
Waste Land (1922) pt. 1. Cf. Joseph Conrad 60:4<br />
Madame Sosostris, famous clairvoyante,<br />
Had a bad cold, nevertheless<br />
Is known to be the wisest woman in Europe,<br />
With a wicked pack <strong>of</strong> cards.<br />
Waste Land (1922) pt. 1<br />
Unreal City,<br />
Under the brown fog <strong>of</strong> a winter dawn,<br />
A crowd flowed over London Bridge, so many,<br />
I had not thought death had undone so many.<br />
Sighs, short and infrequent, were exhaled,<br />
And each man fixed his eyes before his feet<br />
Flowed up the hill and down King William Street,<br />
To where Saint Mary Woolnoth kept the hours<br />
With a dead sound on the final stroke <strong>of</strong> nine.<br />
Waste Land (1922) pt. 1<br />
<strong>The</strong> Chair she sat in, like a burnished throne,<br />
Glowed on the marble.<br />
Waste Land (1922) pt. 2 (cf. Shakespeare's Antony and Cleopatra act 2,<br />
sc. 2, l. 199)<br />
And still she cried, and still the world pursues,<br />
"Jug Jug" to dirty ears.<br />
Waste Land (1922) pt. 2<br />
I think we are in rats' alley<br />
Where the dead men lost their bones.<br />
Waste Land (1922) pt. 2<br />
O O O O that Shakespeherian Rag--<br />
It's so elegant<br />
So intelligent.<br />
Waste Land (1922) pt. 2. Cf. Gene Buck and Herman Ruby<br />
Hurry up please it's time.<br />
Waste Land (1922) pt. 2<br />
But at my back from time to time I hear<br />
<strong>The</strong> sound <strong>of</strong> horns and motors, which shall bring<br />
Sweeney to Mrs Porter in the spring.<br />
O the moon shone bright on Mrs Porter
And on her daughter<br />
<strong>The</strong>y wash their feet in soda water.<br />
Waste Land (1922) pt. 3. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
332:19<br />
At the violet hour, when the eyes and back<br />
Turn upward from the desk, when the human engine waits<br />
Like a taxi throbbing waiting,<br />
I, Tiresias, though blind, throbbing between two lives,<br />
Old man with wrinkled female breasts, can see<br />
At the violet hour, the evening hour that strives<br />
Homeward, and brings the sailor home from sea,<br />
<strong>The</strong> typist home at teatime, clears her breakfast, lights<br />
Her stove, and lays out food in tins.<br />
Waste Land (1922) pt. 3<br />
I Tiresias, old man with wrinkled dugs<br />
Perceived the scene, and foretold the rest--<br />
I too awaited the expected guest.<br />
He, the young man carbuncular, arrives,<br />
A small house agent's clerk, with one bold stare,<br />
One <strong>of</strong> the low on whom assurance sits<br />
As a silk hat on a Bradford millionaire.<br />
Waste Land (1922) pt. 3<br />
When lovely woman stoops to folly and<br />
Paces about her room again, alone,<br />
She smoothes her hair with automatic hand,<br />
And puts a record on the gramophone.<br />
Waste Land (1922) pt. 3<br />
Phlebas the Phoenician, a fortnight dead,<br />
Forgot the cry <strong>of</strong> gulls, and the deep sea swell<br />
And the pr<strong>of</strong>it and loss.<br />
Waste Land (1922) pt. 4<br />
Who is the third who walks always beside you?<br />
When I count, there are only you and I together<br />
But when I look ahead up the white road<br />
<strong>The</strong>re is always another one walking beside you.<br />
Waste Land (1922) pt. 5<br />
A woman drew her long black hair out tight<br />
And fiddled whisper music on those strings<br />
And bats with baby faces in the violet light<br />
Whistled.<br />
Waste Land (1922) pt. 5<br />
<strong>The</strong>se fragments I have shored against my ruins.<br />
Waste Land (1922) pt. 5<br />
5.16 Queen Elizabeth II<br />
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1926-<br />
I declare before you all that my whole life, whether it be long or short,<br />
shall be devoted to your service and the service <strong>of</strong> our great Imperial<br />
family to which we all belong.<br />
Broadcast speech (as Princess Elizabeth) to the Commonwealth from Cape
Town, 21 Apr. 1947, in <strong>The</strong> Times 22 Apr. 1947<br />
I think everybody really will concede that on this, <strong>of</strong> all days, I should<br />
begin my speech with the words "My husband and I."<br />
Speech at Guildhall on her 25th wedding anniversary, 20 Nov. 1972, in <strong>The</strong><br />
Times 21 Nov. 1972<br />
5.17 Queen Elizabeth, the Queen Mother<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-<br />
I'm glad we've been bombed. It makes me feel I can look the East End in<br />
the face.<br />
Said to a policeman, 13 Sept. 1940, in John Wheeler-Bennett King George VI<br />
(1958) pt. 3, ch. 6<br />
5.18 Alf Ellerton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Belgium put the kibosh on the Kaiser.<br />
Title <strong>of</strong> song (1914)<br />
5.19 Havelock Ellis (Henry Havelock Ellis)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1939<br />
It is certainly strange to observe...how many people seem to feel vain <strong>of</strong><br />
their own unqualified optimism when the place where optimism most<br />
flourishes is the lunatic asylum.<br />
Dance <strong>of</strong> Life (1923) ch. 3<br />
<strong>The</strong> sanitary and mechanical age we are now entering makes up for the mercy<br />
it grants to our sense <strong>of</strong> smell by the ferocity with which it assails our<br />
sense <strong>of</strong> hearing. As usual, what we call "Progress" is the exchange <strong>of</strong><br />
one Nuisance for another Nuisance.<br />
Impressions and Comments (1914) 31 July 1912<br />
Every artist writes his own autobiography.<br />
New Spirit (1890) "Tolstoi"<br />
5.20 Paul Eluard<br />
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1895-1952<br />
Adieu tristesse<br />
Bonjour tristesse<br />
Tu es inscrite dans les lignes du plafond.<br />
Farewell sadness<br />
Good-day sadness<br />
You are inscribed in the lines <strong>of</strong> the ceiling.<br />
La vie imm‚diate (1930) "A peine d‚figur‚e," in uvres complŠtes (1968)<br />
vol. 1, p. 365<br />
5.21 Sir William Empson<br />
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1906-1984<br />
Slowly the poison the whole blood stream fills.<br />
It is not the effort nor the failure tires.<br />
<strong>The</strong> waste remains, the waste remains and kills.<br />
Poems (1935) "Missing Dates"<br />
Seven types <strong>of</strong> ambiguity.<br />
Title <strong>of</strong> book (1930)<br />
5.22 Julius J. Epstein, Philip G. Epstein, and Howard Koch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Julius J. Epstein 1909-<br />
Philip G. Epstein 1909-1952<br />
Howard Koch 1902-<br />
Of all the gin joints in all the towns in all the world, she walks into<br />
mine.<br />
Casablanca (1942 film), words spoken by Humphrey Bogart<br />
If she can stand it, I can. Play it!<br />
Casablanca (1942 film), words spoken by Humphrey Bogart, <strong>of</strong>ten misquoted<br />
as "Play it again, Sam" (earlier in the film, Ingrid Bergman says: "Play<br />
it, Sam. Play As Time Goes By .")<br />
Here's looking at you, kid.<br />
Casablanca (1942 film), words spoken by Humphrey Bogart<br />
Major Strasser has been shot. Round up the usual suspects.<br />
Casablanca (1942 film), words spoken by Claude Rains<br />
5.23 Susan Ertz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1985<br />
Someone has somewhere commented on the fact that millions long for<br />
immortality who don't know what to do with themselves on a rainy Sunday<br />
afternoon.<br />
Anger in the Sky (1943) p. 137<br />
5.24 Dudley Erwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-1984<br />
Mr Dudley Erwin, former Air Minister [in Australia], claimed last night<br />
that the secretary <strong>of</strong> Mr John Gorton, the Prime Minster, had cost him his<br />
job in the reshuffled Government announced earlier this week. At first Mr<br />
Erwin said he was dropped because <strong>of</strong> a "political manoeuvre." Later, when<br />
asked to explain what this meant, he said: "It wiggles, it's shapely and<br />
its name is Ainsley Gotto."<br />
<strong>The</strong> Times 14 Nov. 1969<br />
5.25 Howard Estabrook and Harry Behn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Excuse me while I slip into something more comfortable.<br />
Hell's Angels (1930 film), words spoken by Jean Harlow<br />
5.26 Gavin Ewart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
Miss Twye was soaping her breasts in the bath<br />
When she heard behind her a meaning laugh<br />
And to her amazement she discovered<br />
A wicked man in the bathroom cupboard.<br />
Poems and Songs (1939) "Miss Twye"<br />
5.27 William Norman Ewer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1976<br />
I gave my life for freedom--This I know:<br />
For those who bade me fight had told me so.<br />
Five Souls and Other Verses (1917) "Five Souls"<br />
How odd<br />
Of God<br />
To choose<br />
<strong>The</strong> Jews.<br />
In Week-End Book (1924) p. 117 (for the reply, see Cecil Browne)<br />
6.0 F<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
6.1 Clifton Fadiman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-<br />
Provided it be well and truly made there is really for the confirmed<br />
turophile no such thing as a bad cheese. A cheese may disappoint. It may<br />
be dull, it may be naive, it may be oversophisticated. Yet it remains<br />
cheese, milk's leap toward immortality.<br />
Any Number Can Play (1957) p. 105<br />
On November 17...I encountered the mama <strong>of</strong> dada [Gertrude Stein] again<br />
(something called Portraits and Prayers) and as usual withdrew worsted.<br />
Party <strong>of</strong> One (1955) p. 90<br />
6.2 Eleanor Farjeon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1965<br />
Morning has broken<br />
Like the first morning,<br />
Blackbird has spoken<br />
Like the first bird.<br />
Praise for the singing!
Praise for the morning!<br />
Praise for them, springing<br />
Fresh from the Lord!<br />
Children's Bells (1957) "A Morning Song (for the First Day <strong>of</strong> Spring)"<br />
King's Cross!<br />
What shall we do?<br />
His Purple Robe<br />
Is rent in two!<br />
Out <strong>of</strong> his Crown<br />
He's torn the gems!<br />
He's thrown his Sceptre<br />
Into the Thames!<br />
<strong>The</strong> Court is shaking<br />
In its shoe--<br />
King's Cross!<br />
What shall we do?<br />
Leave him alone<br />
For a minute or two.<br />
Nursery Rhymes <strong>of</strong> London Town (1916) "King's Cross"<br />
6.3 King Farouk <strong>of</strong> Egypt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-1965<br />
<strong>The</strong> whole world is in revolt. Soon there will be only five Kings left--the<br />
King <strong>of</strong> England, the King <strong>of</strong> Spades, the King <strong>of</strong> Clubs, the King <strong>of</strong> Hearts<br />
and the King <strong>of</strong> Diamonds.<br />
Said to Lord Boyd-Orr at a conference in Cairo, 1948, in Lord Boyd-Orr As<br />
I Recall (1966) ch. 21<br />
6.4 William Faulkner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1962<br />
<strong>The</strong> long summer.<br />
<strong>The</strong> Hamlet (1940), title <strong>of</strong> bk. 3. Cf. Irving Ravetch and Harriet Frank<br />
<strong>The</strong> writer's only responsibility is to his art. He will be completely<br />
ruthless if he is a good one. He has a dream. It anguishes him so much he<br />
must get rid <strong>of</strong> it. He has no peace until then. Everything goes by the<br />
board: honor, pride, decency, security, happiness, all, to get the book<br />
written. If a writer has to rob his mother, he will not hesitate; the Ode<br />
on a Grecian Urn is worth any number <strong>of</strong> old ladies.<br />
In Paris Review Spring 1956, p. 30<br />
He [the writer] must teach himself that the basest <strong>of</strong> all things is to be<br />
afraid and, teaching himself that, forget it forever, leaving no room in<br />
his workshop for anything but the old verities and truths <strong>of</strong> the heart,<br />
the old universal truths lacking which any story is ephemeral and<br />
doomed--love and honor and pity and pride and compassion and sacrifice.<br />
Nobel Prize speech, 1950, in Les Prix Nobel en 1950 (1951) p. 71<br />
I believe man will not merely endure, he will prevail. He is immortal,<br />
not because he, alone among creatures, has an inexhaustible voice but<br />
because he has a soul, a spirit capable <strong>of</strong> compassion and sacrifice and<br />
endurance.<br />
Nobel Prize speech, 1950, in Les Prix Nobel en 1950 (1951) p. 71
<strong>The</strong>re is no such thing...as bad whiskey. Some whiskeys just happen to be<br />
better than others. But a man shouldn't fool with booze until he's fifty;<br />
then he's a damn fool if he doesn't.<br />
In James M. Webb and A. Wigfall Green William Faulkner <strong>of</strong> <strong>Oxford</strong> (1965)<br />
p. 110<br />
6.5 George Fearon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1972<br />
In my capacity as Press Representative for the English Stage Company I had<br />
read John Osborne's play [Look Back in Anger]. When I met the author<br />
I ventured to prophesy that his generation would praise his play while<br />
mine would, in general, dislike it. I then told him jokingly that Sloane<br />
Square might well become a bloody battleground. "If this happens," I told<br />
him, "you would become known as the Angry Young Man." In fact, we decided<br />
then and there that henceforth he was to be known as that.<br />
Daily Telegraph 2 Oct. 1957<br />
6.6 James Fenton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1949-<br />
It is not what they built. It is what they knocked down.<br />
It is not the houses. It is the spaces between the houses.<br />
It is not the streets that exist. It is the streets that no longer<br />
exist.<br />
German Requiem (1981) p. 1<br />
6.7 Edna Ferber<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1968<br />
Mother knows best.<br />
Title <strong>of</strong> story (1927)<br />
Being an old maid is like death by drowning, a really delightful sensation<br />
after you cease to struggle.<br />
In R. E. Drennan Wit's End (1973)<br />
6.8 Kathleen Ferrier<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-1953<br />
Enid and I visited her just before the end to be greeted by her with<br />
smiling affection. She tired quickly and gently sent us away by murmuring,<br />
"Now I'll have eine kleine Pause." Those were the last words we heard her<br />
utter.<br />
Gerald Moore Am I Too Loud? (1962) ch. 19<br />
6.9 Eric Field<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Towards the end <strong>of</strong> July 1914, I...received a surprise call from Colonel
Strachey, the A.A.G. (Recruiting). He swore me to secrecy, told me that<br />
war was imminent and that the moment it broke out we should have to start<br />
advertising at once....That night I worked out a draft schedule and wrote<br />
an advertisement headed "Your King and Country need you" with the<br />
inevitable Coat <strong>of</strong> Arms at the top.<br />
Advertising (1959) ch. 2<br />
6.10 Dorothy Fields<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1974<br />
<strong>The</strong> minute you walked in the joint,<br />
I could see you were a man <strong>of</strong> distinction,<br />
A real big spender.<br />
Good looking, so refined,<br />
Say, wouldn't you like to know what's going on in my mind?<br />
So let me get right to the point.<br />
I don't pop my cork for every guy I see.<br />
Hey! big spender, spend a little time with me.<br />
Big Spender (1966 song; music by Cy Coleman)<br />
A fine romance with no kisses.<br />
A fine romance, my friend, this is.<br />
We should be like a couple <strong>of</strong> hot tomatoes,<br />
But you're as cold as yesterday's mashed potatoes.<br />
A Fine Romance (1936 song; music by Jerome Kern)<br />
I can't give you anything but love (baby).<br />
Title <strong>of</strong> song (1928; music by Jimmy McHugh)<br />
Grab your coat, and get your hat,<br />
Leave your worry on the doorstep,<br />
Just direct your feet<br />
To the sunny side <strong>of</strong> the street.<br />
On the Sunny Side <strong>of</strong> the Street (1930 song; music by Jimmy McHugh)<br />
6.11 Dame Gracie Fields (Grace Stansfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1979<br />
See Jimmy Harper et al. (8.24)<br />
6.12 W. C. Fields (William Claude Dukenfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1946<br />
Some weasel took the cork out <strong>of</strong> my lunch.<br />
You Can't Cheat an Honest Man (1939 film), in William K. Everson Art <strong>of</strong><br />
W. C. Fields (1968) p. 167<br />
Never give a sucker an even break.<br />
In Collier's 28 Nov. 1925. It was W. C. Fields's catch-phrase, and he is<br />
said to have used it in the musical comedy Poppy (1923), although it does<br />
not occur in the libretto. It was used as the title <strong>of</strong> a W. C. Fields film<br />
in 1941.<br />
Last week, I went to Philadelphia, but it was closed.
In Richard J. Anobile Godfrey Daniels (1975) p. 6<br />
I was in love with a beautiful blonde once, dear. She drove me to drink.<br />
That's the one thing I'm indebted to her for.<br />
Never Give a Sucker an Even Break (1941 film), in Richard J. Anobile<br />
Flask <strong>of</strong> Fields (1972) p. 219<br />
I always keep a supply <strong>of</strong> stimulant handy in case I see a snake--which<br />
I also keep handy.<br />
In Corey Ford Time <strong>of</strong> Laughter (1970) p. 182<br />
Here lies W. C. Fields. I would rather be living in Philadelphia.<br />
Suggested epitaph for himself, in Vanity Fair June 1925<br />
Fifteen years ago, I made the line "It ain't a fit night out for man or<br />
beast" a by-word by using it in my sketch in Earl Carroll's Vanities.<br />
Later on, I used it as a title for a moving picture I did for Mack<br />
Sennett. I do not claim to be the originator <strong>of</strong> this line as it was<br />
probably used long before I was born in some old melodrama.<br />
Letter, 8 Feb. 1944, in R. J. Fields (ed.) W. C. Fields by Himself (1974)<br />
pt. 2 (also used by Fields in his 1933 film <strong>The</strong> Fatal Glass <strong>of</strong> Beer)<br />
Hell, I never vote for anybody. I always vote against.<br />
In Robert Lewis Taylor W. C. Fields: His Follies and Fortunes (1950)<br />
p. 228<br />
6.13 Harry Julian Fink, Rita M. Fink, and Dean Riesner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Go ahead, make my day.<br />
Dirty Harry (1971 film; words spoken by Clint Eastwood)<br />
6.14 Ronald Firbank<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1926<br />
"O! help me, heaven," she prayed, "to be decorative and to do right!"<br />
Flower Beneath the Foot (1923) ch. 2<br />
Looking back, I remember the average curate at home as something between a<br />
eunuch and a snigger.<br />
Flower Beneath the Foot (1923) ch. 4<br />
<strong>The</strong>re was a pause--just long enough for an angel to pass, flying slowly.<br />
Vainglory (1915) ch. 6<br />
All millionaires love a baked apple.<br />
Vainglory (1915) ch. 13<br />
"I know <strong>of</strong> no joy," she airily began, "greater than a cool white dress<br />
after the sweetness <strong>of</strong> confession."<br />
Valmouth (1919) ch. 4<br />
6.15 Fred Fisher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1942
See Ada Benson (2.55)<br />
6.16 H. A. L. Fisher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1940<br />
One intellectual excitement has, however, been denied me. Men wiser and<br />
more learned than I have discerned in history a plot, a rhythm,<br />
a predetermined pattern. <strong>The</strong>se harmonies are concealed from me. I can see<br />
only one emergency following upon another as wave follows upon wave, only<br />
one great fact with respect to which, since it is unique, there can be no<br />
generalizations, only one safe rule for the historian: that he should<br />
recognize in the development <strong>of</strong> human destinies the play <strong>of</strong> the contingent<br />
and the unforeseen.<br />
History <strong>of</strong> Europe (1935) p. vii<br />
6.17 John Arbuthnot Fisher (Baron Fisher)<br />
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1841-1920<br />
<strong>The</strong> essence <strong>of</strong> war is violence. Moderation in war is imbecility.<br />
Lecture notes 1899-1902, in R. H. Bacon Life <strong>of</strong> Lord Fisher (1929) vol. 1,<br />
ch. 7<br />
Yours till Hell freezes.<br />
Letter to George Lambert, 5 Apr. 1909, in A. J. Marder Fear God and Dread<br />
Nought (1956) vol. 2, pt. 1, ch. 2. Cf. F. Ponsonby Reflections <strong>of</strong> Three<br />
Reigns (1951) p. 131: Once an <strong>of</strong>ficer in India wrote to me and ended his<br />
letter "Yours till Hell freezes." I used this forcible expression in<br />
a letter to Fisher, and he adopted it instead <strong>of</strong> "Yours sincerely" and<br />
used it a great deal.<br />
You must be ruthless, relentless, and remorseless! Sack the lot!<br />
Letter to <strong>The</strong> Times 2 Sept. 1919<br />
This letter is not to argue with your leading article <strong>of</strong> September 2.<br />
(It's only d--d fools who argue!)<br />
Never contradict<br />
Never explain<br />
Never apologize<br />
(Those are the secrets <strong>of</strong> a happy life!)<br />
Letter to <strong>The</strong> Times, 5 Sept. 1919<br />
6.18 Marve Fisher<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I want an old-fashioned house<br />
With an old-fashioned fence<br />
And an old-fashioned millionaire.<br />
Old-Fashioned Girl (1954 song; popularized by Eartha Kitt)<br />
6.19 Albert H. Fitz<br />
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You are my honey, honeysuckle, I am the bee.<br />
<strong>The</strong> Honeysuckle and the Bee (1901 song; music by William H. Penn)
6.20 F. Scott Fitzgerald<br />
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1896-1940<br />
Let me tell you about the very rich. <strong>The</strong>y are different from you and me.<br />
All Sad Young Men (1926) "Rich Boy" (Ernest Hemingway's rejoinder in his<br />
story "<strong>The</strong> Snows <strong>of</strong> Kilimanjaro"--in Esquire Aug. 1936--was: "Yes, they<br />
have more money")<br />
<strong>The</strong> beautiful and damned.<br />
Title <strong>of</strong> novel (1922)<br />
No grand idea was ever born in a conference, but a lot <strong>of</strong> foolish ideas<br />
have died there.<br />
Note-Books E, in Edmund Wilson Crack-Up (1945)<br />
Show me a hero and I will write you a tragedy.<br />
Note-Books E, in Edmund Wilson Crack-Up (1945)<br />
<strong>The</strong> test <strong>of</strong> a first-rate intelligence is the ability to hold two opposed<br />
ideas in the mind at the same time, and still retain the ability to<br />
function.<br />
Esquire Feb. 1936, "<strong>The</strong> Crack-Up"<br />
In a real dark night <strong>of</strong> the soul it is always three o'clock in the<br />
morning, day after day.<br />
Esquire Mar. 1936, "Handle with Care"<br />
In my younger and more vulnerable years my father gave me some advice I've<br />
been turning over in my mind ever since.<br />
Great Gatsby (1925) ch. 1<br />
In his blue gardens, men and girls came and went like moths among the<br />
whisperings and the champagne and the stars.<br />
Great Gatsby (1925) ch. 3<br />
Her voice is full <strong>of</strong> money.<br />
Great Gatsby (1925) ch. 7<br />
Gatsby believed in the green light, the orgastic future that year by year<br />
recedes before us. It eluded us then, but that's no matter--to-morrow we<br />
will run faster, stretch out our arms farther....And one fine morning--<br />
So we beat on, boats against the current, borne back ceaselessly into the<br />
past.<br />
Great Gatsby (1925) ch. 9<br />
<strong>The</strong>re are no second acts in American lives.<br />
In Edmund Wilson Last Tycoon (1949) "Hollywood, etc. Notes"<br />
She had once been a Catholic, but discovering that priests were infinitely<br />
more attentive when she was in process <strong>of</strong> losing or regaining faith in<br />
Mother Church, she maintained an enchantingly wavering attitude.<br />
This Side <strong>of</strong> Paradise (1921) bk. 1, ch. 1<br />
6.21 Zelda Fitzgerald<br />
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1900-1948<br />
Ernest, don't you think Al Jolson is greater than Jesus?<br />
In Ernest Hemingway Moveable Feast (1964) ch. 18. Cf. John Lennon 135:2<br />
6.22 Robert Fitzsimmons<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1917<br />
You know the old saying, "<strong>The</strong> bigger they are, the further they have to<br />
fall."<br />
In Brooklyn Daily Eagle 11 Aug. 1900<br />
6.23 Bud Flanagan (Chaim Reeven Weintrop)<br />
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1896-1968<br />
Underneath the Arches,<br />
I dream my dreams away,<br />
Underneath the Arches,<br />
On cobble-stones I lay.<br />
Underneath the Arches (1932 song; additional words by Reg Connelly)<br />
6.24 Michael Flanders and Donald Swann<br />
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Michael Flanders 1922-1975<br />
Donald Swann 1923-<br />
I'm a gnu<br />
A gnother gnu.<br />
<strong>The</strong> Gnu (1956 song)<br />
Mud! Mud! Glorious mud!<br />
Nothing quite like it for cooling the blood.<br />
So, follow me, follow,<br />
Down to the hollow,<br />
And there let us wallow<br />
In glorious mud.<br />
Hippopotamus Song (1952)<br />
I don't eat people,<br />
I won't eat people,<br />
I don't eat people,<br />
Eating people is wrong!<br />
<strong>The</strong> Reluctant Cannibal (1956 song)<br />
6.25 James Elroy Flecker<br />
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1884-1915<br />
We who with songs beguile your pilgrimage<br />
And swear that beauty lives though lilies die,<br />
We Poets <strong>of</strong> the proud old lineage<br />
Who sing to find your hearts, we know not why,--<br />
What shall we tell you? Tales, marvellous tales
Of ships and stars and isles where good men rest.<br />
Golden Journey to Samarkand (1913) "Prologue"<br />
When the great markets by the sea shut fast<br />
All that calm Sunday that goes on and on:<br />
When even lovers find their peace at last,<br />
And earth is but a star, that once had shone.<br />
Golden Journey to Samarkand (1913) "Prologue"<br />
Sweet to ride forth at evening from the wells,<br />
When shadows pass gigantic on the sand,<br />
And s<strong>of</strong>tly through the silence beat the bells<br />
Along the Golden Road to Samarkand.<br />
Golden Journey to Samarkand (1913) p. 8<br />
For lust <strong>of</strong> knowing what should not be known,<br />
We take the Golden Road to Samarkand.<br />
Golden Journey to Samarkand (1913) p. 8<br />
How splendid in the morning glows the lily; with what grace he throws<br />
His supplication to the rose.<br />
Golden Journey to Samarkand (1913) "Yasmin"<br />
And some to Meccah turn to pray, and I toward thy bed, Yasmin.<br />
Golden Journey to Samarkand (1913) "Yasmin"<br />
For one night or the other night<br />
Will come the Gardener in white, and gathered flowers are dead, Yasmin.<br />
Golden Journey to Samarkand (1913) "Yasmin"<br />
<strong>The</strong> dragon-green, the luminous, the dark, the serpent-haunted sea.<br />
Golden Journey to Samarkand (1913) "Gates <strong>of</strong> Damascus"<br />
A ship, an isle, a sickle moon--<br />
With few but with how splendid stars<br />
<strong>The</strong> mirrors <strong>of</strong> the sea are strewn<br />
Between their silver bars!<br />
Golden Journey to Samarkand (1913) "A Ship, an Isle, and a Sickle Moon"<br />
For pines are gossip pines the wide world through<br />
And full <strong>of</strong> runic tales to sigh or sing.<br />
Golden Journey to Samarkand (1913) "Brumana"<br />
Half to forget the wandering and pain,<br />
Half to remember days that have gone by,<br />
And dream and dream that I am home again!<br />
Golden Journey to Samarkand (1913) "Brumana"<br />
Noon strikes on England, noon on <strong>Oxford</strong> town,<br />
Beauty she was statue cold--there's blood upon her gown:<br />
Noon <strong>of</strong> my dreams, O noon!<br />
Proud and godly kings had built her, long ago,<br />
With her towers and tombs and statues all arow,<br />
With her fair and floral air and the love that lingers there,<br />
And the streets where the great men go.<br />
Golden Journey to Samarkand (1913) "Dying Patriot"<br />
West <strong>of</strong> these out to seas colder than the Hebrides<br />
I must go<br />
Where the fleet <strong>of</strong> stars is anchored and the young
Star captains glow.<br />
Golden Journey to Samarkand (1913) "Dying Patriot"<br />
I have seen old ships sail like swans asleep<br />
Beyond the village which men still call Tyre,<br />
With leaden age o'ercargoed, dipping deep<br />
For Famagusta and the hidden sun<br />
That rings black Cyprus with a lake <strong>of</strong> fire.<br />
Old Ships (1915) title poem<br />
And with great lies about his wooden horse<br />
Set the crew laughing, and forgot his course.<br />
Old Ships (1915) title poem<br />
It was so old a ship--who knows, who knows?<br />
--And yet so beautiful, I watched in vain<br />
To see the mast burst open with a rose,<br />
And the whole deck put on its leaves again.<br />
Old Ships (1915) title poem<br />
How shall we conquer? Like a wind<br />
That falls at eve our fancies blow,<br />
And old Maeonides the blind<br />
Said it three thousand years ago.<br />
36 Poems (1910) "To a Poet a Thousand Years Hence"<br />
O friend unseen, unborn, unknown,<br />
Student <strong>of</strong> our sweet English tongue,<br />
Read out my words at night, alone:<br />
I was a poet, I was young.<br />
36 Poems (1910) "To a Poet a Thousand Years Hence"<br />
6.26 Ian Fleming<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1964<br />
Bond said, "And I would like a medium Vodka dry Martini--with a slice <strong>of</strong><br />
lemon peel. Shaken and not stirred, please. I would prefer Russian or<br />
Polish vodka."<br />
Dr No (1958) ch. 14<br />
From Russia with love.<br />
Title <strong>of</strong> novel (1957)<br />
Live and let die.<br />
Title <strong>of</strong> novel (1954)<br />
6.27 Robert, Marquis de Flers and Arman de Caillavet<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Robert, Marquis de Flers 1872-1927<br />
Arman de Caillavet 1869-1915<br />
D‚mocratie est le nom que nous donnons au peuple toutes les fois que nous<br />
avons besoin de lui.<br />
Democracy is the name we give the people whenever we need them.<br />
L'habit vert act 1, sc. 12, in La petite illustration s‚rie th‚ƒtre
31 May 1913<br />
6.28 Dario Fo<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
Non si paga, non si paga.<br />
We won't pay, we won't pay.<br />
Title <strong>of</strong> play (1975; translated by Lino Pertile in 1978 as "We Can't Pay?<br />
We Won't Pay!" and performed in London in 1981 as "Can't Pay? Won't Pay!")<br />
6.29 Marshal Ferdinand Foch<br />
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1851-1929<br />
Mon centre cŠde, ma droite recule, situation excellente, j'attaque.<br />
My centre is giving way, my right is retreating, situation excellent, I am<br />
attacking.<br />
Message sent during the first Battle <strong>of</strong> the Marne, Sept. 1914, in R.<br />
Recouly Foch (1919) ch. 6<br />
Ce n'est pas un trait‚ de paix, c'est un armistice de vingt ans.<br />
This [the treaty signed at Versailles in 1919] is not a peace treaty, it<br />
is an armistice for twenty years.<br />
In Paul Reynaud M‚moires (1963) vol. 2, p. 457<br />
6.30 J. Foley<br />
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Old soldiers never die,<br />
<strong>The</strong>y simply fade away.<br />
Old Soldiers Never Die (1920 song; copyrighted by J. Foley but perhaps<br />
a "folk-song" from the First World War)<br />
6.31 Michael Foot<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
A speech from Ernest Bevin on a major occasion had all the horrific<br />
fascination <strong>of</strong> a public execution. If the mind was left immune, eyes and<br />
ears and emotions were riveted.<br />
Aneurin Bevan (1962) vol. 1, ch. 13<br />
Think <strong>of</strong> it! A second Chamber selected by the Whips. A seraglio <strong>of</strong><br />
eunuchs.<br />
Hansard 3 Feb. 1969, col. 88<br />
It is not necessary that every time he [Norman Tebbit] rises he should<br />
give his famous imitation <strong>of</strong> a semi-house-trained polecat.<br />
Hansard 2 Mar. 1978, col. 668<br />
6.32 Anna Ford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1943-<br />
Let's face it, there are no plain women on television.<br />
In Observer 23 Sept. 1979<br />
6.33 Gerald Ford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
I believe that truth is the glue that holds Government together, not only<br />
our Government, but civilization itself.<br />
Speech, 9 Aug. 1974, in G. J. Lankevich Gerald R. Ford (1977)<br />
My fellow Americans, our long national nightmare is over. Our Constitution<br />
works; our great Republic is a Government <strong>of</strong> laws and not <strong>of</strong> men. Here the<br />
people rule.<br />
Speech, 9 Aug. 1974, in G. J. Lankevich Gerald R. Ford (1977)<br />
<strong>The</strong>re is no Soviet domination <strong>of</strong> Eastern Europe and there never will be<br />
under a Ford administration.<br />
In television debate with Jimmy Carter, 6 Oct. 1976, in S. Kraus Great<br />
Debates (1979) p. 482<br />
If the Government is big enough to give you everything you want, it is big<br />
enough to take away everything you have.<br />
In John F. Parker If Elected (1960) p. 193<br />
I am a Ford, not a Lincoln. My addresses will never be as eloquent as<br />
Lincoln's. But I will do my best to equal his brevity and plain speaking.<br />
Speech on taking vice-presidential oath, 6 Dec. 1973, in Washington Post<br />
7 Dec. 1973<br />
6.34 Henry Ford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1947<br />
History is more or less bunk. It's tradition. We don't want tradition. We<br />
want to live in the present and the only history that is worth a tinker's<br />
damn is the history we make today.<br />
Chicago Tribune 25 May 1916 (interview with Charles N. Wheeler)<br />
People can have the Model T in any colour--so long as it's black.<br />
In Allan Nevins Ford (1957) vol. 2, ch. 15<br />
6.35 Lena Guilbert Ford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1916<br />
Keep the Home-fires burning,<br />
While your hearts are yearning,<br />
Though your lads are far away<br />
<strong>The</strong>y dream <strong>of</strong> Home.<br />
<strong>The</strong>re's a silver lining<br />
Through the dark cloud shining;<br />
Turn the dark cloud inside out,<br />
Till the boys come Home.
'Till the Boys Come Home! (1914 song; music by Ivor Novello)<br />
6.36 Howell Forgy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1983<br />
Lieutenant Forgy...said that on Dec. 7 he was at Pearl Harbor directing<br />
preparations for church services aboard his ship...when general quarters<br />
were sounded as the Japanese attacked. He reported to his battle station.<br />
<strong>The</strong> power was <strong>of</strong>f on a powder hoist, he said, and so Lieutenant Edwin<br />
Woodhead formed a line <strong>of</strong> sailors to pass the ammunition by hand to the<br />
deck. <strong>The</strong> chaplain moved along the line, encouraging the passers and<br />
repeating, "Praise the Lord and pass the ammunition."<br />
New York Times 1 Nov. 1942. Cf. Frank Loesser's 1942 song Praise the Lord<br />
and Pass the Ammunition .<br />
6.37 E. M. Forster<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1970<br />
<strong>The</strong>y [public schoolboys] go forth into a world that is not entirely<br />
composed <strong>of</strong> public-school men or even <strong>of</strong> Anglo-Saxons, but <strong>of</strong> men who are<br />
as various as the sands <strong>of</strong> the sea; into a world <strong>of</strong> whose richness and<br />
subtlety they have no conception. <strong>The</strong>y go forth into it with<br />
well-developed bodies, fairly developed minds, and undeveloped hearts.<br />
Abinger Harvest (1936) "Notes on English Character"<br />
It is not that the Englishman can't feel--it is that he is afraid to feel.<br />
He has been taught at his public school that feeling is bad form. He must<br />
not express great joy or sorrow, or even open his mouth too wide when he<br />
talks--his pipe might fall out if he did.<br />
Abinger Harvest (1936) "Notes on English Character"<br />
Everything must be like something, so what is this like?<br />
Abinger Harvest (1936) "Doll Souse"<br />
American women shoot the hippopotamus with eyebrows made <strong>of</strong> platinum.<br />
Abinger Harvest (1936) "Mickey and Minnie." Cf. 24:8<br />
It is frivolous stuff, and how rare, how precious is frivolity! How few<br />
writers can prostitute all their powers! <strong>The</strong>y are always implying "I am<br />
capable <strong>of</strong> higher things."<br />
Abinger Harvest (1936) "Ronald Firbank"<br />
<strong>The</strong> historian must have a third quality as well: some conception <strong>of</strong> how<br />
men who are not historians behave. Otherwise he will move in a world <strong>of</strong><br />
the dead.<br />
Abinger Harvest (1936) "Captain Edward Gibbon"<br />
Yes--oh dear yes--the novel tells a story.<br />
Aspects <strong>of</strong> the Novel (1927) ch. 2<br />
That old lady in the anecdote...was not so much angry as contemptuous....<br />
"How can I tell what I think till I see what I say?"<br />
Aspects <strong>of</strong> the Novel (1927) ch. 5. Cf. Graham Wallas 222:8<br />
I am only touching on one aspect <strong>of</strong> Ulysses: it is <strong>of</strong> course far more<br />
than a fantasy--it is a dogged attempt to cover the universe with mud, an
inverted Victorianism, an attempt to make crossness and dirt succeed where<br />
sweetness and light failed, a simplification <strong>of</strong> the human character in the<br />
interests <strong>of</strong> Hell.<br />
Aspects <strong>of</strong> the Novel (1927) ch. 6<br />
Long books, when read, are usually overpraised, because the reader wishes<br />
to convince others and himself that he has not wasted his time.<br />
Note from commonplace book, in O. Stallybrass (ed.) Aspects <strong>of</strong> the Novel<br />
and Related Writings (1974) p. 129<br />
Like many others who have lived long in a great capital, she had strong<br />
feelings about the various railway termini. <strong>The</strong>y are our gates to the<br />
glorious and the unknown. Through them we pass out into adventure and<br />
sunshine, to them, alas! we return.<br />
Howards End (1910) ch. 2<br />
It will be generally admitted that Beethoven's Fifth Symphony is the most<br />
sublime noise that has ever penetrated into the ear <strong>of</strong> man.<br />
Howards End (1910) ch. 5<br />
<strong>The</strong> music [the scherzo <strong>of</strong> Beethoven's 5th Symphony] started with a goblin<br />
walking quietly over the universe, from end to end. Others followed him.<br />
<strong>The</strong>y were not aggressive creatures; it was that that made them so terrible<br />
to Helen. <strong>The</strong>y merely observed in passing that there was no such thing as<br />
splendour or heroism in the world. After the interlude <strong>of</strong> elephants<br />
dancing, they returned and made the observation for a second time. Helen<br />
could not contradict them, for, once at all events, she had felt the same,<br />
and had seen the reliable walls <strong>of</strong> youth collapse. Panic and emptiness!<br />
<strong>The</strong> goblins were right.<br />
Howards End (1910) ch. 5<br />
All men are equal--all men, that is to say, who possess umbrellas.<br />
Howards End (1910) ch. 6<br />
Personal relations are the important thing for ever and ever, and not this<br />
outer life <strong>of</strong> telegrams and anger.<br />
Howards End (1910) ch. 19<br />
She would only point out the salvation that was latent in his own soul,<br />
and in the soul <strong>of</strong> every man. Only connect! That was the whole <strong>of</strong> her<br />
sermon. Only connect the prose and the passion, and both will be exalted,<br />
and human love will be seen at its height. Live in fragments no longer.<br />
Only connect, and the beast and the monk, robbed <strong>of</strong> the isolation that is<br />
life to either, will die.<br />
Howards End (1910) ch. 22 (the title-page also has "Only connect...")<br />
Death destroys a man: the idea <strong>of</strong> Death saves him.<br />
Howards End (1910) ch. 27 (chapter 41 has "Death destroys a man, but the<br />
idea <strong>of</strong> death saves him")<br />
"I don't think I understand people very well. I only know whether I like<br />
or dislike them."<br />
"<strong>The</strong>n you are an Oriental."<br />
Passage to India (1924) ch. 2<br />
<strong>The</strong> so-called white races are really pinko-grey.<br />
Passage to India (1924) ch. 7<br />
<strong>The</strong> echo in a Marabar cave is not like these, it is entirely devoid <strong>of</strong>
distinction. Whatever is said, the same monotonous noise replies, and<br />
quivers up and down the walls until it is absorbed into the ro<strong>of</strong>. "Boum"<br />
is the sound as far as the human alphabet can express it, or "bou-oum,"<br />
or "ou-boum,"--utterly dull. Hope, politeness, the blowing <strong>of</strong> a nose, the<br />
squeak <strong>of</strong> a boot, all produce "boum."<br />
Passage to India (1924) ch. 14<br />
<strong>The</strong> echo began in some indescribable way to undermine her hold on life.<br />
Coming at a moment when she chanced to be fatigued, it had managed to<br />
murmur, "Pathos, piety, courage--they exist, but are identical, and so is<br />
filth. Everything exists, nothing has value."<br />
Passage to India (1924) ch. 14<br />
<strong>The</strong> inscriptions which the poets <strong>of</strong> the State had composed were hung where<br />
they could not be read, or had twitched their drawing-pins out <strong>of</strong> the<br />
stucco, and one <strong>of</strong> them (composed in English to indicate His universality)<br />
consisted, by an unfortunate slip <strong>of</strong> the draughtsman, <strong>of</strong> the words, "God<br />
si Love."<br />
God si Love. Is this the first message <strong>of</strong> India?<br />
Passage to India (1924) ch. 33<br />
A room with a view.<br />
Title <strong>of</strong> novel (1908)<br />
<strong>The</strong> traveller who has gone to Italy to study the tactile values <strong>of</strong> Giotto,<br />
or the corruption <strong>of</strong> the Papacy, may return remembering nothing but the<br />
blue sky and the men and women under it.<br />
Room with a View (1908) ch. 2<br />
I hate the idea <strong>of</strong> causes, and if I had to choose between betraying my<br />
country and betraying my friend, I hope I should have the guts to betray<br />
my country.<br />
Two Cheers for Democracy (1951) "What I Believe"<br />
So Two cheers for Democracy: one because it admits variety and two because<br />
it permits criticism. Two cheers are quite enough: there is no occasion<br />
to give three. Only Love the Beloved Republic deserves that.<br />
Two Cheers for Democracy (1951) "What I Believe" ("Love, the Beloved<br />
Republic" is a phrase from Swinburne's poem Hertha )<br />
Think before you speak is criticism's motto; speak before you think<br />
creation's.<br />
Two Cheers for Democracy (1951) "Raison d'ˆtre <strong>of</strong> Criticism"<br />
I suggest that the only books that influence us are those for which we are<br />
ready, and which have gone a little farther down our particular path than<br />
we have yet got ourselves.<br />
Two Cheers for Democracy (1951) "Books That Influenced Me"<br />
Creative writers are always greater than the causes that they represent.<br />
Two Cheers for Democracy (1951) "Gide and George"<br />
6.38 Bruce Forsyth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Didn't she [or he or they] do well?<br />
Catch-phrase in "<strong>The</strong> Generation Game" on BBC Television, 1973 onwards
Nice to see you--to see you, nice.<br />
Catch-phrase in "<strong>The</strong> Generation Game" on BBC Television, 1973 onwards<br />
I'm in charge.<br />
Catch-phrase in "Sunday Night at the London Palladium" on ITV, 1958<br />
onwards<br />
6.39 Harry Emerson Fosdick<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1969<br />
I renounce war for its consequences, for the lies it lives on and<br />
propagates, for the undying hatred it arouses, for the dictatorships it<br />
puts in the place <strong>of</strong> democracy, for the starvation that stalks after it.<br />
I renounce war and never again, directly or indirectly, will I sanction or<br />
support another.<br />
Sermon in New York on Armistice Day 1933, in Secret <strong>of</strong> Victorious Living<br />
(1934) p. 97<br />
6.40 Anatole France (Jacques-Anatole-Fran‡ois Thibault)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1844-1924<br />
Dans tout tat polic‚, la richesse est chose sacr‚e; dans les d‚mocraties<br />
elle est la seule chose sacr‚e.<br />
In every well-governed state, wealth is a sacred thing; in democracies it<br />
is the only sacred thing.<br />
L'Ile des pingouins (Penguin Island, 1908) pt. 6, ch. 2<br />
Ils [les pauvres] y doivent travailler devant la majestueuse ‚galit‚ des<br />
lois, qui interdit au riche comme au pauvre de coucher sous les ponts, de<br />
mendier dans les rues et de voler du pain.<br />
<strong>The</strong>y [the poor] have to labour in the face <strong>of</strong> the majestic equality <strong>of</strong> the<br />
law, which forbids the rich as well as the poor to sleep under bridges, to<br />
beg in the streets, and to steal bread.<br />
Le Lys rouge (<strong>The</strong> Red Lily, 1894) ch. 7<br />
Le bon critique est celui qui raconte les aventures de son ƒmeau milieu<br />
des chefs-d'”uvre.<br />
<strong>The</strong> good critic is he who relates the adventures <strong>of</strong> his soul among<br />
masterpieces.<br />
La Vie litt‚raire (<strong>The</strong> Literary Life, 1888) dedicatory letter<br />
6.41 Georges Franju<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
See Jean-Luc Godard (7.34)<br />
6.42 Sir James George Frazer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1854-1941
<strong>The</strong> awe and dread with which the untutored savage contemplates his<br />
mother-in-law are amongst the most familiar facts <strong>of</strong> anthropology.<br />
<strong>The</strong> Golden Bough (ed. 2, 1900) vol. 1, p. 288<br />
6.43 Stan Freberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
It's too loud, man....It's too shrill, man, it's too piercing.<br />
Banana Boat (Day-O) (1957 record; lines spoken by Peter Leeds)<br />
Excuse me, you ain't any kin to the snare drummer, are you?<br />
Yellow Rose <strong>of</strong> Texas (1955 record; words spoken to a loud banjo-player)<br />
6.44 Arthur <strong>Free</strong>d<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1973<br />
Singin' in the rain.<br />
Title <strong>of</strong> song (1929; music by Nacio Herb Brown)<br />
6.45 Ralph <strong>Free</strong>d<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I like New York in June,<br />
How about you?<br />
How About You? (1941 song; music by Burton Lane)<br />
6.46 Cliff <strong>Free</strong>man<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Where's the beef?<br />
Advertising slogan for Wendy's Hamburgers in campaign launched 9 Jan.<br />
1984 (taken up by Walter Mondale in a televised debate with Gary Hart from<br />
Atlanta, 11 March 1984: "When I hear your new ideas I'm reminded <strong>of</strong> that<br />
ad, 'Where's the beef?'")<br />
6.47 John <strong>Free</strong>man<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1929<br />
It was the lovely moon--she lifted<br />
Slowly her white brow among<br />
Bronze cloud-waves that ebbed and drifted<br />
Faintly, faintlier afar.<br />
Stone Trees (1916) "It Was the Lovely Moon"<br />
6.48 Marilyn French<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Whatever they may be in public life, whatever their relations with men, in<br />
their relations with women, all men are rapists, and that's all they are.
<strong>The</strong>y rape us with their eyes, their laws, and their codes.<br />
<strong>The</strong> Women's Room (1977) bk. 5, ch. 19<br />
6.49 Sigmund Freud<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1939<br />
Die Anatomie ist das Schicksal.<br />
Anatomy is destiny.<br />
Gesammelte Schriften (Collected Writings, 1924) vol. 5, p. 210<br />
"Itzig, wohin reit'st Du?" "Weiss ich, frag das Pferd."<br />
"Itzig, where are you riding to?" "Don't ask me, ask the horse."<br />
Letter to Wilhelm Fliess, 7 July 1898, in Aus den Anf„ngen der<br />
Psychoanalyse (Origins <strong>of</strong> Psychoanalysis, 1950) p. 275<br />
Wir sind so eingerichtet, dass wir nur den Kontrast intensiv geniessen<br />
k”nnen, den Zustand nur sehr wenig.<br />
We are so made, that we can only derive intense enjoyment from a contrast,<br />
and only very little from a state <strong>of</strong> things.<br />
Das Unbehagen in der Kultur (Civilization and its Discontents, 1930)<br />
ch. 2<br />
Vergleiche entscheiden nichts, das ist wahr, aber sie k”nnen machen, dass<br />
man sich heimischer fhlt.<br />
Analogies decide nothing, that is true, but they can make one feel more at<br />
home.<br />
Neue Folge der Vorlesungen zur Einfhrung in die Psychoanalyse (New<br />
Introductory Lectures on Psychoanalysis, 1933) ch. 31<br />
<strong>The</strong> great question that has never been answered and which I have not yet<br />
been able to answer, despite my thirty years <strong>of</strong> research into the feminine<br />
soul, is "What does a woman want?"<br />
Letter to Marie Bonaparte, in Ernest Jones Sigmund Freud: Life and Work<br />
(1955) vol. 2, pt. 3, ch. 16<br />
6.50 Max Frisch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
Diskussion mit Hanna!--ber Technik (laut Hanna) als Kniff, die Welt so<br />
einzurichten, dass wir sie nicht erleben mssen.<br />
Discussion with Hanna--about technology (according to Hanna) as the knack<br />
<strong>of</strong> so arranging the world that we need not experience it.<br />
Homo Faber (1957) pt. 2<br />
6.51 Charles Frohman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1915<br />
Why fear death? It is the most beautiful adventure in life.<br />
Last words before drowning in the Lusitania, 7 May 1915, in I. F.
Marcosson and D. Frohman Charles Frohman (1916) ch. 19. Cf. J. M. Barrie<br />
19:9<br />
6.52 Erich Fromm<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1980<br />
Man's main task in life is to give birth to himself, to become what he<br />
potentially is. <strong>The</strong> most important product <strong>of</strong> his effort is his own<br />
personality.<br />
Man for Himself (1947) ch. 4<br />
In the nineteenth century the problem was that God is dead; in the<br />
twentieth century the problem is that man is dead. In the nineteenth<br />
century inhumanity meant cruelty; in the twentieth century it means<br />
schizoid self-alienation. <strong>The</strong> danger <strong>of</strong> the past was that men became<br />
slaves. <strong>The</strong> danger <strong>of</strong> the future is that men may become robots.<br />
<strong>The</strong> Sane Society (1955) ch. 9<br />
6.53 David Frost<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
Hello, good evening, and welcome.<br />
Catch-phrase in "<strong>The</strong> Frost Programme" on BBC Television, 1966 onwards<br />
Seriously, though, he's doing a grand job!<br />
Catch-phrase in "That Was <strong>The</strong> Week That Was," on BBC Television, 1962-3<br />
6.54 Robert Frost<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1963<br />
It should be <strong>of</strong> the pleasure <strong>of</strong> a poem itself to tell how it can. <strong>The</strong><br />
figure a poem makes. It begins in delight and ends in wisdom. <strong>The</strong> figure<br />
is the same as for love.<br />
Collected Poems (1939) "Figure a Poem Makes"<br />
No tears in the writer, no tears in the reader.<br />
Collected Poems (1939) "Figure a Poem Makes"<br />
Like a piece <strong>of</strong> ice on a hot stove the poem must ride on its own melting.<br />
A poem may be worked over once it is in being, but may not be worried into<br />
being.<br />
Collected Poems (1939) "Figure a Poem Makes"<br />
<strong>The</strong>y cannot scare me with their empty spaces<br />
Between stars--on stars where no human race is.<br />
I have it in me so much nearer home<br />
To scare myself with my own desert places.<br />
Further Range (1936) "Desert Places"<br />
I never dared be radical when young<br />
For fear it would make me conservative when old.<br />
Further Range (1936) "Precaution"<br />
Never ask <strong>of</strong> money spent
Where the spender thinks it went.<br />
Nobody was ever meant<br />
To remember or invent<br />
What he did with every cent.<br />
Further Range (1936) "Hardship <strong>of</strong> Accounting"<br />
I've given <strong>of</strong>fence by saying that I'd as soon write free verse as play<br />
tennis with the net down.<br />
In Edward Lathem Interviews with Robert Frost (1966) p. 203<br />
Forgive, O Lord, my little jokes on <strong>The</strong>e<br />
And I'll forgive Thy great big one on me.<br />
In the Clearing (1962) "Cluster <strong>of</strong> Faith"<br />
I shall be telling this with a sigh<br />
Somewhere ages and ages hence:<br />
Two roads diverged in a wood, and I--<br />
I took the one less travelled by,<br />
And that has made all the difference.<br />
Mountain Interval (1916) "Road Not Taken"<br />
I'd like to get away from earth awhile<br />
And then come back to it and begin over.<br />
May no fate wilfully misunderstand me<br />
And half grant what I wish and snatch me away<br />
Not to return. Earth's the right place for love:<br />
I don't know where it's likely to go better.<br />
I'd like to go by climbing a birch tree,<br />
And climb black branches up a snow-white trunk<br />
Toward heaven, till the tree could bear no more,<br />
But dipped its top and set me down again.<br />
That would be good both going and coming back.<br />
One could do worse than be a swinger <strong>of</strong> birches.<br />
Mountain Interval (1916) "Birches"<br />
Some say the world will end in fire,<br />
Some say in ice.<br />
From what I've tasted <strong>of</strong> desire<br />
I hold with those who favour fire.<br />
But if it had to perish twice,<br />
I think I know enough <strong>of</strong> hate<br />
To say that for destruction ice<br />
Is also great<br />
And would suffice.<br />
New Hampshire (1923) "Fire and Ice"<br />
<strong>The</strong> woods are lovely, dark and deep.<br />
But I have promises to keep,<br />
And miles to go before I sleep,<br />
And miles to go before I sleep.<br />
New Hampshire (1923) "Stopping by Woods on a Snowy Evening"<br />
I'm going out to clean the pasture spring;<br />
I'll only stop to rake the leaves away<br />
(And wait to watch the water clear, I may):<br />
I shan't be gone long.--You come too.<br />
North <strong>of</strong> Boston (1914) "<strong>The</strong> Pasture"<br />
Something there is that doesn't love a wall,<br />
That sends the frozen-ground-swell under it.
North <strong>of</strong> Boston (1914) "Mending Wall"<br />
My apple trees will never get across<br />
And eat the cones under his pines, I tell him.<br />
He only says, "Good fences make good neighbours."<br />
North <strong>of</strong> Boston (1914) "Mending Wall"<br />
Before I built a wall I'd ask to know<br />
What I was walling in or walling out,<br />
And to whom I was like to give <strong>of</strong>fence.<br />
North <strong>of</strong> Boston (1914) "Mending Wall"<br />
And nothing to look backward to with pride,<br />
And nothing to look forward to with hope.<br />
North <strong>of</strong> Boston (1914) "Death <strong>of</strong> the Hired Man"<br />
"Home is the place where, when you have to go there,<br />
<strong>The</strong>y have to take you in."<br />
"I should have called it<br />
Something you somehow haven't to deserve."<br />
North <strong>of</strong> Boston (1914) "Death <strong>of</strong> the Hired Man"<br />
Most <strong>of</strong> the change we think we see in life<br />
Is due to truths being in and out <strong>of</strong> favour.<br />
North <strong>of</strong> Boston (1914) "Black Cottage"<br />
Len says one steady pull more ought to do it.<br />
He says the best way out is always through.<br />
North <strong>of</strong> Boston (1914) "Servant to Servants"<br />
I've broken Anne <strong>of</strong> gathering bouquets.<br />
It's not fair to the child. It can't be helped though:<br />
Pressed into service means pressed out <strong>of</strong> shape.<br />
North <strong>of</strong> Boston (1914) "Self-Seeker"<br />
Poetry is what is lost in translation. It is also what is lost in<br />
interpretation.<br />
In Louis Untermeyer Robert Frost: a Backward Look (1964) p. 18<br />
Asked...whether he would define poetry as "escape" he answered hardily:<br />
"No. Poetry is a way <strong>of</strong> taking life by the throat."<br />
Elizabeth S. Sergeant Robert Frost: the Trial by Existence (1960) ch. 18<br />
I have been one acquainted with the night.<br />
West-Running Brook (1928) "Acquainted with the Night"<br />
Happiness makes up in height for what it lacks in length.<br />
Title <strong>of</strong> poem in Witness Tree (1942)<br />
<strong>The</strong> land was ours before we were the land's.<br />
She was our land more than a hundred years<br />
Before we were her people.<br />
Witness Tree (1942) "Gift Outright"<br />
And were an epitaph to be my story<br />
I'd have a short one ready for my own.<br />
I would have written <strong>of</strong> me on my stone:<br />
I had a lover's quarrel with the world.<br />
Witness Tree (1942) "Lesson for Today"
We dance round in a ring and suppose,<br />
But the Secret sits in the middle and knows.<br />
Witness Tree (1942) "<strong>The</strong> Secret Sits"<br />
6.55 Christopher Fry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
<strong>The</strong> dark is light enough.<br />
Title <strong>of</strong> play (1954)<br />
I travel light; as light,<br />
That is, as a man can travel who will<br />
Still carry his body around because<br />
Of its sentimental value.<br />
<strong>The</strong> Lady's not for Burning (1949) act 1<br />
What after all<br />
Is a halo? It's only one more thing to keep clean.<br />
<strong>The</strong> Lady's not for Burning (1949) act 1<br />
What is <strong>of</strong>ficial<br />
Is incontestable. It undercuts<br />
<strong>The</strong> problematical world and sells us life<br />
At a discount.<br />
<strong>The</strong> Lady's not for Burning (1949) act 1<br />
Where in this small-talking world can I find<br />
A longitude with no platitude?<br />
<strong>The</strong> Lady's not for Burning (1949) act 3<br />
<strong>The</strong> moon is nothing<br />
But a circumambulating aphrodisiac<br />
Divinely subsidized to provoke the world<br />
Into a rising birth-rate.<br />
<strong>The</strong> Lady's not for Burning (1949) act 3<br />
I hear<br />
A gay modulating anguish, rather like music.<br />
<strong>The</strong> Lady's not for Burning (1949) act 3<br />
<strong>The</strong> Great Bear is looking so geometrical<br />
One would think that something or other could be proved.<br />
<strong>The</strong> Lady's not for Burning (1949) act 3<br />
<strong>The</strong> best<br />
Thing we can do is to make wherever we're lost in<br />
Look as much like home as we can.<br />
<strong>The</strong> Lady's not for Burning (1949) act 3<br />
Try thinking <strong>of</strong> love, or something.<br />
Amor vincit insomnia.<br />
A Sleep <strong>of</strong> Prisoners (1951) p. 37<br />
I hope<br />
I've done nothing so monosyllabic as to cheat,<br />
A spade is never so merely a spade as the word<br />
Spade would imply.<br />
Venus Observed (1950) act 2, sc. 1
I tell you,<br />
Miss, I knows an undesirable character<br />
When I see one; I've been one myself for years.<br />
Venus Observed (1950) act 2, sc. 1<br />
6.56 Roger Fry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1934<br />
Mr Fry...brought out a screen upon which there was a picture <strong>of</strong> a circus.<br />
<strong>The</strong> interviewer was puzzled by the long waists, bulging necks and short<br />
legs <strong>of</strong> the figures. "But how much wit there is in those figures," said Mr<br />
Fry. "Art is significant deformity."<br />
Virginia Woolf Roger Fry (1940) ch. 8<br />
Bach almost persuades me to be a Christian.<br />
In Virginia Woolf Roger Fry (1940) ch. 11<br />
6.57 R. Buckminster Fuller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1983<br />
Right now I am a passenger on space vehicle Earth zooming about the Sun at<br />
60,000 miles per hour somewhere in the solar system.<br />
In Gene Youngblood Expanded Cinema (1970) p. 24<br />
Either war is obsolete or men are.<br />
In New Yorker 8 Jan. 1966, p. 93<br />
Here is God's purpose-for<br />
God, to me, it seems,<br />
is a verb<br />
not a noun,<br />
proper or improper.<br />
No More Secondhand God (1963) p. 28 (poem written in 1940)<br />
Now there is one outstandingly important fact regarding Spaceship Earth,<br />
and that is that no instruction book came with it.<br />
Operating Manual for Spaceship Earth (1969) ch. 4<br />
6.58 Alfred Funke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-?<br />
Gott strafe England!<br />
God punish England!<br />
Schwert und Myrte (Sword and Myrtle, 1914) p. 78<br />
6.59 Sir David Maxwell Fyfe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1967<br />
See Lord Kilmuir (11.27)
6.60 Will Fyffe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1947<br />
I belong to Glasgow<br />
Dear Old Glasgow town!<br />
But what's the matter wi' Glasgow?<br />
For it's going round and round.<br />
I'm only a common old working chap,<br />
As anyone can see,<br />
But when I get a couple <strong>of</strong> drinks on a Saturday,<br />
Glasgow belongs to me.<br />
I Belong to Glasgow (1920 song)<br />
6.61 Rose Fyleman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1957<br />
<strong>The</strong>re are fairies at the bottom <strong>of</strong> our garden!<br />
Punch 23 May 1917 "Fairies"<br />
7.0 G<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
7.1 Zsa Zsa Gabor (Sari Gabor)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
You mean apart from my own?<br />
When asked how many husbands she had had, in K. Edwards I Wish I'd Said<br />
That (1976) p. 75<br />
A man in love is incomplete until he has married. <strong>The</strong>n he's finished.<br />
In Newsweek 28 Mar. 1960, p. 89<br />
I never hated a man enough to give him diamonds back.<br />
In Observer 25 Aug. 1957<br />
7.2 Norman Gaff<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1988<br />
A Mars a day helps you work, rest and play.<br />
Advertising slogan for Mars bar, circa 1960 onwards<br />
7.3 Hugh Gaitskell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1963<br />
I say this to you: we may lose the vote today [on retaining nuclear<br />
weapons] and the result may deal this Party a grave blow. It may not be<br />
possible to prevent it, but I think there are many <strong>of</strong> us who will not<br />
accept that this blow need be mortal, who will not believe that such an
end is inevitable. <strong>The</strong>re are some <strong>of</strong> us, Mr Chairman, who will fight and<br />
fight and fight again to save the Party we love. We will fight and fight<br />
and fight again to bring back sanity and honesty and dignity, so that our<br />
Party with its great past may retain its glory and its greatness.<br />
Speech at Labour Party Conference, 5 Oct. 1960, in Report <strong>of</strong> 59th Annual<br />
Conference p. 201<br />
It [a European federation] does mean, if this is the idea, the end <strong>of</strong><br />
Britain as an independent European state....It means the end <strong>of</strong> a thousand<br />
years <strong>of</strong> history.<br />
Speech at Labour Party Conference, 3 Oct. 1962, in Report <strong>of</strong> 61st Annual<br />
Conference p. 159<br />
7.4 J. K. Galbraith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-<br />
<strong>The</strong>se are the days when men <strong>of</strong> all social disciplines and all political<br />
faiths seek the comfortable and the accepted; when the man <strong>of</strong> controversy<br />
is looked upon as a disturbing influence; when originality is taken to be<br />
a mark <strong>of</strong> instability; and when, in minor modification <strong>of</strong> the scriptural<br />
parable, the bland lead the bland.<br />
Affluent Society (1958) ch. 1<br />
Perhaps the thing most evident <strong>of</strong> all is how new and varied become the<br />
problems we must ponder when we break the nexus with the work <strong>of</strong> Ricardo<br />
and face the economics <strong>of</strong> affluence <strong>of</strong> the world in which we live. It is<br />
easy to see why the conventional wisdom resists so stoutly such a change.<br />
It is a far, far better thing to have a firm anchor in nonsense than to<br />
put out on the troubled seas <strong>of</strong> thought.<br />
Affluent Society (1958) ch. 11<br />
In a community where public services have failed to keep abreast <strong>of</strong><br />
private consumption things are very different. Here, in an atmosphere <strong>of</strong><br />
private opulence and public squalor, the private goods have full sway.<br />
Affluent Society (1958) ch. 18. Cf. Sallust's Catiline 1ii. 22: Habemus<br />
publice egestatem, privatim opulentiam. We have public poverty and<br />
private opulence.<br />
Politics is not the art <strong>of</strong> the possible. It consists in choosing between<br />
the disastrous and the unpalatable.<br />
Letter to President Kennedy, 2 Mar. 1962, in Ambassador's Journal (1969)<br />
p. 312. Cf. R. A. Butler 43:1<br />
7.5 John Galsworthy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1933<br />
He [Jolyon] was afflicted by the thought that where Beauty was, nothing<br />
ever ran quite straight, which, no doubt, was why so many people looked on<br />
it as immoral.<br />
In Chancery (1920) pt. 1, ch. 13<br />
I s'pose Jolyon's told you something about the young man. From all I can<br />
learn, he's got no business, no income, and no connection worth speaking<br />
<strong>of</strong>; but then, I know nothing--nobody tells me anything.<br />
Man <strong>of</strong> Property (1906) pt. 1, ch. 1
7.6 Ray Galton and Alan Simpson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ray Galton 1930-<br />
Alan Simpson 1929-<br />
I came in here in all good faith to help my country. I don't mind giving<br />
a reasonable amount [<strong>of</strong> blood], but a pint...why that's very nearly an<br />
armful. I'm sorry. I'm not walking around with an empty arm for anybody.<br />
<strong>The</strong> Blood Donor (1961 television programme) in Hancock's Half Hour (1974)<br />
p. 113 (words spoken by Tony Hancock)<br />
7.7 Mohandas Karamchand Gandhi<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1948<br />
Recently I saw a film <strong>of</strong> Gandhi when he came to England in 1930. He<br />
disembarked in Southampton and on the gangway he was already overwhelmed<br />
by journalists asking questions. One <strong>of</strong> them asked, "Mr Gandhi, what do<br />
you think <strong>of</strong> modern civilization?" And Mr Gandhi said, "That would be a<br />
good idea."<br />
E. F. Schumacher Good Work (1979) ch. 2<br />
What difference does it make to the dead, the orphans and the homeless,<br />
whether the mad destruction is wrought under the name <strong>of</strong> totalitarianism<br />
or the holy name <strong>of</strong> liberty or democracy?<br />
Non-Violence in Peace and War (1942) vol. 1, ch. 142<br />
<strong>The</strong> moment the slave resolves that he will no longer be a slave, his<br />
fetters fall. He frees himself and shows the way to others. <strong>Free</strong>dom and<br />
slavery are mental states.<br />
Non-Violence in Peace and War (1949) vol. 2, ch. 5<br />
I wanted to avoid violence. Non-violence is the first article <strong>of</strong> my faith.<br />
It is also the last article <strong>of</strong> my creed.<br />
Speech at Shahi Bag, 18 Mar. 1922, in Young India 23 Mar. 1922<br />
7.8 Greta Garbo (Greta Lovisa Gustafsson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1990<br />
I want to be alone....I just want to be alone.<br />
Grand Hotel (1932 film; script by William A. Drake)<br />
I tank I go home.<br />
On being refused a pay rise by Louis B. Mayer, in Norman Zierold Moguls<br />
(1969) ch. 9<br />
7.9 Ed Gardner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1963<br />
Opera is when a guy gets stabbed in the back and, instead <strong>of</strong> bleeding, he<br />
sings.<br />
In Duffy's Tavern (1940s American radio programme)
7.10 John Nance Garner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1967<br />
<strong>The</strong> vice-presidency isn't worth a pitcher <strong>of</strong> warm piss.<br />
In O. C. Fisher Cactus Jack (1978) ch. 11<br />
7.11 Bamber Gascoigne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1935-<br />
Your starter for ten.<br />
Phrase <strong>of</strong>ten used in University Challenge (ITV quiz series, 1962-1987<br />
7.12 Noel Gay (Richard Moxon Armitage)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1954<br />
I'm leaning on a lamp-post at the corner <strong>of</strong> the street,<br />
In case a certain little lady comes by.<br />
Leaning on a Lamp-Post (1937 song; sung by George Formby in film Father<br />
Knew Best)<br />
7.13 Noel Gay and Ralph Butler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Noel Gay 1898-1954<br />
Run, rabbit, run, rabbit, run, run, run.<br />
Run, rabbit, run, rabbit, run, run, run.<br />
Bang, bang, bang, bang, goes the farmer's gun,<br />
Run, rabbit, run, rabbit, run, run, run.<br />
Run Rabbit Run! (1939 song)<br />
7.14 Sir Eric Geddes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1937<br />
<strong>The</strong> Germans, if this Government is returned, are going to pay every penny;<br />
they are going to be squeezed as a lemon is squeezed-- until the pips<br />
squeak. My only doubt is not whether we can squeeze hard enough, but<br />
whether there is enough juice.<br />
Speech at Cambridge, 10 Dec. 1918, in Cambridge Daily News 11 Dec. 1918<br />
7.15 Bob Geld<strong>of</strong><br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1954-<br />
Most people get into bands for three very simple rock and roll reasons: to<br />
get laid, to get fame, and to get rich.<br />
Melody Maker 27 Aug. 1977<br />
7.16 Bob Geld<strong>of</strong> and Midge Ure<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Bob Geld<strong>of</strong> 1954-<br />
Feed the world<br />
Feed the world.<br />
Feed the world<br />
Let them know it's Christmas time again.<br />
Do <strong>The</strong>y Know it's Christmas? (1984 song)<br />
7.17 King George V<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1936<br />
After I am dead, the boy [Edward VIII] will ruin himself in twelve months.<br />
In Keith Middlemas and John Barnes Baldwin (1969) ch. 34<br />
I said to your predecessor: "You know what they're all saying, no more<br />
coals to Newcastle, no more Hoares to Paris." <strong>The</strong> fellow didn't even<br />
laugh.<br />
Remark to Anthony Eden, 23 Dec. 1935, following Samuel Hoare's resignation<br />
as Foreign Secretary on 18 Dec. 1935, in Earl <strong>of</strong> Avon Facing the<br />
Dictators (1962) pt. 2, ch. 1<br />
I venture to allude to the impression which seemed generally to prevail<br />
among their brethren across the seas, that the Old Country must wake up if<br />
she intends to maintain her old position <strong>of</strong> pre-eminence in her Colonial<br />
trade against foreign competitors.<br />
Speech at Guildhall, 5 Dec. 1901, in Harold Nicolson King George V (1952)<br />
p. 73 (the speech was reprinted in 1911 with the title "Wake up, England")<br />
Bugger Bognor.<br />
Remark said to have been made either in 1929 when the King was informed<br />
that a deputation <strong>of</strong> leading citizens was asking that the town should be<br />
named Bognor Regis because <strong>of</strong> his convalescence there after a serious<br />
illness, or on his death-bed in 1936 when one <strong>of</strong> his doctors sought to<br />
soothe him with the remark "Cheer up, your Majesty, you will soon be at<br />
Bognor again." See Kenneth Rose King George V (1983) ch. 9<br />
<strong>The</strong> last time I talked to the King [George V] on the morning <strong>of</strong> his death,<br />
Monday 20th, he had <strong>The</strong> Times on his table in front <strong>of</strong> him opened at the<br />
"Imperial and Foreign" page and I think his remark to me, "How's the<br />
Empire?" was prompted by some para. he had read on this page.<br />
Letter from Lord Wigram, 31 Jan. 1936, in J. E. Wrench Ge<strong>of</strong>frey Dawson and<br />
Our Times (1955) ch. 28<br />
Gentlemen, I am so sorry for keeping you waiting like this. I am unable to<br />
concentrate.<br />
Words spoken on his death-bed, reported in memorandum by Lord Wigram,<br />
20 Jan. 1936, in History Today Dec. 1986<br />
I have many times asked myself whether there can be more potent advocates<br />
<strong>of</strong> peace upon earth through the years to come than this massed multitude<br />
<strong>of</strong> silent witnesses to the desolation <strong>of</strong> war.<br />
Message read at Terlincthun Cemetery, Boulogne, 13 May 1922, in <strong>The</strong> Times<br />
15 May 1922<br />
7.18 Daniel George (Daniel George Bunting)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
O <strong>Free</strong>dom, what liberties are taken in thy name!<br />
In Sagittarius and D. George Perpetual Pessimist (1963) p. 58<br />
7.19 George Gershwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1937<br />
See Ira Gershwin (7.20)<br />
7.20 Ira Gershwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1983<br />
A foggy day in London Town<br />
Had me low and had me down.<br />
I viewed the morning with alarm,<br />
<strong>The</strong> British Museum had lost its charm.<br />
How long, I wondered, could this thing last?<br />
But the age <strong>of</strong> miracles hadn't passed,<br />
For, suddenly, I saw you there<br />
And through foggy London town the sun was shining everywhere.<br />
A Foggy Day (1937 song; music by George Gershwin)<br />
I got rhythm,<br />
I got music,<br />
I got my man<br />
Who could ask for anything more?<br />
I Got Rhythm (1930 song; music by George Gershwin)<br />
Lady, be good!<br />
Title <strong>of</strong> musical (1924; music by George Gershwin)<br />
You like potato and I like po-tah-to,<br />
You like tomato and I like to-mah-to;<br />
Potato, po-tah-to, tomato, to-mah-to--<br />
Let's call the whole thing <strong>of</strong>f!<br />
Let's Call the Whole Thing Off (1937 song; music by George Gershwin)<br />
Holding hands at midnight<br />
'Neath a starry sky,<br />
Nice work if you can get it,<br />
And you can get it if you try.<br />
Nice Work If You Can Get It (1937 song; music by George Gershwin)<br />
7.21 Stella Gibbons<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1989<br />
Every year, in the fulness o' summer, when the sukebind hangs heavy from<br />
the wains...'tes the same. And when the spring comes her hour is upon her<br />
again. 'Tes the hand <strong>of</strong> Nature and we women cannot escape it.<br />
Cold Comfort Farm (1932) ch. 5<br />
When you were very small--so small that the lightest puff <strong>of</strong> breeze blew<br />
your little crinoline skirt over your head--you had seen something nasty
in the woodshed.<br />
Cold Comfort Farm (1932) ch. 10<br />
Mr Mybug, however, did ask Rennett to marry him. He said that, by god, D.<br />
H. Lawrence was right when he had said there must be a dumb, dark, dull,<br />
bitter belly-tension between a man and a woman, and how else could this be<br />
achieved save in the long monotony <strong>of</strong> marriage?<br />
Cold Comfort Farm (1932) ch. 20<br />
7.22 Wolcott Gibbs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1958<br />
Backward ran sentences until reeled the mind.<br />
New Yorker 28 Nov. 1936 "Time...Fortune...Life...Luce" (satirizing the<br />
style <strong>of</strong> Time magazine)<br />
Where it will all end, knows God!<br />
New Yorker 28 Nov. 1936 "Time...Fortune...Life...Luce" (satirizing the<br />
style <strong>of</strong> Time magazine)<br />
7.23 Kahlil Gibran<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1931<br />
Your children are not your children.<br />
<strong>The</strong>y are the sons and daughters <strong>of</strong> Life's longing for itself.<br />
<strong>The</strong>y came through you but not from you<br />
And though they are with you yet they belong not to you.<br />
You may give them your love but not your thoughts,<br />
For they have their own thoughts.<br />
You may house their bodies but not their souls,<br />
For their souls dwell in the house <strong>of</strong> tomorrow, which you cannot visit,<br />
not even in your dreams.<br />
You may strive to be like them, but seek not to make them like you,<br />
For life goes not backward nor tarries with yesterday.<br />
You are the bows from which your children as living arrows are sent<br />
forth.<br />
Prophet (1923) "On Children"<br />
Work is love made visible. And if you cannot work with love but only with<br />
distaste, it is better that you should leave your work and sit at the gate<br />
<strong>of</strong> the temple and take alms <strong>of</strong> those who work with joy.<br />
Prophet (1923) "On Work"<br />
An exaggeration is a truth that has lost its temper.<br />
Sand and Foam (1926) p. 59<br />
7.24 Wilfrid Wilson Gibson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1962<br />
But we, how shall we turn to little things<br />
And listen to the birds and winds and streams<br />
Made holy by their dreams,<br />
Nor feel the heart-break in the heart <strong>of</strong> things?<br />
Whin (1918) "Lament"
7.25 Andr‚ Gide<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1951<br />
M'est avis...que le pr<strong>of</strong>it n'est pas toujours ce qui mŠne l'homme; qu'il y<br />
a des actions d‚sint‚ress‚es....Par d‚sint‚ress‚ j'entends: gratuit. Et<br />
que le mal, ce que l'on appelle: le mal, peut ˆtre aussi gratuit que le<br />
bien.<br />
I believe...that pr<strong>of</strong>it is not always what motivates man; that there are<br />
disinterested actions....By disinterested I mean: gratuitous. And that<br />
evil acts, what people call evil, can be as gratuitous as good acts.<br />
Les Caves du Vatican (<strong>The</strong> Vatican Cellars, 1914) bk. 4, ch. 7<br />
Hugo--h‚las!<br />
Hugo--alas!<br />
Answer when he was asked who was the greatest 19th-century poet, in Claude<br />
Martin La Maturit‚ d'Andr‚ Gide (1977) p. 502<br />
7.26 Eric Gill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1940<br />
That state is a state <strong>of</strong> Slavery in which a man does what he likes to do<br />
in his spare time and in his working time that which is required <strong>of</strong> him.<br />
Art-nonsense and Other Essays (1929) "Slavery and <strong>Free</strong>dom"<br />
7.27 Terry Gilliam<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1940-<br />
See Graham Chapman (3.47)<br />
7.28 Penelope Gilliatt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
It would be unfair to suggest that one <strong>of</strong> the most characteristic sounds<br />
<strong>of</strong> the English Sunday is the sound <strong>of</strong> Harold Hobson barking up the wrong<br />
tree.<br />
Encore Nov.-Dec. 1959<br />
Sunday, bloody Sunday.<br />
Title <strong>of</strong> film (1971)<br />
7.29 Allen Ginsberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
What if someone gave a war & Nobody came?<br />
Life would ring the bells <strong>of</strong> Ecstasy and Forever be Itself again.<br />
Fall <strong>of</strong> America (1972) "Graffiti"
I saw the best minds <strong>of</strong> my generation destroyed by madness, starving<br />
hysterical naked,<br />
dragging themselves through the negro streets at dawn looking for an<br />
angry fix,<br />
angelheaded hipsters burning for the ancient heavenly connection to the<br />
starry dynamo in the machinery <strong>of</strong> the night.<br />
Howl (1956) p. 9<br />
7.30 George Gipp<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1920<br />
"Some time, Rock," he said, "when the team's up against it, when things<br />
are wrong and the breaks are beating the boys--tell them to go in there<br />
with all they've got and win just one for the Gipper."<br />
Knut Rockne "Gipp the Great" in Collier's 22 Nov. 1930<br />
7.31 Jean Giraudoux<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1944<br />
Nous savons tous ici que le droit est la plus puissante des ‚coles de<br />
l'imagination. Jamais poŠte n'a interpr‚t‚ la nature aussi librement qu'un<br />
juriste la r‚alit‚.<br />
We all know here that the law is the most powerful <strong>of</strong> schools for the<br />
imagination. No poet ever interpreted nature as freely as a lawyer<br />
interprets the truth.<br />
La Guerre de Troie n'aura pas lieu (<strong>The</strong> Trojan War Will Not Take Place,<br />
1935) act. 2, sc. 5<br />
7.32 George Glass<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1984<br />
An actor is a kind <strong>of</strong> a guy who if you ain't talking about him ain't<br />
listening.<br />
In Bob Thomas Brando (1973) ch. 8 (said to be <strong>of</strong>ten quoted by Marlon<br />
Brando, who is cited as quoting it in Observer 1 Jan. 1956)<br />
7.33 John A. Glover-Kind<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1918<br />
I do like to be beside the seaside.<br />
Title <strong>of</strong> song (1909)<br />
7.34 Jean-Luc Godard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
La photographie, c'est la v‚rit‚. Le cin‚ma: la v‚rit‚ vingt-quatre fois<br />
par seconde.<br />
Photography is truth. <strong>The</strong> cinema is truth 24 times per second.
Le Petit Soldat (1960 film), in Lettres Fran‡aises 31 Jan. 1963<br />
"Movies should have a beginning, a middle and an end," harrumphed French<br />
Film Maker Georges Franju at a symposium some years back. "Certainly,"<br />
replied Jean-Luc Godard. "But not necessarily in that order."<br />
Time 14 Sept. 1981<br />
7.35 A. D. Godley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1925<br />
What is this that roareth thus?<br />
Can it be a Motor Bus?<br />
Yes, the smell and hideous hum<br />
Indicat Motorem Bum!...<br />
How shall wretches live like us<br />
Cincti Bis Motoribus?<br />
Domine, defende nos<br />
Contra hos Motores Bos!<br />
Letter to C. R. L. Fletcher, 10 Jan 1914, in Reliquiae (1926) vol. 1,<br />
p. 292<br />
7.36 Joseph Goebbels<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1945<br />
Ohne Butter werden wir fertig, aber nicht beispielsweise ohne Kanonen.<br />
Wenn wir einmal berfallen werden, dann k”nnen wir uns nicht mit Butter,<br />
sondern nur mit Kanonen verteidigen.<br />
We can manage without butter but not, for example, without guns. If we<br />
are attacked we can only defend ourselves with arms not with butter.<br />
Speech in Berlin, 17 Jan. 1936, in Deutsche Allgemeine Zeitung 18 Jan.<br />
1936. Cf. Hermann Goering<br />
7.37 Hermann Goering<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1946<br />
We have no butter, meine Volksgenossen [my countrymen], but I ask<br />
you--would you rather have butter or guns? Shall we import lard or metal<br />
ores? Let me tell you--preparedness makes us powerful. Butter merely makes<br />
us fat.<br />
Speech at Hamburg, 1936, in W. Frischauer Goering (1951) ch. 10<br />
7.38 Ivan G<strong>of</strong>f and Ben Roberts (Benjamin Eisenberg)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ivan G<strong>of</strong>f 1910-<br />
Ben Roberts 1916-1984<br />
Anyway, Ma, I made it....Top <strong>of</strong> the world!<br />
White Heat (1949 film; last lines--spoken by James Cagney)<br />
7.39 Isaac Goldberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1887-1938<br />
Diplomacy is to do and say<br />
<strong>The</strong> nastiest thing in the nicest way.<br />
Reflex Oct. 1927, p. 77<br />
7.40 William Golding<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
Lord <strong>of</strong> the flies.<br />
Title <strong>of</strong> novel (1954)<br />
7.41 Emma Goldman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1940<br />
Anarchism, then, really, stands for the liberation <strong>of</strong> the human mind from<br />
the dominion <strong>of</strong> religion; the liberation <strong>of</strong> the human body from the<br />
dominion <strong>of</strong> property; liberation from the shackles and restraints <strong>of</strong><br />
government.<br />
Anarchism and Other Essays (1910) p. 68<br />
7.42 Barry Goldwater<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
I would remind you that extremism in the defence <strong>of</strong> liberty is no vice!<br />
And let me remind you also that moderation in the pursuit <strong>of</strong> justice is no<br />
virtue!<br />
Speech accepting the presidential nomination, 16 July 1964, in New York<br />
Times 17 July 1964, p. 1<br />
7.43 Sam Goldwyn (Samuel Goldfish)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1974<br />
Pictures are for entertainment, messages should be delivered by Western<br />
Union.<br />
In Arthur Marx Goldwyn (1976) ch. 15<br />
Gentlemen, include me out.<br />
Said on resigning from the Motion Picture Producers and Distributors <strong>of</strong><br />
America, Oct. 1933, in Michael <strong>Free</strong>dland <strong>The</strong> Goldwyn Touch (1986) ch. 10<br />
A verbal contract isn't worth the paper it is written on.<br />
In Alva Johnston <strong>The</strong> Great Goldwyn (1937) ch. 1<br />
"I can answer you in two words, 'im-possible'" is almost the cornerstone<br />
<strong>of</strong> the Goldwyn legend, but Sam did not say it. It was printed late in 1925<br />
in a humorous magazine and credited to an anonymous Potash or Perlmutter.<br />
Alva Johnston <strong>The</strong> Great Goldwyn (1937) ch. 1<br />
That's the way with these directors, they're always biting the hand that<br />
lays the golden egg.
In Alva Johnston <strong>The</strong> Great Goldwyn (1937) ch. 1<br />
Any man who goes to a psychiatrist should have his head examined.<br />
In Norman Zierold Moguls (1969) ch. 3<br />
It is doubtful that Goldwyn made the remark attributed to him by several<br />
authors: "<strong>The</strong> reason so many people showed up at his [Louis B. Mayer's]<br />
funeral was because they wanted to make sure he was dead." In Hollywood<br />
one hears that sentiment attributed to other moguls at other funerals.<br />
It's a good story, and the temptation to use it is almost irresistible.<br />
Goldwyn, however, denies making the remark. He did not go to the funeral,<br />
was in fact not invited, but his son who was with him on that day says he<br />
was deeply moved despite the fact that he never liked Mayer.<br />
Norman Zierold Moguls (1969) ch. 3<br />
Why should people go out and pay to see bad movies when they can stay at<br />
home and see bad television for nothing?<br />
In Observer 9 Sept. 1956<br />
7.44 Paul Goodman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1972<br />
All men are creative but few are artists.<br />
Growing up Absurd (1961) ch. 9<br />
7.45 Mack Gordon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1959<br />
Pardon me boy is that the Chattanooga Choo-choo,<br />
Track twenty nine,<br />
Boy you can gimme a shine.<br />
I can afford to board a Chattanooga Choo-choo,<br />
I've got my fare and just a trifle to spare.<br />
You leave the Pennsylvania station 'bout a quarter to four,<br />
Read a magazine and then you're in Baltimore,<br />
Dinner in the diner nothing could be finer<br />
Than to have your ham'n eggs in Carolina.<br />
Chattanooga Choo-choo (1941 song; music by Harry Warren)<br />
7.46 Stuart Gorrell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1963<br />
Georgia, Georgia, no peace I find,<br />
Just an old sweet song keeps Georgia on my mind.<br />
Georgia on my Mind (1930 song; music by Hoagy Carmichael)<br />
7.47 Sir Edmund Gosse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1849-1928<br />
At a lunch at the House <strong>of</strong> Lords [circa 1906] given by Edmund Gosse...the<br />
woolly-bearded poet, Sturge Moore...entered late. Gosse, a naughty host,<br />
whispered in my ear, "A sheep in sheep's clothing."
F. Greenslet Under the Bridge (1943) ch. 10. Cf. Winston Churchill 56:3<br />
7.48 Lord Gowrie (2nd Earl <strong>of</strong> Gowrie)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
[œ1,500 a month] is not what people need for living in central London, and<br />
which I am more or less obliged to do.<br />
In BBC radio interview, 4 Sept. 1985, in <strong>The</strong> Times 5 Sept. 1985 (giving<br />
reason for resigning as Minister for the Arts)<br />
7.49 Lew Grade (Baron Grade)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
All my shows are great. Some <strong>of</strong> them are bad. But they are all great.<br />
In Observer 14 Sept. 1975<br />
7.50 D. M. Graham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
That this House will in no circumstances fight for its King and Country.<br />
Motion worded by Graham (the then-Librarian) for debate at the <strong>Oxford</strong><br />
Union, 9 Feb. 1933, and passed by 275 votes to 153<br />
7.51 Harry Graham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1936<br />
Weep not for little L‚onie<br />
Abducted by a French Marquis!<br />
Though loss <strong>of</strong> honour was a wrench<br />
Just think how it's improved her French.<br />
More Ruthless Rhymes for Heartless Homes (1930) "Compensation"<br />
Aunt Jane observed, the second time<br />
She tumbled <strong>of</strong>f a bus,<br />
"<strong>The</strong> step is short from the Sublime<br />
To the Ridiculous."<br />
Ruthless Rhymes for Heartless Homes (1899) "Equanimity"<br />
Billy, in one <strong>of</strong> his nice new sashes,<br />
Fell in the fire and was burnt to ashes;<br />
Now, although the room grows chilly,<br />
I haven't the heart to poke poor Billy.<br />
Ruthless Rhymes for Heartless Homes (1899) "Tender-Heartedness"<br />
O'er the rugged mountain's brow<br />
Clara threw the twins she nursed,<br />
And remarked, "I wonder now<br />
Which will reach the bottom first?"<br />
Ruthless Rhymes for Heartless Homes (1899) "Calculating Clara"<br />
"<strong>The</strong>re's been an accident," they said,<br />
"Your servant's cut in half; he's dead!"
"Indeed!" said Mr Jones, "and please,<br />
Send me the half that's got my keys."<br />
Ruthless Rhymes for Heartless Homes (1899) "Mr Jones" (poem attributed to<br />
"G.W.")<br />
7.52 Kenneth Grahame<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1932<br />
<strong>The</strong> curate faced the laurels--hesitatingly. But Aunt Maria flung herself<br />
on him. "O Mr Hodgitts!" I heard her cry, "you are brave! for my sake do<br />
not be rash!" He was not rash.<br />
<strong>The</strong> Golden Age (1895) "<strong>The</strong> Burglars"<br />
Monkeys, who very sensibly refrain from speech, lest they should be set to<br />
earn their livings.<br />
<strong>The</strong> Golden Age (1895) "Lusisti Satis"<br />
Believe me, my young friend, there is nothing--absolutely nothing--half so<br />
much worth doing as simply messing about in boats.<br />
Wind in the Willows (1908) ch. 1<br />
"<strong>The</strong>re's cold chicken inside it," replied the Rat briefly;<br />
"coldtonguecoldhamcoldbeefpickledgerkinssaladfrenchrollscresssandwidgespottedmeatgingerbeerlemonadesodawater--"<br />
Wind in the Willows (1908) ch. 1<br />
"Glorious, stirring sight!" murmured Toad, never <strong>of</strong>fering to move. "<strong>The</strong><br />
poetry <strong>of</strong> motion! <strong>The</strong> real way to travel! <strong>The</strong> only way to travel! Here<br />
today--in next week tomorrow! Villages skipped, towns and cities<br />
jumped--always somebody else's horizon! O bliss! O poop-poop! O my! O my!"<br />
Wind in the Willows (1908) ch. 2<br />
<strong>The</strong> clever men at <strong>Oxford</strong><br />
Know all that there is to be knowed.<br />
But they none <strong>of</strong> them know one half as much<br />
As intelligent Mr Toad!<br />
Wind in the Willows (1908) ch. 10<br />
7.53 Bernie Grant<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1944-<br />
<strong>The</strong> police were to blame for what happened on Sunday night and what they<br />
got was a bloody good hiding.<br />
Speech as leader <strong>of</strong> Haringey Council outside Tottenham Town Hall, 8 Oct.<br />
1985, in <strong>The</strong> Times 9 Oct. 1985<br />
7.54 Ethel Watts-Mumford Grant<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1940<br />
See Ethel Watts Mumford (13.139)<br />
7.55 Robert Graves<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1895-1985<br />
"What did the mayor do?"<br />
"I was coming to that."<br />
Collected Poems (1938) "Welsh Incident"<br />
Goodbye to all that.<br />
Title <strong>of</strong> autobiography (1929)<br />
If there's no money in poetry, neither is there poetry in money.<br />
Speech at London School <strong>of</strong> Economics, 6 Dec. 1963, in Mammon and Black<br />
Goddess (1965) p. 3<br />
His eyes are quickened so with grief,<br />
He can watch a grass or leaf<br />
Every instant grow; he can<br />
Clearly through a flint wall see,<br />
Or watch the startled spirit flee<br />
From the throat <strong>of</strong> a dead man.<br />
Pier-Glass (1921) "Lost Love"<br />
As you are woman, so be lovely:<br />
As you are lovely, so be various,<br />
Merciful as constant, constant as various,<br />
So be mine, as I yours for ever.<br />
Poems (1927) "Pygmalion to Galatea"<br />
Children are dumb to say how hot the day is,<br />
How hot the scent is <strong>of</strong> the summer rose.<br />
Poems (1927) "Cool Web"<br />
Counting the beats,<br />
Counting the slow heart beats,<br />
<strong>The</strong> bleeding to death <strong>of</strong> time in slow heart beats,<br />
Wakeful they lie.<br />
Poems and Satires (1951) "Counting the Beats"<br />
Far away is close at hand<br />
Close joined is far away,<br />
Love shall come at your command<br />
Yet will not stay.<br />
Whipperginny (1923) "Song <strong>of</strong> Contrariety"<br />
7.56 Hannah Green (Joanne Greenberg)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I never promised you a rose garden.<br />
Title <strong>of</strong> novel (1964)<br />
7.57 Graham Greene<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-<br />
Catholics and Communists have committed great crimes, but at least they<br />
have not stood aside, like an established society, and been indifferent.<br />
I would rather have blood on my hands than water like Pilate.<br />
Comedians (1966) pt. 3, ch. 4
Against the beautiful and the clever and the successful, one can wage<br />
a pitiless war, but not against the unattractive.<br />
Heart <strong>of</strong> the Matter (1948) bk. 1, pt. 1, ch. 2<br />
Despair is the price one pays for setting oneself an impossible aim.<br />
Heart <strong>of</strong> the Matter (1948) bk. 1, pt. 1, ch. 2<br />
He [Harris] felt the loyalty we all feel to unhappiness--the sense that<br />
that is where we really belong.<br />
Heart <strong>of</strong> the Matter (1948) bk. 2, pt. 2, ch. 1<br />
Any victim demands allegiance.<br />
Heart <strong>of</strong> the Matter (1948) bk. 3, pt. 1, ch. 1<br />
His hilarity was like a scream from a crevasse.<br />
Heart <strong>of</strong> the Matter (1948) bk. 3, pt. 1, ch. 1<br />
Our man in Havana.<br />
Title <strong>of</strong> novel (1958)<br />
<strong>The</strong>re is always one moment in childhood when the door opens and lets the<br />
future in.<br />
<strong>The</strong> Power and the Glory (1940) pt. 1, ch. 1<br />
7.58 Oswald Greene<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Greene and Bevan's research largely consisted <strong>of</strong> visiting pubs and asking<br />
people why they drank Guinness. Again and again they received<br />
the...reply--they drank Guinness because it was good for them. So<br />
universal was this idea, Greene decided he need look no further for<br />
a copyline. "Guinness" the advertisements would simply say "is good for<br />
you."<br />
Brian Sibley Book <strong>of</strong> Guinness Advertising (1985) ch. 4<br />
7.59 Germaine Greer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
Human beings have an inalienable right to invent themselves; when that<br />
right is pre-empted it is called brain-washing.<br />
<strong>The</strong> Times 1 Feb. 1986<br />
7.60 Hubert Gregg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
Maybe it's because I'm a Londoner<br />
That I love London so,<br />
Maybe it's because I'm a Londoner--<br />
That I think <strong>of</strong> her--Wherever I go.<br />
I get a funny feeling inside <strong>of</strong> me--<br />
Just walking up and down,--<br />
Maybe it's because I'm a Londoner<br />
That I love London Town.<br />
Maybe It's Because I'm a Londoner (1947 song)
7.61 Joyce Grenfell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1979<br />
George--don't do that.<br />
Recurring line in monologues about a nursery school, from the 1950s, in<br />
George--Don't Do That (1977) p. 24<br />
Stately as a galleon, I sail across the floor,<br />
Doing the Military Two-step, as in the days <strong>of</strong> yore.<br />
Stately as a Galleon (1978) p. 31<br />
7.62 Julian Grenfell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1915<br />
<strong>The</strong> naked earth is warm with Spring,<br />
And with green grass and bursting trees<br />
Leans to the sun's kiss glorying,<br />
And quivers in the sunny breeze;<br />
And Life is Colour and Warmth and Light<br />
And a striving evermore for these;<br />
And he is dead, who will not fight;<br />
And who dies fighting has increase.<br />
<strong>The</strong> fighting man shall from the sun<br />
Take warmth, and life from the glowing earth.<br />
Speed with the light-foot winds to run,<br />
And with the trees to newer birth.<br />
<strong>The</strong> Times 28 May 1915 "Into Battle"<br />
7.63 Clifford Grey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1941<br />
If you were the only girl in the world<br />
And I were the only boy.<br />
If You Were the only Girl in the World (song from musical <strong>The</strong> Bing Boys<br />
(1916); music by Nat Ayer)<br />
7.64 Sir Edward Grey (Viscount Grey <strong>of</strong> Fallodon)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1933<br />
A friend came to see me on one <strong>of</strong> the evenings <strong>of</strong> the last week--he thinks<br />
it was on Monday August 3 [1914]. We were standing at a window <strong>of</strong> my room<br />
in the Foreign Office. It was getting dusk, and the lamps were being lit<br />
in the space below on which we were looking. My friend recalls that<br />
I remarked on this with the words: "<strong>The</strong> lamps are going out all over<br />
Europe; we shall not see them lit again in our lifetime."<br />
25 Years (1925) vol. 2, ch. 18<br />
7.65 Mervyn Griffith-Jones<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1909-1979<br />
You may think that one <strong>of</strong> the ways in which you can test this book [Lady<br />
Chatterley's Lover by D. H. Lawrence], and test it from the most liberal<br />
outlook, is to ask yourselves the question when you have read it through:<br />
"Would you approve <strong>of</strong> your young sons and daughters--because girls can<br />
read as well as boys--reading this book?" Is it a book you would have<br />
lying around in your own house? Is it a book you would even wish your wife<br />
or your servants to read?<br />
Speech for the prosecution at the Central Criminal Court, Old Bailey,<br />
20 Oct. 1960, in <strong>The</strong> Times 21 Oct. 1960<br />
7.66 Leon Griffiths<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
'Er indoors.<br />
Used in ITV television series Minder (1979 onwards) by Arthur Daley<br />
(played by George Cole) to refer to his wife<br />
7.67 Jo Grimond (Baron Grimond)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
In bygone days, commanders were taught that when in doubt, they should<br />
march their troops towards the sound <strong>of</strong> gunfire. I intend to march my<br />
troops towards the sound <strong>of</strong> gunfire.<br />
Speech at Liberal Party Annual Assembly, 14 Sept. 1963, in Guardian<br />
16 Sept. 1963<br />
7.68 Philip Guedalla<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1944<br />
Any stigma, as the old saying is, will serve to beat a dogma.<br />
Masters and Men (1923) "Ministers <strong>of</strong> State"<br />
History repeats itself. Historians repeat each other.<br />
Supers and Supermen (1920) "Some Historians"<br />
<strong>The</strong> cheerful clatter <strong>of</strong> Sir James Barrie's cans as he went round with the<br />
milk <strong>of</strong> human kindness.<br />
Supers and Supermen (1920) "Some Critics"<br />
<strong>The</strong> work <strong>of</strong> Henry James has always seemed divisible by a simple dynastic<br />
arrangement into three reigns: James I, James II, and the Old Pretender.<br />
Supers and Supermen (1920) "Some Critics"<br />
7.69 R. Guidry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See you later, alligator,<br />
After 'while, crocodile;<br />
Can't you see you're in my way, now,<br />
Don't you know you cramp my style?<br />
See You Later Alligator (1956 song)
7.70 Texas Guinan (Mary Louise Cecilia Guinan)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1933<br />
Fifty million Frenchmen can't be wrong.<br />
In New York World-Telegram 21 Mar. 1931, p. 25 (asserts that Guinan used<br />
the phrase at her night club at least six or seven years previously. <strong>The</strong><br />
saying is also attributed to Jack Osterman and Mae West; it was the title<br />
<strong>of</strong> a 1927 song (see Billy Rose and Willie Raskin) and a film <strong>of</strong> 1931. <strong>The</strong><br />
latter was inspired by Cole Porter's 1929 musical Fifty Million Frenchmen)<br />
. Cf. Billy Rose and Willie Raskin<br />
7.71 Nubar Gulbenkian<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1972<br />
<strong>The</strong> best number for a dinner party is two--myself and a dam' good head<br />
waiter.<br />
In Daily Telegraph 14 Jan. 1965<br />
7.72 Thom Gunn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
You know I know you know I know you know.<br />
Fighting Terms (1954) "Carnal Knowledge"<br />
7.73 Dorothy Frances Gurney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1932<br />
<strong>The</strong> kiss <strong>of</strong> the sun for pardon,<br />
<strong>The</strong> song <strong>of</strong> the birds for mirth,<br />
One is nearer God's Heart in a garden<br />
Than anywhere else on earth.<br />
Poems (1913) "God's Garden"<br />
7.74 Woody Guthrie (Woodrow Wilson Guthrie)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-1967<br />
This land is your land, this land is my land,<br />
From California to the New York Island.<br />
From the redwood forest to the Gulf Stream waters<br />
This land was made for you and me.<br />
This Land is Your Land (1956 song)<br />
8.0 H<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
8.1 Earl Haig<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1861-1928<br />
D. [the 17th Earl <strong>of</strong> Derby] is a very weak-minded fellow I am afraid, and,<br />
like the feather pillow, bears the marks <strong>of</strong> the last person who has sat on<br />
him! I hear he is called in London "genial Judas"!<br />
Letter to Lady Haig, 14 Jan. 1918, in R. Blake Private Papers <strong>of</strong> Douglas<br />
Haig (1952) ch. 16<br />
Every position must be held to the last man: there must be no retirement.<br />
With our backs to the wall, and believing in the justice <strong>of</strong> our cause,<br />
each one <strong>of</strong> us must fight on to the end. <strong>The</strong> safety <strong>of</strong> our Homes and the<br />
<strong>Free</strong>dom <strong>of</strong> mankind alike depend upon the conduct <strong>of</strong> each one <strong>of</strong> us at this<br />
critical moment.<br />
Order to British troops, 12 Apr. 1918, in A. Duff Cooper Haig (1936)<br />
vol. 2, ch. 23<br />
8.2 Lord Hailsham (Baron Hailsham, Quintin Hogg)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
A great party is not to be brought down because <strong>of</strong> a scandal by a woman <strong>of</strong><br />
easy virtue and a proved liar.<br />
In BBC television interview on the Pr<strong>of</strong>umo affair, 13 June 1963, in <strong>The</strong><br />
Times 14 June 1963<br />
If the British public falls for this [the programme <strong>of</strong> the Labour party],<br />
I think it will be stark, raving bonkers.<br />
In press conference at Conservative Central Office, 12 Oct. 1964, in <strong>The</strong><br />
Times 13 Oct. 1964<br />
8.3 J. B. S. Haldane<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1964<br />
Now, my own suspicion is that the universe is not only queerer than we<br />
suppose, but queerer than we can suppose. I have read and heard many<br />
attempts at a systematic account <strong>of</strong> it, from materialism and theosophy to<br />
the Christian system or that <strong>of</strong> Kant, and I have always felt that they<br />
were much too simple. I suspect that there are more things in heaven and<br />
earth than are dreamed <strong>of</strong>, or can be dreamed <strong>of</strong>, in any philosophy. That<br />
is the reason why I have no philosophy myself, and must be my excuse for<br />
dreaming.<br />
Possible Worlds and Other Essays (1927) "Possible Worlds"<br />
From the fact that there are 400,000 species <strong>of</strong> beetles on this planet,<br />
but only 8,000 species <strong>of</strong> mammals, he [Haldane] concluded that the<br />
Creator, if He exists, has a special preference for beetles, and so we<br />
might be more likely to meet them than any other type <strong>of</strong> animal on<br />
a planet which would support life.<br />
Report <strong>of</strong> lecture, 7 Apr. 1951, cited in Journal <strong>of</strong> the British<br />
Interplanetary Society (1951) vol. 10, p. 156<br />
8.4 H. R. Haldeman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Once the toothpaste is out <strong>of</strong> the tube, it is awfully hard to get it back
in.<br />
Comment to John Wesley Dean on Watergate affair, 8 Apr. 1973, in Hearings<br />
Before the Select Committee on Presidential Campaign Activities <strong>of</strong> US<br />
Senate: Watergate and Related Activities (1973) vol. 4, p. 1399<br />
8.5 Sir William Haley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-<br />
It is a moral issue.<br />
Heading <strong>of</strong> leading article on the Pr<strong>of</strong>umo affair, in <strong>The</strong> Times 11 June<br />
1963<br />
8.6 Henry Hall<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1989<br />
This is Henry Hall speaking, and tonight is my guest night.<br />
Catch-phrase on BBC Radio's Guest Night from 1934 (see Henry Hall's Here's<br />
to the Next Time (1955) ch. 11)<br />
8.7 Sir Peter Hall<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
Sir Peter [Hall] has always maintained that, although nobody appeared to<br />
want a National <strong>The</strong>atre when it was first promulgated, the public has<br />
consistently supported it with cash at the box <strong>of</strong>fice--with "bottoms on<br />
seats" to use his own earthy phrase.<br />
Spectator 10 May 1980 (the phrase is <strong>of</strong>ten "bums on seats")<br />
8.8 Margaret Halsey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-<br />
Englishwomen's shoes look as if they had been made by someone who had<br />
<strong>of</strong>ten heard shoes described but had never seen any.<br />
With Malice Toward Some (1938) pt. 2, p. 107<br />
Towards people with whom they disagree the English gentry, or at any rate<br />
that small cross section <strong>of</strong> them which I have seen, are tranquilly<br />
good-natured. It is not comme il faut to establish the supremacy <strong>of</strong> an<br />
idea by smashing in the faces <strong>of</strong> all the people who try to contradict it.<br />
<strong>The</strong> English never smash in a face. <strong>The</strong>y merely refrain from asking it to<br />
dinner.<br />
With Malice Toward Some (1938) pt. 3, p. 208<br />
8.9 Oscar Hammerstein II<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1960<br />
Climb ev'ry mountain, ford ev'ry stream<br />
Follow ev'ry rainbow, till you find your dream!<br />
Climb Ev'ry Mountain (1959 song; music by Richard Rodgers)
June is bustin' out all over.<br />
Title <strong>of</strong> song (1945; music by Richard Rodgers)<br />
<strong>The</strong> last time I saw Paris<br />
Her heart was warm and gay,<br />
I heard the laughter <strong>of</strong> her heart in ev'ry street caf‚.<br />
<strong>The</strong> Last Time I saw Paris (1940 song; music by Jerome Kern)<br />
<strong>The</strong> corn is as high as an elephant's eye,<br />
An' it looks like it's climbin' clear up to the sky.<br />
Oh, What a Beautiful Mornin' (1943 song; music by Richard Rodgers)<br />
Oh, what a beautiful mornin',<br />
Oh, what a beautiful day!<br />
I got a beautiful feelin'<br />
Ev'rything's goin' my way.<br />
Oh, What a Beautiful Mornin' (1943 song; music by Richard Rodgers)<br />
Ol' man river, dat ol' man river,<br />
He must know sumpin', but don't say nothin',<br />
He just keeps rollin',<br />
He keeps on rollin' along.<br />
Ol' Man River (1927 song; music by Jerome Kern)<br />
Some enchanted evening,<br />
You may see a stranger,<br />
You may see a stranger,<br />
Across a crowded room.<br />
Some Enchanted Evening (1949 song; music by Richard Rodgers)<br />
<strong>The</strong> hills are alive with the sound <strong>of</strong> music,<br />
With songs they have sung for a thousand years.<br />
<strong>The</strong> hills fill my heart with the sound <strong>of</strong> music,<br />
My heart wants to sing ev'ry song it hears.<br />
<strong>The</strong> Sound <strong>of</strong> Music (1959 song; music by Richard Rodgers)<br />
<strong>The</strong>re is nothin' like a dame.<br />
Title <strong>of</strong> song (1949; music by Richard Rodgers)<br />
You'll never walk alone.<br />
Title <strong>of</strong> song (1945; music by Richard Rodgers)<br />
8.10 Christopher Hampton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Masturbation is the thinking man's television.<br />
Philanthropist (1970) act. 1, sc. 3<br />
If I had to give a definition <strong>of</strong> capitalism I would say: the process<br />
whereby American girls turn into American women.<br />
Savages (1974) sc. 16<br />
8.11 Learned Hand<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1961<br />
A self-made man may prefer a self-made name.
In Bosley Crowther Lion's Share (1957) ch. 7 (referring to Samuel Goldfish<br />
changing his name to Samuel Goldwyn)<br />
8.12 Minnie Hanff<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1942<br />
High o'er the fence leaps Sunny Jim<br />
"Force" is the food that raises him.<br />
Advertising slogan (1903)<br />
8.13 Brian Hanrahan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1949-<br />
I'm not allowed to say how many planes joined the raid [on Port Stanley in<br />
the Falkland Islands] but I counted them all out and I counted them all<br />
back.<br />
Report broadcast by BBC, 1 May 1982, in Battle for the Falklands (1982)<br />
p. 21<br />
8.14 Otto Harbach<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1963<br />
When a lovely flame dies,<br />
Smoke gets in your eyes.<br />
Smoke Gets in your Eyes (1933 song; music by Jerome Kern)<br />
8.15 E. Y. 'Yip' Harburg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1981<br />
Once I built a railroad. Now it's done--<br />
Brother can you spare a dime?<br />
Brother Can You Spare a Dime? (1932 song; music by Jay Gorney)<br />
Somewhere over the rainbow<br />
Way up high,<br />
<strong>The</strong>re's a land that I heard <strong>of</strong><br />
Once in a lullaby.<br />
Over the Rainbow (1939 song; music by Harold Arlen)<br />
When I'm not near the girl I love,<br />
I love the girl I'm near.<br />
When I'm Not Near the Girl I Love (1947 song; music by Burton Lane)<br />
8.16 Gilbert Harding<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1960<br />
Before he [Gilbert Harding] could go to New York he had to get a US visa<br />
at the American consulate in Toronto. He was called upon to fill in a long<br />
form with many questions, including "Is it your intention to overthrow the<br />
Government <strong>of</strong> the United States by force?" By the time Harding got to that
one he was so irritated that he answered: "Sole purpose <strong>of</strong> visit."<br />
W. Reyburn Gilbert Harding (1978) ch. 2<br />
If, sir, I possessed, as you suggest, the power <strong>of</strong> conveying unlimited<br />
sexual attraction through the potency <strong>of</strong> my voice, I would not be reduced<br />
to accepting a miserable pittance from the BBC for interviewing a faded<br />
female in a damp basement.<br />
In S. Grenfell Gilbert Harding by his Friends (1961) p. 118 (reply to Mae<br />
West's manager who asked "Can't you sound a bit more sexy when you<br />
interview her?")<br />
8.17 Warren G. Harding<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1923<br />
America's present need is not heroics, but healing; not nostrums but<br />
normalcy; not revolution, but restoration.<br />
Speech at Boston, 14 May 1920, in Frederick E. Schortemeier Rededicating<br />
America (1920) ch. 17<br />
8.18 Godfrey Harold Hardy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1947<br />
Beauty is the first test: there is no permanent place in the world for<br />
ugly mathematics.<br />
A Mathematician's Apology (1940) p. 25<br />
8.19 Thomas Hardy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1840-1928<br />
A local thing called Christianity.<br />
Dynasts (1904) pt. 1, act 1, sc. 6<br />
My argument is that War makes rattling good history; but Peace is poor<br />
reading.<br />
Dynasts (1904) pt. 1, act 2, sc. 5<br />
A lover without indiscretion is no lover at all.<br />
Hand <strong>of</strong> Ethelberta (1876) ch. 20<br />
A piece <strong>of</strong> paper was found upon the floor, on which was written, in the<br />
boy's hand, with the bit <strong>of</strong> lead pencil that he carried: "Done because we<br />
are too menny."<br />
Jude the Obscure (1896) pt. 6, ch. 2<br />
<strong>The</strong> bower we shrined to Tennyson,<br />
Gentlemen,<br />
Is ro<strong>of</strong>-wrecked; damps there drip upon<br />
Sagged seats, the creeper-nails are rust,<br />
<strong>The</strong> spider is sole denizen;<br />
Even she who voiced those rhymes is dust,<br />
Gentlemen!<br />
Late Lyrics and Earlier (1922) "An Ancient to Ancients"<br />
This is the weather the cuckoo likes,
And so do I;<br />
When showers betumble the chestnut spikes,<br />
And nestlings fly:<br />
And the little brown nightingale bills his best,<br />
And they sit outside at "<strong>The</strong> Travellers' Rest,"<br />
And maids come forth sprig-muslin drest,<br />
And citizens dream <strong>of</strong> the south and west,<br />
And so do I.<br />
Late Lyrics and Earlier (1922) "Weathers"<br />
And meadow rivulets overflow,<br />
And drops on gate-bars hang in a row,<br />
And rooks in families homeward go,<br />
And so do I.<br />
Late Lyrics and Earlier (1922) "Weathers"<br />
Life's little ironies.<br />
Title <strong>of</strong> book (1894)<br />
"Well, poor soul; she's helpless to hinder that or anything now," answered<br />
Mother Cuxsom. "And all her shining keys will be took from her, and her<br />
cupboards opened; and things a' didn't wish seen, anybody will see; and<br />
her little wishes and ways will all be as nothing!"<br />
Mayor <strong>of</strong> Casterbridge (1886) ch. 18<br />
One grievous failing <strong>of</strong> Elizabeth's was her occasional pretty and<br />
picturesque use <strong>of</strong> dialect words--those terrible marks <strong>of</strong> the beast to the<br />
truly genteel.<br />
Mayor <strong>of</strong> Casterbridge (1886) ch. 20<br />
I am the family face;<br />
Flesh perishes, I live on,<br />
Projecting trait and trace<br />
Through time to times anon,<br />
And leaping from place to place<br />
Over oblivion.<br />
Moments <strong>of</strong> Vision (1917) "Heredity"<br />
In the third-class seat sat the journeying boy<br />
And the ro<strong>of</strong>-lamp's oily flame<br />
Played down on his listless form and face,<br />
Bewrapt past knowing to what he was going,<br />
Or whence he came.<br />
Moments <strong>of</strong> Vision (1917) "Midnight on the Great Western"<br />
Only a man harrowing clods<br />
In a slow silent walk<br />
With an old horse that stumbles and nods<br />
Half asleep as they stalk.<br />
Only thin smoke without flame<br />
From the heaps <strong>of</strong> couch-grass;<br />
Yet this will go onward the same<br />
Though Dynasties pass.<br />
Yonder a maid and her wight<br />
Come whispering by:<br />
War's annals will cloud into night<br />
Ere their story die.<br />
Moments <strong>of</strong> Vision (1917) "In Time <strong>of</strong> '<strong>The</strong> Breaking <strong>of</strong> Nations'"
When the Present has latched its postern behind my tremulous stay,<br />
And the May month flaps its glad green leaves like wings,<br />
Delicate-filmed as new-spun silk, will the neighbours say,<br />
"He was a man who used to notice such things"?<br />
Moments <strong>of</strong> Vision (1917) "Afterwards"<br />
At once a voice outburst among<br />
<strong>The</strong> bleak twigs overhead<br />
In a full-hearted evensong<br />
Of joy illimited;<br />
An aged thrush, frail, gaunt, and small,<br />
In blast-beruffled plume,<br />
Had chosen thus to fling his soul<br />
Upon the growing gloom.<br />
So little cause for carollings<br />
Of such ecstatic sound<br />
Was written on terrestrial things<br />
Afar or nigh around,<br />
That I could think there trembled through<br />
His happy good-night air<br />
Some blessed Hope, where<strong>of</strong> he knew<br />
And I was unaware.<br />
Poems <strong>of</strong> Past and Present (1902) "Darkling Thrush"<br />
If way to the Better there be, it exacts a full look at the worst.<br />
Poems <strong>of</strong> Past and Present (1902) "De Pr<strong>of</strong>undis"<br />
In a solitude <strong>of</strong> the sea<br />
Deep from human vanity,<br />
And the Pride <strong>of</strong> Life that planned her, stilly couches she.<br />
Steel chambers, late the pyres<br />
Of her salamandrine fires,<br />
Cold currents thrid, and turn to rhythmic tidal lyres.<br />
Over the mirrors meant<br />
To glass the opulent<br />
<strong>The</strong> sea-worm crawls--grotesque, slimed, dumb, indifferent.<br />
Satires <strong>of</strong> Circumstance (1914) "Convergence <strong>of</strong> the Twain"<br />
<strong>The</strong> Immanent Will that stirs and urges everything.<br />
Satires <strong>of</strong> Circumstance (1914) "Convergence <strong>of</strong> the Twain"<br />
When I set out for Lyonnesse,<br />
A hundred miles away,<br />
<strong>The</strong> rime was on the spray,<br />
And starlight lit my lonesomeness<br />
When I set out for Lyonnesse<br />
A hundred miles away.<br />
Satires <strong>of</strong> Circumstance (1914) p. 20<br />
What <strong>of</strong> the faith and fire within us<br />
Men who march away<br />
Ere the barn-cocks say<br />
Night is growing grey,<br />
To hazards whence no tears can win us;<br />
What <strong>of</strong> the faith and fire within us<br />
Men who march away?
Satires <strong>of</strong> Circumstance (1914) "Men Who March Away"<br />
"Justice" was done, and the President <strong>of</strong> the Immortals (in Aeschylean<br />
phrase) had ended his sport with Tess.<br />
Tess <strong>of</strong> the D'Urbervilles (1891) ch. 59<br />
Let me enjoy the earth no less<br />
Because the all-enacting Might<br />
That fashioned forth its loveliness<br />
Had other aims than my delight.<br />
Time's Laughing Stocks (1909) "Let me Enjoy"<br />
Yes; quaint and curious war is!<br />
You shoot a fellow down<br />
You'd treat if met where any bar is,<br />
Or help to half-a-crown.<br />
Time's Laughing Stocks (1909) "Man he Killed"<br />
Good, but not religious-good.<br />
Under the Greenwood Tree (1872) ch. 2<br />
Well, World, you have kept faith with me,<br />
Kept faith with me;<br />
Upon the whole you have proved to be<br />
Much as you said you were.<br />
Winter Words (1928) "He Never Expected Much"<br />
"Peace upon earth!" was said. We sing it,<br />
And pay a million priests to bring it.<br />
After two thousand years <strong>of</strong> mass<br />
We've got as far as poison-gas.<br />
Winter Words (1928) "Christmas: 1924"<br />
8.20 Maurice Evan Hare<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1967<br />
<strong>The</strong>re once was an old man who said, "Damn!<br />
It is borne in upon me I am<br />
An engine that moves<br />
In determinate grooves,<br />
I'm not even a bus, I'm a tram."<br />
Limerick (1905)<br />
8.21 Robertson Hare<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1979<br />
Oh, calamity!<br />
Catch-phrase, in Yours Indubitably (1956) p. 32<br />
8.22 W. F. Hargreaves<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1846-1919<br />
I'm Burlington Bertie<br />
I rise at ten thirty and saunter along like a t<strong>of</strong>f,
I walk down the Strand with my gloves on my hand,<br />
<strong>The</strong>n I walk down again with them <strong>of</strong>f.<br />
Burlington Bertie from Bow (1915 song)<br />
I acted so tragic the house rose like magic,<br />
<strong>The</strong> audience yelled "You're sublime."<br />
<strong>The</strong>y made me a present <strong>of</strong> Mornington Crescent<br />
<strong>The</strong>y threw it a brick at a time.<br />
<strong>The</strong> Night I Appeared as Macbeth (1922 song)<br />
8.23 Lord Harlech (David Ormsby Gore)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1985<br />
In the end it may well be that Britain will be honoured by historians more<br />
for the way she disposed <strong>of</strong> an empire than for the way in which she<br />
acquired it.<br />
In New York Times 28 Oct. 1962, sec. 4, p. 11<br />
8.24 Jimmy Harper, Will E. Haines, and Tommie Connor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> biggest aspidistra in the world.<br />
Title <strong>of</strong> song (1938; popularized by Gracie Fields)<br />
8.25 Frank Harris (James Thomas Harris)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1931<br />
Christ went deeper than I have, but I've had a wider range <strong>of</strong> experience.<br />
In conversation with Hugh Kingsmill, in Hesketh Pearson and Malcolm<br />
Muggeridge About Kingsmill (1951) ch. 3<br />
Sex is the gateway to life.<br />
In Enid Bagnold Autobiography (1969) ch. 4<br />
8.26 H. H. Harris<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Bovril....Prevents that sinking feeling.<br />
Advertising slogan (1920)<br />
8.27 Lorenz Hart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1943<br />
Bewitched, bothered and bewildered.<br />
Title <strong>of</strong> song (1941; music by Richard Rodgers)<br />
When love congeals<br />
It soon reveals<br />
<strong>The</strong> faint aroma <strong>of</strong> performing seals,<br />
<strong>The</strong> double crossing <strong>of</strong> a pair <strong>of</strong> heels.<br />
I wish I were in love again!<br />
I Wish I Were in Love Again (1937 song; music by Richard Rodgers)
I get too hungry for dinner at eight.<br />
I like the theatre, but never come late.<br />
I never bother with people I hate.<br />
That's why the lady is a tramp.<br />
<strong>The</strong> Lady is a Tramp (1937 song; music by Richard Rodgers)<br />
On the first <strong>of</strong> May<br />
It is moving day;<br />
Spring is here, so blow your job--<br />
Throw your job away;<br />
Now's the time to trust<br />
To your wanderlust.<br />
In the city's dust you wait.<br />
Must you wait?<br />
Just you wait:<br />
In a mountain greenery<br />
Where God paints the scenery--<br />
Just two crazy people together;<br />
While you love your lover, let<br />
Blue skies be your coverlet--<br />
When it rains we'll laugh at the weather.<br />
Mountain Greenery (1926 song; music by Richard Rodgers)<br />
8.28 Moss Hart and George Kaufman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Moss Hart 1904-1961<br />
George Kaufman 1889-1961<br />
You can't take it with you.<br />
Title <strong>of</strong> play (1936)<br />
8.29 L. P. Hartley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1972<br />
<strong>The</strong> past is a foreign country: they do things differently there.<br />
<strong>The</strong> Go-Between (1953) prologue<br />
8.30 F. W. Harvey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-?<br />
From troubles <strong>of</strong> the world<br />
I turn to ducks<br />
Beautiful comical things.<br />
Ducks and Other Verses (1919) "Ducks"<br />
8.31 Minnie Louise Haskins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1957<br />
And I said to the man who stood at the gate <strong>of</strong> the year: "Give me a light<br />
that I may tread safely into the unknown."
And he replied:<br />
"Go out into the darkness and put your hand into the Hand <strong>of</strong> God. That<br />
shall be to you better than light and safer than a known way."<br />
Desert (1908) "God Knows"<br />
8.32 Lord Haw-Haw<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See William Joyce (10.28)<br />
8.33 Ian Hay (John Hay Beith)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1952<br />
What do you mean, funny? Funny-peculiar or funny ha-ha?<br />
Housemaster (1938) act 3<br />
8.34 J. Milton Hayes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1940<br />
<strong>The</strong>re's a one-eyed yellow idol to the north <strong>of</strong> Khatmandu,<br />
<strong>The</strong>re's a little marble cross below the town,<br />
<strong>The</strong>re's a broken-hearted woman tends the grave <strong>of</strong> Mad Carew,<br />
And the Yellow God forever gazes down.<br />
<strong>The</strong> Green Eye <strong>of</strong> the Yellow God (1911)<br />
8.35 Lee Hazlewood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
<strong>The</strong>se boots are made for walkin'.<br />
Title <strong>of</strong> song (1966)<br />
8.36 Denis Healey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
That part <strong>of</strong> his [Sir Ge<strong>of</strong>frey Howe's] speech was rather like being<br />
savaged by a dead sheep.<br />
Hansard 14 June 1978, col. 1027<br />
I plan to be the Gromyko <strong>of</strong> the Labour Party.<br />
In Sunday Times 5 Feb. 1984<br />
I warn you there are going to be howls <strong>of</strong> anguish from the 80,000 people<br />
who are rich enough to pay over 75% [tax] on the last slice <strong>of</strong> their<br />
income.<br />
Speech at Labour Party Conference, 1 Oct. 1973, in <strong>The</strong> Times 2 Oct. 1973<br />
8.37 Seamus Heaney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1939-<br />
Between my finger and my thumb<br />
<strong>The</strong> squat pen rests.<br />
I'll dig with it.<br />
Death <strong>of</strong> a Naturalist (1966) "Digging"<br />
All agog at the plasterer on his ladder<br />
Skimming our gable and writing our name there<br />
With his trowel point, letter by strange letter.<br />
<strong>The</strong> Haw Lantern (1987) "Alphabets"<br />
Who would connive<br />
in civilised outrage<br />
yet understand the exact<br />
and tribal, intimate revenge.<br />
North (1975) "Punishment"<br />
<strong>The</strong> famous<br />
Northern reticence, the tight gag <strong>of</strong> place<br />
And times: yes, yes. Of the "wee six" I sing<br />
Where to be saved you only must save face<br />
And whatever you say, you say nothing.<br />
North (1975) "Whatever You Say Say Nothing"<br />
Is there a life before death? That's chalked up<br />
In Ballymurphy. Competence with pain,<br />
Coherent miseries, a bite and sup,<br />
We hug our little destiny again.<br />
North (1975) "Whatever You Say Say Nothing"<br />
Don't be surprised<br />
If I demur, for, be advised<br />
My passport's green.<br />
No glass <strong>of</strong> ours was ever raised<br />
To toast <strong>The</strong> Queen.<br />
Open Letter (Field Day pamphlet no. 2, 1983) p. 9 (rebuking the editors<br />
<strong>of</strong> <strong>The</strong> Penguin Book <strong>of</strong> Contemporary British Poetry for including his work)<br />
8.38 Edward Heath<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
It is the unpleasant and unacceptable face <strong>of</strong> capitalism.<br />
Hansard 15 May 1973, col. 1243 (on the Lonrho affair)<br />
<strong>The</strong> alternative is to break into the wage/price spiral by acting directly<br />
to reduce prices. This can be done by reducing those taxes which bear<br />
directly on prices and costs, such as the selective employment tax, and by<br />
taking a firm grip on public sector prices and charges such as coal,<br />
steel, gas, electricity, transport charges and postal charges. This<br />
would, at a stroke, reduce the rise in prices, increase production and<br />
reduce unemployment.<br />
Press release, 16 June 1970, in <strong>The</strong> Times 17 June 1970<br />
8.39 Fred Heatherton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
I've got a loverly bunch <strong>of</strong> cocoanuts,<br />
<strong>The</strong>re they are a-standing in a row,<br />
Big ones, small ones, some as big as your head,<br />
Give 'em a twist, a flick <strong>of</strong> the wrist,<br />
That's what the showman said.<br />
I've Got a Lovely Bunch <strong>of</strong> Cocoanuts (1944 song; revised version 1948)<br />
8.40 Robert A. Heinlein<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
"Oh, 'tanstaafl.' Means '<strong>The</strong>re ain't no such thing as a free lunch.' And<br />
isn't," I added, pointing to a FREE LUNCH sign across room, "or these<br />
drinks would cost half as much. Was reminding her that anything free<br />
costs twice as much in the long run or turns out worthless."<br />
Moon is Harsh Mistress (1966) ch. 11<br />
8.41 Werner Heisenberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1976<br />
Ein Fachmann ist ein Mann, der einige der gr”bsten Fehler kennt, die man<br />
in dem betreffenden Fach machen kann und der sie deshalb zu vermeiden<br />
versteht.<br />
An expert is someone who knows some <strong>of</strong> the worst mistakes that can be made<br />
in his subject and how to avoid them.<br />
Der Teil und das Ganze ("<strong>The</strong> Part and the Whole," 1969) ch. 17<br />
(translated by A. J. Pomerans in 1971 as Physics and Beyond)<br />
8.42 Joseph Heller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
<strong>The</strong>re was only one catch and that was Catch-22, which specified that<br />
a concern for one's own safety in the face <strong>of</strong> dangers that were real and<br />
immediate was the process <strong>of</strong> a rational mind. Orr was crazy and could be<br />
grounded. All he had to do was ask; and as soon as he did, he would no<br />
longer be crazy and would have to fly more missions. Orr would be crazy to<br />
fly more missions and sane if he didn't, but if he was sane he had to fly<br />
them. If he flew them he was crazy and didn't have to; but if he didn't<br />
want to he was sane and had to. Yossarian was moved very deeply by the<br />
absolute simplicity <strong>of</strong> this clause <strong>of</strong> Catch-22 and let out a respectful<br />
whistle.<br />
"That's some catch, that Catch-22," he observed.<br />
"It's the best there is," Doc Daneeka agreed.<br />
Catch-22 (1961) ch. 5 (the first chapter <strong>of</strong> this novel was published as<br />
Catch-18 in New World Writing (1955) No. 7--see Kiley and MacDonald<br />
"Catch-22" Casebook (1973) 294)<br />
Some men are born mediocre, some men achieve mediocrity, and some men have<br />
mediocrity thrust upon them. With Major Major it had been all three.<br />
Catch-22 (1961) ch. 9. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 489:14<br />
Good God, how much reverence can you have for a Supreme Being who finds it
necessary to include such phenomena as phlegm and tooth-decay in His<br />
divine system <strong>of</strong> creation?<br />
Catch-22 (1961) ch. 18<br />
"You put so much stock in winning wars," the grubby iniquitous old man<br />
sc<strong>of</strong>fed. "<strong>The</strong> real trick lies in losing wars, and in knowing which wars<br />
can be lost. Italy has been losing wars for centuries, and just see how<br />
splendidly we've done nonetheless. France wins wars and is in a continual<br />
state <strong>of</strong> crisis. Germany loses and prospers. Look at our own recent<br />
history. Italy won a war in Ethiopia and promptly stumbled into serious<br />
trouble. Victory gave us such insane delusions <strong>of</strong> grandeur that we helped<br />
start a world war we hadn't a chance <strong>of</strong> winning. But now that we are<br />
losing again, everything has taken a turn for the better, and we will<br />
certainly come out on top again if we succeed in being defeated."<br />
Catch-22 (1961) ch. 23<br />
8.43 Lillian Hellman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1984<br />
Cynicism is an unpleasant way <strong>of</strong> saying the truth.<br />
<strong>The</strong> Little Foxes (1939) act 1<br />
I do not like subversion or disloyalty in any form and if I had ever seen<br />
any I would have considered it my duty to have reported it to the proper<br />
authorities. But to hurt innocent people whom I knew many years ago in<br />
order to save myself is to me inhuman and indecent and dishonorable.<br />
I cannot and will not cut my conscience to fit this year's fashions, even<br />
though I long ago came to the conclusion that I was not a political person<br />
and could have no comfortable place in any political group.<br />
Letter to John S. Wood, 19 May 1952, in US Congress Committee Hearing on<br />
Un-American Activities (1952) pt. 8, p. 3546<br />
8.44 Sir Robert Helpmann<br />
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1909-1986<br />
No. You see there are portions <strong>of</strong> the human anatomy which would keep<br />
swinging after the music had finished.<br />
In Elizabeth Salter Helpmann (1978) ch. 21 [reply to question on whether<br />
the fashion for nudity would extend to dance]<br />
8.45 Ernest Hemingway<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1961<br />
All good books are alike in that they are truer than if they had really<br />
happened and after you are finished reading one you will feel that all<br />
that happened to you and afterwards it all belongs to you: the good and<br />
the bad, the ecstasy, the remorse and sorrow, the people and the places<br />
and how the weather was. If you can get so that you can give that to<br />
people, then you are a writer.<br />
Esquire Dec. 1934 "Old Newsman Writes"<br />
"Just kiss me."<br />
She kissed him on the cheek.<br />
"No."
"Where do the noses go? I always wondered where the noses would go."<br />
"Look, turn thy head" and then their mouths were tight together.<br />
For Whom the Bell Tolls (1940) ch. 7<br />
He said, "Maria...I feel as though I wanted to die when I am loving<br />
thee."<br />
"Oh," she said. "I die each time. Do you not die?"<br />
"No. Almost. But did thee feel the earth move?"<br />
"Yes. As I died. Put thy arm around me, please."<br />
For Whom the Bell Tolls (1940) ch. 13<br />
All modern American literature comes from one book by Mark Twain called<br />
Huckleberry Finn.<br />
Green Hills <strong>of</strong> Africa (1935) ch. 1<br />
Cowardice, as distinguished from panic, is almost always simply a lack <strong>of</strong><br />
ability to suspend the functioning <strong>of</strong> the imagination.<br />
Men at War (1942)<br />
If you are lucky enough to have lived in Paris as a young man, then<br />
wherever you go for the rest <strong>of</strong> your life, it stays with you, for Paris is<br />
a movable feast.<br />
Movable Feast (1964) epigraph<br />
"Exactly what do you mean by 'guts'?" "I mean," Ernest Hemingway said,<br />
"grace under pressure."<br />
Interview with Dorothy Parker, in New Yorker 30 Nov. 1929<br />
I started out very quiet and I beat Mr Turgenev. <strong>The</strong>n I trained hard and<br />
I beat Mr de Maupassant. I've fought two draws with Mr Stendhal, and<br />
I think I had an edge in the last one. But nobody's going to get me in any<br />
ring with Mr Tolstoy unless I'm crazy or I keep getting better.<br />
New Yorker 13 May 1950<br />
A man can be destroyed but not defeated.<br />
<strong>The</strong> Old Man and the Sea (1952) p. 103<br />
<strong>The</strong> most essential gift for a good writer is a built-in, shock-pro<strong>of</strong> shit<br />
detector. This is the writer's radar and all great writers have had it.<br />
Paris Review Spring 1958<br />
<strong>The</strong> sun also rises.<br />
Title <strong>of</strong> novel (1926)<br />
Switzerland is a small, steep country, much more up and down than<br />
sideways, and is all stuck over with large brown hotels built on the<br />
cuckoo clock style <strong>of</strong> architecture.<br />
Toronto Star Weekly 4 Mar. 1922, in William White By-line: Ernest<br />
Hemingway (1967) p. 18 See also F. Scott Fitzgerald (6.20)<br />
8.46 Arthur W. D. Henley<br />
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Nobody loves a fairy when she's forty.<br />
Title <strong>of</strong> song (1934)<br />
8.47 O. Henry (William Sydney Porter)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1862-1910<br />
Life is made up <strong>of</strong> sobs, sniffles, and smiles, with sniffles<br />
predominating.<br />
Four Million (1906) "Gift <strong>of</strong> the Magi"<br />
If men knew how women pass the time when they are alone, they'd never<br />
marry.<br />
Four Million (1906) "Memoirs <strong>of</strong> a Yellow Dog"<br />
It was beautiful and simple as all truly great swindles are.<br />
Gentle Grafter (1908) "Octopus Marooned"<br />
Turn up the lights; I don't want to go home in the dark.<br />
Last words, quoting 1907 song by Harry Williams "I'm afraid to come home<br />
in the dark," in Charles Alphonso Smith O. Henry Biography (1916) ch. 9<br />
8.48 A. P. Herbert<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1971<br />
Other people's babies--<br />
That's my life!<br />
Mother to dozens,<br />
And nobody's wife.<br />
Ballads for Broadbrows (1930) "Other People's Babies" (also a 1934 song,<br />
with music by Vivian Ellis)<br />
Let's find out what everyone is doing,<br />
And then stop everyone from doing it.<br />
Ballads for Broadbrows (1930) "Let's Stop Somebody from Doing Something!"<br />
As my poor father used to say<br />
In 1863,<br />
Once people start on all this Art<br />
Goodbye, moralitee!<br />
And what my father used to say<br />
Is good enough for me.<br />
Ballads for Broadbrows (1930) "Lines for a Worthy Person"<br />
Holy deadlock.<br />
Title <strong>of</strong> novel (1934)<br />
Don't tell my mother I'm living in sin,<br />
Don't let the old folks know.<br />
Laughing Ann (1925) "Don't Tell My Mother I'm Living in Sin"<br />
Not huffy, or stuffy, not tiny or tall,<br />
But fluffy, just fluffy, with no brains at all.<br />
Plain Jane (1927) "I Like them Fluffy"<br />
Don't let's go to the dogs tonight,<br />
For mother will be there.<br />
She-Shanties (1926) "Don't Let's Go to the Dogs Tonight"<br />
<strong>The</strong> Farmer will never be happy again;<br />
He carries his heart in his boots;<br />
For either the rain is destroying his grain
Or the drought is destroying his roots.<br />
Tinker Tailor (1922) "<strong>The</strong> Farmer"<br />
This high <strong>of</strong>ficial, all allow,<br />
Is grossly overpaid;<br />
<strong>The</strong>re wasn't any Board, and now<br />
<strong>The</strong>re isn't any Trade.<br />
Tinker Tailor (1922) "<strong>The</strong> President <strong>of</strong> the Board <strong>of</strong> Trade"<br />
Nothing is wasted, nothing is in vain:<br />
<strong>The</strong> seas roll over but the rocks remain.<br />
Tough at the Top (circa 1949 operetta), in A.P.H. (1970) ch. 7<br />
<strong>The</strong> Common Law <strong>of</strong> England has been laboriously built about a mythical<br />
figure--the figure <strong>of</strong> "<strong>The</strong> Reasonable Man."<br />
Uncommon Law (1935) "<strong>The</strong> Reasonable Man"<br />
People must not do things for fun. We are not here for fun. <strong>The</strong>re is no<br />
reference to fun in any Act <strong>of</strong> Parliament.<br />
Uncommon Law (1935) "Is it a <strong>Free</strong> Country?"<br />
<strong>The</strong> critical period in matrimony is breakfast-time.<br />
Uncommon Law (1935) "Is Marriage Lawful?"<br />
<strong>The</strong> Englishman never enjoys himself except for a noble purpose.<br />
Uncommon Law (1935) "Fox-Hunting Fun"<br />
Milord, in that case an Act <strong>of</strong> God was defined as "something which no<br />
reasonable man could have expected."<br />
Uncommon Law (1935) "Act <strong>of</strong> God"<br />
8.49 Oliver Herford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1935<br />
"Perhaps it is only a whim," said the Queen. <strong>The</strong> King laughed mirthlessly.<br />
"King Barumph has a whim <strong>of</strong> iron!"<br />
Excuse it Please (1929) "Impossible Pudding"<br />
See also Ethel Watts Mumford (13.139)<br />
8.50 Jerry Herman<br />
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1933-<br />
Hello, Dolly, well, hello Dolly<br />
It's so nice to have you back where you belong.<br />
Hello, Dolly (1964 song from the musical Hello, Dolly)<br />
8.51 June Hershey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Deep in the heart <strong>of</strong> Texas.<br />
Title <strong>of</strong> song (1941; music by Don Swander)<br />
8.52 Hermann Hesse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1877-1962<br />
Wenn wir einen Menschen hassen, so hassen wir in seinem Bild etwas, was in<br />
uns selber sisst. Was nicht in uns selber ist, das regt uns nicht auf.<br />
If you hate a person, you hate something in him that is part <strong>of</strong> yourself.<br />
What isn't part <strong>of</strong> ourselves doesn't disturb us.<br />
Demian (1919) ch. 6<br />
Auf Kosten der Intensit„t also erreicht er [der Brger ] Erhaltung und<br />
Sicherheit, statt Gottbesessenheit erntet er Gewissensruhe, statt Lust<br />
Behagen, statt Freiheit Bequemlichkeit, statt t”dlicher Glut eine<br />
angenehme Temperatur.<br />
<strong>The</strong> bourgeois prefers comfort to pleasure, convenience to liberty, and<br />
a pleasant temperature to the deathly inner consuming fire.<br />
Der Steppenwolf (1927) "Tractat vom Steppenwolf" (Treatise on the<br />
Steppenwolf)<br />
8.53 Gordon Hewart (Viscount Hewart)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1943<br />
A long line <strong>of</strong> cases shows that it is not merely <strong>of</strong> some importance, but<br />
is <strong>of</strong> fundamental importance that justice should not only be done, but<br />
should manifestly and undoubtedly be seen to be done.<br />
Rex v Sussex Justices, 9 Nov. 1923, in Law Reports King's Bench Division<br />
(1924) vol. 1, p. 259<br />
8.54 Patricia Hewitt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1948-<br />
It is obvious from our polling, as well as from the doorstep, that the<br />
"London Effect" is now very noticeable. <strong>The</strong> "loony Labour left" is taking<br />
its toll; the gays and lesbians issue is costing us dear among the<br />
pensioners, and fear <strong>of</strong> extremism and higher rates/taxes is particularly<br />
prominent in the Greater London Council area.<br />
Letter to Frank Dobson and other Labour leaders, in <strong>The</strong> Times 6 Mar. 1987<br />
8.55 Du Bose Heyward and Ira Gershwin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Du Bose Heyward 1885-1940<br />
Ira Gershwin 1896-1983<br />
It ain't necessarily so.<br />
Title <strong>of</strong> song (1935; music by George Gershwin)<br />
Summer time an' the livin' is easy.<br />
Summer Time (1935 song; music by George Gershwin)<br />
8.56 Sir Seymour Hicks<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1949
You will recognize, my boy, the first sign <strong>of</strong> old age: it is when you go<br />
out into the streets <strong>of</strong> London and realize for the first time how young<br />
the policemen look.<br />
In C. R. D. Pulling <strong>The</strong>y Were Singing (1952) ch. 7<br />
8.57 Jack Higgins (Henry Patterson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
<strong>The</strong> eagle has landed.<br />
Title <strong>of</strong> novel (1975)<br />
8.58 Joe Hill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1915<br />
I will die like a true-blue rebel. Don't waste any time in<br />
mourning--organize.<br />
Farewell telegram to Bill Haywood, 18 Nov. 1915, before his death by<br />
firing squad, in Salt Lake (Utah) Tribune 19 Nov. 1915<br />
You will eat, bye and bye,<br />
In that glorious land above the sky;<br />
Work and pray, live on hay,<br />
You'll get pie in the sky when you die.<br />
Songs <strong>of</strong> the Workers (Industrial Workers <strong>of</strong> the World, 1911) "Preacher<br />
and the Slave"<br />
8.59 Pattie S. Hill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1946<br />
Happy birthday to you.<br />
Title <strong>of</strong> song (1935; music by Mildred J. Hill)<br />
8.60 Sir Edmund Hillary<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
[After the ascent <strong>of</strong> Everest] George [Lowe] met us with a mug <strong>of</strong> soup just<br />
above camp, and seeing his stalwart frame and cheerful face reminded me<br />
how fond <strong>of</strong> him I was. My comment was not specially prepared for public<br />
consumption but for George...."Well, we knocked the bastard <strong>of</strong>f!" I told<br />
him and he nodded with pleasure...."Thought you must have!"<br />
Nothing Venture (1975) ch. 10<br />
8.61 Fred Hillebrand<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-<br />
Home James, and don't spare the horses.<br />
Title <strong>of</strong> song (1934)<br />
8.62 Lady Hillingdon
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1940<br />
I am happy now that Charles calls on my bedchamber less frequently than <strong>of</strong><br />
old. As it is, I now endure but two calls a week and when I hear his steps<br />
outside my door I lie down on my bed, close my eyes, open my legs and<br />
think <strong>of</strong> England.<br />
Journal 1912, in J. Gathorne-Hardy Rise and Fall <strong>of</strong> the British Nanny<br />
(1972) ch. 3<br />
8.63 James Hilton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1954<br />
Nothing really wrong with him--only anno domini, but that's the most fatal<br />
complaint <strong>of</strong> all, in the end.<br />
Goodbye, Mr Chips (1934) ch. 1<br />
8.64 Alfred Hitchcock<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1980<br />
Television has brought back murder into the home--where it belongs.<br />
In Observer 19 Dec. 1965<br />
Actors are cattle.<br />
In Saturday Evening Post 22 May 1943, p. 56<br />
8.65 Adolf Hitler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1945<br />
Die neue and diesmal blutige Erhebung--die Nacht der langen Messer, wie<br />
man sie grauenvoll bezeichnete--meinem eigenen Sinn entspr„che.<br />
<strong>The</strong> new, and this time bloody, rising--"<strong>The</strong> Night <strong>of</strong> the Long Knives" was<br />
their ghastly name for it--was exactly what I myself desired.<br />
Speech to the Reichstag, 13 July 1934, in Max Domarus (ed.) Hitler: Reden<br />
und Proklamationen 1932-1945 (1962) p. 418<br />
Ich gehe mit traumwandlerischer Sicherheit den Weg, den mich die Vorsehung<br />
gehen heisst.<br />
I go the way that Providence dictates with the assurance <strong>of</strong> a sleepwalker.<br />
Speech in Munich, 15 Mar. 1936, in Max Domarus (ed.) Hitler: Reden und<br />
Proklamationen 1932-1945 (1962) p. 606<br />
Und nun steht vor uns das letzte Problem, das gel”stwerden muss und gel”st<br />
werden wird! Es [das Sudetenland] ist die letzte territoriale Forderung,<br />
die ich Europa zu stellen habe, aber es ist die Forderung, von der ich<br />
nicht abgehe, und die ich, so Gott will, erfllen werde.<br />
And now before us stands the last problem that must be solved and will be<br />
solved. It [the Sudetenland] is the last territorial claim which I have to<br />
make in Europe, but it is the claim from which I will not recede and<br />
which, God-willing, I will make good.
Speech at Berlin Sportpalast, 26 Sept. 1938, in Max Domarus (ed.) Hitler:<br />
Reden und Proklamationen 1932-1945 (1962) p. 927<br />
In bezug auf das sudetendeutsche Problem meine Geduld jetzt zu Ende ist!<br />
With regard to the problem <strong>of</strong> the Sudeten Germans, my patience is now at<br />
an end!<br />
Speech at Berlin Sportpalast, 26 Sept. 1938, in Max Domarus (ed.) Hitler:<br />
Reden und Proklamationen 1932-1945 (1962) p. 932<br />
Brennt Paris?<br />
Is Paris burning?<br />
Question, 25 Aug. 1944, in Larry Collins and Dominique Lapierre Is Paris<br />
Burning? (1965) ch. 5<br />
Die breite Masse eines Volkes...einer grossen Lgeleichter zum Opfer f„llt<br />
als einer kleinen.<br />
<strong>The</strong> broad mass <strong>of</strong> a nation...will more easily fall victim to a big lie<br />
than to a small one.<br />
Mein Kampf (My Struggle, 1925) vol. 1, ch. 10<br />
8.66 Ralph Hodgson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1962<br />
Time, you old gipsy man,<br />
Will you not stay,<br />
Put up your caravan<br />
Just for one day?<br />
Poems (1917) "Time, You Old Gipsy Man"<br />
I climbed a hill as light fell short,<br />
And rooks came home in scramble sort,<br />
And filled the trees and flapped and fought<br />
And sang themselves to sleep.<br />
Poems (1917) "Song <strong>of</strong> Honour"<br />
I stood and stared; the sky was lit,<br />
<strong>The</strong> sky was stars all over it,<br />
I stood, I knew not why,<br />
Without a wish, without a will,<br />
I stood upon that silent hill<br />
And stared into the sky until<br />
My eyes were blind with stars and still<br />
I stared into the sky.<br />
Poems (1917) "Song <strong>of</strong> Honour"<br />
When stately ships are twirled and spun<br />
Like whipping tops and help there's none<br />
And mighty ships ten thousand ton<br />
Go down like lumps <strong>of</strong> lead.<br />
Poems (1917) "Song <strong>of</strong> Honour"<br />
'Twould ring the bells <strong>of</strong> Heaven<br />
<strong>The</strong> wildest peal for years,<br />
If Parson lost his senses<br />
And people came to theirs,
And he and they together<br />
Knelt down with angry prayers<br />
For tamed and shabby tigers<br />
And dancing dogs and bears,<br />
And wretched, blind, pit ponies,<br />
And little hunted hares.<br />
Poems (1917) "Bells <strong>of</strong> Heaven"<br />
See an old unhappy bull,<br />
Sick in soul and body both,<br />
Slouching in the undergrowth<br />
Of the forest beautiful,<br />
Banished from the herd he led,<br />
Bulls and cows a thousand head.<br />
Poems (1917) "<strong>The</strong> Bull"<br />
Reason has moons, but moons not hers,<br />
Lie mirror'd on her sea,<br />
Confounding her astronomers,<br />
But, O! delighting me.<br />
Poems (1917) "Reason Has Moons"<br />
8.67 'Red' Hodgson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I blow through here;<br />
the music goes 'round and around.<br />
Whoa-ho-ho-ho-ho-ho, and it comes up here.<br />
Music Goes 'round and Around (1935 song; music by Edward Farley and<br />
Michael Riley)<br />
8.68 Eric H<strong>of</strong>fer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1983<br />
It is easier to love humanity as a whole than to love one's neighbour.<br />
New York Times Magazine 15 Feb. 1959, p. 12<br />
When people are free to do as they please, they usually imitate each<br />
other. Originality is deliberate and forced, and partakes <strong>of</strong> the nature <strong>of</strong><br />
a protest.<br />
Passionate State <strong>of</strong> Mind (1955) p. 21<br />
8.69 Al H<strong>of</strong>fman and Dick Manning<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Al H<strong>of</strong>fman 1902-1960<br />
Dick Manning 1912-<br />
Takes two to tango.<br />
Title <strong>of</strong> song (1952)<br />
8.70 Gerard H<strong>of</strong>fnung<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-1959
Standing among savage scenery, the hotel <strong>of</strong>fers stupendous revelations.<br />
<strong>The</strong>re is a French widow in every bedroom, affording delightful prospects.<br />
Speech at <strong>Oxford</strong> Union, 4 Dec. 1958 (supposedly quoting a letter from<br />
a Tyrolean landlord)<br />
8.71 Lancelot Hogben<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1975<br />
This is not the age <strong>of</strong> pamphleteers. It is the age <strong>of</strong> the engineers. <strong>The</strong><br />
spark-gap is mightier than the pen. Democracy will not be salvaged by men<br />
who talk fluently, debate forcefully and quote aptly.<br />
Science for the Citizen (1938) epilogue<br />
8.72 Billie Holiday (Eleanor Fagan) and Arthur Herzog Jr.<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Billie Holiday 1915-1959<br />
Arthur Herzog Jr. 1901-1983<br />
<strong>The</strong>m that's got shall get,<br />
<strong>The</strong>m that's not shall lose,<br />
So the Bible said,<br />
And it still is news;<br />
Mama may have, papa may have,<br />
But God bless the child that's got his own!<br />
That's got his own.<br />
God Bless the Child (1941 song)<br />
8.73 Stanley Holloway<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1982<br />
Sam, Sam, pick up tha' musket.<br />
Pick Up Tha' Musket (1930 recorded monologue)<br />
8.74 John H. Holmes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1964<br />
This, now, is the judgement <strong>of</strong> our scientific age--the third reaction <strong>of</strong><br />
man upon the universe! This universe is not hostile, nor yet is it<br />
friendly. It is simply indifferent.<br />
<strong>The</strong> Sensible Man's View <strong>of</strong> Religion (1932) ch. 4<br />
8.75 Lord Home (Baron Home <strong>of</strong> the Hirsel, formerly Sir Alec Douglas-Home)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
As far as the fourteenth earl is concerned, I suppose Mr [Harold] Wilson,<br />
when you come to think <strong>of</strong> it, is the fourteenth Mr Wilson.<br />
Television interview, 21 Oct. 1963, in Daily Telegraph 22 Oct. 1963<br />
(replying to question on how he was going to meet attacks by the Labour<br />
Party on his then position as a "fourteenth Earl, a reactionary, and an<br />
out-<strong>of</strong>-date figure")
When I have to read economic documents I have to have a box <strong>of</strong> matches and<br />
start moving them into position to simplify and illustrate the points to<br />
myself.<br />
In Observer 16 Sept. 1962<br />
8.76 Arthur Honegger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1955<br />
Il est certain que la premiŠre qualit‚ d'un compositeur, c'est d'ˆtre<br />
mort.<br />
<strong>The</strong>re is no doubt that the first requirement for a composer is to be dead.<br />
Je suis compositeur (I am a Composer, 1951) p. 16<br />
8.77 Herbert Hoover<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1964<br />
Older men declare war. But it is youth who must fight and die. And it is<br />
youth who must inherit the tribulation, the sorrow, and the triumphs that<br />
are the aftermath <strong>of</strong> war.<br />
Speech at the Republican National Convention, Chicago, 27 June 1944, in<br />
Addresses upon the American Road (1946) p. 254.<br />
Our country has deliberately undertaken a great social and economic<br />
experiment, noble in motive and far-reaching in purpose (i.e. 18th<br />
Amendment on Prohibition).<br />
Letter to Senator W. H. Borah, 23 Feb. 1928, in Claudius O. Johnson Borah<br />
<strong>of</strong> Idaho (1936) ch. 21<br />
When the war closed...we were challenged with a peace-time choice between<br />
the American system <strong>of</strong> rugged individualism and a European philosophy <strong>of</strong><br />
diametrically opposed doctrines--doctrines <strong>of</strong> paternalism and state<br />
socialism.<br />
Speech in New York City, 22 Oct. 1928, in New Day (1928) p. 154<br />
Another proposal <strong>of</strong> our opponents which would wholly alter our American<br />
system <strong>of</strong> life is to reduce the protective tariff to a competitive tariff<br />
for revenue....<strong>The</strong> grass will grow in the streets <strong>of</strong> a hundred cities,<br />
a thousand towns; the weeds will overrun the fields <strong>of</strong> millions <strong>of</strong> farms<br />
if that protection be taken away.<br />
Speech, 31 Oct. 1932, in State Papers <strong>of</strong> Herbert Hoover (1934) vol. 2,<br />
p. 418<br />
8.78 Anthony Hope (Sir Anthony Hope Hawkins)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1933<br />
Economy is going without something you do want in case you should, some<br />
day, want something you probably won't want.<br />
Dolly Dialogues (1894) no. 12<br />
"You oughtn't to yield to temptation." "Well, somebody must, or the thing<br />
becomes absurd," said I.<br />
Dolly Dialogues (1894) no. 14
"Bourgeois," I observed, "is an epithet which the riff-raff apply to what<br />
is respectable, and the aristocracy to what is decent." "But it's not<br />
a nice thing to be, all the same," said Dolly, who is impervious to the<br />
most penetrating remark.<br />
Dolly Dialogues (1894) no. 17<br />
I wish you would read a little poetry sometimes. Your ignorance cramps my<br />
conversation.<br />
Dolly Dialogues (1894) no. 22<br />
Anthony Hope--a friend, a true friend, yet pledged always to his own and<br />
far more Attic interpretation <strong>of</strong> life--sat there [at the first night <strong>of</strong> J.<br />
M. Barrie's Peter Pan in 1904] looking primmer and drier at every<br />
extravagance, and more and more as if, in his opinion, children should be<br />
kept in their right place. When he spoke, his comment was also far more<br />
succinct. "Oh, for an hour <strong>of</strong> Herod!" he said.<br />
Denis Mackail Story <strong>of</strong> JMB (1941) ch. 17<br />
8.79 Bob Hope<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
A bank is a place that will lend you money if you can prove that you don't<br />
need it.<br />
In Alan Harrington Life in the Crystal Palace (1959) "<strong>The</strong> Tyranny <strong>of</strong><br />
Farms"<br />
8.80 Francis Hope<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1938-1974<br />
And scribbled lines like fallen hopes<br />
On backs <strong>of</strong> tattered envelopes.<br />
Instead <strong>of</strong> a Poet and Other Poems (1965) "Instead <strong>of</strong> a Poet"<br />
8.81 Laurence Hope (Adela Florence Nicolson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1904<br />
Less than the dust, beneath thy Chariot wheel,<br />
Less than the rust, that never stained thy Sword,<br />
Less than the trust thou hast in me, Oh, Lord,<br />
Even less than these!<br />
Less than the weed, that grows beside thy door,<br />
Less than the speed, <strong>of</strong> hours, spent far from thee,<br />
Less than the need thou hast in life <strong>of</strong> me.<br />
Even less am I.<br />
Garden <strong>of</strong> Kama (1901) "Less than the Dust"<br />
Pale hands I loved beside the Shalimar,<br />
Where are you now? Who lies beneath your spell?<br />
...Pale hands, pink tipped, like lotus buds that float<br />
On those cool waters where we used to dwell,<br />
I would have rather felt you round my throat<br />
Crushing out life; than waving me farewell!<br />
Garden <strong>of</strong> Kama (1901) "Kashmiri Song"
8.82 Zilphia Horton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1957<br />
See "Anonymous" in topic 1.43<br />
8.83 A. E. Housman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1936<br />
Mud's sister, not himself, adorns my legs.<br />
Fragment <strong>of</strong> a Greek Tragedy (Bromsgrovian vol. 2, no. 5, 1883) in Alfred<br />
Edward Housman, the Housman Memorial Supplement <strong>of</strong> the Bromsgrovian (1936<br />
)<br />
This great College, <strong>of</strong> this ancient University, has seen some strange<br />
sights. It has seen Wordsworth drunk and Porson sober. And here am I,<br />
a better poet than Porson, and a better scholar than Wordsworth, betwixt<br />
and between.<br />
Speech at Trinity College, Cambridge, in G. K. Chesterton Autobiography<br />
(1936) ch. 12<br />
If I were the Prince <strong>of</strong> Peace, I would choose a less provocative<br />
Ambassador.<br />
In Alan Wood Bertrand Russell: Passionate Sceptic (1957) p. 103<br />
Oh who is that young sinner with the handcuffs on his wrists?<br />
And what has he been after that they groan and shake their fists?<br />
And wherefore is he wearing such a conscience-stricken air?<br />
Oh they're taking him to prison for the colour <strong>of</strong> his hair.<br />
'Tis a shame to human nature, such a head <strong>of</strong> hair as his;<br />
In the good old time 'twas hanging for the colour that it is;<br />
Though hanging isn't bad enough and flaying would be fair<br />
For the nameless and abominable colour <strong>of</strong> his hair.<br />
Collected Poems (1939) "Additional Poems" no. 18<br />
That is indeed very good. I shall have to repeat that on the Golden Floor!<br />
In Daily Telegraph 21 Feb. 1984 (said to his physician who told him<br />
a risqu‚ story to cheer him up just before he died)<br />
<strong>The</strong> Grizzly Bear is huge and wild;<br />
He has devoured the infant child.<br />
<strong>The</strong> infant child is not aware<br />
He has been eaten by the bear.<br />
Infant Innocence in <strong>Oxford</strong> Book <strong>of</strong> Light Verse (1938) p. 489<br />
Nous n'irons plus aux bois,<br />
Les lauriers sont coup‚s.<br />
We'll go to the woods no more,<br />
<strong>The</strong> laurels all are cut.<br />
Translation <strong>of</strong> nursery rhyme in Last Poems (1922) introductory<br />
Pass me the can, lad; there's an end <strong>of</strong> May.<br />
Last Poems (1922) no. 9
May will be fine next year as like as not:<br />
Oh, ay, but then we shall be twenty-four.<br />
Last Poems (1922) no. 9<br />
We for a certainty are not the first<br />
Have sat in taverns while the tempest hurled<br />
<strong>The</strong>ir hopeful plans to emptiness, and cursed<br />
Whatever brute and blackguard made the world.<br />
Last Poems (1922) no. 9<br />
<strong>The</strong> troubles <strong>of</strong> our proud and angry dust<br />
Are from eternity, and shall not fail.<br />
Bear them we can, and if we can we must.<br />
Shoulder the sky, my lad, and drink your ale.<br />
Last Poems (1922) no. 9<br />
But men at whiles are sober<br />
And think by fits and starts,<br />
And if they think, they fasten<br />
<strong>The</strong>ir hands upon their hearts.<br />
Last Poems (1922) no. 10<br />
<strong>The</strong> laws <strong>of</strong> God, the laws <strong>of</strong> man,<br />
He may keep that will and can;<br />
Not I: let God and man decree<br />
Laws for themselves and not for me;<br />
And if my ways are not as theirs<br />
Let them mind their own affairs.<br />
Last Poems (1922) no. 12<br />
And how am I to face the odds<br />
Of man's bedevilment and God's?<br />
I, a stranger and afraid<br />
In a world I never made.<br />
Last Poems (1922) no. 12<br />
<strong>The</strong> candles burn their sockets,<br />
<strong>The</strong> blinds let through the day,<br />
<strong>The</strong> young man feels his pockets<br />
And wonders what's to pay.<br />
Last Poems (1922) no. 21<br />
To think that two and two are four<br />
And neither five nor three<br />
<strong>The</strong> heart <strong>of</strong> man has long been sore<br />
And long 'tis like to be.<br />
Last Poems (1922) no. 35<br />
<strong>The</strong>se, in the day when heaven was falling,<br />
<strong>The</strong> hour when earth's foundations fled,<br />
Followed their mercenary calling<br />
And took their wages and are dead.<br />
<strong>The</strong>ir shoulders held the sky suspended;<br />
<strong>The</strong>y stood, and earth's foundations stay;<br />
What God abandoned, these defended,<br />
And saved the sum <strong>of</strong> things for pay.<br />
Last Poems (1922) no. 37<br />
For nature, heartless, witless nature,
Will neither care nor know<br />
What stranger's feet may find the meadow<br />
And trespass there and go,<br />
Nor ask amid the dews <strong>of</strong> morning<br />
If they are mine or no.<br />
Last Poems (1922) no. 40<br />
Experience has taught me, when I am shaving <strong>of</strong> a morning, to keep watch<br />
over my thoughts, because, if a line <strong>of</strong> poetry strays into my memory, my<br />
skin bristles so that the razor ceases to act....<strong>The</strong> seat <strong>of</strong> this<br />
sensation is the pit <strong>of</strong> the stomach.<br />
Lecture at Cambridge, 9 May 1933, <strong>The</strong> Name and Nature <strong>of</strong> Poetry (1933)<br />
p. 47<br />
<strong>The</strong> rainy Pleiads wester,<br />
Orion plunges prone,<br />
<strong>The</strong> stroke <strong>of</strong> midnight ceases,<br />
And I lie down alone.<br />
More Poems (1936) no. 11<br />
Life, to be sure, is nothing much to lose;<br />
But young men think it is, and we were young.<br />
More Poems (1936) no. 36<br />
Good-night. Ensured release<br />
Imperishable peace,<br />
Have these for yours,<br />
While earth's foundations stand<br />
And sky and sea and land<br />
And heaven endures.<br />
More Poems (1936) no. 48 "Alta Quies"<br />
Loveliest <strong>of</strong> trees, the cherry now<br />
Is hung with bloom along the bough,<br />
And stands about the woodland ride<br />
Wearing white for Eastertide.<br />
Now, <strong>of</strong> my threescore years and ten,<br />
Twenty will not come again,<br />
And take from seventy springs a score,<br />
It only leaves me fifty more.<br />
And since to look at things in bloom<br />
Fifty springs are little room,<br />
About the woodlands I will go<br />
To see the cherry hung with snow.<br />
Shropshire Lad (1896) no. 2<br />
Clay lies still, but blood's a rover;<br />
Breath's a ware that will not keep.<br />
Up, lad: when the journey's over<br />
<strong>The</strong>re'll be time enough to sleep.<br />
Shropshire Lad (1896) no. 4<br />
And naked to the hangman's noose<br />
<strong>The</strong> morning clocks will ring<br />
A neck God made for other use<br />
Than strangling in a string.<br />
Shropshire Lad (1896) no. 9
When I was one-and-twenty<br />
I heard a wise man say,<br />
"Give crowns and pounds and guineas<br />
But not your heart away;<br />
Give pearls away and rubies,<br />
But keep your fancy free."<br />
But I was one-and-twenty,<br />
No use to talk to me.<br />
Shropshire Lad (1896) no. 13<br />
Oh, when I was in love with you,<br />
<strong>The</strong>n I was clean and brave,<br />
And miles around the wonder grew<br />
How well I did behave.<br />
And now the fancy passes by,<br />
And nothing will remain,<br />
And miles around they'll say that I<br />
Am quite myself again.<br />
Shropshire Lad (1896) no. 18<br />
In summertime on Bredon<br />
<strong>The</strong> bells they sound so clear;<br />
Round both the shires they ring them<br />
In steeples far and near,<br />
A happy noise to hear.<br />
Here <strong>of</strong> a Sunday morning<br />
My love and I would lie,<br />
And see the coloured counties,<br />
And hear the larks so high<br />
About us in the sky.<br />
Shropshire Lad (1896) no. 21<br />
"Come all to church, good people,"--<br />
Oh, noisy bells, be dumb;<br />
I hear you, I will come.<br />
Shropshire Lad (1896) no. 21<br />
<strong>The</strong> lads in their hundreds to Ludlow come in for the fair,<br />
<strong>The</strong>re's men from the barn and the forge and the mill and the fold,<br />
<strong>The</strong> lads for the girls and the lads for the liquor are there,<br />
And there with the rest are the lads that will never be old.<br />
Shropshire Lad (1896) no. 23<br />
Is my team ploughing,<br />
That I was used to drive<br />
And hear the harness jingle<br />
When I was man alive?<br />
Shropshire Lad (1896) no. 27<br />
On Wenlock Edge the wood's in trouble;<br />
His forest fleece the Wrekin heaves;<br />
<strong>The</strong> wind it plies the saplings double,<br />
And thick on Severn snow the leaves.<br />
Shropshire Lad (1896) no. 31<br />
<strong>The</strong> gale, it plies the saplings double,<br />
It blows so hard, 'twill soon be gone:<br />
To-day the Roman and his trouble
Are ashes under Uricon.<br />
Shropshire Lad (1896) no. 31<br />
From far, from eve and morning<br />
And yon twelve-winded sky,<br />
<strong>The</strong> stuff <strong>of</strong> life to knit me<br />
Blew hither: here am I.<br />
Shropshire Lad (1896) no. 32<br />
Speak now, and I will answer;<br />
How shall I help you, say;<br />
Ere to the wind's twelve quarters<br />
I take my endless way.<br />
Shropshire Lad (1896) no. 32<br />
Into my heart an air that kills<br />
From yon far country blows:<br />
What are those blue remembered hills,<br />
What spires, what farms are those?<br />
That is the land <strong>of</strong> lost content,<br />
I see it shining plain,<br />
<strong>The</strong> happy highways where I went<br />
And cannot come again.<br />
Shropshire Lad (1896) no. 40<br />
And bound for the same bourn as I,<br />
On every road I wandered by,<br />
Trod beside me, close and dear,<br />
<strong>The</strong> beautiful and death-struck year.<br />
Shropshire Lad (1896) no. 41<br />
Clunton and Clunbury,<br />
Clungunford and Clun,<br />
Are the quietest places<br />
Under the sun.<br />
Shropshire Lad (1896) no. 50, epigraph<br />
With rue my heart is laden<br />
For golden friends I had,<br />
For many a rose-lipt maiden<br />
And many a lightfoot lad.<br />
By brooks too broad for leaping<br />
<strong>The</strong> lightfoot boys are laid;<br />
<strong>The</strong> rose-lipt girls are sleeping<br />
In fields where roses fade.<br />
Shropshire Lad (1896) no. 54<br />
Say, for what were hop-yards meant,<br />
Or why was Burton built on Trent?<br />
Oh many a peer <strong>of</strong> England brews<br />
Livelier liquor than the Muse,<br />
And malt does more than Milton can<br />
To justify God's ways to man.<br />
Ale, man, ale's the stuff to drink<br />
For fellows whom it hurts to think.<br />
Shropshire Lad (1896) no. 62<br />
Oh I have been to Ludlow fair
And left my necktie God knows where,<br />
And carried half-way home, or near,<br />
Pints and quarts <strong>of</strong> Ludlow beer<br />
<strong>The</strong>n the world seemed none so bad,<br />
And I myself a sterling lad;<br />
And down in lovely muck I've lain,<br />
Happy till I woke again.<br />
Shropshire Lad (1896) no. 62<br />
I tell the tale that I heard told.<br />
Mithridates, he died old.<br />
Shropshire Lad (1896) no. 62<br />
8.84 Sidney Howard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Margaret Mitchell (13.105)<br />
8.85 Elbert Hubbard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1915<br />
Never explain--your friends do not need it and your enemies will not<br />
believe you anyway.<br />
Motto Book (1907) p. 31<br />
Life is just one damned thing after another.<br />
Philistine Dec. 1909, p. 32. <strong>The</strong> saying is <strong>of</strong>ten attributed to Frank Ward<br />
O'Malley<br />
Editor: a person employed by a newspaper, whose business it is to separate<br />
the wheat from the chaff, and to see that the chaff is printed.<br />
Roycr<strong>of</strong>t <strong>Dictionary</strong> (1914) p. 46<br />
Little minds are interested in the extraordinary; great minds in the<br />
commonplace.<br />
Thousand and One Epigrams (1911) p. 133<br />
One machine can do the work <strong>of</strong> fifty ordinary men. No machine can do the<br />
work <strong>of</strong> one extraordinary man.<br />
Thousand and One Epigrams (1911) p. 151<br />
8.86 Frank McKinney ('Kin') Hubbard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1930<br />
Classic music is th'kind that we keep thinkin'll turn into a tune.<br />
Comments <strong>of</strong> Abe Martin and His Neighbors (1923)<br />
It's no disgrace t'be poor, but it might as well be.<br />
Short Furrows (1911) p. 42<br />
8.87 L. Ron Hubbard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1986
Hubbard...told us that writing science fiction for about a penny a word<br />
was no way to make a living. If you really want to make a million, he<br />
said, the quickest way is to start your own religion.<br />
Sam Moscowitz recalling Hubbard speaking to the Eastern Science Fiction<br />
Association at Newark, New Jersey, in 1947, in B. Corydon and L. Ron<br />
Hubbard Jr. L. Ron Hubbard (1987) ch. 3<br />
8.88 Howard Hughes Jr.<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1976<br />
That man's ears make him look like a taxi-cab with both doors open.<br />
In Charles Higham and Joel Greenberg Celluloid Muse (1969) p. 156<br />
(describing Clark Gable)<br />
8.89 Jimmy Hughes and Frank Lake<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Bless 'em all! Bless 'em all!<br />
<strong>The</strong> long and the short and the tall.<br />
Bless 'Em All (1940 song)<br />
8.90 Langston Hughes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1967<br />
"It's powerful," he said.<br />
"What?"<br />
"That one drop <strong>of</strong> Negro blood--because just one drop <strong>of</strong> black blood<br />
makes a man coloured. One drop--you are a Negro!"<br />
Simple Takes a Wife (1953) p. 85<br />
I, too, sing America.<br />
I am the darker brother.<br />
<strong>The</strong>y send me to eat in the kitchen<br />
When company comes.<br />
But I laugh,<br />
And eat well,<br />
And grow strong.<br />
Tomorrow<br />
I'll sit at the table<br />
When company comes<br />
Nobody'll dare<br />
Say to me,<br />
"Eat in the kitchen"<br />
<strong>The</strong>n.<br />
Besides, they'll see how<br />
beautiful I am<br />
And be ashamed,--<br />
I, too, am America.<br />
Survey Graphic Mar. 1925, "I, Too"<br />
8.91 Ted Hughes
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
It took the whole <strong>of</strong> Creation<br />
To produce my foot, my each feather:<br />
Now I hold Creation in my foot.<br />
Lupercal (1960) "Hawk Roosting"<br />
8.92 Josephine Hull<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
?1886-1957<br />
[Josephine Hull's] stage reminiscences are not the least <strong>of</strong> her charms.<br />
"Shakespeare," she recalls, "is so tiring. You never get a chance to sit<br />
down unless you're a king."<br />
Time 16 Nov. 1953, p. 90<br />
8.93 Hubert Humphrey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1978<br />
<strong>The</strong>re are not enough jails, not enough policemen, not enough courts to<br />
enforce a law not supported by the people.<br />
Speech at Williamsburg, 1 May 1965, in New York Times 2 May 1965, sec. 1,<br />
p. 34<br />
<strong>The</strong> right to be heard does not automatically include the right to be taken<br />
seriously.<br />
Speech to National Student Association at Madison, 23 Aug. 1965, in New<br />
York Times 24 Aug. 1965, p. 12<br />
And here we are, just as we ought to be, here we are, the people, here we<br />
are in a spirit <strong>of</strong> dedication, here we are the way politics ought to be in<br />
America, the politics <strong>of</strong> happiness, the politics <strong>of</strong> purpose and the<br />
politics <strong>of</strong> joy.<br />
Speech in Washington, 27 Apr. 1968, in New York Times 28 Apr. 1968, p. 66<br />
8.94 Herman Hupfeld<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1951<br />
You must remember this, a kiss is still a kiss,<br />
A sigh is just a sigh;<br />
<strong>The</strong> fundamental things apply,<br />
As time goes by.<br />
As Time Goes By (1931 song)<br />
8.95 Aldous Huxley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1963<br />
Christlike in my behaviour,<br />
Like every good believer,<br />
I imitate the Saviour,<br />
And cultivate a beaver.
Antic Hay (1923) ch. 4<br />
<strong>The</strong>re are few who would not rather be taken in adultery than in<br />
provincialism.<br />
Antic Hay (1923) ch. 10<br />
Official dignity tends to increase in inverse ratio to the importance <strong>of</strong><br />
the country in which the <strong>of</strong>fice is held.<br />
Beyond the Mexique Bay (1934) p. 34<br />
<strong>The</strong> sexophones wailed like melodious cats under the moon.<br />
Brave New World (1932) ch. 5<br />
That men do not learn very much from the lessons <strong>of</strong> history is the most<br />
important <strong>of</strong> all the lessons that history has to teach.<br />
Collected Essays (1959) "Case <strong>of</strong> Voluntary Ignorance"<br />
<strong>The</strong> proper study <strong>of</strong> mankind is books.<br />
Crome Yellow (1921) ch. 28<br />
Too much consistency is as bad for the mind as it is for the body.<br />
Consistency is contrary to nature, contrary to life. <strong>The</strong> only completely<br />
consistent people are the dead.<br />
Do What You Will (1929) "Wordsworth in the Tropics"<br />
<strong>The</strong> end cannot justify the means, for the simple and obvious reason that<br />
the means employed determine the nature <strong>of</strong> the ends produced.<br />
Ends and Means(1937) ch. 1<br />
So long as men worship the Caesars and Napoleons, Caesars and Napoleons<br />
will duly arise and make them miserable.<br />
Ends and Means (1937) ch. 8<br />
Chastity--the most unnatural <strong>of</strong> all the sexual perversions, he added<br />
parenthetically, out <strong>of</strong> Remy de Gourmont.<br />
Eyeless in Gaza (1936) ch. 27<br />
"Death," said Mark Staithes. "It's the only thing we haven't succeeded in<br />
completely vulgarizing."<br />
Eyeless in Gaza (1936) ch. 31<br />
"Bed," as the Italian proverb succinctly puts it, "is the poor man's<br />
opera."<br />
Heaven and Hell (1956) p. 41<br />
A million million spermatozoa,<br />
All <strong>of</strong> them alive:<br />
Out <strong>of</strong> their cataclysm but one poor Noah<br />
Dare hope to survive.<br />
And among that billion minus one<br />
Might have chanced to be<br />
Shakespeare, another Newton, a new Donne--<br />
But the One was Me.<br />
Leda (1920) "Fifth Philosopher's Song"<br />
Beauty for some provides escape,<br />
Who gain a happiness in eyeing<br />
<strong>The</strong> gorgeous buttocks <strong>of</strong> the ape<br />
Or Autumn sunsets exquisitely dying.
Leda (1920) "Ninth Philosopher's Song"<br />
<strong>The</strong>n brim the bowl with atrabilious liquor!<br />
We'll pledge our Empire vast across the flood:<br />
For Blood, as all men know, than Water's thicker,<br />
But Water's wider, thank the Lord, than Blood.<br />
Leda (1920) "Ninth Philosopher's Song"<br />
Ragtime...but when the wearied Band<br />
Swoons to a waltz, I take her hand,<br />
And there we sit in peaceful calm,<br />
Quietly sweating palm to palm.<br />
Leda (1920) "Frascati's"<br />
I can sympathize with people's pains, but not with their pleasures. <strong>The</strong>re<br />
is something curiously boring about somebody else's happiness.<br />
Limbo (1920) "Cynthia"<br />
After silence, that which comes nearest to expressing the inexpressible is<br />
music.<br />
Music at Night (1931) p. 17<br />
"And besides," he added, forgetting that several excuses are always less<br />
convincing than one, "Lady Edward's inviting an American editor specially<br />
for my sake."<br />
Point Counter Point (1928) ch. 1<br />
A bad book is as much <strong>of</strong> a labour to write as a good one; it comes as<br />
sincerely from the author's soul.<br />
Point Counter Point (1928) ch. 13<br />
<strong>The</strong>re is no substitute for talent. Industry and all the virtues are <strong>of</strong> no<br />
avail.<br />
Point Counter Point (1928) ch. 13<br />
Brought up in an epoch when ladies apparently rolled along on wheels, Mr<br />
Quarles was peculiarly susceptible to calves.<br />
Point Counter Point (1928) ch. 20<br />
Parodies and caricatures are the most penetrating <strong>of</strong> criticisms.<br />
Point Counter Point (1928) ch. 28<br />
That all men are equal is a proposition to which, at ordinary times, no<br />
sane human being has ever given his assent.<br />
Proper Studies (1927) "<strong>The</strong> Idea <strong>of</strong> Equality"<br />
Those who believe that they are exclusively in the right are generally<br />
those who achieve something.<br />
Proper Studies (1927) "Note on Dogma"<br />
Facts do not cease to exist because they are ignored.<br />
Proper Studies (1927) "Note on Dogma"<br />
Experience is not what happens to a man; it is what a man does with what<br />
happens to him.<br />
Texts and Pretexts (1932) p. 5<br />
Most human beings have an almost infinite capacity for taking things for<br />
granted.<br />
<strong>The</strong>mes and Variations (1950) "Variations on a Philosopher"
"<strong>The</strong>re's only one corner <strong>of</strong> the universe you can be certain <strong>of</strong> improving,<br />
and that's your own self. Your own self," he repeated. So you have to<br />
begin there, not outside, not on other people. That comes afterwards,<br />
when you've worked on your own corner.<br />
Time Must Have a Stop (1945) ch. 7<br />
8.96 Sir Julian Huxley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1975<br />
Operationally, God is beginning to resemble not a ruler but the last<br />
fading smile <strong>of</strong> a cosmic Cheshire cat.<br />
Religion without Revelation (1957 edn.) ch. 3<br />
9.0 I<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
9.1 Dolores Ibarruri ('La Pasionaria')<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1989<br />
Il vaut mieux mourir debout que de vivre … genoux!<br />
It is better to die on your feet than to live on your knees.<br />
Speech in Paris, 3 Sept. 1936, in L'Humanit‚ 4 Sept. 1936 (also attributed<br />
to Emiliano Zapata)<br />
No pasar n.<br />
<strong>The</strong>y shall not pass.<br />
Radio broadcast, Madrid, 19 July 1936, in Speeches and Articles 1936-38<br />
(1938) p. 7 (cf. Anonymous 6:25)<br />
9.2 Henrik Ibsen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1828-1906<br />
Luftslotte,--de er s† nemme at ty ind i, de. Og nemme at bygge ogs†.<br />
Castles in the air--they are so easy to take refuge in. And so easy to<br />
build, too.<br />
Bygmester Solness (<strong>The</strong> Master Builder, 1892) act 3<br />
Flertallet har aldrig retten p† sin side. Aldrig, siger jeg! Det er en af<br />
disse samfundslígne, som en fri, t‘nkende mand m† gíre oprír imod. Hvem er<br />
det, som udgír flertallet af beboerne i et land? Er det de kloge folk,<br />
eller er det dŠ dumme? Jeg taenker, vi f†r vaere enige om, at dumme<br />
mennesker er tilstede i en ganske forskraek kelig overv‘ldende majoritet<br />
rundt omkring p† den hele vide jord. Men det kan da vel, for fanden,<br />
aldrig i evighed vaere ret, at de dumme skal herske over de kloge!<br />
<strong>The</strong> majority never has right on its side. Never I say! That is one <strong>of</strong> the<br />
social lies that a free, thinking man is bound to rebel against. Who makes<br />
up the majority in any given country? Is it the wise men or the fools? I
think we must agree that the fools are in a terrible overwhelming<br />
majority, all the wide world over.<br />
En Folkefiende (An Enemy <strong>of</strong> the People, 1882) act 4<br />
En skulde aldrig ha' sine bedste buxer p†, n†r en er ude og strider for<br />
frihed og sandhed.<br />
You should never have your best trousers on when you go out to fight for<br />
freedom and truth.<br />
En Folkefiende (An Enemy <strong>of</strong> the People, 1882) act 5<br />
Sagen er den, ser I, at den st‘rkeste mand i verden, det er han, som st†r<br />
mest alene.<br />
<strong>The</strong> thing is, you see, that the strongest man in the world is the man who<br />
stands most alone.<br />
En Folkefiende (An Enemy <strong>of</strong> the People, 1882) act 5<br />
Mor, gi' mig solen.<br />
Mother, give me the sun.<br />
Gengangere (Ghosts, 1881) act 3<br />
Men, gud sig forbarme,--sligt noget gír man da ikke!<br />
But good God, people don't do such things!<br />
Hedda Gabler (1890) act 4<br />
Hvad skal manden v‘re? Sig selv, det er mit korte svar.<br />
What ought a man to be? Well, my short answer is "himself."<br />
Peer Gynt (1867) act 4<br />
Tar de livslígnen fra et gennemsnitsmenneske, s† tar De lykken fra ham med<br />
det samme.<br />
Take the life-lie away from the average man and straight away you take<br />
away his happiness.<br />
Vildanden (<strong>The</strong> Wild Duck, 1884) act 5<br />
9.3 Harold L. Ickes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1952<br />
<strong>The</strong> trouble with Senator Long...is that he is suffering from halitosis <strong>of</strong><br />
the intellect. That's presuming Emperor Long has an intellect.<br />
Speech, 1935, in G. Wolfskill and J. A. Hudson All But the People:<br />
Franklin D. Roosevelt and his Critics, 1933-39 (1969) ch. 11<br />
Dewey threw his diaper into the ring.<br />
On the Republican candidate for the presidency, in New York Times 12 Dec.<br />
1939, p. 32<br />
9.4 Eric Idle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
See Graham Chapman et al. (3.47)
9.5 Francis Iles (Anthony Berkeley Cox)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1970<br />
It was not until several weeks after he had decided to murder his wife<br />
that Dr Bickleigh took any active steps in the matter. Murder is a serious<br />
business.<br />
Malice Aforethought (1931) p. 7<br />
9.6 Ivan Illich<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
Man must choose whether to be rich in things or in the freedom to use<br />
them.<br />
Deschooling Society (1971) ch. 4<br />
In a consumer society there are inevitably two kinds <strong>of</strong> slaves: the<br />
prisoners <strong>of</strong> addiction and the prisoners <strong>of</strong> envy.<br />
Tools for Conviviality (1973) ch. 3<br />
9.7 Charles Inge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1957<br />
This very remarkable man<br />
Commends a most practical plan:<br />
You can do what you want<br />
If you don't think you can't,<br />
So don't think you can't think you can.<br />
Weekend Book (1928) "On Monsieur Cou‚"<br />
9.8 William Ralph Inge (Dean Inge)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1954<br />
<strong>The</strong> aim <strong>of</strong> education is the knowledge not <strong>of</strong> facts but <strong>of</strong> values.<br />
"<strong>The</strong> Training <strong>of</strong> the Reason" in A. C. Benson (ed.) Cambridge Essays on<br />
Education (1917) ch. 2<br />
<strong>The</strong> enemies <strong>of</strong> <strong>Free</strong>dom do not argue; they shout and they shoot.<br />
End <strong>of</strong> an Age (1948) ch. 4<br />
<strong>The</strong> effect <strong>of</strong> boredom on a large scale in history is underestimated. It is<br />
a main cause <strong>of</strong> revolutions, and would soon bring to an end all the static<br />
Utopias and the farmyard civilization <strong>of</strong> the Fabians.<br />
End <strong>of</strong> an Age (1948) ch. 6<br />
To become a popular religion, it is only necessary for a superstition to<br />
enslave a philosophy.<br />
Idea <strong>of</strong> Progress (Romanes Lecture delivered at <strong>Oxford</strong>, 27 May 1920) p. 9<br />
Many people believe that they are attracted by God, or by Nature, when<br />
they are only repelled by man.<br />
More Lay Thoughts <strong>of</strong> a Dean (1931) pt. 4, ch. 1
It takes in reality only one to make a quarrel. It is useless for the<br />
sheep to pass resolutions in favour <strong>of</strong> vegetarianism, while the wolf<br />
remains <strong>of</strong> a different opinion.<br />
Outspoken Essays: First Series (1919) "Patriotism"<br />
<strong>The</strong> nations which have put mankind and posterity most in their debt have<br />
been small states--Israel, Athens, Florence, Elizabethan England.<br />
Outspoken Essays: Second Series (1922) "State, visible and invisible"<br />
A man may build himself a throne <strong>of</strong> bayonets, but he cannot sit on it; and<br />
he cannot avow that the bayonets are meant to keep his own subjects quiet.<br />
Philosophy <strong>of</strong> Plotinus (1923) vol. 2, lecture 22<br />
Literature flourishes best when it is half a trade and half an art.<br />
Victorian Age (Rede Lecture delivered at Cambridge, 1922) p. 49<br />
9.9 EugŠne Ionesco<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
C'est une chose anormale de vivre.<br />
Living is abnormal.<br />
Le Rhinoc‚ros (1959) act 1<br />
Tu ne pr‚vois les ‚v‚nements que lorsqu'ils sont d‚j… arriv‚s.<br />
You can only predict things after they have happened.<br />
Le Rhinoc‚ros (1959) act 3<br />
Un fonctionnaire ne plaisante pas.<br />
A civil servant doesn't make jokes.<br />
Tueur sans gages (<strong>The</strong> Killer, 1958) act 1<br />
9.10 Weldon J. Irvine<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Young, gifted and black.<br />
Title <strong>of</strong> song (1969; music by Nina Simone)<br />
9.11 Christopher Isherwood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1986<br />
<strong>The</strong> common cormorant (or shag)<br />
Lays eggs inside a paper bag,<br />
You follow the idea, no doubt?<br />
It's to keep the lightning out.<br />
But what these unobservant birds<br />
Have never thought <strong>of</strong>, is that herds<br />
Of wandering bears might come with buns<br />
And steal the bags to hold the crumbs.<br />
Exhumations (1966) "Common Cormorant"
I am a camera with its shutter open, quite passive, recording, not<br />
thinking. Recording the man shaving at the window opposite and the woman<br />
in the kimono washing her hair. Some day, all this will have to be<br />
developed, carefully printed, fixed.<br />
Goodbye to Berlin (1939) "Berlin Diary" Autumn 1930<br />
Mr Norris changes trains.<br />
Title <strong>of</strong> novel (1935)<br />
See also W. H. Auden (1.67) and Christopher Isherwood<br />
10.0 J<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
10.1 Holbrook Jackson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1948<br />
A mother never realizes that her children are no longer children.<br />
All Manner <strong>of</strong> Folk (1912) "On a Certain Arrangement" p. 89<br />
Pedantry is the dotage <strong>of</strong> knowledge.<br />
Anatomy <strong>of</strong> Bibliomania (1930) vol. 1, p. 150<br />
As soon as an idea is accepted it is time to reject it.<br />
Platitudes in the Making (1911) p. 13<br />
10.2 Joe Jacobs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1940<br />
We was robbed!<br />
Shouted into the microphone after Jack Sharkey beat Max Schmeling (<strong>of</strong> whom<br />
Jacobs was manager) in the heavyweight title fight, 21 June 1932, in Peter<br />
Heller In This Corner (1975) p. 44<br />
I should <strong>of</strong> stood [i.e. have stayed] in bed.<br />
Said after he left his sick-bed in October 1935 to attend the World<br />
Baseball Series in Detroit and he bet on the losers, in John Lardner<br />
Strong Cigars (1951) p. 61<br />
10.3 Mick Jagger and Keith Richard (Keith Richards)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Mick Jagger 1943-<br />
Keith Richard 1943-<br />
It's only rock 'n' roll.<br />
Title <strong>of</strong> song (1974)<br />
Ev'rywhere I hear the sound <strong>of</strong> marching, charging feet, oh, boy,<br />
'Cause summer's here and the time is oh, right for fighting in the<br />
street, boy.<br />
But what can a poor boy do<br />
Except to sing for a rock 'n' roll band,
'Cause in sleepy London town<br />
<strong>The</strong>re's just no place for street fighting man!<br />
Street Fighting Man (1968 song)<br />
10.4 Henry James<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1843-1916<br />
<strong>The</strong> ever-importunate murmur, "Dramatize it, dramatize it!"<br />
Altar <strong>of</strong> the Dead (1909 ed.) preface<br />
<strong>The</strong> terrible fluidity <strong>of</strong> self-revelation.<br />
Ambassadors (1909 ed.) preface<br />
Live all you can; it's a mistake not to. It doesn't so much matter what<br />
you do in particular, so long as you have your life. If you haven't had<br />
that, what have you had?<br />
Ambassadors (1903) bk. 5, ch. 11<br />
<strong>The</strong> deep well <strong>of</strong> unconscious cerebration.<br />
<strong>The</strong> American (1909 ed.) preface<br />
<strong>The</strong> historian, essentially, wants more documents than he can really use;<br />
the dramatist only wants more liberties than he can really take.<br />
Aspern Papers (1909 ed.) preface<br />
Summer afternoon--summer afternoon; to me those have always been the two<br />
most beautiful words in the English language.<br />
In Edith Wharton Backward Glance (1934) ch. 10<br />
He [Henry James] is said to have told his old friend Lady Prothero, when<br />
she saw him after the first stroke, that in the very act <strong>of</strong> falling (he<br />
was dressing at the time) he heard in the room a voice which was<br />
distinctly, it seemed, not his own saying: "So here it is at last, the<br />
distinguished thing!"<br />
Edith Wharton Backward Glance (1934) ch. 14<br />
To kill a human being is, after all, the least injury you can do him.<br />
Complete Tales (1962) vol. 1 "My Friend Bingham" (1867 short story)<br />
We work in the dark--we do what we can--we give what we have. Our doubt<br />
is our passion and our passion is our task. <strong>The</strong> rest is the madness <strong>of</strong><br />
art.<br />
Complete Tales (1964) vol. 9 "Middle Years" (1893 short story)<br />
Vereker's secret, my dear man--the general intention <strong>of</strong> his books: the<br />
string the pearls were strung on, the buried treasure, the figure in the<br />
carpet.<br />
Figure in the Carpet (1896) ch. 11<br />
It takes a great deal <strong>of</strong> history to produce a little literature.<br />
Hawthorne (1879) ch. 1<br />
Whatever question there may be <strong>of</strong> his [Thoreau's] talent, there can be<br />
none, I think, <strong>of</strong> his genius. It was a slim and crooked one; but it was<br />
eminently personal. He was imperfect, unfinished, inartistic; he was worse<br />
than provincial--he was parochial.<br />
Hawthorne (1879) ch. 4
Cats and monkeys--monkeys and cats--all human life is there!<br />
Madonna <strong>of</strong> the Future (1879) vol. 1, p. 59 ("All human life is there" was<br />
used by Maurice Smelt as an advertising slogan for the News <strong>of</strong> the World<br />
in the late 1950s)<br />
<strong>The</strong>y have fairly faced the full, the monstrous demonstration that Tennyson<br />
was not Tennysonian.<br />
Middle Years (1917 autobiography) ch. 6<br />
<strong>The</strong> only reason for the existence <strong>of</strong> a novel is that it does attempt to<br />
represent life.<br />
Partial Portraits (1888) "Art <strong>of</strong> Fiction"<br />
<strong>The</strong> only obligation to which in advance we may hold a novel, without<br />
incurring the accusation <strong>of</strong> being arbitrary, is that it be interesting.<br />
Partial Portraits (1888) "Art <strong>of</strong> Fiction"<br />
Experience is never limited, and it is never complete; it is an immense<br />
sensibility, a kind <strong>of</strong> huge spider-web <strong>of</strong> the finest silken threads<br />
suspended in the chamber <strong>of</strong> consciousness, and catching every air-borne<br />
particle in its tissue.<br />
Partial Portraits (1888) "Art <strong>of</strong> Fiction"<br />
What is character but the determination <strong>of</strong> incident? What is incident but<br />
the illustration <strong>of</strong> character? What is either a picture or a novel that is<br />
not character?<br />
Partial Portraits (1888) "Art <strong>of</strong> Fiction"<br />
We must grant the artist his subject, his idea, his donn‚e: our criticism<br />
is applied only to what he makes <strong>of</strong> it.<br />
Partial Portraits (1888) "Art <strong>of</strong> Fiction"<br />
I don't care anything about reasons, but I know what I like.<br />
Portrait <strong>of</strong> a Lady (1881) vol. 2, ch. 5. Cf. Max Beerbohm 23:14<br />
I didn't, <strong>of</strong> course, stay her hand--there never is in such cases "time";<br />
and I had once more the full demonstration <strong>of</strong> the fatal futility <strong>of</strong> Fact.<br />
Spoils <strong>of</strong> Poynton (1909 ed.) preface<br />
We were alone with the quiet day, and his little heart, dispossessed, had<br />
stopped.<br />
Turn <strong>of</strong> the Screw (1898) p. 169<br />
10.5 William James<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1842-1910<br />
Man, biologically considered, and whatever else he may be into the<br />
bargain, is simply the most formidable <strong>of</strong> all the beasts <strong>of</strong> prey, and,<br />
indeed, the only one that preys systematically on its own species.<br />
Atlantic Monthly Dec. 1904, p. 845<br />
I now perceive one immense omission in my Psychology,--the deepest<br />
principle <strong>of</strong> Human Nature is the craving to be appreciated, and I left it<br />
out altogether from the book, because I had never had it gratified till<br />
now.<br />
Letter to his class at Radcliffe College, 6 Apr. 1896, in Letters (1920)<br />
vol. 2, p. 33
<strong>The</strong> moral flabbiness born <strong>of</strong> the exclusive worship <strong>of</strong> the bitch-goddess<br />
success. That--with the squalid cash interpretation put on the word<br />
success--is our national disease.<br />
Letter to H. G. Wells, 11 Sept. 1906, in Letters (1920) vol. 2, p. 260<br />
Real culture lives by sympathies and admirations, not by dislikes and<br />
disdains--under all misleading wrappings it pounces unerringly upon the<br />
human core.<br />
McClure's Magazine Feb. 1908, p. 422<br />
So long as antimilitarists propose no substitute for war's disciplinary<br />
function, no moral equivalent <strong>of</strong> war, analogous, as one might say, to the<br />
mechanical equivalent <strong>of</strong> heat, so long they fail to realize the full<br />
inwardness <strong>of</strong> the situation.<br />
Memories and Studies (1911) "<strong>The</strong> Moral Equivalent <strong>of</strong> War" p. 283<br />
<strong>The</strong>re is no more miserable human being than one in whom nothing is<br />
habitual but indecision.<br />
Principles <strong>of</strong> Psychology (1890) vol. 1, ch. 4<br />
<strong>The</strong> art <strong>of</strong> being wise is the art <strong>of</strong> knowing what to overlook.<br />
Principles <strong>of</strong> Psychology (1890) vol. 2, ch. 22<br />
<strong>The</strong> first thing to learn in intercourse with others is non-interference<br />
with their own peculiar ways <strong>of</strong> being happy, provided those ways do not<br />
assume to interfere by violence with ours.<br />
Talks to Teachers (1899) "What makes a Life Significant?"<br />
If merely "feeling good" could decide, drunkenness would be the supremely<br />
valid human experience.<br />
Varieties <strong>of</strong> Religious Experience (1902) lecture 1, p. 16<br />
An idea, to be suggestive, must come to the individual with the force <strong>of</strong> a<br />
revelation.<br />
Varieties <strong>of</strong> Religious Experience (1902) lectures 4 and 5, p. 113<br />
<strong>The</strong>re is no worse lie than a truth misunderstood by those who hear it.<br />
Varieties <strong>of</strong> Religious Experience (1902) lectures 14 and 15, p. 355<br />
10.6 Randall Jarrell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1965<br />
One <strong>of</strong> the most obvious facts about grown-ups, to a child, is that they<br />
have forgotten what it is like to be a child.<br />
Introduction to Christina Stead <strong>The</strong> Man Who Loved Children (1965) p. xxvi<br />
10.7 Douglas Jay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-<br />
It was Bert Amey who asked me to send him a brief rhyming North Battersea<br />
slogan [for the 1946 by-election]. I suggested: "Fair Shares for All, is<br />
Labour's Call"; and from this by-election "Fair Shares for All" spread in<br />
a few years round the country.<br />
Change and Fortune (1980) ch. 7<br />
For in the case <strong>of</strong> nutrition and health, just as in the case <strong>of</strong> education,
the gentleman in Whitehall really does know better what is good for people<br />
than the people know themselves.<br />
Socialist Case (1939) ch. 30<br />
10.8 Sir James Jeans<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1946<br />
Taking a very gloomy view <strong>of</strong> the future <strong>of</strong> the human race, let us suppose<br />
that it can only expect to survive for two thousand million years longer,<br />
a period about equal to the past age <strong>of</strong> the earth. <strong>The</strong>n, regarded as a<br />
being destined to live for three-score years and ten, humanity, although<br />
it has been born in a house seventy years old, is itself only three days<br />
old.<br />
Eos (1928) p. 12<br />
Life exists in the universe only because the carbon atom possesses certain<br />
exceptional properties.<br />
Mysterious Universe (1930) ch. 1<br />
From the intrinsic evidence <strong>of</strong> his creation, the Great Architect <strong>of</strong> the<br />
Universe now begins to appear as a pure mathematician.<br />
Mysterious Universe (1930) ch. 5<br />
10.9 Patrick Jenkin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
People can clean their teeth in the dark, use the top <strong>of</strong> the stove instead<br />
<strong>of</strong> the oven, all sorts <strong>of</strong> savings, but they must use less electricity.<br />
Radio broadcast, 15 Jan. 1974, in <strong>The</strong> Times 16 Jan. 1974<br />
10.10 Rt. Revd David Jenkins (Bishop <strong>of</strong> Durham)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-<br />
I wouldn't put it past God to arrange a virgin birth if he wanted to, but<br />
I very much doubt if he would--because it seems to be contrary to the way<br />
in which he deals with persons and brings his wonders out <strong>of</strong> natural<br />
personal relationships.<br />
In Church Times 4 May 1984<br />
<strong>The</strong> withdrawal <strong>of</strong> an imported, elderly American [Ian MacGregor] to leave a<br />
reconciling opportunity for some local product is surely neither<br />
dishonourable nor improper.<br />
In <strong>The</strong> Times 22 Sept. 1984<br />
10.11 Roy Jenkins (Baron Jenkins <strong>of</strong> Hillhead)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
<strong>The</strong> politics <strong>of</strong> the left and centre <strong>of</strong> this country are frozen in an<br />
out-<strong>of</strong>-date mould which is bad for the political and economic health <strong>of</strong><br />
Britain and increasingly inhibiting for those who live within the mould.<br />
Can it be broken?<br />
Speech to Parliamentary Press Gallery, 9 June 1980, in <strong>The</strong> Times 10 June
1980<br />
10.12 Paul Jennings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1989<br />
I am prepared to testify on oath that on the portico pillars <strong>of</strong> one<br />
building there is a bronze <strong>of</strong>fice sign which simply says: ACTIVATED<br />
SLUDGE.<br />
Oddly Enough (1950) "Activated Sludge"<br />
Clark-Trimble arranged four hundred pieces <strong>of</strong> carpet in ascending degrees<br />
<strong>of</strong> quality, from coarse matting to priceless Chinese silk. Pieces <strong>of</strong><br />
toast and marmalade, graded, weighed, and measured, were then dropped on<br />
each piece <strong>of</strong> carpet, and the marmalade-downwards incidence was<br />
statistically analysed. <strong>The</strong> toast fell right-side-up every time on the<br />
cheap carpet...and it fell marmalade-downwards every time on the Chinese<br />
silk.<br />
Town and Country Sept. 1949, "Report on Resistentialism"<br />
10.13 Jerome K. Jerome<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1927<br />
It is always the best policy to speak the truth--unless, <strong>of</strong> course, you<br />
are an exceptionally good liar.<br />
<strong>The</strong> Idler Feb. 1892, p. 118<br />
It is impossible to enjoy idling thoroughly unless one has plenty <strong>of</strong> work<br />
to do.<br />
Idle Thoughts <strong>of</strong> an Idle Fellow (1886) "On Being Idle"<br />
Love is like the measles; we all have to go through it.<br />
Idle Thoughts <strong>of</strong> an Idle Fellow (1886) "On Being in Love"<br />
We drink one another's healths, and spoil our own.<br />
Idle Thoughts <strong>of</strong> an Idle Fellow (1886) "On Eating and Drinking"<br />
<strong>The</strong> world must be getting old, I think; it dresses so very soberly now.<br />
Idle Thoughts <strong>of</strong> an Idle Fellow (1886) "On Dress and Deportment"<br />
I did not intend to write a funny book, at first. I did not know I was a<br />
humorist. I have never been sure about it. In the middle ages, I should<br />
probably have gone about preaching and got myself burnt or hanged.<br />
My Life and Times (1926) ch. 6<br />
<strong>The</strong> passing <strong>of</strong> the third floor back.<br />
Title <strong>of</strong> story (1907) and play (1910)<br />
I want a house that has got over all its troubles; I don't want to spend<br />
the rest <strong>of</strong> my life bringing up a young and inexperienced house.<br />
<strong>The</strong>y and I (1909) ch. 11<br />
It is a most extraordinary thing, but I never read a patent medicine<br />
advertisement without being impelled to the conclusion that I am suffering<br />
from the particular disease therein dealt with in its most virulent form.<br />
Three Men in a Boat (1889) ch. 1
But there, everything has its drawbacks, as the man said when his<br />
mother-in-law died, and they came down upon him for the funeral expenses.<br />
Three Men in a Boat (1889) ch. 3<br />
I like work: it fascinates me. I can sit and look at it for hours. I love<br />
to keep it by me: the idea <strong>of</strong> getting rid <strong>of</strong> it nearly breaks my heart.<br />
Three Men in a Boat (1889) ch. 15<br />
10.14 William Jerome<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1932<br />
Any old place I can hang my hat is home sweet home to me.<br />
Title <strong>of</strong> song (1901; music by Jean Schwartz)<br />
You needn't try to reason,<br />
Your excuse is out <strong>of</strong> season,<br />
Just kiss yourself goodbye.<br />
Just Kiss Yourself Goodbye (1902 song; music by Jean Schwartz)<br />
10.15 C. E. M. Joad<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1953<br />
It all depends what you mean by...<br />
Frequent opening to replies on the BBC radio series "<strong>The</strong> Brains Trust"<br />
(originally "Any Questions"), 1941-8<br />
My life is spent in a perpetual alternation between two rhythms, the<br />
rhythm <strong>of</strong> attracting people for fear I may be lonely, and the rhythm <strong>of</strong><br />
trying to get rid <strong>of</strong> them because I know that I am bored.<br />
In Observer 12 Dec. 1948, p. 2<br />
10.16 Pope John XXIII (Angelo Giuseppe Roncalli)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1963<br />
If civil authorities legislate for or allow anything that is contrary to<br />
that order and therefore contrary to the will <strong>of</strong> God, neither the laws<br />
made or the authorizations granted can be binding on the consciences <strong>of</strong><br />
the citizens, since God has more right to be obeyed than man.<br />
Pacem in Terris (1963) p. 142<br />
<strong>The</strong> social progress, order, security and peace <strong>of</strong> each country are<br />
necessarily connected with the social progress, order, security and peace<br />
<strong>of</strong> all other countries.<br />
Pacem in Terris (1963) p. 150<br />
John XXIII said that during the first months <strong>of</strong> his pontificate he <strong>of</strong>ten<br />
woke during the night, thinking himself still a cardinal and worried over<br />
a difficult decision to be made, and he would say to himself: "I'll talk<br />
it over with the Pope!" <strong>The</strong>n he would remember where he was. "But I'm the<br />
Pope!" he said to himself. After which he would conclude: "Well I'll talk<br />
it over with Our Lord!"<br />
Henri Fesquet Wit and Wisdom <strong>of</strong> Good Pope John (1964) p. 59<br />
Anybody can be pope; the pro<strong>of</strong> <strong>of</strong> this is that I have become one.
Henri Fesquet Wit and Wisdom <strong>of</strong> Good Pope John (1964) p. 112<br />
10.17 Lyndon Baines Johnson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1973<br />
I don't want loyalty. I want loyalty. I want him to kiss my ass in Macy's<br />
window at high noon and tell me it smells like roses. I want his pecker in<br />
my pocket.<br />
In David Halberstam Best and Brightest (1972) ch. 20<br />
It's probably better to have him [J. Edgar Hoover] inside the tent pissing<br />
out, than outside pissing in.<br />
In David Halberstam Best and Brightest (1972) ch. 20<br />
Jerry Ford is so dumb he can't fart and chew gum at the same time.<br />
In Richard Reeves A Ford, not a Lincoln (1975) ch. 2<br />
For the first time in our history, it is possible to conquer poverty.<br />
Speech to Congress, 16 Mar. 1964, in New York Times 17 Mar. 1964, p. 22<br />
All I have I would have given gladly not to be standing here today.<br />
Speech to Congress, 27 Nov. 1963, in Public Papers <strong>of</strong> the Presidents <strong>of</strong><br />
the United States: Lyndon B. Johnson 1963-64 vol. 1, p. 8 (after the<br />
previous president, J. F. Kennedy, was assassinated)<br />
We have talked long enough in this country about equal rights. We have<br />
talked for a hundred years or more. It is time now to write the next<br />
chapter, and to write it in the books <strong>of</strong> law.<br />
Speech to Congress, 27 Nov. 1963, in Public Papers <strong>of</strong> the Presidents <strong>of</strong><br />
the United States: Lyndon B. Johnson 1963-64 vol. 1, p. 9<br />
We hope that the world will not narrow into a neighbourhood before it has<br />
broadened into a brotherhood.<br />
Speech at lighting <strong>of</strong> the Nation's Christmas Tree, 22 Dec. 1963, in<br />
Public Papers <strong>of</strong> the Presidents <strong>of</strong> the United States: Lyndon B. Johnson<br />
1963-64, vol. 1, item 65<br />
This administration today, here and now declares unconditional war on<br />
poverty in America.<br />
State <strong>of</strong> the Union address to Congress, 8 Jan. 1964, in Public Papers <strong>of</strong><br />
the Presidents <strong>of</strong> the United States: Lyndon B. Johnson 1963-64 vol. 1, p.<br />
114<br />
In your time we have the opportunity to move not only toward the rich<br />
society and the powerful society, but upward to the Great Society.<br />
Speech at University <strong>of</strong> Michigan, 22 May 1964, in Public Papers <strong>of</strong> the<br />
Presidents <strong>of</strong> the United States: Lyndon B. Johnson 1963-64 vol. 1, p. 704<br />
We Americans know, although others appear to forget, the risks <strong>of</strong><br />
spreading conflict. We still seek no wider war.<br />
Speech on radio and television, 4 Aug. 1964, in Public Papers <strong>of</strong> the<br />
Presidents <strong>of</strong> the United States: Lyndon B. Johnson 1963-64 vol. 2, p. 927<br />
We are not about to send American boys 9 or 10,000 miles away from home to<br />
do what Asian boys ought to be doing for themselves.<br />
Speech at Akron University, 21 Oct. 1964, in Public Papers <strong>of</strong> the<br />
Presidents <strong>of</strong> the United States: Lyndon B. Johnson 1963-64 vol. 2, p.<br />
1391
Extremism in the pursuit <strong>of</strong> the Presidency is an unpardonable vice.<br />
Moderation in the affairs <strong>of</strong> the nation is the highest virtue.<br />
Speech in New York, 31 Oct. 1964, in Public Papers <strong>of</strong> the Presidents <strong>of</strong><br />
the United States: Lyndon B. Johnson 1963-64 vol. 2, p. 1559<br />
A President's hardest task is not to do what is right, but to know what is<br />
right.<br />
State <strong>of</strong> the Union address to Congress, 4 Jan. 1965, in Public Papers <strong>of</strong><br />
the Presidents <strong>of</strong> the United States: Lyndon B. Johnson 1965 vol. 1, p. 9<br />
I am a free man, an American, a United States Senator, and a Democrat, in<br />
that order.<br />
Texas Quarterly Winter 1958<br />
10.18 Philander Chase Johnson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1939<br />
Cheer up! the worst is yet to come!<br />
Everybody's Magazine May 1920<br />
10.19 Philip Johnson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
Architecture is the art <strong>of</strong> how to waste space.<br />
New York Times 27 Dec. 1964, p. 9E<br />
10.20 Hanns Johst<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1978<br />
Wenn ich Kultur h”re...entsichere ich meinen Browning!<br />
Whenever I hear the word culture...I release the safety-catch <strong>of</strong> my<br />
Browning [pistol]!<br />
Schlageter (1933) act 1, sc. 1. Often attributed to Hermann Goering<br />
10.21 Al Jolson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1950<br />
It can be revealed for the first time that it was in San Francisco [in<br />
1906] that Al Jolson first uttered his immortal slogan, "You ain't heard<br />
nuttin' yet!" One night at the cafe he had just finished a song when a<br />
deafening burst <strong>of</strong> noise from a building project across the street drowned<br />
out the applause. At the top <strong>of</strong> his lungs, Jolson screamed, "You think<br />
that's noise--you ain't heard nuttin' yet!" And he proceeded to deliver an<br />
encore which for sheer blasting power put to everlasting shame all the<br />
decibels <strong>of</strong> noise the carpenters, the brick-layers and the drillers could<br />
scare up between them.<br />
Martin Abramson Real Story <strong>of</strong> Al Jolson (1950) p. 12<br />
10.22 James Jones<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1921-<br />
From here to eternity.<br />
Title <strong>of</strong> novel (1951). Cf. Rudyard Kipling 123:16<br />
10.23 LeRoi Jones<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Imamu Amiri Baraka (2.13)<br />
10.24 Erica Jong<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-<br />
<strong>The</strong> zipless fuck is the purest thing there is. And it is rarer than the<br />
unicorn. And I have never had one.<br />
Fear <strong>of</strong> Flying (1973) ch. 1<br />
10.25 Janis Joplin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-1970<br />
Oh, Lord, won't you buy me a Mercedes Benz<br />
My friends all drive Porsches,<br />
I must make amends.<br />
Mercedes Benz (1970 song)<br />
Fourteen heart attacks and he had to die in my week. In MY week.<br />
Said when Eisenhower's death prevented her photograph from being on the<br />
front cover <strong>of</strong> Newsweek, in New Musical Express 12 Apr. 1969<br />
10.26 Sir Keith Joseph<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
Perhaps there is at work here a process, apparent in many situations but<br />
imperfectly understood, by which problems reproduce themselves from<br />
generation to generation. If I refer to this as a "cycle <strong>of</strong> deprivation" I<br />
do not want to be misunderstood.<br />
Speech in London to Pre-School Playgroups Association, 29 June 1972<br />
10.27 James Joyce<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1941<br />
Yes, the newspapers were right: snow was general all over Ireland. It was<br />
falling on every part <strong>of</strong> the dark central plain, on the treeless hills,<br />
falling s<strong>of</strong>tly upon the Bog <strong>of</strong> Allen and, farther westward, s<strong>of</strong>tly falling<br />
into the dark mutinous Shannon waves. It was falling, too, upon every part<br />
<strong>of</strong> the lonely churchyard on the hill where Michael Furey lay buried. It<br />
lay thickly drifted on the crooked crosses and headstones, on the spears<br />
<strong>of</strong> the little gate, on the barren thorns. His soul swooned slowly as he<br />
heard the snow falling faintly through the universe and faintly falling,<br />
like the descent <strong>of</strong> their last end, upon all the living and the dead.
Dubliners (1914) "<strong>The</strong> Dead"<br />
riverrun, past Eve and Adam's, from swerve <strong>of</strong> shore to bend <strong>of</strong> bay, brings<br />
us by a commodious vicus <strong>of</strong> recirculation back to Howth Castle and<br />
Environs.<br />
Finnegans Wake (1939) pt. 1, p. 3<br />
That ideal reader suffering from an ideal insomnia.<br />
Finnegans Wake (1939) pt. 1, p. 120<br />
<strong>The</strong> flushpots <strong>of</strong> Euston and the hanging garments <strong>of</strong> Marylebone.<br />
Finnegans Wake (1939) pt. 1, p. 192<br />
O<br />
tell me all about<br />
Anna Livia! I want to hear all<br />
about Anna Livia. Well, you know Anna Livia?<br />
Yes, <strong>of</strong> course, we all know Anna Livia. Tell me all. Tell me now.<br />
Finnegans Wake (1939) pt. 1, p. 196<br />
Tell me, tell me, tell me, elm! Night night! Telmetale <strong>of</strong> stem or stone.<br />
Beside the rivering waters <strong>of</strong> hitherandthithering waters <strong>of</strong>. Night!<br />
Finnegans Wake (1939) pt. 1, p. 216<br />
All moanday, tearsday, wailsday, thumpsday, frightday, shatterday till the<br />
fear <strong>of</strong> the Law.<br />
Finnegans Wake (1939) pt. 2, p. 301<br />
Three quarks for Muster Mark!<br />
Finnegans Wake (1939) pt. 2, p. 383<br />
<strong>The</strong> Gracehoper was always jigging ajog, hoppy on akkant <strong>of</strong> his joyicity.<br />
Finnegans Wake (1939) pt. 3, p. 414<br />
If I seen him bearing down on me now under whitespread wings like he'd<br />
come from Arkangels, I sink I'd die down over his feet, humbly dumbly,<br />
only to washup. Yes, tid. <strong>The</strong>re's where. First. We pass through grass<br />
behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End<br />
here. Us then. Finn, again! Take. Buss<strong>of</strong>tlhee, mememormee! Till<br />
thousendsthee. Lps. <strong>The</strong> keys to. Given! A way a lone a last a loved a<br />
long the<br />
Finnegans Wake (1939) pt. 4, p. 627<br />
Once upon a time and a very good time it was there was a moocow coming<br />
down along the road and this moocow that was down along the road met a<br />
nicens little boy named baby tuckoo.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 1<br />
<strong>The</strong> artist, like the God <strong>of</strong> the creation, remains within or behind or<br />
beyond or above his handiwork, invisible, refined out <strong>of</strong> existence,<br />
indifferent, paring his fingernails.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 5<br />
Ireland is the old sow that eats her farrow.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 5<br />
Pity is the feeling which arrests the mind in the presence <strong>of</strong> whatsoever<br />
is grave and constant in human sufferings and unites it with the human<br />
sufferer. Terror is the feeling which arrests the mind in the presence <strong>of</strong><br />
whatsoever is grave and constant in human sufferings and unites it with
the secret cause.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 5<br />
Welcome, O life! I go to encounter for the millionth time the reality <strong>of</strong><br />
experience and to forge in the smithy <strong>of</strong> my soul the uncreated conscience<br />
<strong>of</strong> my race....Old father, old artificer, stand me now and ever in good<br />
stead.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 5<br />
I will not serve that in which I no longer believe whether it call itself<br />
my home, my fatherland or my church: and I will try to express myself in<br />
some mode <strong>of</strong> life or art as freely as I can and as wholly as I can, using<br />
for my defence the only arms I allow myself to use, silence, exile, and<br />
cunning.<br />
A Portrait <strong>of</strong> the Artist as a Young Man (1916) ch. 5<br />
Stately, plump Buck Mulligan came from the stairhead, bearing a bowl <strong>of</strong><br />
lather on which a mirror and a razor lay crossed. A yellow dressinggown,<br />
ungirdled, was sustained gently behind him by the mild morning air. He<br />
held the bowl al<strong>of</strong>t and intoned:<br />
--Introibo ad altare Dei.<br />
Ulysses (1922) p. 1<br />
<strong>The</strong> snotgreen sea. <strong>The</strong> scrotumtightening sea.<br />
Ulysses (1922) p. 5<br />
It is a symbol <strong>of</strong> Irish art. <strong>The</strong> cracked lookingglass <strong>of</strong> a servant.<br />
Ulysses (1922) p. 7<br />
When I makes tea I makes tea, as old mother Grogan said. And when I makes<br />
water I makes water.... Begob, ma'am, says Mrs. Cahill, God send you don't<br />
make them in the one pot.<br />
Ulysses (1922) p. 12<br />
I fear those big words, Stephen said, which make us so unhappy.<br />
Ulysses (1922) p. 31<br />
History, Stephen said, is a nightmare from which I am trying to awake.<br />
Ulysses (1922) p. 34<br />
Lawn Tennyson, gentleman poet.<br />
Ulysses (1922) p. 50<br />
Mr Leopold Bloom ate with relish the inner organs <strong>of</strong> beasts and fowls. He<br />
liked thick giblet soup, nutty gizzards, a stuffed roast heart, liver<br />
slices fried with crustcrumbs, fried hencod's roes. Most <strong>of</strong> all he liked<br />
grilled mutton kidneys which gave to his palate a fine tang <strong>of</strong> faintly<br />
scented urine.<br />
Ulysses (1922) p. 53<br />
Come forth, Lazarus! And he came fifth and lost the job.<br />
Ulysses (1922) p. 102<br />
She used to say Ben Dollard had a base barreltone voice.<br />
Ulysses (1922) p. 147<br />
A man <strong>of</strong> genius makes no mistakes. His errors are volitional and are the<br />
portals <strong>of</strong> discovery.<br />
Ulysses (1922) p. 182
Greater love than this, he said, no man hath that a man lay down his wife<br />
for his friend. Go thou and do likewise. Thus, or words to that effect,<br />
saith Zarathustra, sometime regius pr<strong>of</strong>essor <strong>of</strong> French letters to the<br />
university <strong>of</strong> Oxtail.<br />
Ulysses (1922) p. 375<br />
<strong>The</strong> heaventree <strong>of</strong> stars hung with humid nightblue fruit.<br />
Ulysses (1922) p. 651<br />
He kissed me under the Moorish wall and I thought well as well him as<br />
another and then I asked him with my eyes to ask again yes and then he<br />
asked me would I yes to say yes my mountain flower and first I put my arms<br />
around him yes and drew him down to me so he could feel my breasts all<br />
perfume yes and his heart was going like mad and yes I said yes I will<br />
Yes.<br />
Ulysses (1922) p. 732<br />
When a young man came up to him in Zurich and said, "May I kiss the hand<br />
that wrote Ulysses?" Joyce replied, somewhat like King Lear, "No, it did<br />
lots <strong>of</strong> other things too."<br />
Richard Ellmann James Joyce (1959) p. 114<br />
10.28 William Joyce (Lord Haw-Haw)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1946<br />
Germany calling! Germany calling!<br />
Habitual introduction to propaganda broadcasts to Britain during the<br />
Second World War<br />
10.29 Jack Judge and Harry Williams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jack Judge 1878-1938<br />
Harry Williams 1874-1924<br />
It's a long way to Tipperary,<br />
It's a long way to go;<br />
It's a long way to Tipperary,<br />
To the sweetest girl I know!<br />
Goodbye, Piccadilly,<br />
Farewell, Leicester Square,<br />
It's a long, long way to Tipperary,<br />
But my heart's right there!<br />
It's a Long Way to Tipperary (1912 song)<br />
10.30 Carl Gustav Jung<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1961<br />
Ein Mensch, der nicht durch die H”lle seiner Leidenschaften gegangen ist,<br />
hat sie auch nie berwunden.<br />
A man who has not passed through the inferno <strong>of</strong> his passions has never<br />
overcome them.<br />
Errinerungen, Tr„ume, Gedanken (Memories, Dreams, Reflections, 1962)
ch. 9<br />
Soweit wir zu erkennen verm”gen, ist es die einzige Sinn der menschlichen<br />
Existenz, ein Licht anznden in der Finsternis des blossen Seins.<br />
As far as we can discern, the sole purpose <strong>of</strong> human existence is to kindle<br />
a light in the darkness <strong>of</strong> mere being.<br />
Errinerungen, Tr„ume, Gedanken (Memories, Dreams, Reflections, 1962)<br />
ch. 11<br />
Jede Form von Schtigkeit ist von bel, gleichgltig, ob es sich um<br />
Alkohol oder Morphium oder Idealismus handelt.<br />
Every form <strong>of</strong> addiction is bad, no matter whether the narcotic be alcohol<br />
or morphine or idealism.<br />
Erinnerungen, Tr„ume, Gedanken (Memories, Dreams, Reflections, 1962)<br />
ch. 12<br />
I do not believe....I know.<br />
In L. van der Post Jung and the Story <strong>of</strong> our Time (1976) p. 215<br />
Wo die Liebe herrscht, da gibt es keinen Machtwillen, und wo die Macht den<br />
Vorrang hat, da fehlt die Liebe. Das eine ist der Schatten des andern.<br />
Where love rules, there is no will to power, and where power predominates,<br />
love is lacking. <strong>The</strong> one is the shadow <strong>of</strong> the other.<br />
šber die Psychologie des Unbewussten (On the Psychology <strong>of</strong> the<br />
Unconscious, 1917) in Gesammelte Werke (1964) vol. 7, p. 58<br />
Alles, was wir an den Kindern „ndern wollen, sollten wir zun„chst wohl<br />
aufmerksam prfen, ob es nicht etwas sei, was besser an uns zu „ndern<br />
w„re.<br />
If there is anything that we wish to change in the child, we should first<br />
examine it and see whether it is not something that could better be<br />
changed in ourselves.<br />
Vom Werden der Pers”nlichkeit (On the Development <strong>of</strong> Personality, 1932)<br />
in Gesammelte Werke (1972) vol. 17, p. 194<br />
Pers”nlichkeit ist h”chste Verwirklichung der eingeborenen Eigenart des<br />
besonderen lebenden Wesens. Pers”nlichkeit ist der Tat des h”chsten<br />
Lebensmutes, der absoluten Bejahung des individuell Seienden und der<br />
erfolgreichsten Anpassung an das universal Gegetene bei gr”sstm”glicher<br />
Freiheit der eigenen Entscheidung.<br />
Personality is the supreme realization <strong>of</strong> the innate individuality <strong>of</strong> a<br />
particular living being. Personality is an act <strong>of</strong> the greatest courage in<br />
the face <strong>of</strong> life, the absolute affirmation <strong>of</strong> all that constitutes the<br />
individual, and the most successful adaptation to the universal conditions<br />
<strong>of</strong> existence coupled with the greatest possible freedom <strong>of</strong> personal<br />
decision.<br />
Vom Werden der Pers”nlichkeit (On the Development <strong>of</strong> Personality, 1932)<br />
in Gesammelte Werke (1972) vol. 17, p. 195<br />
Eine gewissermassen oberfl„chliche Schicht des Unbewussten ist zweifellos<br />
pers”nlich. Wir nennen sie das pers”nliche Unbewusste . Dieses ruht aber<br />
auf einer tieferen Schicht, welche nicht mehr pers”nlicher Erfahrung und<br />
Erwerbung entstammt, sondern angeboren ist. Diese tiefere Schicht ist das<br />
sogenannte kollektive Unbewusste ....Die Inhalte des pers”nlichen<br />
Unbewussten sind in der Hauptsache die sogenannten gefhlsbetonten
Komplexe ....Die Inhalte des kollektiven Unbewussten dagegen sind die<br />
sogenannten Archetypen .<br />
A more or less superficial layer <strong>of</strong> the unconscious is undoubtedly<br />
personal. I call it the personal unconscious. But this personal<br />
unconscious rests upon a deeper layer, which does not derive from personal<br />
experience and is not a personal acquisition but is inborn. This deeper<br />
layer I call the collective unconscious....<strong>The</strong> contents <strong>of</strong> the personal<br />
unconscious are chiefly the feeling-toned complexes....<strong>The</strong> contents <strong>of</strong> the<br />
collective unconscious, on the other hand, are known as archetypes.<br />
Eranos Jahrbuch (Eranos Yearbook, 1934) p. 180<br />
11.0 K<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
11.1 Pauline Kael<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
<strong>The</strong> words "Kiss Kiss Bang Bang" which I saw on an Italian movie poster,<br />
are perhaps the briefest statement imaginable <strong>of</strong> the basic appeal <strong>of</strong><br />
movies.<br />
Kiss Kiss Bang Bang (1968) "Note on the Title"<br />
She [Barbra Streisand in What's Up, Doc?] does her own shtick--the rapid,<br />
tricky New Yorkese line readings...but she doesn't do anything she hasn't<br />
already done. She's playing herself--and it's awfully soon for that.<br />
New Yorker 25 Mar. 1972, p. 122<br />
11.2 Franz Kafka<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1924<br />
Jemand musste Josef K. verleumdet haben, denn ohne dass er etwas B”ses<br />
getan h„tte, wurde er eines Morgens verhaftet.<br />
Someone must have traduced Joseph K., for without having done anything<br />
wrong he was arrested one fine morning.<br />
Der Prozess (<strong>The</strong> Trial, 1925) opening sentence<br />
Sie k”nnen einwenden, dass es ja berhaupt kein Verfahren ist, Sie haben<br />
sehr recht, denn es ist ja nur ein Verfahren, wenn ich es als solches<br />
anerkenne.<br />
You may object that it is not a trial at all; you are quite right, for it<br />
is only a trial if I recognize it as such.<br />
Der Prozess (<strong>The</strong> Trial, 1925) ch. 2<br />
Es ist <strong>of</strong>t besser, in Ketten, als frei zu sein.<br />
It's <strong>of</strong>ten better to be in chains than to be free.<br />
Der Prozess (<strong>The</strong> Trial, 1925) ch. 8<br />
Als Gregor Samsa eines Morgens aus unruhigen Tr„ume erwachte, fand er sich<br />
in seinem Bett zu einem ungeheueren Ungeziefer verwandelt.
As Gregor Samsa awoke one morning from uneasy dreams he found himself<br />
transformed in his bed into a gigantic insect.<br />
Die Verwandlung (<strong>The</strong> Metamorphosis, 1915) opening sentence<br />
11.3 Gus Kahn and Raymond B. Egan<br />
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Gus Kahn 1886-1941<br />
Raymond B. Egan 1890-1952<br />
<strong>The</strong>re's nothing surer,<br />
<strong>The</strong> rich get rich and the poor get children.<br />
In the meantime, in between time,<br />
Ain't we got fun.<br />
Ain't We Got Fun (1921 song; music by Richard A. Whiting)<br />
11.4 Bert Kalmar, Harry Ruby, Arthur Sheekman, and Nat Perrin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Bert Kalmar 1884-1947<br />
Harry Ruby 1895-1974<br />
Arthur Sheekman 1891-1978<br />
Remember, you're fighting for this woman's honour...which is probably more<br />
than she ever did.<br />
Duck Soup (1933 film; said by Groucho Marx)<br />
If you can't leave in a taxi you can leave in a huff. If that's too soon,<br />
you can leave in a minute and a huff.<br />
Duck Soup (1933 film; said by Groucho Marx)<br />
11.5 George S. Kaufman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1961<br />
Satire is what closes Saturday night.<br />
In Scott Meredith George S. Kaufman and his Friends (1974) ch. 6<br />
11.6 George S. Kaufman and Moss Hart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
George S. Kaufman 1889-1961<br />
Moss Hart 1904-1961<br />
<strong>The</strong> man who came to dinner.<br />
Title <strong>of</strong> play (1939)<br />
11.7 George S. Kaufman and Morrie Ryskind<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
George S. Kaufman 1889-1961<br />
Morrie Ryskind 1895-1985<br />
One morning I shot an elephant in my pajamas. How he got into my pajamas<br />
I'll never know.
Animal Crackers (1930 film; said by Groucho Marx) in Richard J. Anobile<br />
Hooray for Captain Spaulding (1974) p. 168<br />
Driftwood (Groucho Marx): It's all right. That's--that's in every<br />
contract. That's--that's what they call a sanity clause.<br />
Fiorello (Chico Marx): You can't fool me. <strong>The</strong>re ain't no Sanity Claus.<br />
Night at the Opera (1935 film), in Richard J. Anobile Why a Duck? (1971)<br />
p. 206<br />
11.8 Gerald Kaufman<br />
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1930-<br />
Our second handicap was an election manifesto which Gerald Kaufman rightly<br />
described as "the longest suicide note in history."<br />
Denis Healey Time <strong>of</strong> My Life (1989) ch. 23 (describing the Labour Party's<br />
New Hope for Britain, published in 1983)<br />
11.9 Paul Kaufman and Mike Anthony<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Poetry in motion.<br />
Title <strong>of</strong> song (1960)<br />
11.10 Patrick Kavanagh<br />
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1905-1967<br />
I hate what every poet hates in spite<br />
Of all the solemn talk <strong>of</strong> contemplation.<br />
Oh, Alexander Selkirk knew the plight<br />
Of being king and government and nation.<br />
A road, a mile <strong>of</strong> kingdom, I am king<br />
Of banks and stones and every blooming thing.<br />
Ploughman and Other Poems (1936), "Inniskeen Road: July Evening"<br />
Cassiopeia was over<br />
Cassidy's hanging hill,<br />
I looked and three whin bushes rode across<br />
<strong>The</strong> horizon--the Three Wise Kings.<br />
Soul for Sale (1947) "Christmas Childhood"<br />
Clay is the word and clay is the flesh<br />
Where the potato-gatherers like mechanized scarecrows move<br />
Along the side-fall <strong>of</strong> the hill--Maguire and his men.<br />
Soul for Sale (1947) "<strong>The</strong> Great Hunger"<br />
That was how his life happened.<br />
No mad hooves galloping in the sky,<br />
But the weak, washy way <strong>of</strong> true tragedy--<br />
A sick horse nosing around the meadow for a clean place to die.<br />
Soul for Sale (1947) "<strong>The</strong> Great Hunger"<br />
11.11 Ted Kavanagh<br />
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1892-1958
Cecil: After you, Claude.<br />
Claude: No, after you, Cecil.<br />
Catch-phrase in ITMA (BBC radio programme, 1939-49)<br />
Can I do you now, sir?<br />
Catch-phrase spoken by "Mrs Mopp" in ITMA (BBC radio programme, 1939-49)<br />
Don't forget the diver.<br />
Catch-phrase spoken by "<strong>The</strong> Diver" in ITMA (BBC radio programme, 1939-49);<br />
in ITMA 1939-1948 (1948) p. 19, Francis Worsley says: This character was a<br />
memory <strong>of</strong> the pier at New Brighton where Tommy [Handley] used to go as a<br />
child....A man in a bathing suit...whined "Don't forget the diver, sir."<br />
I don't mind if I do.<br />
Catch-phrase spoken by "Colonel Chinstrap" in ITMA (BBC radio programme,<br />
1939-49)<br />
I go--I come back.<br />
Catch-phrase spoken by "Ali Oop" in ITMA (BBC radio programme, 1939-49)<br />
It's being so cheerful as keeps me going.<br />
Catch-phrase spoken by "Mona Lott" in ITMA (BBC radio programme, 1939-49)<br />
11.12 Helen Keller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1968<br />
Science may have found a cure for most evils; but it has found no remedy<br />
for the worst <strong>of</strong> them all--the apathy <strong>of</strong> human beings.<br />
My Religion (1927) ch. 6<br />
11.13 Jaan Kenbrovin and John William Kellette<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I'm forever blowing bubbles.<br />
Title <strong>of</strong> song (1919)<br />
11.14 Florynce Kennedy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
If men could get pregnant, abortion would be a sacrament.<br />
In Ms. Mar. 1973, p. 89<br />
11.15 Jimmy Kennedy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1984<br />
If you go down in the woods today<br />
You're sure <strong>of</strong> a big surprise<br />
If you go down in the woods today<br />
You'd better go in disguise<br />
For every Bear that ever there was<br />
Will gather there for certain because,<br />
Today's the day the Teddy Bears have their Picnic.
Teddy Bear's Picnic (1932 song; music by John W. Bratton)<br />
11.16 Jimmy Kennedy and Michael Carr<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jimmy Kennedy 1902-1984<br />
Michael Carr 1904-1968<br />
South <strong>of</strong> the Border--down Mexico way.<br />
South <strong>of</strong> the Border (1939 song)<br />
We're gonna hang out the washing on the Siegfried Line.<br />
Title <strong>of</strong> song (1939)<br />
11.17 Jimmy Kennedy and Hugh Williams (Will Grosz)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jimmy Kennedy 1902-1984<br />
Red sails in the sunset.<br />
Title <strong>of</strong> song (1935)<br />
11.18 John F. Kennedy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-1963<br />
I just received the following wire from my generous Daddy [Joseph P.<br />
Kennedy]--"Dear Jack. Don't buy a single vote more than necessary. I'll be<br />
damned if I'm going to pay for a landslide."<br />
Speech in Washington, 1958, in J. F. Cutler Honey Fitz (1962) p. 306<br />
When we got into <strong>of</strong>fice, the thing that surprised me most was to find that<br />
things were just as bad as we'd been saying they were.<br />
Speech at White House, 27 May 1961, in New York Times 28 May 1961, p. 39<br />
Mankind must put an end to war or war will put an end to mankind.<br />
Speech to United Nations General Assembly, 25 Sept. 1961, in New York<br />
Times 26 Sept. 1961, p. 14<br />
<strong>The</strong> President described the dinner [for Nobel Prizewinners] as "probably<br />
the greatest concentration <strong>of</strong> talent and genius in this house except for<br />
perhaps those times when Thomas Jefferson ate alone."<br />
New York Times 30 Apr. 1962, p. 1<br />
Two thousand years ago the proudest boast was "civis Romanus sum". Today,<br />
in the world <strong>of</strong> freedom the proudest boast is "Ich bin ein<br />
Berliner"....All free men, wherever they may live, are citizens <strong>of</strong> Berlin.<br />
And, therefore, as a free man, I take pride in the words, "Ich bin ein<br />
Berliner".<br />
Speech in West Berlin, 26 June 1963, in New York Times 27 June 1963, p. 12<br />
When power leads man toward arrogance, poetry reminds him <strong>of</strong> his<br />
limitations. When power narrows the areas <strong>of</strong> man's concern, poetry reminds<br />
him <strong>of</strong> the richness and diversity <strong>of</strong> his existence. When power corrupts,<br />
poetry cleanses. For art establishes the basic human truths which must<br />
serve as the touchstone <strong>of</strong> our judgement.<br />
Speech at Amherst College, Mass., 26 Oct. 1963, in New York Times 27 Oct.
1963, p. 87<br />
In free society art is not a weapon....Artists are not engineers <strong>of</strong> the<br />
soul.<br />
Speech at Amherst College, Mass., 26 Oct. 1963, in New York Times 27 Oct.<br />
1963, p. 87<br />
It was involuntary. <strong>The</strong>y sank my boat.<br />
Reply when asked how he became a war hero, in Arthur M. Schlesinger Jr. A<br />
Thousand Days (1965) ch. 4<br />
We stand today on the edge <strong>of</strong> a new frontier--the frontier <strong>of</strong> the 1960s--a<br />
frontier <strong>of</strong> unknown opportunities and perils--a frontier <strong>of</strong> unfulfilled<br />
hopes and threats. Woodrow Wilson's New <strong>Free</strong>dom promised our nation a new<br />
political and economic framework. Franklin Roosevelt's New Deal promised<br />
security and succor to those in need. But the New Frontier <strong>of</strong> which I<br />
speak is not a set <strong>of</strong> promises--it is a set <strong>of</strong> challenges. It sums up not<br />
what I intend to <strong>of</strong>fer the American people, but what I intend to ask <strong>of</strong><br />
them.<br />
Speech accepting Democratic nomination in Los Angeles, 15 July 1960, in<br />
Vital Speeches 1 Aug. 1960, p. 611<br />
Let the word go forth from this time and place, to friend and foe alike,<br />
that the torch has been passed to a new generation <strong>of</strong> Americans--born in<br />
this century, tempered by war, disciplined by a hard and bitter peace,<br />
proud <strong>of</strong> our ancient heritage--and unwilling to witness or permit the slow<br />
undoing <strong>of</strong> those human rights to which this nation has always been<br />
committed, and to which we are committed today at home and around the<br />
world.<br />
Let every nation know, whether it wishes us well or ill, that we shall pay<br />
any price, bear any burden, meet any hardship, support any friend, oppose<br />
any foe to assure the survival and the success <strong>of</strong> liberty.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 226<br />
If a free society cannot help the many who are poor, it cannot save the<br />
few who are rich.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 226<br />
Let us never negotiate out <strong>of</strong> fear. But let us never fear to negotiate.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 227<br />
All this will not be finished in the first 100 days. Nor will it be<br />
finished in the first 1,000 days, nor in the life <strong>of</strong> this Administration,<br />
nor even perhaps in our lifetime on this planet. But let us begin.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 227<br />
Now the trumpet summons us again--not as a call to bear arms, though arms<br />
we need--not as a call to battle, though embattled we are--but a call to<br />
bear the burden <strong>of</strong> a long twilight struggle, year in and year out,<br />
"rejoicing in hope, patient in tribulation"--a struggle against the common<br />
enemies <strong>of</strong> man: tyranny, poverty, disease and war itself.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 227<br />
And so, my fellow Americans: ask not what your country can do for you--ask<br />
what you can do for your country. My fellow citizens <strong>of</strong> the world: ask not<br />
what America will do for you, but what together we can do for the freedom<br />
<strong>of</strong> man.<br />
Inaugural address, 20 Jan. 1961, in Vital Speeches 1 Feb. 1961, p. 227.<br />
Cf. Oliver Wendell Holmes Jr., speech at Keene, New Hampshire, 30 May
1884: "We pause to...recall what our country has done for each <strong>of</strong> us and<br />
to ask ourselves what we can do for our country in return."<br />
I believe that this Nation should commit itself to achieving the goal,<br />
before this decade is out, <strong>of</strong> landing a man on the Moon and returning him<br />
safely to earth.<br />
Supplementary State <strong>of</strong> the Union message to Congress, 25 May 1961, in<br />
Vital Speeches 15 June 1961, p. 518<br />
Those who make peaceful revolution impossible will make violent revolution<br />
inevitable.<br />
Speech at White House, 13 Mar. 1962, in Vital Speeches 1 Apr. 1962, p. 356<br />
11.19 Joseph P. Kennedy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1969<br />
When the going gets tough, the tough get going.<br />
In J. H. Cutler Honey Fitz (1962) p. 291 (also attributed to Knute Rockne)<br />
See also John F. Kennedy (11.18 )<br />
11.20 Robert F. Kennedy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-1968<br />
About one-fifth <strong>of</strong> the people are against everything all the time.<br />
Speech at University <strong>of</strong> Pennsylvania, 6 May 1964, in Philadelphia Inquirer<br />
7 May 1964<br />
11.21 Jack Kerouac<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-1969<br />
John Clellon Holmes...and I were sitting around trying to think up the<br />
meaning <strong>of</strong> the Lost Generation and the subsequent Existentialism and I<br />
said, "You know, this is really a beat generation" and he leapt up and<br />
said "That's it, that's right!"<br />
Playboy June 1959, p. 32<br />
11.22 Jean Kerr<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
As someone pointed out recently, if you can keep your head when all about<br />
you are losing theirs, it's just possible you haven't grasped the<br />
situation.<br />
Please Don't Eat the Daisies (1957) introduction. Cf. Rudyard Kipling<br />
126:13<br />
I'm tired <strong>of</strong> all this nonsense about beauty being only skin-deep. That's<br />
deep enough. What do you want--an adorable pancreas?<br />
<strong>The</strong> Snake has all the Lines (1958) p. 142<br />
11.23 Joseph Kesselring<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1902-1967<br />
Arsenic and old lace.<br />
Title <strong>of</strong> play (1941)<br />
11.24 John Maynard Keynes (Baron Keynes)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1946<br />
I work for a Government I despise for ends I think criminal.<br />
Letter to Duncan Grant, 15 Dec. 1917, in British Library Add. MSS 57931<br />
fo. 119<br />
He [Clemenceau] felt about France what Pericles felt <strong>of</strong> Athens--unique<br />
value in her, nothing else mattering; but his theory <strong>of</strong> politics was<br />
Bismarck's. He had one illusion--France; and one disillusion--mankind,<br />
including Frenchmen, and his colleagues not least.<br />
Economic Consequences <strong>of</strong> the Peace (1919) ch. 3<br />
Like Odysseus, the President [Woodrow Wilson] looked wiser when he was<br />
seated.<br />
Economic Consequences <strong>of</strong> the Peace (1919) ch. 3<br />
Lenin was right. <strong>The</strong>re is no subtler, no surer means <strong>of</strong> overturning the<br />
existing basis <strong>of</strong> society than to debauch the currency. <strong>The</strong> process<br />
engages all the hidden forces <strong>of</strong> economic law on the side <strong>of</strong> destruction,<br />
and does it in a manner which not one man in a million is able to<br />
diagnose.<br />
Economic Consequences <strong>of</strong> the Peace (1919) ch. 6<br />
A study <strong>of</strong> the history <strong>of</strong> opinion is a necessary preliminary to the<br />
emancipation <strong>of</strong> the mind. I do not know which makes a man more<br />
conservative--to know nothing but the present, or nothing but the past.<br />
End <strong>of</strong> Laissez-Faire (1926) pt. 1<br />
Marxian Socialism must always remain a portent to the historians <strong>of</strong><br />
Opinion--how a doctrine so illogical and so dull can have exercised so<br />
powerful and enduring an influence over the minds <strong>of</strong> men, and, through<br />
them, the events <strong>of</strong> history.<br />
End <strong>of</strong> Laissez-Faire (1926) pt. 3<br />
<strong>The</strong> important thing for Government is not to do things which individuals<br />
are doing already, and to do them a little better or a little worse; but<br />
to do those things which at present are not done at all.<br />
End <strong>of</strong> Laissez-Faire (1926) pt. 4<br />
I think that Capitalism, wisely managed, can probably be made more<br />
efficient for attaining economic ends than any alternative system yet in<br />
sight, but that in itself it is in many ways extremely objectionable.<br />
End <strong>of</strong> Laissez-Faire (1926) pt. 5<br />
How can I convey to the reader, who does not know him, any just impression<br />
<strong>of</strong> this extraordinary figure <strong>of</strong> our time, this syren, this goat-footed<br />
bard, this half-human visitor to our age from the hag-ridden magic and<br />
enchanted woods <strong>of</strong> Celtic antiquity? One catches in his company that<br />
flavour <strong>of</strong> final purposelessness, inner irresponsibility, existence<br />
outside or away from our Saxon good and evil, mixed with cunning,<br />
remorselessness, love <strong>of</strong> power, that lend fascination, enthralment, and
terror to the fair-seeming magicians <strong>of</strong> North European folklore.<br />
Essays in Biography (1933) "Mr Lloyd George"<br />
It is better that a man should tyrannize over his bank balance than over<br />
his fellow-citizens.<br />
General <strong>The</strong>ory <strong>of</strong> Employment (1936) ch. 24<br />
<strong>The</strong> ideas <strong>of</strong> economists and political philosophers, both when they are<br />
right and when they are wrong, are more powerful than is commonly<br />
understood. Indeed the world is ruled by little else. Practical men, who<br />
believe themselves to be quite exempt from any intellectual influences,<br />
are usually the slaves <strong>of</strong> some defunct economist. Madmen in authority,<br />
who hear voices in the air, are distilling their frenzy from some academic<br />
scribbler <strong>of</strong> a few years back. I am sure that the power <strong>of</strong> vested<br />
interests is vastly exaggerated compared with the gradual encroachment <strong>of</strong><br />
ideas. Not, indeed, immediately, but after a certain interval; for in the<br />
field <strong>of</strong> economic and political philosophy there are not many who are<br />
influenced by new theories after they are twenty-five or thirty years <strong>of</strong><br />
age, so that the ideas which civil servants and politicians and even<br />
agitators apply to current events are not likely to be the newest. But<br />
soon or late, it is ideas, not vested interests, which are dangerous for<br />
good or evil.<br />
General <strong>The</strong>ory <strong>of</strong> Employment (1936; 1947 ed.) ch. 24<br />
I remember in my youth asking Maynard Keynes, "What do you think happens<br />
to Mr Lloyd George when he is alone in the room?" And Keynes replied,<br />
"When he is alone in the room there is nobody there."<br />
Lady Violet Bonham-Carter Impact <strong>of</strong> Personality in Politics (Romanes<br />
Lecture, 1963) p. 6<br />
But this long run is a misleading guide to current affairs. In the long<br />
run we are all dead.<br />
Tract on Monetary Reform (1923) ch. 3<br />
11.25 Nikita Khrushchev<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1971<br />
Comrades! We must abolish the cult <strong>of</strong> the individual decisively, once and<br />
for all.<br />
Speech to secret session <strong>of</strong> 20th Congress <strong>of</strong> the Communist Party, 25 Feb.<br />
1956, in Dethronement <strong>of</strong> Stalin (Manchester Guardian) 11 June 1956, p. 27<br />
If anyone believes that our smiles involve abandonment <strong>of</strong> the teaching <strong>of</strong><br />
Marx, Engels and Lenin he deceives himself. Those who wait for that must<br />
wait until a shrimp learns to whistle.<br />
Speech in Moscow, 17 Sept. 1955, in New York Times 18 Sept. 1955, p. 19<br />
If you start throwing hedgehogs under me, I shall throw a couple <strong>of</strong><br />
porcupines under you.<br />
In New York Times 7 Nov. 1963<br />
Anyone who believes that the worker can be lulled by fine revolutionary<br />
phrases is mistaken....If no concern is shown for the growth <strong>of</strong> material<br />
and spiritual riches, the people will listen today, they will listen<br />
tomorrow, and then they may say: "Why do you promise us everything for the<br />
future? You are talking, so to speak, about life beyond the grave. <strong>The</strong><br />
priest has already told us about this."<br />
Speech at World Youth Forum, 19 Sept. 1964, in Pravda 22 Sept. 1964
If one cannot catch the bird <strong>of</strong> paradise, better take a wet hen.<br />
In Time 6 Jan. 1958<br />
We say this not only for the socialist states, who are more akin to us. We<br />
base ourselves on the idea that we must peacefully co-exist. About the<br />
capitalist States, it doesn't depend on you whether or not we exist. If<br />
you don't like us, don't accept our invitations and don't invite us to<br />
come to see you. Whether you like it or not, history is on our side. We<br />
will bury you.<br />
Speech to Western diplomats at reception in Moscow for Polish leader Mr<br />
Gomulka, 18 Nov. 1956, in <strong>The</strong> Times 19 Nov. 1956<br />
11.26 Joyce Kilmer<br />
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1886-1918<br />
I think that I shall never see<br />
A poem lovely as a tree.<br />
Trees and Other Poems (1914) "Trees"<br />
Poems are made by fools like me,<br />
But only God can make a tree.<br />
Trees and Other Poems (1914) "Trees"<br />
11.27 Lord Kilmuir (Sir David Maxwell Fyfe)<br />
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1900-1967<br />
Loyalty is the Tory's secret weapon.<br />
In Anthony Sampson Anatomy <strong>of</strong> Britain (1962) ch. 6<br />
11.28 Martin Luther King<br />
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1929-1968<br />
Injustice anywhere is a threat to justice everywhere.<br />
Letter from Birmingham Jail, Alabama, 16 Apr. 1963, in Atlantic Monthly<br />
Aug. 1963, p. 78<br />
I have almost reached the regrettable conclusion that the Negro's great<br />
stumbling block in the stride toward freedom is not the White Citizens<br />
Councillor or the Ku Klux Klanner but the white moderate who is more<br />
devoted to order than to justice; who prefers a negative peace which is<br />
the absence <strong>of</strong> tension to a positive peace which is the presence <strong>of</strong><br />
justice.<br />
Letter from Birmingham Jail, Alabama, 16 Apr. 1963, in Atlantic Monthly<br />
Aug. 1963, p. 81<br />
I submit to you that if a man hasn't discovered something he will die for,<br />
he isn't fit to live.<br />
Speech in Detroit, 23 June 1963, in J. Bishop Days <strong>of</strong> M. L. King Jr.<br />
(1971) ch. 4<br />
I want to be the white man's brother, not his brother-in-law.<br />
In New York Journal-American 10 Sept. 1962, p. 1
Now, I say to you today my friends, even though we face the difficulties<br />
<strong>of</strong> today and tomorrow, I still have a dream. It is a dream deeply rooted<br />
in the American dream. I have a dream that one day this nation will rise<br />
up and live out the true meaning <strong>of</strong> its creed:--"We hold these truths to<br />
be self-evident, that all men are created equal."<br />
I have a dream that one day on the red hills <strong>of</strong> Georgia the sons <strong>of</strong> former<br />
slaves and the sons <strong>of</strong> former slave owners will be able to sit down<br />
together at the table <strong>of</strong> brotherhood.<br />
I have a dream that one day even the state <strong>of</strong> Mississippi, a state<br />
sweltering with the people's injustice, sweltering with the heat <strong>of</strong><br />
oppression, will be transformed into an oasis <strong>of</strong> freedom and justice.<br />
I have a dream that my four little children will one day live in a nation<br />
where they will not be judged by the color <strong>of</strong> their skin but by the<br />
content <strong>of</strong> their character.<br />
Speech at Civil Rights March in Washington, 28 Aug. 1963, in New York<br />
Times 29 Aug. 1963, p. 21<br />
Well, I don't know what will happen now. We've been to the mountain top. I<br />
won't mind. Like anybody, I would like to have a long life. Longevity has<br />
its place. But I'm not concerned about that now. I just want to do God's<br />
will. And he's allowed me to go up to the mountain. And I've looked over,<br />
and I've seen the promised land. I may not get there with you, but I want<br />
you to know tonight that we as a people will get to the promised land. So<br />
I'm happy tonight. I'm not worried about anything. I'm not fearing any<br />
man. Mine eyes have seen the glory <strong>of</strong> the coming <strong>of</strong> the Lord.<br />
Speech in Memphis, 3 Apr. 1968 (the day before King was assassinated), in<br />
New York Times 4 Apr. 1968, p. 24<br />
<strong>The</strong> ultimate measure <strong>of</strong> a man is not where he stands in moments <strong>of</strong> comfort<br />
and convenience, but where he stands at times <strong>of</strong> challenge and<br />
controversy.<br />
Strength to Love (1963) ch. 3<br />
Nothing in all the world is more dangerous than sincere ignorance and<br />
conscientious stupidity.<br />
Strength to Love (1963) ch. 4<br />
Jesus eloquently affirmed from the cross a higher law. He knew that the<br />
old eye-for-an-eye philosophy would leave everyone blind. He did not seek<br />
to overcome evil with evil. He overcame evil with good.<br />
Strength to Love (1963) ch. 4<br />
<strong>The</strong> means by which we live have outdistanced the ends for which we live.<br />
Our scientific power has outrun our spiritual power. We have guided<br />
missiles and misguided men.<br />
Strength to Love (1963) ch. 7<br />
If we assume that mankind has a right to survive, then we must find an<br />
alternative to war and destruction. In our day <strong>of</strong> space vehicles and<br />
guided ballistic missiles, the choice is either nonviolence or<br />
nonexistence.<br />
Strength to Love (1963) ch. 17<br />
We must learn to live together as brothers or perish together as fools.<br />
Speech at St. Louis, 22 Mar. 1964, in St Louis Post-Dispatch 23 Mar. 1964<br />
A riot is at bottom the language <strong>of</strong> the unheard.
Where Do We Go From Here? (1967) ch. 4<br />
11.29 Stoddard King<br />
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1889-1933<br />
<strong>The</strong>re's a long, long trail awinding<br />
Into the land <strong>of</strong> my dreams,<br />
Where the nightingales are singing<br />
And a white moon beams;<br />
<strong>The</strong>re's a long, long night <strong>of</strong> waiting<br />
Until my dreams all come true,<br />
Till the day when I'll be going down<br />
That long, long trail with you.<br />
<strong>The</strong>re's a Long, Long Trail (1913 song; music by Zo (Alonso) Elliott)<br />
11.30 David Kingsley, Dennis Lyons, and Peter Lovell-Davis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Yesterday's men (they failed before!).<br />
Advertising slogan for the Labour Party (referring to the Conservatives),<br />
1970, in David Butler and Michael Pinto-Duschinsky British General<br />
Election <strong>of</strong> 1970 (1971) ch. 6<br />
11.31 Hugh Kingsmill (Hugh Kingsmill Lunn)<br />
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1889-1949<br />
Friends...are God's apology for relations.<br />
In Michael Holroyd Best <strong>of</strong> Hugh Kingsmill (1970) p. 12<br />
What still alive at twenty-two,<br />
A clean upstanding chap like you?<br />
Sure, if your throat 'tis hard to slit,<br />
Slit your girl's, and swing for it.<br />
Like enough, you won't be glad,<br />
When they come to hang you, lad:<br />
But bacon's not the only thing<br />
That's cured by hanging from a string.<br />
Table <strong>of</strong> Truth (1933) "Two Poems, after A. E. Housman," no. 1<br />
'Tis Summer Time on Bredon,<br />
And now the farmers swear:<br />
<strong>The</strong> cattle rise and listen<br />
In valleys far and near,<br />
And blush at what they hear.<br />
But when the mists in autumn<br />
On Bredon top are thick,<br />
And happy hymns <strong>of</strong> farmers<br />
Go up from fold and rick,<br />
<strong>The</strong> cattle then are sick.<br />
Table <strong>of</strong> Truth (1933) "Two Poems, after A. E. Housman," no. 2<br />
11.32 Neil Kinnock<br />
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1942-<br />
If Margaret Thatcher wins on Thursday, I warn you not to be ordinary, I<br />
warn you not to be young, I warn you not to fall ill, and I warn you not<br />
to grow old.<br />
Speech at Bridgend, 7 June 1983, in Guardian 8 June 1983<br />
Mr Shultz went <strong>of</strong>f his pram.<br />
Comment after a meeting with the US Secretary <strong>of</strong> State, in Guardian 15<br />
Feb. 1984<br />
I would die for my country but I could never let my country die for me.<br />
Speech at Labour Party Conference, 30 Sept. 1986, in Guardian 1 Oct. 1986<br />
Why am I the first Kinnock in a thousand generations to be able to get to<br />
a university? Why is Glenys the first woman in her family in a thousand<br />
generations to be able to get to a university? Was it because all our<br />
predecessors were thick? Did they lack talent? Those people who could sing<br />
and play and write poetry? Those people who could make wonderful beautiful<br />
things with their hands? Those people who could dream dreams, see visions?<br />
Was it because they were weak, those people who could work eight hours<br />
underground and then come up and play football, weak? Does anybody really<br />
think that they didn't get what we had because they didn't have the talent<br />
or the strength or the endurance or the commitment? Of course not. It's<br />
because they didn't have a platform on which they could stand.<br />
Speech in party political broadcast, 21 May 1987, in New York Times 12<br />
Sept. 1987, p. 1 (this speech was later plagiarized by the American<br />
politician Joe Biden)<br />
11.33 Rudyard Kipling<br />
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1865-1936<br />
But I consort with long-haired things<br />
In velvet collar-rolls,<br />
Who talk about the Aims <strong>of</strong> Art,<br />
And "theories" and "goals,"<br />
And moo and coo with women-folk<br />
About their blessed souls.<br />
Abaft the Funnel (1909) "In Partibus"<br />
When you've shouted "Rule Britannia," when you've sung "God save the<br />
Queen"--<br />
When you've finished killing Kruger with your mouth--<br />
Will you kindly drop a shilling in my little tambourine<br />
For a gentleman in Kharki ordered South?<br />
He's an absent-minded beggar and his weaknesses are great--<br />
But we and Paul must take him as we find him--<br />
He is out on active service, wiping something <strong>of</strong>f a slate--<br />
And he's left a lot o' little things behind him!<br />
Absent-Minded Beggar (1899) p. 1<br />
<strong>The</strong>re is sorrow enough in the natural way<br />
From men and women to fill our day;<br />
But when we are certain <strong>of</strong> sorrow in store,<br />
Why do we always arrange for more?<br />
Brothers and Sisters, I bid you beware<br />
Of giving your heart to a dog to tear.<br />
Actions and Reactions (1909) "<strong>The</strong> Power <strong>of</strong> the Dog"
<strong>The</strong>re are nine and sixty ways <strong>of</strong> constructing tribal lays,<br />
And--every--single--one--<strong>of</strong>--them--is--right!<br />
Ballads and Barrack-Room Ballads (1893) "In the Neolithic Age"<br />
"What are the bugles blowin' for?" said Files-on-Parade.<br />
"To turn you out, to turn you out," the Colour-Sergeant said.<br />
Barrack-Room Ballads (1892) "Danny Deever"<br />
For they're hangin' Danny Deever, you can hear the Dead March play,<br />
<strong>The</strong> regiment's in 'ollow square--they're hangin' him to-day;<br />
<strong>The</strong>y've taken <strong>of</strong> his buttons <strong>of</strong>f an' cut his stripes away,<br />
An' they're hangin' Danny Deever in the mornin'.<br />
Barrack-Room Ballads (1892) "Danny Deever"<br />
O it's Tommy this, an' Tommy that, an' "Tommy, go away";<br />
But it's "Thank you, Mister Atkins," when the band begins to play.<br />
Barrack-Room Ballads (1892) "Tommy"<br />
<strong>The</strong>n it's Tommy this, an' Tommy that, an "Tommy 'ow's yer soul?"<br />
But it's "Thin red line <strong>of</strong> 'eroes" when the drums begin to roll.<br />
Barrack-Room Ballads (1892) "Tommy"<br />
For it's Tommy this, an' Tommy that, an' "Chuck him out, the brute!"<br />
But it's "Saviour <strong>of</strong> 'is country" when the guns begin to shoot.<br />
Barrack-Room Ballads (1892) "Tommy"<br />
So 'ere's to you, Fuzzy-Wuzzy, at your 'ome in the Soudan;<br />
You're a pore benighted 'eathen but a first-class fightin' man;<br />
An' 'ere's to you, Fuzzy-Wuzzy, with your 'ayrick 'ead <strong>of</strong> 'air--<br />
You big black boundin' beggar--for you broke a British square!<br />
Barrack-Room Ballads (1892) "Fuzzy-Wuzzy"<br />
<strong>The</strong> uniform 'e wore<br />
Was nothin' much before,<br />
An' rather less than 'arf o' that be'ind.<br />
Barrack-Room Ballads (1892) "Gunga Din"<br />
Though I've belted you and flayed you,<br />
By the livin' Gawd that made you,<br />
You're a better man than I am, Gunga Din!<br />
Barrack-Room Ballads (1892) "Gunga Din"<br />
'Ave you 'eard o' the Widow at Windsor<br />
With a hairy gold crown on 'er 'ead?<br />
She 'as ships on the foam--she 'as millions at 'ome,<br />
An' she pays us poor beggars in red.<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Widow at Windsor"<br />
When you're wounded and left on Afghanistan's plains<br />
And the women come out to cut up what remains<br />
Just roll to your rifle and blow out your brains<br />
An' go to your Gawd like a soldier.<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Young British Soldier"<br />
By the old Moulmein Pagoda, lookin' eastward to the sea,<br />
<strong>The</strong>re's a Burma girl a-settin', and I know she thinks o' me;<br />
For the wind is in the palm-trees, an' the temple-bells they say:<br />
"Come you back, you British soldier; come you back to Mandalay!"<br />
Come you back to Mandalay,
Where the old Flotilla lay:<br />
Can't you 'ear their paddles chunkin' from Rangoon to Mandalay?<br />
On the road to Mandalay,<br />
Where the flyin'-fishes play,<br />
An' the dawn comes up like thunder outer China 'crost the Bay!<br />
Barrack-Room Ballads (1892) "Mandalay"<br />
An' I seed her first a-smokin' <strong>of</strong> a whackin' white cheroot,<br />
An' a-wastin' Christian kisses on an 'eathen idol's foot.<br />
Barrack-Room Ballads (1892) "Mandalay"<br />
Ship me somewheres east <strong>of</strong> Suez, where the best is like the worst,<br />
Where there aren't no Ten Commandments an' a man can raise a thirst.<br />
Barrack-Room Ballads (1892) "Mandalay"<br />
We're poor little lambs who've lost our way,<br />
Baa! Baa! Baa!<br />
We're little black sheep who've gone astray,<br />
Baa-aa-aa!<br />
Gentlemen-rankers out on the spree,<br />
Damned from here to Eternity,<br />
God ha' mercy on such as we,<br />
Baa! Yah! Bah!<br />
Barrack-Room Ballads (1892) "Gentlemen-Rankers"<br />
Oh, East is East, and West is West, and never the twain shall meet,<br />
Till Earth and Sky stand presently at God's great Judgement Seat;<br />
But there is neither East nor West, Border, nor Breed, nor Birth,<br />
When two strong men stand face to face, tho' they come from the ends <strong>of</strong><br />
earth!<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Ballad <strong>of</strong> East and West"<br />
And the talk slid north, and the talk slid south,<br />
With the sliding puffs from the hookah-mouth.<br />
Four things greater than all things are,--<br />
Women and Horses and Power and War.<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Ballad <strong>of</strong> the King's Jest"<br />
When the flush <strong>of</strong> a new-born sun fell first on Eden's green and gold,<br />
Our father Adam sat under the Tree and scratched with a stick in the<br />
mould;<br />
And the first rude sketch that the world had seen was joy to his mighty<br />
heart,<br />
Till the Devil whispered behind the leaves, "It's pretty, but is it<br />
Art?"<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Conundrum <strong>of</strong> the Workshops"<br />
We know that the tail must wag the dog, for the horse is drawn by the<br />
cart;<br />
But the Devil whoops, as he whooped <strong>of</strong> old: "It's clever, but is it<br />
Art?"<br />
Barrack-Room Ballads (1892) "<strong>The</strong> Conundrum <strong>of</strong> the Workshops"<br />
Winds <strong>of</strong> the World, give answer! <strong>The</strong>y are whimpering to and fro--<br />
And what should they know <strong>of</strong> England who only England know?--<br />
<strong>The</strong> poor little street-bred people that vapour and fume and brag.<br />
Barrack-Room Ballads (1892) "<strong>The</strong> English Flag"<br />
For the sin ye do by two and two ye must pay for one by one!<br />
Barrack-Room Ballads (1892) "Tomlinson"
<strong>The</strong>re be triple ways to take, <strong>of</strong> the eagle or the snake,<br />
Or the way <strong>of</strong> a man with a maid;<br />
But the sweetest way to me is a ship's upon the sea<br />
In the heel <strong>of</strong> the North -East Trade.<br />
Barrack-Room Ballads (1892) "L'Envoi"<br />
What the horses o' Kansas think to-day, the horses <strong>of</strong> America will think<br />
tomorrow; an' I tell you that when the horses <strong>of</strong> America rise in their<br />
might, the day o' the Oppressor is ended.<br />
<strong>The</strong> Day's Work (1898) "A Walking Delegate"<br />
<strong>The</strong> toad beneath the harrow knows<br />
Exactly where each tooth-point goes;<br />
<strong>The</strong> butterfly upon the road<br />
Preaches contentment to that toad.<br />
Departmental Ditties (1886) "Pagett, MP"<br />
A Nation spoke to a Nation,<br />
A Throne sent word to a Throne:<br />
"Daughter am I in my mother's house,<br />
But mistress in my own.<br />
<strong>The</strong> gates are mine to open,<br />
As the gates are mine to close,<br />
And I abide by my Mother's House."<br />
Said our Lady <strong>of</strong> the Snows.<br />
Departmental Ditties (1898 US ed.) "Our Lady <strong>of</strong> the Snows"<br />
Who hath desired the Sea?--the sight <strong>of</strong> salt water unbounded--<br />
<strong>The</strong> heave and the halt and the hurl and the crash <strong>of</strong> the comber<br />
wind-hounded?<br />
<strong>The</strong> sleek-barrelled swell before storm, grey, foamless, enormous, and<br />
growing--<br />
Stark calm on the lap <strong>of</strong> the Line or the crazy-eyed hurricane blowing.<br />
<strong>The</strong> Five Nations (1903) "<strong>The</strong> Sea and the Hills"<br />
And here the sea-fogs lap and cling<br />
And here, each warning each,<br />
<strong>The</strong> sheep-bells and the ship-bells ring<br />
Along the hidden beach.<br />
<strong>The</strong> Five Nations (1903) "Sussex"<br />
God gives all men all earth to love,<br />
But since man's heart is small,<br />
Ordains for each one spot shall prove<br />
BelovŠd over all.<br />
Each to his choice, and I rejoice<br />
<strong>The</strong> lot has fallen to me<br />
In a fair ground--in a fair ground--<br />
Yea, Sussex by the sea!<br />
<strong>The</strong> Five Nations (1903) "Sussex"<br />
<strong>The</strong>n ye returned to your trinkets; then ye contented your souls<br />
With the flannelled fools at the wicket or the muddied oafs at the<br />
goals.<br />
<strong>The</strong> Five Nations (1903) "<strong>The</strong> Islanders"<br />
We're foot--slog--slog--slog--sloggin' over Africa!--<br />
Foot--foot--foot--foot--sloggin' over Africa--<br />
(Boots--boots--boots--boots--movin' up and down again!)
<strong>The</strong>re's no discharge in the war!<br />
<strong>The</strong> Five Nations (1903) "Boots" (for the last line, cf. <strong>Oxford</strong><br />
<strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 55:25)<br />
An' it all goes into the laundry,<br />
But it never comes out in the wash,<br />
'Ow we're sugared about by the old men<br />
('Eavy-sterned amateur old men!)<br />
That 'amper an' 'inder an' scold men<br />
For fear o' Stellenbosh!<br />
<strong>The</strong> Five Nations (1903) "Stellenbosh"<br />
For all we have and are,<br />
For all our children's fate,<br />
Stand up and take the war.<br />
<strong>The</strong> Hun is at the gate!<br />
For All We Have and Are (1914) p. 1<br />
<strong>The</strong>re is but one task for all--<br />
For each one life to give.<br />
What stands if freedom fall?<br />
Who dies if England live?<br />
For All We Have and Are (1914) p. 2<br />
It is always a temptation to a rich and lazy nation,<br />
To puff and look important and to say:-<br />
"Though we know we should defeat you, we have not the time to meet you,<br />
We will therefore pay you cash to go away."<br />
And that is called paying the Dane-geld;<br />
But we've proved it again and again,<br />
That if once you have paid him the Dane-geld<br />
You never get rid <strong>of</strong> the Dane.<br />
History <strong>of</strong> England (1911) "Dane-Geld"<br />
"Oh, where are you going to, all you Big Steamers,<br />
With England's own coal, up and down the salt seas?"<br />
"We are going to fetch you your bread and your butter,<br />
Your beef, pork, and mutton, eggs, apples, and cheese."<br />
History <strong>of</strong> England (1911) "Big Steamers"<br />
Our England is a garden that is full <strong>of</strong> stately views,<br />
Of borders, beds and shrubberies and lawns and avenues,<br />
With statues on the terraces and peacocks strutting by;<br />
But the Glory <strong>of</strong> the Garden lies in more than meets the eye.<br />
History <strong>of</strong> England (1911) "<strong>The</strong> Glory <strong>of</strong> the Garden"<br />
Our England is a garden, and such gardens are not made<br />
By singing:--"Oh, how beautiful!" and sitting in the shade,<br />
While better men than we go out and start their working lives<br />
At grubbing weeds from gravel paths with broken dinner-knives.<br />
History <strong>of</strong> England (1911) "<strong>The</strong> Glory <strong>of</strong> the Garden"<br />
Oh, Adam was a gardener, and God who made him sees<br />
That half a proper gardener's work is done upon his knees,<br />
So when your work is finished, you can wash your hands and pray<br />
For the Glory <strong>of</strong> the Garden that it may not pass away!<br />
And the Glory <strong>of</strong> the Garden it shall never pass away!<br />
History <strong>of</strong> England (1911) "<strong>The</strong> Glory <strong>of</strong> the Garden"<br />
Lalun is a member <strong>of</strong> the most ancient pr<strong>of</strong>ession in the world.
In Black and White (1888) "On the City Wall"<br />
"We be one blood, thou and I," Mowgli answered. "I take my life from thee<br />
to-night. My kill shall be thy kill if ever thou art hungry, O Kaa."<br />
Jungle Book (1894) "Kaa's Hunting"<br />
Brother, thy tail hangs down behind!<br />
<strong>The</strong> Jungle Book (1894) "Road Song <strong>of</strong> the Bandar-Log"<br />
You must not forget the suspenders, Best Beloved.<br />
Just So Stories (1902) "How the Whale got his Throat"<br />
<strong>The</strong>n the Whale stood up on his Tail and said, "I'm hungry." And the small<br />
'Stute Fish said in a small 'stute voice, "Noble and generous Cetacean,<br />
have you ever tasted Man?" "No," said the Whale. "What is it like?"<br />
"Nice," said the small 'Stute Fish. "Nice but nubbly."<br />
Just So Stories (1902) "How the Whale got his Throat"<br />
He had his Mummy's leave to paddle, or else he would never have done it,<br />
because he was a man <strong>of</strong> infinite-resource-and-sagacity.<br />
Just So Stories (1902) "How the Whale got his Throat"<br />
<strong>The</strong> Camel's hump is an ugly lump<br />
Which well you may see at the Zoo;<br />
But uglier yet is the hump we get<br />
From having too little to do.<br />
Just So Stories (1902) "How the Camel got his Hump"<br />
We get the hump--<br />
Cameelious hump--<br />
<strong>The</strong> hump that is black and blue!<br />
Just So Stories (1902) "How the Camel got his Hump"<br />
<strong>The</strong> cure for this ill is not to sit still,<br />
Or frowst with a book by the fire;<br />
But to take a large hoe and a shovel also,<br />
And dig till you gently perspire.<br />
Just So Stories (1902) "How the Camel got his Hump"<br />
But there was one Elephant--a new Elephant--an Elephant's Child--who was<br />
full <strong>of</strong> 'satiable curtiosity, and that means he asked ever so many<br />
questions.<br />
Just So Stories (1902) "<strong>The</strong> Elephant's Child"<br />
<strong>The</strong>n Kolokolo Bird said, with a mournful cry, "Go to the banks <strong>of</strong> the<br />
great grey-green, greasy Limpopo River, all set about with fever-trees,<br />
and find out."<br />
Just So Stories (1902) "<strong>The</strong> Elephant's Child"<br />
<strong>The</strong>n the Elephant's Child put his head down close to the Crocodile's<br />
musky, tusky mouth, and the Crocodile caught him by his little nose. At<br />
this, O Best Beloved, the Elephant's Child was much annoyed, and he said,<br />
speaking through his nose, like this, "Led go! You are hurtig be!"<br />
Just So Stories (1902) "<strong>The</strong> Elephant's Child"<br />
I keep six honest serving-men<br />
(<strong>The</strong>y taught me all I knew);<br />
<strong>The</strong>ir names are What and Why and When<br />
And How and Where and Who.<br />
Just So Stories (1902) "<strong>The</strong> Elephant's Child"
Yes, weekly from Southampton,<br />
Great steamers, white and gold,<br />
Go rolling down to Rio<br />
(Roll down--roll down to Rio!).<br />
And I'd like to roll to Rio<br />
Some day before I'm old!<br />
Just So Stories (1902) "Beginning <strong>of</strong> the Armadilloes"<br />
But the wildest <strong>of</strong> all the wild animals was the Cat. He walked by himself,<br />
and all places were alike to him.<br />
Just So Stories (1902) "<strong>The</strong> Cat that Walked by Himself"<br />
And he went back through the Wet Wild Woods, waving his wild tail and<br />
walking by his wild lone. But he never told anybody.<br />
Just So Stories (1902) "<strong>The</strong> Cat that Walked by Himself"<br />
When [Max] Aitken acquired the Daily Express his political views seemed to<br />
Kipling to become more and more inconsistent, and one day Kipling asked<br />
him what he was really up to. Aitken is supposed to have replied: "What I<br />
want is power. Kiss 'em one day and kick 'em the next"; and so on. "I<br />
see," said Kipling. "Power without responsibility: the prerogative <strong>of</strong> the<br />
harlot throughout the ages." So, many years later, when [Stanley] Baldwin<br />
deemed it necessary to deal sharply with such lords <strong>of</strong> the press, he<br />
obtained leave <strong>of</strong> his cousin [Kipling] to borrow that telling phrase,<br />
which he used to some effect on the 18th March, 1931, at...the old Queen's<br />
Hall in Langham Place.<br />
Speech by Earl Baldwin to the Kipling Society, 5 Oct. 1971, in Kipling<br />
Journal Dec. 1971<br />
If I were hanged on the highest hill,<br />
Mother o' mine, O mother o' mine!<br />
I know whose love would follow me still,<br />
Mother o' mine, O mother o' mine!<br />
If I were drowned in the deepest sea,<br />
Mother o' mine, O mother o' mine!<br />
I know whose tears would come down to me,<br />
Mother o' mine, O mother o' mine.<br />
If I were damned <strong>of</strong> body and soul,<br />
I know whose prayers would make me whole,<br />
Mother o' mine, O mother o' mine.<br />
<strong>The</strong> Light That Failed (1891) dedication<br />
<strong>The</strong> man who would be king.<br />
Title <strong>of</strong> story (1888)<br />
And the end <strong>of</strong> the fight is a tombstone white, with the name <strong>of</strong> the late<br />
deceased,<br />
And the epitaph drear: "A fool lies here who tried to hustle the East."<br />
<strong>The</strong> Naulahka (1892) ch. 5<br />
Take my word for it, the silliest woman can manage a clever man; but it<br />
takes a very clever woman to manage a fool.<br />
Plain Tales from the Hills (1888) "Three and--an Extra"<br />
Every one is more or less mad on one point.<br />
Plain Tales from the Hills (1888) "On the Strength <strong>of</strong> a Likeness"
Of all the trees that grow so fair,<br />
Old England to adorn,<br />
Greater are none beneath the Sun,<br />
Than Oak, and Ash, and Thorn.<br />
Puck <strong>of</strong> Pook's Hill (1906) "Tree Song"<br />
England shall bide till Judgement Tide<br />
By Oak, and Ash, and Thorn!<br />
Puck <strong>of</strong> Pook's Hill (1906) "Tree Song"<br />
What is a woman that you forsake her,<br />
And the hearth-fire and the home-acre,<br />
To go with the old grey Widow-maker?<br />
Puck <strong>of</strong> Pook's Hill (1906) "Harp Song <strong>of</strong> the Dane Women"<br />
If you wake at midnight, and hear a horse's feet,<br />
Don't go drawing back the blind, or looking in the street,<br />
<strong>The</strong>m that asks no questions isn't told a lie.<br />
Watch the wall, my darling, while the Gentlemen go by!<br />
Five and twenty ponies,<br />
Trotting through the dark--<br />
Brandy for the Parson,<br />
'Baccy for the Clerk;<br />
Laces for a lady, letters for a spy,<br />
Watch the wall, my darling, while the Gentlemen go by!<br />
Puck <strong>of</strong> Pook's Hill (1906) "Smuggler's Song"<br />
Land <strong>of</strong> our birth, we pledge to thee<br />
Our love and toil in the years to be;<br />
When we are grown and take our place,<br />
As men and women with our race.<br />
Puck <strong>of</strong> Pook's Hill (1906) "Children's Song"<br />
Teach us Delight in simple things,<br />
And Mirth that has no bitter springs;<br />
Forgiveness free <strong>of</strong> evil done,<br />
And Love to all men 'neath the sun!<br />
Puck <strong>of</strong> Pook's Hill (1906) "Children's Song"<br />
<strong>The</strong> tumult and the shouting dies--<br />
<strong>The</strong> captains and the kings depart--<br />
Still stands Thine ancient Sacrifice,<br />
An humble and a contrite heart.<br />
Lord God <strong>of</strong> Hosts, be with us yet,<br />
Lest we forget--lest we forget!<br />
Recessional, in <strong>The</strong> Times 17 July 1897<br />
Far-called our navies melt away--<br />
On dune and headland sinks the fire--<br />
Lo, all our pomp <strong>of</strong> yesterday<br />
Is one with Nineveh, and Tyre!<br />
Recessional, in <strong>The</strong> Times 17 July 1897<br />
If, drunk with sight <strong>of</strong> power, we loose<br />
Wild tongues that have not <strong>The</strong>e in awe--<br />
Such boasting as the Gentiles use,<br />
Or lesser breeds without the Law.<br />
Recessional, in Times 17 July 1897<br />
<strong>The</strong>y shut the road through the woods.
Seventy years ago.<br />
Weather and rain have undone it again,<br />
And now you would never know<br />
<strong>The</strong>re was once a road through the woods.<br />
Rewards and Fairies (1910) "Way through the Woods"<br />
If you can keep your head when all about you<br />
Are losing theirs and blaming it on you;<br />
If you can trust yourself when all men doubt you,<br />
But make allowance for their doubting too;<br />
If you can wait and not be tired by waiting,<br />
Or being lied about, don't deal in lies,<br />
Or being hated, don't give way to hating,<br />
And yet don't look too good, nor talk too wise;<br />
If you can dream--and not make dreams your master;<br />
If you can think--and not make thoughts your aim,<br />
If you can meet with Triumph and Disaster<br />
And treat those two imposters just the same...<br />
Rewards and Fairies (1910) "If--"<br />
If you can make one heap <strong>of</strong> all your winnings<br />
And risk it on one turn <strong>of</strong> pitch-and-toss,<br />
And lose, and start again at your beginnings<br />
And never breathe a word about your loss...<br />
Rewards and Fairies (1910) "If--"<br />
If you can talk with crowds and keep your virtue,<br />
Or walk with Kings--nor lose the common touch,<br />
If neither foes nor loving friends can hurt you,<br />
If all men count with you, but none too much;<br />
If you can fill the unforgiving minute<br />
With sixty seconds' worth <strong>of</strong> distance run,<br />
Yours is the Earth and everything that's in it,<br />
And--which is more--you'll be a Man, my son!<br />
Rewards and Fairies (1910) "If--"<br />
One man in a thousand, Solomon says,<br />
Will stick more close than a brother.<br />
Rewards and Fairies (1910) "<strong>The</strong> Thousandth Man"<br />
<strong>The</strong> female <strong>of</strong> the species is more deadly than the male.<br />
Rudyard Kipling's Verse (1919) "<strong>The</strong> Female <strong>of</strong> the Species"<br />
As it will be in the future, it was at the birth <strong>of</strong> Man--<br />
<strong>The</strong>re are only four things certain since Social Progress began:--<br />
That the Dog returns to his Vomit and the Sow returns to her Mire,<br />
And the burnt Fool's bandaged finger goes wabbling back to the Fire.<br />
Rudyard Kipling's Verse (1927) "<strong>The</strong> Gods <strong>of</strong> the Copybook Headings"<br />
England's on the anvil--hear the hammers ring--<br />
Clanging from the Severn to the Tyne!<br />
Never was a blacksmith like our Norman King--<br />
England's being hammered, hammered, hammered into line!<br />
Rudyard Kipling's Verse (1927) "<strong>The</strong> Anvil"<br />
Now this is the Law <strong>of</strong> the Jungle--as old and as true as the sky;<br />
And the Wolf that shall keep it may prosper, but the Wolf that shall<br />
break it must die.<br />
Second Jungle Book (1895) "<strong>The</strong> Law <strong>of</strong> the Jungle"
Keep ye the law--be swift in all obedience--<br />
Clear the land <strong>of</strong> evil, drive the road and bridge the ford.<br />
Make ye sure to each his own<br />
That he reap where he hath sown;<br />
By the peace among our peoples let men know we serve the Lord!<br />
<strong>The</strong> Seven Seas (1896) "A Song <strong>of</strong> the English"<br />
We have fed our sea for a thousand years<br />
And she calls us, still unfed,<br />
Though there's never a wave <strong>of</strong> all her waves<br />
But marks our English dead:<br />
We have strawed our best to the weed's unrest<br />
To the shark and sheering gull.<br />
If blood be the price <strong>of</strong> admiralty,<br />
Lord God, we ha' paid in full!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> Song <strong>of</strong> the Dead"<br />
And Ye take mine honour from me if Ye take away the sea!<br />
<strong>The</strong> Seven Seas (1896) "Last Chantey"<br />
<strong>The</strong> Liner she's a lady, an' she never looks nor 'eeds--<br />
<strong>The</strong> Man-o'-War 's 'er 'usband, 'an 'e gives 'er all she needs;<br />
But, oh, the little cargo boats that sail the wet seas roun',<br />
<strong>The</strong>y're just the same as you 'an me a-plyin' up and down!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> Liner She's a Lady"<br />
When 'Omer smote 'is bloomin' lyre,<br />
He'd 'eard men sing by land an' sea;<br />
An' what he thought 'e might require,<br />
'E went an' took--the same as me!<br />
<strong>The</strong> Seven Seas (1896) p. 162<br />
I've taken my fun where I've found it,<br />
An' now I must pay for my fun,<br />
For the more you 'ave known o' the others<br />
<strong>The</strong> less will you settle to one;<br />
An' the end <strong>of</strong> it's sittin' and thinkin',<br />
An' dreamin' Hell-fires to see;<br />
So be warned by my lot (which I know you will not),<br />
An' learn about women from me!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> Ladies"<br />
An' I learned about women from 'er!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> Ladies"<br />
When you get to a man in the case,<br />
<strong>The</strong>y're like as a row <strong>of</strong> pins--<br />
For the Colonel 's Lady an' Judy O'Grady<br />
Are sisters under their skins!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> Ladies"<br />
<strong>The</strong> 'eathen in 'is blindness bows down to wood an' stone;<br />
'E don't obey no orders unless they is 'is own;<br />
'E keeps 'is side-arms awful: 'e leaves 'em all about,<br />
An' then comes up the Regiment an' pokes the 'eathen out.<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> 'Eathen"<br />
<strong>The</strong> 'eathen in 'is blindness must end where 'e began.<br />
But the backbone <strong>of</strong> the Army is the non-commissioned man!<br />
<strong>The</strong> Seven Seas (1896) "<strong>The</strong> 'Eathen"
And only the Master shall praise us, and only the Master shall blame;<br />
And no one shall work for money, and no one shall work for fame,<br />
But each for the joy <strong>of</strong> the working, and each, in his separate star,<br />
Shall draw the Thing as he sees It for the God <strong>of</strong> Things as <strong>The</strong>y are!<br />
<strong>The</strong> Seven Seas (1896) "When Earth's Last Picture is Painted"<br />
Words are, <strong>of</strong> course, the most powerful drug used by mankind.<br />
Speech, 14 Feb. 1923, in <strong>The</strong> Times 15 Feb. 1923<br />
Mr Raymond Martin, beyond question, was born in a gutter, and bred in a<br />
Board-School, where they played marbles. He was further (I give the barest<br />
handful from great store) a Flopshus Cad, an Outrageous Stinker, a<br />
Jelly-bellied Flag-flapper (this was Stalky's contribution), and several<br />
other things which it is not seemly to put down.<br />
Stalky & Co. (1899) p. 214<br />
Being kissed by a man who didn't wax his moustache was--like eating an egg<br />
without salt.<br />
<strong>The</strong> Story <strong>of</strong> the Gadsbys (1889) "Poor Dear Mamma"<br />
Down to Gehenna or up to the Throne,<br />
He travels the fastest who travels alone.<br />
<strong>The</strong> Story <strong>of</strong> the Gadsbys (1890) "L'Envoi"<br />
'Tisn't beauty, so to speak, nor good talk necessarily. It's just It. Some<br />
women'll stay in a man's memory if they once walked down a street.<br />
Traffics and Discoveries (1904) "Mrs Bathurst"<br />
It's north you may run to the rime-ringed sun,<br />
Or south to the blind Horn's hate;<br />
Or east all the way into Mississippi Bay,<br />
Or west to the Golden Gate.<br />
Twenty Poems (1918) "<strong>The</strong> Long Trail"<br />
A fool there was and he made his prayer<br />
(Even as you and I!)<br />
To a rag and a bone and a hank <strong>of</strong> hair<br />
(We called her the woman who did not care)<br />
But the fool he called her his lady fair--<br />
(Even as you and I!)<br />
<strong>The</strong> Vampire (1897) p. 1<br />
Take up the White Man's burden--<br />
Send forth the best ye breed--<br />
Go, bind your sons to exile<br />
To serve your captives' need;<br />
To wait, in heavy harness,<br />
On fluttered folk and wild--<br />
Your new-caught, sullen peoples,<br />
Half devil and half child.<br />
<strong>The</strong> White Man's Burden (1899)<br />
By all ye will or whisper,<br />
By all ye leave or do,<br />
<strong>The</strong> silent sullen peoples<br />
Shall weigh your God and you.<br />
<strong>The</strong> White Man's Burden (1899)<br />
If any question why we died,
Tell them, because our fathers lied.<br />
<strong>The</strong> Years Between (1919) "Common Form"<br />
11.34 Henry Kissinger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
"We are the President's men," he [Kissinger] would exclaim, "and we must<br />
behave accordingly."<br />
M. and B. Kalb Kissinger (1974) ch. 7<br />
<strong>The</strong>re cannot be a crisis next week. My schedule is already full.<br />
In New York Times Magazine 1 June 1969, p. 11<br />
Power, he [Kissinger] has observed, "is the great aphrodisiac."<br />
New York Times 19 Jan. 1971, p. 12<br />
11.35 Fred Kitchen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1950<br />
Meredith, we're in!<br />
Catch-phrase originating in <strong>The</strong> Bailiff (1907 stage sketch)--see J. P.<br />
Gallagher Fred Karno (1971) ch. 9, p. 90<br />
11.36 Lord Kitchener<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1850-1916<br />
You are ordered abroad as a soldier <strong>of</strong> the King to help our French<br />
comrades against the invasion <strong>of</strong> a common enemy. You have to perform a<br />
task which will need your courage, your energy, your patience. Remember<br />
that the honour <strong>of</strong> the British Army depends on your individual conduct. It<br />
will be your duty not only to set an example <strong>of</strong> discipline and perfect<br />
steadiness under fire, but also to maintain the most friendly relations<br />
with those whom you are helping in this struggle. <strong>The</strong> operations in which<br />
you are engaged will, for the most part, take place in a friendly country,<br />
and you can do your own country no better service than in showing yourself<br />
in France and Belgium in the true character <strong>of</strong> a British soldier.<br />
Be invariably courteous, considerate, and kind. Never do anything likely<br />
to injure or destroy property, and always look upon looting as a<br />
disgraceful act. You are sure to meet with a welcome and to be trusted;<br />
your conduct must justify that welcome and that trust.<br />
Your duty cannot be done unless your health is sound. So keep constantly<br />
on your guard against any excesses. In this new experience you may find<br />
temptations both in wine and women. You must entirely resist both<br />
temptations, and, while treating all women with perfect courtesy, you<br />
should avoid any intimacy. Do your duty bravely. Fear God. Honour the<br />
King.<br />
Message to soldiers <strong>of</strong> the British Expeditionary Force (1914), in <strong>The</strong><br />
Times 19 Aug. 1914<br />
11.37 Paul Klee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1879-1940<br />
Eine aktive Linie, die sich frei ergeht, ein Spaziergang um seiner selbst<br />
willen, ohne Ziel. Das agens ist ein Punkt, der sich verschiebt.<br />
An active line on a walk, moving freely without a goal. A walk for walk's<br />
sake.<br />
P„dagogisches Skizzenbuch (Pedagogical Sketchbook, 1925) p. 6<br />
Kunst gibt nicht das Sichtbare wieder, sondern macht sichtbar.<br />
Art does not reproduce the visible; rather, it makes visible.<br />
Sch”pferische Konfession (Creative Credo, 1920) in Im Zwischenreich<br />
(1957) (Inward Vision, 1958) p. 5<br />
11.38 Charles Knight and Kenneth Lyle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Here we are! here we are!! here we are again!!!<br />
<strong>The</strong>re's Pat and Mac and Tommy and Jack and Joe.<br />
When there's trouble brewing,<br />
When there's something doing,<br />
Are we downhearted?<br />
No! Let 'em all come!<br />
Here we are! Here we are again!! (1914 song)<br />
11.39 Frederick Knott<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
Dial "M" for murder.<br />
Title <strong>of</strong> play (1952)<br />
11.40 Monsignor Ronald Knox<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1957<br />
<strong>The</strong>re once was a man who said, "God<br />
Must think it exceedingly odd<br />
If he finds that this tree<br />
Continues to be<br />
When there's no one about in the Quad."<br />
In Langford Reed Complete Limerick Book (1924) p. 44 (This reply was<br />
written by an unknown author)<br />
Dear Sir,<br />
Your astonishment's odd:<br />
I am always about in the Quad.<br />
And that's why the tree<br />
Will continue to be,<br />
Since observed by<br />
Yours faithfully,<br />
God.)<br />
<strong>The</strong> tumult and the shouting dies,<br />
<strong>The</strong> captains and the kings depart,<br />
And we are left with large supplies<br />
Of cold blancmange and rhubarb tart.
In R. Eyres In Three Tongues (1959) p. 130 "After the Party"--a parody <strong>of</strong><br />
Kipling 126:9<br />
It is stupid <strong>of</strong> modern civilization to have given up believing in the<br />
devil, when he is the only explanation <strong>of</strong> it.<br />
Let Dons Delight (1939) ch. 8<br />
11.41 Arthur Koestler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1983<br />
<strong>The</strong> most persistent sound which reverberates through man's history is the<br />
beating <strong>of</strong> war drums.<br />
Janus (1978) prologue<br />
Man can leave the earth and land on the moon, but cannot cross from East<br />
to West Berlin. Prometheus reaches for the stars with an insane grin on<br />
his face and a totem-symbol in his hand.<br />
Janus (1978) prologue<br />
11.42 Jiddu Krishnamurti<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1986<br />
I maintain that Truth is a pathless land, and you cannot approach it by<br />
any path whatsoever, by any religion, by any sect.<br />
Speech in Holland, 3 Aug. 1929, in Lilly Heber Krishnamurti (1931) ch. 2<br />
11.43 Kris Krist<strong>of</strong>ferson and Fred Foster<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Kris Krist<strong>of</strong>ferson 1936-<br />
<strong>Free</strong>dom's just another word for nothin' left to lose,<br />
Nothin' ain't worth nothin', but it's free.<br />
Me and Bobby McGee (1969 song)<br />
11.44 Joseph Wood Krutch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1970<br />
<strong>The</strong> most serious charge which can be brought against New England is not<br />
Puritanism but February.<br />
Twelve Seasons (1949) "February"<br />
Cats seem to go on the principle that it never does any harm to ask for<br />
what you want.<br />
Twelve Seasons (1949) "February"<br />
11.45 Stanley Kubrick<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
<strong>The</strong> great nations have always acted like gangsters, and the small nations<br />
like prostitutes.
In Guardian 5 June 1963<br />
11.46 Satish Kumar<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1937-<br />
Lead me from death to life, from falsehood to truth.<br />
Lead me from despair to hope, from fear to trust.<br />
Lead me from hate to love, from war to peace.<br />
Let peace fill our heart, our world, our universe.<br />
Prayer for Peace (1981; adapted from the Upanishads)<br />
12.0 L<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
12.1 Henry Labouchere<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1831-1912<br />
Mr Labouchere's jest about Mr Gladstone laying upon Providence the<br />
responsibility <strong>of</strong> always placing the ace <strong>of</strong> trumps up his sleeve was a<br />
good one. In one <strong>of</strong> his private letters I find the quip worded a little<br />
more pungently. "Who cannot refrain," he says, referring to the then Prime<br />
Minister, "from perpetually bringing an ace down his sleeve, even when he<br />
has only to play fair to win the trick."<br />
A. L. Thorold Life <strong>of</strong> Henry Labouchere (1913) ch. 15. Cf. Earl Curzon's<br />
<strong>Modern</strong> Parliamentary Eloquence (1913) p. 25 "I recall a phrase <strong>of</strong> that<br />
incorrigible cynic Labouchere, alluding to Mr Gladstone's frequent appeals<br />
to a higher power, that he did not object to the old man always having a<br />
card up his sleeve, but he did object to his insinuating that the Almighty<br />
had placed it there."<br />
12.2 Fiorello La Guardia<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1947<br />
When I make a mistake, it's a beaut!<br />
In William Manners Patience and Fortitude (1976) p. 219 (on the<br />
appointment <strong>of</strong> Herbert O'Brien as a judge in 1936)<br />
12.3 R. D. Laing<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-1989<br />
Schizophrenia cannot be understood without understanding despair.<br />
<strong>The</strong> Divided Self (1960) ch. 2<br />
Few books today are forgivable.<br />
Politics <strong>of</strong> Experience (1967) introduction<br />
We are effectively destroying ourselves by violence masquerading as love.<br />
Politics <strong>of</strong> Experience (1967) ch. 3<br />
<strong>The</strong> brotherhood <strong>of</strong> man is evoked by particular men according to their
circumstances. But it seldom extends to all men. In the name <strong>of</strong> our<br />
freedom and our brotherhood we are prepared to blow up the other half <strong>of</strong><br />
mankind and to be blown up in turn.<br />
Politics <strong>of</strong> Experience (1967) ch. 4<br />
Madness need not be all breakdown. It may also be break-through. It is<br />
potential liberation and renewal as well as enslavement and existential<br />
death.<br />
Politics <strong>of</strong> Experience (1967) ch. 6<br />
<strong>The</strong> experience and behaviour that gets labelled schizophrenic is a special<br />
strategy that a person invents in order to live in an unlivable situation.<br />
Politics <strong>of</strong> Experience (1967) ch. 5<br />
12.4 Arthur J. Lamb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1928<br />
She's a bird in a gilded cage.<br />
Title <strong>of</strong> song (1900; music by Harry von Tilzer)<br />
12.5 Constant Lambert<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1951<br />
To put it vulgarly, the whole trouble with a folk song is that once you<br />
have played it through there is nothing much you can do except play it<br />
over again and play it rather louder.<br />
Music Ho! (1934) ch. 3<br />
<strong>The</strong> average English critic is a don manqu‚, hopelessly parochial when not<br />
exaggeratedly teutonophile, over whose desk must surely hang the motto<br />
(presumably in Gothic lettering) "Above all no enthusiasm."<br />
Opera Dec. 1950<br />
12.6 Giuseppe di Lampedusa<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1957<br />
Se vogliamo che tutto rimanga come Š, bisogna che tutto cambi.<br />
If we want things to stay as they are, things will have to change.<br />
Il Gattopardo (<strong>The</strong> Leopard, 1957) p. 33<br />
12.7 Sir Osbert Lancaster<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1986<br />
Today, when the passer-by is a little unnerved at being suddenly<br />
confronted with a hundred and fifty accurate reproductions <strong>of</strong> Anne<br />
Hathaway's cottage, each complete with central heating and garage, he<br />
should pause to reflect on the extraordinary fact that all over the<br />
country the latest and most scientific methods <strong>of</strong> mass-production are<br />
being utilized to turn out a stream <strong>of</strong> old oak beams, leaded window-panes<br />
and small discs <strong>of</strong> bottle-glass, all structural devices which our<br />
ancestors lost no time in abandoning as soon as an increase in wealth and
knowledge enabled them to do so.<br />
Pillar to Post (1938) "Stockbroker's Tudor"<br />
12.8 Bert Lance<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
Bert Lance believes he can save Uncle Sam billions if he can get the<br />
government to adopt a single motto: "If it ain't broke, don't fix it." He<br />
explains: "That's the trouble with government: Fixing things that aren't<br />
broken and not fixing things that are broken."<br />
Nation's Business 27 May 1977<br />
12.9 Andrew Lang<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1844-1912<br />
St Andrews by the Northern sea,<br />
A haunted town it is to me!<br />
Ballades and Verses Vain (1884) p. 79<br />
<strong>The</strong>y hear like ocean on a western beach<br />
<strong>The</strong> surge and thunder <strong>of</strong> the Odyssey.<br />
Poetical Works (1923) vol. 2, "<strong>The</strong> Odyssey"<br />
If the wild bowler thinks he bowls,<br />
Or if the batsman thinks he's bowled,<br />
<strong>The</strong>y know not, poor misguided souls,<br />
<strong>The</strong>y too shall perish unconsoled.<br />
I am the batsman and the bat,<br />
I am the bowler and the ball,<br />
<strong>The</strong> umpire, the pavilion cat,<br />
<strong>The</strong> roller, pitch, and stumps, and all.<br />
Poetical Works (1923) vol. 2, "Brahma" (a parody <strong>of</strong> Emerson--see <strong>Oxford</strong><br />
<strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 206:17)<br />
12.10 Julia Lang<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
Are you sitting comfortably? <strong>The</strong>n we'll begin.<br />
Introduction to stories on Listen with Mother, BBC Radio programme,<br />
1950-1982 (sometimes "<strong>The</strong>n I'll begin")<br />
12.11 Suzanne K. Langer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1985<br />
Art is the objectification <strong>of</strong> feeling, and the subjectification <strong>of</strong> nature.<br />
Mind (1967) vol. 1, pt. 2, ch. 4<br />
12.12 Ring Lardner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1933
Are you lost daddy I arsked tenderly.<br />
Shut up he explained.<br />
<strong>The</strong> Young Immigrunts (1920) ch. 10<br />
12.13 Philip Larkin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-1985<br />
Rather than words comes the thought <strong>of</strong> high windows:<br />
<strong>The</strong> sun-comprehending glass,<br />
And beyond it, the deep blue air, that shows<br />
Nothing, and is nowhere, and is endless.<br />
High Windows (1974) "High Windows"<br />
Perhaps being old is having lighted rooms<br />
Inside your head, and people in them, acting.<br />
People you know, yet can't quite name.<br />
High Windows (1974) "<strong>The</strong> Old Fools"<br />
Next year we are to bring the soldiers home<br />
For lack <strong>of</strong> money, and it is all right.<br />
Places they guarded, or kept orderly,<br />
Must guard themselves, and keep themselves orderly.<br />
High Windows (1974) "Homage to a Government"<br />
Next year we shall be living in a country<br />
That brought its soldiers home for lack <strong>of</strong> money.<br />
<strong>The</strong> statues will be standing in the same<br />
Tree-muffled squares, and look nearly the same.<br />
Our children will not know it's a different country.<br />
All we can hope to leave them now is money.<br />
High Windows (1974) "Homage to a Government"<br />
<strong>The</strong>y fuck you up, your mum and dad.<br />
<strong>The</strong>y may not mean to, but they do.<br />
<strong>The</strong>y fill you with the faults they had<br />
And add some extra, just for you.<br />
High Windows (1974) "This Be <strong>The</strong> Verse"<br />
Man hands on misery to man.<br />
It deepens like a coastal shelf.<br />
Get out as early as you can,<br />
And don't have any kids yourself.<br />
High Windows (1974) "This Be <strong>The</strong> Verse"<br />
Sexual intercourse began<br />
In nineteen sixty-three<br />
(Which was rather late for me)--<br />
Between the end <strong>of</strong> the Chatterley ban<br />
And the Beatles' first LP.<br />
High Windows (1974) "Annus Mirabilis"<br />
Hatless, I take <strong>of</strong>f<br />
My cycle-clips in awkward reverence.<br />
<strong>The</strong> Less Deceived (1955) "Church Going"<br />
A serious house on serious earth it is,<br />
In whose blent air all our compulsions meet,<br />
Are recognised, and robed as destinies.
<strong>The</strong> Less Deceived (1955) "Church Going"<br />
Why should I let the toad work<br />
Squat on my life?<br />
Can't I use my wit as a pitchfork<br />
And drive the brute <strong>of</strong>f?<br />
Six days <strong>of</strong> the week it soils<br />
With its sickening poison--<br />
Just for paying a few bills!<br />
That's out <strong>of</strong> proportion.<br />
<strong>The</strong> Less Deceived (1955) "Toads"<br />
Nothing, like something, happens anywhere.<br />
<strong>The</strong> Less Deceived (1955) "I Remember, I Remember"<br />
Far too many [<strong>of</strong> the books entered for the 1977 Booker Prize] relied on<br />
the classic formula <strong>of</strong> a beginning, a muddle, and an end.<br />
New Fiction no. 15, Jan. 1978<br />
Deprivation is for me what daffodils were for Wordsworth.<br />
Reply to question "Do you think people go around feeling they haven't got<br />
out <strong>of</strong> life what life has to <strong>of</strong>fer?"- Required Writing (1983) p. 47<br />
Give me your arm, old toad;<br />
Help me down Cemetery Road.<br />
<strong>The</strong> Whitsun Weddings (1964) "Toads Revisited"<br />
I thought <strong>of</strong> London spread out in the sun,<br />
Its postal districts packed like squares <strong>of</strong> wheat.<br />
<strong>The</strong> Whitsun Weddings (1964) "<strong>The</strong> Whitsun Weddings"<br />
What are days for?<br />
Days are where we live.<br />
<strong>The</strong>y come, they wake us<br />
Time and time over.<br />
<strong>The</strong>y are to be happy in:<br />
Where can we live but days?<br />
<strong>The</strong> Whitsun Weddings (1964) "Days"<br />
Never such innocence,<br />
Never before or since,<br />
As changed itself to past<br />
Without a word--the men<br />
Leaving the gardens tidy,<br />
<strong>The</strong> thousands <strong>of</strong> marriages<br />
Lasting a little while longer:<br />
Never such innocence again.<br />
<strong>The</strong> Whitsun Weddings (1964) "MCMXIV"<br />
Don't read too much now: the dude<br />
Who lets the girl down before<br />
<strong>The</strong> hero arrives, the chap<br />
Who's yellow and keeps the store,<br />
Seem far too familiar. Get stewed:<br />
Books are a load <strong>of</strong> crap.<br />
<strong>The</strong> Whitsun Weddings (1964) "Study <strong>of</strong> Reading Habits"<br />
Life is first boredom, then fear.<br />
Whether or not we use it, it goes,<br />
And leaves what something hidden from us chose,
And age, and then the only end <strong>of</strong> age.<br />
<strong>The</strong> Whitsun Weddings (1964) "Dockery & Son"<br />
Time has transfigured them into<br />
Untruth. <strong>The</strong> stone fidelity<br />
<strong>The</strong>y hardly meant has come to be<br />
<strong>The</strong>ir final blazon, and to prove<br />
Our almost-instinct almost true:<br />
What will survive <strong>of</strong> us is love.<br />
<strong>The</strong> Whitsun Weddings (1964) "An Arundel Tomb"<br />
12.14 Sir Harry Lauder<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1950<br />
Keep right on to the end <strong>of</strong> the road,<br />
Keep right on to the end.<br />
Tho' the way be long, let your heart be strong,<br />
Keep right on round the bend.<br />
Tho' you're tired and weary,<br />
Still journey on<br />
Till you come to your happy abode,<br />
Where all you love you've been dreaming <strong>of</strong><br />
Will be there at the end <strong>of</strong> the road.<br />
<strong>The</strong> End <strong>of</strong> the Road (1924 song)<br />
I love a lassie, a bonnie, bonnie lassie,<br />
She's as pure as the lily in the dell.<br />
She's as sweet as the heather, the bonnie bloomin' heather--<br />
Mary, ma Scotch Bluebell.<br />
I Love a Lassie (1905 song)<br />
It's nice to get up in the mornin' (but it's nicer to lie in bed).<br />
Title <strong>of</strong> song (1913)<br />
Roamin' in the gloamin',<br />
On the bonnie banks o' Clyde.<br />
Roamin' in the gloamin'<br />
Wae my lassie by my side.<br />
Roamin' in the Gloamin' (1911 song)<br />
12.15 Stan Laurel (Arthur Stanley Jefferson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1965<br />
Well, here's another nice mess you've gotten me into.<br />
Another Fine Mess (1930 film; words spoken by Oliver Hardy in many Laurel<br />
and Hardy films: <strong>of</strong>ten "another fine mess")<br />
Why don't you do something to help me?<br />
Drivers' Licence Sketch (1947), in J. McCabe Comedy World <strong>of</strong> Stan Laurel<br />
(1974) p. 107 (words spoken by Oliver Hardy)<br />
12.16 James Laver<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1975
<strong>The</strong> same costume will be<br />
Indecent ... 10 years before its time<br />
Shameless ... 5 years before its time<br />
Outr‚ (daring) ... 1 year before its time<br />
Smart<br />
Dowdy ... 1 year after its time<br />
Hideous ... 10 years after its time<br />
Ridiculous ... 20 years after its time<br />
Amusing ... 30 years after its time<br />
Quaint ... 50 years after its time<br />
Charming ... 70 years after its time<br />
Romantic ... 100 years after its time<br />
Beautiful ... 150 years after its time<br />
Taste and Fashion (1937) ch. 18<br />
12.17 Andrew Bonar Law<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1923<br />
See Bonar Law (2.100)<br />
12.18 D. H. Lawrence<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1930<br />
Is it the secret <strong>of</strong> the long-nosed Etruscans?<br />
<strong>The</strong> long-nosed, sensitive-footed, subtly-smiling Etruscans<br />
Who made so little noise outside the cypress groves?<br />
Birds, Beasts and Flowers (1923) "Cypresses"<br />
Men! <strong>The</strong> only animal in the world to fear!<br />
Birds, Beasts and Flowers (1923) "Mountain Lion"<br />
A snake came to my water-trough<br />
On a hot, hot day, and I in pyjamas for the heat,<br />
To drink there.<br />
Birds, Beasts and Flowers (1923) "Snake"<br />
And I thought <strong>of</strong> the albatross,<br />
And I wished he would come back, my snake.<br />
For he seemed to me again like a king,<br />
Like a king in exile, uncrowned in the underworld,<br />
Now due to be crowned again.<br />
And so, I missed my chance with one <strong>of</strong> the lords<br />
Of life.<br />
And I have something to expiate:<br />
A pettiness.<br />
Birds, Beasts and Flowers (1923) "Snake"<br />
Curse the blasted, jelly-boned swines, the slimy, the belly-wriggling<br />
invertebrates, the miserable sodding rotters, the flaming sods, the<br />
snivelling, dribbling, dithering, palsied, pulse-less lot that make up<br />
England today. <strong>The</strong>y've got white <strong>of</strong> egg in their veins, and their spunk is<br />
that watery it's a marvel they can breed. <strong>The</strong>y can nothing but<br />
frog-spawn--the gibberers! God, how I hate them!<br />
Letter to Edward Garnett, 3 July 1912, in Collected Letters (1962) vol. 1,<br />
p. 134
I like to write when I feel spiteful; it's like having a good sneeze.<br />
Letter to Lady Cynthia Asquith,?25 Nov. 1913, in Collected Letters (1962)<br />
vol. 1, p. 246<br />
<strong>The</strong> dead don't die. <strong>The</strong>y look on and help.<br />
Letter to J. Middleton Murry, 2 Feb. 1923, in Collected Letters (1962)<br />
vol. 2, p. 736<br />
<strong>The</strong> autumn always gets me badly, as it breaks into colours. I want to go<br />
south, where there is no autumn, where the cold doesn't crouch over one<br />
like a snow-leopard waiting to pounce. <strong>The</strong> heart <strong>of</strong> the North is dead,<br />
and the fingers <strong>of</strong> cold are corpse fingers.<br />
Letter to J. Middleton Murry, 3 Oct. 1924, in Collected Letters (1962)<br />
vol. 2, p. 812<br />
I'd like to write an essay on [Arnold] Bennett--sort <strong>of</strong> pig in clover.<br />
Letter to Aldous Huxley, 27 Mar. 1928, in Collected Letters (1962) vol. 2,<br />
p. 1048<br />
My God, what a clumsy olla putrida James Joyce is! Nothing but old fags<br />
and cabbage-stumps <strong>of</strong> quotations from the Bible and the rest, stewed in<br />
the juice <strong>of</strong> deliberate, journalistic dirty-mindedness.<br />
Letter to Aldous and Maria Huxley, 15 Aug. 1928, in Collected Letters<br />
(1962) vol. 2, p. 1074<br />
To the Puritan all things are impure, as somebody says.<br />
Etruscan Places (1932) "Cerveteri"<br />
Ours is essentially a tragic age, so we refuse to take it tragically.<br />
Lady Chatterley's Lover (1928) ch. 1<br />
Some things can't be ravished. You can't ravish a tin <strong>of</strong> sardines.<br />
Lady Chatterley's Lover (1928) ch. 8<br />
John Thomas says good-night to Lady Jane, a little droopingly, but with a<br />
hopeful heart.<br />
Lady Chatterley's Lover (1928) ch. 19<br />
Now it is autumn and the falling fruit<br />
And the long journey towards oblivion...<br />
Have you built your ship <strong>of</strong> death, O have you?<br />
O build your ship <strong>of</strong> death, for you will need it.<br />
Last Poems (1932) "Ship <strong>of</strong> Death"<br />
Along the avenue <strong>of</strong> cypresses<br />
All in their scarlet cloaks, and surplices<br />
Of linen go the chanting choristers,<br />
<strong>The</strong> priests in gold and black, the villagers.<br />
Look! We Have Come Through! (1917) "Giorno dei Morti"<br />
Not I, not I, but the wind that blows through me!<br />
A fine wind is blowing the new direction <strong>of</strong> Time.<br />
Look! We Have Come Through! (1917) "Song <strong>of</strong> a Man who has Come Through"<br />
So now it is vain for the singer to burst into clamour<br />
With the great black piano appassionato. <strong>The</strong> glamour<br />
Of childish days is upon me, my manhood is cast<br />
Down in the flood <strong>of</strong> remembrance, I weep like a child for the past.<br />
New Poems (1918) "Piano"
Don't be sucked in by the su-superior,<br />
don't swallow the culture bait,<br />
don't drink, don't drink and get beerier and beerier,<br />
do learn to discriminate.<br />
Pansies (1929) "Don'ts"<br />
How beastly the bourgeois is<br />
Especially the male <strong>of</strong> the species.<br />
Pansies (1929) "How Beastly the Bourgeois Is"<br />
I never saw a wild thing<br />
Sorry for itself.<br />
Pansies (1929) "Self-Pity"<br />
For while we have sex in the mind, we truly have none in the body.<br />
Pansies (1929) "Leave Sex Alone"<br />
When I read Shakespeare I am struck with wonder<br />
That such trivial people should muse and thunder<br />
In such lovely language.<br />
Pansies (1929) "When I Read Shakespeare"<br />
Pornography is the attempt to insult sex, to do dirt on it.<br />
Phoenix (1936) "Pornography and Obscenity" ch. 3<br />
<strong>The</strong> very first copy <strong>of</strong> <strong>The</strong> White Peacock that was ever sent out, I put<br />
into my mother's hands when she was dying. She looked at the outside, and<br />
then at the title-page, and then at me, with darkening eyes. And though<br />
she loved me so much, I think she doubted whether it could be much <strong>of</strong> a<br />
book, since no one more important than I had written it. Somewhere, in the<br />
helpless privacies <strong>of</strong> her being, she had wistful respect for me. But for<br />
me in the face <strong>of</strong> the world, not much. This David would never get a stone<br />
across at Goliath. And why try? Let Goliath alone! Anyway, she was beyond<br />
reading my first immortal work. It was put aside, and I never wanted to<br />
see it again. She never saw it again.<br />
After the funeral, my father struggled through half a page, and it might<br />
as well have been Hottentot.<br />
"And what dun they gi'e thee for that, lad?"<br />
"Fifty pounds, father."<br />
"Fifty pounds!" He was dumbfounded, and looked at me with shrewd eyes, as<br />
if I were a swindler. "Fifty pounds! An' tha's niver done a day's hard<br />
work in thy life."<br />
Phoenix (1936) p. 232<br />
Never trust the artist. Trust the tale. <strong>The</strong> proper function <strong>of</strong> a critic<br />
is to save the tale from the artist who created it.<br />
Studies in Classic American Literature (1923) ch. 1<br />
"Be a good animal, true to your instincts," was his motto.<br />
White Peacock (1911) pt. 2, ch. 2<br />
Don't you find it a beautiful clean thought, a world empty <strong>of</strong> people, just<br />
uninterrupted grass, and a hare sitting up?<br />
Women in Love (1920) ch. 11
12.19 T. E. Lawrence<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1930<br />
Many men would take the death-sentence without a whimper to escape the<br />
life-sentence which fate carries in her other hand.<br />
<strong>The</strong> Mint (1955) pt. 1, ch. 4<br />
<strong>The</strong> seven pillars <strong>of</strong> wisdom.<br />
Title <strong>of</strong> book (1926). Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 53:27<br />
I loved you, so I drew these tides <strong>of</strong> men into my hands and wrote my<br />
will across the sky in stars<br />
To earn you <strong>Free</strong>dom, the seven pillared worthy house, that your eyes<br />
might be shining for me<br />
When we came.<br />
<strong>The</strong> Seven Pillars <strong>of</strong> Wisdom (1926) dedication "to S.A."<br />
12.20 Sir Edmund Leach<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-<br />
Far from being the basis <strong>of</strong> the good society, the family, with its narrow<br />
privacy and tawdry secrets, is the source <strong>of</strong> all our discontents.<br />
BBC Reith Lectures, 1967, in Listener 30 Nov. 1967<br />
12.21 Stephen Leacock<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1944<br />
<strong>The</strong> parent who could see his boy as he really is, would shake his head and<br />
say: "Willie, is no good; I'll sell him."<br />
Essays and Literary Studies (1916) "Lot <strong>of</strong> a Schoolmaster"<br />
Advertising may be described as the science <strong>of</strong> arresting human<br />
intelligence long enough to get money from it.<br />
Garden <strong>of</strong> Folly (1924) "<strong>The</strong> Perfect Salesman"<br />
I am what is called a pr<strong>of</strong>essor emeritus--from the Latin e, "out," and<br />
meritus, "so he ought to be."<br />
Here are my Lectures (1938) ch. 14<br />
<strong>The</strong>re are no handles to a horse, but the 1910 model has a string to each<br />
side <strong>of</strong> its face for turning its head when there is anything you want it<br />
to see.<br />
Literary Lapses (1910) "Reflections on Riding"<br />
I detest life-insurance agents; they always argue that I shall some day<br />
die, which is not so.<br />
Literary Lapses (1910) "Insurance up to Date"<br />
Get your room full <strong>of</strong> good air, then shut up the windows and keep it. It<br />
will keep for years. Anyway, don't keep using your lungs all the time. Let<br />
them rest.<br />
Literary Lapses (1910) "How to Live to be 200"<br />
A sportsman is a man who, every now and then, simply has to get out and
kill something. Not that he's cruel. He wouldn't hurt a fly. It's not big<br />
enough.<br />
My Remarkable Uncle (1942) p. 73<br />
Lord Ronald said nothing; he flung himself from the room, flung himself<br />
upon his horse and rode madly <strong>of</strong>f in all directions.<br />
Nonsense Novels (1911) "Gertrude the Governess"<br />
A decision <strong>of</strong> the courts decided that the game <strong>of</strong> golf may be played on<br />
Sunday, not being a game within the view <strong>of</strong> the law, but being a form <strong>of</strong><br />
moral effort.<br />
Over the Footlights (1923) "Why I Refuse to Play Golf"<br />
<strong>The</strong> general idea, <strong>of</strong> course, in any first-class laundry, is to see that no<br />
shirt or collar ever comes back twice.<br />
Winnowed Wisdom (1926) ch. 6<br />
12.22 Timothy Leary<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
If you take the game <strong>of</strong> life seriously, if you take your nervous system<br />
seriously, if you take your sense organs seriously, if you take the energy<br />
process seriously, you must turn on, tune in and drop out.<br />
Lecture, June 1966, in Politics <strong>of</strong> Ecstasy (1968) ch. 21<br />
12.23 F. R. Leavis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1978<br />
It is well to start by distinguishing the few really great--the major<br />
novelists who count in the same way as the major poets, in the sense that<br />
they not only change the possibilities <strong>of</strong> the art for practitioners and<br />
readers, but that they are significant in terms <strong>of</strong> the human awareness<br />
they promote; awareness <strong>of</strong> the possibilities <strong>of</strong> life.<br />
<strong>The</strong> Great Tradition (1948) ch. 1<br />
<strong>The</strong> Sitwells belong to the history <strong>of</strong> publicity rather than <strong>of</strong> poetry.<br />
New Bearings in English Poetry (1932) ch. 2<br />
12.24 Fran Lebowitz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
All God's children are not beautiful. Most <strong>of</strong> God's children are, in<br />
fact, barely presentable.<br />
Metropolitan Life (1978) p. 6<br />
<strong>The</strong>re is no such thing as inner peace. <strong>The</strong>re is only nervousness or death.<br />
Any attempt to prove otherwise constitutes unacceptable behaviour.<br />
Metropolitan Life (1978) p. 6<br />
Life is something to do when you can't get to sleep.<br />
Metropolitan Life (1978) p. 101<br />
Food is an important part <strong>of</strong> a balanced diet.<br />
Metropolitan Life (1978) p. 110
Being a woman is <strong>of</strong> special interest only to aspiring male transsexuals.<br />
To actual women, it is merely a good excuse not to play football.<br />
Metropolitan Life (1978) p. 144<br />
12.25 Stanislaw Lec<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1966<br />
Is it progress if a cannibal uses knife and fork?<br />
Mysli Nieuczesane (Unkempt Thoughts, 1962) p. 78<br />
12.26 John le Carr‚ (David John Moore Cornwell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
<strong>The</strong> spy who came in from the cold.<br />
Title <strong>of</strong> novel (1963)<br />
12.27 Le Corbusier (Charles douard Jeanneret)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1965<br />
Une maison est une machine-…-habiter.<br />
A house is a machine for living in.<br />
Vers une architecture (Towards an Architecture, 1923) p. ix<br />
12.28 Harper Lee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
Shoot all the bluejays you want, if you can hit 'em, but remember it's a<br />
sin to kill a mockingbird.<br />
To Kill a Mockingbird (1960) ch. 10<br />
12.29 Laurie Lee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
I was set down from the carrier's cart at the age <strong>of</strong> three; and there with<br />
a sense <strong>of</strong> bewilderment and terror my life in the village began.<br />
Cider with Rosie (1959) p. 9<br />
Such a morning it is when love<br />
leans through geranium windows<br />
and calls with a cockerel's tongue.<br />
When red-haired girls scamper like roses<br />
over the rain-green grass,<br />
and the sun drips honey.<br />
Sun is my Monument (1947) "Day <strong>of</strong> these Days"<br />
12.30 Ernest Lehman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Somebody up there likes me.<br />
Title <strong>of</strong> film (1956)<br />
Sweet smell <strong>of</strong> success.<br />
Title <strong>of</strong> book and film (1957)<br />
12.31 Tom Lehrer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Life is like a sewer. What you get out <strong>of</strong> it depends on what you put into<br />
it.<br />
Preamble to song "We Will All Go Together When We Go," in An Evening<br />
Wasted with Tom Lehrer (1953 record album)<br />
Plagiarize! Let no one else's work evade your eyes,<br />
Remember why the good Lord made your eyes,<br />
So don't shade your eyes but plagiarize, plagiarize, plagiarize!<br />
Lobachevski (1953 song)<br />
And we will all go together when we go--<br />
Every Hottentot and every Eskimo.<br />
We Will All Go Together When We Go (1953 song)<br />
12.32 Jerry Leiber and Mike Stoller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jerry Leiber 1933-<br />
Mike Stoller 1933-<br />
You ain't nothin' but a hound dog,<br />
Cryin' all the time.<br />
Hound Dog (1956 song)<br />
12.33 Fred W. Leigh<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1924<br />
<strong>The</strong>re was I, waiting at the church,<br />
Waiting at the church, waiting at the church,<br />
When I found he'd left me in the lurch,<br />
Lor, how it did upset me!<br />
All at once he sent me round a note,<br />
Here's the very note,<br />
This is what he wrote--<br />
"Can't get away to marry you today,<br />
My wife won't let me!"<br />
Waiting at the Church (My Wife Won't Let Me) (1906 song; music by Henry<br />
E. Pether)<br />
12.34 Fred W. Leigh, Charles Collins, and Lily Morris<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Fred W. Leigh d. 1924
Why am I always the bridesmaid,<br />
Never the blushing bride?<br />
Why Am I Always the Bridesmaid? (1917 song)<br />
12.35 Fred W. Leigh and George Arthurs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Fred W. Leigh d. 1924<br />
A little <strong>of</strong> what you fancy does you good.<br />
Title <strong>of</strong> song (1915)<br />
12.36 Curtis E. LeMay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1990<br />
My solution to the problem would be to tell them [the North Vietnamese]<br />
frankly that they've got to draw in their horns and stop their aggression,<br />
or we're going to bomb them back into the Stone Age.<br />
Mission with LeMay (1965) p. 565<br />
12.37 Lenin (Vladimir Ilich Ulyanov)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1870-1924<br />
We must now set about building a proletarian socialist state in Russia.<br />
Speech in Petrograd, 7 Nov. 1917, in Collected Works (1964) vol. 26, p.<br />
240<br />
Communism is Soviet power plus the electrification <strong>of</strong> the whole country.<br />
Report to 8th Congress, 1920, in Collected Works (ed. 5) vol. 42, p. 30<br />
He [George Bernard Shaw] is a good man fallen among Fabians.<br />
In Arthur Ransome Six Weeks in Russia in 1919 (1919) "Notes <strong>of</strong><br />
Conversations with Lenin"<br />
It is true that liberty is precious--so precious that it must be rationed.<br />
In Sidney and Beatrice Webb Soviet Communism (1936) p. 1036<br />
No, Democracy is not identical with majority rule. No, Democracy is a<br />
State which recognizes the subjection <strong>of</strong> the minority to the majority,<br />
that is, an organization for the systematic use <strong>of</strong> violence by one class<br />
against the other, by one part <strong>of</strong> the population against another.<br />
State and Revolution (1919) ch. 4<br />
While the State exists, there can be no freedom. When there is freedom<br />
there will be no State.<br />
State and Revolution (1919) ch. 5<br />
12.38 John Lennon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1940-1980<br />
Imagine there's no heaven,<br />
It's easy if you try,<br />
No hell below us,
Above us only sky,<br />
Imagine all the people<br />
Living for today.<br />
Imagine (1971 song)<br />
Will the people in the cheaper seats clap your hands? All the rest <strong>of</strong> you,<br />
if you'll just rattle your jewellery.<br />
At Royal Variety Performance, 4 Nov. 1963, in R. Colman John Winston<br />
Lennon (1984) pt. 1, ch. 11<br />
Christianity will go. It will vanish and shrink. I needn't argue about<br />
that; I'm right and I will be proved right. We're [the Beatles are] more<br />
popular than Jesus now; I don't know which will go first--rock 'n' roll or<br />
Christianity.<br />
Interview with Maureen Cleave in Evening Standard 4 Mar. 1966. Cf. Zelda<br />
Fitzgerald<br />
12.39 John Lennon and Paul McCartney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
John Lennon 1940-1980<br />
Paul McCartney 1942-<br />
All you need is love.<br />
Title <strong>of</strong> song (1967)<br />
Back in the USSR.<br />
Title <strong>of</strong> song (1968)<br />
For I don't care too much for money,<br />
For money can't buy me love.<br />
Can't Buy Me Love (1964 song)<br />
I heard the news today, oh boy.<br />
Four thousand holes in Blackburn Lancashire.<br />
And though the holes were rather small,<br />
<strong>The</strong>y had to count them all.<br />
Now they know how many holes it takes to fill the Albert Hall.<br />
I'd love to turn you on.<br />
A Day in the Life (1967 song)<br />
Give peace a chance.<br />
Title <strong>of</strong> song (1969)<br />
It's been a hard day's night,<br />
And I've been working like a dog.<br />
A Hard Day's Night (1964 song)<br />
Magical mystery tour.<br />
Title <strong>of</strong> song and TV film (1967)<br />
She loves you, yeh, yeh, yeh,<br />
And with a love like that, you know you should be glad.<br />
She Loves You (1963 song)<br />
Strawberry fields forever.<br />
Title <strong>of</strong> song (1967)<br />
She's got a ticket to ride, but she don't care.
Ticket to Ride (1965 song)<br />
Will you still need me, will you still feed me,<br />
When I'm sixty four?<br />
When I'm Sixty Four (1967 song)<br />
Oh I get by with a little help from my friends.<br />
With a Little Help From My Friends (1967 song)<br />
We all live in a yellow submarine, yellow submarine, yellow submarine.<br />
Yellow Submarine (1966 song)<br />
Yesterday, all my troubles seemed so far away,<br />
Now it looks as though they're here to stay.<br />
Oh I believe in yesterday.<br />
Yesterday (1965 song)<br />
12.40 Dan Leno (George Galvin)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1904<br />
Ah! what is man? Wherefore does he why? Whence did he whence? Whither is<br />
he withering?<br />
Dan Leno Hys Booke (1901) ch. 1<br />
12.41 Alan Jay Lerner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1986<br />
I'm getting married in the morning,<br />
Ding! dong! the bells are gonna chime.<br />
Pull out the stopper;<br />
Let's have a whopper;<br />
But get me to the church on time!<br />
Get Me to the Church on Time (1956 song; music by Frederick Loewe)<br />
Why can't a woman be more like a man?<br />
Men are so honest, so thoroughly square;<br />
Eternally noble, historically fair;<br />
Who, when you win, will always give your back a pat.<br />
Why can't a woman be like that?<br />
A Hymn to Him (1956 song; music by Frederick Loewe)<br />
Ah yes! I remember it well.<br />
I Remember it Well (1958 song; music by Frederick Loewe)<br />
I've grown accustomed to the trace<br />
Of something in the air;<br />
Accustomed to her face.<br />
I've Grown Accustomed to her Face (1956 song; music by Frederick Loewe)<br />
On a clear day (you can see forever).<br />
Title <strong>of</strong> song from musical On a Clear Day (1965; music by Burton Lane)<br />
<strong>The</strong> rain in Spain stays mainly in the plain.<br />
<strong>The</strong> Rain in Spain (1956 song; music by Frederick Loewe)<br />
Thank heaven for little girls!
For little girls get bigger every day.<br />
Thank Heaven for Little Girls (1958 song; music by Frederick Loewe)<br />
All I want is a room somewhere,<br />
Far away from the cold night air,<br />
With one enormous chair;<br />
Oh, wouldn't it be loverly?<br />
Wouldn't it be Loverly (1956 song; music by Frederick Loewe)<br />
12.42 Doris Lessing<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
<strong>The</strong>re's only one real sin, and that is to persuade oneself that the<br />
second-best is anything but the second-best.<br />
Golden Notebook (1962) p. 554<br />
When a white man in Africa by accident looks into the eyes <strong>of</strong> a native and<br />
sees the human being (which it is his chief preoccupation to avoid), his<br />
sense <strong>of</strong> guilt, which he denies, fumes up in resentment and he brings down<br />
the whip.<br />
<strong>The</strong> Grass is Singing (1950) ch. 8<br />
12.43 Winifred Mary Letts<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1972<br />
I saw the spires <strong>of</strong> <strong>Oxford</strong><br />
As I was passing by,<br />
<strong>The</strong> grey spires <strong>of</strong> <strong>Oxford</strong><br />
Against a pearl-grey sky;<br />
My heart was with the <strong>Oxford</strong> men<br />
Who went abroad to die.<br />
Hallow-e'en (1916) "<strong>The</strong> Spires <strong>of</strong> <strong>Oxford</strong>"<br />
12.44 Oscar Levant<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1972<br />
Epigram: a wisecrack that played Carnegie Hall.<br />
Coronet Sept. 1958<br />
Underneath this flabby exterior is an enormous lack <strong>of</strong> character.<br />
Memoirs <strong>of</strong> an Amnesiac (1965) ch. 11<br />
I don't drink liquor. I don't like it. It makes me feel good.<br />
Time 5 May 1958<br />
12.45 Ros Levenstein<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I'm only here for the beer.<br />
Slogan for Double Diamond beer, 1971 onwards, in Nigel Rees Slogans (1982)<br />
p. 11<br />
12.46 Viscount Leverhulme (William Hesketh Lever)
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1851-1925<br />
Half the money I spend on advertising is wasted, and the trouble is I<br />
don't know which half.<br />
In David Ogilvy Confessions <strong>of</strong> an Advertising Man (1963) ch. 3<br />
12.47 Ada Leverson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1936<br />
He [Oscar Wilde] seemed at ease and to have the look <strong>of</strong> the last gentleman<br />
in Europe.<br />
Letters to the Sphinx (1930) p. 34<br />
You don't know a woman until you have had a letter from her.<br />
Tenterhooks (1912) ch. 7<br />
12.48 Bernard Levin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
[Tony] Benn flung himself into the Sixties technology with the enthusiasm<br />
(not to say language) <strong>of</strong> a newly enrolled Boy Scout demonstrating<br />
knot-tying to his indulgent parents.<br />
<strong>The</strong> Pendulum Years (1970) ch. 11<br />
I have heard tell <strong>of</strong> a Pr<strong>of</strong>essor <strong>of</strong> Economics who has a sign on the wall<br />
<strong>of</strong> his study, reading "the future is not what it was." <strong>The</strong> sentiment was<br />
admirable<br />
unfortunately, the past is not getting any better either.<br />
Sunday Times 22 May 1977<br />
12.49 Claude L‚vi-Strauss<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-<br />
La langue est une raison humaine qui a ses raisons, et que l'homme ne<br />
connaŒt pas.<br />
Language is a form <strong>of</strong> human reason and has its reasons which are unknown<br />
to man.<br />
La Pens‚e sauvage (<strong>The</strong> Savage Mind, 1962) ch. 9. Cf. Pascal in <strong>Oxford</strong><br />
<strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 369:10<br />
12.50 Cecil Day Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See C. Day-Lewis (4.11)<br />
12.51 C. S. Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1963
<strong>The</strong>re is wishful thinking in Hell as well as on Earth.<br />
Screwtape Letters (1942) preface<br />
We have trained them [men] to think <strong>of</strong> the Future as a promised land which<br />
favoured heroes attain--not as something which everyone reaches at the<br />
rate <strong>of</strong> sixty minutes an hour, whatever he does, whoever he is.<br />
Screwtape Letters (1942) no. 25<br />
She's the sort <strong>of</strong> woman who lives for others--you can always tell the<br />
others by their hunted expression.<br />
Screwtape Letters (1942) no. 26<br />
I remember summing up what I took to be our destiny, in conversation with<br />
my best friend at Chartres, by the formula, "Term, holidays, term,<br />
holidays, till we leave school, and then work, work, work till we die."<br />
Suprised by Joy (1955) ch. 4<br />
12.52 John Spedan Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1963<br />
Service to customers: never knowingly undersold.<br />
Slogan (circa 1920) in Partnership for All (1948) ch. 29<br />
12.53 Percy Wyndham Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1957<br />
"<strong>The</strong> Art <strong>of</strong> Being Ruled" might be described from some points <strong>of</strong> view as an<br />
infernal Utopia....An account, comprising many chapters, <strong>of</strong> the decadence<br />
occupying the trough between the two world wars introduces us to a moronic<br />
inferno <strong>of</strong> insipidity and decay (which is likewise the inferno <strong>of</strong> "<strong>The</strong><br />
Apes <strong>of</strong> God").<br />
Rude Assignment (1950) ch. 31<br />
Gertrude Stein's prose-song is a cold, black suet-pudding. We can<br />
represent it as a cold suet-roll <strong>of</strong> fabulously-reptilian length. Cut it at<br />
any point, it is the same thing; the same heavy, sticky, opaque mass all<br />
through, and all along. It is weighted, projected, with a sibylline urge.<br />
It is mournful and monstrous, composed <strong>of</strong> dead and inanimate material. It<br />
is all fat, without nerve. Or the evident vitality that informs it is<br />
vegetable rather than animal. Its life is a low-grade, if tenacious one;<br />
<strong>of</strong> the sausage, by-the-yard, variety.<br />
Time and Western Man (1927) pt. 1, ch. 13<br />
12.54 Sam M. Lewis and Joe Young<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Sam M. Lewis 1885-1959<br />
Joe Young 1889-1939<br />
How 'ya gonna keep 'em down on the farm (after they've seen Paree)?<br />
Title <strong>of</strong> song (1919; music by Walter Donaldson)<br />
12.55 Sinclair Lewis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1885-1951<br />
Our American pr<strong>of</strong>essors like their literature clear and cold and pure and<br />
very dead.<br />
<strong>The</strong> American Fear <strong>of</strong> Literature (Nobel Prize Address, 12 Dec. 1930), in<br />
H. Frenz Literature 1901-1967 (1969) p. 285<br />
His name was George F. Babbitt. He was forty-six years old now, in April,<br />
1920, and he made nothing in particular, neither butter nor shoes nor<br />
poetry, but he was nimble in the calling <strong>of</strong> selling houses for more than<br />
people could afford to pay.<br />
Babbitt (1922) ch. 1<br />
To George F. Babbitt, as to most prosperous citizens <strong>of</strong> Zenith, his motor<br />
car was poetry and tragedy, love and heroism. <strong>The</strong> <strong>of</strong>fice was his pirate<br />
ship but the car his perilous excursion ashore.<br />
Babbitt (1922) ch. 3<br />
In other countries, art and literature are left to a lot <strong>of</strong> shabby bums<br />
living in attics and feeding on booze and spaghetti, but in America the<br />
successful writer or picture-painter is indistinguishable from any other<br />
decent business man.<br />
Babbitt (1922) ch. 14<br />
It can't happen here.<br />
Title <strong>of</strong> novel (1935)<br />
12.56 Robert Ley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1945<br />
Kraft durch Freude.<br />
Strength through joy.<br />
German Labour Front slogan, in <strong>The</strong> Times 30 Nov. 1933, p. 13<br />
12.57 Liberace (Wladziu Valentino Liberace)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-1987<br />
He [Liberace] begins to belabour the critics announcing that he doesn't<br />
mind what they say but that poor George [his brother] "cried all the way<br />
to the bank."<br />
Collier's 17 Sept. 1954 (Cf. Liberace's Autobiography (1973) ch. 2: "When<br />
the reviews are bad I tell my staff that they can join me as I cry all the<br />
way to the bank")<br />
12.58 Beatrice Lillie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1989<br />
At one early, glittering dinner party at Buckingham Palace, the trembling<br />
hand <strong>of</strong> a nervous waiter spilled a spoonful <strong>of</strong> decidedly hot soup down my<br />
neck. How could I manage to ease his mind and turn his embarrassed<br />
apologies into a smile, except to put on a pretended frown and say,<br />
without thinking: "Never darken my Dior again!"<br />
Every Other Inch a Lady (1973) ch. 14
12.59 R. M. Lindner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1956<br />
Rebel without a cause...the hypnoanalysis <strong>of</strong> a criminal psychopath.<br />
Title <strong>of</strong> book (1944)<br />
12.60 Audrey Erskine Lindop<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-1986<br />
<strong>The</strong> singer not the song.<br />
Title <strong>of</strong> book (1953)<br />
12.61 Howard Lindsay and Russel Crouse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Howard Lindsay 1888-1968<br />
Russel Crouse 1893-1966<br />
Call me madam.<br />
Title <strong>of</strong> musical (1950; music by Irving Berlin)<br />
12.62 Vachel Lindsay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1931<br />
Booth led boldly with his big brass drum--<br />
(Are you washed in the blood <strong>of</strong> the Lamb?)<br />
<strong>The</strong> Saints smiled gravely and they said: "He's come."<br />
(Are you washed in the blood <strong>of</strong> the Lamb?)<br />
Walking Lepers followed, rank on rank,<br />
Lurching bravos from the ditches dank,<br />
Drabs from the alleyways and drug fiends pale--<br />
Minds still passion-ridden, soul-power frail:--<br />
Vermin-eaten saints with moldy breath,<br />
Unwashed legions with the ways <strong>of</strong> Death--<br />
(Are you washed in the blood <strong>of</strong> the Lamb?)<br />
Collected Poems (1934) "General William Booth Enters into Heaven" (1913)<br />
Booth died blind and still by faith he trod,<br />
Eyes still dazzled by the ways <strong>of</strong> God.<br />
Collected Poems (1934) "General William Booth Enters into Heaven" (1913)<br />
<strong>The</strong>n I saw the congo, creeping through the black,<br />
Cutting through the forest with a golden track.<br />
<strong>The</strong> Congo and Other Poems (1922) "<strong>The</strong> Congo" (1914) pt. 1<br />
12.63 Eric Linklater<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1974<br />
"<strong>The</strong>re won't be any revolution in America," said Isadore. Nikitin agreed.<br />
"<strong>The</strong> people are all too clean. <strong>The</strong>y spend all their time changing their
shirts and washing themselves. You can't feel fierce and revolutionary in<br />
a bathroom."<br />
Juan in America (1931) bk. 5, pt. 3<br />
12.64 Art Linkletter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
<strong>The</strong> four stages <strong>of</strong> man are infancy, childhood, adolescence and<br />
obsolescence.<br />
A Child's Garden <strong>of</strong> Misinformation (1965) ch. 8<br />
12.65 Walter Lippmann<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1974<br />
Mr Coolidge's genius for inactivity is developed to a very high point. It<br />
is far from being an indolent activity. It is a grim, determined, alert<br />
inactivity which keeps Mr Coolidge occupied constantly. Nobody has ever<br />
worked harder at inactivity, with such force <strong>of</strong> character, with such<br />
unremitting attention to detail, with such conscientious devotion to the<br />
task. Inactivity is a political philosophy and a party program with Mr<br />
Coolidge.<br />
Men <strong>of</strong> Destiny (1927) p. 12<br />
<strong>The</strong> final test <strong>of</strong> a leader is that he leaves behind him in other men the<br />
conviction and the will to carry on.<br />
New York Herald Tribune 14 Apr. 1945<br />
12.66 Joan Littlewood and Charles Chilton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
Oh what a lovely war.<br />
Title <strong>of</strong> stage show (1963)<br />
12.67 Maxim Litvinov<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1951<br />
Peace is indivisible.<br />
Note to the Allies, 25 Feb. 1920, in A. U. Pope Maxim Litvin<strong>of</strong>f (1943) p.<br />
234<br />
12.68 Ken Livingstone<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1945-<br />
<strong>The</strong> problem is that many MPs never see the London that exists beyond the<br />
wine bars and brothels <strong>of</strong> Westminster.<br />
<strong>The</strong> Times 19 Feb. 1987<br />
12.69 Richard Llewellyn (Richard Dafydd Vivian Llewellyn Lloyd)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1907-1983<br />
How green was my valley.<br />
Title <strong>of</strong> book (1939)<br />
12.70 Jack Llewelyn-Davies<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1959<br />
Little Mary [by J.M. Barrie] opened at Wyndham's <strong>The</strong>atre on September<br />
24th, 1903, and...it contained a sprinkling <strong>of</strong> lines contributed by the<br />
boys, including a remark from Jack [Llewelyn-Davies]. When stuffing<br />
himself with cakes at tea, Sylvia had warned him, "You'll be sick<br />
tomorrow." "I'll be sick tonight," replied Jack cheerily.<br />
Andrew Birkin J. M. Barrie and the Lost Boys (1979) p. 99<br />
12.71 David Lloyd George (Earl Lloyd-George <strong>of</strong> Dwyfor)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1945<br />
Negotiating with de Valera...is like trying to pick up mercury with a<br />
fork.<br />
In M. J. MacManus Eamon de Valera (1944) ch. 6 (to which de Valera<br />
replied, "Why doesn't he use a spoon?")<br />
This [<strong>The</strong> House <strong>of</strong> Lords] is the leal and trusty mastiff which is to watch<br />
over our interests, but which runs away at the first snarl <strong>of</strong> the trade<br />
unions....A mastiff? It is the right hon. Gentleman's [Mr Balfour's]<br />
poodle.<br />
Hansard 26 June 1907, col. 1429<br />
Those are the conditions <strong>of</strong> the armistice. Thus at eleven o'clock this<br />
morning came to an end the cruellest and most terrible War that has ever<br />
scourged mankind. I hope we may say that thus, this fateful morning, came<br />
to an end all wars.<br />
Hansard 11 Nov. 1918, col. 2463. Cf. H. G. Wells 225:4<br />
Winston was nervous before a speech, but he was not shy. L.G. said he<br />
himself was both nervous and shy. Winston would go up to his Creator and<br />
say that he would very much like to meet His Son, about Whom he had heard<br />
a great deal and, if possible, would like to call on the Holy Ghost.<br />
Winston loved meeting people.<br />
A. J. Sylvester Diary 2 Jan. 1937, in Life with Lloyd George (1975) p. 166<br />
He [Ramsay MacDonald] had sufficient conscience to bother him, but not<br />
sufficient to keep him straight.<br />
In A. J. Sylvester Life with Lloyd George (1975) p. 216<br />
A fully-equipped duke costs as much to keep up as two Dreadnoughts; and<br />
dukes are just as great a terror and they last longer.<br />
Speech at Newcastle, 9 Oct. 1909, in <strong>The</strong> Times 11 Oct. 1909<br />
<strong>The</strong> great peaks <strong>of</strong> honour we had forgotten--Duty, Patriotism, and--clad in<br />
glittering white--the great pinnacle <strong>of</strong> Sacrifice, pointing like a rugged<br />
finger to Heaven.<br />
Speech at Queen's Hall, London, 19 Sept. 1914, in <strong>The</strong> Times 20 Sept. 1914
What is our task? To make Britain a fit country for heroes to live in.<br />
Speech at Wolverhampton, 23 Nov. 1918, in <strong>The</strong> Times 25 Nov. 1918<br />
M. Clemenceau...is one <strong>of</strong> the greatest living orators, but he knows that<br />
the finest eloquence is that which gets things done and the worst is that<br />
which delays them.<br />
Speech at Paris Peace Conference, 18 Jan. 1919, in <strong>The</strong> Times 20 Jan. 1919<br />
<strong>The</strong> world is becoming like a lunatic asylum run by lunatics.<br />
In Observer 8 Jan. 1933<br />
What were politicians? A politician was a person with whose politics you<br />
did not agree. When you did agree, he was a statesman.<br />
Speech at Central Hall, Westminster, 2 July 1935, in <strong>The</strong> Times 3 July 1935<br />
12.72 David Lodge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1935-<br />
Literature is mostly about having sex and not much about having children.<br />
Life is the other way round.<br />
<strong>The</strong> British Museum is Falling Down (1965) ch. 4<br />
12.73 Frank Loesser<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1969<br />
See what the boys in the back room will have<br />
And tell them I'm having the same.<br />
Boys in the Back Room (1939 song; music by Frederick Hollander)<br />
I'd love to get you<br />
On a slow boat to China,<br />
All to myself, alone.<br />
Slow Boat to China (1948 song)<br />
Spring will be a little late this year.<br />
Title <strong>of</strong> song (1944)<br />
12.74 Jack London (John Griffith London)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1916<br />
<strong>The</strong> call <strong>of</strong> the wild.<br />
Title <strong>of</strong> novel (1903)<br />
12.75 Alice Roosevelt Longworth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1980<br />
[Warren] Harding was not a bad man. He was just a slob.<br />
Crowded Hours (1933) ch. 20<br />
If you haven't got anything good to say about anyone come and sit by me.<br />
Maxim embroidered on a cushion, in Michael Teague Mrs L: Conversations<br />
with Alice Roosevelt Longworth (1981) p. xi
12.76 Frederick Lonsdale<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1954<br />
"Don't keep finishing your sentences," he said to me once when I was<br />
telling him something; "I'm not a bloody fool."<br />
Frances Donaldson Child <strong>of</strong> the Twenties (1959) p. 11<br />
12.77 Anita Loos<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1981<br />
So this gentleman said a girl with brains ought to do something with them<br />
besides think.<br />
Gentlemen Prefer Blondes (1925) ch. 1<br />
Gentlemen always seem to remember blondes.<br />
Gentlemen Prefer Blondes (1925) ch. 1<br />
She said she always believed in the old addage, "Leave them while you're<br />
looking good."<br />
Gentlemen Prefer Blondes (1925) ch. 1<br />
So I really think that American gentlemen are the best after all, because<br />
kissing your hand may make you feel very very good but a diamond and<br />
safire bracelet lasts forever.<br />
Gentlemen Prefer Blondes (1925) ch. 4<br />
You have got to be a Queen to get away with a hat like that.<br />
Gentlemen Prefer Blondes (1925) ch. 4<br />
Fun is fun but no girl wants to laugh all <strong>of</strong> the time.<br />
Gentlemen Prefer Blondes (1925) ch. 4<br />
So then Dr Froyd said that all I needed was to cultivate a few inhibitions<br />
and get some sleep.<br />
Gentlemen Prefer Blondes (1925) ch. 5<br />
So then he said that he used to be a member <strong>of</strong> the choir himself, so who<br />
was he to cast the first rock at a girl like I.<br />
Gentlemen Prefer Blondes (1925) ch. 5<br />
12.78 Frederico Garc¡a Lorca<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1936<br />
A las cinco de la tarde.<br />
Eran las cinco en punto de la tarde.<br />
Un ni¤o trajo la blanca s bana<br />
a las cinco de la tarde.<br />
At five in the afternoon.<br />
It was exactly five in the afternoon.<br />
A boy brought the white sheet<br />
at five in the afternoon.<br />
Llanto por Ignacio S nchez Mej¡as(Lament for Ignacio S nchez Mej¡as,
1935) "La Cogida y la muerte"<br />
Verde que te quiero verde.<br />
Verde viento.<br />
Verde ramas.<br />
El barco sobre la mar<br />
y el caballo en la monta¤a.<br />
Green how I love you green.<br />
Green wind.<br />
Green boughs.<br />
<strong>The</strong> ship on the sea<br />
and the horse on the mountain.<br />
Romancero Gitano (Gypsy Romances, 1924-1927) "Romance Son mbulo"<br />
12.79 Konrad Lorenz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1989<br />
šberhaupt ist es fr den Forscher ein guter Morgensport, t„glich vor dem<br />
Frhstck eine Lieblingshypothese einzustampfen--das erh„lt jung.<br />
It is a good morning exercise for a research scientist to discard a pet<br />
hypothesis every day before breakfast. It keeps him young.<br />
Das sogennante B”se(<strong>The</strong> So-Called Evil, 1963; translated 1966 by Marjorie<br />
Latzke as On Aggression) ch. 2<br />
12.80 Joe Louis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1981<br />
He [Billy Conn] can run, but he can't hide.<br />
In New York Herald Tribune 9 June 1946<br />
12.81 Terry Lovelock<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Heineken refreshes the parts other beers cannot reach.<br />
Slogan for Heineken lager, 1975 onwards, in Nigel Rees Slogans (1982) p.<br />
16<br />
12.82 Robert Loveman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1923<br />
It isn't raining rain to me,<br />
It's raining violets.<br />
Gates <strong>of</strong> Silence (1903) "Song" (words adapted by Buddy De Sylva in 1921<br />
song April Showers ; music by Louis Silver)<br />
12.83 David Low<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1963<br />
I have never met anyone who wasn't against war. Even Hitler and Mussolini
were, according to themselves.<br />
New York Times Magazine 10 Feb. 1946<br />
12.84 Amy Lowell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1925<br />
And the s<strong>of</strong>tness <strong>of</strong> my body will be guarded by embrace<br />
By each button, hook, and lace.<br />
For the man who should loose me is dead,<br />
Fighting with the Duke in Flanders,<br />
In a pattern called a war.<br />
Christ! What are patterns for?<br />
Men, Women and Ghosts (1916) "Patterns"<br />
I [Death] was astonished to see him in Baghdad, for I had an appointment<br />
with him tonight in Samarra.<br />
Sheppy (1933) act 3<br />
All books are either dreams or swords,<br />
You can cut, or you can drug, with words.<br />
Sword Blades and Poppy Seed (1914) title poem<br />
12.85 Robert Lowell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-1977<br />
We feel the machine slipping from our hands<br />
As if someone else were steering;<br />
If we see light at the end <strong>of</strong> the tunnel,<br />
It's the light <strong>of</strong> the oncoming train.<br />
Day by Day (1977) "Since 1939." Cf. Paul Dickson<br />
My eyes have seen what my hand did.<br />
<strong>The</strong> Dolphin (1973) "Dolphin"<br />
<strong>The</strong> aquarium is gone.<br />
Everywhere,<br />
giant finned cars nose forward like fish;<br />
a savage servility<br />
slides by on grease.<br />
For the Union Dead (1964) title poem<br />
<strong>The</strong>se are the tranquillized Fifties,<br />
and I am forty. Ought I to regret my seed-time?<br />
I was a fire-breathing Catholic C.O.,<br />
and made my manic statement,<br />
telling <strong>of</strong>f the state and president, and then<br />
sat waiting sentence in the bull pen<br />
beside a Negro boy with curlicues<br />
<strong>of</strong> marijuana in his hair.<br />
Life Studies (1956) "Memories <strong>of</strong> West Street and Lepke"<br />
I saw the spiders marching through the air,<br />
Swimming from tree to tree that mildewed day<br />
In latter August when the hay<br />
Came creaking to the barn.<br />
Poems 1938-1949 (1950) "Mr Edwards and the Spider"
This is death.<br />
To die and know it. This is the Black Widow, death.<br />
Poems 1938-1949 (1950) "Mr Edwards and the Spider"<br />
<strong>The</strong> Lord survives the rainbow <strong>of</strong> His will.<br />
Poems 1938-1949 (1950) "<strong>The</strong> Quaker Graveyard in Nantucket"<br />
12.86 L. S. Lowry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1976<br />
I'm a simple man, and I use simple materials.<br />
In Mervyn Levy Paintings <strong>of</strong> L. S. Lowry (1975) p. 11<br />
12.87 Malcolm Lowry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1957<br />
How alike are the groans <strong>of</strong> love to those <strong>of</strong> the dying.<br />
Under the Volcano (1947) ch. 12<br />
12.88 E. V. Lucas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1938<br />
Poor G.K.C., his day is past--<br />
Now God will know the truth at last.<br />
Mock epitaph for G. K. Chesterton, in Dudley Barker G. K. Chesterton<br />
(1973) ch. 16<br />
<strong>The</strong>re can be no defence like elaborate courtesy.<br />
Reading, Writing and Remembering (1932) ch. 8<br />
I have noticed that the people who are late are <strong>of</strong>ten so much jollier than<br />
the people who have to wait for them.<br />
365 Days and One More (1926) p. 277<br />
12.89 George Lucas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1944-<br />
<strong>The</strong> Empire strikes back.<br />
Title <strong>of</strong> film (1980)<br />
<strong>The</strong>n man your ships, and may the force be with you.<br />
Star Wars: from the Adventures <strong>of</strong> Luke Skywalker (1976) ch. 11<br />
12.90 Clare Booth Luce<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
But if God had wanted us to think just with our wombs, why did He give us<br />
a brain?<br />
Life 16 Oct. 1970
12.91 Joanna Lumley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
To be a judge you don't have to know about books, you have to be skilled<br />
at picking shrapnel out <strong>of</strong> your head.<br />
In Observer 17 Nov. 1985 (comment on the Booker Prize)<br />
12.92 Sir Edwin Lutyens<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1944<br />
I had proposed that we should lunch together at the Garrick Club, because<br />
I had obviously to ask father if he had any serious objection to the<br />
writing or the writer <strong>of</strong> this essay. But, when I broached the matter, he<br />
merely mumbled in obvious embarrassment: "Oh, my!"--just as his father<br />
was used to do. <strong>The</strong>n, as the fish was served, he looked at me seriously<br />
over the rims <strong>of</strong> his two pairs <strong>of</strong> spectacles and remarked: "<strong>The</strong> piece <strong>of</strong><br />
cod passeth all understanding"!<br />
Robert Lutyens Sir Edwin Lutyens (1942) p. 74<br />
12.93 Rosa Luxemburg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1919<br />
Freiheit ist immer nur Freiheit des anders Denkenden.<br />
<strong>Free</strong>dom is always and exclusively freedom for the one who thinks<br />
differently.<br />
Die Russische Revolution (<strong>The</strong> Russian Revolution, 1918) sec. 4<br />
12.94 Lady Lytton (Pamela Frances Audrey, Countess <strong>of</strong> Lytton)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1971<br />
<strong>The</strong> first time you meet Winston [Churchill] you see all his faults and the<br />
rest <strong>of</strong> your life you spend in discovering his virtues.<br />
Letter to Sir Edward Marsh, Dec. 1905, in Edward Marsh A Number <strong>of</strong> People<br />
(1939) ch. 8<br />
13.0 M<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
13.1 Alexander McArthur and H. Kingsley Long<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Battles and sex are the only free diversions in slum life. Couple them<br />
with drink, which costs money, and you have the three principal outlets<br />
for that escape complex which is for ever working in the tenement<br />
dweller's subconscious mind.<br />
No Mean City (1935) ch. 4<br />
13.2 Charles MacArthur and Ben Hecht
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Charles MacArthur 1895-1956<br />
Ben Hecht 1894-1964<br />
<strong>The</strong> son <strong>of</strong> a bitch stole my watch!<br />
Front Page (1928) last line<br />
13.3 General Douglas MacArthur<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1964<br />
In war, indeed, there can be no substitute for victory.<br />
Congressional Record 19 Apr. 1951, vol. 97, pt. 3, p. 4125<br />
<strong>The</strong> President <strong>of</strong> the United States ordered me to break through the<br />
Japanese lines and proceed from Corregidor to Australia for the purpose,<br />
as I understand it, <strong>of</strong> organizing the American <strong>of</strong>fensive against Japan. A<br />
primary purpose <strong>of</strong> this is relief <strong>of</strong> the Philippines. I came through and I<br />
shall return.<br />
Statement in Adelaide, 20 Mar. 1942, in New York Times 21 Mar. 1942, p. 1<br />
13.4 Dame Rose Macaulay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1958<br />
"Take my camel, dear," said my aunt Dot, as she climbed down from this<br />
animal on her return from High Mass.<br />
Towers <strong>of</strong> Trebizond (1956) p. 9<br />
13.5 General Anthony McAuliffe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1975<br />
Nuts!<br />
Response to German demand to surrender at Bastogne, Belgium, 22 Dec.<br />
1944, in New York Times 28 Dec. 1944, p. 4, and 30 Dec. 1944, p. 1<br />
13.6 Sir Desmond MacCarthy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1877-1952<br />
A biographer is an artist who is on oath, and anyone who knows anything<br />
about artists, knows that that is almost a contradiction in terms.<br />
Memories (1953) "Lytton Strachey and the Art <strong>of</strong> Biography"<br />
<strong>The</strong> whole <strong>of</strong> art is an appeal to a reality which is not without us but in<br />
our minds.<br />
<strong>The</strong>atre (1954) "Diction and Realism"<br />
13.7 Joe McCarthy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
You made me love you,
I didn't want to do it.<br />
You Made Me Love You (1913 song; music by James V. Monaco)<br />
13.8 Joseph McCarthy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1957<br />
McCarthyism is Americanism with its sleeves rolled.<br />
Speech in Wisconsin, 1952, in Richard Rovere Senator Joe McCarthy (1973)<br />
p. 8<br />
13.9 Mary McCarthy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-1989<br />
I once said in an interview that every word she [Lillian Hellman] writes<br />
is a lie, including "and" and "the."<br />
New York Times 16 Feb. 1980, p. 12<br />
When an American heiress wants to buy a man, she at once crosses the<br />
Atlantic. <strong>The</strong> only really materialistic people I have ever met have been<br />
Europeans.<br />
On the Contrary (1961) "America the Beautiful"<br />
<strong>The</strong> immense popularity <strong>of</strong> American movies abroad demonstrates that Europe<br />
is the unfinished negative <strong>of</strong> which America is the pro<strong>of</strong>.<br />
On the Contrary (1961) "America the Beautiful"<br />
<strong>The</strong>re are no new truths, but only truths that have not been recognized by<br />
those who have perceived them without noticing. A truth is something that<br />
everyone can be shown to know and to have known, as people say, all along.<br />
On the Contrary (1961) "Vita Activa"<br />
In violence, we forget who we are.<br />
On the Contrary (1961) "Characters in Fiction "<br />
If someone tells you he is going to make a "realistic decision," you<br />
immediately understand that he has resolved to do something bad.<br />
On the Contrary (1961) "American Realist Playwrights"<br />
13.10 Paul McCartney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-<br />
He [John Lennon] could be a manoeuvring swine, which no one ever realized.<br />
In Hunter Davies <strong>The</strong> Beatles (1985) p. 469<br />
See also John Lennon (12.38)<br />
13.11 David McCord<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-<br />
By and by<br />
God caught his eye.<br />
Bay Window Ballads (1935) "Remainders" (epitaph for a waiter)
13.12 Horace McCoy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1955<br />
<strong>The</strong>y shoot horses don't they.<br />
Title <strong>of</strong> novel (1935)<br />
13.13 John McCrae<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1918<br />
In Flanders fields the poppies blow<br />
Between the crosses, row on row,<br />
That mark our place; and in the sky<br />
<strong>The</strong> larks, still bravely singing, fly<br />
Scarce heard amid the guns below.<br />
Punch 8 Dec. 1915 "In Flanders Fields"<br />
To you from failing hands we throw<br />
<strong>The</strong> torch; be yours to hold it high.<br />
If ye break faith with us who die<br />
We shall not sleep, though poppies grow.<br />
Punch 8 Dec. 1915, "In Flanders Fields"<br />
13.14 Carson McCullers<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-1967<br />
<strong>The</strong> heart is a lonely hunter.<br />
Title <strong>of</strong> novel (1940; taken from <strong>The</strong> Lonely Hunter (1896), a poem by<br />
"Fiona Macleod" (William Sharp): "My heart is a lonely hunter that hunts<br />
on a lonely hill")<br />
13.15 Derek McCulloch<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1967<br />
Goodnight, children...everywhere.<br />
Children's Hour (BBC Radio programme; closing words normally spoken by<br />
"Uncle Mac" in the 1930s and 1940s)<br />
13.16 Hugh MacDiarmid (Christopher Murray Grieve)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1978<br />
I'll ha'e nae hauf-way hoose, but aye be whaur<br />
Extremes meet--it's the only way I ken<br />
To dodge the curst conceit o' bein' richt<br />
That damns the vast majority o' men.<br />
A Drunk Man Looks at the Thistle (1926) p. 6<br />
He's no a man ava',<br />
And lacks a proper pride,<br />
Gin less than a' the world
Can ser' him for a bride!<br />
A Drunk Man Looks at the Thistle (1926) p. 36<br />
13.17 Ramsay MacDonald<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1937<br />
Yes, tomorrow every Duchess in London will be wanting to kiss me!<br />
Comment after forming the National Government, 25 Aug. 1931, in Philip<br />
Viscount Snowden Autobiography (1934) vol. 2, p. 957<br />
If God were to come to me and say "Ramsay, would you rather be a country<br />
gentleman than a prime minister?," I should reply, "Please God, a country<br />
gentleman."<br />
In Harold Nicolson Diary 5 Oct. 1930, in Diaries and Letters (1966) p. 57<br />
We hear war called murder. It is not: it is suicide.<br />
In Observer 4 May 1930<br />
13.18 A. G. Macdonell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-<br />
England, their England.<br />
Title <strong>of</strong> novel (1933)<br />
13.19 John McEnroe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1959-<br />
You cannot be serious!<br />
Said to tennis umpire at Wimbledon, early 1980 s<br />
This must be the pits.<br />
Comment after disagreement with Wimbledon umpire, in Sun 23 June 1981<br />
13.20 Arthur McEwen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1907<br />
"What we're after," said Arthur McEwen, "is the 'gee-whiz' emotion."<br />
Pressed for further explanation, he said: "We run our paper so that when<br />
the reader opens it he says: 'Gee-whiz!' An issue is a failure which<br />
doesn't make him say that."<br />
Colliers 18 Feb. 1911<br />
13.21 Roger McGough<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1937-<br />
Let me die a youngman's death<br />
Not a clean & in-between-<br />
<strong>The</strong>-sheets, holy-water death,<br />
Not a famous-last-words<br />
Peaceful out-<strong>of</strong>-breath death.
"Let Me Die a Youngman's Death" in Edward Lucie Smith (ed.) <strong>The</strong> Liverpool<br />
Scene (1967) p. 47<br />
Girls are simply the prettiest things<br />
My cat and i believe<br />
And we're always saddened<br />
When it's time for them to leave<br />
We watch them titivating<br />
(that <strong>of</strong>ten takes a while)<br />
and though they keep us waiting<br />
My cat and i just smile<br />
We like to see them to the door<br />
Say how sad it couldn't last<br />
<strong>The</strong>n my cat and i go back inside<br />
And talk about the past.<br />
Watchwords (1969) "My Cat and i"<br />
13.22 Sir Ian MacGregor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
People are now discovering the price <strong>of</strong> insubordination and insurrection.<br />
And boy, are we going to make it stick!<br />
Comment during the coal-miners' strike, in Sunday Telegraph 10 Mar. 1985<br />
13.23 Jimmy McGregor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Oh, he's football crazy, he's football mad<br />
And the football it has robbed him o' the wee bit sense he had.<br />
And it would take a dozen skivvies, his clothes to wash and scrub,<br />
Since our Jock became a member <strong>of</strong> that terrible football club.<br />
Football Crazy (1960 song)<br />
13.24 Dennis McHarrie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
"He died who loved to live," they'll say,<br />
"Unselfishly so we might have today!"<br />
Like hell! He fought because he had to fight;<br />
He died that's all. It was his unlucky night.<br />
In V. Selwyn et al Return to Oasis (1980) pt. 3, p. 172 "Luck"<br />
13.25 Colin MacInnes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1976<br />
And I thought, "My lord, one thing is certain, and that's that they'll<br />
make musicals one day about the glamour-studded 1950s." And I thought, my<br />
heaven, one thing is certain too, I'm miserable.<br />
Absolute Beginners (1959) p. 81<br />
13.26 Claude McKay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1890-1948<br />
If we must die, let it not be like hogs<br />
Hunted and penned in an inglorious spot,<br />
While round us bark the mad and hungry dogs,<br />
Making their mock at our accursed lot.<br />
If we must die, O let us nobly die,<br />
So that our precious blood may not be shed<br />
In vain; then even the monsters we defy<br />
Shall be constrained to honor us though dead!<br />
O, kinsmen! we must meet the common foe!<br />
Though far outnumbered let us show us brave,<br />
And for their thousand blows deal one deathblow!<br />
What though before us lies the open grave?<br />
Like men we'll face the murderous, cowardly pack,<br />
Pressed to the wall, dying, but fighting back!<br />
Selected Poems (1953) "If We Must Die"<br />
13.27 Sir Compton Mackenzie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1972<br />
Women do not find it difficult nowadays to behave like men, but they <strong>of</strong>ten<br />
find it extremely difficult to behave like gentlemen.<br />
Literature in My Time (1933) ch. 22<br />
You are <strong>of</strong>fered a piece <strong>of</strong> bread and butter that feels like a damp<br />
handkerchief and sometimes, when cucumber is added to it, like a wet one.<br />
Vestal Fire (1927) bk. 1, ch. 3<br />
13.28 Joyce McKinney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1950-<br />
I loved Kirk so much, I would have skied down Mount Everest in the nude<br />
with a carnation up my nose.<br />
Evidence given at Epsom Magistrates' Court, 6 Dec. 1977, in <strong>The</strong> Times 7<br />
Dec. 1977<br />
13.29 Alexander Maclaren<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1826-1910<br />
"<strong>The</strong> Church is an anvil which has worn out many hammers," and the story <strong>of</strong><br />
the first collision is, in essentials, the story <strong>of</strong> all.<br />
Expositions <strong>of</strong> Holy Scripture: Acts <strong>of</strong> the Apostles (1907) ch. 4<br />
13.30 Alistair Maclean<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-1987<br />
Where eagles dare.<br />
Title <strong>of</strong> novel (1967)<br />
13.31 Archibald MacLeish
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1982<br />
A Poem should be palpable and mute<br />
As a globed fruit<br />
Dumb<br />
As old medallions to the thumb<br />
Silent as the sleeve-worn stone<br />
Of casement ledges where the moss has grown--<br />
A poem should be wordless<br />
As the flight <strong>of</strong> birds<br />
Streets in the Moon (1926) "Ars Poetica"<br />
A poem should not mean<br />
But be.<br />
Streets in the Moon (1926) "Ars Poetica"<br />
13.32 Irene Rutherford McLeod<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1964<br />
I'm a lean dog, a keen dog, a wild dog, and lone;<br />
I'm a rough dog, a tough dog, hunting on my own;<br />
I'm a bad dog, a mad dog, teasing silly sheep;<br />
I love to sit and bay at the moon, to keep fat souls from sleep.<br />
Songs to Save a Soul (1915) "Lone Dog"<br />
13.33 Marshall McLuhan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1980<br />
<strong>The</strong> new electronic interdependence recreates the world in the image <strong>of</strong> a<br />
global village.<br />
Gutenberg Galaxy (1962) p. 31<br />
One matter Englishmen don't think in the least funny is their happy<br />
consciousness <strong>of</strong> possessing a deep sense <strong>of</strong> humour.<br />
Mechanical Bride (1951) "<strong>The</strong> Ballet Luce"<br />
<strong>The</strong> medium is the message.<br />
Understanding Media (1964) title <strong>of</strong> ch. 1<br />
<strong>The</strong> name <strong>of</strong> a man is a numbing blow from which he never recovers.<br />
Understanding Media (1964) p. 32<br />
<strong>The</strong> car has become an article <strong>of</strong> dress without which we feel uncertain,<br />
unclad and incomplete in the urban compound.<br />
Understanding Media (1964) p. 217<br />
<strong>The</strong> car has become the carapace, the protective and aggressive shell, <strong>of</strong><br />
urban and suburban man.<br />
Understanding Media (1964) p. 224<br />
13.34 Ed McMahon
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
And now...heeeeere's Johnny!<br />
Introduction to Johnny Carson on NBC-TV's Tonight show (from 1961; also<br />
used by Jack Nicholson in the 1980 film <strong>The</strong> Shining)<br />
13.35 Harold Macmillan (Lord Stockton)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1986<br />
He [Aneurin Bevan] enjoys prophesying the imminent fall <strong>of</strong> the capitalist<br />
system and is prepared to play a part, any part, in its burial, except<br />
that <strong>of</strong> mute.<br />
In Michael Foot Aneurin Bevan (1962) pt. 1, ch. 5<br />
After a long experience <strong>of</strong> politics I have never found that there is any<br />
inhibition caused by ignorance as regards criticism.<br />
Hansard 11 July 1963, col. 1411<br />
I was determined that no British government should be brought down by the<br />
action <strong>of</strong> two tarts.<br />
Comment on the Pr<strong>of</strong>umo affair, July 1963, in Anthony Sampson Macmillan<br />
(1967) p. 243<br />
<strong>The</strong>re ain't gonna be no war.<br />
Said at London press conference, 24 July 1955, after Geneva summit, in<br />
News Chronicle 25 July 1955<br />
He [a Foreign Secretary] is forever poised between a clich‚ and an<br />
indiscretion.<br />
In Newsweek 30 Apr. 1956<br />
Even before Mr Heath's troubles <strong>of</strong> 1972 and 1974, Mr Harold Macmillan was<br />
fond <strong>of</strong> remarking that there were three bodies no sensible man directly<br />
challenged: the Roman Catholic Church, the Brigade <strong>of</strong> Guards and the<br />
National Union <strong>of</strong> Mineworkers.<br />
Alan Watkins in Observer 22 Feb. 1981<br />
<strong>The</strong> most striking <strong>of</strong> all the impressions I have formed since I left London<br />
a month ago is <strong>of</strong> the strength <strong>of</strong> this African national consciousness. In<br />
different places it takes different forms, but it is happening everywhere.<br />
<strong>The</strong> wind <strong>of</strong> change is blowing through this continent, and, whether we like<br />
it or not, this growth <strong>of</strong> national consciousness is a political fact. We<br />
must all accept it as a fact, and our national policies must take account<br />
<strong>of</strong> it.<br />
Speech at Cape Town, 3 Feb. 1960, Pointing the Way (1972) p. 475<br />
Indeed, let us be frank about it: most <strong>of</strong> our people have never had it so<br />
good. Go around the country, go to the industrial towns, go to the farms,<br />
and you will see a state <strong>of</strong> prosperity such as we have never had in my<br />
lifetime--nor indeed ever in the history <strong>of</strong> this country. What is<br />
beginning to worry some <strong>of</strong> us is, Is it too good to be true?--or perhaps I<br />
should say, Is it too good to last?<br />
Speech at Bedford, 20 July 1957, in <strong>The</strong> Times 22 July 1957<br />
I thought the best thing to do was to settle up these little local<br />
difficulties, and then turn to the wider vision <strong>of</strong> the Commonwealth.
Statement at London airport on leaving for Commonwealth tour, 7 Jan.<br />
1958, following the resignation <strong>of</strong> the Chancellor <strong>of</strong> the Exchequer and<br />
others, in <strong>The</strong> Times 8 Jan. 1958<br />
As usual the Liberals <strong>of</strong>fer a mixture <strong>of</strong> sound and original ideas.<br />
Unfortunately none <strong>of</strong> the sound ideas is original and none <strong>of</strong> the original<br />
ideas is sound.<br />
Speech to London Conservatives, 7 Mar. 1961, in <strong>The</strong> Times 8 Mar. 1961<br />
First <strong>of</strong> all the Georgian silver goes, and then all that nice furniture<br />
that used to be in the saloon. <strong>The</strong>n the Canalettos go.<br />
Speech on privatization to the Tory Reform Group, 8 Nov. 1985, in <strong>The</strong><br />
Times 9 Nov. 1985<br />
13.36 Louis MacNeice<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1963<br />
Better authentic mammon than a bogus god.<br />
Autumn Journal (1939) p. 49<br />
<strong>The</strong> sunlight on the garden<br />
Hardens and grows cold,<br />
We cannot cage the minute<br />
Within its net <strong>of</strong> gold,<br />
When all is told<br />
We cannot beg for pardon.<br />
Earth Compels (1938) "Sunlight on the Garden"<br />
Our freedom as free lances<br />
Advances towards its end;<br />
<strong>The</strong> earth compels, upon it<br />
Sonnets and birds descend;<br />
And soon, my friend,<br />
We shall have no time for dances.<br />
Earth Compels (1938) "Sunlight on the Garden"<br />
It's no go the merrygoround, it's no go the rickshaw,<br />
All we want is a limousine and a ticket for the peepshow.<br />
Earth Compels (1938) "Bagpipe Music"<br />
It's no go the picture palace, it's no go the stadium,<br />
It's no go the country cot with a pot <strong>of</strong> pink geraniums,<br />
It's no go the Government grants, it's no go the elections,<br />
Sit on your arse for fifty years and hang your hat on a pension.<br />
Earth Compels (1938) "Bagpipe Music"<br />
It's no go my honey love, it's no go my poppet;<br />
Work your hands from day to day, the winds will blow the pr<strong>of</strong>it.<br />
<strong>The</strong> glass is falling hour by hour, the glass will fall for ever,<br />
But if you break the bloody glass you won't hold up the weather.<br />
Earth Compels (1938) "Bagpipe Music"<br />
I take a rather common-sense view <strong>of</strong> poetry. I think that the poet is a<br />
sensitive instrument designed to record anything which interests his mind<br />
or affects his emotions.<br />
Listener 27 July 1939<br />
By a high star our course is set,
Our end is Life. Put out to sea.<br />
London Magazine Feb. 1964 "Thalassa" (poem published posthumously)<br />
And under the totem poles--the ancient terror--<br />
Between the enormous fluted Ionic columns<br />
<strong>The</strong>re seeps from heavily jowled or hawk-like foreign faces<br />
<strong>The</strong> guttural sorrow <strong>of</strong> the refugees.<br />
Plant and Phantom (1941) "<strong>The</strong> British Museum Reading Room"<br />
Time was away and somewhere else,<br />
<strong>The</strong>re were two glasses and two chairs<br />
And two people with the one pulse<br />
(Somebody stopped the moving stairs):<br />
Time was away and somewhere else.<br />
Plant and Phantom (1941) "Meeting Point"<br />
So they were married--to be the more together--<br />
And found they were never again so much together,<br />
Divided by the morning tea,<br />
By the evening paper,<br />
By children and tradesmen's bills.<br />
Plant and Phantom (1941) "Les Sylphides"<br />
Crumbling between the fingers, under the feet,<br />
Crumbling behind the eyes,<br />
<strong>The</strong>ir world gives way and dies<br />
And something twangs and breaks at the end <strong>of</strong> the street.<br />
Plant and Phantom (1941) "D‚bƒcle"<br />
Down the road someone is practising scales,<br />
<strong>The</strong> notes like little fishes vanish with a wink <strong>of</strong> tails,<br />
Man's heart expands to tinker with his car<br />
For this is Sunday morning, Fate's great bazaar.<br />
Poems (1935) "Sunday Morning"<br />
World is crazier and more <strong>of</strong> it than we think,<br />
Incorrigibly plural. I peel and portion<br />
A tangerine and spit the pips and feel<br />
<strong>The</strong> drunkenness <strong>of</strong> things being various.<br />
Poems (1935) "Snow"<br />
I am not yet born; O fill me<br />
With strength against those who would freeze my<br />
humanity, would dragoon me into a lethal automaton,<br />
would make me a cog in a machine, a thing with<br />
one face, a thing, and against all those<br />
who would dissipate my entirety, would<br />
blow me like thistledown hither and<br />
thither or hither and thither<br />
like water held in the<br />
hands would spill me.<br />
Let them not make me a stone and let them not spill me,<br />
Otherwise kill me.<br />
Springboard (1944) "Prayer Before Birth"<br />
13.37 Salvador de Madariaga<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1978
Since, in the main, it is not armaments that cause wars but wars (or the<br />
fears there<strong>of</strong>) that cause armaments, it follows that every nation will at<br />
every moment strive to keep its armament in an efficient state as required<br />
by its fear, otherwise styled security.<br />
Morning Without Noon (1974) pt. 1, ch. 9<br />
13.38 Maurice Maeterlinck<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1949<br />
Il n'y a pas de morts.<br />
<strong>The</strong>re are no dead.<br />
L'Oiseau bleu (<strong>The</strong> Blue Bird, 1909) act 4<br />
13.39 John Gillespie Magee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-1941<br />
Oh! I have slipped the surly bonds <strong>of</strong> earth<br />
And danced the skies on laughter-silvered wings;<br />
Sunward I've climbed, and joined the tumbling mirth<br />
Of sun-split clouds--and done a hundred things<br />
You have not dreamed <strong>of</strong>--wheeled and soared and swung<br />
High in the sunlit silence. Hov'ring there<br />
I've chased the shouting wind along, and flung<br />
My eager craft through footless halls <strong>of</strong> air.<br />
Up, up the long, delirious, burning blue<br />
I've topped the wind-swept heights with easy grace,<br />
Where never lark, nor even eagle flew--<br />
And, while with silent lifting mind I've trod<br />
<strong>The</strong> high, untrespassed sanctity <strong>of</strong> space,<br />
Put out my hand and touched the face <strong>of</strong> God.<br />
In K. Rhys More Poems from the Forces (1943) "High Flight"<br />
13.40 Magnus Magnusson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
I've started so I'll finish.<br />
Said when a contestant's time runs out while a question is being put in<br />
Mastermind, BBC television (1972 onwards)<br />
13.41 Sir John Pentland Mahaffy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1839-1919<br />
In Ireland the inevitable never happens and the unexpected constantly<br />
occurs.<br />
In W. B. Stanford and R. B. McDowell Mahaffy (1971) ch. 4<br />
13.42 Gustav Mahler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1911
On seeing Niagara Falls, Mahler exclaimed: "Fortissimo at last!"<br />
K. Blaukopf Gustav Mahler (1973) ch. 8<br />
13.43 Derek Mahon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
"I am just going outside and may be some time."<br />
<strong>The</strong> others nod, pretending not to know.<br />
At the heart <strong>of</strong> the ridiculous, the sublime.<br />
Antarctica (1985) title poem (for the first line, cf. Captain Lawrence<br />
Oates)<br />
13.44 Norman Mailer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
Sentimentality is the emotional promiscuity <strong>of</strong> those who have no<br />
sentiment.<br />
Cannibals and Christians (1966) p. 51<br />
Hip is the sophistication <strong>of</strong> the wise primitive in a giant jungle.<br />
Dissent Summer 1957, p. 281<br />
Once a newspaper touches a story, the facts are lost forever, even to the<br />
protagonists.<br />
Esquire June 1960<br />
<strong>The</strong> horror <strong>of</strong> the Twentieth Century was the size <strong>of</strong> each event, and the<br />
paucity <strong>of</strong> its reverberation.<br />
A Fire on the Moon (1970) pt. 1, ch. 2<br />
So we think <strong>of</strong> Marilyn who was every man's love affair with America,<br />
Marilyn Monroe who was blonde and beautiful and had a sweet little<br />
rinky-dink <strong>of</strong> a voice and all the cleanliness <strong>of</strong> all the clean American<br />
backyards.<br />
Marilyn (1973) p. 15<br />
Ultimately a hero is a man who would argue with the Gods, and so awakens<br />
devils to contest his vision.<br />
<strong>The</strong> Presidential Papers (1976) Special Preface to the 1st Berkeley<br />
Edition<br />
13.45 Bernard Malamud<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1986<br />
I think I said "All men are Jews except they don't know it." I doubt I<br />
expected anyone to take the statement literally. But I think it's an<br />
understandable statement and a metaphoric way <strong>of</strong> indicating how history,<br />
sooner or later, treats all men.<br />
Leslie and Joyce Field (ed.) Bernard Malamud (1975) "An interview with<br />
Bernard Malamud" p. 11<br />
<strong>The</strong> past exudes legend: one can't make pure clay <strong>of</strong> time's mud. <strong>The</strong>re is<br />
no life that can be recaptured wholly; as it was. Which is to say that all
iography is ultimately fiction.<br />
Dubin's Lives (1979) p. 20<br />
13.46 George Leigh Mallory<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1924<br />
Because it's there.<br />
Response to question "Why do you want to climb Mount Everest?," in New<br />
York Times 18 Mar. 1923<br />
13.47 Andr‚ Malraux<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1976<br />
L'art est un anti-destin.<br />
Art is a revolt against fate.<br />
Les Voix du silence (Voices <strong>of</strong> Silence, 1951) pt. 4, ch. 7<br />
13.48 Lord Mancr<strong>of</strong>t (Baron Mancr<strong>of</strong>t)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
Our s<strong>of</strong>t grass and mild climate has enabled us to foster new sports.<br />
Racing, golf, football and particularly cricket--a game which the English,<br />
not being a spiritual people, have invented in order to give themselves<br />
some conception <strong>of</strong> eternity--all owe their development to our climate.<br />
Bees in Some Bonnets (1979) p. 185<br />
13.49 Winnie Mandela<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1936-<br />
We are going to dismantle apartheid ourselves. That programme will be<br />
brought to you by the ANC. Together, hand in hand, with that stick <strong>of</strong><br />
matches, with our necklace, we shall liberate this country.<br />
Speech in black townships, 14 Apr. 1986, in Guardian 15 Apr. 1986<br />
13.50 Osip Mandelstam<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1938<br />
Perhaps my whisper was already born before my lips.<br />
Selected Poems (1973), trans. by D. McDuff p. 129<br />
13.51 Herman J. Mankiewicz and Orson Welles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Herman J. Mankiewicz 1897-1953<br />
Orson Welles 1915-1985<br />
Katherine: What's Rosebud?<br />
Raymond: That's what he said when he died....
Louise: If you could have found out what Rosebud meant, I bet that<br />
would've explained everything.<br />
Thompson: No, I don't think so. No, Mr Kane was a man who got everything<br />
he wanted, and then lost it. Maybe Rosebud was something he couldn't get<br />
or something he lost. Anyway, it wouldn't have explained anything. I<br />
don't think any word can explain a man's life. No, I guess Rosebud is just<br />
a piece in a jigsaw puzzle, a missing piece.<br />
Citizen Kane (1941 film)<br />
13.52 Joseph L. Mankiewicz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
Fasten your seat-belts, it's going to be a bumpy night.<br />
All About Eve (1950 film; words spoken by Bette Davis)<br />
13.53 Thomas Mann<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1955<br />
Der Tod in Venedig.<br />
Death in Venice.<br />
Title <strong>of</strong> novella (1912)<br />
Tats„chlich ist unser Sterben mehr eine Angelegenheit der Weiterlebenden<br />
als unserer selbst.<br />
It is a fact that a man's dying is more the survivor's affair than his<br />
own.<br />
Der Zauberberg (<strong>The</strong> Magic Mountain, 1924) ch. 6, pt. 8<br />
13.54 Katherine Mansfield (Kathleen Mansfield Beauchamp)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1923<br />
E. M. Forster never gets any further than warming the teapot. He's a rare<br />
fine hand at that. Feel this teapot. Is it not beautifully warm? Yes, but<br />
there ain't going to be no tea.<br />
Journal May 1917 (1927) p. 69<br />
Whenever I prepare for a journey I prepare as though for death. Should<br />
I never return, all is in order. This is what life has taught me.<br />
Journal 29 Jan. 1922 (1927) p. 224<br />
Looking back, I imagine I was always writing. Twaddle it was, too. But<br />
better far write twaddle or anything, anything, than nothing at all.<br />
Journal 1922 (1927) p. 243<br />
13.55 Mao Tse-Tung<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1976<br />
Letting a hundred flowers blossom and a hundred schools <strong>of</strong> thought contend<br />
is the policy for promoting progress in the arts and the sciences and<br />
a flourishing socialist culture in our land.
Speech at Peking, 27 Feb. 1957, in <strong>Quotations</strong> <strong>of</strong> Chairman Mao (1966)<br />
p. 302<br />
A revolution is not the same as inviting people to dinner, or writing an<br />
essay, or painting a picture....A revolution is an insurrection, an act <strong>of</strong><br />
violence by which one class overthrows another.<br />
Report, Mar. 1927, in Selected Works (1954) vol. 1, p. 27<br />
<strong>The</strong> atom bomb is a paper tiger which the United States reactionaries use<br />
to scare people. It looks terrible, but in fact it isn't. Of course, the<br />
atom bomb is a weapon <strong>of</strong> mass slaughter, but the outcome <strong>of</strong> a war is<br />
decided by the people, not by one or two new types <strong>of</strong> weapon.<br />
Interview with Anne Louise Strong, Aug. 1946, in Selected Works (1961)<br />
vol. 4, p. 100<br />
All reactionaries are paper tigers. In appearance, the reactionaries are<br />
terrifying, but in reality they are not so powerful. From a long-term<br />
point <strong>of</strong> view, it is not the reactionaries but the people who are really<br />
powerful.<br />
Interview with Anne Louise Strong, Aug. 1946, in Selected Works (1961)<br />
vol. 4, p. 100<br />
Politics is war without bloodshed while war is politics with bloodshed.<br />
Lecture, 1938, in Selected Works (1965) vol. 2, p. 153<br />
Every Communist must grasp the truth, "Political power grows out <strong>of</strong> the<br />
barrel <strong>of</strong> a gun."<br />
Speech at 6th Plenary Session <strong>of</strong> 6th Central Committee, 6 Nov. 1938, in<br />
Selected Works (1965) vol. 2, p. 224<br />
13.56 Edwin Markham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1852-1940<br />
Bowed by the weight <strong>of</strong> centuries he leans<br />
Upon his hoe and gazes on the ground,<br />
<strong>The</strong> emptiness <strong>of</strong> ages in his face,<br />
And on his back the burden <strong>of</strong> the world.<br />
Who made him dead to rapture and despair,<br />
A thing that grieves not and that never hopes,<br />
Stolid and stunned, a brother to the ox?<br />
Man with the Hoe and Other Poems (1899) "Man with the Hoe"<br />
He drew a circle that shut me out--<br />
Heretic, rebel, a thing to flout.<br />
But Love and I had the wit to win:<br />
We drew a circle that took him in!<br />
Shoes <strong>of</strong> Happiness (1915) "Outwitted"<br />
13.57 Dewey 'Pigmeat' Markham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1981<br />
Here comes the judge.<br />
Title <strong>of</strong> song (1968; written with Dick Alen, Bob Astor, and Sarah Harvey;<br />
subsequently a catch-phrase, <strong>of</strong>ten in the form "Here come de judge")<br />
13.58 Johnny Marks
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1985<br />
Rudolph, the Red-Nosed Reindeer<br />
Had a very shiny nose,<br />
And if you ever saw it,<br />
You would even say it glows.<br />
Rudolph, the Red-Nosed Reindeer (1949 song), based on a Robert L. May<br />
story (1939)<br />
13.59 Don Marquis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1937<br />
but wotthehell wotthehell<br />
oh i should worry and fret<br />
death and I will coquette<br />
there s a dance in the old dame yet<br />
toujours gai toujours gai.<br />
archy and mehitabel (1927) "the song <strong>of</strong> mehitabel"<br />
procrastination is the<br />
art <strong>of</strong> keeping<br />
up with yesterday.<br />
archy and mehitabel (1927) "certain maxims <strong>of</strong> archy"<br />
an optimist is a guy<br />
that has never had<br />
much experience.<br />
archy and mehitabel (1927) "certain maxims <strong>of</strong> archy"<br />
I have got you out here<br />
in the great open spaces<br />
where cats are cats.<br />
archy and mehitabel (1927) "mehitabel has an adventure"<br />
but wotthehell<br />
archy wotthehell<br />
it s cheerio<br />
my deario that<br />
pulls a lady through.<br />
archy and mehitabel (1927) "cheerio, my deario"<br />
but wotthehell archy wotthehell<br />
jamais triste archy jamais triste<br />
that is my motto.<br />
archy and mehitabel (1927) "mehitabel sees paris"<br />
boss there is always<br />
a comforting thought<br />
in time <strong>of</strong> trouble when<br />
it is not our trouble<br />
archy does his part (1935) "comforting thoughts"<br />
honesty is a good<br />
thing but<br />
it is not pr<strong>of</strong>itable to<br />
its possessor
unless it is<br />
kept under control.<br />
archys life <strong>of</strong> mehitabel (1933) "archygrams"<br />
did you ever<br />
notice that when<br />
a politician<br />
does get an idea<br />
he usually<br />
gets it all wrong.<br />
archys life <strong>of</strong> mehitabel (1933) no. 40 "archygrams"<br />
now and then<br />
there is a person born<br />
who is so unlucky<br />
that he runs into accidents<br />
which started to happen<br />
to somebody else.<br />
archys life <strong>of</strong> mehitabel (1933) "archy says"<br />
Writing a book <strong>of</strong> poetry is like dropping a rose petal down the Grand<br />
Canyon and waiting for the echo.<br />
In E. Anthony O Rare Don Marquis (1962) p. 146<br />
<strong>The</strong> art <strong>of</strong> newspaper paragraphing is to stroke a platitude until it purrs<br />
like an epigram.<br />
In E. Anthony O Rare Don Marquis (1962) p. 354<br />
13.60 Anthony Marriott and Alistair Foot<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Anthony Marriott 1931-<br />
Alistair Foot<br />
No sex please--we're British.<br />
Title <strong>of</strong> play (1971)<br />
13.61 Arthur Marshall<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1910-1989<br />
Oh My! Bertha's got a bang on the boko. Keep a stiff upper lip, Bertha<br />
dear. What, knocked a tooth out? Never mind, dear, laugh it <strong>of</strong>f, laugh it<br />
<strong>of</strong>f; it's all part <strong>of</strong> life's rich pageant.<br />
<strong>The</strong> Games Mistress (recorded monologue, 1937)<br />
13.62 Thomas R. Marshall<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1854-1925<br />
What this country needs is a really good 5-cent cigar.<br />
In New York Tribune 4 Jan. 1920, pt. 7, p. 1<br />
13.63 Dean Martin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-
You're not drunk if you can lie on the floor without holding on.<br />
In Paul Dickson Official Rules (1978) p. 112<br />
13.64 Holt Marvell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
A cigarette that bears a lipstick's traces,<br />
An airline ticket to romantic places;<br />
And still my heart has wings<br />
<strong>The</strong>se foolish things<br />
Remind me <strong>of</strong> you.<br />
<strong>The</strong>se Foolish Things Remind Me <strong>of</strong> You (1935 song; music by Jack Strachey<br />
and Harry Link)<br />
13.65 Chico Marx<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1961<br />
I wasn't kissing her, I was just whispering in her mouth.<br />
In Groucho Marx and Richard J. Anobile Marx Brothers Scrapbook (1973)<br />
ch. 24<br />
13.66 Groucho Marx<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1977<br />
From the moment I picked up your book until I laid it down, I was<br />
convulsed with laughter. Some day I intend reading it.<br />
In Hector Arce Groucho (1979) p. 188 (a blurb written for S. J. Perelman's<br />
1928 book Dawn Ginsberg's Revenge)<br />
I sent the club a wire stating, Please accept my resignation. I don't want<br />
to belong to any club that will accept me as a member.<br />
Groucho and Me (1959) ch. 26<br />
I never forget a face, but in your case I'll be glad to make an exception.<br />
In Leo Rosten People I have Loved, Known or Admired (1970) "Groucho"<br />
13.67 Queen Mary<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1953<br />
"Well, Mr Baldwin!" Queen Mary exclaimed, stepping briskly into the room,<br />
her hands held out before her in a gesture <strong>of</strong> despair, "this is a pretty<br />
kettle <strong>of</strong> fish!"<br />
James Pope-Hennessy Life <strong>of</strong> Queen Mary (1959) pt. 4, ch. 7 (said on<br />
17 Nov. 1936, after Edward VIII had told her he was prepared to give up<br />
the throne to marry Mrs Simpson)<br />
So that's what hay looks like.<br />
James Pope-Hennessy Life <strong>of</strong> Queen Mary (1959) pt. 4, ch. 8 (said at<br />
Badminton House, where she was evacuated during the Second World War)<br />
13.68 Eric Maschwitz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1901-1969<br />
A nightingale sang in Berkeley Square.<br />
Title <strong>of</strong> song (1940; music by Manning Sherwin)<br />
13.69 John Masefield<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1967<br />
Quinquireme <strong>of</strong> Nineveh from distant Ophir<br />
Rowing home to haven in sunny Palestine,<br />
With a cargo <strong>of</strong> ivory,<br />
And apes and peacocks,<br />
Sandalwood, cedarwood, and sweet white wine.<br />
Ballads (1903) "Cargoes"<br />
Dirty British coaster with a salt-caked smoke stack,<br />
Butting through the Channel in the mad March days,<br />
With a cargo <strong>of</strong> Tyne coal,<br />
Road-rails, pig lead,<br />
Firewood, ironware, and cheap tin trays.<br />
Ballads (1903) "Cargoes"<br />
Oh some are fond <strong>of</strong> Spanish wine, and some are fond <strong>of</strong> French,<br />
And some'll swallow tay and stuff fit only for a wench.<br />
Ballads (1903) "Captain Stratton's Fancy"<br />
Oh some are fond <strong>of</strong> fiddles, and a song well sung,<br />
And some are all for music for a lilt upon the tongue;<br />
But mouths were made for tankards, and for sucking at the bung,<br />
Says the old bold mate <strong>of</strong> Henry Morgan.<br />
Ballads (1903) "Captain Stratton's Fancy"<br />
I have seen dawn and sunset on moors and windy hills,<br />
Coming in solemn beauty like slow old tunes <strong>of</strong> Spain.<br />
Ballads (1903) "Beauty"<br />
But the loveliest things <strong>of</strong> beauty God ever has showed to me,<br />
Are her voice, and her hair, and eyes, and the dear red curve <strong>of</strong> her<br />
lips.<br />
Ballads (1903) "Beauty"<br />
One road leads to London,<br />
One road runs to Wales,<br />
My road leads me seawards<br />
To the white dipping sails.<br />
Ballads (1903) "Roadways"<br />
In the dark womb where I began<br />
My mother's life made me a man.<br />
Through all the months <strong>of</strong> human birth<br />
Her beauty fed my common earth.<br />
I cannot see, nor breathe, nor stir,<br />
But through the death <strong>of</strong> some <strong>of</strong> her.<br />
Ballads and Poems (1910) "C.L.M."<br />
Jane brought the bowl <strong>of</strong> stewing gin<br />
And poured the egg and lemon in,
And whisked it up and served it out<br />
While bawdy questions went about.<br />
Jack chucked her chin, and Jim accost her<br />
With bits out <strong>of</strong> the "Maid <strong>of</strong> Gloster."<br />
And fifteen arms went round her waist.<br />
(And then men ask, Are Barmaids Chaste?)<br />
<strong>The</strong> Everlasting Mercy (1911) st. 26<br />
And he who gives a child a treat<br />
Makes joy-bells ring in Heaven's street.<br />
And he who gives a child a home<br />
Builds palaces in Kingdom come,<br />
And she who gives a baby birth<br />
Brings Saviour Christ again to Earth,<br />
For life is joy, and mind is fruit,<br />
And body's precious earth and root.<br />
<strong>The</strong> Everlasting Mercy (1911) st. 47<br />
<strong>The</strong> corn that makes the holy bread<br />
By which the soul <strong>of</strong> man is fed,<br />
<strong>The</strong> holy bread, the food unpriced,<br />
Thy everlasting mercy, Christ.<br />
<strong>The</strong> Everlasting Mercy (1911) st. 86<br />
Death opens unknown doors. It is most grand to die.<br />
Pompey <strong>The</strong> Great (1910) act 2<br />
And all the way, that wild high crying,<br />
To cold his blood with the thought <strong>of</strong> dying.<br />
Reynard the Fox (1919) pt. 2, st. 49<br />
<strong>The</strong> stars grew bright in the winter sky,<br />
<strong>The</strong> wind came keen with a tang <strong>of</strong> frost,<br />
<strong>The</strong> brook was troubled for new things lost,<br />
<strong>The</strong> copse was happy for old things found,<br />
<strong>The</strong> fox came home and he went to ground.<br />
Reynard the Fox (1919) pt. 2, st. 137<br />
I must down to the seas again, to the lonely sea and the sky,<br />
And all I ask is a tall ship and a star to steer her by,<br />
And the wheel's kick and the wind's song and the white sail's shaking,<br />
And a grey mist on the sea's face and a grey dawn breaking.<br />
Salt-Water Ballads (1902) "Sea Fever"<br />
I must down to the seas again, for the call <strong>of</strong> the running tide<br />
Is a wild call and a clear call that may not be denied.<br />
Salt-Water Ballads (1902) "Sea Fever"<br />
I must down to the seas again, to the vagrant gypsy life,<br />
To the gull's way and the whale's way where the wind's like a whetted<br />
knife;<br />
And all I ask is a merry yarn from a laughing fellow-rover,<br />
And quiet sleep and a sweet dream when the long trick's over.<br />
Salt-Water Ballads (1902) "Sea Fever"<br />
It's a warm wind, the west wind, full <strong>of</strong> birds' cries;<br />
I never hear the west wind but tears are in my eyes.<br />
For it comes from the west lands, the old brown hills,<br />
And April's in the west wind, and daffodils.<br />
Salt-Water Ballads (1902) "West Wind"
It is good to be out on the road, and going one knows not where,<br />
Going through meadow and village, one knows not whither nor why.<br />
Salt-Water Ballads (1902) "Tewkesbury Road"<br />
In this life he laughs longest who laughs last.<br />
Widow in Bye Street (1912) ch. 4, p. 66<br />
13.70 Donald Mason<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
Sighted sub, sank same.<br />
Radio message, 28 Jan. 1942, in New York Times 27 Feb. 1942 (on sinking<br />
Japanese submarine in the Atlantic region, the first US naval success in<br />
the war)<br />
13.71 Sir James Mathew<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1830-1908<br />
In England, justice is open to all--like the Ritz Hotel.<br />
In R. E. Megarry Miscellany-at-Law (1955) p. 254<br />
13.72 Melissa Mathison<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1950-<br />
E.T. phone home.<br />
E.T. (1982 film; directed by Steven Spielberg)<br />
13.73 Henri Matisse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1954<br />
Ce que je rˆve, c'est un art d'‚quilibre, de puret‚, de tranquillit‚, sans<br />
sujet inqui‚tant ou pr‚occupant, qui soit...un l‚nifiant, un calmant<br />
c‚r‚bral, quelque chose d'analogue … un bon fauteuil qui le d‚lasse de ses<br />
fatigues physiques.<br />
What I dream <strong>of</strong> is an art <strong>of</strong> balance, <strong>of</strong> purity and serenity devoid <strong>of</strong><br />
troubling or depressing subject matter...a soothing, calming influence on<br />
the mind, something like a good armchair which provides relaxation from<br />
physical fatigue.<br />
Notes d'un peintre (Notes <strong>of</strong> a Painter, 1908) in Dominique Fourcade<br />
crits et propos sur l'art (1972) p. 30<br />
13.74 Reginald Maudling<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-1979<br />
<strong>The</strong>re comes a time in every man's life when he must make way for an older<br />
man.<br />
Remark after he was dropped from the Shadow Cabinet and replaced by an<br />
older man, in Guardian 20 Nov. 1976
13.75 W. Somerset Maugham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1965<br />
Hypocrisy is the most difficult and nerve-racking vice that any man can<br />
pursue; it needs an unceasing vigilance and a rare detachment <strong>of</strong> spirit.<br />
It cannot, like adultery or gluttony, be practised at spare moments; it is<br />
a whole-time job.<br />
Cakes and Ale (1930) ch. 1<br />
This is not so strange when you reflect that from the earliest times the<br />
old have rubbed it into the young that they are wiser than they, and<br />
before the young had discovered what nonsense this was they were old too,<br />
and it pr<strong>of</strong>ited them to carry on the imposture.<br />
Cakes and Ale (1930) ch. 11<br />
Poor Henry [James], he's spending eternity wandering round and round a<br />
stately park and the fence is just too high for him to peep over and<br />
they're having tea just too far away for him to hear what the countess is<br />
saying.<br />
Cakes and Ale (1930) ch. 11<br />
You can't learn too soon that the most useful thing about a principle is<br />
that it can always be sacrificed to expediency.<br />
Circle (1921) act 3<br />
A woman will always sacrifice herself if you give her the opportunity. It<br />
is her favourite form <strong>of</strong> self-indulgence.<br />
Circle (1921) act 3<br />
"Dying" he [Maugham] said to me, "is a very dull, dreary affair." Suddenly<br />
he smiled. "And my advice to you is to have nothing whatever to do with<br />
it," he added.<br />
Robin Maugham Escape from the Shadows (1972) pt. 5, p. 233<br />
<strong>The</strong>re can be nothing so gratifying to an author as to arouse the respect<br />
and esteem <strong>of</strong> the reader. Make him laugh and he will think you a trivial<br />
fellow, but bore him in the right way and your reputation is assured.<br />
Gentleman in the Parlour (1930) ch. 11<br />
God knows that I have never been that [anti-Semitic]; some <strong>of</strong> my best<br />
friends both in England and America are Jews.<br />
Letter, May 1946, in Ted Morgan Somerset Maugham (1980) ch. 6<br />
I forget who it was that recommended men for their soul's good to do each<br />
day two things they disliked: it was a wise man, and it is a precept that<br />
I have followed scrupulously; for every day I have got up and I have gone<br />
to bed.<br />
Moon and Sixpence (1919) ch. 2<br />
Impropriety is the soul <strong>of</strong> wit.<br />
Moon and Sixpence (1919) ch. 4<br />
She saw shrewdly that the world is quickly bored by the recital <strong>of</strong><br />
misfortune, and willingly avoids the sight <strong>of</strong> distress.<br />
Moon and Sixpence (1919) ch. 16<br />
It is not true that suffering ennobles the character; happiness does that
sometimes, but suffering, for the most part, makes men petty and<br />
vindictive.<br />
Moon and Sixpence (1919) ch. 17<br />
"A woman can forgive a man for the harm he does her," he said, "but she<br />
can never forgive him for the sacrifices he makes on her account."<br />
Moon and Sixpence (1919) ch. 41<br />
Like all weak men he laid an exaggerated stress on not changing one's<br />
mind.<br />
Of Human Bondage (1915) ch. 39<br />
People ask you for criticism, but they only want praise.<br />
Of Human Bondage (1915) ch. 50<br />
Money is like a sixth sense without which you cannot make a complete use<br />
<strong>of</strong> the other five.<br />
Of Human Bondage (1915) ch. 51<br />
It was such a lovely day I thought it was a pity to get up.<br />
Our Betters (1923) act 3<br />
I would sooner read a time-table or a catalogue than nothing at<br />
all....<strong>The</strong>y are much more entertaining than half the novels that are<br />
written.<br />
Summing Up (1938) p. 92<br />
<strong>The</strong> common idea that success spoils people by making them vain, egotistic<br />
and self-complacent is erroneous; on the contrary it makes them, for the<br />
most part, humble, tolerant and kind. Failure makes people bitter and<br />
cruel.<br />
Summing Up (1938) p. 187<br />
Lucky Jim [by Kingsley Amis] is a remarkable novel. It has been greatly<br />
praised and widely read, but I have not noticed that any <strong>of</strong> the reviewers<br />
have remarked on its ominous significance. I am told that today rather<br />
more than 60 per cent <strong>of</strong> the men who go to the universities go on<br />
a Government grant. This is a new class that has entered upon the<br />
scene....<strong>The</strong>y are scum.<br />
Sunday Times 25 Dec. 1955<br />
At a dinner party one should eat wisely but not too well, and talk well<br />
but not too wisely.<br />
Writer's Notebook (1949) p. 17 (written in 1896)<br />
Few misfortunes can befall a boy which bring worse consequences than to<br />
have a really affectionate mother.<br />
Writer's Notebook (1949) p. 27 (written in 1896)<br />
13.76 Bill Mauldin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
I feel like a fugitive from th' law <strong>of</strong> averages.<br />
Up Front (1945) cartoon caption<br />
13.77 James Maxton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1885-1946<br />
All I say is, if you cannot ride two horses you have no right in the<br />
circus.<br />
Said at Scottish Independent Labour Party Conference on being told that he<br />
could not be in two parties, in Daily Herald 12 Jan. 1931<br />
13.78 John May<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
You're never alone with a Strand.<br />
Slogan for Strand cigarettes, 1960, in Nigel Rees Slogans (1982) p. 108<br />
13.79 Percy Mayfield<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-1984<br />
Hit the road, Jack.<br />
Title <strong>of</strong> song (1961)<br />
13.80 Charles H. Mayo<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1939<br />
<strong>The</strong> definition <strong>of</strong> a specialist as one who "knows more and more about less<br />
and less" is good and true.<br />
<strong>Modern</strong> Hospital Sept. 1938, p. 69<br />
13.81 Margaret Mead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1978<br />
Women want mediocre men, and men are working hard to be as mediocre as<br />
possible.<br />
In Quote Magazine 15 June 1958<br />
13.82 Shepherd Mead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
How to succeed in business without really trying.<br />
Title <strong>of</strong> book (1952)<br />
13.83 Hughes Mearns<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1965<br />
As I was walking up the stair<br />
I met a man who wasn't there.<br />
He wasn't there again today.<br />
I wish, I wish he'd stay away.<br />
<strong>The</strong> Psycho-ed (1910 play), in Newsweek 15 Jan. 1940<br />
13.84 Dame Nellie Melba (Helen Porter Mitchell)
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1861-1931<br />
So you're going to Australia! Well, I made twenty thousand pounds on my<br />
tour there, but <strong>of</strong> course that will never be done again. Still, it's<br />
a wonderful country, and you'll have a good time. What are you going to<br />
sing? All I can say is--sing 'em muck! It's all they can understand!<br />
Advice to Dame Clara Butt, in W. H. Ponder Clara Butt (1928) ch. 12<br />
13.85 H. L. Mencken<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1956<br />
Here, indeed, was his [Calvin Coolidge's] one peculiar Fach, his one<br />
really notable talent. He slept more than any other President, whether by<br />
day or by night. Nero fiddled, but Coolidge only snored.<br />
American Mercury Apr. 1933<br />
<strong>The</strong> saddest life is that <strong>of</strong> a political aspirant under democracy. His<br />
failure is ignominious and his success is disgraceful.<br />
Baltimore Evening Sun 9 Dec. 1929<br />
No one in this world, so far as I know--and I have searched the records<br />
for years, and employed agents to help me--has ever lost money by<br />
underestimating the intelligence <strong>of</strong> the great masses <strong>of</strong> the plain people.<br />
Chicago Tribune 19 Sept. 1926<br />
When women kiss it always reminds one <strong>of</strong> prize-fighters shaking hands.<br />
Chrestomathy (1949) ch. 30<br />
Love is the delusion that one woman differs from another.<br />
Chrestomathy (1949) ch. 30<br />
Men have a much better time <strong>of</strong> it than women. For one thing, they marry<br />
later. For another thing, they die earlier.<br />
Chrestomathy (1949) ch. 30<br />
Puritanism. <strong>The</strong> haunting fear that someone, somewhere, may be happy.<br />
Chrestomathy (1949) ch. 30<br />
Democracy is the theory that the common people know what they want, and<br />
deserve to get it good and hard.<br />
Little Book in C major (1916) p. 19<br />
Conscience: the inner voice which warns us that someone may be looking.<br />
Little Book in C major (1916) p. 42<br />
I've made it a rule never to drink by daylight and never to refuse a drink<br />
after dark.<br />
New York Post 18 Sept. 1945<br />
It is now quite lawful for a Catholic woman to avoid pregnancy by a resort<br />
to mathematics, though she is still forbidden to resort to physics and<br />
chemistry.<br />
Notebooks (1956) "Minority Report"<br />
<strong>The</strong> capacity <strong>of</strong> human beings to bore one another seems to be vastly<br />
greater than that <strong>of</strong> any other animals. Some <strong>of</strong> their most esteemed
inventions have no other apparent purpose, for example, the dinner party<br />
<strong>of</strong> more than two, the epic poem, and the science <strong>of</strong> metaphysics.<br />
Notebooks (1956) "Minority Report"<br />
All successful newspapers are ceaselessly querulous and bellicose. <strong>The</strong>y<br />
never defend any one or anything if they can help it; if the job is forced<br />
upon them, they tackle it by denouncing some one or something else.<br />
Prejudices (1919) 1st ser., ch. 13<br />
Poetry is a comforting piece <strong>of</strong> fiction set to more or less lascivious<br />
music.<br />
Prejudices (1922) 3rd ser., ch. 7<br />
Faith may be defined briefly as an illogical belief in the occurrence <strong>of</strong><br />
the improbable.<br />
Prejudices (1922) 3rd ser., ch. 14<br />
If, after I depart this vale, you ever remember me and have thought to<br />
please my ghost, forgive some sinner and wink your eye at some homely<br />
girl.<br />
Smart Set Dec. 1921<br />
13.86 David Mercer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-1980<br />
A suitable case for treatment.<br />
Title <strong>of</strong> play (1962) in Three TV Comedies (1966)<br />
13.87 Johnny Mercer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1976<br />
You've got to ac-cent-tchu-ate the positive<br />
Elim-my-nate the negative<br />
Latch on to the affirmative<br />
Don't mess with Mister In-between.<br />
Ac-cent-tchu-ate the Positive (1944 song; music by Harold Arlen)<br />
We're drinking my friend,<br />
To the end <strong>of</strong> a brief episode,<br />
Make it one for my baby<br />
And one more for the road.<br />
One For My Baby (1943 song; music by Harold Arlen)<br />
That old black magic.<br />
Title <strong>of</strong> song (1942; music by Harold Arlen)<br />
13.88 Bob Merrill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
How much is that doggie in the window?<br />
Title <strong>of</strong> song (1953)<br />
13.89 Dixon Lanier Merritt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1879-1972<br />
Oh, a wondrous bird is the pelican!<br />
His beak holds more than his belican.<br />
He takes in his beak<br />
Food enough for a week.<br />
But I'll be darned if I know how the helican.<br />
Nashville Banner 22 Apr. 1913<br />
13.90 Viola Meynell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1956<br />
<strong>The</strong> dust comes secretly day after day,<br />
Lies on my ledge and dulls my shining things.<br />
But O this dust that I shall drive away<br />
Is flowers and Kings,<br />
Is Solomon's temple, poets, Nineveh.<br />
Verses (1919) "Dusting"<br />
13.91 Princess Michael <strong>of</strong> Kent<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1945-<br />
I don't enjoy my public obligations. I was not made to cut ribbons and<br />
kiss babies.<br />
Life Nov. 1986<br />
13.92 George Mikes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
On the Continent people have good food; in England people have good table<br />
manners.<br />
How to be an Alien (1946) p. 10<br />
Continental people have sex life; the English have hot-water bottles.<br />
How to be an Alien (1946) p. 25<br />
An Englishman, even if he is alone, forms an orderly queue <strong>of</strong> one.<br />
How to be an Alien (1946) p. 44<br />
13.93 Edna St Vincent Millay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1950<br />
Down, down, down into the darkness <strong>of</strong> the grave<br />
Gently they go, the beautiful, the tender, the kind;<br />
Quietly they go, the intelligent, the witty, the brave.<br />
I know. But I do not approve. And I am not resigned.<br />
Buck in the Snow (1928) "Dirge Without Music"<br />
My candle burns at both ends;<br />
It will not last the night;<br />
But ah, my foes, and oh, my friends--<br />
It gives a lovely light.
A Few Figs From Thistles (1920) "First Fig"<br />
Safe upon solid rock the ugly houses stand:<br />
Come and see my shining palace built upon the sand!<br />
A Few Figs From Thistles (1920) "Second Fig"<br />
I only know that summer sang in me<br />
A little while, that in me sings no more.<br />
Harp-Weaver and Other Poems (1923) sonnet 19<br />
Euclid alone<br />
Has looked on Beauty bare. Fortunate they<br />
Who, though once only and then but far away,<br />
Have heard her massive sandal set on stone.<br />
Harp-Weaver and Other Poems (1923) sonnet 22<br />
It's not true that life is one damn thing after another--it's one damn<br />
thing over and over.<br />
Letter to Arthur Davison Ficke, 24 Oct. 1930, in A. R. Macdougal Letters<br />
<strong>of</strong> Edna St V. Millay (1952) p. 240<br />
Death devours all lovely things;<br />
Lesbia with her sparrow<br />
Shares the darkness--presently<br />
Every bed is narrow.<br />
Second April (1921) "Passer Mortuus Est"<br />
After all, my erstwhile dear,<br />
My no longer cherished,<br />
Need we say it was not love,<br />
Now that love is perished?<br />
Second April (1921) "Passer Mortuus Est"<br />
Childhood is not from birth to a certain age and at a certain age<br />
<strong>The</strong> child is grown, and puts away childish things.<br />
Childhood is the kingdom where nobody dies.<br />
Nobody that matters, that is.<br />
Wine from these Grapes (1934) "Childhood is the Kingdom where Nobody<br />
dies"<br />
13.94 Alice Duer Miller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1942<br />
I am American bred,<br />
I have seen much to hate here--much to forgive,<br />
But in a world where England is finished and dead,<br />
I do not wish to live.<br />
White Cliffs (1940) p. 70<br />
13.95 Arthur Miller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-<br />
I don't say he's a great man. Willy Loman never made a lot <strong>of</strong> money. His<br />
name was never in the paper. He's not the finest character that ever<br />
lived. But he's a human being, and a terrible thing is happening to him.<br />
So attention must be paid. He's not to be allowed to fall into his grave
like an old dog. Attention, attention must be finally paid to such<br />
a person.<br />
Death <strong>of</strong> a Salesman (1949) act 1<br />
Willy was a salesman. And for a salesman, there is no rock bottom to the<br />
life. He don't put a bolt to a nut, he don't tell you the law or give you<br />
medicine. He's a man way out there in the blue, riding on a smile and<br />
a shoeshine. And when they start not smiling back--that's an earthquake.<br />
And then you get yourself a couple <strong>of</strong> spots on your hat, and you're<br />
finished. Nobody dast blame this man. A salesman is got to dream, boy. It<br />
comes with the territory.<br />
Death <strong>of</strong> a Salesman (1949) "Requiem"<br />
I used...to keep a book in which I would talk to myself. One <strong>of</strong> the<br />
aphorisms I wrote was, "<strong>The</strong> structure <strong>of</strong> a play is always the story <strong>of</strong> how<br />
the birds came home to roost."<br />
Harper's Magazine Aug. 1958<br />
Roslyn: "How do you find your way back in the dark?" Gay nods, indicating<br />
the sky before them: "Just head for that big star straight on. <strong>The</strong><br />
highway's under it; take us right home."<br />
<strong>The</strong> Misfits (1961) ch. 12<br />
A good newspaper, I suppose, is a nation talking to itself.<br />
In Observer 26 Nov. 1961<br />
13.96 Henry Miller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1980<br />
Even before the music begins there is that bored look on people's faces.<br />
A polite form <strong>of</strong> self-imposed torture, the concert.<br />
Tropic <strong>of</strong> Cancer (1934) p. 84<br />
Every man with a bellyful <strong>of</strong> the classics is an enemy to the human race.<br />
Tropic <strong>of</strong> Cancer (1934) p. 280<br />
13.97 Jonathan Miller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
In fact, I'm not really a Jew. Just Jew-ish. Not the whole hog, you know.<br />
Beyond the Fringe (1960) "Real Class," in Alan Bennett et al. Complete<br />
Beyond the Fringe (1987) p. 84<br />
13.98 Spike Milligan (Terence Alan Milligan)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
Grytpype-thynne: You silly twisted boy.<br />
Dreaded Batter Pudding Hurler in <strong>The</strong> Goon Show (BBC radio series) 12 Oct.<br />
1954, in Goon Show Scripts (1972) p. 26<br />
Seagoon: Ying tong iddle I po.<br />
Dreaded Batter Pudding Hurler in <strong>The</strong> Goon Show (BBC radio series) 12 Oct.<br />
1954, in Goon Show Scripts (1972) p. 27; catch-phrase also used in <strong>The</strong><br />
Ying Tong Song (1956)
He's fallen in the water.<br />
Catch-phrase used by "Little Jim" (Spike Milligan) in <strong>The</strong> Goon Show (BBC<br />
radio series, used from 1956 onwards)<br />
Bluebottle: You rotten swines. I told you I'd be deaded.<br />
Hastings Flyer in <strong>The</strong> Goon Show (BBC radio series) 3 Jan. 1956, in Goon<br />
Show Scripts (1972) p. 170<br />
I'm walking backwards for Christmas<br />
Across the Irish Sea.<br />
I'm Walking Backwards for Christmas (1956 song)<br />
Moriarty: Sapristi Nuckoes--do you always drink ink?<br />
Seagoon: Only in the mating season.<br />
Moriarty: Shall we dance?<br />
Napoleon's Piano in <strong>The</strong> Goon Show (BBC radio series) 11 Oct. 1955, in<br />
Goon Show Scripts (1972) p. 100<br />
Bluebottle: I don't like this game, let's play another game--let's play<br />
doctor and nurses.<br />
<strong>The</strong> Phantom Head-Shaver in <strong>The</strong> Goon Show (BBC radio series) 15 Oct. 1954,<br />
in Goon Show Scripts (1972) p. 54 (the catch-phrase was <strong>of</strong>ten "I do not<br />
like this game")<br />
Money couldn't buy friends but you got a better class <strong>of</strong> enemy.<br />
Puckoon (1963) ch. 6<br />
13.99 A. J. Mills, Fred Godfrey, and Bennett Scott<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Take me back to dear old Blighty,<br />
Put me on the train for London town.<br />
Take Me Back to Dear Old Blighty (1916 song)<br />
13.100 Irving Mills<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1985<br />
It don't mean a thing<br />
If it ain't got that swing.<br />
It Don't Mean a Thing (1932 song; music by Duke Ellington)<br />
13.101 A. A. Milne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1956<br />
<strong>The</strong> more it snows<br />
(Tiddely pom),<br />
<strong>The</strong> more it goes<br />
(Tiddely pom),<br />
<strong>The</strong> more it goes<br />
(Tiddely pom)<br />
On snowing.<br />
And nobody knows<br />
(Tiddely pom),<br />
How cold my toes
(Tiddely pom),<br />
How cold my toes<br />
(Tiddely pom),<br />
Are growing.<br />
House at Pooh Corner (1928) ch. 1<br />
Tiggers don't like honey.<br />
House at Pooh Corner (1928) ch. 2<br />
King John was not a good man--<br />
He had his little ways.<br />
And sometimes no one spoke to him<br />
For days and days and days.<br />
Now We Are Six (1927) "King John's Christmas"<br />
When I was young, we always had mornings like this.<br />
Toad <strong>of</strong> Toad Hall (1929) act 2, sc. 3 (Milne's dramatization <strong>of</strong> Kenneth<br />
Grahame's Wind in the Willows)<br />
<strong>The</strong>y're changing guard at Buckingham Palace--<br />
Christopher Robin went down with Alice.<br />
Alice is marrying one <strong>of</strong> the guard.<br />
"A soldier's life is terrible hard,"<br />
Says Alice.<br />
When We Were Very Young (1924) "Buckingham Palace"<br />
John had<br />
Great Big<br />
Waterpro<strong>of</strong><br />
Boots on;<br />
John had a<br />
Great Big<br />
Waterpro<strong>of</strong><br />
Hat;<br />
John had a<br />
Great Big<br />
Waterpro<strong>of</strong><br />
Mackintosh--<br />
And that<br />
(Said John)<br />
Is<br />
That.<br />
When We Were Very Young (1924) "Happiness"<br />
James James<br />
Morrison Morrison<br />
Weatherby George Dupree<br />
Took great<br />
Care <strong>of</strong> his Mother,<br />
Though he was only three.<br />
James James<br />
Said to his Mother,<br />
"Mother," he said, said he;<br />
"You must never go down to the end <strong>of</strong> the town,<br />
if you don't go down with me."<br />
When We Were Very Young (1924) "Disobedience"<br />
What is the matter with Mary Jane?<br />
She's perfectly well and she hasn't a pain,<br />
And it's lovely rice pudding for dinner again!
What is the matter with Mary Jane?<br />
When We Were Very Young (1924) "Rice Pudding"<br />
<strong>The</strong> King asked<br />
<strong>The</strong> Queen, and<br />
<strong>The</strong> Queen asked<br />
<strong>The</strong> Dairymaid:<br />
"Could we have some butter for<br />
<strong>The</strong> Royal slice <strong>of</strong> bread?"<br />
When We Were Very Young (1924) "<strong>The</strong> King's Breakfast"<br />
<strong>The</strong> King said<br />
"Butter, eh?"<br />
And bounced out <strong>of</strong> bed.<br />
When We Were Very Young (1924) "<strong>The</strong> King's Breakfast"<br />
Nobody,<br />
My darling,<br />
Could call me<br />
A fussy man--<br />
BUT<br />
I do like a little bit <strong>of</strong> butter to my bread!<br />
When We Were Very Young (1924) "<strong>The</strong> King's Breakfast"<br />
Little Boy kneels at the foot <strong>of</strong> the bed,<br />
Droops on the little hands little gold head.<br />
Hush! Hush! Whisper who dares!<br />
Christopher Robin is saying his prayers.<br />
When We Were Very Young (1924) "Vespers"<br />
Isn't it funny<br />
How a bear likes honey?<br />
Buzz! Buzz! Buzz!<br />
I wonder why he does?<br />
Winnie-the-Pooh (1926) ch. 1<br />
How sweet to be a Cloud<br />
Floating in the Blue!<br />
It makes him very proud<br />
To be a little cloud.<br />
Winnie-the-Pooh (1926) ch. 1<br />
Pooh always liked a little something at eleven o'clock in the morning, and<br />
he was very glad to see Rabbit getting out the plates and mugs; and when<br />
Rabbit said, "Honey or condensed milk with your bread?" he was so excited<br />
that he said, "Both," and then, so as not to seem greedy, he added, "But<br />
don't bother about the bread, please." And for a long time after that he<br />
said nothing...until at last, humming to himself in a rather sticky voice,<br />
he got up, shook Rabbit lovingly by the paw, and said that he must be<br />
going on.<br />
Winnie-the-Pooh (1926) ch. 2<br />
"Well," said Owl, "the customary procedure in such cases is as follows."<br />
"What does Crustimoney Proseedcake mean?" said Pooh. "For I am a Bear <strong>of</strong><br />
Very Little Brain, and long words Bother me."<br />
Winnie-the-Pooh (1926) ch. 4<br />
Eeyore, the old grey Donkey, stood by the side <strong>of</strong> the stream, and looked<br />
at himself in the water. "Pathetic," he said. "That's what it is.<br />
Pathetic."
Winnie-the-Pooh (1926) ch. 6<br />
Cottleston, Cottleston, Cottleston Pie.<br />
A fly can't bird, but a bird can fly.<br />
Ask me a riddle and I reply:<br />
"Cottleston, Cottleston, Cottleston Pie."<br />
Winnie-the-Pooh (1926) ch. 6<br />
Time for a little something.<br />
Winnie-the-Pooh (1926) ch. 6<br />
My spelling is Wobbly. It's good spelling but it Wobbles, and the letters<br />
get in the wrong places.<br />
Winnie-the-Pooh (1926) ch. 6<br />
On Monday, when the sun is hot<br />
I wonder to myself a lot:<br />
"Now is it true, or is it not,<br />
"That what is which and which is what?"<br />
Winnie-the-Pooh (1926) ch. 7<br />
3 Cheers for Pooh!<br />
(For Who?)<br />
For Pooh--<br />
(Why what did he do?)<br />
I thought you knew;<br />
He saved his friend from a wetting!<br />
Winnie-the-Pooh (1926) ch. 10<br />
13.102 Lord Milner (Alfred, Viscount Milner)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1854-1925<br />
If we believe a thing to be bad, and if we have a right to prevent it, it<br />
is our duty to try to prevent it and to damn the consequences.<br />
Speech at Glasgow, 26 Nov. 1909, in <strong>The</strong> Times 27 Nov. 1909<br />
13.103 Adrian Mitchell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
Most people ignore most poetry<br />
because<br />
most poetry ignores most people.<br />
Poems (1964) p. 8<br />
13.104 Joni Mitchell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1945-<br />
I've looked at life from both sides now,<br />
From win and lose and still somehow<br />
It's life's illusions I recall;<br />
I really don't know life at all.<br />
Both Sides Now (1967 song)<br />
<strong>The</strong>y paved paradise
And put up a parking lot,<br />
With a pink hotel,<br />
A boutique, and a swinging hot spot.<br />
Big Yellow Taxi (1970 song)<br />
We are stardust,<br />
We are golden,<br />
And we got to get ourselves<br />
Back to the garden.<br />
Woodstock (1969 song)<br />
13.105 Margaret Mitchell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1949<br />
Death and taxes and childbirth! <strong>The</strong>re's never any convenient time for any<br />
<strong>of</strong> them.<br />
Gone with the Wind (1936) ch. 38<br />
Scarlett...I wish I could care what you do or where you go but I<br />
can't....My dear, I don't give a damn.<br />
Gone with the Wind (1936) ch. 57 (in Sidney Howard's script for the film<br />
version (1939) this became "Frankly, my dear, I don't give a damn!")<br />
Tomorrow, I'll think <strong>of</strong> some way to get him back. After all, tomorrow is<br />
another day.<br />
Gone with the Wind (1936) ch. 57 (closing words)<br />
13.106 Jessica Mitford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
According to one <strong>of</strong> my correspondents, Jessica Mitford was overheard to<br />
remark, "I have nothing against undertakers personally. It's just that<br />
I wouldn't want one to bury my sister."<br />
Saturday Review 1 Feb. 1964<br />
13.107 Nancy Mitford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1973<br />
"Always be civil to the girls, you never know who they may marry" is an<br />
aphorism which has saved many an English spinster from being treated like<br />
an Indian widow.<br />
Love in a Cold Climate (1949) pt. 1, ch. 2<br />
"Twenty three and a quarter minutes past," Uncle Matthew was saying<br />
furiously, "in precisely six and three-quarter minutes the damned fella<br />
will be late."<br />
Love in a Cold Climate (1949) pt. 1, ch. 13<br />
An aristocracy in a republic is like a chicken whose head has been cut<br />
<strong>of</strong>f: it may run about in a lively way, but in fact it is dead.<br />
Noblesse Oblige (1956) p. 39<br />
I have only ever read one book in my life, and that is White Fang It's so<br />
frightfully good I've never bothered to read another.
Pursuit <strong>of</strong> Love (1945) ch. 9<br />
Uncle Matthew's four years in France and Italy between 1914 and 1918 had<br />
given him no great opinion <strong>of</strong> foreigners. "Frogs," he would say, "are<br />
slightly better than Huns or Wops, but abroad is unutterably bloody and<br />
foreigners are fiends."<br />
Pursuit <strong>of</strong> Love (1945) ch. 15<br />
13.108 Addison Mizner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1933<br />
See Ethel Watts Mumford (13.139)<br />
13.109 Wilson Mizner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1933<br />
Among his [Mizner's] philosophical maxims were "Be nice to people on your<br />
way up because you'll meet 'em on your way down," "Treat a whore like<br />
a lady and a lady like a whore," and "If you steal from one author, it's<br />
plagiarism; if you steal from many, it's research."<br />
Alva Johnston <strong>The</strong> Legendary Mizners (1953) ch. 4<br />
Mizner's comment on Hollywood, "It's a trip through a sewer in a<br />
glass-bottomed boat," was converted by Mayor Jimmy Walker into "A reformer<br />
is a guy who rides through a sewer in a glass-bottomed boat."<br />
Alva Johnston <strong>The</strong> Legendary Mizners (1953) ch. 4<br />
13.110 Walter Mondale<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
See Cliff <strong>Free</strong>man (6.46)<br />
13.111 William Cosmo Monkhouse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1840-1901<br />
<strong>The</strong>re once was an old man <strong>of</strong> Lyme<br />
Who married three wives at a time,<br />
When asked "Why a third?"<br />
He replied, "One's absurd!<br />
And bigamy, Sir, is a crime!"<br />
Nonsense Rhymes (1902)<br />
13.112 Harold Monro<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1932<br />
When the tea is brought at five o'clock,<br />
And all the neat curtains are drawn with care,<br />
<strong>The</strong> little black cat with bright green eyes<br />
Is suddenly purring there.<br />
Children <strong>of</strong> Love (1914) "Milk for the Cat"
13.113 Marilyn Monroe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-1962<br />
Asked if she really had nothing on in the [calendar] photograph, Marilyn,<br />
her blue eyes wide, purred: "I had the radio on."<br />
Time 11 Aug. 1952<br />
13.114 C. E. Montague<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1928<br />
War hath no fury like a non-combatant.<br />
Disenchantment (1922) ch. 16<br />
13.115 Field-Marshal Montgomery (Viscount Montgomery <strong>of</strong> Alamein)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1976<br />
Rule 1, on page 1 <strong>of</strong> the book <strong>of</strong> war, is: "Do not march on Moscow."<br />
Various people have tried it, Napoleon and Hitler, and it is no good. That<br />
is the first rule. I do not know whether your Lordships will know Rule 2<br />
<strong>of</strong> war. It is: "Do not go fighting with your land armies in China." It is<br />
a vast country, with no clearly defined objectives, and an army fighting<br />
there would be engulfed by what is known as the Ming Bing, the people's<br />
insurgents.<br />
Hansard (Lords) 30 May 1962, col. 227<br />
Far from helping these unnatural practices along, surely our task is to<br />
build a bulwark which will defy evil influences which are seeking to<br />
undermine the very foundations <strong>of</strong> our national character--defy them; do<br />
not help them. I have heard some say--and, indeed, the noble Earl said so<br />
himself--that such practices are allowed in France and in other NATO<br />
countries. We are not French, and we are not other nationals. We are<br />
British, thank God!<br />
Hansard (Lords) 24 May 1965, col. 648 (2nd reading <strong>of</strong> Sexual Offences<br />
Bill)<br />
13.116 George Moore<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1852-1933<br />
All reformers are bachelors.<br />
Bending <strong>of</strong> the Bough (1900) act 1<br />
A man travels the world in search <strong>of</strong> what he needs and returns home to<br />
find it.<br />
Brook Kerith (1916) ch. 11<br />
Had I not myself written, only half conscious <strong>of</strong> the truth, that art must<br />
be parochial in the beginning to become cosmopolitan in the end?<br />
Hail and Farewell: Ave (1911) p. 3<br />
<strong>The</strong> lot <strong>of</strong> critics is to be remembered by what they failed to understand.<br />
Impressions and Opinions (1891) "Balzac"
Our contention is...that acting is therefore the lowest <strong>of</strong> the arts, if it<br />
be an art at all.<br />
Impressions and Opinions (1891) "Mummer-Worship"<br />
13.117 Marianne Moore<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1972<br />
O to be a dragon,<br />
a symbol <strong>of</strong> the power <strong>of</strong> Heaven--<strong>of</strong> silkworm<br />
size or immense; at times invisible.<br />
Felicitous phenomenon!<br />
O To Be a Dragon (1959) title poem<br />
I, too, dislike it: there are things that are important beyond all this<br />
fiddle.<br />
Reading it, however, with a perfect contempt for it, one discovers in<br />
it, after all, a place for the genuine.<br />
Selected Poems (1935) "Poetry"<br />
Nor till the poets among us can be<br />
"literalists <strong>of</strong><br />
the imagination"--above<br />
insolence and triviality and can present<br />
for inspection, imaginary gardens with real toads in them, shall we have<br />
it.<br />
Selected Poems (1935) "Poetry"<br />
My father used to say,<br />
"Superior people never make long visits,<br />
have to be shown Longfellow's grave<br />
or the glass flowers at Harvard."<br />
Selected Poems (1935) "Silence"<br />
Nor was he insincere in saying, "Make my house your inn."<br />
Inns are not residences.<br />
Selected Poems (1935) "Silence"<br />
13.118 Larry Morey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1971<br />
Heigh-ho, heigh-ho,<br />
It's <strong>of</strong>f to work we go.<br />
Heigh-Ho (1937 song; music by Frank Churchill)<br />
Whistle while you work.<br />
Title <strong>of</strong> song (1937; music by Frank Churchill)<br />
13.119 Robin Morgan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
Sisterhood is powerful.<br />
Title <strong>of</strong> book (1970)
13.120 Christian Morgenstern<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1914<br />
Es war einmal ein Lattenzaun,<br />
mit Zwischenraum, hindurchzuschaun.<br />
Ein Architekt, der dieses sah,<br />
Stand eines Abends pl”tzlich da-und<br />
nahm den Zwischenraum heraus<br />
und baute draus ein grosses Haus.<br />
One time there was a picket fence<br />
With space to gaze from hence to thence.<br />
An architect who saw this sight<br />
Approached it suddenly one night,<br />
Removed the spaces from the fence<br />
And built <strong>of</strong> them a residence.<br />
Galgenlieder (Gallows Songs, 1905) "Der Lattenzaun"; tr. Max Knight 1963<br />
13.121 Christopher Morley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1957<br />
Life is a foreign language: all men mispronounce it.<br />
Thunder on the Left (1925) ch. 14<br />
13.122 Lord Morley (John, Viscount Morley <strong>of</strong> Blackburn)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1838-1923<br />
Simplicity <strong>of</strong> character is no hindrance to subtlety <strong>of</strong> intellect.<br />
Life <strong>of</strong> Gladstone (1903) vol. 1, p. 194<br />
You have not converted a man, because you have silenced him.<br />
On Compromise (1874) ch. 5<br />
13.123 Desmond Morris<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Clearly, then, the city is not a concrete jungle, it is a human zoo.<br />
<strong>The</strong> Human Zoo (1969) p. 8<br />
<strong>The</strong>re are one hundred and ninety-three living species <strong>of</strong> monkeys and apes.<br />
One hundred and ninety-two <strong>of</strong> them are covered with hair. <strong>The</strong> exception<br />
is a naked ape self-named Homo sapiens.<br />
<strong>The</strong> Naked Ape (1967) p. 9<br />
13.124 Herbert Morrison (Baron Morrison <strong>of</strong> Lambeth)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1965<br />
Work is the call. Work at war speed. Good-night--and go to it.<br />
Broadcast as Minister <strong>of</strong> Supply, 22 May 1940, in Daily Herald 23 May 1940
13.125 Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jim Morrison 1943-1971<br />
Ray Manzarek 1935-<br />
Robby Krieger 1946-<br />
John Densmore 1945-<br />
C'mon, baby, light my fire.<br />
Light My Fire (1967 song)<br />
13.126 R. F. Morrison<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Just a wee deoch-an-doris,<br />
Just a wee yin, that's a'.<br />
Just a wee deoch-an-doris,<br />
Before we gang awa'.<br />
<strong>The</strong>re's a wee wifie waitin',<br />
In a wee but-an-ben;<br />
If you can say<br />
"It's a braw bricht moonlicht nicht,"<br />
Ye're a' richt, ye ken.<br />
Just a Wee Deoch-an-Doris (1911 song; music by Whit Cunliffe; sung by<br />
Harry Lauder)<br />
13.127 Dwight Morrow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1931<br />
<strong>The</strong> world is divided into people who do things and people who get the<br />
credit. Try, if you can, to belong to the first class. <strong>The</strong>re's far less<br />
competition.<br />
Letter to his son, in Harold Nicolson Dwight Morrow (1935) ch. 3<br />
13.128 John Mortimer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
<strong>The</strong> shelf life <strong>of</strong> the modern hardback writer is somewhere between the milk<br />
and the yoghurt.<br />
In Observer 28 June 1987<br />
No brilliance is needed in the law. Nothing but common sense, and<br />
relatively clean finger nails.<br />
Voyage Round My Father (1971) act 1<br />
13.129 J. B. Morton ('Beachcomber')<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1975<br />
One disadvantage <strong>of</strong> being a hog is that at any moment some blundering fool<br />
may try to make a silk purse out <strong>of</strong> your wife's ear.<br />
By the Way (1931) p. 282
Hush, hush,<br />
Nobody cares!<br />
Christopher Robin<br />
Has<br />
Fallen<br />
Down-<br />
Stairs.<br />
By the Way (1931) p. 367<br />
Mr Justice Cocklecarrot began the hearing <strong>of</strong> a very curious case<br />
yesterday. A Mrs Tasker is accused <strong>of</strong> continually ringing the doorbell <strong>of</strong><br />
a Mrs Renton, and then, when the door is opened, pushing a dozen<br />
red-bearded dwarfs into the hall and leaving them there.<br />
Diet <strong>of</strong> Thistles (1938) pt. 7<br />
<strong>The</strong> Doctor is said also to have invented an extraordinary weapon which<br />
will make war less brutal. It is described as a very powerful liquid which<br />
rots braces at a distance <strong>of</strong> a mile.<br />
Gallimaufry (1936) "Bracerot"<br />
<strong>The</strong> man with the false nose had gone to that bourne from which no<br />
hollingsworth returns.<br />
Gallimaufry (1936) "Another True Story"<br />
Dr Strabismus (Whom God Preserve) <strong>of</strong> Utrecht has patented a new invention.<br />
It is an illuminated trouser-clip for bicyclists who are using main roads<br />
at night.<br />
Morton's Folly (1933) p. 99<br />
13.130 Rogers Morton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1979<br />
After losing five <strong>of</strong> the last six primaries, President Ford's campaign<br />
manager, Rogers Morton, was asked if he plans any change in strategy. Said<br />
Morton: "I'm not going to rearrange the furniture on the deck <strong>of</strong> the<br />
Titanic."<br />
Washington Post 16 May 1976, p. C8<br />
13.131 Sir Oswald Mosley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1980<br />
I am not, and never have been, a man <strong>of</strong> the right. My position was on the<br />
left and is now in the centre <strong>of</strong> politics.<br />
Letter in <strong>The</strong> Times 26 Apr. 1968<br />
13.132 Lord Louis Mountbatten (Viscount Mountbatten <strong>of</strong> Burma)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1979<br />
I can't think <strong>of</strong> a more wonderful thanksgiving for the life I have had<br />
than that everyone should be jolly at my funeral.<br />
In Richard Hough Mountbatten (1980) p. 3<br />
As a military man who has given half a century <strong>of</strong> active service, I say in<br />
all sincerity that the nuclear arms race has no military purpose. Wars
cannot be fought with nuclear weapons. <strong>The</strong>ir existence only adds to our<br />
perils because <strong>of</strong> the illusions which they have generated.<br />
Speech at Strasbourg, 11 May 1979, in P. Ziegler Mountbatten (1985) ch. 52<br />
13.133 Lord Moynihan (Berkeley Moynihan, Baron Moynihan)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1936<br />
Lord Dawson <strong>of</strong> Penn<br />
Has killed lots <strong>of</strong> men.<br />
So that's why we sing<br />
God save the King.<br />
In Kenneth Rose King George V (1983) ch. 9<br />
13.134 Robert Mugabe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-<br />
Cricket civilizes people and creates good gentlemen. I want everyone to<br />
play cricket in Zimbabwe; I want ours to be a nation <strong>of</strong> gentlemen.<br />
In Sunday Times 26 Feb. 1984<br />
13.135 Kitty Muggeridge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
David Frost has risen without trace.<br />
Said circa 1965 to Malcolm Muggeridge<br />
13.136 Malcolm Muggeridge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1990<br />
An orgy looks particularly alluring seen through the mists <strong>of</strong> righteous<br />
indignation.<br />
<strong>The</strong> Most <strong>of</strong> Malcolm Muggeridge (1966) "Dolce Vita in a Cold Climate"<br />
Once in the lobby <strong>of</strong> the Midland Hotel in Manchester when I happened to be<br />
in some public disfavour, a man came up to me, grasped my hand and<br />
observed: "Never forget that only dead fish swim with the stream."<br />
Radio Times 9 July 1964<br />
Good taste and humour...are a contradiction in terms, like a chaste whore.<br />
Time 14 Sept. 1953<br />
<strong>The</strong> orgasm has replaced the Cross as the focus <strong>of</strong> longing and the image <strong>of</strong><br />
fulfilment.<br />
Tread S<strong>of</strong>tly (1966) p. 46<br />
As has truly been said in his days as an active politician, he [Sir<br />
Anthony Eden] was not only a bore; he bored for England.<br />
Tread S<strong>of</strong>tly (1966) p. 147<br />
13.137 Edwin Muir<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1959
And without fear the lawless roads<br />
Ran wrong through all the land.<br />
Journeys and Places (1937) "H”lderlin's Journey"<br />
13.138 Herbert J. Muller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
Few have heard <strong>of</strong> Fra Luca Pacioli, the inventor <strong>of</strong> double-entry<br />
book-keeping; but he has probably had much more influence on human life<br />
than has Dante or Michelangelo.<br />
Uses <strong>of</strong> the Past (1957) ch. 8<br />
13.139 Ethel Watts Mumford, Oliver Herford, and Addison Mizner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ethel Watts Mumford 1878-1940<br />
Oliver Herford 1863-1935<br />
Addison Mizner 1872-1933<br />
In the midst <strong>of</strong> life we are in debt.<br />
Altogether New Cynic's Calendar (1907)--a parody <strong>of</strong> Book <strong>of</strong> Common<br />
Prayer: see <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 389:12<br />
God gives us our relatives--thank God we can choose our friends.<br />
Cynic's Calendar (1903)<br />
13.140 Lewis Mumford<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-<br />
Every generation revolts against its fathers and makes friends with its<br />
grandfathers.<br />
<strong>The</strong> Brown Decades (1931) p. 3<br />
Our national flower is the concrete cloverleaf.<br />
Quote Magazine 8 Oct. 1961<br />
13.141 Sir Alfred Munnings<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1959<br />
I find myself a President <strong>of</strong> a body <strong>of</strong> men who are what I call<br />
shilly-shallying. <strong>The</strong>y feel that there is something in this so-called<br />
modern art....I myself would rather have--excuse me, my Lord Archbishop--a<br />
damned bad failure, a bad, dusty old picture where somebody has tried to<br />
do something, to set down something that they have seen and felt, than all<br />
this affected juggling, this following <strong>of</strong> well--shall we call it the<br />
school <strong>of</strong> Paris?...Anthony Blunt...once stood in this room with me when<br />
the King's pictures were here. And there was a Reynolds hanging there and<br />
he said, "That Reynolds isn't as great as a Picasso." Believe me, what an<br />
extraordinary thing for a man to say.<br />
Speech at Royal Academy, 28 Apr. 1949, in <strong>The</strong> Finish (1952) ch. 22<br />
13.142 Richard Murdoch, and Kenneth Horne
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Richard Murdoch 1907-1990<br />
Kenneth Horne 1900-1969<br />
Have you read any good books lately?<br />
Catch-phrase used by Richard Murdoch in radio comedy series<br />
Much-Binding-in-the-Marsh (started 2 Jan. 1947)<br />
Good morning, sir--was there something?<br />
Catch-phrase used by Sam Costa in radio comedy series<br />
Much-Binding-in-the-Marsh (started 2 Jan. 1947), in Norman Hackforth Solo<br />
for Horne (1976) p. 58<br />
13.143 C. W. Murphy and Will Letters<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Has anybody here seen Kelly?<br />
Kelly from the Isle <strong>of</strong> Man?<br />
Has Anybody Here Seen Kelly? (1909 song)<br />
13.144 Ed Murphy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I was project manager at Edwards Airforce Base during Colonel J. P.<br />
Stapp's experimental crash research testing on the track at North Base.<br />
<strong>The</strong> law's namesake was Captain Ed Murphy--a development engineer from<br />
Wright aircraft lab. Frustration with a strap transducer which was<br />
malfunctioning due to an error by a lab technician in the wiring <strong>of</strong> the<br />
strain gauge bridges caused Murphy to remark: "If there's any way to do it<br />
wrong, he will!" I assigned Murphy's Law to the statement and the<br />
associated variations.<br />
George E. Nichols in Listener 16 Feb. 1984<br />
13.145 Fred Murray<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ginger, you're balmy!<br />
Title <strong>of</strong> song (1910)<br />
I'm Henery the Eighth, I am!<br />
Henery the Eighth, I am, I am!<br />
I got married to the widow next door,<br />
She's been married seven times before.<br />
Every one was a Henery,<br />
She wouldn't have a Willie or a Sam.<br />
I'm her eighth old man named Henery<br />
I'm Henery the Eighth, I am!<br />
I'm Henery the Eighth, I Am! (1911 song)<br />
13.146 Edward R. Murrow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1965<br />
As Ed Murrow once said about Vietnam, anyone who isn't confused doesn't
eally understand the situation.<br />
Walter Bryan <strong>The</strong> Improbable Irish (1969) ch. 1<br />
This--is London.<br />
Words used to open his broadcasts from London, 1938-45: see E. R. Murrow<br />
In Search <strong>of</strong> Light (1967) p. 7<br />
He [Winston Churchill] mobilized the English language and sent it into<br />
battle to steady his fellow countrymen and hearten those Europeans upon<br />
whom the long dark night <strong>of</strong> tyranny had descended.<br />
Broadcast, 30 Nov. 1954, in In Search <strong>of</strong> Light (1967) p. 276<br />
13.147 Benito Mussolini<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1945<br />
Voglio partire in perfetto orario....D'ora innanzi ogni cosa deve<br />
camminare alla perfezione.<br />
We must leave exactly on time....From now on everything must function to<br />
perfection.<br />
Giorgio Pini Mussolini (1939) vol. 2, ch. 6, p. 251 (said to<br />
a station-master). Cf. HRH Infanta Eulalia <strong>of</strong> Spain Courts and Countries<br />
after the War (1925) ch. 13: "<strong>The</strong> first benefit <strong>of</strong> Benito Mussolini's<br />
direction in Italy begins to be felt when one crosses the Italian Frontier<br />
and hears "Il treno arriva all'orario" [i.e. "the train is arriving on<br />
time"]<br />
13.148 A. J. Muste<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1967<br />
<strong>The</strong>re is no way to peace. Peace is the way.<br />
In New York Times 16 Nov. 1967, p. 46<br />
14.0 N<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
14.1 Vladimir Nabokov<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1977<br />
Her exotic daydreams do not prevent her from being small-town bourgeois at<br />
heart, clinging to conventional ideas or committing this or that<br />
conventional violation <strong>of</strong> the conventional, adultery being a most<br />
conventional way to rise above the conventional.<br />
Lectures on Literature (1980) "Madame Bovary"<br />
Lolita, light <strong>of</strong> my life, fire <strong>of</strong> my loins. My sin, my soul. Lo-lee-ta:<br />
the tip <strong>of</strong> the tongue taking a trip <strong>of</strong> three steps down the palate to tap,<br />
at three, on the teeth. Lo. Lee. Ta.<br />
Lolita (1955) ch. 1<br />
Life is a great surprise. I do not see why death should not be an even<br />
greater one.
Pale Fire (1962) p. 225<br />
<strong>The</strong> cradle rocks above an abyss, and common sense tells us that our<br />
existence is but a brief crack <strong>of</strong> light between two eternities <strong>of</strong><br />
darkness.<br />
Speak, Memory (1951) ch. 1<br />
I think like a genius, I write like a distinguished author, and I speak<br />
like a child.<br />
Strong Opinions (1973) foreword<br />
A work <strong>of</strong> art has no importance whatever to society. It is only important<br />
to the individual, and only the individual reader is important to me.<br />
Strong Opinions (1973) p. 33<br />
14.2 Ralph Nader<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
Unsafe at any speed.<br />
Title <strong>of</strong> book (1965)<br />
14.3 Sarojini Naidu<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1949<br />
If only Bapu [Gandhi] knew the cost <strong>of</strong> setting him up in poverty!<br />
In A. Campbell-Johnson Mission with Mountbatten (1951) ch. 12<br />
14.4 Fridtj<strong>of</strong> Nansen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1861-1930<br />
He [Nansen] once told me the rules by which, in his explorations and at<br />
Geneva, his work was done. <strong>The</strong>re were three <strong>of</strong> them, and they were very<br />
simple: "Never stop because you are afraid--you are never so likely to be<br />
wrong." "Never keep a line <strong>of</strong> retreat: it is a wretched invention." "<strong>The</strong><br />
difficult is what takes a little time; the impossible is what takes<br />
a little longer."<br />
Philip Noel-Baker in Listener 14 Dec. 1939<br />
14.5 Ogden Nash<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1971<br />
<strong>The</strong> camel has a single hump;<br />
<strong>The</strong> dromedary, two;<br />
Or else the other way around,<br />
I'm never sure. Are you?<br />
Bad Parents' Garden <strong>of</strong> Verse (1936) "<strong>The</strong> Camel"<br />
<strong>The</strong> trouble with a kitten is<br />
THAT<br />
Eventually it becomes a<br />
CAT<br />
<strong>The</strong> Face is Familiar (1940) "<strong>The</strong> Kitten"
Oh, what a tangled web do parents weave<br />
When they think that their children are na‹ve.<br />
<strong>The</strong> Face is Familiar (1940) "Baby, What Makes the Sky Blue"<br />
Sure, deck your lower limbs in pants;<br />
Yours are the limbs, my sweeting.<br />
You look divine as you advance--<br />
Have you seen yourself retreating?<br />
<strong>The</strong> Face is Familiar (1940) "What's the Use?"<br />
<strong>The</strong> cow is <strong>of</strong> the bovine ilk;<br />
One end is moo, the other, milk;<br />
<strong>Free</strong> Wheeling (1931) "<strong>The</strong> Cow"<br />
A bit <strong>of</strong> talcum<br />
Is always walcum.<br />
<strong>Free</strong> Wheeling (1931) "<strong>The</strong> Baby"<br />
Life is not having been told that the man has just waxed the floor.<br />
Good Intentions (1942) "You and Me and P. B. Shelley"<br />
Beneath this slab<br />
John Brown is stowed.<br />
He watched the ads,<br />
And not the road.<br />
Good Intentions (1942) "Lather as You Go"<br />
I have a bone to pick with Fate.<br />
Come here and tell me, girlie,<br />
Do you think my mind is maturing late,<br />
Or simply rotted early?<br />
Good Intentions (1942) "Lines on Facing Forty"<br />
I test my bath before I sit,<br />
And I'm always moved to wonderment<br />
That what chills the finger not a bit<br />
Is so frigid upon the fundament.<br />
Good Intentions (1942) "Samson Agonistes"<br />
Women would rather be right than be reasonable.<br />
Good Intentions (1942) "Frailty, Thy Name is a Misnomer"<br />
Parsley<br />
Is gharsley.<br />
Good Intentions (1942) "Further Reflections on Parsley"<br />
God in His wisdom made the fly<br />
And then forgot to tell us why.<br />
Good Intentions (1942) "<strong>The</strong> Fly"<br />
Any kiddie in school can love like a fool,<br />
But hating, my boy, is an art.<br />
Happy Days (1933) "Plea for Less Malice Toward None"<br />
I think that I shall never see<br />
A billboard lovely as a tree.<br />
Perhaps, unless the billboards fall,<br />
I'll never see a tree at all.<br />
Happy Days (1933) "Song <strong>of</strong> the Open Road." Cf. Joyce Kilmer 121:8
Children aren't happy with nothing to ignore,<br />
And that's what parents were created for.<br />
Happy Days (1933) "<strong>The</strong> Parent"<br />
One would be in less danger<br />
From the wiles <strong>of</strong> the stranger<br />
If one's own kin and kith<br />
Were more fun to be with.<br />
Hard Lines (1931) "Family Court"<br />
A girl whose cheeks are covered with paint<br />
Has an advantage with me over one whose ain't.<br />
Hard Lines (1931) "Biological Reflection"<br />
Candy<br />
Is dandy<br />
But liquor<br />
Is quicker.<br />
Hard Lines (1931) "Reflections on Ice-breaking"<br />
<strong>The</strong> turtle lives 'twixt plated decks<br />
Which practically conceal its sex.<br />
I think it clever <strong>of</strong> the turtle<br />
In such a fix to be so fertile.<br />
Hard Lines (1931) "Autres Bˆtes, Autres Moeurs"<br />
Let us pause to consider the English,<br />
Who when they pause to consider themselves they get all reticently<br />
thrilled and tinglish,<br />
Because every Englishman is convinced <strong>of</strong> one thing, viz.:<br />
That to be an Englishman is to belong to the most exclusive club there<br />
is.<br />
I'm a Stranger Here Myself (1938) "England Expects"<br />
<strong>The</strong>re was a young belle <strong>of</strong> old Natchez<br />
Whose garments were always in patchez.<br />
When comment arose<br />
On the state <strong>of</strong> her clothes,<br />
She drawled, When Ah itchez, Ah scratchez.<br />
I'm a Stranger Here Myself (1938) "Requiem"<br />
Home is heaven and orgies are vile,<br />
But you need an orgy, once in a while.<br />
Primrose Path (1935) "Home, 99 44/100 % Sweet Home"<br />
He tells you when you've got on too much lipstick,<br />
And helps you with your girdle when your hips stick.<br />
Versus (1949) "<strong>The</strong> Perfect Husband"<br />
14.6 George Jean Nathan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1958<br />
<strong>The</strong> test <strong>of</strong> a real comedian is whether you laugh at him before he opens<br />
his mouth.<br />
American Mercury Sept. 1929<br />
14.7 Terry Nation
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Exterminate! Exterminate!<br />
Said by the Daleks in BBC television series Dr Who from Dec. 1963, in<br />
David Whitaker and Terry Nation Dr Who (1964) ch. 9<br />
14.8 James Ball Naylor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1945<br />
King David and King Solomon<br />
Led merry, merry lives,<br />
With many, many lady friends,<br />
And many, many wives;<br />
But when old age crept over them--<br />
With many, many qualms!--<br />
King Solomon wrote the Proverbs<br />
And King David wrote the Psalms.<br />
Vagrant Verse (1935) "King David and King Solomon"<br />
14.9 Jawaharlal Nehru<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1964<br />
Friends and comrades, the light has gone out <strong>of</strong> our lives and there is<br />
darkness everywhere. I do not know what to tell you and how to say it. Our<br />
beloved leader, Bapu as we called him, the father <strong>of</strong> the nation, is no<br />
more.<br />
Broadcast, 30 Jan. 1948 (after Gandhi's assassination), in Richard J.<br />
Walsh Nehru on Gandhi (1948) ch. 6<br />
Democracy and socialism are means to an end, not the end itself.<br />
"Basic Approach," repr. in Vincent Shean Nehru: the Years <strong>of</strong> Power (1960)<br />
p. 294<br />
Normally speaking, it may be said that the forces <strong>of</strong> a capitalist society,<br />
if left unchecked, tend to make the rich richer and the poor poorer and<br />
thus increase the gap between them.<br />
"Basic Approach," repr. in Vincent Shean Nehru: the Years <strong>of</strong> Power (1960)<br />
p. 295<br />
14.10 Allan Nevins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1971<br />
<strong>The</strong> former Allies had blundered in the past by <strong>of</strong>fering Germany too<br />
little, and <strong>of</strong>fering even that too late, until finally Nazi Germany had<br />
become a menace to all mankind.<br />
In Current History (New York) May 1935, p. 178<br />
14.11 Anthony Newley and Leslie Bricusse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Anthony Newley 1931-<br />
Leslie Bricusse 1931-
Stop the world, I want to get <strong>of</strong>f.<br />
Title <strong>of</strong> musical (1961)<br />
14.12 Huey Newton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-<br />
I suggested [in 1966] that we use the panther as our symbol and call our<br />
political vehicle the Black Panther Party. <strong>The</strong> panther is a fierce animal,<br />
but he will not attack until he is backed into a corner; then he will<br />
strike out.<br />
Revolutionary Suicide (1973) ch. 16<br />
14.13 Vivian Nicholson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1936-<br />
I want to spend, and spend, and spend.<br />
Said to reporters on arriving to collect her husband's football pools<br />
winnings <strong>of</strong> œ152,000, in Daily Herald 28 Sept. 1961<br />
14.14 Sir Harold Nicolson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1968<br />
Chamberlain (who has the mind and manner <strong>of</strong> a clothes-brush) aims only at<br />
assuring temporary peace at the price <strong>of</strong> ultimate defeat.<br />
Diary 6 June 1938, in Diaries and Letters (1966) p. 345<br />
Attlee is a charming and intelligent man, but as a public speaker he is,<br />
compared to Winston [Churchill], like a village fiddler after Paganini.<br />
Diary 10 Nov. 1947, in Diaries and Letters (1968) p. 113<br />
14.15 Reinhold Niebuhr<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1971<br />
Man's capacity for justice makes democracy possible, but man's inclination<br />
to injustice makes democracy necessary.<br />
Children <strong>of</strong> Light and Children <strong>of</strong> Darkness (1944) foreword<br />
God, give us the serenity to accept what cannot be changed;<br />
Give us the courage to change what should be changed;<br />
Give us the wisdom to distinguish one from the other.<br />
In Richard Wightman Fox Reinhold Niebuhr (1985) ch. 12 (prayer said to<br />
have been first published in 1951)<br />
14.16 Carl Nielsen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1931<br />
Musik er liv, som dette und slukkelig.<br />
Music is life, and like it is inextinguishable.
4th Symphony ("<strong>The</strong> Inextinguishable," 1916) preface<br />
14.17 Martin Niem”ller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1984<br />
When Hitler attacked the Jews I was not a Jew, therefore, I was not<br />
concerned. And when Hitler attacked the Catholics, I was not a Catholic,<br />
and therefore, I was not concerned. And when Hitler attacked the unions<br />
and the industrialists, I was not a member <strong>of</strong> the unions and I was not<br />
concerned. <strong>The</strong>n, Hitler attacked me and the Protestant church--and there<br />
was nobody left to be concerned.<br />
In Congressional Record 14 Oct. 1968, p. 31636<br />
14.18 Florence Nightingale<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1820-1910<br />
On December 5 [1907], Sir Douglas Dawson...brought the Order [<strong>of</strong><br />
Merit]...to South Street. Miss Nightingale understood that some kindness<br />
had been done to her, but hardly more. "Too kind, too kind," she said.<br />
E. Cook Life <strong>of</strong> Florence Nightingale (1913) vol. 2, pt. 7, ch. 9<br />
14.19 Richard Milhous Nixon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
When the President does it, that means that it is not illegal.<br />
In David Frost I Gave <strong>The</strong>m a Sword (1978) ch. 8<br />
I brought myself down. I gave them a sword. And they stuck it in. And they<br />
twisted it with relish. And, I guess, if I'd been in their position, I'd<br />
have done the same thing.<br />
Television interview with David Frost, 19 May 1977, in David Frost I Gave<br />
<strong>The</strong>m a Sword (1978) ch. 10<br />
I leave you gentlemen now and you will now write it. You will interpret<br />
it. That's your right. But as I leave you I want you to know--just think<br />
how much you're going to be missing. You won't have Nixon to kick around<br />
any more because, gentlemen, this is my last press conference....I hope<br />
that what I have said today will at least make television, radio, the<br />
press first recognize the great responsibility they have to report all the<br />
news and, second, recognize that they have a right and a responsibility,<br />
if they're against a candidate, to give him the shaft, but also recognize<br />
if they give him the shaft, put one lonely reporter on the campaign who<br />
will report what the candidate says now and then. Thank you gentlemen, and<br />
good day.<br />
After losing the election for Governor <strong>of</strong> California, 5 Nov. 1962, in New<br />
York Times 8 Nov. 1962, p. 8<br />
Let us begin by committing ourselves to the truth, to see it like it is<br />
and tell it like it is, to find the truth, to speak the truth and to live<br />
the truth. That's what we will do.<br />
Nomination acceptance speech, Miami, 8 Aug. 1968, in New York Times 9 Aug.<br />
1968, p. 20<br />
Hello, Neil and Buzz. I'm talking to you by telephone from the Oval Room
at the White House, and this certainly has to be the most historic<br />
telephone call ever made.<br />
Speaking to the first men to land on the moon, 20 July 1969, in New York<br />
Times 21 July 1969, p. 2<br />
This is the greatest week in the history <strong>of</strong> the world since the Creation.<br />
Speech 24 July 1969, welcoming the return <strong>of</strong> the first men to land on the<br />
moon, in New York Times 25 July 1969, p. 29<br />
<strong>The</strong>re can be no whitewash at the White House.<br />
Television speech on Watergate, 30 Apr. 1973, in New York Times 1 May<br />
1973, p. 31<br />
I made my mistakes, but in all my years <strong>of</strong> public life, I have never<br />
pr<strong>of</strong>ited, never pr<strong>of</strong>ited from public service. I've earned every cent. And<br />
in all <strong>of</strong> my years in public life I have never obstructed justice. And<br />
I think, too, that I can say that in my years <strong>of</strong> public life that<br />
I welcome this kind <strong>of</strong> examination because people have got to know whether<br />
or not their President is a crook. Well, I'm not a crook. I've earned<br />
everything I've got.<br />
Speech at press conference, 17 Nov. 1973, in New York Times 18 Nov. 1973,<br />
p. 62<br />
This country needs good farmers, good businessmen, good plumbers, good<br />
carpenters.<br />
Farewell address at White House, 9 Aug. 1974, cited in New York Times<br />
10 Aug. 1974, p. 4<br />
Pat and I have the satisfaction that every dime that we've got is honestly<br />
ours. I should say this--that Pat doesn't have a mink coat. But she does<br />
have a respectable Republican cloth coat. And I always tell her that<br />
she'd look good in anything. One other thing I probably should tell you,<br />
because if I don't they'll probably be saying this about me too, we did<br />
get something--a gift--after the election....It was a little<br />
cocker-spaniel dog....And our little girl--Tricia, the 6-year-old--named<br />
it Checkers. And you know the kids love that dog and I just want to say<br />
this right now, that regardless <strong>of</strong> what they say about it, we're going to<br />
keep it.<br />
Speech on television, 23 Sept. 1952, in P. Andrews This Man Nixon (1952)<br />
p. 60<br />
14.20 David Nobbs<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
"This one's going to be a real winner," said C. J. "I didn't get where<br />
I am today without knowing a real winner when I see one."<br />
Death <strong>of</strong> Reginald Perrin (1975) p. 9 (subsequently a catch-phrase in BBC<br />
television series <strong>The</strong> Fall and Rise <strong>of</strong> Reginald Perrin , 1976-80)<br />
14.21 Milton Nobles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1847-1924<br />
<strong>The</strong> villain still pursued her.<br />
Phoenix (1900) act 1, sc. 3<br />
14.22 Albert J. Nock<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1873-1945<br />
It is an economic axiom as old as the hills that goods and services can be<br />
paid for only with goods and services.<br />
Memoirs <strong>of</strong> a Superfluous Man (1943) ch. 13<br />
14.23 Frank Norman and Lionel Bart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Frank Norman 1931-<br />
Lionel Bart 1930-<br />
Fings ain't wot they used t'be.<br />
Title <strong>of</strong> musical (1959). Cf. Ted Persons 170:9<br />
14.24 Lord Northcliffe (Alfred Charles William Harmsworth, Viscount Northcliffe)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1922<br />
Harmsworth had always said: "When I want a peerage, I shall buy it like an<br />
honest man."<br />
Tom Driberg Swaff: the Life and Times <strong>of</strong> Hannen Swaffer (1974) ch. 2<br />
14.25 Jack Norworth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1959<br />
Oh, shine on, shine on, harvest moon<br />
Up in the sky.<br />
I ain't had no lovin'<br />
Since April, January, June, or July.<br />
Shine On, Harvest Moon (1908 song; music by Nora Bayes-Norworth)<br />
Take me out to the ball game.<br />
Title <strong>of</strong> song (1908; music by Albert Von Tilzer)<br />
14.26 Alfred Noyes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1958<br />
Go down to Kew in lilac-time, in lilac-time, in lilac-time,<br />
Go down to Kew in lilac-time (it isn't far from London!)<br />
And you shall wander hand in hand with love in summer's wonderland;<br />
Go down to Kew in lilac-time (it isn't far from London!)<br />
Poems (1904) "<strong>The</strong> Barrel-Organ"<br />
<strong>The</strong> wind was a torrent <strong>of</strong> darkness among the gusty trees,<br />
<strong>The</strong> moon was a ghostly galleon tossed upon cloudy seas,<br />
<strong>The</strong> road was a ribbon <strong>of</strong> moonlight over the purple moor,<br />
And the highwayman came riding-Riding-riding-<br />
<strong>The</strong> highwayman came riding, up to the old inn-door.<br />
Forty Singing Seamen and Other Poems (1907) "<strong>The</strong> Highwayman"<br />
He whistled a tune to the window, and who should be waiting there<br />
<strong>The</strong> landlord's black-eyed daughter,
Bess, the landlord's daughter,<br />
Plaiting a dark red love-knot into her long black hair.<br />
Forty Singing Seamen and Other Poems (1907) "<strong>The</strong> Highwayman"<br />
Look for me by moonlight;<br />
Watch for me by moonlight;<br />
I'll come to thee by moonlight, though hell should bar the way!<br />
Forty Singing Seamen and Other Poems (1907) "<strong>The</strong> Highwayman"<br />
14.27 Bill Nye (Edgar Wilson Nye)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> late Bill Nye once said, "I have been told that Wagner's music is<br />
better than it sounds."<br />
Mark Twain Autobiography (1924) vol. 1, p. 338<br />
15.0 O<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
15.1 Captain Lawrence Oates<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1912<br />
I am just going outside and may be some time.<br />
Last words, quoted in R. F. Scott Diary 16-17 Mar. 1912, in Last<br />
Expedition (1913) p. 593<br />
15.2 Edna O'Brien<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
August is a wicked month.<br />
Title <strong>of</strong> novel (1965)<br />
<strong>The</strong> vote, I thought, means nothing to women. We should be armed.<br />
In Erica Jong Fear <strong>of</strong> Flying (1973) ch. 16<br />
Oh, God, who does not exist, you hate women, otherwise you'd have made<br />
them different.<br />
Girls in their Married Bliss (1964) ch. 10<br />
15.3 Flann O'Brien (Brian O'Nolan or O Nuallain)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1966<br />
<strong>The</strong> Pooka MacPhellimey, a member <strong>of</strong> the devil class, sat in his hut in the<br />
middle <strong>of</strong> a firwood meditating on the nature <strong>of</strong> the numerals and<br />
segregating in his mind the odd ones from the even.<br />
At Swim-Two-Birds (1939) ch. 1<br />
<strong>The</strong> conclusion <strong>of</strong> your syllogism, I said lightly, is fallacious, being<br />
based upon licensed premises.<br />
At Swim-Two-Birds (1939) ch. 1
A pint <strong>of</strong> plain is your only man.<br />
At Swim-Two-Birds (1939) "<strong>The</strong> Workman's Friend"<br />
It is not that I half knew my mother. I knew half <strong>of</strong> her: the lower<br />
half--her lap, legs, feet, her hands and wrists as she bent forward.<br />
<strong>The</strong> Hard Life (1961) p. 11<br />
People who spend most <strong>of</strong> their natural lives riding iron bicycles over the<br />
rocky roadsteads <strong>of</strong> this parish get their personalities mixed up with the<br />
personalities <strong>of</strong> their bicycles as a result <strong>of</strong> the interchanging <strong>of</strong> the<br />
atoms <strong>of</strong> each <strong>of</strong> them and you would be surprised at the number <strong>of</strong> people<br />
in these parts who nearly are half people and half bicycles.<br />
<strong>The</strong> Third Policeman (1967) p. 85<br />
15.4 Sean O'Casey<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1964<br />
He's an oul' butty o' mine--oh, he's a darlin' man, a daarlin' man.<br />
Juno and the Paycock (1925) act 1<br />
<strong>The</strong> whole worl's in a state o' chassis!<br />
Juno and the Paycock (1925) act 1<br />
I <strong>of</strong>ten looked up at the sky an' assed meself the question--what is the<br />
stars, what is the stars?<br />
Juno and the Paycock (1925) act 1<br />
Sacred Heart <strong>of</strong> the Crucified Jesus, take our hearts o' stone...an' give<br />
us hearts o' flesh!...Take away this murdherin' hate...an' give us Thine<br />
own eternal love!<br />
Juno and the Paycock (1925) act 2<br />
<strong>The</strong> Polis as Polis, in this city, is Null an' Void!<br />
Juno and the Paycock (1925) act 3<br />
When one has reached 81...one likes to sit back and let the world turn by<br />
itself, without trying to push it.<br />
New York Times 25 Sept. 1960, pt. 2, p. 3<br />
<strong>The</strong>re's no reason to bring religion into it. I think we ought to have as<br />
great a regard for religion as we can, so as to keep it out <strong>of</strong> as many<br />
things as possible.<br />
<strong>The</strong> Plough and the Stars (1926) act 1<br />
It's my rule never to lose me temper till it would be dethrimental to keep<br />
it.<br />
<strong>The</strong> Plough and the Stars (1926) act 2<br />
English literature's performing flea [P. G. Wodehouse].<br />
In P. G. Wodehouse Performing Flea (1953) p. 217<br />
15.5 Edwin O'Connor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1968<br />
<strong>The</strong> last hurrah.<br />
Title <strong>of</strong> novel (1956)
15.6 Se n O'Faol in<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-<br />
Stories, like whiskey, must be allowed to mature in the cask.<br />
Atlantic Monthly Dec. 1956, p. 76<br />
15.7 David Ogilvy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-<br />
<strong>The</strong> consumer isn't a moron; she is your wife. You insult her intelligence<br />
if you assume that a mere slogan and a few vapid adjectives will persuade<br />
her to buy anything.<br />
Confessions <strong>of</strong> an Advertising Man (1963) ch. 5<br />
15.8 Ge<strong>of</strong>frey O'Hara<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1967<br />
K-K-K-Katy, beautiful Katy,<br />
You're the only g-g-g-girl that I adore;--<br />
When the m-m-m-moon shines,<br />
Over the cow shed,<br />
I'll be waiting at the k-k-k-kitchen door.<br />
K-K-K-Katy (1918 song)<br />
15.9 John O'Hara<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1970<br />
George [Gershwin] died on July 11, 1937, but I don't have to believe that<br />
if I don't want to.<br />
Newsweek 15 July 1940, p. 34<br />
15.10 Patrick O'Keefe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1934<br />
Say it with flowers.<br />
Slogan for the Society <strong>of</strong> American Florists, in Florists' Exchange 15 Dec.<br />
1917, p. 1268<br />
15.11 Chauncey Olcott and George Graff Jr.<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
When Irish eyes are smiling.<br />
Title <strong>of</strong> song (1912; music by Ernest R. Ball)<br />
15.12 Frederick Scott Oliver<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1934
A wise politician will never grudge a genuflexion or a rapture if it is<br />
expected <strong>of</strong> him by prevalent opinion.<br />
<strong>The</strong> Endless Adventure (1930) vol. 1, pt. 1, ch. 20<br />
15.13 Laurence Olivier (Baron Olivier <strong>of</strong> Brighton)<br />
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1907-1989<br />
Acting is a masochistic form <strong>of</strong> exhibitionism. It is not quite the<br />
occupation <strong>of</strong> an adult.<br />
In Time 3 July 1978, p. 33<br />
15.14 Frank Ward O'Malley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1932<br />
See Elbert Hubbard (8.85)<br />
15.15 Mary O'Malley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1941-<br />
Once a Catholic always a Catholic. That's the rule.<br />
Once a Catholic (1971) act 1, sc. 2. Cf. Angus Wilson<br />
15.16 Eugene O'Neill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1953<br />
For de little stealin' dey gits you in jail soon or late. For de big<br />
stealin' dey makes you Emperor and puts you in de Hall o' Fame when you<br />
croaks.<br />
<strong>The</strong> Emperor Jones (1921) sc. 1<br />
<strong>The</strong> iceman cometh.<br />
Title <strong>of</strong> play (1946)<br />
Life is for each man a solitary cell whose walls are mirrors.<br />
Lazarus Laughed (1927) act 2, sc. 1<br />
When men make gods, there is no God!<br />
Lazarus Laughed (1927) act 2, sc. 2<br />
A long day's journey into night.<br />
Title <strong>of</strong> play (written 1940-1; published 1956)<br />
Life is perhaps most wisely regarded as a bad dream between two<br />
awakenings, and every day is a life in miniature.<br />
Marco Millions (1928) act 2, sc. 2<br />
<strong>The</strong> sea hates a coward!<br />
Mourning becomes Electra (1931) pt. 2, act 4<br />
What beastly incidents our memories insist on cherishing!...the ugly and<br />
disgusting...the beautiful things we have to keep diaries to remember!
Strange Interlude (1928) pt. 1, act 2<br />
<strong>The</strong> only living life is in the past and future...the present is an<br />
interlude...strange interlude in which we call on past and future to bear<br />
witness we are living.<br />
Strange Interlude (1928) pt. 2, act 8<br />
Strange interlude! Yes, our lives are merely strange dark interludes in<br />
the electrical display <strong>of</strong> God the Father!<br />
Strange Interlude (1928) pt. 2, act 9<br />
15.17 Brian O'Nolan<br />
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1911-1966<br />
See Flann O'Brien (15.3)<br />
15.18 J. Robert Oppenheimer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1967<br />
In some sort <strong>of</strong> crude sense which no vulgarity, no humour, no<br />
overstatement can quite extinguish, the physicists have known sin; and<br />
this is a knowledge which they cannot lose.<br />
Lecture at Massachusetts Institute <strong>of</strong> Technology, 25 Nov. 1947, in Open<br />
Mind (1955) ch. 5<br />
15.19 Susie Orbach<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Fat is a feminist issue.<br />
Title <strong>of</strong> book (1978)<br />
15.20 Baroness Orczy<br />
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1865-1947<br />
We seek him here, we seek him there,<br />
Those Frenchies seek him everywhere.<br />
Is he in heaven?--Is he in hell?<br />
That demmed, elusive Pimpernel?<br />
<strong>The</strong> Scarlet Pimpernel (1905) ch. 12<br />
15.21 David Ormsby Gore<br />
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1918-1985<br />
See Lord Harlech (8.23)<br />
15.22 Jos‚ Ortega y Gasset<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1955
Yo soy yo y mi circumstancia, y si no la salvo a ella no me salvo yo.<br />
I am I plus my surroundings and if I do not preserve the latter, I do not<br />
preserve myself.<br />
Meditaciones del Quijote (Meditations <strong>of</strong> Quixote, 1914) in Obras Completas<br />
(1946) vol. 1, p. 322<br />
La civilizaci¢n no es otra cosa que el ensayo de reducir la fuerza<br />
a ultima ratio.<br />
Civilization is nothing more than the effort to reduce the use <strong>of</strong> force to<br />
the last resort.<br />
La Rebeli¢n de las Masas (<strong>The</strong> Revolt <strong>of</strong> the Masses, 1930) in Obras<br />
Completas (1947) vol. 4, p. 191<br />
15.23 Joe Orton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-1967<br />
I'd the upbringing a nun would envy and that's the truth. Until I was<br />
fifteen I was more familiar with Africa than my own body.<br />
Entertaining Mr Sloane (1964) act 1<br />
Kath: Can he be present at the birth <strong>of</strong> his child?...<br />
Ed: It's all any reasonable child can expect if the dad is present at<br />
the conception.<br />
Entertaining Mr Sloane (1964) act 3<br />
Every luxury was lavished on you--atheism, breast-feeding, circumcision.<br />
I had to make my own way.<br />
Loot (1967) act 1<br />
Policemen, like red squirrels, must be protected.<br />
Loot (1967) act 1<br />
Reading isn't an occupation we encourage among police <strong>of</strong>ficers. We try to<br />
keep the paper work down to a minimum.<br />
Loot (1967) act 2<br />
<strong>The</strong> kind <strong>of</strong> people who always go on about whether a thing is in good taste<br />
invariably have very bad taste.<br />
Transatlantic Review Spring 1967, p. 95<br />
You were born with your legs apart. <strong>The</strong>y'll send you to the grave in<br />
a Y-shaped c<strong>of</strong>fin.<br />
What the Butler Saw (1969) act 1<br />
15.24 George Orwell (Eric Blair)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1950<br />
Man is the only creature that consumes without producing.<br />
Animal Farm (1945) ch. 1<br />
Four legs good, two legs bad.<br />
Animal Farm (1945) ch. 3<br />
All animals are equal but some animals are more equal than others.
Animal Farm (1945) ch. 10<br />
At 50, everyone has the face he deserves.<br />
Last words in his notebook, 17 April 1949, in Collected Essays (1968)<br />
vol. 4, p. 515<br />
I'm fat, but I'm thin inside. Has it ever struck you that there's thin man<br />
inside every fat man, just as they say there's a statue inside every block<br />
<strong>of</strong> stone?<br />
Coming up For Air (1939) pt. 1, ch. 3. See also Cyril Connolly (3.85)<br />
[Clement] Attlee reminds me <strong>of</strong> nothing so much as a recently dead fish,<br />
before it has had time to stiffen.<br />
Diary 19 May 1942, in Essays (1968 vol. 2, p. 426<br />
He was an embittered atheist (the sort <strong>of</strong> atheist who does not so much<br />
disbelieve in God as personally dislike Him), and took a sort <strong>of</strong> pleasure<br />
in thinking that human affairs would never improve.<br />
Down and Out in Paris and London (1933) ch. 30<br />
Whatever is funny is subversive, every joke is ultimately a custard<br />
pie....A dirty joke is a sort <strong>of</strong> mental rebellion.<br />
Horizon Sept. 1941 "<strong>The</strong> Art <strong>of</strong> Donald McGill"<br />
Most revolutionaries are potential Tories, because they imagine that<br />
everything can be put right by altering the shape <strong>of</strong> society; once that<br />
change is effected, as it sometimes is, they see no need for any other.<br />
Inside the Whale (1940) "Charles Dickens"<br />
Keep the aspidistra flying.<br />
Title <strong>of</strong> novel (1936)<br />
England is not the jewelled isle <strong>of</strong> Shakespeare's much-quoted passage, nor<br />
is it the inferno depicted by Dr Goebbels. More than either it resembles<br />
a family, a rather stuffy Victorian family, with not many black sheep in<br />
it but with all its cupboards bursting with skeletons....A family with the<br />
wrong members in control--that, perhaps, is as near as one can come to<br />
describing England in a phrase.<br />
<strong>The</strong> Lion and the Unicorn (1941) pt. 1 "England Your England"<br />
Probably the battle <strong>of</strong> Waterloo was won on the playing-fields <strong>of</strong> Eton, but<br />
the opening battles <strong>of</strong> all subsequent wars have been lost there.<br />
<strong>The</strong> Lion and the Unicorn (1941) pt. 1 "England Your England"<br />
It was a bright cold day in April, and the clocks were striking thirteen.<br />
Nineteen Eighty-Four (1949) pt. 1, ch. 1<br />
On each landing, opposite the lift shaft, the poster with the enormous<br />
face gazed from the wall. It was one <strong>of</strong> those pictures which are so<br />
contrived that the eyes follow you about when you move. BIG BROTHER IS<br />
WATCHING YOU, the caption beneath it ran.<br />
Nineteen Eighty-Four (1949) pt. 1, ch. 1<br />
War is peace. <strong>Free</strong>dom is slavery. Ignorance is strength.<br />
Nineteen Eighty-Four (1949) pt. 1, ch. 1<br />
"Who controls the past," ran the Party slogan, "controls the future: who<br />
controls the present controls the past."<br />
Nineteen Eighty-Four (1949) pt. 1, ch. 3
<strong>Free</strong>dom is the freedom to say that two plus two make four. If that is<br />
granted, all else follows.<br />
Nineteen Eighty-Four (1949) pt. 1, ch. 7<br />
Doublethink means the power <strong>of</strong> holding two contradictory beliefs in one's<br />
mind simultaneously, and accepting both <strong>of</strong> them.<br />
Nineteen Eighty-Four (1949) pt. 2, ch. 9<br />
Power is not a means, it is an end. One does not establish a dictatorship<br />
in order to safeguard a revolution; one makes the revolution in order to<br />
establish the dictatorship.<br />
Nineteen Eighty-Four (1949) pt. 3, ch. 3<br />
If you want a picture <strong>of</strong> the future, imagine a boot stamping on a human<br />
face--for ever.<br />
Nineteen Eighty-Four (1949) pt. 3, ch. 3<br />
<strong>The</strong> Catholic and the Communist are alike in assuming that an opponent<br />
cannot be both honest and intelligent.<br />
Polemic Jan. 1946 "<strong>The</strong> Prevention <strong>of</strong> Literature"<br />
<strong>The</strong> quickest way <strong>of</strong> ending a war is to lose it.<br />
Polemic May 1946 "Second Thoughts on James Burnham"<br />
It is only because miners sweat their guts out that superior persons can<br />
remain superior.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 2<br />
A person <strong>of</strong> bourgeois origin goes through life with some expectation <strong>of</strong><br />
getting what he wants, within reasonable limits. Hence the fact that in<br />
times <strong>of</strong> stress "educated" people tend to come to the front.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 3<br />
<strong>The</strong>re can hardly be a town in the South <strong>of</strong> England where you could throw a<br />
brick without hitting the niece <strong>of</strong> a bishop.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 7<br />
As with the Christian religion, the worst advertisement for Socialism is<br />
its adherents.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 11<br />
<strong>The</strong> typical Socialist is...a prim little man with a white-collar job,<br />
usually a secret teetotaller and <strong>of</strong>ten with vegetarian leanings, with<br />
a history <strong>of</strong> Nonconformity behind him, and, above all, with a social<br />
position which he has no intention <strong>of</strong> forfeiting.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 11<br />
To the ordinary working man, the sort you would meet in any pub on<br />
Saturday night, Socialism does not mean much more than better wages and<br />
shorter hours and nobody bossing you about.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 11<br />
<strong>The</strong> high-water mark, so to speak, <strong>of</strong> Socialist literature is W. H. Auden,<br />
a sort <strong>of</strong> gutless Kipling.<br />
<strong>The</strong> Road to Wigan Pier (1937) ch. 11<br />
We <strong>of</strong> the sinking middle class...may sink without further struggles into<br />
the working class where we belong, and probably when we get there it will<br />
not be so dreadful as we feared, for, after all, we have nothing to lose<br />
but our aitches.
<strong>The</strong> Road to Wigan Pier (1937) ch. 13<br />
In our time, political speech and writing are largely the defence <strong>of</strong> the<br />
indefensible.<br />
Shooting an Elephant (1950) "Politics and the English Language"<br />
<strong>The</strong> great enemy <strong>of</strong> clear language is insincerity. When there is a gap<br />
between one's real and one's declared aims, one turns as it were<br />
instinctively to long words and exhausted idioms, like a cuttlefish<br />
squirting out ink.<br />
Shooting an Elephant (1950) "Politics and the English Language"<br />
Political language--and with variations this is true <strong>of</strong> all political<br />
parties, from Conservatives to Anarchists--is designed to make lies sound<br />
truthful and murder respectable, and to give an appearance <strong>of</strong> solidity to<br />
pure wind.<br />
Shooting an Elephant (1950) "Politics and the English Language"<br />
Saints should always be judged guilty until they are proved innocent.<br />
Shooting an Elephant (1950) "Reflections on Gandhi"<br />
To see what is in front <strong>of</strong> one's nose needs a constant struggle.<br />
Tribune 22 Mar. 1946, "In Front <strong>of</strong> your Nose"<br />
15.25 John Osborne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Don't clap too hard--it's a very old building.<br />
<strong>The</strong> Entertainer (1957) no. 7<br />
Thank God we're normal, normal, normal,<br />
Thank God we're normal,<br />
Yes, this is our finest shower!<br />
<strong>The</strong> Entertainer (1957) no. 7<br />
But I have a go, lady, don't I? I 'ave a go. I do.<br />
<strong>The</strong> Entertainer (1957) no. 7<br />
Never believe in mirrors or newspapers.<br />
<strong>The</strong> Hotel in Amsterdam (1968) act 1<br />
Oh heavens, how I long for a little ordinary human enthusiasm. Just<br />
enthusiaism--that's all. I want to hear a warm, thrilling voice cry out<br />
Hallelujah! Hallelujah! I'm alive!<br />
Look Back in Anger (1956) act 1<br />
His knowledge <strong>of</strong> life and ordinary human beings is so hazy, he really<br />
deserves some sort <strong>of</strong> decoration for it--a medal inscribed "For Vaguery in<br />
the Field."<br />
Look Back in Anger (1956) act 1<br />
I don't think one "comes down" from Jimmy's university. According to him,<br />
it's not even red brick, but white tile.<br />
Look Back in Anger (1956) act 2, sc. 1<br />
<strong>The</strong>y spend their time mostly looking forward to the past.<br />
Look Back in Anger (1956) act 2, sc. 1
<strong>The</strong>re aren't any good, brave causes left. If the big bang does come, and<br />
we all get killed <strong>of</strong>f, it won't be in aid <strong>of</strong> the old-fashioned, grand<br />
design. It'll just be for the Brave New-nothing-very-much-thank-you.<br />
About as pointless and inglorious as stepping in front <strong>of</strong> a bus.<br />
Look Back in Anger (1956) act 3, sc. 1<br />
This is a letter <strong>of</strong> hate. It is for you my countrymen, I mean those men<br />
<strong>of</strong> my country who have defiled it. <strong>The</strong> men with manic fingers leading the<br />
sightless, feeble, betrayed body <strong>of</strong> my country to its death....I only hope<br />
it [my hate] will keep me going. I think it will. I think it may sustain<br />
me in the last few months. Till then, damn you England. You're rotting<br />
now, and quite soon you'll disappear. My hate will outrun you yet, if only<br />
for a few seconds. I wish it could be eternal.<br />
Tribune 18 Aug. 1961<br />
15.26 Sir William Osler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1849-1919<br />
That man can interrogate as well as observe nature, was a lesson slowly<br />
learned in his evolution.<br />
In Aphorisms from his Bedside Teachings (1961) p. 62<br />
Failure to examine the throat is a glaring sin <strong>of</strong> omission, especially in<br />
children. One finger in the throat and one in the rectum makes a good<br />
diagnostician.<br />
In Aphorisms from his Bedside Teachings (1961) p. 104<br />
One <strong>of</strong> the first duties <strong>of</strong> the physician is to educate the masses not to<br />
take medicine.<br />
In Aphorisms from his Bedside Teachings (1961) p. 105<br />
It is strange how the memory <strong>of</strong> a man may float to posterity on what he<br />
would have himself regarded as the most trifling <strong>of</strong> his works.<br />
In Aphorisms from his Bedside Teachings (1961) p. 112<br />
<strong>The</strong> desire to take medicine is perhaps the greatest feature which<br />
distinguishes man from animals.<br />
In H. Cushing Life <strong>of</strong> Sir William Osler (1925) vol. 1, ch. 14<br />
My second fixed idea is the uselessness <strong>of</strong> men above sixty years <strong>of</strong> age,<br />
and the incalculable benefit it would be in commercial, political, and in<br />
pr<strong>of</strong>essional life, if as a matter <strong>of</strong> course, men stopped work at this age.<br />
Speech at Johns Hopkins University, 22 Feb. 1905, in H. Cushing Life <strong>of</strong><br />
Sir William Osler (1925) vol. 1, ch. 24<br />
To talk <strong>of</strong> diseases is a sort <strong>of</strong> Arabian Nights entertainment.<br />
In Oliver Sacks <strong>The</strong> Man Who Mistook his Wife for a Hat (1985) epigraph<br />
<strong>The</strong> greater the ignorance the greater the dogmatism.<br />
Montreal Medical Journal Sept. 1902, p. 696<br />
<strong>The</strong> natural man has only two primal passions, to get and beget.<br />
Science and Immortality (1904) ch. 2<br />
15.27 Peter Demianovich Ouspensky<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1947
Truths that become old become decrepit and unreliable; sometimes they may<br />
be kept going artificially for a certain time, but there is no life in<br />
them. This explains why reverting to old ideas, when people become<br />
disappointed in new ideas, does not help much. Ideas can be too old.<br />
A New Model <strong>of</strong> the Universe (ed. 2, 1934) preface<br />
15.28 David Owen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1938-<br />
We are fed up with fudging and mudging, with mush and slush. We need<br />
courage, conviction, and hard work.<br />
Speech to his supporters at Labour Party Conference in Blackpool, 2 Oct.<br />
1980, in Guardian 3 Oct. 1980<br />
<strong>The</strong> price <strong>of</strong> championing human rights is a little inconsistency at times.<br />
Hansard 30 Mar. 1977, p. 397<br />
I don't care if you criticize us, agree with us or disagree with us. Just<br />
mention us, that is all we ask.<br />
Observer 28 Apr. 1985<br />
15.29 Wilfred Owen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1918<br />
Above all I am not concerned with Poetry.<br />
My subject is War, and the pity <strong>of</strong> War.<br />
<strong>The</strong> Poetry is in the pity.<br />
Yet these elegies are to this generation in no sense consolatory. <strong>The</strong>y<br />
may be to the next. All a poet can do today is warn. That is why the true<br />
Poets must be truthful.<br />
Poems (1963 ed.) preface<br />
What passing-bells for these who die as cattle?<br />
Only the monstrous anger <strong>of</strong> the guns.<br />
Only the stuttering rifles' rapid rattle<br />
Can patter out their hasty orisons.<br />
No mockeries now for them; no prayers nor bells,<br />
Nor any voice <strong>of</strong> mourning save the choirs,--<br />
<strong>The</strong> shrill, demented choirs <strong>of</strong> wailing shells;<br />
And bugles calling for them from sad shires.<br />
What candles may be held to speed them all?<br />
Not in the hands <strong>of</strong> boys, but in their eyes<br />
Shall shine the holy glimmers <strong>of</strong> good-byes.<br />
<strong>The</strong> pallor <strong>of</strong> girls' brows shall be their pall;<br />
<strong>The</strong>ir flowers the tenderness <strong>of</strong> patient minds,<br />
And each slow dusk a drawing-down <strong>of</strong> blinds.<br />
Poems (1963 ed.) "Anthem for Doomed Youth"<br />
If you could hear, at every jolt, the blood<br />
Come gargling from the froth-corrupted lungs,<br />
Obscene as cancer, bitter as the cud<br />
Of vile, incurable sores on innocent tongues,--<br />
My friend, you would not tell with such high zest<br />
To children ardent for some desperate glory,
<strong>The</strong> old Lie: Dulce et decorum est<br />
Pro patria mori.<br />
Poems (1963 ed.) "Dulce et Decorum Est"<br />
Move him into the sun--<br />
Gently its touch awoke him once,<br />
At home, whispering <strong>of</strong> fields unsown.<br />
Always it woke him, even in France,<br />
Until this morning and this snow.<br />
If anything might rouse him now<br />
<strong>The</strong> kind old sun will know.<br />
Poems (1963 ed.) "Futility"<br />
Was it for this the clay grew tall?<br />
--O what made fatuous sunbeams toil<br />
To break earth's sleep at all?<br />
Poems (1963 ed.) "Futility"<br />
Red lips are not so red<br />
As the stained stones kissed by the English dead.<br />
Poems (1963 ed.) "Greater Love"<br />
So secretly, like wrongs hushed-up, they went.<br />
<strong>The</strong>y were not ours:<br />
We never heard to which front these were sent.<br />
Nor there if they yet mock what women meant<br />
Who gave them flowers.<br />
Poems (1963 ed.) "<strong>The</strong> Send-Off"<br />
It seemed that out <strong>of</strong> battle I escaped<br />
Down some pr<strong>of</strong>ound dull tunnel, long since scooped<br />
Through granites which titanic wars had groined.<br />
Poems (1963 ed.) "Strange Meeting"<br />
"Strange friend," I said, "here is no cause to mourn."<br />
"None," said that other, "save the undone years,<br />
<strong>The</strong> hopelessness. Whatever hope is yours,<br />
Was my life also; I went hunting wild<br />
After the wildest beauty in the world.<br />
Poems (1963 ed.) "Strange Meeting"<br />
Courage was mine, and I had mystery,<br />
Wisdom was mine, and I had mastery:<br />
To miss the march <strong>of</strong> this retreating world<br />
Into vain citadels that are not walled.<br />
Poems (1963 ed.) "Strange Meeting"<br />
I am the enemy you killed, my friend.<br />
I knew you in this dark: for you so frowned<br />
Yesterday through me as you jabbed and killed.<br />
I parried; but my hands were loath and cold.<br />
Let us sleep now...<br />
Poems (1963 ed.) "Strange Meeting"<br />
15.30 <strong>Oxford</strong> and Asquith, Countess <strong>of</strong><br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1945
See Margot Asquith (1.61)<br />
15.31 <strong>Oxford</strong> and Asquith, Earl <strong>of</strong><br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1852-1928<br />
See Herbert Henry Asquith (1.60)<br />
16.0 P<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
16.1 Vance Packard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
<strong>The</strong> hidden persuaders.<br />
Title <strong>of</strong> book (1957)<br />
16.2 William Tyler Page<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1868-1942<br />
I believe in the United States <strong>of</strong> America as a government <strong>of</strong> the people,<br />
by the people, for the people, whose just powers are derived from the<br />
consent <strong>of</strong> the governed; a democracy in a republic; a sovereign Nation <strong>of</strong><br />
many sovereign States; a perfect Union, one and inseparable, established<br />
upon those principles <strong>of</strong> freedom, equality, justice, and humanity for<br />
which American patriots sacrificed their lives and fortunes. I therefore<br />
believe it is my duty to my country to love it, to support its<br />
Constitution, to obey its laws, to respect its flag, and to defend it<br />
against all enemies.<br />
American's Creed (prize-winning competition entry, 3 Apr. 1918) in<br />
Congressional Record vol. 56, pt. 12 (appendix), p. 286<br />
16.3 Reginald Paget<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-<br />
<strong>The</strong>re is no disguise or camouflage about the Prime Minister. He is the<br />
original banana man, yellow outside and a s<strong>of</strong>ter yellow inside.<br />
Of Sir Anthony Eden in a House <strong>of</strong> Commons debate, Hansard 14 Sept. 1956,<br />
col. 432<br />
16.4 Gerald Page-Wood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
It beats as it sweeps as it cleans.<br />
Advertising slogan for Hoover vacuum cleaners, devised in 1919, in Nigel<br />
Rees Slogans (1982) p. 40<br />
16.5 Revd Ian Paisley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1926-<br />
I would rather be British than just.<br />
Remark to Bernadette Devlin, Oct. 1969, reported by Sunday Times Insight<br />
Team in Ulster (1972) ch. 3<br />
16.6 Michael Palin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
See Graham Chapman et al. (3.47)<br />
16.7 Norman Panama and Melvin Frank<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Norman Panama 1914-<br />
Melvin Frank 1913-1988<br />
<strong>The</strong> pellet with the poison's in the vessel with the pestle. <strong>The</strong> chalice<br />
from the palace has the brew that is true.<br />
Court Jester (1955 film; words spoken--with difficulty--by Danny Kaye)<br />
I'll take a lemonade!...In a dirty glass!<br />
Road to Utopia (1946 film; words spoken by Bob Hope)<br />
16.8 Dame Christabel Pankhurst<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1958<br />
Never lose your temper with the Press or the public is a major rule <strong>of</strong><br />
political life.<br />
Unshackled (1959) ch. 5<br />
We are here to claim our right as women, not only to be free, but to fight<br />
for freedom. That it is our right as well as our duty. It is our<br />
privilege, as well as our pride and our joy, to take some part in this<br />
militant movement which, as we believe, means the regeneration <strong>of</strong> all<br />
humanity.<br />
Speech in London, 23 Mar. 1911, in Votes for Women 31 Mar. 1911<br />
16.9 Emmeline Pankhurst<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1928<br />
After all, is not a woman's life, is not her health, are not her limbs<br />
more valuable than panes <strong>of</strong> glass? <strong>The</strong>re is no doubt <strong>of</strong> that, but most<br />
important <strong>of</strong> all, does not the breaking <strong>of</strong> glass produce more effect upon<br />
the Government?<br />
Speech on 16 Feb. 1912, in My Own Story (1914) p. 213<br />
<strong>The</strong>re is something that Governments care far more for than human life, and<br />
that is the security <strong>of</strong> property, and so it is through property that we<br />
shall strike the enemy....Be militant each in your own way. Those <strong>of</strong> you<br />
who can express your militancy by going to the House <strong>of</strong> Commons and<br />
refusing to leave without satisfaction, as we did in the early days--do<br />
so....And my last word is to the Government: I incite this meeting to
ebellion. I say to the Government: You have not dared to take the<br />
leaders <strong>of</strong> Ulster for their incitement to rebellion. Take me if you dare.<br />
Speech at Albert Hall, 17 Oct. 1912, in My Own Story (1914) p. 265<br />
16.10 Emmeline Pankhurst, Dame Christabel Pankhurst, and Annie Kenney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Emmeline Pankhurst 1858-1928<br />
Dame Christabel Pankhurst 1880-1958<br />
Annie Kenney 1879-1953<br />
We laid our plans to begin this work at a great meeting to be held in the<br />
<strong>Free</strong> Trade Hall, Manchester [on 13 Oct. 1905] with Sir Edward Grey as the<br />
principal speaker. We intended to get seats in the gallery, directly<br />
facing the platform and we made for the occasion a large banner with the<br />
words "Will the Liberal Party Give Votes for Women?" ...At the last<br />
moment, however, we had to alter the plan because it was impossible to get<br />
the gallery seats we wanted. <strong>The</strong>re was no way in which we could use our<br />
large banner, so...we cut out and made a small banner with the three-word<br />
inscription "Votes for Women." Thus, quite accidentally, there came into<br />
existence the present slogan <strong>of</strong> the suffrage movement around the world.<br />
Emmeline Pankhurst My Own Story (1914) ch. 3<br />
16.11 Charlie Parker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-1955<br />
Music is your own experience, your thoughts, your wisdom. If you don't<br />
live it, it won't come out <strong>of</strong> your horn.<br />
In Nat Shapiro and Nat Hent<strong>of</strong>f Hear Me Talkin' to Ya (1955) p. 358<br />
16.12 Dorothy Parker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1967<br />
One more drink and I'd have been under the host.<br />
In Howard Teichmann George S. Kaufman (1972) p. 68<br />
You can always tell that the crash is coming when I start getting tender<br />
about Our Dumb Friends. Three highballs and I think I'm St Francis <strong>of</strong><br />
Assisi.<br />
Here Lies (1939) "Just a Little One"<br />
And I'll stay <strong>of</strong>f Verlaine too; he was always chasing Rimbauds.<br />
Here Lies (1939) "<strong>The</strong> Little Hours"<br />
I'm never going to be famous. My name will never be writ large on the<br />
roster <strong>of</strong> Those Who Do Things. I don't do anything. Not one single thing.<br />
I used to bite my nails, but I don't even do that any more.<br />
Here Lies (1939) "<strong>The</strong> Little Hours"<br />
Sorrow is tranquillity remembered in emotion.<br />
Here Lies (1939) "Sentiment." Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
583:10<br />
At intermission [in the 1933 premiere <strong>of</strong> <strong>The</strong> Lake], Dorothy Parker turned<br />
to a companion and made her famous quip: "Katharine Hepburn runs the gamut
from A to B."<br />
In G. Carey Katharine Hepburn (1985) ch. 6<br />
<strong>The</strong> affair between Margot Asquith and Margot Asquith will live as one <strong>of</strong><br />
the prettiest love stories in all literature.<br />
Review <strong>of</strong> Margot Asquith's Lay Sermons in New Yorker 22 Oct. 1927, in A<br />
Month <strong>of</strong> Saturdays (1970) p. 10<br />
And it is that word "hummy," my darlings, that marks the first place in<br />
"<strong>The</strong> House at Pooh Corner" at which Tonstant Weader fwowed up.<br />
New Yorker 20 Oct. 1928 (review by Dorothy Parker as "Constant Reader")<br />
Where's the man could ease a heart like a satin gown?<br />
Not So Deep as a Well (1937) "<strong>The</strong> Satin Dress"<br />
By the time you say you're his,<br />
Shivering and sighing<br />
And he vows his passion is<br />
Infinite, undying--<br />
Lady, make a note <strong>of</strong> this:<br />
One <strong>of</strong> you is lying.<br />
Not So Deep as a Well (1937) "Unfortunate Coincidence"<br />
Four be the things I'd been better without:<br />
Love, curiosity, freckles, and doubt.<br />
Not So Deep as a Well (1937) "Inventory"<br />
Oh, life is a glorious cycle <strong>of</strong> song,<br />
A medley <strong>of</strong> extemporanea;<br />
And love is a thing that can never go wrong;<br />
And I am Marie <strong>of</strong> Roumania.<br />
Not So Deep as a Well (1937) "Comment"<br />
Razors pain you<br />
Rivers are damp;<br />
Acids stain you;<br />
And drugs cause cramp.<br />
Guns aren't lawful;<br />
Nooses give;<br />
Gas smells awful;<br />
You might as well live.<br />
Not So Deep as a Well (1937) "R‚sum‚"<br />
Why is it no one ever sent me yet<br />
One perfect limousine, do you suppose?<br />
Ah no, it's always just my luck to get<br />
One perfect rose.<br />
Not So Deep as a Well (1937) "One Perfect Rose"<br />
Men seldom make passes<br />
At girls who wear glasses.<br />
Not So Deep as a Well (1937) "News Item"<br />
Woman wants monogamy;<br />
Man delights in novelty.<br />
Love is woman's moon and sun;<br />
Man has other forms <strong>of</strong> fun.<br />
Woman lives but in her lord;<br />
Count to ten, and man is bored.<br />
With this the gist and sum <strong>of</strong> it,
What earthly good can come <strong>of</strong> it?<br />
Not So Deep as a Well (1937) "General Review <strong>of</strong> the Sex Situation"<br />
Whose love is given over-well<br />
Shall look on Helen's face in hell<br />
Whilst they whose love is thin and wise<br />
Shall see John Knox in Paradise.<br />
Not So Deep as a Well (1937) "Partial Comfort"<br />
Accursed from birth they be<br />
Who seek to find monogamy,<br />
Pursuing it from bed to bed--<br />
I think they would be better dead.<br />
Not So Deep as a Well (1937) "Reuben's Children"<br />
If, with the literate, I am<br />
Impelled to try an epigram,<br />
I never seek to take the credit;<br />
We all assume that Oscar said it.<br />
Not So Deep as a Well (1937) "A Pig's-Eye View <strong>of</strong> Literature"<br />
Drink and dance and laugh and lie,<br />
Love, the reeling midnight through,<br />
For tomorrow we shall die!<br />
(But, alas, we never do.)<br />
Not So Deep as a Well (1937) "<strong>The</strong> Flaw in Paganism"<br />
He lies below, correct in cypress wood,<br />
And entertains the most exclusive worms.<br />
Not So Deep as a Well (1937) "Tombstones in the Starlight no. 3, Epitaph<br />
for a Very Rich Man"<br />
Scratch a lover, and find a foe.<br />
Not So Deep as a Well (1937) "Ballade <strong>of</strong> a Great Weariness"<br />
<strong>The</strong>re's a hell <strong>of</strong> a distance between wise-cracking and wit. Wit has truth<br />
in it; wise-cracking is simply callisthenics with words.<br />
In Paris Review Summer 1956, p. 81<br />
House Beautiful is play lousy.<br />
Review in New Yorker (1933), in Phyllis Hartnoll Plays and Players (1984)<br />
p. 89<br />
Excuse My Dust.<br />
Suggested epitaph for herself (1925), in Alexander Woollcott While Rome<br />
Burns (1934) "Our Mrs Parker"<br />
That woman speaks eighteen languages, and can't say No in any <strong>of</strong> them.<br />
In Alexander Woollcott While Rome Burns (1934) "Our Mrs Parker"<br />
And there was that wholesale libel on a Yale prom. If all the girls<br />
attending it were laid end to end, Mrs Parker said, she wouldn't be at all<br />
surprised.<br />
Alexander Woollcott While Rome Burns (1934) "Our Mrs Parker"<br />
"Good work, Mary," our Mrs Parker wired collect [to Mrs Sherwood on the<br />
arrival <strong>of</strong> her baby]. "We all knew you had it in you."<br />
Alexander Woollcott While Rome Burns (1934) "Our Mrs Parker"<br />
How do they know?
Reaction to the death <strong>of</strong> President Calvin Coolidge in 1933, in Malcolm<br />
Cowley Writers at Work 1st Series (1958) p. 65<br />
As artists they're rot, but as providers they're oil wells; they gush.<br />
Comment on lady novelists in Malcolm Cowley Writers at Work 1st Series<br />
(1958) p. 69<br />
Hollywood money isn't money. It's congealed snow, melts in your hand, and<br />
there you are.<br />
In Malcolm Cowley Writers at Work 1st Series (1958) p. 81<br />
Brevity is the soul <strong>of</strong> lingerie, as the Petticoat said to the Chemise.<br />
Caption written for Vogue (1916) in John Keats You Might as well Live<br />
(1970) p. 32. Cf. Shakespeare's Hamlet act 2, sc. 2: "Brevity is the soul<br />
<strong>of</strong> wit"<br />
You can lead a horticulture, but you can't make her think.<br />
On being challenged to use "horticulture" in a sentence, in John Keats You<br />
Might as well Live (1970) p. 46<br />
It serves me right for putting all my eggs in one bastard.<br />
On her abortion, in John Keats You Might as well Live (1970) pt. 2, ch. 3<br />
16.13 Dorothy Parker, Alan Campbell, and Robert Carson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Dorothy Parker 1893-1967<br />
Alan Campbell 1905-1963<br />
Robert Carson 1910-1983<br />
A star is born.<br />
Title <strong>of</strong> film (1937)<br />
16.14 Ross Parker and Hugh Charles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ross Parker 1914-1974<br />
Hugh Charles 1907-<br />
<strong>The</strong>re'll always be an England<br />
While there's a country lane,<br />
Wherever there's a cottage small<br />
Beside a field <strong>of</strong> grain.<br />
<strong>The</strong>re'll always be an England (1939 song)<br />
We'll meet again, don't know where,<br />
Don't know when,<br />
But I know we'll meet again some sunny day.<br />
We'll Meet Again (1939 song)<br />
16.15 C. Northcote Parkinson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
Expenditure rises to meet income.<br />
<strong>The</strong> Law and the Pr<strong>of</strong>its (1960) opening sentence
Work expands so as to fill the time available for its completion.<br />
Parkinson's Law (1958) p. 4<br />
It might be termed the Law <strong>of</strong> Triviality. Briefly stated, it means that<br />
the time spent on any item <strong>of</strong> the agenda will be in inverse proportion to<br />
the sum involved.<br />
Parkinson's Law (1958) "High Finance"<br />
It is now known, however, that men enter local politics solely as a result<br />
<strong>of</strong> being unhappily married.<br />
Parkinson's Law (1958) "Pension Point"<br />
16.16 'Banjo' Paterson (Andrew Barton Paterson)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1941<br />
Once a jolly swagman camped by a billabong,<br />
Under the shade <strong>of</strong> a coolibah tree;<br />
And he sang as he watched and waited till his "Billy" boiled:<br />
"You'll come a-waltzing, Matilda, with me."<br />
Waltzing Matilda (1903 song)<br />
16.17 Alan Paton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
Cry, the beloved country.<br />
Title <strong>of</strong> novel (1948)<br />
16.18 Norman Vincent Peale<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-<br />
<strong>The</strong> power <strong>of</strong> positive thinking.<br />
Title <strong>of</strong> book (1952)<br />
16.19 Charles S. Pearce<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Keep that schoolgirl complexion.<br />
Advertising slogan for Palmolive soap, from 1917, in Nigel Rees Slogans<br />
(1982) p. 113<br />
16.20 Hesketh Pearson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1964<br />
Misquotation is, in fact, the pride and privilege <strong>of</strong> the learned.<br />
A widely-read man never quotes accurately, for the rather obvious reason<br />
that he has read too widely.<br />
Common Misquotations (1934) Introduction<br />
<strong>The</strong>re is no stronger craving in the world than that <strong>of</strong> the rich for<br />
titles, except perhaps that <strong>of</strong> the titled for riches.<br />
<strong>The</strong> Pilgrim Daughters (1961) ch. 6
16.21 Lester Pearson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1972<br />
<strong>The</strong> grim fact is that we prepare for war like precocious giants and for<br />
peace like retarded pygmies.<br />
Speech in Toronto, 14 Mar. 1955<br />
Not only did he [Dean Acheson] not suffer fools gladly, he did not suffer<br />
them at all.<br />
Time 25 Oct. 1971, p. 20<br />
16.22 Charles P‚guy<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1914<br />
Qui ne gueule pas la v‚rit‚, quand il sait la v‚rit‚, se fait le complice<br />
des menteurs et des faussaires.<br />
He who does not bellow the truth when he knows the truth makes himself the<br />
accomplice <strong>of</strong> liars and forgers.<br />
Lettre du Provincial 21 Dec. 1899, in Basic Verities (1943) "Honest<br />
People"<br />
La tyrannie est toujours mieux organis‚e que la libert‚.<br />
Tyranny is always better organised than freedom.<br />
In Basic Verities (1943) "War and Peace"<br />
16.23 Vladimir Peniak<strong>of</strong>f<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1951<br />
That night a message came on the wireless for me. It said: "SPREAD ALARM<br />
AND DESPONDENCY." So the time had come, I thought, Eighth Army was taking<br />
the <strong>of</strong>fensive. <strong>The</strong> date was, I think, May 18th, 1942.<br />
Private Army (1950) pt. 2, ch. 5<br />
16.24 William H. Penn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Albert H. Fitz (6.19)<br />
16.25 S. J. Perelman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1979<br />
Crazy like a fox.<br />
Title <strong>of</strong> book (1944)<br />
I have Bright's disease and he has mine, sobbed the panting palooka.<br />
Judge 16 Nov. 1929<br />
16.26 S. J. Perelman, Will B. Johnstone, and Arthur Sheekman
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
S. J. Perelman 1904-1979<br />
Will B. Johnstone<br />
Arthur Sheekman<br />
Do you suppose I could buy back my introduction to you?<br />
Monkey Business (1931 film), in <strong>The</strong> Four Marx Brothers in Monkey Business<br />
and Duck Soup (1972) p. 18<br />
Look at me. Worked myself up from nothing to a state <strong>of</strong> extreme poverty.<br />
Monkey Business (1931 film) in, <strong>The</strong> Four Marx Brothers in Monkey Business<br />
and Duck Soup (1972) p. 54<br />
16.27 Carl Perkins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
It's one for the money,<br />
Two for the show,<br />
Three to get ready,<br />
Now go, cat, go!<br />
But don't you step on my Blue Suede Shoes.<br />
You can do anything but lay <strong>of</strong>f my Blue Suede Shoes.<br />
Blue Suede Shoes (1956 song)<br />
16.28 Frances Perkins<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1965<br />
Why not "Madam Secretary," if that form is to be used at all? One is<br />
accustomed to "madam chairman" ...so it comes more naturally, don't you<br />
think?<br />
When asked how she should be addressed as the first US woman cabinet<br />
member, in New York Times 6 Mar. 1933, p. 14. Cf. Howard Lindsay and<br />
Russel Crouse<br />
16.29 Juan Per¢n<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1974<br />
If I had not been born Per¢n, I would have liked to be Per¢n.<br />
In Observer 21 Feb. 1960<br />
16.30 Ted Persons<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Things ain't what they used to be.<br />
Title <strong>of</strong> song (1941; music by Mercer Ellington). Cf. Frank Norman and<br />
Lionel Bart<br />
16.31 Henri Philippe P‚tain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1951
To write one's memoirs is to speak ill <strong>of</strong> everybody except oneself.<br />
In Observer 26 May 1946<br />
16.32 Laurence Peter and Raymond Hull<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Laurence Peter 1919-<br />
Raymond Hull<br />
My analysis...led me to formulate <strong>The</strong> Peter Principle: In a Hierarchy<br />
Every Employee Tends to Rise to His Level <strong>of</strong> Incompetence.<br />
<strong>The</strong> Peter Principle (1969) ch. 1<br />
In time, every post tends to be occupied by an employee who is incompetent<br />
to carry out its duties....Work is accomplished by those employees who<br />
have not yet reached their level <strong>of</strong> incompetence.<br />
<strong>The</strong> Peter Principle (1969) ch. 1<br />
Competence, like truth, beauty and contact lenses, is in the eye <strong>of</strong> the<br />
beholder.<br />
<strong>The</strong> Peter Principle (1969) ch. 3<br />
16.33 Kim Philby (Harold Adrian Russell Philby)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-1988<br />
To betray, you must first belong. I never belonged.<br />
In Sunday Times 17 Dec. 1967, p. 2<br />
16.34 Prince Philip, Duke <strong>of</strong> Edinburgh<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
I don't think doing it [killing animals] for money makes it any more<br />
moral. I don't think a prostitute is more moral than a wife, but they are<br />
doing the same thing.<br />
Speech in London, 6 Dec. 1988, comparing participation in blood sports to<br />
selling slaughtered meat, in <strong>The</strong> Times 7 Dec. 1988<br />
I never see any home cooking. All I get is fancy stuff.<br />
In Observer 28 Oct. 1962<br />
If you stay here much longer you'll all be slitty-eyed.<br />
Remark to Edinburgh University students in Peking, 16 Oct. 1986, in <strong>The</strong><br />
Times 17 Oct. 1986<br />
Just at this moment we are suffering a national defeat comparable to any<br />
lost military campaign, and, what is more, it is self-inflicted. I could<br />
use any one <strong>of</strong> the several stock phrases or platitudes about this. But<br />
I prefer one I picked up during the war. It is brief and to the point:<br />
Gentlemen, I think it is about time we "pulled our fingers out."...If we<br />
want to be more prosperous we've simply got to get down to it and work for<br />
it. <strong>The</strong> rest <strong>of</strong> the world does not owe us a living.<br />
Speech in London, 17 Oct. 1961, in Daily Mail 18 Oct. 1961<br />
We now look upon it [the English-Speaking Union] as including those
countries which use English as an inter-Commonwealth language. I include<br />
"pidgin-English" in this even though I am referred to in that splendid<br />
language as "Fella belong Mrs Queen."<br />
Speech to English-Speaking Union, Ottawa, 29 Oct. 1958, in Prince Philip<br />
Speaks (1960) pt. 2, ch. 3<br />
16.35 Morgan Phillips<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1963<br />
<strong>The</strong> Labour Party owes more to Methodism than to Marxism.<br />
In James Callaghan Time and Chance (1987) ch. 1<br />
16.36 Stephen Phillips<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1915<br />
Behold me now<br />
A man not old, but mellow, like good wine.<br />
Not over-jealous, yet an eager husband.<br />
Ulysses (1902) act 3, sc. 2<br />
16.37 Eden Phillpotts<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1960<br />
Now old man's talk o' the days behind me;<br />
My darter's youngest darter to mind me;<br />
A little dreamin', a little dyin',<br />
A little lew corner <strong>of</strong> airth to lie in.<br />
Miniatures (1942) "Gaffer's Song"<br />
16.38 Pablo Picasso<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1973<br />
I paint objects as I think them, not as I see them.<br />
In John Golding Cubism (1959) p. 60<br />
God is really only another artist. He invented the giraffe, the elephant,<br />
and the cat. He has no real style. He just goes on trying other things.<br />
Remark to Fran‡oise Gilot in 1944, in Fran‡oise Gilot and Carlton Lake<br />
Life With Picasso (1964) pt. 1<br />
Every positive value has its price in negative terms, and you never see<br />
anything very great which is not, at the same time, horrible in some<br />
respect. <strong>The</strong> genius <strong>of</strong> Einstein leads to Hiroshima.<br />
Remark to Fran‡oise Gilot in 1946, in Fran‡oise Gilot and Carlton Lake<br />
Life With Picasso (1964) pt. 2<br />
We all know that Art is not truth. Art is a lie that makes us realize<br />
truth, at least the truth that is given us to understand.<br />
In Dore Ashton Picasso on Art (1972) "Two statements by Picasso"<br />
Everyone wants to understand art. Why not try to understand the song <strong>of</strong><br />
a bird? Why does one love the night, flowers, everything around one,
without trying to understand them? But in the case <strong>of</strong> a painting people<br />
have to understand....People who try to explain pictures are usually<br />
barking up the wrong tree.<br />
In Dore Ashton Picasso on Art (1972) "Two statements by Picasso"<br />
16.39 Wilfred Pickles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-<br />
Are yer courtin'?<br />
Catch-phrase in Have a Go! (BBC radio quiz programme, 1946-67)<br />
Give him the money, Barney.<br />
Catch-phrase in Have a Go! (BBC radio quiz programme, 1946-67)<br />
16.40 Harold Pinter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
"But what would you say your plays were about, Mr Pinter?" "<strong>The</strong> weasel<br />
under the cocktail cabinet."<br />
In J. Russell Taylor Anger and After (1962) p. 231<br />
I said to this monk, here, I said, look here, mister, he opened the door,<br />
big door, he opened it, look here mister, I said, I showed him these, I<br />
said, you haven't got a pair <strong>of</strong> shoes, have you, a pair <strong>of</strong> shoes, I said,<br />
enough to help me on my way. Look at these, they're nearly out, I said,<br />
they're no good to me. I heard you got a stock <strong>of</strong> shoes here. Piss <strong>of</strong>f, he<br />
said to me.<br />
<strong>The</strong> Caretaker (1960) act 1<br />
I can't drink Guinness from a thick mug. I only like it out <strong>of</strong> a thin<br />
glass.<br />
<strong>The</strong> Caretaker (1960) act 1<br />
If only I could get down to Sidcup! I've been waiting for the weather to<br />
break. He's got my papers, this man I left them with, it's got it all down<br />
there, I could prove everything.<br />
<strong>The</strong> Caretaker (1960) act 1<br />
16.41 Luigi Pirandello<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1936<br />
Sei personaggi in cerca d'autore.<br />
Six characters in search <strong>of</strong> an author.<br />
Title <strong>of</strong> play (1921)<br />
Quando i personaggi son vivi, vivi veramente davanti al loro autore,<br />
questo non fa altro che seguirli nelle parole, nei gesti ch'essi appunto<br />
gli propongono.<br />
When the characters are really alive before their author, the latter does<br />
nothing but follow them in their action, in their words, in the situations<br />
which they suggest to him.<br />
Sei personaggi in cerca d'autore (Six Characters in search <strong>of</strong> an Author,
1921) in Three Plays (1964) p. 64<br />
16.42 Armand J. Piron<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
I wish I could shimmy like my sister Kate,<br />
She shivers like the jelly on a plate.<br />
Shimmy like Kate (1919 song)<br />
16.43 Robert Pirosh, George Seaton, and George Oppenheimer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
(Feeling patient's pulse): Either he's dead, or my watch has stopped.<br />
A Day at the Races (1937 film; line spoken by Groucho Marx)<br />
Emily, I've a little confession to make. I really am a horse doctor. But<br />
marry me, and I'll never look at any other horse!<br />
A Day at the Races (1937 film; lines spoken by Groucho Marx)<br />
16.44 Robert M. Pirsig<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Zen and the art <strong>of</strong> motorcycle maintenance.<br />
Title <strong>of</strong> book (1974)<br />
16.45 Walter B. Pitkin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1878-1953<br />
Life begins at forty.<br />
Title <strong>of</strong> book (1932)<br />
16.46 Ruth Pitter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-<br />
I dream<br />
Already that I hear my lover's voice;<br />
What music shall I have--what dying wails--<br />
<strong>The</strong> seldom female in a world <strong>of</strong> males!<br />
On Cats (1947) "Kitten's Eclogue"<br />
16.47 Sylvia Plath<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-1963<br />
Love set you going like a fat gold watch.<br />
<strong>The</strong> midwife slapped your footsoles, and your bald cry<br />
Took its place among the elements.<br />
Ariel (1965) "Morning Song"<br />
Dying,<br />
Is an art, like everything else.
I do it exceptionally well.<br />
Encounter Oct. 1963, "Lady Lazarus"<br />
Every woman adores a Fascist,<br />
<strong>The</strong> boot in the face, the brute<br />
Brute heart <strong>of</strong> a brute like you.<br />
Encounter Oct. 1963, "Daddy"<br />
16.48 William Plomer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1973<br />
<strong>The</strong>y took the hill (Whose hill? What for?)<br />
But what a climb they left to do!<br />
Out <strong>of</strong> that bungled, unwise war<br />
An alp <strong>of</strong> unforgiveness grew.<br />
Collected Poems (1960) "<strong>The</strong> Boer War"<br />
On a s<strong>of</strong>a upholstered in panther skin<br />
Mona did researches in original sin.<br />
Collected Poems (1960) "Mews Flat Mona"<br />
A rose-red sissy half as old as time.<br />
<strong>The</strong> Dorking Thigh (1945) "Playboy <strong>of</strong> the Demi-World." Cf. <strong>Oxford</strong><br />
<strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 108:4<br />
A family portrait not too stale to record<br />
Of a pleasant old buffer, nephew to a lord,<br />
Who believed that the bank was mightier than the sword,<br />
And that an umbrella might pacify barbarians abroad:<br />
Just like an old liberal<br />
Between the wars.<br />
<strong>The</strong> Dorking Thigh (1945) "Father and Son"<br />
Fissures appeared in football fields<br />
And houses in the night collapsed.<br />
<strong>The</strong> Thames flowed backward to its source,<br />
<strong>The</strong> last trickle seen to disappear<br />
Swiftly, like an adder to its hole,<br />
And here and there along the river-bed<br />
<strong>The</strong> stranded fish gaped among empty tins,<br />
Face downward lay the huddled suicides<br />
Like litter that a riot leaves.<br />
Visiting the Caves (1936) "<strong>The</strong> Silent Sunday"<br />
16.49 Henri Poincar‚<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1854-1912<br />
Science is built up <strong>of</strong> facts, as a house is built <strong>of</strong> stones; but an<br />
accumulation <strong>of</strong> facts is no more a science than a heap <strong>of</strong> stones is<br />
a house.<br />
Science and Hypothesis (1905) ch. 9<br />
16.50 Georges Pompidou<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1974
A statesman is a politician who places himself at the service <strong>of</strong> the<br />
nation. A politician is a statesman who places the nation at his service.<br />
In Observer 30 Dec. 1973<br />
16.51 Arthur Ponsonby (first Baron Ponsonby <strong>of</strong> Shulbrede)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1946<br />
When war is declared, Truth is the first casualty.<br />
Kommt der Krieg ins Land<br />
Gibt Lgen wie Sand.<br />
[When war enters a country<br />
It produces lies like sand.]<br />
Epigraphs to Falsehood in Wartime (1928) p. 11<br />
16.52 Sir Karl Popper<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-<br />
We may become the makers <strong>of</strong> our fate when we have ceased to pose as its<br />
prophets.<br />
<strong>The</strong> Open Society and its Enemies (1945) Introduction<br />
<strong>The</strong>re is no history <strong>of</strong> mankind, there are only many histories <strong>of</strong> all kinds<br />
<strong>of</strong> aspects <strong>of</strong> human life. And one <strong>of</strong> these is the history <strong>of</strong> political<br />
power. This is elevated into the history <strong>of</strong> the world.<br />
<strong>The</strong> Open Society and its Enemies (1945) vol. 2, ch. 25<br />
We must plan for freedom, and not only for security, if for no other<br />
reason than that only freedom can make security secure.<br />
<strong>The</strong> Open Society and its Enemies (1945) vol. 2, ch. 21<br />
Piecemeal social engineering resembles physical engineering in regarding<br />
the ends as beyond the province <strong>of</strong> technology.<br />
Poverty <strong>of</strong> Historicism (1957) pt. 3, sect. 21<br />
For this, indeed, is the true source <strong>of</strong> our ignorance--the fact that our<br />
knowledge can only be finite, while our ignorance must necessarily be<br />
infinite.<br />
Lecture to British Academy, 20 Jan. 1960, in Proceedings <strong>of</strong> the British<br />
Academy (1960) vol. 46, p. 69<br />
16.53 Cole Porter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1964<br />
In olden days a glimpse <strong>of</strong> stocking<br />
Was looked on as something shocking<br />
Now, heaven knows,<br />
Anything goes.<br />
Anything Goes (1934 song)<br />
When they begin the Beguine<br />
It brings back the sound <strong>of</strong> music so tender,<br />
It brings back a night <strong>of</strong> tropical splendour,
It brings back a memory ever green.<br />
Begin the Beguine (1935 song)<br />
Oh, give me land, lots <strong>of</strong> land<br />
Under starry skies above<br />
DON'T FENCE ME IN.<br />
Don't Fence Me In (1934 song; revived in 1944 film Hollywood Canteen)<br />
I get no kick from champagne,<br />
Mere alcohol doesn't thrill me at all,<br />
So tell me why should it be true<br />
That I get a kick out <strong>of</strong> you?<br />
I Get a Kick Out <strong>of</strong> You (1934 song)<br />
I've got you under my skin.<br />
Title <strong>of</strong> song (1936)<br />
So goodbye dear, and Amen,<br />
Here's hoping we meet now and then,<br />
It was great fun,<br />
But it was just one <strong>of</strong> those things.<br />
Just One <strong>of</strong> Those Things (1935 song)<br />
Birds do it, bees do it,<br />
Even educated fleas do it.<br />
Let's do it, let's fall in love.<br />
Let's Do It (1954 song; these words are not in the original 1928 version)<br />
Miss Otis regrets (she's unable to lunch today).<br />
Title <strong>of</strong> song (1934)<br />
My heart belongs to Daddy.<br />
Title <strong>of</strong> song (1938)<br />
Night and day, you are the one,<br />
Only you beneath the moon and under the sun.<br />
Night and Day (1932 song)<br />
she: Have you heard it's in the stars,<br />
Next July we collide with Mars?<br />
he: Well, did you evah! What a swell party this is.<br />
Well, Did You Evah? (1956 song)<br />
Who wants to be a millionaire?<br />
Title <strong>of</strong> song (1956)<br />
You're the top.<br />
Title <strong>of</strong> song (1934)<br />
16.54 Beatrix Potter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1943<br />
In the time <strong>of</strong> swords and periwigs and full-skirted coats with flowered<br />
lappets--when gentlemen wore ruffles, and gold-laced waistcoats <strong>of</strong><br />
paduasoy and taffeta--there lived a tailor in Gloucester.<br />
Tailor <strong>of</strong> Gloucester (1903) p. 9
<strong>The</strong> tailor replied--"Simpkin, we shall make our fortune, but I am worn to<br />
a ravelling. Take this groat (which is our last fourpence) and...with the<br />
last penny <strong>of</strong> our fourpence buy me one penn'orth <strong>of</strong> cherry-coloured silk.<br />
But do not lose the last penny <strong>of</strong> the fourpence, Simpkin, or I am undone<br />
and worn to a thread-paper, for I have NO MORE TWIST."<br />
Tailor <strong>of</strong> Gloucester (1903) p. 22<br />
It is said that the effect <strong>of</strong> eating too much lettuce is "soporific."<br />
Tale <strong>of</strong> the Flopsy Bunnies (1909) p. 9<br />
Once upon a time there were four little Rabbits, and their names<br />
were--Flopsy, Mopsy, Cottontail, and Peter.<br />
Tale <strong>of</strong> Peter Rabbit (1902) p. 9<br />
You may go into the fields or down the lane, but don't go into Mr<br />
McGregor's garden: your Father had an accident there; he was put in a pie<br />
by Mrs McGregor.<br />
Tale <strong>of</strong> Peter Rabbit (1902) p. 10<br />
Peter sat down to rest; he was out <strong>of</strong> breath and trembling with<br />
fright....After a time he began to wander about, going<br />
lippity-lippity--not very fast, and looking all round.<br />
<strong>The</strong> Tale <strong>of</strong> Peter Rabbit (1902) p. 58<br />
16.55 Gillie Potter (Hugh William Peel)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1975<br />
Good evening, England. This is Gillie Potter speaking to you in English.<br />
Heard at Hogsnorton (opening words <strong>of</strong> broadcasts, 6 June 1946 and 11 Nov.<br />
1947)<br />
16.56 Stephen Potter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1969<br />
A good general rule is to state that the bouquet is better than the taste,<br />
and vice versa.<br />
One-Upmanship (1952) ch. 14<br />
How to be one up--how to make the other man feel that something has gone<br />
wrong, however slightly.<br />
Some Notes on Lifemanship (1950) p. 14<br />
"Yes, but not in the South," with slight adjustments, will do for any<br />
argument about any place, if not about any person.<br />
Some Notes on Lifemanship (1950) p. 43<br />
<strong>The</strong> theory and practice <strong>of</strong> gamesmanship or <strong>The</strong> art <strong>of</strong> winning games<br />
without actually cheating.<br />
Title <strong>of</strong> book (1947)<br />
16.57 Ezra Pound<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1972<br />
<strong>The</strong> author's conviction on this day <strong>of</strong> New Year is that music begins to
atrophy when it departs too far from the dance; that poetry begins to<br />
atrophy when it gets too far from music.<br />
ABC <strong>of</strong> Reading (1934) "Warning"<br />
Any general statement is like a cheque drawn on a bank. Its value depends<br />
on what is there to meet it.<br />
ABC <strong>of</strong> Reading (1934) ch. 1<br />
One <strong>of</strong> the pleasures <strong>of</strong> middle age is to find out that one WAS right, and<br />
that one was much righter than one knew at say 17 or 23.<br />
ABC <strong>of</strong> Reading (1934) ch. 1<br />
Literature is news that STAYS news.<br />
ABC <strong>of</strong> Reading (1934) ch. 2<br />
Real education must ultimately be limited to one who insists on knowing,<br />
the rest is mere sheep-herding.<br />
ABC <strong>of</strong> Reading (1934) ch. 8<br />
Tching prayed on the mountain and<br />
wrote make it new<br />
on his bath tub.<br />
Day by day make it new<br />
cut underbrush,<br />
pile the logs<br />
keep it growing.<br />
Cantos (1954) no. 53<br />
Hang it all, Robert Browning,<br />
<strong>The</strong>re can be but the one "Sordello."<br />
Draft <strong>of</strong> XXX Cantos (1930) no. 2<br />
And even I can remember<br />
A day when the historians left blanks in their writings,<br />
I mean for things they didn't know.<br />
Draft <strong>of</strong> XXX Cantos (1930) no. 13<br />
Great literature is simply language charged with meaning to the utmost<br />
possible degree.<br />
How To Read (1931) pt. 2<br />
For three years, out <strong>of</strong> key with his time,<br />
He strove to resuscitate the dead art<br />
Of poetry; to maintain "the sublime"<br />
In the old sense. Wrong from the start--<br />
No, hardly, but seeing he had been born<br />
In a half savage country, out <strong>of</strong> date.<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
His true Penelope was Flaubert,<br />
He fished by obstinate isles;<br />
Observed the elegance <strong>of</strong> Circe's hair<br />
Rather than the mottoes on sundials.<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
<strong>The</strong> age demanded an image<br />
Of its accelerated grimace,
Something for the modern stage,<br />
Not, at any rate, an Attic grace;<br />
Not, not certainly, the obscure reveries<br />
Of the inward gaze;<br />
Better mendacities<br />
Than the classics in paraphrase!<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
Christ follows Dionysus<br />
Phallic and ambrosial<br />
Made way for macerations;<br />
Caliban casts out Ariel.<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
<strong>The</strong>re died a myriad,<br />
And <strong>of</strong> the best, among them,<br />
For an old bitch gone in the teeth,<br />
For a botched civilization.<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
<strong>The</strong> tip's a good one, as for literature<br />
It gives no man a sinecure.<br />
And no one knows, at sight, a masterpiece.<br />
And give up verse, my boy,<br />
<strong>The</strong>re's nothing in it.<br />
Hugh Selwyn Mauberley, E. P. Ode pour l'‚lection de son s‚pulcre (1920)<br />
pt. 1<br />
Poetry must be as well written as prose.<br />
Letter to Harriet Monroe, Jan. 1915, in D. D. Paige Letters <strong>of</strong> Ezra Pound<br />
(1950) p. 48<br />
Artists are the antennae <strong>of</strong> the race, but the bullet-headed many will<br />
never learn to trust their great artists.<br />
Literary Essays (1954) "Henry James"<br />
Winter is icummen in,<br />
Lhude sing Goddamm,<br />
Raineth drop and staineth slop,<br />
And how the wind doth ramm!<br />
Sing: Goddamm.<br />
Lustra (1917) "Ancient Music." Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong><br />
(1979) 7:18<br />
<strong>The</strong> apparition <strong>of</strong> these faces in the crowd;<br />
Petals on a wet, black bough.<br />
Lustra (1916) "In a Station <strong>of</strong> the Metro"<br />
Bah! I have sung women in three cities,<br />
But it is all the same;<br />
And I will sing <strong>of</strong> the sun.<br />
Personae (1908) "Cino"<br />
<strong>The</strong> ant's a centaur in his dragon world.<br />
Pull down thy vanity, it is not man
Made courage, or made order, or made grace,<br />
Pull down thy vanity, I say pull down.<br />
Learn <strong>of</strong> the green world what can be thy place<br />
In scaled invention or true artistry,<br />
Pull down thy vanity,<br />
Paquin pull down!<br />
<strong>The</strong> green casque has outdone your elegance.<br />
Pisan Cantos (1948) no. 81<br />
Pull down thy vanity<br />
Thou art a beaten dog beneath the hail,<br />
A swollen magpie in a fitful sun,<br />
Half black half white<br />
Nor knowst'ou wing from tail<br />
Pull down thy vanity.<br />
Pisan Cantos (1948) no. 81<br />
16.58 Anthony Powell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
He fell in love with himself at first sight and it is a passion to which<br />
he has always remained faithful.<br />
Acceptance World (1955) ch. 1<br />
Self-love seems so <strong>of</strong>ten unrequited.<br />
Acceptance World (1955) ch. 1<br />
Dinner at the Huntercombes' possessed "only two dramatic features--the<br />
wine was a farce and the food a tragedy."<br />
Acceptance World (1955) ch. 4<br />
Books do furnish a room.<br />
Title <strong>of</strong> novel (1971)<br />
Parents--especially step-parents--are sometimes a bit <strong>of</strong> a disappointment<br />
to their children. <strong>The</strong>y don't fufil the promise <strong>of</strong> their early years.<br />
A Buyer's Market (1952) ch. 2<br />
A dance to the music <strong>of</strong> time.<br />
Title <strong>of</strong> a novel sequence (1951-75), after title given by Giovanni Pietro<br />
Bellori to a painting by Nicolas Poussin, Le 4 stagioni che ballano al<br />
suono del tempo<br />
Growing old is like being increasingly penalized for a crime you haven't<br />
committed.<br />
Temporary Kings (1973) ch. 1<br />
16.59 Enoch Powell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-<br />
All political lives, unless they are cut <strong>of</strong>f in midstream at a happy<br />
juncture, end in failure, because that is the nature <strong>of</strong> politics and <strong>of</strong><br />
human affairs.<br />
Joseph Chamberlain (1977) epilogue<br />
History is littered with the wars which everybody knew would never happen.
Speech to Conservative Party Conference, 19 Oct. 1967, in <strong>The</strong> Times<br />
20 Oct. 1967<br />
As I look ahead, I am filled with foreboding. Like the Roman, I seem to<br />
see "the River Tiber foaming with much blood."<br />
Speech at Annual Meeting <strong>of</strong> West Midlands Area Conservative Political<br />
Centre, Birmingham, 20 Apr. 1968, in Observer 21 Apr. 1968<br />
16.60 Sandy Powell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1982<br />
Can you hear me, mother?<br />
Catch-phrase: see Can You Hear Me, Mother? Sandy Powell's Lifetime <strong>of</strong><br />
Music-Hall (1975) p. 62<br />
16.61 Vince Powell and Harry Driver<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Never mind the quality, feel the width.<br />
Title <strong>of</strong> ITV comedy series, 1967-9<br />
16.62 Jacques Pr‚vert<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1977<br />
C'est tellement simple, l' amour.<br />
Love is so simple.<br />
Les Enfants du Paradis (1945 film)<br />
Notre PŠre qui ˆtes aux cieux<br />
Restez-y<br />
Et nous nous resterons sur la terre<br />
Qui est quelquefois si jolie.<br />
Our Father which art in heaven<br />
Stay there<br />
And we will stay on earth<br />
Which is sometimes so pretty.<br />
Paroles (revised ed., 1949) "Pater Noster"<br />
16.63 J. B. Priestley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1984<br />
To say that these men paid their shillings to watch twenty-two hirelings<br />
kick a ball is merely to say that a violin is wood and catgut, that Hamlet<br />
is so much paper and ink. For a shilling the Bruddersford United AFC<br />
<strong>of</strong>fered you Conflict and Art.<br />
Good Companions (1929) bk. 1, ch. 1<br />
An inspector calls.<br />
Title <strong>of</strong> play (1947)<br />
This little steamer, like all her brave and battered sisters, is immortal.
She'll go sailing proudly down the years in the epic <strong>of</strong> Dunkirk. And our<br />
great-grand-children, when they learn how we began this war by snatching<br />
glory out <strong>of</strong> defeat, and then swept on to victory, may also learn how the<br />
little holiday steamers made an excursion to hell and came back glorious.<br />
Radio broadcast, 5 June 1940, in Listener 13 June 1940<br />
God can stand being told by Pr<strong>of</strong>essor Ayer and Marghanita Laski that He<br />
doesn't exist.<br />
In Listener 1 July 1965, p. 12<br />
It is hard to tell where the MCC ends and the Church <strong>of</strong> England begins.<br />
In New Statesman 20 July 1962, p. 78<br />
16.64 V. S. Pritchett<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-<br />
<strong>The</strong> principle <strong>of</strong> procrastinated rape is said to be the ruling one in all<br />
the great best-sellers.<br />
<strong>The</strong> Living Novel (1946) "Clarissa"<br />
What Chekhov saw in our failure to communicate was something positive and<br />
precious: the private silence in which we live, and which enables us to<br />
endure our own solitude. We live, as his characters do, beyond any tale<br />
we happen to enact.<br />
Myth Makers (1979) "Chekhov, a doctor"<br />
<strong>The</strong> detective novel is the art-for-art's-sake <strong>of</strong> our yawning Philistinism,<br />
the classic example <strong>of</strong> a specialized form <strong>of</strong> art removed from contact with<br />
the life it pretends to build on.<br />
New Statesman 16 June 1951, "Books in General"<br />
16.65 Marcel Proust<br />
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1871-1922<br />
A la recherche du temps perdu.<br />
In search <strong>of</strong> lost time.<br />
Title <strong>of</strong> novel (1913-27), translated by C. K. Scott-Moncrieff and S.<br />
Hudson, 1922-31, as "Remembrance <strong>of</strong> things past"<br />
Longtemps, je me suis couch‚ de bonne heure.<br />
For a long time I used to go to bed early.<br />
Du c“t‚ de chez Swann (Swann's Way, 1913, translated 1922 by C. K.<br />
Scott-Moncrieff, vol. 1, p. 1)<br />
Je portai … mes lŠvres une cuiller‚e du th‚ o— j'avais laiss‚ s'amollir un<br />
morceau de madeleine....Et tout d'un coup le souvenir m'est apparu. Ce<br />
go–t c'‚tait celui du petit morceau de madeleine que le dimanche matin …<br />
Combray...ma tante L‚onie m'<strong>of</strong>frait aprŠs l'avoir tremp‚ dans son infusion<br />
de th‚ ou de tilleul.<br />
I raised to my lips a spoonful <strong>of</strong> the tea in which I had soaked a morsel<br />
<strong>of</strong> cake....And suddenly the memory returns. <strong>The</strong> taste was that <strong>of</strong> the<br />
little crumb <strong>of</strong> madeleine which on Sunday mornings at Combray...my aunt<br />
L‚onie used to give me, dipping it first in her own cup <strong>of</strong> real or <strong>of</strong>
lime-flower tea.<br />
Du c“t‚ de chez Swann (Swann's Way, 1913, translated 1922 by C. K.<br />
Scott-Moncrieff, vol. 1, pp. 46 and 61)<br />
Et il ne fut plus question de Swann chez les Verdurin.<br />
After which there was no more talk <strong>of</strong> Swann at the Verdurins'.<br />
Du c“t‚ de chez Swann (Swann's Way, 1913, translated 1922 by C. K.<br />
Scott-Moncrieff, vol. 2, p. 99)<br />
Dire que j'ai gƒch‚ des ann‚es de ma vie, que j'ai voulu mourir, que j'ai<br />
eu mon plus grand amour, pour une femme qui ne me plaisait pas, qui<br />
n'‚tait pas mon genre!<br />
To think that I have wasted years <strong>of</strong> my life, that I have longed for<br />
death, that the greatest love that I have ever known has been for a woman<br />
who did not please me, who was not in my style!<br />
Du c“t‚ de chez Swann (Swann's Way, 1913, translated 1922 by C. K.<br />
Scott-Moncrieff, vol. 2, p. 228)<br />
On devient moral dŠs qu'on est malheureux.<br />
As soon as one is unhappy one becomes moral.<br />
A l'ombre des jeunes filles en fleurs (Within a Budding Grove, 1918,<br />
translated 1924 by C. K. Scott-Moncrieff, vol. 1, p. 290)<br />
Tout ce que nous connaissons de grand nous vient des nerveux. Ce sont eux<br />
et non pas d'autres qui ont fond‚ les religions et compos‚ les<br />
chefs-d'”uvre. Jamais le monde ne saura tout ce qu'il leur doit et surtout<br />
ce qu'eux ont souffert pour le lui donner.<br />
All the greatest things we know have come to us from neurotics. It is<br />
they and they only who have founded religions and created great works <strong>of</strong><br />
art. Never will the world be conscious <strong>of</strong> how much it owes to them, nor<br />
above all <strong>of</strong> what they have suffered in order to bestow their gifts on it.<br />
Le c“t‚ de Guermantes (Guermantes Way, 1921, translated 1925 by C. K.<br />
Scott-Moncrieff, vol. 1, p. 418)<br />
Il n'y a rien comme le d‚sir pour empˆcher les choses qu'on dit d'avoir<br />
aucune ressemblance avec ce qu'on a dans la pens‚e.<br />
<strong>The</strong>re is nothing like desire for preventing the thing one says from<br />
bearing any resemblance to what one has in mind.<br />
Le c“t‚ de Guermantes (Guermantes Way, 1921, translated 1925 by C. K.<br />
Scott-Moncrieff, vol. 2, p. 60)<br />
Un artiste n'a pas besoin d'exprimer directement sa pens‚e dans son<br />
ouvrage pour que celui-ci en reflŠte la qualit‚; on a mˆme pu dire que la<br />
louange la plus haute de Dieu est dans la n‚gation de l'ath‚e qui trouve<br />
la Cr‚ation assez parfaite pour se passer d'un cr‚ateur.<br />
An artist has no need to express his mind directly in his work for it to<br />
express the quality <strong>of</strong> that mind; it has indeed been said that the highest<br />
praise <strong>of</strong> God consists in the denial <strong>of</strong> Him by the atheist, who finds<br />
creation so perfect that it can dispense with a creator.<br />
Le c“t‚ de Guermantes (Guermantes Way, 1921, translated 1925 by C. K.<br />
Scott-Moncrieff, vol. 2, p. 147)<br />
Du reste, continua Mme de Cambremer, j'ai horreur des couchers de soleil,<br />
c'est romantique, c'est op‚ra.
"Anyhow," Mme de Cambremer went on, "I have a horror <strong>of</strong> sunsets, they're<br />
so romantic, so operatic."<br />
Sodome et Gomorrhe (Cities <strong>of</strong> the Plain, 1922, translated by C. K.<br />
Scott-Moncrieff, vol. 1, p. 296)<br />
Une de ces d‚pˆches dont M. de Guermantes avait spirituellement fix‚ le<br />
modŠle: "Impossible venir, mensonge suit."<br />
One <strong>of</strong> those telegrams <strong>of</strong> which the model had been wittily invented by M.<br />
de Guermantes: "Impossible to come, lie follows."<br />
Le temps retrouv‚ (Time Regained, 1926, translated 1931 by S. Hudson,<br />
ch. 1, p. 7). Cf. Lord Charles Beresford<br />
Les vrais paradis sont les paradis qu'on a perdus.<br />
<strong>The</strong> true paradises are paradises we have lost.<br />
Le temps retrouv‚ (Time Regained, 1926, translated 1931 by S. Hudson,<br />
ch. 3, p. 215)<br />
Le bonheur seul est salutaire pour le corps, mais c'est le chagrin qui<br />
d‚veloppe les forces de l'esprit.<br />
Happiness is salutary for the body but sorrow develops the powers <strong>of</strong> the<br />
spirit.<br />
Le temps retrouv‚ (Time Regained, 1926, translated 1931 by S. Hudson,<br />
ch. 3, p. 259)<br />
16.66 Olive Higgins Prouty<br />
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1882-1974<br />
She [Charlotte] drew in her breath sharply as if he had touched a nerve.<br />
"O Jerry," she said when she could trust her voice. "Don't let's ask for<br />
the moon! We have the stars!"<br />
THE END<br />
Now, Voyager (1941) ch. 29 (words spoken by Bette Davis in the 1942 film<br />
version)<br />
16.67 John Pudney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1977<br />
Do not despair<br />
For Johnny-head-in-air;<br />
He sleeps as sound<br />
As Johnny underground.<br />
Fetch out no shroud<br />
For Johnny-in-the-cloud;<br />
And keep your tears<br />
For him in after years.<br />
Better by far<br />
For Johnny-the-bright-star,<br />
To keep your head,
And see his children fed.<br />
Dispersal Point (1942) "For Johnny"<br />
16.68 Mario Puzo<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
He's a businessman....I'll make him an <strong>of</strong>fer he can't refuse.<br />
<strong>The</strong> Godfather (1969) ch. 1<br />
A lawyer with his briefcase can steal more than a hundred men with guns.<br />
<strong>The</strong> Godfather (1969) ch. 1<br />
Mario had called George Mandel to say he'd heard Joe [Heller] was<br />
paralysed. "No, Mario....He's got something called Guillain-Barr‚." "My<br />
God," Mario blurted out. "That's terrible!" A surprised George murmured,<br />
"Hey Mario, you know about Guillain-Barr‚?" "No, I never heard nothing<br />
about it," Mario replied. "But when they name any disease after two guys,<br />
it's got to be terrible!"<br />
Joseph Heller No Laughing Matter (1986) p. 44<br />
17.0 Q<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
17.1 Q<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Sir Arthur Quiller-Couch (17.4)<br />
17.2 Salvatore Quasimodo<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1968<br />
Poetry...is the revelation <strong>of</strong> a feeling that the poet believes to be<br />
interior and personal--which the reader recognizes as his own.<br />
Speech in New York, 13 May 1960, in New York Times 14 May 1960, p. 47<br />
17.3 Peter Quennell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-<br />
He [Andr‚ Gide] was very bald...with...the general look <strong>of</strong> an elderly<br />
fallen angel travelling incognito.<br />
<strong>The</strong> Sign <strong>of</strong> the Fish (1960) ch. 2<br />
17.4 Sir Arthur Quiller-Couch (<strong>of</strong>ten used the pseudonym 'Q')<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1944<br />
Literature is not an abstract science, to which exact definitions can be<br />
applied. It is an Art rather, the success <strong>of</strong> which depends on personal<br />
persuasiveness, on the author's skill to give as on ours to receive.<br />
Inaugural Lecture at Cambridge University, 1913, in On the Art <strong>of</strong> Writing
(1916) p. 16<br />
<strong>The</strong> best is the best, though a hundred judges have declared it so.<br />
<strong>Oxford</strong> Book <strong>of</strong> English Verse (1900) preface<br />
Know you her secret none can utter?<br />
Hers <strong>of</strong> the Book, the tripled Crown?<br />
Poems (1929) "Alma Mater"<br />
He that loves but half <strong>of</strong> Earth<br />
Loves but half enough for me.<br />
Poems and Ballads (1896) "<strong>The</strong> Comrade"<br />
Not as we wanted it,<br />
But as God granted it.<br />
Poems and Ballads (1896) "To Bearers"<br />
18.0 R<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
18.1 James Rado and Gerome Ragni<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
James Rado 1939-<br />
Gerome Ragni 1942-<br />
When the moon is in the seventh house,<br />
And Jupiter aligns with Mars,<br />
<strong>The</strong>n peace will guide the planets,<br />
And love will steer the stars;<br />
This is the dawning <strong>of</strong> the age <strong>of</strong> Aquarius,<br />
<strong>The</strong> age <strong>of</strong> Aquarius.<br />
Aquarius (1967 song; music by Galt MacDermot)<br />
18.2 John Rae<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
War is, after all, the universal perversion. We are all tainted: if we<br />
cannot experience our perversion at first hand we spend our time reading<br />
war stories, the pornography <strong>of</strong> war; or seeing war films, the blue films<br />
<strong>of</strong> war; or titillating our senses with the imagination <strong>of</strong> great deeds, the<br />
masturbation <strong>of</strong> war.<br />
<strong>The</strong> Custard Boys (1960) ch. 13<br />
18.3 Milton Rakove<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1983<br />
<strong>The</strong> second law, Rakove's law <strong>of</strong> principle and politics, states that the<br />
citizen is influenced by principle in direct proportion to his distance<br />
from the political situation.<br />
In Virginia Quarterly Review (1965) vol. 41, p. 349<br />
18.4 Sir Walter Raleigh
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1861-1922<br />
In Examinations those who do not wish to know ask questions <strong>of</strong> those who<br />
cannot tell.<br />
Laughter from a Cloud (1923) "Some Thoughts on Examinations"<br />
We could not lead a pleasant life,<br />
And 'twould be finished soon,<br />
If peas were eaten with the knife,<br />
And gravy with the spoon.<br />
Eat slowly: only men in rags<br />
And gluttons old in sin<br />
Mistake themselves for carpet bags<br />
And tumble victuals in.<br />
Laughter from a Cloud (1923) "Stans Puer ad Mensam"<br />
I wish I loved the Human Race;<br />
I wish I loved its silly face;<br />
I wish I liked the way it walks;<br />
I wish I liked the way it talks;<br />
And when I'm introduced to one<br />
I wish I thought What Jolly Fun!<br />
Laughter from a Cloud (1923) "Wishes <strong>of</strong> an Elderly Man"<br />
An anthology is like all the plums and orange peel picked out <strong>of</strong> a cake.<br />
Letter to Mrs Robert Bridges, 15 Jan. 1915, in Letters <strong>of</strong> Sir Walter<br />
Raleigh (1926) vol. 2, p. 411<br />
18.5 Srinivasa Ramanujan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1920<br />
I remember once going to see him when he was lying ill at Putney. I had<br />
ridden in taxi-cab No. 1729, and remarked that the number (7.13.19) seemed<br />
to me rather a dull one. "No," he replied, "it is a very interesting<br />
number; it is the smallest number expressible as a sum <strong>of</strong> two cubes in two<br />
different ways."<br />
G. H. Hardy in Proceedings <strong>of</strong> the London Mathematical Society 26 May 1921,<br />
p. 57. (<strong>The</strong> two ways are 1 cubed +12 cubed and 9 cubed +10 cubed)<br />
18.6 John Crowe Ransom<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1974<br />
Here lies a lady <strong>of</strong> beauty and high degree.<br />
Of chills and fever she died, <strong>of</strong> fever and chills,<br />
<strong>The</strong> delight <strong>of</strong> her husband, her aunts, an infant <strong>of</strong> three,<br />
And <strong>of</strong> medicos marvelling sweetly on her ills.<br />
Chills and Fever (1924) "Here Lies a Lady"<br />
18.7 Arthur Ransome<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1967<br />
Mother smiled, and read the telegram aloud: Better drowned than duffers if
not duffers wont drown. "Does that mean Yes?" asked Roger. "I think so."<br />
Swallows and Amazons (1930) ch. 1<br />
18.8 Frederic Raphael<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
He glanced with disdain at the big centre table where the famous faces <strong>of</strong><br />
the Cambridge theatre were eating a loud meal. "So this is the city <strong>of</strong><br />
dreaming spires," Sheila said. "<strong>The</strong>oretically speaking that's <strong>Oxford</strong>,"<br />
Adam said. "This is the city <strong>of</strong> perspiring dreams."<br />
Glittering Prizes: (1976) ch. 3. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong><br />
(1979) 15:4<br />
18.9 Terence Rattigan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1977<br />
<strong>The</strong> headmaster said you ruled them with a rod <strong>of</strong> iron. He called you the<br />
Himmler <strong>of</strong> the lower fifth.<br />
<strong>The</strong> Browning Version (1948) (spoken by Peter Gilbert to Andrew<br />
Crocker-Harris)<br />
Let us invent a character, a nice respectable, middle-class, middle-aged,<br />
maiden lady, with time on her hands and the money to help her pass it. She<br />
enjoys pictures, books, music, and the theatre and though to none <strong>of</strong> these<br />
arts (or rather, for consistency's sake, to none <strong>of</strong> these three arts and<br />
the one craft) does she bring much knowledge or discernment, at least, as<br />
she is apt to tell her cronies, she "does know what she likes." Let us<br />
call her Aunt Edna....Aunt Edna is universal, and to those who may feel<br />
that all the problems <strong>of</strong> the modern theatre might be solved by her<br />
liquidation, let me add that I have no doubt at all that she is also<br />
immortal.<br />
Collected Plays (1953) vol. 2, preface<br />
Kenneth: If you're so hot, you'd better tell me how to say she has<br />
ideas above her station.<br />
Brian: Oh, yes, I forgot. It's fairly easy, old boy. Elle a des id‚es<br />
au-dessus de sa gare.<br />
Kenneth: You can't do it like that. You can't say au-dessus de sa gare.<br />
It isn't that sort <strong>of</strong> station.<br />
French without Tears (1937) act 1<br />
Do you know what "le vice Anglais"--the English vice--really is? Not<br />
flagellation, not pederasty--whatever the French believe it to be. It's<br />
our refusal to admit our emotions. We think they demean us, I suppose.<br />
In Praise <strong>of</strong> Love (1973) act 2<br />
You can be in the Horseguards and still be common, dear.<br />
Separate Tables (1954) "Table Number Seven" sc. 1<br />
18.10 Gwen Raverat<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1885-1957<br />
I have defined Ladies as people who did not do things themselves. Aunt<br />
Etty was most emphatically such a person.
Period Piece (1952) ch. 7<br />
18.11 Irving Ravetch and Harriet Frank<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> long hot summer.<br />
Title <strong>of</strong> film (1958), based on stories by William Faulkner<br />
18.12 Ted Ray (Charles Olden)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1977<br />
Ee, it was agony, Ivy.<br />
Catch-phrase in Ray's a Laugh (BBC radio programme, 1949-61)<br />
He's loo-vely, Mrs Hoskin...he's loo...ooo...vely!<br />
Catch-phrase in Ray's a Laugh (BBC radio programme, 1949-61) in Raising<br />
the Laughs (1952) p. 158<br />
18.13 Sam Rayburn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1961<br />
If you want to get along, go along.<br />
In Neil MacNeil Forge <strong>of</strong> Democracy (1963) ch. 6<br />
18.14 Sir Herbert Read<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1968<br />
Do not judge this movement kindly. It is not just another amusing stunt.<br />
It is defiant--the desperate act <strong>of</strong> men too pr<strong>of</strong>oundly convinced <strong>of</strong> the<br />
rottenness <strong>of</strong> our civilization to want to save a shred <strong>of</strong> its<br />
respectability.<br />
Introduction to International Surrealist Exhibition Catalogue, New<br />
Burlington Galleries, London, 11 June--4 July 1936<br />
I saw him stab<br />
And stab again<br />
A well-killed Boche.<br />
This is the happy warrior,<br />
This is he....<br />
Naked Warriors (1919) "<strong>The</strong> Scene <strong>of</strong> War, 4. <strong>The</strong> Happy Warrior"<br />
18.15 Nancy Reagan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1923-<br />
A woman is like a teabag--only in hot water do you realise how strong she<br />
is.<br />
In Observer 29 Mar. 1981<br />
18.16 Ronald Reagan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1911-<br />
You can tell a lot about a fellow's character by his way <strong>of</strong> eating<br />
jellybeans.<br />
In New York Times 15 Jan. 1981<br />
So in your discussions <strong>of</strong> the nuclear freeze proposals, I urge you to<br />
beware the temptation <strong>of</strong> pride--the temptation blithely to declare<br />
yourselves above it all and label both sides equally at fault, to ignore<br />
the facts <strong>of</strong> history and the aggressive impulses <strong>of</strong> an evil empire, to<br />
simply call the arms race a giant misunderstanding and thereby remove<br />
yourself from the struggle between right and wrong, good and evil.<br />
Speech to National Association <strong>of</strong> Evangelicals, 8 Mar. 1983, in New York<br />
Times 9 Mar. 1983<br />
My fellow Americans, I am pleased to tell you I just signed legislation<br />
which outlaws Russia forever. <strong>The</strong> bombing begins in five minutes.<br />
Said during radio microphone test, 11 Aug. 1984, in New York Times 13 Aug.<br />
1984<br />
We are especially not going to tolerate these attacks from outlaw states<br />
run by the strangest collection <strong>of</strong> misfits, Looney Tunes and squalid<br />
criminals since the advent <strong>of</strong> the Third Reich.<br />
Speech following the hi-jack <strong>of</strong> a US plane, 8 July 1985, in New York Times<br />
9 July 1985<br />
We know that this mad dog <strong>of</strong> the Middle East has a goal <strong>of</strong> a world<br />
revolution, Muslim fundamentalist revolution, which is targeted on many <strong>of</strong><br />
his own Arab compatriots and where we figure in that I don't know.<br />
Said <strong>of</strong> Col. Gadaffi <strong>of</strong> Libya at press conference, 9 Apr. 1986, in New<br />
York Times 10 Apr. 1986, p. A 22<br />
Politics is supposed to be the second oldest pr<strong>of</strong>ession. I have come to<br />
realize that it bears a very close resemblance to the first.<br />
At a conference in Los Angeles, 2 Mar. 1977, in Bill Adler Reagan Wit<br />
(1981) ch. 5<br />
18.17 Erell Reaves<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Lady <strong>of</strong> Spain, I adore you.<br />
Right from the night I first saw you,<br />
My heart has been yearning for you,<br />
What else could any heart do?<br />
Lady <strong>of</strong> Spain (1931 song; music by Tolchard Evans)<br />
18.18 Henry Reed<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1986<br />
Today we have naming <strong>of</strong> parts. Yesterday,<br />
We had daily cleaning. And tomorrow morning,<br />
We shall have what to do after firing. But today,<br />
Today we have naming <strong>of</strong> parts. Japonica<br />
Glistens like coral in all <strong>of</strong> the neighbour gardens,<br />
And today we have naming <strong>of</strong> parts.<br />
A Map <strong>of</strong> Verona (1946) "Lessons <strong>of</strong> the War: 1, Naming <strong>of</strong> Parts"
<strong>The</strong>y call it easing the Spring: it is perfectly easy<br />
If you have any strength in your thumb: like the bolt,<br />
And the breech, and the cocking-piece, and the point <strong>of</strong> balance,<br />
Which in our case we have not got; and the almond blossom<br />
Silent in all <strong>of</strong> the gardens and the bees going backwards and forwards,<br />
For today we have naming <strong>of</strong> parts.<br />
A Map <strong>of</strong> Verona (1946) "Lessons <strong>of</strong> the War: 1, Naming <strong>of</strong> Parts"<br />
And the various holds and rolls and throws and breakfalls<br />
Somehow or other I always seemed to put<br />
In the wrong place. And as for war, my wars<br />
Were global from the start.<br />
A Map <strong>of</strong> Verona (1946) "Lessons <strong>of</strong> the War: 3, Unarmed Combat"<br />
As we get older we do not get any younger.<br />
Seasons return, and today I am fifty-five,<br />
And this time last year I was fifty-four,<br />
And this time next year I shall be sixty-two.<br />
A Map <strong>of</strong> Verona (1946) "Chard Whitlow (Mr Eliot's Sunday Evening<br />
Postscript)"<br />
It is, we believe,<br />
Idle to hope that the simple stirrup-pump<br />
Can extinguish hell.<br />
A Map <strong>of</strong> Verona (1946) "Chard Whitlow (Mr Eliot's Sunday Evening<br />
Postscript)"<br />
And the sooner the tea's out <strong>of</strong> the way, the sooner we can get out the<br />
gin, eh?<br />
Private Life <strong>of</strong> Hilda Tablet (1954 radio play) in Hilda Tablet and<br />
Others: four pieces for radio (1971) p. 60<br />
Duchess: Of course we've all dreamed <strong>of</strong> reviving the castrati; but it's<br />
needed Hilda to take the first practical steps towards making them<br />
a reality.<br />
Reeves: P-practical steps?<br />
Duchess: Yes, thank God. She's drawn up a list <strong>of</strong> well-known singers<br />
who she thinks would benefit from...treatment. Some <strong>of</strong> them have been<br />
singing baritone, or even bass, for years. It's only a question <strong>of</strong> getting<br />
them to agree.<br />
Private Life <strong>of</strong> Hilda Tablet (1954 radio play) in Hilda Tablet and<br />
Others: four pieces for radio (1971) p. 72<br />
18.19 John Reed<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1920<br />
Ten days that shook the world.<br />
Title <strong>of</strong> book (1919)<br />
18.20 Max Reger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1916<br />
Ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe Ihre Kritik<br />
vor mir. Im n„chsten Augenblick wird sie hinter mir sein.
I am sitting in the smallest room <strong>of</strong> my house. I have your review before<br />
me. In a moment it will be behind me.<br />
Letter to Munich critic Rudolph Louis in response to his review in<br />
Mnchener Neueste Nachrichten, 7 Feb. 1906, in Nicolas Slonimsky Lexicon<br />
<strong>of</strong> Musical Invective (1953) p. 139<br />
18.21 Charles A. Reich<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
<strong>The</strong> greening <strong>of</strong> America.<br />
Title <strong>of</strong> book (1970)<br />
18.22 Keith Reid and Gary Brooker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
A whiter shade <strong>of</strong> pale.<br />
Title <strong>of</strong> song (1967) (performed by Procol Harum)<br />
18.23 Erich Maria Remarque<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1970<br />
All quiet on the western front.<br />
Title <strong>of</strong> translation <strong>of</strong> his novel Im Westen nichts Neues (Nothing New in<br />
the West, 1929). Cf. the title <strong>of</strong> a poem by Ethel L. Beers: All Quiet<br />
along the Potomac (1861)<br />
18.24 Dr Montague John Rendall<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1950<br />
Nation shall speak peace unto nation.<br />
Motto <strong>of</strong> the BBC, adapted from Micah 4:3 "Nation shall not lift up sword<br />
against nation"<br />
18.25 James Reston<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
This is the devilish thing about foreign affairs: they are foreign and<br />
will not always conform to our whim.<br />
In New York Times 16 Dec. 1964, p. 42<br />
All politics, however, are based on the indifference <strong>of</strong> the majority.<br />
In New York Times 12 June 1968, p. 46<br />
18.26 David Reuben<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
Everything you always wanted to know about sex, but were afraid to ask.<br />
Title <strong>of</strong> book (1969)
18.27 Charles Revson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1975<br />
In the factory we make cosmetics; in the store we sell hope.<br />
In A. Tobias Fire and Ice (1976) ch. 8<br />
18.28 Malvina Reynolds<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1978<br />
Little boxes on the hillside,<br />
Little boxes made <strong>of</strong> ticky-tacky,<br />
Little boxes on the hillside,<br />
Little boxes all the same;<br />
<strong>The</strong>re's a green one and a pink one<br />
And a blue one and a yellow one<br />
And they're all made out <strong>of</strong> ticky-tacky<br />
And they all look just the same.<br />
Little Boxes (1962 song)<br />
18.29 Quentin Reynolds<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1965<br />
<strong>The</strong>re is an old political adage which says "If you can't lick 'em, jine<br />
'em."<br />
Wounded Don't Cry (1941) ch. 1<br />
18.30 Cecil Rhodes<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1853-1902<br />
Ask any man what nationality he would prefer to be, and ninety-nine out <strong>of</strong><br />
a hundred will tell you that they would prefer to be Englishmen.<br />
In Gordon Le Sueur Cecil Rhodes (1913) p. 40<br />
Rhodes chose this time [in December 1896] to awaken his friend Albert Grey<br />
from his sleep one night in Bulawayo to ask him whether he had ever<br />
considered how fortunate he was to be alive and in good health and to have<br />
been born an Englishman, when so many millions <strong>of</strong> other human beings had<br />
no such luck.<br />
J. G. Lockhart and C. M. Woodhouse Rhodes (1963) p. 29<br />
So little done, so much to do.<br />
Said to Lewis Michell on the day he died, in Lewis Michell Life <strong>of</strong> Rhodes<br />
(1910) vol. 2, ch. 39<br />
18.31 Jean Rhys (Ella Gwendolen Rees Williams)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
?1890-1979<br />
<strong>The</strong> feeling <strong>of</strong> Sunday is the same everywhere, heavy, melancholy, standing<br />
still. Like when they say "As it was in the beginning, is now, and ever<br />
shall be, world without end."
Voyage in the Dark (1934) ch. 4, pt. 1<br />
18.32 Grantland Rice<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1954<br />
All wars are planned by old men<br />
In council rooms apart.<br />
<strong>The</strong> Final Answer (1955) "<strong>The</strong> Two Sides <strong>of</strong> War"<br />
Outlined against a blue-gray October sky, the Four Horsemen rode again. In<br />
dramatic lore they were known as Famine, Pestilence, Destruction, and<br />
Death. <strong>The</strong>se are only aliases. <strong>The</strong>ir real names are Stuhldreher, Miller,<br />
Crowley, and Layden. <strong>The</strong>y formed the crest <strong>of</strong> the South Bend cyclone<br />
before which another fighting Army football team was swept over the<br />
precipice at the Polo Grounds yesterday afternoon as 55,000 spectators<br />
peered down on the bewildering panorama spread on the green below.<br />
Report <strong>of</strong> football match on 18 Oct. 1924 between US Military Academy at<br />
West Point NY and University <strong>of</strong> Notre Dame, in New York Tribune 19 Oct.<br />
1924<br />
For when the One Great Scorer comes to mark against your name,<br />
He writes--not that you won or lost--but how you played the Game.<br />
Only the Brave (1941) "Alumnus Football"<br />
18.33 Tim Rice<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1944-<br />
Don't cry for me Argentina.<br />
Title <strong>of</strong> song (1976; music by Andrew Lloyd Webber)<br />
Prove to me that you're no fool<br />
Walk across my swimming pool.<br />
Herod's Song (1970; music by Andrew Lloyd Webber)<br />
18.34 Mandy Rice-Davies<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1944-<br />
Mr Burge: Do you know Lord Astor has made a statement to the police<br />
saying that these allegations <strong>of</strong> yours are absolutely untrue?<br />
Mandy Rice-Davies: He would, wouldn't he? (Laughter).<br />
At the trial <strong>of</strong> Stephen Ward, 29 June 1963, in Guardian 1 July 1963<br />
An American tourist, seeing me the centre <strong>of</strong> a crowd, came up to me.<br />
"Hello, my dear, may I have your autograph. And would you mind telling me<br />
who you are?" I hated having to say my name. For years Mandy Rice-Davies<br />
was such an embarrassment to me. It is only in recent times I have been<br />
able to say my name without a quiver <strong>of</strong> discomfort. "Call me Lady<br />
Hamilton," I said.<br />
Mandy (1980) ch. 16<br />
18.35 Dicky Richards<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
My Goodness, My Guinness.<br />
Advertising slogan (1935) in B. Sibley Book <strong>of</strong> Guinness Advertising (1985)<br />
p. 83<br />
18.36 Frank Richards (Charles Hamilton)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1961<br />
My postal-order hasn't come yet.<br />
Magnet (1908) vol. 1, no. 2 "<strong>The</strong> Taming <strong>of</strong> Harry"<br />
Hazeldene looked from one to the other--from the well-set-up, athletic<br />
Lancashire lad, to the fat greedy owl <strong>of</strong> the Remove, and burst into<br />
a laugh.<br />
Magnet (1909) vol. 3, no. 72 "<strong>The</strong> Greyfriars Photographer"<br />
"I--I say, you fellows--"<br />
"Shut up, Bunter."<br />
"But--but I say--"<br />
"Keep that cush over his chivvy."<br />
"I--I say--groo--groo--yarooh!"<br />
And Bunter's remarks again tailed <strong>of</strong>f under the cushion.<br />
Magnet (1909) vol. 3, no. 85 "<strong>The</strong> Greyfriars Visitors"<br />
18.37 I. A. Richards<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-1979<br />
It is very probable that the Hindenburg Line to which the defence <strong>of</strong> our<br />
traditions retired as a result <strong>of</strong> the onslaughts <strong>of</strong> the last century will<br />
be blown up in the near future. If this should happen a mental chaos such<br />
as man has never experienced may be expected. We shall then be thrown<br />
back...upon poetry. It is capable <strong>of</strong> saving us; it is a perfectly possible<br />
means <strong>of</strong> overcoming chaos.<br />
Science and Poetry (1926) ch. 7<br />
18.38 Sir Ralph Richardson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1983<br />
"Acting," Ralph Richardson <strong>of</strong> the Old Vic pronounced last week, "is merely<br />
the art <strong>of</strong> keeping a large group <strong>of</strong> people from coughing."<br />
New York Herald Tribune 19 May 1946, pt. 5, p. 1<br />
18.39 Hans Richter<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1843-1916<br />
Your damned nonsense can I stand twice or once, but sometimes always, by<br />
God, Never.<br />
In Hansard 13 Feb. 1958, col. 574<br />
18.40 Rainer Maria Rilke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1926
Kunst-Werke sind von einer unendlichen Einsamkeit und mit nichts so wenig<br />
erreichbar als mit Kritik. Nur Liebe kann sie erfassen und halten und kann<br />
gerecht sein gegen sie.<br />
Works <strong>of</strong> art are <strong>of</strong> an infinite solitariness, and nothing is less likely<br />
to bring us near to them than criticism. Only love can apprehend and hold<br />
them, and can be just towards them.<br />
Briefe an einem jungen Dichter (Letters to a Young Poet, 1929, translated<br />
by Reginald Snell, 1945) 23 Apr. 1903<br />
Und diese menschlichere Liebe (die unendlich rcksichtsvoll und leise, und<br />
gut und klar in Binden und L”sen sich vollziehen wird) wird jener „hneln,<br />
die wir ringend und mhsam vorbereiten, der Liebe, die darin besteht, dass<br />
zwei Einsamkeiten einander schtzen, grenzen und grssen.<br />
And this more human love (which will consummate itself infinitely<br />
thoughtfully and gently, and well and clearly in binding and loosing) will<br />
be something like that which we are preparing with struggle and toil, the<br />
love which consists in the mutual guarding, bordering and saluting <strong>of</strong> two<br />
solitudes.<br />
Briefe an einem jungen Dichter (Letters to a Young Poet, 1929, translated<br />
by Reginald Snell, 1945) 14 May 1904<br />
Wer hat uns also umgedreht, dass wir,<br />
was wir auch tun, in jener Haltung sind<br />
von einem, welcher fortgeht? Wie er auf<br />
den letzten Hgel, der ihm ganz sein Tal<br />
noch einmal zeigt, sich wendet, anh„lt, weilt--,<br />
so leben wir und nehmen immer Abschied.<br />
Who's turned us around like this, so that we always,<br />
do what we may, retain the attitude<br />
<strong>of</strong> someone who's departing? Just as he,<br />
on the last hill, that shows him all his valley<br />
for the last time, will turn and stop and linger,<br />
we live our lives, for ever taking leave.<br />
Duineser Elegien (Duino Elegies, translated by J. B. Leishman and Stephen<br />
Spender, 1948) no. 8<br />
Ich fr die h”chste Aufgabe einer Verbindung zweier Menschen diese halte:<br />
dass einer dem andern seine Einsamkeit bewache.<br />
I hold this to be the highest task for a bond between two people: that<br />
each protects the solitude <strong>of</strong> the other.<br />
Letter to Paula Modersohn-Becker, 12 Feb. 1902, in Gesammelte Briefe<br />
(Collected Letters, 1904) vol. 1, p. 204<br />
18.41 Hal Riney<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
It's morning again in America.<br />
Slogan for Ronald Reagan's election campaign, 1984, in Newsweek 6 Aug.<br />
1984<br />
18.42 Robert L. Ripley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1893-1949<br />
Believe it or not.<br />
Title <strong>of</strong> syndicated newspaper feature (from 1918)<br />
18.43 C‚sar Ritz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1850-1918<br />
Le client n'a jamais tort.<br />
<strong>The</strong> customer is never wrong.<br />
In R. Nevill and C. E. Jerningham Piccadilly to Pall Mall (1908) p. 94<br />
18.44 Joan Riviere<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-<br />
Civilization and its discontents.<br />
Title <strong>of</strong> translation <strong>of</strong> Sigmund Freud's Das Unbehagen in der Kultur (1930)<br />
18.45 Lord Robbins (Lionel Charles Robbins, Baron Robbins)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1984<br />
Economics is the science which studies human behaviour as a relationship<br />
between ends and scarce means which have alternative uses.<br />
Essay on the Nature and Significance <strong>of</strong> Economic Science (1932) ch. 1,<br />
sect. 3<br />
18.46 Leo Robin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-<br />
Diamonds are a girl's best friend.<br />
Title <strong>of</strong> song (1949; music by Jule Styne)<br />
18.47 Leo Robin and Ralph Rainger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Leo Robin 1900-<br />
Ralph Rainger<br />
Thanks for the memory.<br />
Title <strong>of</strong> song (1937)<br />
18.48 Edwin Arlington Robinson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1869-1935<br />
So on we worked, and waited for the light,<br />
And went without meat, and cursed the bread;<br />
And Richard Cory, one calm summer night,<br />
Went home and put a bullet through his head.
Children <strong>of</strong> the Night (1897) "Richard Cory"<br />
I shall have more to say when I am dead.<br />
<strong>The</strong> Three Taverns (1920) "John Brown" (last line)<br />
Miniver loved the Medici,<br />
Albeit he had never seen one;<br />
He would have sinned incessantly<br />
Could he have been one.<br />
<strong>The</strong> Town down the River (1910) "Miniver Cheevy"<br />
18.49 Rt. Rev John Robinson (Bishop <strong>of</strong> Woolwich)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-1983<br />
What Lawrence is trying to do, I think, is to portray the sex relation as<br />
something sacred....I think Lawrence tried to portray this relation as in<br />
a real sense an act <strong>of</strong> holy communion. For him flesh was sacramental <strong>of</strong><br />
the spirit.<br />
Said as defence witness in case brought against Penguin Books for<br />
publishing Lady Chatterley's Lover, 27 Oct. 1960, in <strong>The</strong> Times 28 Oct.<br />
1960<br />
18.50 John D. Rockefeller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1839-1937<br />
<strong>The</strong> growth <strong>of</strong> a large business is merely a survival <strong>of</strong> the fittest....<strong>The</strong><br />
American beauty rose can be produced in the splendour and fragrance which<br />
bring cheer to its beholder only by sacrificing the early buds which grow<br />
up around it.<br />
In W. J. Ghent Our Benevolent Feudalism (1902) p. 29<br />
18.51 Knute Rockne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1931<br />
See Joseph P. Kennedy (11.19)<br />
18.52 Cecil Rodd<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Stop me and buy one.<br />
Advertising slogan for Wall's ice cream (from spring 1922) in Wall's<br />
Magazine Summer 1957, p. 33<br />
18.53 Gene Roddenberry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
Space--the final frontier....<strong>The</strong>se are the voyages <strong>of</strong> the starship<br />
Enterprise. Its five-year mission: to explore strange new worlds, to seek<br />
out new life and new civilizations, to boldly go where no man has gone<br />
before.<br />
Introduction to Star Trek (television series) 1966 onwards, in James A.
Lely Star Trek (1979) p. 32<br />
Beam us up, Mr Scott.<br />
Star Trek (television series 1966 onwards) "Gamesters <strong>of</strong> Triskelion"<br />
(<strong>of</strong>ten quoted as the catch-phrase "Beam me up, Scotty ," which was not<br />
actually used in the series)<br />
18.54 <strong>The</strong>odore Roethke<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-1963<br />
I wake to sleep, and take my waking slow.<br />
I feel my fate in what I cannot fear.<br />
I learn by going where I have to go.<br />
<strong>The</strong> Waking (1953) p. 120<br />
18.55 Will Rogers<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1935<br />
<strong>The</strong>re is only one thing that can kill the Movies, and that is education.<br />
Autobiography <strong>of</strong> Will Rogers (1949) ch. 6<br />
<strong>The</strong> more you read and observe about this Politics thing, you got to admit<br />
that each party is worse than the other. <strong>The</strong> one that's out always looks<br />
the best.<br />
Illiterate Digest (1924) "Breaking into the Writing Game"<br />
<strong>The</strong> Income Tax has made more Liars out <strong>of</strong> the American people than Golf<br />
has. Even when you make one out on the level, you don't know when it's<br />
through if you are a Crook or a Martyr.<br />
Illiterate Digest (1924) "Helping the Girls with their Income Taxes"<br />
Everything is funny as long as it is happening to Somebody Else.<br />
Illiterate Digest (1924) "Warning to Jokers: lay <strong>of</strong>f the prince"<br />
Well, all I know is what I read in the papers.<br />
New York Times 30 Sept. 1923<br />
You know everybody is ignorant, only on different subjects.<br />
In New York Times 31 Aug. 1924<br />
You can't say civilization don't advance, however, for in every war they<br />
kill you in a new way.<br />
New York Times 23 Dec. 1929<br />
Half our life is spent trying to find something to do with the time we<br />
have rushed through life trying to save.<br />
Letter in New York Times 29 Apr. 1930<br />
I bet you if I had met him [Trotsky] and had a chat with him, I would have<br />
found him a very interesting and human fellow, for I never yet met a man<br />
that I didn't like.<br />
In Saturday Evening Post 6 Nov. 1926<br />
I don't make jokes--I just watch the government and report the facts.<br />
In Saturday Review 25 Aug. 1962
Communism is like prohibition, it's a good idea but it won't work.<br />
Weekly Articles (1981) vol. 3, p. 93 (first pubd. 1927)<br />
Heroing is one <strong>of</strong> the shortest-lived pr<strong>of</strong>essions there is.<br />
Newspaper article, 15 Feb. 1925, in Paula McSpadden Grove <strong>The</strong> Will Rogers<br />
Book (1961) p. 193<br />
18.56 Frederick William Rolfe ('Baron Corvo')<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1913<br />
"<strong>The</strong>re is no Holiness here," George interrupted, in that cold, white,<br />
candent voice which was more caustic than silver nitrate and more<br />
thrilling than a scream.<br />
Hadrian VII (1904) ch. 21<br />
Pray for the repose <strong>of</strong> His soul. He was so tired.<br />
Hadrian VII (1904) ch. 24<br />
18.57 Angelo Giuseppe Roncalli<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Pope John XXIII (10.16)<br />
18.58 Eleanor Roosevelt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1962<br />
No one can make you feel inferior without your consent.<br />
In Catholic Digest Aug. 1960, p. 102<br />
18.59 Franklin D. Roosevelt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1945<br />
It is fun to be in the same decade with you.<br />
Cable to Winston Churchill, replying to congratulations on Roosevelt's<br />
60th birthday, in W. S. Churchill Hinge <strong>of</strong> Fate (1950) ch. 4<br />
<strong>The</strong>se unhappy times call for the building <strong>of</strong> plans that...build from the<br />
bottom up...that put their faith once more in the forgotten man at the<br />
bottom <strong>of</strong> the economic pyramid.<br />
Radio address, 7 Apr. 1932, in Public Papers (1938) vol. 1, p. 625<br />
I pledge you, I pledge myself, to a new deal for the American people. Let<br />
us all here assembled constitute ourselves prophets <strong>of</strong> a new order <strong>of</strong><br />
competence and <strong>of</strong> courage. This is more than a political campaign; it is<br />
a call to arms. Give me your help, not to win votes alone, but to win in<br />
this crusade to restore America to its own people.<br />
Speech to Democratic Convention in Chicago, 2 July 1932, accepting<br />
nomination for presidency, in Public Papers (1938) vol. 1, p. 647<br />
First <strong>of</strong> all, let me assert my firm belief that the only thing we have to<br />
fear is fear itself--nameless, unreasoning, unjustified terror which<br />
paralyses needed efforts to convert retreat into advance.<br />
Inaugural address, 4 Mar. 1933, in Public Papers (1938) vol. 2, p. 11
In the field <strong>of</strong> world policy I would dedicate this Nation to the policy <strong>of</strong><br />
the good neighbour.<br />
Inaugural address, 4 Mar. 1933, in Public Papers (1938) vol. 2, p. 14<br />
I have seen war. I have seen war on land and sea. I have seen blood<br />
running from the wounded. I have seen men coughing out their gassed lungs.<br />
I have seen the dead in the mud. I have seen cities destroyed. I have seen<br />
200 limping, exhausted men come out <strong>of</strong> line--the survivors <strong>of</strong> a regiment<br />
<strong>of</strong> 1,000 that went forward 48 hours before. I have seen children<br />
starving. I have seen the agony <strong>of</strong> mothers and wives. I hate war.<br />
Speech at Chautauqua, NY, 14 Aug. 1936, in Public Papers (1936) vol. 5,<br />
p. 289<br />
I see one-third <strong>of</strong> a nation ill-housed, ill-clad, ill-nourished.<br />
Second inaugural address, 20 Jan. 1937, in Public Papers (1941) vol. 6,<br />
p. 5<br />
When peace has been broken anywhere, the peace <strong>of</strong> all countries everywhere<br />
is in danger.<br />
"Fireside Chat" radio broadcast, 3 Sept. 1939, in Public Papers (1941)<br />
vol. 8, p. 461<br />
I am reminded <strong>of</strong> four definitions: A Radical is a man with both feet<br />
firmly planted--in the air. A Conservative is a man with two perfectly<br />
good legs who, however, has never learned to walk forward. A Reactionary<br />
is a somnambulist walking backwards. A Liberal is a man who uses his legs<br />
and his hands at the behest--at the command--<strong>of</strong> his head.<br />
Radio address to New York Herald Tribune Forum, 26 Oct. 1939, in Public<br />
Papers (1941) vol. 8, p. 556<br />
And while I am talking to you mothers and fathers, I give you one more<br />
assurance. I have said this before, but I shall say it again and again and<br />
again: Your boys are not going to be sent into any foreign wars.<br />
Speech in Boston, 30 Oct. 1940, in Public Papers (1941) vol. 9, p. 517<br />
We have the men--the skill--the wealth--and above all, the will. We must<br />
be the great arsenal <strong>of</strong> democracy.<br />
"Fireside Chat" radio broadcast, 29 Dec. 1940, in Public Papers (1941)<br />
vol. 9, p. 643<br />
In the future days, which we seek to make secure, we look forward to<br />
a world founded upon four essential human freedoms. <strong>The</strong> first is freedom<br />
<strong>of</strong> speech and expression--everywhere in the world. <strong>The</strong> second is freedom<br />
<strong>of</strong> every person to worship God in his own way--everywhere in the world.<br />
<strong>The</strong> third is freedom from want--which, translated into world terms, means<br />
economic understanding which will secure to every nation a healthy<br />
peacetime life for its inhabitants--everywhere in the world. <strong>The</strong> fourth is<br />
freedom from fear--which, translated into world terms, means a world-wide<br />
reduction <strong>of</strong> armaments to such a point and in such a thorough fashion that<br />
no nation will be in a position to commit an act <strong>of</strong> physical aggression<br />
against any neighbour--anywhere in the world.<br />
Message to Congress, 6 Jan. 1941, in Public Papers (1941) vol. 9, p. 672<br />
Yesterday, December 7, 1941--a date which will live on in infamy--the<br />
United States <strong>of</strong> America was suddenly and deliberately attacked by naval<br />
and air forces <strong>of</strong> the Empire <strong>of</strong> Japan.<br />
Address to Congress, 8 Dec. 1941, in Public Papers (1950) vol. 10, p. 514<br />
<strong>The</strong> work, my friend, is peace. More than an end <strong>of</strong> this war--an end to the
eginnings <strong>of</strong> all wars. Yes, an end forever to this impractical,<br />
unrealistic settlement <strong>of</strong> the differences between governments by the mass<br />
killings <strong>of</strong> peoples.<br />
Undelivered address for Jefferson Day, 13 Apr. 1945 (the day after<br />
Roosevelt died) in Public Papers (1950) vol. 13, p. 615<br />
<strong>The</strong> only limit to our realization <strong>of</strong> tomorrow will be our doubts <strong>of</strong> today.<br />
Let us move forward with strong and active faith.<br />
Undelivered address for Jefferson Day, 13 Apr. 1945, final lines, in<br />
Public Papers (1950) vol. 13, p. 616<br />
We all know that books burn--yet we have the greater knowledge that books<br />
can not be killed by fire. People die, but books never die. No man and no<br />
force can abolish memory. No man and no force can put thought in<br />
a concentration camp forever. No man and no force can take from the world<br />
the books that embody man's eternal fight against tyranny <strong>of</strong> every kind.<br />
In this war, we know, books are weapons. And it is a part <strong>of</strong> your<br />
dedication always to make them weapons for man's freedom.<br />
"Message to the Booksellers <strong>of</strong> America" read at banquet, 6 May 1942, in<br />
Publisher's Weekly 9 May 1942<br />
18.60 <strong>The</strong>odore Roosevelt<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1919<br />
<strong>The</strong> first requisite <strong>of</strong> a good citizen in this Republic <strong>of</strong> ours is that he<br />
shall be able and willing to pull his weight.<br />
Speech in New York, 11 Nov. 1902, in Addresses and Presidential Messages<br />
1902-4 (1904) p. 85<br />
A man who is good enough to shed his blood for the country is good enough<br />
to be given a square deal afterwards. More than that no man is entitled<br />
to, and less than that no man shall have.<br />
Speech at the Lincoln Monument, Springfield, Illinois, 4 June 1903, in<br />
Addresses and Presidential Messages 1902-4 (1904) p. 224<br />
[William] McKinley has no more backbone than a chocolate ‚clair!<br />
In H. T. Peck Twenty Years <strong>of</strong> the Republic (1906) p. 642<br />
<strong>The</strong>re is a homely old adage which runs: "Speak s<strong>of</strong>tly and carry a big<br />
stick; you will go far." If the American nation will speak s<strong>of</strong>tly, and yet<br />
build and keep at a pitch <strong>of</strong> the highest training a thoroughly efficient<br />
navy, the Monroe Doctrine will go far.<br />
Speech at Chicago, 3 Apr. 1903, in New York Times 4 Apr. 1903<br />
<strong>The</strong>re can be no fifty-fifty Americanism in this country. <strong>The</strong>re is room<br />
here for only 100 per cent. Americanism, only for those who are Americans<br />
and nothing else.<br />
Speech in Saratoga, 19 July 1918, in Roosevelt Policy (1919) vol. 3,<br />
p. 1079<br />
I wish to preach, not the doctrine <strong>of</strong> ignoble ease, but the doctrine <strong>of</strong><br />
the strenuous life.<br />
Speech to the Hamilton Club, Chicago, 10 Apr. 1899, in Works, Memorial<br />
edition (1925), vol. 15, p. 267<br />
No man is justified in doing evil on the ground <strong>of</strong> expediency.<br />
In Works, Memorial edition (1925) vol. 15, p. 388 "Latitude and Longitude<br />
among Reformers"
<strong>The</strong> men with the muck-rakes are <strong>of</strong>ten indispensable to the well-being <strong>of</strong><br />
society; but only if they know when to stop raking the muck.<br />
Speech in Washington, 14 Apr. 1906, in Works, Memorial edition (1925)<br />
vol. 18, p. 574<br />
A hyphenated American is not an American at all. This is just as true <strong>of</strong><br />
the man who puts "native" before the hyphen as <strong>of</strong> the man who puts German<br />
or Irish or English or French before the hyphen. Americanism is a matter<br />
<strong>of</strong> the spirit and <strong>of</strong> the soul. Our allegiance must be purely to the<br />
United States. We must unsparingly condemn any man who holds any other<br />
allegiance.<br />
Speech in New York, 12 Oct. 1915, in Works, Memorial edition (1925)<br />
vol. 20, p. 457<br />
<strong>The</strong>re are the foolish fanatics always to be found in such a movement and<br />
always discrediting it--the men who form the lunatic fringe in all reform<br />
movements.<br />
Autobiography (1913) ch. 7, in Works, Memorial edition (1925) vol. 22,<br />
p. 247<br />
I wish in this campaign to do...whatever is likely to produce the best<br />
results for the Republican ticket. I am as strong as a bull moose and you<br />
can use me to the limit.<br />
Letter to Mark Hanna, 27 June 1900, in Works, Memorial edition (1926)<br />
vol. 23, p. 162 ("Bull Moose" became the popular name <strong>of</strong> the Progressive<br />
Party)<br />
One <strong>of</strong> our defects as a nation is a tendency to use what have been called<br />
"weasel words." When a weasel sucks eggs the meat is sucked out <strong>of</strong> the<br />
egg. If you use a "weasel word" after another, there is nothing left <strong>of</strong><br />
the other.<br />
Speech in St Louis, 31 May 1916, in Works, Memorial edition (1926)<br />
vol. 24, p. 483<br />
Good to the last drop.<br />
Said to Joel Cheek in 1907 about Maxwell House c<strong>of</strong>fee, and subsequently<br />
used as an advertising slogan<br />
18.61 Arthur Rose and Douglas Furber<br />
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Any time you're Lambeth way,<br />
Any evening, any day,<br />
You'll find us all<br />
Doin' the Lambeth Walk.<br />
Lambeth Walk (1937 song; music by Noel Gay)<br />
18.62 Billy Rose<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1966<br />
Me and my shadow.<br />
Title <strong>of</strong> song (1927; music by Al Jolson and Dave Dreyer)<br />
18.63 Billy Rose and Marty Bloom<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Billy Rose 1899-1966<br />
Marty Bloom<br />
Does the spearmint lose its flavour on the bedpost overnight?<br />
Title <strong>of</strong> song (1924; music by Ernest Breuer; revived in 1959 by Lonnie<br />
Donegan with the title "Does your chewing-gum lose its flavour on the<br />
bedpost overnight?")<br />
18.64 Billy Rose and Willie Raskin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Billy Rose 1899-1966<br />
Willie Raskin 1896-1942<br />
Fifty million Frenchmen can't be wrong.<br />
Title <strong>of</strong> song (1927; music by Fred Fisher). Cf. Texas Guinan<br />
18.65 William Rose<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-1987<br />
<strong>The</strong> Russians are coming, the Russians are coming.<br />
Title <strong>of</strong> film (1966)<br />
18.66 Lord Rosebery (Archibald Philip Primrose, 5th Earl <strong>of</strong> Rosebery)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1847-1929<br />
<strong>The</strong>re is no need for any nation, however great, leaving the Empire,<br />
because the Empire is a commonwealth <strong>of</strong> nations.<br />
Speech in Adelaide, Australia, 18 Jan. 1884, in Marquess <strong>of</strong> Crewe Lord<br />
Rosebery (1931) vol. 1, ch. 7<br />
And now we cannot but observe that it is beginning to be hinted that we<br />
are a nation <strong>of</strong> amateurs.<br />
Rectorial Address at Glasgow University, 16 Nov. 1900, in <strong>The</strong> Times<br />
17 Nov. 1900<br />
I must plough my furrow alone. That is my fate, agreeable or the reverse;<br />
but before I get to the end <strong>of</strong> that furrow it is possible that I may find<br />
myself not alone.<br />
Speech at City <strong>of</strong> London Liberal Club, 19 July 1901, on remaining outside<br />
Liberal Party leadership, in <strong>The</strong> Times 20 July 1901<br />
18.67 Ethel Rosenberg and Julius Rosenberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ethel Rosenberg 1916-1953<br />
Julius Rosenberg 1918-1953<br />
We are innocent, as we have proclaimed and maintained from the time <strong>of</strong> our<br />
arrest. This is the whole truth. To forsake this truth is to pay too high<br />
a price even for the priceless gift <strong>of</strong> life--for life thus purchased we<br />
could not live out in dignity and self-respect.<br />
Petition for executive clemency, filed 9 Jan. 1953, in Ethel Rosenberg
Death House Letters (1953) p. 149<br />
Ethel wants it made known that we are the first victims <strong>of</strong> American<br />
Fascism.<br />
Letter from Julius to Emanuel Bloch before their execution for espionage,<br />
19 June 1953, in Ethel Rosenberg Testament <strong>of</strong> Ethel and Julius Rosenberg<br />
(1954) p. 187<br />
18.68 Alan S. C. Ross<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1907-1980<br />
U and Non-U. An essay in sociological linguistics.<br />
Title <strong>of</strong> essay in Nancy Mitford Noblesse Oblige (1956), first published in<br />
Neuphilologische Mitteilungen (1954)<br />
18.69 Harold Ross<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1951<br />
Usually he [Ross] confined himself to written comments. His later famed<br />
"What mean?" "Who he?" and the like began to appear on manuscripts and<br />
pro<strong>of</strong>s.<br />
Dale Kramer Ross and <strong>The</strong> New Yorker (1952) ch. 13<br />
<strong>The</strong> New Yorker will be the magazine which is not edited for the old lady<br />
in Dubuque.<br />
In James Thurber <strong>The</strong> Years with Ross (1959) ch. 4<br />
"I don't want you to think I'm not incoherent," he [Ross] once rattled <strong>of</strong>f<br />
to somebody in "21."<br />
James Thurber <strong>The</strong> Years with Ross (1959) ch. 5<br />
I understand the hero [<strong>of</strong> Hemingway's A Farewell to Arms] keeps getting in<br />
bed with women, and the war wasn't fought that way.<br />
In James Thurber <strong>The</strong> Years with Ross (1959) ch. 7<br />
18.70 Sir Ronald Ross<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1932<br />
This day relenting God<br />
Hath placed within my hand<br />
A wondrous thing; and God<br />
Be praised. At his command,<br />
Seeking His secret deeds<br />
With tears and toiling breath,<br />
I find thy cunning seeds,<br />
O million-murdering Death.<br />
I know this little thing<br />
A myriad men will save,<br />
O Death, where is thy sting?<br />
Thy victory, O Grave?<br />
Philosophies (1910) "In Exile" pt. 7 (describing his part in discovering<br />
the life-cycle <strong>of</strong> the malaria parasite in 1897; cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong>
<strong>Quotations</strong> (1979) 77:1)<br />
18.71 Jean Rostand<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1977<br />
Mon pessimisme va jusqu'… suspecter la sinc‚rit‚ des pessimistes.<br />
My pessimism goes to the point <strong>of</strong> suspecting the sincerity <strong>of</strong> the<br />
pessimists.<br />
Journal d'un caractŠre(Journal <strong>of</strong> a Character, 1931)<br />
°tre adulte, c'est ˆtre seul.<br />
To be adult is to be alone.<br />
Pens‚es d'un biologiste (Thoughts <strong>of</strong> a Biologist, 1954) p. 134<br />
On tue un homme, on est un assassin. On tue des millions d'hommes, on est<br />
conqu‚rant. On les tue tous, on est un dieu.<br />
Kill a man, and you are an assassin. Kill millions <strong>of</strong> men, and you are a<br />
conqueror. Kill everyone, and you are a god.<br />
Pens‚es d'un biologiste (Thoughts <strong>of</strong> a Biologist, 1939) p. 116<br />
18.72 Leo Rosten<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1908-<br />
<strong>The</strong> only thing I can say about W. C. Fields, whom I have admired since the<br />
day he advanced upon Baby LeRoy with an ice pick, is this: any man who<br />
hates dogs and babies can't be all bad.<br />
Speech at Hollywood dinner in honour <strong>of</strong> W. C. Fields, 16 Feb. 1939, in<br />
Saturday Review 12 June 1976<br />
18.73 Philip Roth<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
A Jewish man with parents alive is a fifteen-year-old boy, and will remain<br />
a fifteen-year-old boy until they die!<br />
Portnoy's Complaint (1967) p. 111<br />
Doctor, my doctor, what do you say, LET'S PUT THE ID BACK IN YID!<br />
Portnoy's Complaint (1967) p. 124<br />
18.74 Dan Rowan and Dick Martin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Dan Rowan 1922-1987<br />
Dick Martin 1923-<br />
Very interesting...but stupid.<br />
Catch-phrase in Rowan and Martin's Laugh-In (American television series,<br />
1967-73)<br />
18.75 Helen Rowland
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1950<br />
A husband is what is left <strong>of</strong> a lover, after the nerve has been extracted.<br />
A Guide to Men (1922) p. 19<br />
Somehow a bachelor never quite gets over the idea that he is a thing <strong>of</strong><br />
beauty and a boy forever.<br />
A Guide to Men (1922) p. 25<br />
<strong>The</strong> follies which a man regrets most, in his life, are those which he<br />
didn't commit when he had the opportunity.<br />
A Guide to Men (1922) p. 87<br />
When you see what some girls marry, you realize how they must hate to work<br />
for a living.<br />
Reflections <strong>of</strong> a Bachelor Girl (1909) p. 45<br />
18.76 Richard Rowland<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
?1881-1947<br />
<strong>The</strong> lunatics have taken charge <strong>of</strong> the asylum.<br />
Comment on take-over <strong>of</strong> United Artists by Charles Chaplin, Mary Pickford,<br />
Douglas Fairbanks and D. W. Griffith, in Terry Ramsaye A Million and One<br />
Nights (1926) vol. 2, ch. 79<br />
18.77 Maude Royden<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1956<br />
<strong>The</strong> Church should go forward along the path <strong>of</strong> progress and be no longer<br />
satisfied only to represent the Conservative Party at prayer.<br />
Address at Queen's Hall, London, 16 July 1917, in <strong>The</strong> Times 17 July 1917<br />
18.78 Naomi Royde-Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875?-1964<br />
I know two things about the horse<br />
And one <strong>of</strong> them is rather coarse.<br />
Weekend Book (1928) p. 231<br />
18.79 Paul Alfred Rubens<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1917<br />
Oh! we don't want to lose you but we think you ought to go<br />
For your King and your Country both need you so;<br />
We shall want you and miss you but with all our might and main<br />
We shall cheer you, thank you, kiss you<br />
When you come back again.<br />
Your King and Country Want You (1914 song)<br />
18.80 Damon Runyon
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1946<br />
I do see her in tough joints more than somewhat.<br />
Collier's 22 May 1930, "Social Error"<br />
"You are snatching a hard guy when you snatch Bookie Bob. A very hard guy,<br />
indeed. In fact," I say, "I hear the s<strong>of</strong>test thing about him is his front<br />
teeth."<br />
Collier's 26 Sept. 1931, "Snatching <strong>of</strong> Bookie Bob"<br />
I always claim the mission workers came out too early to catch any sinners<br />
on this part <strong>of</strong> Broadway. At such an hour the sinners are still in bed<br />
resting up from their sinning <strong>of</strong> the night before, so they will be in good<br />
shape for more sinning a little later on.<br />
Collier's 28 Jan. 1933, "<strong>The</strong> Idyll <strong>of</strong> Miss Sarah Brown"<br />
"In fact," Sam the Gonoph says, "I long ago come to the conclusion that<br />
all life is 6 to 5 against."<br />
Collier's 8 Sept. 1934, "A Nice Price"<br />
"My boy," he says, "always try to rub up against money, for if you rub up<br />
against money long enough, some <strong>of</strong> it may rub <strong>of</strong>f on you."<br />
Cosmopolitan Aug. 1929, "A Very Honourable Guy"<br />
18.81 Dean Rusk<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
We're eyeball to eyeball, and I think the other fellow just blinked.<br />
Comment on Cuban missile crisis, 24 Oct. 1962, in Saturday Evening Post<br />
8 Dec. 1962<br />
18.82 Bertrand Russell (Bertrand Arthur William, third Earl Russell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1970<br />
Three passions, simple but overwhelmingly strong, have governed my life:<br />
the longing for love, the search for knowledge, and unbearable pity for<br />
the suffering <strong>of</strong> mankind.<br />
Autobiography (1967) vol. 1, prologue<br />
I was told that the Chinese said they would bury me by the Western Lake<br />
and build a shrine to my memory. I have some slight regret that this did<br />
not happen as I might have become a god, which would have been very chic<br />
for an atheist.<br />
Autobiography (1968) vol. 2, ch. 3<br />
Men who are unhappy, like men who sleep badly, are always proud <strong>of</strong> the<br />
fact.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 1<br />
Boredom is therefore a vital problem for the moralist, since half the sins<br />
<strong>of</strong> mankind are caused by the fear <strong>of</strong> it.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 4<br />
One <strong>of</strong> the symptoms <strong>of</strong> approaching nervous breakdown is the belief that
one's work is terribly important, and that to take a holiday would bring<br />
all kinds <strong>of</strong> disaster. If I were a medical man, I should prescribe a<br />
holiday to any patient who considered his work important.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 5<br />
Envy is the basis <strong>of</strong> democracy.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 6<br />
One should as a rule respect public opinion in so far as is necessary to<br />
avoid starvation and to keep out <strong>of</strong> prison, but anything that goes beyond<br />
this is voluntary submission to an unnecessary tyranny, and is likely to<br />
interfere with happiness in all kinds <strong>of</strong> ways.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 9<br />
A sense <strong>of</strong> duty is useful in work, but <strong>of</strong>fensive in personal relations.<br />
People wish to be liked, not to be endured with patient resignation.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 10<br />
Of all forms <strong>of</strong> caution, caution in love is perhaps the most fatal to true<br />
happiness.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 12<br />
To be able to fill leisure intelligently is the last product <strong>of</strong><br />
civilization, and at present very few people have reached this level.<br />
Conquest <strong>of</strong> Happiness (1930) ch. 14<br />
Aristotle maintained that women have fewer teeth than men; although he was<br />
twice married, it never occurred to him to verify this statement by<br />
examining his wives' mouths.<br />
Impact <strong>of</strong> Science on Society (1952) ch. 1<br />
<strong>The</strong> fact that an opinion has been widely held is no evidence whatever that<br />
it is not utterly absurd; indeed in view <strong>of</strong> the silliness <strong>of</strong> the majority<br />
<strong>of</strong> mankind, a widespread belief is more likely to be foolish than<br />
sensible.<br />
Marriage and Morals (1929) ch. 5<br />
To fear love is to fear life, and those who fear life are already three<br />
parts dead.<br />
Marriage and Morals (1929) ch. 19<br />
Mathematics may be defined as the subject in which we never know what we<br />
are talking about, nor whether what we are saying is true.<br />
Mysticism and Logic (1917) ch. 4<br />
Only on the firm foundation <strong>of</strong> unyielding despair, can the soul's<br />
habitation henceforth be safely built.<br />
Philosophical Essays (1910) no. 2<br />
Mathematics, rightly viewed, possesses not only truth, but supreme<br />
beauty--a beauty cold and austere, like that <strong>of</strong> sculpture.<br />
Philosophical Essays (1910) no. 4<br />
It is undesirable to believe a proposition when there is no ground<br />
whatever for supposing it is true.<br />
Sceptical Essays (1928) "On the Value <strong>of</strong> Scepticism"<br />
<strong>The</strong> infliction <strong>of</strong> cruelty with a good conscience is a delight to<br />
moralists. That is why they invented Hell.<br />
Sceptical Essays (1928) "On the Value <strong>of</strong> Scepticism"
Every man, wherever he goes, is encompassed by a cloud <strong>of</strong> comforting<br />
convictions, which move with him like flies on a summer day.<br />
Sceptical Essays (1928) "Dreams and Facts"<br />
Machines are worshipped because they are beautiful, and valued because<br />
they confer power; they are hated because they are hideous, and loathed<br />
because they impose slavery.<br />
Sceptical Essays (1928) "Machines and Emotions"<br />
We have, in fact, two kinds <strong>of</strong> morality side by side: one which we preach<br />
but do not practise, and another which we practise but seldom preach.<br />
Sceptical Essays (1928) "Eastern and Western Ideals <strong>of</strong> Happiness"<br />
It is obvious that "obscenity" is not a term capable <strong>of</strong> exact legal<br />
definition; in the practice <strong>of</strong> the Courts, it means "anything that shocks<br />
the magistrate."<br />
Sceptical Essays (1928) "Recrudescence <strong>of</strong> Puritanism"<br />
<strong>The</strong> fundamental defect <strong>of</strong> fathers, in our competitive society, is that<br />
they want their children to be a credit to them.<br />
Sceptical Essays (1928) "<strong>Free</strong>dom versus Authority in Education"<br />
Man is a credulous animal, and must believe something; in the absence <strong>of</strong><br />
good grounds for belief, he will be satisfied with bad ones.<br />
Unpopular Essays (1950) "Outline <strong>of</strong> Intellectual Rubbish"<br />
Fear is the main source <strong>of</strong> superstition, and one <strong>of</strong> the main sources <strong>of</strong><br />
cruelty. To conquer fear is the beginning <strong>of</strong> wisdom, in the pursuit <strong>of</strong><br />
truth as in the endeavour after a worthy manner <strong>of</strong> life.<br />
Unpopular Essays (1950) "Outline <strong>of</strong> Intellectual Rubbish"<br />
18.83 Dora Russell (Countess Russell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1986<br />
We want better reasons for having children than not knowing how to prevent<br />
them.<br />
Hypatia (1925) ch. 4<br />
18.84 George William Russell<br />
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See AE (1.15)<br />
18.85 John Russell<br />
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1919-<br />
Certain phrases stick in the throat, even if they <strong>of</strong>fer nothing that is<br />
analytically improbable. "A dashing Swiss <strong>of</strong>ficer" is one such. Another<br />
is "the beautiful Law Courts."<br />
Paris (1960) ch. 11<br />
18.86 Ernest Rutherford (Baron Rutherford <strong>of</strong> Nelson)<br />
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1871-1937<br />
I do not...want to give the impression that the use <strong>of</strong> large machines or<br />
<strong>of</strong> elaborate techniques is always justified; sometimes it contributes<br />
merely to the sense <strong>of</strong> self-importance <strong>of</strong> the investigator, and it is<br />
always salutary to remember Rutherford's "We haven't got the money, so<br />
we've got to think!"<br />
R. V. Jones in Bulletin <strong>of</strong> the Institute <strong>of</strong> Physics (1962) vol. 13, p. 102<br />
All science is either physics or stamp collecting.<br />
In J. B. Birks Rutherford at Manchester (1962) p. 108<br />
18.87 Gilbert Ryle<br />
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1900-1976<br />
A myth is, <strong>of</strong> course, not a fairy story. It is the presentation <strong>of</strong> facts<br />
belonging to one category in the idioms appropriate to another. To explode<br />
a myth is accordingly not to deny the facts but to re-allocate them. And<br />
this is what I am trying to do.<br />
Concept <strong>of</strong> Mind (1949) introduction<br />
Philosophy is the replacement <strong>of</strong> category-habits by category-disciplines.<br />
Concept <strong>of</strong> Mind (1949) introduction<br />
Such in outline is the <strong>of</strong>ficial theory. I shall <strong>of</strong>ten speak <strong>of</strong> it, with<br />
deliberate abusiveness, as "the dogma <strong>of</strong> the Ghost in the Machine."<br />
Concept <strong>of</strong> Mind (1949) ch. 1 (referring to Descartes' mental-conduct<br />
concepts)<br />
19.0 S<br />
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19.1 Rafael Sabatini<br />
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1875-1950<br />
He was born with a gift <strong>of</strong> laughter and a sense that the world was mad.<br />
And that was all his patrimony.<br />
Scaramouche (1921) bk. 1, ch. 1<br />
19.2 Oliver Sacks<br />
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1933-<br />
<strong>The</strong> man who mistook his wife for a hat.<br />
Title <strong>of</strong> book (1985)<br />
19.3 Victoria ('Vita') Sackville-West<br />
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1892-1962<br />
<strong>The</strong> greater cats with golden eyes
Stare out between the bars.<br />
Deserts are there, and different skies,<br />
And night with different stars.<br />
King's Daughter (1929) pt. 2, no. 1 "<strong>The</strong> Greater Cats with Golden Eyes"<br />
<strong>The</strong> country habit has me by the heart,<br />
For he's bewitched for ever who has seen,<br />
Not with his eyes but with his vision, Spring<br />
Flow down the woods and stipple leaves with sun.<br />
<strong>The</strong> Land (1926) "Winter"<br />
19.4 Fran‡oise Sagan<br />
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1935-<br />
Rien n'est plus affreux que le rire pour la jalousie.<br />
To jealousy, nothing is more frightful than laughter.<br />
La Chamade (1965) ch. 9<br />
19.5 Antoine de Saint-Exup‚ry<br />
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1900-1944<br />
Les grandes personnes ne comprennent jamais rien toutes seules, et c'est<br />
fatigant, pour les enfants, de toujours et toujours leur donner des<br />
explications.<br />
Grown-ups never understand anything for themselves, and it is tiresome for<br />
children to be always and forever explaining things to them.<br />
Le Petit Prince (<strong>The</strong> Little Prince, 1943) ch. 1<br />
On ne voit bien qu'avec le c”ur. L'essentiel est invisible pour les yeux.<br />
It is only with the heart that one can see rightly; what is essential is<br />
invisible to the eye.<br />
Le Petit Prince (<strong>The</strong> Little Prince, 1943) ch. 21<br />
L'exp‚rience nous montre qu' aimer ce n'est point nous regarder l'un<br />
l'autre mais regarder ensemble dans la mˆme direction.<br />
Life has taught us that love does not consist in gazing at each other but<br />
in looking together in the same direction.<br />
Terre des Hommes (translated as "Wind, Sand and Stars," 1939) ch. 8<br />
19.6 George Saintsbury<br />
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1845-1933<br />
I have never yet given a second-hand opinion <strong>of</strong> any thing, or book, or<br />
person.<br />
Notes on a Cellar-Book (1920) "Preliminary"<br />
19.7 Saki (Hector Hugh Munro)<br />
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1870-1916
"But why should you want to shield him?" cried Egbert; "the man is a<br />
common murderer." "A common murderer, possibly, but a very uncommon cook."<br />
Beasts and Super-Beasts (1914) "<strong>The</strong> Blind Spot"<br />
"Waldo is one <strong>of</strong> those people who would be enormously improved by death,"<br />
said Clovis.<br />
Beasts and Super-Beasts (1914) "<strong>The</strong> Feast <strong>of</strong> Nemesis"<br />
He's simply got the instinct for being unhappy highly developed.<br />
Chronicles <strong>of</strong> Clovis (1911) "<strong>The</strong> Match-Maker"<br />
"I think oysters are more beautiful than any religion," he resumed<br />
presently. "<strong>The</strong>y not only forgive our unkindness to them; they justify it,<br />
they incite us to go on being perfectly horrid to them. Once they arrive<br />
at the supper-table they seem to enter thoroughly into the spirit <strong>of</strong> the<br />
thing. <strong>The</strong>re's nothing in Christianity or Buddhism that quite matches the<br />
sympathetic unselfishness <strong>of</strong> an oyster."<br />
Chronicles <strong>of</strong> Clovis (1911) "<strong>The</strong> Match-Maker"<br />
All decent people live beyond their incomes nowadays, and those who aren't<br />
respectable live beyond other peoples'. A few gifted individuals manage to<br />
do both.<br />
Chronicles <strong>of</strong> Clovis (1911) "<strong>The</strong> Match-Maker"<br />
<strong>The</strong> people <strong>of</strong> Crete unfortunately make more history than they can consume<br />
locally.<br />
Chronicles <strong>of</strong> Clovis (1911) "<strong>The</strong> Jesting <strong>of</strong> Arlington Stringham"<br />
His socks compelled one's attention without losing one's respect.<br />
Chronicles <strong>of</strong> Clovis (1911) "Ministers <strong>of</strong> Grace"<br />
People may say what they like about the decay <strong>of</strong> Christianity; the<br />
religious system that produced green Chartreuse can never really die.<br />
Reginald (1904) "Reginald on Christmas Presents"<br />
Every reformation must have its victims. You can't expect the fatted calf<br />
to share the enthusiasm <strong>of</strong> the angels over the prodigal's return.<br />
Reginald (1904) "Reginald on the Academy"<br />
I always say beauty is only sin deep.<br />
Reginald (1904) "Reginald's Choir Treat"<br />
Her frocks are built in Paris, but she wears them with a strong English<br />
accent.<br />
Reginald (1904) "Reginald on Worries"<br />
<strong>The</strong> young have aspirations that never come to pass, the old have<br />
reminiscences <strong>of</strong> what never happened.<br />
Reginald (1904) "Reginald at the Carlton"<br />
<strong>The</strong>re may have been disillusionments in the lives <strong>of</strong> the medieval saints,<br />
but they would scarcely have been better pleased if they could have<br />
forseen that their names would be associated nowadays chiefly with<br />
racehorses and the cheaper clarets.<br />
Reginald (1904) "Reginald at the Carlton"<br />
<strong>The</strong> cook was a good cook, as cooks go; and as good cooks go, she went.<br />
Reginald (1904) "Reginald on Besetting Sins"
Women and elephants never forget an injury.<br />
Reginald (1904) "Reginald on Besetting Sins"<br />
<strong>The</strong> Young Turkish candidate, who had conformed to the Western custom <strong>of</strong><br />
one wife and hardly any mistresses, stood by helplessly while his<br />
adversary's poll swelled to a triumphant majority.<br />
Reginald in Russia (1910) "A Young Turkish Catastrophe"<br />
<strong>The</strong> death <strong>of</strong> John Pennington had left his widow in circumstances which<br />
were more straitened than ever, and the Park had receded even from her<br />
notepaper, where it had long been retained as a courtesy title on the<br />
principle that addresses are given to us to conceal our whereabouts.<br />
Reginald in Russia (1910) "Cross Currents"<br />
But, good gracious, you've got to educate him first. You can't expect<br />
a boy to be vicious till he's been to a good school.<br />
Reginald in Russia (1910) "<strong>The</strong> Baker's Dozen"<br />
I should be the last person to say anything against temptation, naturally,<br />
but we have a proverb down here "in baiting a mouse-trap with cheese,<br />
always leave room for the mouse."<br />
<strong>The</strong> Square Egg (1924) "<strong>The</strong> Infernal Parliament"<br />
A little inaccuracy sometimes saves tons <strong>of</strong> explanation.<br />
<strong>The</strong> Square Egg (1924) "Clovis on the Alleged Romance <strong>of</strong> Business"<br />
Children with Hyacinth's temperament don't know better as they grow older;<br />
they merely know more.<br />
Toys <strong>of</strong> Peace and Other Papers (1919) "Hyacinth"<br />
A buzz <strong>of</strong> recognition came from the front rows <strong>of</strong> the pit, together with<br />
a craning <strong>of</strong> necks on the part <strong>of</strong> those in less favoured seats. It<br />
heralded the arrival <strong>of</strong> Sherard Blaw, the dramatist who had discovered<br />
himself, and who had given so ungrudgingly <strong>of</strong> his discovery to the world.<br />
<strong>The</strong> Unbearable Bassington (1912) ch. 13<br />
19.8 J. D. Salinger<br />
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1919-<br />
If you really want to hear about it, the first thing you'll probably want<br />
to know is where I was born, and what my lousy childhood was like, and how<br />
my parents were occupied and all before they had me, and all that David<br />
Copperfield kind <strong>of</strong> crap, but I don't feel like going into it.<br />
Catcher in the Rye (1951) ch. 1<br />
What really knocks me out is a book that, when you're all done reading it,<br />
you wish the author that wrote it was a terrific friend <strong>of</strong> yours and you<br />
could call him up on the phone whenever you felt like it.<br />
Catcher in the Rye (1951) ch. 3<br />
Sex is something I really don't understand too hot. You never know where<br />
the hell you are. I keep making up these sex rules for myself, and then I<br />
break them right away.<br />
Catcher in the Rye (1951) ch. 9<br />
<strong>The</strong> only thing old Phoebe liked was when Hamlet patted this dog on the<br />
head. She thought that was funny and nice, and it was. What I'll have to<br />
do is, I'll have to read that play. <strong>The</strong> trouble with me is, I always have
to read that stuff by myself. If an actor acts it out, I hardly listen.<br />
I keep worrying about whether he's going to do something phoney every<br />
minute.<br />
Catcher in the Rye (1951) ch. 16<br />
Take most people, they're crazy about cars. <strong>The</strong>y worry if they get<br />
a little scratch on them, and they're always talking about how many miles<br />
they get to a gallon, and if they get a brand-new car already they start<br />
thinking about trading it in for one that's even newer. I don't even like<br />
old cars. I mean they don't even interest me. I'd rather have a goddam<br />
horse. A horse is at least human, for God's sake.<br />
Catcher in the Rye (1951) ch. 17<br />
"You know that song 'If a body catch a body comin' through the rye?' I'd<br />
like--"<br />
"It's 'If a body meet a body coming through the rye'!" old Phoebe said.<br />
"It's a poem. By Robert Burns."<br />
"I know it's a poem by Robert Burns."<br />
She was right, though. It is "If a body meet a body coming through the<br />
rye." I didn't know it then, though.<br />
"I thought it was 'If a body catch a body,'" I said. "Anyway, I keep<br />
picturing all these little kids playing some game in this big field <strong>of</strong> rye<br />
and all. Thousands <strong>of</strong> little kids, and nobody's around--nobody big,<br />
I mean--except me. And I'm standing on the edge <strong>of</strong> some crazy cliff. What<br />
I have to do, I have to catch everybody if they start to go over the<br />
cliff--I mean if they're running and they don't look where they're going<br />
I have to come out from somewhere and catch them. That's all I'd do all<br />
day. I'd just be the catcher in the rye and all. I know it's crazy, but<br />
that's the only thing I'd really like to be. I know it's crazy."<br />
Catcher in the Rye (1951) ch. 22<br />
A confessional passage has probably never been written that didn't stink<br />
a little bit <strong>of</strong> the writer's pride in having given up his pride.<br />
Seymour: an Introduction (1959) in Raise High the Ro<strong>of</strong> Beam, Carpenters<br />
and Seymour: an Introduction (1963) p. 195<br />
19.9 Lord Salisbury (Robert Arthur James Gascoyne-Cecil, fifth Marquess <strong>of</strong> Salisbury)<br />
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1893-1972<br />
He is, as we all know, a man <strong>of</strong> most unusual intellectual brilliance; and<br />
he is, moreover, both brave and resolute. Those are valuable and not too<br />
common attributes in politics. But the fact remains that I believe he has<br />
adopted, especially in his relationship to the white communities <strong>of</strong><br />
Africa, a most unhappy and an entirely wrong approach. He has been too<br />
clever by half.<br />
Said <strong>of</strong> Iain Macleod, Colonial Secretary, in Hansard (House <strong>of</strong> Lords)<br />
7 Mar. 1961, col. 307<br />
19.10 Anthony Sampson<br />
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1926-<br />
Members [<strong>of</strong> civil service orders] rise from CMG (known sometimes in
Whitehall as "Call Me God") to the KCMG ("Kindly Call Me God") to--for<br />
a select few governors and super-ambassadors--the GCMG ("God Calls Me<br />
God").<br />
Anatomy <strong>of</strong> Britain (1962) ch. 18<br />
19.11 Lord Samuel (Herbert Louis, first Viscount Samuel)<br />
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1870-1963<br />
A library is thought in cold storage.<br />
A Book <strong>of</strong> <strong>Quotations</strong> (1947) p. 10<br />
It takes two to make a marriage a success and only one a failure.<br />
A Book <strong>of</strong> <strong>Quotations</strong> (1947) p. 115<br />
Without doubt the greatest injury <strong>of</strong> all was done by basing morals on<br />
myth. For, sooner or later, myth is recognized for what it is, and<br />
disappears. <strong>The</strong>n morality loses the foundation on which it has been built.<br />
Romanes Lecture, 1947, p. 14<br />
19.12 Carl Sandburg<br />
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1878-1967<br />
Poetry is the opening and closing <strong>of</strong> a door, leaving those who look<br />
through to guess about what is seen during a moment.<br />
Atlantic Monthly Mar. 1923 "Poetry Considered"<br />
Poetry is the achievement <strong>of</strong> the synthesis <strong>of</strong> hyacinths and biscuits.<br />
Atlantic Monthly Mar. 1923 "Poetry Considered"<br />
Hog Butcher for the World,<br />
Tool Maker, Stacker <strong>of</strong> Wheat,<br />
Player with Railroads and the Nation's Freight Handler;<br />
Stormy, husky, brawling,<br />
City <strong>of</strong> the Big Shoulders.<br />
Chicago Poems (1916) "Chicago"<br />
<strong>The</strong> fog comes<br />
on little cat feet.<br />
It sits looking<br />
over harbor and city<br />
on silent haunches<br />
and then moves on.<br />
Chicago Poems (1916) "Fog"<br />
I tell you the past is a bucket <strong>of</strong> ashes.<br />
Cornhuskers (1918) "Prairie"<br />
When Abraham Lincoln was shovelled into the tombs,<br />
he forgot the copperheads and the assassin...<br />
in the dust, in the cool tombs.<br />
Cornhuskers (1918) "Cool Tombs"<br />
Pile the bodies high at Austerlitz and Waterloo.<br />
Shovel them under and let me work--<br />
I am the grass; I cover all.<br />
Cornhuskers (1918) "Grass"
I am an idealist. I don't know where I'm going but I'm on the way.<br />
Incidentals (1907) p. 8<br />
Slang is a language that rolls up its sleeves, spits on its hands and goes<br />
to work.<br />
In New York Times 13 Feb. 1959, p. 21<br />
Little girl...Sometime they'll give a war and nobody will come.<br />
<strong>The</strong> People, Yes (1936) (cf. Charlotte Keyes in McCall's Oct. 1966<br />
"Suppose <strong>The</strong>y Gave a War and No One Came?"; a 1970 American film was<br />
entitled "Suppose <strong>The</strong>y Gave a War and Nobody Came?")<br />
Why is there always a secret singing<br />
When a lawyer cashes in?<br />
Why does a hearse horse snicker<br />
Hauling a lawyer away?<br />
Smoke and Steel (1920) "<strong>The</strong> Lawyers Know Too Much"<br />
19.13 Henry 'Red' Sanders<br />
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Sure, winning isn't everything. It's the only thing.<br />
In Sports Illustrated 26 Dec. 1955 (<strong>of</strong>ten attributed to Vince Lombardi)<br />
19.14 William Sansom<br />
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1926-1976<br />
A writer lives, at best, in a state <strong>of</strong> astonishment. Beneath any feeling<br />
he has <strong>of</strong> the good or the evil <strong>of</strong> the world lies a deeper one <strong>of</strong> wonder at<br />
it all. To transmit that feeling, he writes.<br />
Blue Skies, Brown Studies (1961) "From a Writer's Notebook"<br />
19.15 George Santayana<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1952<br />
<strong>The</strong> young man who has not wept is a savage, and the old man who will not<br />
laugh is a fool.<br />
Dialogues in Limbo (1925) ch. 3<br />
Fanaticism consists in redoubling your effort when you have forgotten your<br />
aim.<br />
Life <strong>of</strong> Reason (1905) vol. 1, Introduction<br />
Happiness is the only sanction <strong>of</strong> life; where happiness fails, existence<br />
remains a mad and lamentable experiment.<br />
Life <strong>of</strong> Reason (1905) vol. 1, ch. 10<br />
Progress, far from consisting in change, depends on retentiveness....<br />
Those who cannot remember the past are condemned to repeat it.<br />
Life <strong>of</strong> Reason (1905) vol. 1, ch. 12<br />
It takes patience to appreciate domestic bliss; volatile spirits prefer<br />
unhappiness.<br />
Life <strong>of</strong> Reason (1905) vol. 2, ch. 2
An artist is a dreamer consenting to dream <strong>of</strong> the actual world.<br />
Life <strong>of</strong> Reason (1905) vol. 4, ch. 3<br />
Music is essentially useless, as life is: but both have an ideal extension<br />
which lends utility to its conditions.<br />
Life <strong>of</strong> Reason (1905) vol. 4, ch. 4<br />
An artist may visit a museum, but only a pedant can live there.<br />
Life <strong>of</strong> Reason (1905) vol. 4, ch. 7<br />
Nothing is really so poor and melancholy as art that is interested in<br />
itself and not in its subject.<br />
Life <strong>of</strong> Reason (1905) vol. 4, ch. 8<br />
<strong>The</strong> truth is cruel, but it can be loved, and it makes free those who have<br />
loved it.<br />
Little Essays (1920) "Ideal Immortality"<br />
England is the paradise <strong>of</strong> individuality, eccentricity, heresy, anomalies,<br />
hobbies, and humours.<br />
Soliloquies in England (1922) "<strong>The</strong> British Character"<br />
<strong>The</strong>re is no cure for birth and death save to enjoy the interval.<br />
Soliloquies in England (1922) "War Shrines"<br />
It is a great advantage for a system <strong>of</strong> philosophy to be substantially<br />
true.<br />
<strong>The</strong> Unknowable (1923) p. 4<br />
For an idea ever to be fashionable is ominous, since it must afterwards be<br />
always old-fashioned.<br />
Winds <strong>of</strong> Doctrine (1913) ch. 2<br />
Intolerance itself is a form <strong>of</strong> egoism, and to condemn egoism intolerantly<br />
is to share it.<br />
Winds <strong>of</strong> Doctrine (1913) ch. 4<br />
19.16 'Sapper' (Herman Cyril MacNeile)<br />
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1888-1937<br />
Hugh pulled out his cigarette-case. "Turkish this side--Virginia that."<br />
Bull-dog Drummond (1920) ch. 8<br />
19.17 John Singer Sargent<br />
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1856-1925<br />
Every time I paint a portrait I lose a friend.<br />
In N. Bentley and E. Esar Treasury <strong>of</strong> Humorous <strong>Quotations</strong> (1951)<br />
19.18 Leslie Sarony<br />
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1897-1985<br />
Ain't it grand to be blooming well dead?
Title <strong>of</strong> song (1932)<br />
I lift up my finger and I say "tweet tweet."<br />
Title <strong>of</strong> song (1929)<br />
19.19 Nathalie Sarraute<br />
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1902-<br />
Today, thanks to technical progress, the radio and television, to which we<br />
devote so many <strong>of</strong> the leisure hours once spent listening to parlour<br />
chatter and parlour music, have succeeded in lifting the manufacture <strong>of</strong><br />
banality out <strong>of</strong> the sphere <strong>of</strong> handicraft and placed it in that <strong>of</strong> a major<br />
industry.<br />
Times Literary Supplement 10 June 1960<br />
19.20 Jean-Paul Sartre<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1980<br />
Quand les riches se font la guerre ce sont les pauvres qui meurent.<br />
When the rich wage war it's the poor who die.<br />
Le Diable et le bon Dieu (<strong>The</strong> Devil and the Good Lord, 1951) act 1, first<br />
tableau<br />
L' ‚crivain doit donc refuser de se laisser transformer en institution.<br />
A writer must refuse to allow himself to be transformed into an<br />
institution.<br />
Declaration read at Stockholm, 22 Oct. 1964, refusing the Nobel Prize, in<br />
Michel Contat and Michel Rybalka (eds.) Les crits de Sartre (1970)<br />
p. 403<br />
L'existence pr‚cŠde et commande l'essence.<br />
Existence precedes and rules essence.<br />
L'°tre et le n‚ant (Being and Nothingness, 1943) pt. 4, ch. 1<br />
Je suis condemn‚ … ˆtre libre.<br />
I am condemned to be free.<br />
L'°tre et le n‚ant (Being and Nothingness, 1943) pt. 4, ch. 1<br />
L' homme est une passion inutile.<br />
Man is a useless passion.<br />
L'°tre et le n‚ant (Being and Nothingness, 1943) pt. 4, ch. 2<br />
Alors, c'est ‡a l'Enfer. Je n'aurais jamais cru.... Vous vous rappelez: le<br />
soufre, le b–cher, le gril.... Ah! quelle plaisanterie. Pas besoin de<br />
gril, l' Enfer, c'est les Autres.<br />
So that's what Hell is: I'd never have believed it.... Do you remember,<br />
brimstone, the stake, the gridiron?... What a joke! No need <strong>of</strong> a gridiron,<br />
Hell is other people.<br />
Huis Clos (Closed Doors, 1944) sc. 5
Il n'y a pas de bon pŠre, c'est la rŠgle; qu'on n'en tienne pas grief aux<br />
hommes mais au lien de paternit‚ qui est pourri. Faire des enfants, rien<br />
de mieux; en avoir, quelle iniquit‚!<br />
<strong>The</strong>re is no good father, that's the rule. Don't lay the blame on men but<br />
on the bond <strong>of</strong> paternity, which is rotten. To beget children, nothing<br />
better; to have them, what iniquity!<br />
Les Mots (<strong>The</strong> Words, 1964) "Lire"<br />
Les bons pauvres ne savent pas que leur <strong>of</strong>fice est d'exercer notre<br />
g‚n‚rosit‚.<br />
<strong>The</strong> poor don't know that their function in life is to exercise our<br />
generosity.<br />
Les Mots (<strong>The</strong> Words, 1964) "Lire"<br />
Elle [ma grand-mŠre] ne croyait … rien; seul, son scepticism l'empˆchait<br />
d'ˆtre ath‚e.<br />
She [my grandmother] believed in nothing; only her scepticism kept her<br />
from being an atheist.<br />
Les Mots (<strong>The</strong> Words, 1964) "Lire"<br />
Comme tous les songe-creux, je confondis le d‚senchantement avec la<br />
v‚rit‚.<br />
Like all dreamers, I mistook disenchantment for truth.<br />
Les Mots (<strong>The</strong> Words, 1964) "crire"<br />
Je confondis les choses avec leurs noms: c'est croire.<br />
I confused things with their names: that is belief.<br />
Les Mots (<strong>The</strong> Words, 1964) "crire"<br />
Trois heures, c'est toujours trop tard ou trop t“t pour ce qu'on veut<br />
faire.<br />
Three o'clock is always too late or too early for anything you want to do.<br />
La Naus‚e (Nausea, 1938) "Vendredi"<br />
Ma pens‚e, c'est moi: voil… pourquoi je ne peux pas m'arrˆter. J'existe<br />
par ce que je pense...et je ne peux pas m'empˆcher de penser.<br />
My thought is me: that's why I can't stop. I exist by what I think...and<br />
I can't prevent myself from thinking.<br />
La Naus‚e (Nausea, 1938) "Lundi"<br />
Je d‚teste les victimes quand elles respectent leurs bourreaux.<br />
I hate victims who respect their executioners.<br />
Les S‚questr‚s d'Altona (<strong>The</strong> Condemned <strong>of</strong> Altona, 1960) act 1, sc. 1<br />
Je me m‚fie des incommunicables, c'est la source de toute violence.<br />
I distrust the incommunicable: it is the source <strong>of</strong> all violence.<br />
Les Temps <strong>Modern</strong>es July 1947, p. 106, "Qu'est-ce que la litt‚rature?"<br />
(What is Literature?)<br />
19.21 Siegfried Sassoon<br />
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1886-1967<br />
Soldiers are citizens <strong>of</strong> death's gray land,<br />
Drawing no dividend from time's tomorrows.<br />
Counter-Attack (1918) "Dreamers"<br />
In the great hour <strong>of</strong> destiny they stand,<br />
Each with his feuds, and jealousies, and sorrows.<br />
Soldiers are sworn to action; they must win<br />
Some flaming, fatal climax with their lives.<br />
Soldiers are dreamers; when the guns begin<br />
<strong>The</strong>y think <strong>of</strong> firelit homes, clean beds, and wives.<br />
Counter-Attack (1918) "Dreamers"<br />
If I were fierce, and bald, and short <strong>of</strong> breath,<br />
I'd live with scarlet Majors at the Base,<br />
And speed glum heroes up the line to death.<br />
You'd see me with my puffy petulant face,<br />
Guzzling and gulping in the best hotel,<br />
Reading the Roll <strong>of</strong> Honour. "Poor young chap,"<br />
I'd say--"I used to know his father well;<br />
Yes, we've lost heavily in this last scrap."<br />
And when the war is done and youth stone dead,<br />
I'd toddle safely home and die--in bed.<br />
Counter-Attack (1918) "Base Details"<br />
"Good-morning; good morning!" the General said<br />
When we met him last week on our way to the line.<br />
Now the soldiers he smiled at are most <strong>of</strong> 'em dead,<br />
And we're cursing his staff for incompetent swine.<br />
"He's a cheery old card," grunted Harry to Jack<br />
As they slogged up to Arras with rifle and pack.<br />
But he did for them both by his plan <strong>of</strong> attack.<br />
Counter-Attack (1918) "<strong>The</strong> General"<br />
Does it matter?--losing your legs?...<br />
For people will always be kind,<br />
And you need not show that you mind<br />
When the others come in after hunting<br />
To gobble their muffins and eggs.<br />
Does it matter?--losing your sight?...<br />
<strong>The</strong>re's such splendid work for the blind;<br />
And people will always be kind,<br />
As you sit on the terrace remembering<br />
And turning your face to the light.<br />
Counter-Attack (1918) "Does it Matter?"<br />
Who will remember, passing through this Gate,<br />
<strong>The</strong> unheroic Dead who fed the guns?<br />
Who shall absolve the foulness <strong>of</strong> their fate,--<br />
Those doomed, conscripted, unvictorious ones?<br />
<strong>The</strong> Heart's Journey (1928) "On Passing the New Menin Gate"<br />
I am making this statement as an act <strong>of</strong> wilful defiance <strong>of</strong> military<br />
authority, because I believe that the War is being deliberately prolonged<br />
by those who have the power to end it.<br />
Memoirs <strong>of</strong> an Infantry Officer (1930) pt. 10, ch. 2<br />
I'd like to see a Tank come down the stalls,
Lurching to rag-time tunes, or "Home, sweet Home,"--<br />
And there'd be no more jokes in Music-halls<br />
To mock the riddled corpses round Bapaume.<br />
<strong>The</strong> Old Huntsman (1917) "Blighters"<br />
And he'd come home again to find it more<br />
Desirable than it ever was before.<br />
How right it seemed that he should reach the span<br />
Of comfortable years allowed to man!<br />
Splendid to eat and sleep and choose a wife,<br />
Safe with his wound, a citizen <strong>of</strong> life.<br />
He hobbled blithely through the garden gate,<br />
And thought: "Thank God they had to amputate!"<br />
<strong>The</strong> Old Huntsman (1917) "<strong>The</strong> One-Legged Man"<br />
Why do you lie with your legs ungainly huddled,<br />
And one arm bent across your sullen cold<br />
Exhausted face? It hurts my heart to watch you,<br />
Deep-shadow'd from the candle's glittering gold;<br />
And you wonder why I shake you by the shoulder;<br />
Drowsy, you mumble and sigh and turn your head...<br />
You are too young to fall asleep for ever;<br />
And when you sleep you remind me <strong>of</strong> the dead.<br />
War Poems (1919) "<strong>The</strong> Dug-Out"<br />
But the past is just the same,--and War's a bloody game...<br />
Have you forgotten yet?...<br />
Look down, and swear by the slain <strong>of</strong> the War that you'll never forget.<br />
War Poems (1919) "Aftermath"<br />
Everyone suddenly burst out singing;<br />
And I was filled with such delight<br />
As prisoned birds must find in freedom<br />
Winging wildly across the white<br />
Orchards and dark green fields; on; on; and out <strong>of</strong> sight.<br />
Everyone's voice was suddenly lifted,<br />
And beauty came like the setting sun.<br />
My heart was shaken with tears and horror<br />
Drifted away...O but every one<br />
Was a bird; and the song was wordless; the singing will never be done.<br />
War Poems (1919) "Everyone Sang"<br />
19.22 Erik Satie<br />
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1866-1925<br />
Ravel refuse la L‚gion d'Honneur, mais son ”uvre l'accepte.<br />
Ravel refuses the Legion <strong>of</strong> Honour, but all his music accepts it.<br />
In Jean Cocteau Le Discours d'<strong>Oxford</strong> (1956) p. 49<br />
19.23 Telly Savalas<br />
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1926-<br />
Who loves ya, baby?<br />
Catch-phrase in American TV series Kojak (1973-8)
19.24 Dorothy L. Sayers<br />
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1893-1957<br />
I admit it is better fun to punt than to be punted, and that a desire to<br />
have all the fun is nine-tenths <strong>of</strong> the law <strong>of</strong> chivalry.<br />
Gaudy Night (1935) ch. 14<br />
With a gesture <strong>of</strong> submission he bowed his head and stood gravely, the<br />
square cap dangling in his hand. "Placetne, magistra?" "Placet."<br />
Gaudy Night (1935) ch. 23 (Lord Peter Wimsey's marriage proposal to<br />
Harriet Vane, and her acceptance)<br />
Plain lies are dangerous: the only weapons left him [the advertiser] are<br />
the suggestio falsi and the suppressio veri, and his use even <strong>of</strong> these<br />
would be very much more circumscribed if one person in ten had ever been<br />
taught how to read. Those who prefer their English sloppy have only<br />
themselves to thank if the advertisement writer uses his mastery <strong>of</strong><br />
vocabulary and syntax to mislead their weak minds. <strong>The</strong> moral <strong>of</strong> all<br />
this...is that we have the kind <strong>of</strong> advertising we deserve.<br />
Spectator 19 Nov. 1937 "<strong>The</strong> Psychology <strong>of</strong> Advertising"<br />
As I grow older and older,<br />
And totter towards the tomb,<br />
I find that I care less and less<br />
Who goes to bed with whom.<br />
"That's Why I Never Read <strong>Modern</strong> Novels," in Janet Hitchman Such a Strange<br />
Lady (1975) ch. 12<br />
19.25 Al Scalpone<br />
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<strong>The</strong> family that prays together stays together.<br />
Slogan devised for the Roman Catholic Family Rosary Crusade in 1947: see<br />
Patrick Peyton All for Her (1967) p. 144<br />
19.26 Hugh Scanlon (Baron Scanlon)<br />
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1913-<br />
Of course liberty is not licence. Liberty in my view is conforming to<br />
majority opinion.<br />
Television interview, 9 Aug. 1977, in Listener 11 Aug. 1977<br />
19.27 Arthur Scargill<br />
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1938-<br />
Parliament itself would not exist in its present form had people not<br />
defied the law.<br />
Said in evidence to House <strong>of</strong> Commons Select Committee on Employment,<br />
2 Apr. 1980, in House <strong>of</strong> Commons Paper no. 462 <strong>of</strong> Session 1979-80 p. 55<br />
19.28 Age Scarpelli, Luciano Vincenzoni, and Sergio Leone<br />
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Age Scarpelli 1926-<br />
Luciano Vincenzoni 1926-<br />
Sergio Leone 1921-<br />
Il buono, il bruto, il cattivo.<br />
<strong>The</strong> good, the bad, and the ugly.<br />
Title <strong>of</strong> film (1966)<br />
19.29 Moritz Schlick<br />
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<strong>The</strong> meaning <strong>of</strong> a proposition is the method <strong>of</strong> its verification.<br />
Philosophical Review (1936) vol. 45, p. 341 "Meaning and Verification"<br />
19.30 Artur Schnabel<br />
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1882-1951<br />
<strong>The</strong> notes I handle no better than many pianists. But the pauses between<br />
the notes--ah, that is where the art resides!<br />
In Chicago Daily News 11 June 1958<br />
Applause is a receipt, not a note <strong>of</strong> demand.<br />
In Saturday Review <strong>of</strong> Literature 29 Sept. 1951<br />
I don't think there was ever a piece <strong>of</strong> music that changed a man's<br />
decision on how to vote.<br />
My Life and Music (1961) pt. 2, ch. 8<br />
When I am asked, "What do you think <strong>of</strong> our audience?" I answer, "I know<br />
two kinds <strong>of</strong> audiences only--one coughing, and one not coughing."<br />
My Life and Music (1961) pt. 2, ch. 10<br />
19.31 Arnold Schoenberg<br />
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1874-1951<br />
If it is art, it is not for the masses. "If it is for the masses it is not<br />
art" is a topic which is rather similar to a word <strong>of</strong> yourself.<br />
Letter to W. S. Schlamm, 1 July 1945, in Erwin Stein Arnold Schoenberg<br />
Letters (1964) p. 235<br />
19.32 Budd Schulberg<br />
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1914-<br />
You don't understand. I could have had class. I could have been a<br />
contender. I could have been somebody--instead <strong>of</strong> a bum, which is what<br />
I am, let's face it.<br />
On the Waterfront (1954 film; words spoken by Marlon Brando)<br />
What makes Sammy run?<br />
Title <strong>of</strong> novel (1941)
19.33 Diane B. Schulder<br />
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1937-<br />
Law is a reflection and a source <strong>of</strong> prejudice. It both enforces and<br />
suggests forms <strong>of</strong> bias.<br />
In Robin Morgan Sisterhood is Powerful (1970) p. 139<br />
19.34 E. F. Schumacher<br />
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1911-1977<br />
Call a thing immoral or ugly, soul-destroying or a degradation <strong>of</strong> man,<br />
a peril to the peace <strong>of</strong> the world or to the well-being <strong>of</strong> future<br />
generations: as long as you have not shown it to be "uneconomic" you have<br />
not really questioned its right to exist, grow, and prosper.<br />
Small is Beautiful (1973) pt. 1, ch. 3<br />
Small is beautiful. A study <strong>of</strong> economics as if people mattered.<br />
Title <strong>of</strong> book (1973)<br />
19.35 Albert Schweitzer<br />
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1875-1965<br />
Am Abend des dritten Tages, als wir bei Sonnenuntergang gerade durch eine<br />
Herde Nilpferde hindurchfuhren, stand urpl”tzlich, von mir nicht geahnt<br />
und nicht gesucht, das Wort "Ehrfurcht vor dem Leben" vor mir.<br />
Late on the third day, at the very moment when, at sunset, we were making<br />
our way through a herd <strong>of</strong> hippopotamuses, there flashed upon my mind,<br />
unforeseen and unsought, the phrase, "Reverence for Life."<br />
Aus meinem Leben und Denken (My Life and Thought, 1933) ch. 13<br />
"Heda, Kamerad," rufe ich, "willst du uns nicht ein wenig helfen?" "Ich<br />
bin ein Intellektueller und trage Kein Holz," lautete die Antwort. "Hast<br />
du Glck," erwiderte ich; "auch ich wollte ein Intellektueller werden,<br />
aber es ist mir nicht gelungen."<br />
"Hullo! friend," I call out, "Won't you lend us a hand?" "I am an<br />
intellectual and don't drag wood about," came the answer. "You're lucky,"<br />
I reply. "I too wanted to become an intellectual, but I didn't succeed."<br />
Mitteilungen aus Lambarene (1928, tr. by C. T. Campion, 1931 as More from<br />
the Primeval Forest) ch. 5<br />
Die Wahrheit hat keine Stunde. Ihre Zeit ist immer und gerade dann wenn<br />
sie am unzeitgem„ssesten scheint.<br />
Truth has no special time <strong>of</strong> its own. Its hour is now--always, and indeed<br />
then most truly when it seems most unsuitable to actual circumstances.<br />
Zwischen Wasser und Urwald (On the Edge <strong>of</strong> the Primeval Forest, 1922)<br />
ch. 11<br />
19.36 Kurt Schwitters<br />
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1887-1948
Ich bin Maler, ich nagle meine Bilder.<br />
I am a painter and I nail my pictures together.<br />
Remark to Raoul Hausmann, 1918, in Raoul Hausmann Am Anfang war Dada (In<br />
the Beginning was Dada, 1972) p. 63<br />
19.37 Martin Scorsese and Mardik Martin<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Martin Scorsese 1942-<br />
Mardik Martin<br />
You don't make up for your sins in church; you do it in the street, you do<br />
it at home. <strong>The</strong> rest is bullshit and you know it.<br />
Mean Streets (1973 film) in Michael Bliss Martin Scorsese and Michael<br />
Cimino (1985) ch. 3<br />
19.38 C. P. Scott<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1846-1932<br />
A newspaper is <strong>of</strong> necessity something <strong>of</strong> a monopoly, and its first duty is<br />
to shun the temptations <strong>of</strong> monopoly. Its primary <strong>of</strong>fice is the gathering<br />
<strong>of</strong> news. At the peril <strong>of</strong> its soul it must see that the supply is not<br />
tainted. Neither in what it gives, nor in what it does not give, nor in<br />
the mode <strong>of</strong> presentation must the unclouded face <strong>of</strong> truth suffer wrong.<br />
Comment is free, but facts are sacred.<br />
Manchester Guardian 5 May 1921<br />
19.39 Paul Scott<br />
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1920-1978<br />
<strong>The</strong> jewel in the crown.<br />
Title <strong>of</strong> novel (1966)<br />
19.40 Robert Falcon Scott<br />
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1868-1912<br />
Great God! this [the South Pole] is an awful place and terrible enough for<br />
us to have laboured to it without the reward <strong>of</strong> priority.<br />
Diary, 17 Jan. 1912, in Scott's Last Expedition (1913) vol. 1, ch. 18<br />
For God's sake look after our people.<br />
Diary, 29 Mar. 1912, in Scott's Last Expedition (1913) vol. 1, ch. 20<br />
Make the boy interested in natural history if you can; it is better than<br />
games; they encourage it in some schools.<br />
Final letter to his wife, in Scott's Last Expedition (1913) vol. 1, ch. 20<br />
Had we lived, I should have had a tale to tell <strong>of</strong> the hardihood,<br />
endurance, and courage <strong>of</strong> my companions which would have stirred the heart<br />
<strong>of</strong> every Englishman. <strong>The</strong>se rough notes and our dead bodies must tell the
tale.<br />
"Message to the Public" in Scott's Last Expedition (1913) vol. 1, ch. 20<br />
19.41 Florida Scott-Maxwell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
No matter how old a mother is she watches her middle-aged children for<br />
signs <strong>of</strong> improvement.<br />
Measure <strong>of</strong> my Days (1968) p. 16<br />
19.42 Alan Seeger<br />
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1888-1916<br />
I have a rendezvous with Death<br />
At some disputed barricade,<br />
When Spring comes round with rustling shade<br />
And apple blossoms fill the air.<br />
I have a rendezvous with Death<br />
When Spring brings back blue days and fair.<br />
North American Review Oct. 1916 "I Have a Rendezvous with Death"<br />
19.43 Pete Seeger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
Where have all the flowers gone?<br />
<strong>The</strong> girls have picked them every one.<br />
Oh, when will you ever learn?<br />
Where Have all the Flowers Gone? (1961 song) See also Anonymous (1.43)<br />
19.44 Erich Segal<br />
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1937-<br />
Love means not ever having to say you're sorry.<br />
Love Story (1970) ch. 13<br />
19.45 W. C. Sellar and R. J. Yeatman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
W. C. Sellar 1898-1951<br />
R. J. Yeatman 1898-1968<br />
For every person who wants to teach there are approximately thirty who<br />
don't want to learn--much.<br />
And Now All This (1932) introduction<br />
<strong>The</strong> Roman Conquest was, however, a Good Thing, since the Britons were only<br />
natives at the time.<br />
1066 and All That (1930) ch. 1<br />
<strong>The</strong> conversion <strong>of</strong> England was thus effected by the landing <strong>of</strong> St Augustine<br />
in Thanet and other places, which resulted in the country being overrun by<br />
a Wave <strong>of</strong> Saints. Among these were St Ive, St Pancra, the great St
Bernard (originator <strong>of</strong> the clerical collar), St Bee, St Ebb, St Neot (who<br />
invented whisky), St Kit and St Kin, and the Venomous Bead (author <strong>of</strong> <strong>The</strong><br />
Rosary).<br />
1066 and All That (1930) ch. 3<br />
Edward III had very good manners. One day at a royal dance he noticed<br />
some men-about-court mocking a lady whose garter had come <strong>of</strong>f, whereupon<br />
to put her at her ease he stopped the dance and made the memorable<br />
epitaph: "Honi soie qui mal y pense" ("Honey, your silk stocking's<br />
hanging down").<br />
1066 and All That (1930) ch. 24<br />
Shortly after this the cruel Queen died and a post-mortem examination<br />
revealed the word "CALLOUS" engraved on her heart.<br />
1066 and All That (1930) ch. 32<br />
<strong>The</strong> utterly memorable Struggle between the Cavaliers (Wrong but Wromantic)<br />
and the Roundheads (Right but Repulsive).<br />
1066 and All That (1930) ch. 35<br />
Charles II was always very merry and was therefore not so much a king as a<br />
Monarch.<br />
1066 and All That (1930) ch. 36<br />
<strong>The</strong> National Debt is a very Good Thing and it would be dangerous to pay it<br />
<strong>of</strong>f, for fear <strong>of</strong> Political Economy.<br />
1066 and All That (1930) ch. 38<br />
Napoleon's armies always used to march on their stomachs shouting: "Vive<br />
l'Int‚rieur!" and so moved about very slowly (ventre-…-terre, as the<br />
French say) thus enabling Wellington to catch them up and defeat them.<br />
1066 and All That (1930) ch. 48<br />
Gladstone also invented the Education Rate by which it was possible to<br />
calculate how soon anybody could be educated, and he spent his declining<br />
years trying to guess the answer to the Irish Question; unfortunately<br />
whenever he was getting warm, the Irish secretly changed the Question.<br />
1066 and All That (1930) ch. 57<br />
AMERICA was thus clearly top nation, and History came to a .<br />
1066 and All That (1930) ch. 62<br />
Do not on any account attempt to write on both sides <strong>of</strong> the paper at once.<br />
1066 and All That (1930) "Test Paper 5"<br />
19.46 Robert W. Service<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1958<br />
Ah! the clock is always slow;<br />
It is later than you think.<br />
Ballads <strong>of</strong> a Bohemian (1921) "It Is Later Than You Think"<br />
When we, the Workers, all demand: "What are WE fighting for?."..<br />
<strong>The</strong>n, then we'll end that stupid crime, that devil's madness--War.<br />
Ballads <strong>of</strong> a Bohemian (1921) "Michael"<br />
This is the law <strong>of</strong> the Yukon, that only the Strong shall thrive;<br />
That surely the Weak shall perish, and only the Fit survive.
Dissolute, damned and despairful, crippled and palsied and slain,<br />
This is the Will <strong>of</strong> the Yukon,--Lo, how she makes it plain!<br />
Songs <strong>of</strong> a Sourdough (1907) "<strong>The</strong> Law <strong>of</strong> the Yukon"<br />
A bunch <strong>of</strong> the boys were whooping it up in the Malamute saloon;<br />
<strong>The</strong> kid that handles the music-box was hitting a jag-time tune;<br />
Back <strong>of</strong> the bar, in a solo game, sat Dangerous Dan McGrew,<br />
And watching his luck was his light-o'-love, the lady that's known as<br />
Lou.<br />
Songs <strong>of</strong> a Sourdough (1907) "Shootings <strong>of</strong> Dan McGrew"<br />
A promise made is a debt unpaid, and the trail has its own stern code.<br />
Songs <strong>of</strong> a Sourdough (1907) "Cremation <strong>of</strong> Sam McGee"<br />
19.47 Anne Sexton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-1974<br />
In a dream you are never eighty.<br />
All My Pretty Ones (1962) "Old"<br />
19.48 James Seymour and Rian James<br />
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1899-<br />
You're going out a youngster but you've got to come back a star.<br />
42nd Street (1933 film)<br />
19.49 Peter Shaffer<br />
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1926-<br />
All my wife has ever taken from the Mediterranean--from that whole vast<br />
intuitive culture--are four bottles <strong>of</strong> Chianti to make into lamps, and two<br />
china condiment donkeys labelled Sally and Peppy.<br />
Equus (1973) act 1, sc. 18<br />
Passion, you see, can be destroyed by a doctor. It cannot be created.<br />
Equus (1973) act 2, sc. 35<br />
19.50 Eileen Shanahan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> length <strong>of</strong> a meeting rises with the square <strong>of</strong> the number <strong>of</strong> people<br />
present.<br />
In New York Times Magazine 17 Mar. 1968<br />
19.51 Bill Shankly<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-1981<br />
Some people think football is a matter <strong>of</strong> life and death. I don't like<br />
that attitude. I can assure them it is much more serious than that.<br />
In Sunday Times 4 Oct. 1981
19.52 Tom Sharpe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
<strong>The</strong> South African police would leave no stone unturned to see that nothing<br />
disturbed the even terror <strong>of</strong> their lives.<br />
Indecent Exposure (1973) ch. 1<br />
Skullion had little use for contraceptives at the best <strong>of</strong> times.<br />
Unnatural, he called them, and placed them in the lower social category <strong>of</strong><br />
things along with elastic-sided boots and made-up bow ties. Not the sort<br />
<strong>of</strong> attire for a gentleman.<br />
Porterhouse Blue (1974) ch. 9<br />
19.53 George Bernard Shaw<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1950<br />
All great truths begin as blasphemies.<br />
Annajanska (1919) p. 262<br />
One man that has a mind and knows it can always beat ten men who havnt and<br />
dont.<br />
<strong>The</strong> Apple Cart (1930) act 1<br />
What Englishman will give his mind to politics as long as he can afford to<br />
keep a motor car?<br />
<strong>The</strong> Apple Cart (1930) act 1<br />
Breakages, Limited, the biggest industrial corporation in the country.<br />
<strong>The</strong> Apple Cart (1930) act 1<br />
I never resist temptation because I have found that things that are bad<br />
for me do not tempt me.<br />
<strong>The</strong> Apple Cart (1930) interlude<br />
Arms and the man.<br />
Title <strong>of</strong> play (1898). Cf. Virgil in <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
557:8<br />
You can always tell an old soldier by the inside <strong>of</strong> his holsters and<br />
cartridge boxes. <strong>The</strong> young ones carry pistols and cartridges; the old<br />
ones, grub.<br />
Arms and the Man (1898) act 1<br />
Oh, you are a very poor soldier--a chocolate cream soldier!<br />
Arms and the Man (1898) act 1<br />
I never apologize!<br />
Arms and the Man (1898) act 3<br />
Youre not a man, youre a machine.<br />
Arms and the Man (1898) act 3<br />
You see things; and you say "Why?" But I dream things that never were; and<br />
I say "Why not?"<br />
Back to Methuselah (1921) pt. 1, act 1
Make me a beautiful word for doing things tomorrow; for that surely is<br />
a great and blessed invention.<br />
Back to Methuselah (1921) pt. 1, act 1<br />
I enjoy convalescence. It is the part that makes illness worth while.<br />
Back to Methuselah (1921) pt. 2<br />
Silence is the most perfect expression <strong>of</strong> scorn.<br />
Back to Methuselah (1921) pt. 5<br />
Life is not meant to be easy, my child; but take courage: it can be<br />
delightful.<br />
Back to Methuselah (1921) pt. 5<br />
A strange lady giving an address in Zurich wrote him [Shaw] a proposal,<br />
thus: "You have the greatest brain in the world, and I have the most<br />
beautiful body; so we ought to produce the most perfect child." Shaw<br />
asked: "What if the child inherits my body and your brains?"<br />
In Hesketh Pearson Bernard Shaw (1942) p. 310<br />
He is a barbarian, and thinks that the customs <strong>of</strong> his tribe and island are<br />
the laws <strong>of</strong> nature.<br />
Caesar and Cleopatra (1901) act 2 (said by Caesar <strong>of</strong> his secretary,<br />
a Briton)<br />
When a stupid man is doing something he is ashamed <strong>of</strong>, he always declares<br />
that it is his duty.<br />
Caesar and Cleopatra (1901) act 3<br />
He who has never hoped can never despair.<br />
Caesar and Cleopatra (1901) act 4<br />
A man <strong>of</strong> great common sense and good taste, meaning thereby a man without<br />
originality or moral courage.<br />
Notes to Caesar and Cleopatra (1901) "Julius Caesar"<br />
We have no more right to consume happiness without producing it than to<br />
consume wealth without producing it.<br />
Candida (1898) act 1<br />
Do you think that the things people make fools <strong>of</strong> themselves about are any<br />
less real and true than the things they behave sensibly about? <strong>The</strong>y are<br />
more true: they are the only things that are true.<br />
Candida (1898) act 1<br />
It is easy--terribly easy--to shake a man's faith in himself. To take<br />
advantage <strong>of</strong> that to break a man's spirit is devil's work.<br />
Candida (1898) act 1<br />
I'm only a beer teetotaller, not a champagne teetotaller.<br />
Candida (1898) act 3<br />
<strong>The</strong> worst sin towards our fellow creatures is not to hate them, but to be<br />
indifferent to them: thats the essence <strong>of</strong> inhumanity.<br />
<strong>The</strong> Devil's Disciple (1901) act 2<br />
Martyrdom...is the only way in which a man can become famous without<br />
ability.<br />
<strong>The</strong> Devil's Disciple (1901) act 3
I never expect a soldier to think.<br />
<strong>The</strong> Devil's Disciple (1901) act 3<br />
swindon: "What will history say?"<br />
burgoyne: "History, sir, will tell lies as usual."<br />
<strong>The</strong> Devil's Disciple (1901) act 3<br />
Your friend the British soldier can stand up to anything except the<br />
British War Office.<br />
<strong>The</strong> Devil's Disciple (1901) act 3<br />
<strong>The</strong>re is at bottom only one genuinely scientific treatment for all<br />
diseases, and that is to stimulate the phagocytes.<br />
<strong>The</strong> Doctor's Dilemma (1911) act 1<br />
All pr<strong>of</strong>essions are conspiracies against the laity.<br />
<strong>The</strong> Doctor's Dilemma (1911) act 1<br />
I don't believe in morality. I am a disciple <strong>of</strong> Bernard Shaw.<br />
<strong>The</strong> Doctor's Dilemma (1911) act 3<br />
I believe in Michael Angelo, Velasquez, and Rembrandt; in the might <strong>of</strong><br />
design, the mystery <strong>of</strong> colour, the redemption <strong>of</strong> all things by Beauty<br />
everlasting, and the message <strong>of</strong> Art that has made these hands blessed.<br />
Amen. Amen.<br />
<strong>The</strong> Doctor's Dilemma (1911) act 4<br />
Parentage is a very important pr<strong>of</strong>ession, but no test <strong>of</strong> fitness for it is<br />
ever imposed in the interest <strong>of</strong> the children.<br />
Everybody's Political What's What? (1944) ch. 9<br />
A government which robs Peter to pay Paul can always depend on the support<br />
<strong>of</strong> Paul.<br />
Everybody's Political What's What? (1944) ch. 30<br />
It's all that the young can do for the old, to shock them and keep them up<br />
to date.<br />
Fanny's First Play (1914) "Induction"<br />
You don't expect me to know what to say about a play when I don't know who<br />
the author is, do you?<br />
Fanny's First Play (1914) epilogue<br />
If it's by a good author, it's a good play, naturally. That stands to<br />
reason.<br />
Fanny's First Play (1914) epilogue<br />
Home life as we understand it is no more natural to us than a cage is<br />
natural to a cockatoo.<br />
Getting Married (1911) preface "Hearth and Home"<br />
<strong>The</strong> one point on which all women are in furious secret rebellion against<br />
the existing law is the saddling <strong>of</strong> the right to a child with the<br />
obligation to become the servant <strong>of</strong> a man.<br />
Getting Married (1911) preface "<strong>The</strong> Right to Motherhood"<br />
Physically there is nothing to distinguish human society from the<br />
farm-yard except that children are more troublesome and costly than<br />
chickens and calves, and that men and women are not so completely enslaved<br />
as farm stock.
Getting Married (1911) preface "<strong>The</strong> Personal Sentimental Basis <strong>of</strong><br />
Monogamy"<br />
What God hath joined together no man ever shall put asunder: God will take<br />
care <strong>of</strong> that.<br />
Getting Married (1911) p. 216<br />
Sam wanted to make a Goldwyn writer <strong>of</strong> George Bernard Shaw. <strong>The</strong>y<br />
discussed it over tea one day in London.... A version <strong>of</strong> the conversation<br />
was cabled over to Howard Dietz, Goldwyn's publicity chief; he compressed<br />
Shaw's words into: "<strong>The</strong> trouble, Mr Goldwyn, is that you are only<br />
interested in art and I am only interested in money." This was cabled back<br />
to London and released there. It added considerably to Shaw's reputation<br />
as a wit.<br />
Alva Johnson <strong>The</strong> Great Goldwyn (1937) ch. 3<br />
I am a woman <strong>of</strong> the world, Hector; and I can assure you that if you will<br />
only take the trouble always to do the perfectly correct thing, and to say<br />
the perfectly correct thing, you can do just what you like.<br />
Heartbreak House (1919) act 1<br />
Go anywhere in England where there are natural, wholesome, contented, and<br />
really nice English people; and what do you always find? That the stables<br />
are the real centre <strong>of</strong> the household.<br />
Heartbreak House (1919) act 3<br />
<strong>The</strong> captain is in his bunk, drinking bottled ditch-water; and the crew is<br />
gambling in the forecastle. She will strike and sink and split. Do you<br />
think the laws <strong>of</strong> God will be suspended in favour <strong>of</strong> England because you<br />
were born in it?<br />
Heartbreak House (1919) act 3<br />
Money is indeed the most important thing in the world; and all sound and<br />
successful personal and national morality should have this fact for its<br />
basis.<br />
<strong>The</strong> Irrational Knot (1905) preface<br />
Reminiscences make one feel so deliciously aged and sad.<br />
<strong>The</strong> Irrational Knot (1905) ch. 14<br />
A man who has no <strong>of</strong>fice to go to--I don't care who he is--is a trial <strong>of</strong><br />
which you can have no conception.<br />
<strong>The</strong> Irrational Knot (1905) ch. 18<br />
An Irishman's heart is nothing but his imagination.<br />
John Bull's Other Island (1907) act 1<br />
My way <strong>of</strong> joking is to tell the truth. Its the funniest joke in the world.<br />
John Bull's Other Island (1907) act 2<br />
What really flatters a man is that you think him worth flattering.<br />
John Bull's Other Island (1907) act 4<br />
<strong>The</strong>re are only two qualities in the world: efficiency and inefficiency,<br />
and only two sorts <strong>of</strong> people: the efficient and the inefficient.<br />
John Bull's Other Island (1907) act 4<br />
<strong>The</strong> greatest <strong>of</strong> evils and the worst <strong>of</strong> crimes is poverty. our first<br />
duty--a duty to which every other consideration should be sacrificed--is<br />
not to be poor.
Major Barbara (1907) preface<br />
<strong>The</strong> universal regard for money is the one hopeful fact in our<br />
civilization, the one sound spot in our social conscience. Money is the<br />
most important thing in the world. It represents health, strength, honour,<br />
generosity and beauty as conspicuously and undeniably as the want <strong>of</strong> it<br />
represents illness, weakness, disgrace, meanness and ugliness. Not the<br />
least <strong>of</strong> its virtues is that it destroys base people as certainly as it<br />
fortifies and dignifies noble people.<br />
Major Barbara (1907) preface<br />
Cusins is a very nice fellow, certainly: nobody would ever guess that he<br />
was born in Australia.<br />
Major Barbara (1907) act 1<br />
Nobody can say a word against Greek: it stamps a man at once as an<br />
educated gentleman.<br />
Major Barbara (1907) act 1<br />
I am a Millionaire. That is my religion.<br />
Major Barbara (1907) act 2<br />
I can't talk religion to a man with bodily hunger in his eyes.<br />
Major Barbara (1907) act 2<br />
Wot prawce Selvytion nah?<br />
Major Barbara (1907) act 2<br />
Alcohol is a very necessary article... It makes life bearable to millions<br />
<strong>of</strong> people who could not endure their existence if they were quite sober.<br />
It enables Parliament to do things at eleven at night that no sane person<br />
would do at eleven in the morning.<br />
Major Barbara (1907) act 2<br />
He knows nothing; and he thinks he knows everything. That points clearly<br />
to a political career.<br />
Major Barbara (1907) act 3<br />
<strong>The</strong> sixth Undershaft wrote up these words: Nothing is ever done in this<br />
world until men are prepared to kill one another if it is not done.<br />
Major Barbara (1907) act 3<br />
Like all young men, you greatly exaggerate the difference between one<br />
young woman and another.<br />
Major Barbara (1907) act 3<br />
But a lifetime <strong>of</strong> happiness! No man alive could bear it: it would be hell<br />
on earth.<br />
Man and Superman (1903) act 1<br />
We are ashamed <strong>of</strong> everything that is real about us; ashamed <strong>of</strong> ourselves,<br />
<strong>of</strong> our relatives, <strong>of</strong> our incomes, <strong>of</strong> our accents, <strong>of</strong> our opinions, <strong>of</strong> our<br />
experience, just as we are ashamed <strong>of</strong> our naked skins.<br />
Man and Superman (1903) act 1<br />
<strong>The</strong> more things a man is ashamed <strong>of</strong>, the more respectable he is.<br />
Man and Superman (1903) act 1<br />
Vitality in a woman is a blind fury <strong>of</strong> creation. She sacrifices herself<br />
to it.
Man and Superman (1903) act 1<br />
<strong>The</strong> true artist will let his wife starve, his children go barefoot, his<br />
mother drudge for his living at seventy, sooner than work at anything but<br />
his art.<br />
Man and Superman (1903) act 1<br />
Of all human struggles there is none so treacherous and remorseless as the<br />
struggle between the artist man and the mother woman.<br />
Man and Superman (1903) act 1<br />
<strong>The</strong>re is no love sincerer than the love <strong>of</strong> food.<br />
Man and Superman (1903) act 1<br />
Very nice sort <strong>of</strong> place, <strong>Oxford</strong>, I should think, for people that like that<br />
sort <strong>of</strong> place. <strong>The</strong>y teach you to be a gentleman there. In the Polytechnic<br />
they teach you to be an engineer or such like.<br />
Man and Superman (1903) act 2<br />
You think that you are Ann's suitor; that you are the pursuer and she the<br />
pursued; that it is your part to woo, to persuade, to prevail, to<br />
overcome. Fool: it is you who are the pursued, the marked down quarry, the<br />
destined prey.<br />
Man and Superman (1903) act 2<br />
It is a woman's business to get married as soon as possible, and a man's<br />
to keep unmarried as long as he can.<br />
Man and Superman (1903) act 2<br />
Mendoza: I am a brigand: I live by robbing the rich.<br />
Tanner: I am a gentleman: I live by robbing the poor.<br />
Man and Superman (1903) act 3<br />
Hell is full <strong>of</strong> musical amateurs: music is the brandy <strong>of</strong> the damned.<br />
Man and Superman (1903) act 3<br />
Englishmen never will be slaves: they are free to do whatever the<br />
Government and public opinion allow them to do.<br />
Man and Superman (1903) act 3<br />
An Englishman thinks he is moral when he is only uncomfortable.<br />
Man and Superman (1903) act 3<br />
In the arts <strong>of</strong> life man invents nothing; but in the arts <strong>of</strong> death he<br />
outdoes Nature herself, and produces by chemistry and machinery all the<br />
slaughter <strong>of</strong> plague, pestilence and famine.<br />
Man and Superman (1903) act 3<br />
In the arts <strong>of</strong> peace Man is a bungler.<br />
Man and Superman (1903) act 3<br />
As an old soldier I admit the cowardice: it's as universal as sea<br />
sickness, and matters just as little.<br />
Man and Superman (1903) act 3<br />
When the military man approaches, the world locks up its spoons and packs<br />
<strong>of</strong>f its womankind.<br />
Man and Superman (1903) act 3<br />
What is virtue but the Trade Unionism <strong>of</strong> the married?
Man and Superman (1903) act 3<br />
Those who talk most about the blessings <strong>of</strong> marriage and the constancy <strong>of</strong><br />
its vows are the very people who declare that if the chain were broken and<br />
the prisoners were left free to choose, the whole social fabric would fly<br />
asunder. You can't have the argument both ways. If the prisoner is happy,<br />
why lock him in? If he is not, why pretend that he is?<br />
Man and Superman (1903) act 3<br />
Beauty is all very well at first sight; but who ever looks at it when it<br />
has been in the house three days?<br />
Man and Superman (1903) act 4<br />
<strong>The</strong>re are two tragedies in life. One is not to get your hearts desire. <strong>The</strong><br />
other is to get it.<br />
Man and Superman (1903) act 4<br />
Revolutions have never lightened the burden <strong>of</strong> tyranny: they have only<br />
shifted it to another shoulder.<br />
Man and Superman (1903) "<strong>The</strong> Revolutionist's Handbook," foreword<br />
Do not do unto others as you would that they should do unto you. <strong>The</strong>ir<br />
tastes may not be the same.<br />
Man and Superman (1903) "Maxims for Revolutionists: <strong>The</strong> Golden Rule"<br />
<strong>The</strong> golden rule is that there are no golden rules.<br />
Man and Superman (1903) "Maxims for Revolutionists: <strong>The</strong> Golden Rule"<br />
<strong>The</strong> art <strong>of</strong> government is the organization <strong>of</strong> idolatry. <strong>The</strong> bureaucracy<br />
consists <strong>of</strong> functionaries; the aristocracy, <strong>of</strong> idols; the democracy, <strong>of</strong><br />
idolators. <strong>The</strong> populace cannot understand the bureaucracy: it can only<br />
worship the national idols.<br />
Man and Superman (1903) "Maxims for Revolutionists: Idolatry"<br />
Democracy substitutes election by the incompetent many for appointment by<br />
the corrupt few.<br />
Man and Superman (1903) "Maxims for Revolutionists: Democracy"<br />
Liberty means responsibility. That is why most men dread it.<br />
Man and Superman (1903) "Maxims for Revolutionists: Liberty and Equality"<br />
<strong>The</strong> vilest abortionist is he who attempts to mould a child's character.<br />
Man and Superman (1903) "Maxims for Revolutionists: Education"<br />
He who can, does. He who cannot, teaches.<br />
Man and Superman (1903) "Maxims for Revolutionists: Education"<br />
Marriage is popular because it combines the maximum <strong>of</strong> temptation with the<br />
maximum <strong>of</strong> opportunity.<br />
Man and Superman (1903) "Maxims for Revolutionists: Marriage"<br />
Titles distinguish the mediocre, embarrass the superior, and are disgraced<br />
by the inferior.<br />
Man and Superman (1903) "Maxims for Revolutionists: Titles"<br />
When domestic servants are treated as human beings it is not worth while<br />
to keep them.<br />
Man and Superman (1903) "Maxims for Revolutionists: Servants"
If you strike a child take care that you strike it in anger, even at the<br />
risk <strong>of</strong> maiming it for life. A blow in cold blood neither can nor should<br />
be forgiven.<br />
Man and Superman (1903) "Maxims for Revolutionists: How to Beat Children"<br />
Beware <strong>of</strong> the man whose god is in the skies.<br />
Man and Superman (1903) "Maxims for Revolutionists: Religion"<br />
Self-denial is not a virtue: it is only the effect <strong>of</strong> prudence on<br />
rascality.<br />
Man and Superman (1903) "Maxims for Revolutionists: Virtues and Vice"<br />
In heaven an angel is nobody in particular.<br />
Man and Superman (1903) "Maxims for Revolutionists: Greatness"<br />
A moderately honest man with a moderately faithful wife, moderate drinkers<br />
both, in a moderately healthy house: that is the true middle class unit.<br />
Man and Superman (1903) "Maxims for Revolutionists: Moderation"<br />
<strong>The</strong> reasonable man adapts himself to the world: the unreasonable one<br />
persists in trying to adapt the world to himself. <strong>The</strong>refore all progress<br />
depends on the unreasonable man.<br />
Man and Superman (1903) "Maxims for Revolutionists: Reason"<br />
<strong>The</strong> man who listens to Reason is lost: Reason enslaves all whose minds are<br />
not strong enough to master her.<br />
Man and Superman (1903) "Maxims for Revolutionists: Reason"<br />
Decency is Indecency's conspiracy <strong>of</strong> silence.<br />
Man and Superman (1903) "Maxims for Revolutionists: Decency"<br />
Life levels all men: death reveals the eminent.<br />
Man and Superman (1903) "Maxims for Revolutionists: Fame"<br />
Home is the girl's prison and the woman's workhouse.<br />
Man and Superman (1903) "Maxims for Revolutionists: Women in the Home"<br />
Every man over forty is a scoundrel.<br />
Man and Superman (1903) "Maxims for Revolutionists: Stray Sayings"<br />
Youth, which is forgiven everything, forgives itself nothing: age, which<br />
forgives itself everything, is forgiven nothing.<br />
Man and Superman (1903) "Maxims for Revolutionists: Stray Sayings"<br />
Take care to get what you like or you will be forced to like what you get.<br />
Man and Superman (1903) "Maxims for Revolutionists: Stray Sayings"<br />
It is dangerous to be sincere unless you are also stupid.<br />
Man and Superman (1903) "Maxims for Revolutionists: Stray Sayings"<br />
Beware <strong>of</strong> the man who does not return your blow: he neither forgives you<br />
nor allows you to forgive yourself.<br />
Man and Superman (1903) "Maxims for Revolutionists: Stray Sayings"<br />
Self-sacrifice enables us to sacrifice other people without blushing.<br />
Man and Superman (1903) "Maxims for Revolutionists: Self-Sacrifice"<br />
<strong>The</strong>re is nothing so bad or so good that you will not find Englishmen doing<br />
it; but you will never find an Englishman in the wrong. He does
everything on principle. He fights you on patriotic principles; he robs<br />
you on business principles; he enslaves you on imperial principles; he<br />
bullies you on manly principles; he supports his king on loyal principles<br />
and cuts <strong>of</strong>f his king's head on republican principles.<br />
Man <strong>of</strong> Destiny (1898) p. 201<br />
Anybody on for a game <strong>of</strong> tennis?<br />
Misalliance (1914) p. 25 (perhaps the origin <strong>of</strong> the phrase "Anyone for<br />
tennis?," said to be typical <strong>of</strong> drawing-room comedies; cf. Humphrey<br />
Bogart)<br />
Anarchism is a game at which the police can beat you.<br />
Misalliance (1914) p. 85<br />
<strong>The</strong> only way for a woman to provide for herself decently is for her to be<br />
good to some man that can afford to be good to her.<br />
Mrs Warren's Pr<strong>of</strong>ession (1898) act 2<br />
A great devotee <strong>of</strong> the Gospel <strong>of</strong> Getting On.<br />
Mrs Warren's Pr<strong>of</strong>ession (1898) act 4 (said <strong>of</strong> Miss Warren)<br />
[Dancing is] a perpendicular expression <strong>of</strong> a horizontal desire.<br />
In New Statesman 23 Mar. 1962<br />
Youll never have a quiet world til you knock the patriotism out <strong>of</strong> the<br />
human race.<br />
O'Flaherty V.C. (1919) p. 178<br />
As long as I have a want, I have a reason for living. Satisfaction is<br />
death.<br />
Overruled (1916) p. 72<br />
<strong>The</strong>re is, on the whole, nothing on earth intended for innocent people so<br />
horrible as a school. To begin with, it is a prison. But it is in some<br />
respects more cruel than a prison. In a prison, for instance, you are not<br />
forced to read books written by the warders and the governor...and beaten<br />
or otherwise tormented if you cannot remember their utterly unmemorable<br />
contents.<br />
Parents and Children (1914) "School"<br />
<strong>The</strong> secret <strong>of</strong> being miserable is to have leisure to bother about whether<br />
you are happy or not. <strong>The</strong> cure for it is occupation.<br />
Parents and Children (1914) "Children's Happiness"<br />
A perpetual holiday is a good working definition <strong>of</strong> hell.<br />
Parents and Children (1914) "Children's Happiness"<br />
<strong>The</strong> fickleness <strong>of</strong> the women I love is only equalled by the infernal<br />
constancy <strong>of</strong> the women who love me.<br />
<strong>The</strong> Philanderer (1898) act 2<br />
<strong>The</strong>re is only one religion, though there are a hundred versions <strong>of</strong> it.<br />
Plays Pleasant and Unpleasant (1898) vol. 2, preface<br />
<strong>The</strong> English have no respect for their language, and will not teach their<br />
children to speak it. <strong>The</strong>y spell it so abominably that no man can teach<br />
himself what it sounds like. It is impossible for an Englishman to open<br />
his mouth without making some other Englishman hate or despise him.<br />
Pygmalion (1916) preface
Hes a gentleman: look at his boots.<br />
Pygmalion (1916) act 1<br />
Remember that you are a human being with a soul and the divine gift <strong>of</strong><br />
articulate speech: that your native language is the language <strong>of</strong> Shakespear<br />
and Milton and <strong>The</strong> Bible; and don't sit there crooning like a bilious<br />
pigeon.<br />
Pygmalion (1916) act 1<br />
I don't want to talk grammar, I want to talk like a lady.<br />
Pygmalion (1916) act 2<br />
Pickering: Have you no morals, man?<br />
Doolittle: Can't afford them, Governor. Neither could you if you was as<br />
poor as me.<br />
Pygmalion (1916) act 2<br />
I'm one <strong>of</strong> the undeserving poor: that's what I am. Think <strong>of</strong> what that<br />
means to a man. It means that he's up agen middle-class morality all the<br />
time.<br />
Pygmalion (1916) act 2<br />
My aunt died <strong>of</strong> influenza: so they said. But it's my belief they done the<br />
old woman in.<br />
Pygmalion (1916) act 3<br />
Gin was mother's milk to her.<br />
Pygmalion (1916) act 3<br />
Freddy: Are you walking across the Park, Miss Doolittle? If so--<br />
Liza: Walk! Not bloody likely. I am going in a taxi.<br />
Pygmalion (1916) act 3<br />
I have to live for others and not for myself: thats middle-class morality.<br />
Pygmalion (1916) act 5<br />
<strong>The</strong> Churches must learn humility as well as teach it.<br />
Saint Joan (1924) preface<br />
If ever I utter an oath again may my soul be blasted to eternal damnation!<br />
Saint Joan (1924) sc. 2<br />
A miracle, my friend, is an event which creates faith. That is the purpose<br />
and nature <strong>of</strong> miracles.... Frauds deceive. An event which creates faith<br />
does not deceive: therefore it is not a fraud, but a miracle.<br />
Saint Joan (1924) sc. 2<br />
We were not fairly beaten, my lord. No Englishman is ever fairly beaten.<br />
Saint Joan (1924) sc. 4<br />
How can what an Englishman believes be heresy? It is a contradiction in<br />
terms.<br />
Saint Joan (1924) sc. 4<br />
Must then a Christ perish in torment in every age to save those that have<br />
no imagination?<br />
Saint Joan (1924) epilogue<br />
With the single exception <strong>of</strong> Homer, there is no eminent writer, not even<br />
Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare
when I measure my mind against his. <strong>The</strong> intensity <strong>of</strong> my impatience with<br />
him occasionally reaches such a pitch, that it would positively be<br />
a relief to me to dig him up and throw stones at him, knowing as I do how<br />
incapable he and his worshippers are <strong>of</strong> understanding any less obvious<br />
form <strong>of</strong> indignity.<br />
Saturday Review 26 Sept. 1896 (reviewing a production <strong>of</strong> Cymbeline)<br />
Assassination is the extreme form <strong>of</strong> censorship.<br />
Shewing-Up <strong>of</strong> Blanco Posnet (1911) "Limits to Toleration"<br />
"Do you know what a pessimist is?" "A man who thinks everybody is as nasty<br />
as himself, and hates them for it."<br />
An Unsocial Socialist (1887) ch. 5<br />
We dont bother much about dress and manners in England, because, as a<br />
nation, we dont dress well and weve no manners.<br />
You Never Can Tell (1898) act 1<br />
Well, sir, you never can tell. Thats a principle in life with me, sir, if<br />
youll excuse my having such a thing, sir.<br />
You Never Can Tell (1898) act 2<br />
<strong>The</strong> great advantage <strong>of</strong> a hotel is that it's a refuge from home life.<br />
You Never Can Tell (1898) act 2<br />
My speciality is being right when other people are wrong.<br />
You Never Can Tell (1898) act 4<br />
<strong>The</strong> younger generation is knocking at the door, and as I open it there<br />
steps spritely in the incomparable Max.<br />
Saturday Review 21 May 1898 "Valedictory" (on handing over the theatre<br />
review column to Max Beerbohm)<br />
19.54 Sir Hartley Shawcross (Baron Shawcross)<br />
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1902-<br />
"But," said Alice, "the question is whether you can make a word mean<br />
different things." "Not so," said Humpty-Dumpty, "the question is which is<br />
to be the master. That's all." We are the masters at the moment, and not<br />
only at the moment, but for a very long time to come.<br />
Hansard 2 Apr. 1946, col. 1213. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong><br />
(1979) 135:22<br />
19.55 Patrick Shaw-Stewart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1917<br />
I saw a man this morning<br />
Who did not wish to die;<br />
I ask and cannot answer<br />
If otherwise wish I.<br />
Poem (1916) in M. Baring Have You Anything to Declare? (1936) p. 39<br />
He [Shaw-Stewart] once asked me if I knew a certain Duke's eldest son, and<br />
when I said no, and from what I heard I didn't think we should like him if<br />
we did, he answered: "I've yet to meet the Duke I couldn't like."<br />
Edward Marsh A Number <strong>of</strong> People (1939) ch. 9
19.56 Gloria Shayne<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Goodbye cruel world.<br />
Title <strong>of</strong> song (1961)<br />
19.57 E. A. Sheppard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Charles Collins (3.77)<br />
19.58 Burt Shevelove and Larry Gelbart<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Burt Shevelove 1915-1982<br />
Larry Gelbart ?1928-<br />
A funny thing happened on the way to the Forum.<br />
Title <strong>of</strong> musical (1962; music and lyrics by Stephen Sondheim)<br />
19.59 Emanuel Shinwell (Baron Shinwell)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1986<br />
We know that the organised workers <strong>of</strong> the country are our friends. As for<br />
the rest, they don't matter a tinker's cuss.<br />
Speech to Electrical Trades Union conference at Margate, 7 May 1947, in<br />
Manchester Guardian 8 May 1947<br />
19.60 Jean Sibelius<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1957<br />
"Never pay any attention to what critics say," he [Sibelius] proceeded,<br />
and expatiated on this theme. When I ventured to put in the remark that<br />
their articles might sometimes be <strong>of</strong> great importance, he cut me short.<br />
"Remember," he said, "a statue has never been set up in honour <strong>of</strong> a<br />
critic!"<br />
In Bengt de T”rne Sibelius: A Close-Up (1937) ch. 2<br />
19.61 Walter Sickert<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1942<br />
Nothing knits man to man, the Manchester School wisely taught, like the<br />
frequent passage from hand to hand <strong>of</strong> cash.<br />
New Age 28 July 1910 "<strong>The</strong> Language <strong>of</strong> Art"<br />
19.62 Maurice Sigler and Al H<strong>of</strong>fman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Maurice Sigler 1901-1961
Al H<strong>of</strong>fman 1902-1960<br />
Little man, you've had a busy day.<br />
Title <strong>of</strong> song (1934)<br />
19.63 Alan Sillitoe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
<strong>The</strong> loneliness <strong>of</strong> the long-distance runner.<br />
Title <strong>of</strong> novel (1959)<br />
19.64 Frank Silver and Irving Cohn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Frank Silver 1892-1960<br />
Irving Cohn 1898-1961<br />
Yes! we have no bananas,<br />
We have no bananas today.<br />
Yes! We Have No Bananas (1923 song)<br />
19.65 Georges Simenon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1989<br />
J'ai eu 10,000 femmes depuis l'ƒge de 13 ans et demi. Ce n'‚tait pas du<br />
tout un vice. Je n'ai aucun vice sexuel, mais j'avais besoin de<br />
communiquer.<br />
I have made love to 10,000 women since I was 13-1/2. It wasn't in any way<br />
vice. I've no sexual vices. But I needed to communicate.<br />
Interview with Federico Fellini in L'Express 21 Feb. 1977<br />
Writing is not a pr<strong>of</strong>ession but a vocation <strong>of</strong> unhappiness.<br />
Interview in Paris Review Summer 1955<br />
19.66 James Simmons<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
For every year <strong>of</strong> life we light<br />
A candle on your cake<br />
To mark the simple sort <strong>of</strong> progress<br />
Anyone can make,<br />
And then, to test your nerve or give<br />
A proper view <strong>of</strong> death,<br />
You're asked to blow each light, each year,<br />
Out with your own breath.<br />
In the Wilderness and Other Poems (1969) "A Birthday Poem"<br />
19.67 Paul Simon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1942-
And here's to you, Mrs Robinson<br />
Jesus loves you more than you will know.<br />
God bless you please, Mrs Robinson<br />
Heaven holds a place for those who pray.<br />
Mrs Robinson (1968 song; used in the film <strong>The</strong> Graduate)<br />
19.68 Harold Simpson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Down in the forest something stirred:<br />
It was only the note <strong>of</strong> a bird.<br />
Down in the Forest (1906 song; music by Landon Ronald)<br />
19.69 Kirke Simpson<br />
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[Warren] Harding <strong>of</strong> Ohio was chosen by a group <strong>of</strong> men in a smoke-filled<br />
room early today as Republican candidate for President.<br />
News report, 12 June 1920<br />
19.70 N. F. Simpson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
Knocked down a doctor? With an ambulance? How could she? It's a<br />
contradiction in terms.<br />
One Way Pendulum (1960) act 1<br />
19.71 Noble Sissle and Eubie Blake<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Noble Sissle 1889-1975<br />
Eubie Blake 1883-1983<br />
I'm just wild about Harry.<br />
Title <strong>of</strong> song (1921)<br />
19.72 C. H. Sisson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1914-<br />
Here lies a civil servant. He was civil<br />
To everyone, and servant to the devil.<br />
In <strong>The</strong> London Zoo (1961) p. 29<br />
19.73 Dame Edith Sitwell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1964<br />
Jane, Jane,<br />
Tall as a crane,<br />
<strong>The</strong> morning light creaks down again.<br />
Bucolic Comedies (1923) "Aubade"
<strong>The</strong> fire was furry as a bear.<br />
Bucolic Comedies (1923) "Fa‡ade: Dark Song"<br />
I have <strong>of</strong>ten wished I had time to cultivate modesty. But I am too busy<br />
thinking about myself.<br />
In Observer 30 Apr. 1950<br />
Virginia Woolf, I enjoyed talking to her, but thought nothing <strong>of</strong> her<br />
writing. I considered her "a beautiful little knitter."<br />
Letter to Ge<strong>of</strong>frey Singleton, 11 July 1955, in John Lehmann and Derek<br />
Palmer (eds.) Selected Letters (1970)<br />
Daisy and Lily,<br />
Lazy and silly,<br />
Walk by the shore <strong>of</strong> the wan grassy sea--<br />
Talking once more 'neath a swan-bosomed tree.<br />
Song <strong>of</strong> the Cold (1948) "Waltz"<br />
Still falls the Rain--<br />
Dark as the world <strong>of</strong> man, black as our loss--<br />
Blind as the nineteen hundred and forty nails<br />
Upon the Cross.<br />
Street Songs (1942) "<strong>The</strong> Raids, 1940. Night and Dawn"<br />
Mr [Percy Wyndham] Lewis's pictures appeared, as a very great painter said<br />
to me, to have been painted by a mailed fist in a cotton glove.<br />
Taken Care Of (1965) ch. 11<br />
19.74 Sir Osbert Sitwell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1969<br />
<strong>The</strong> British Bourgeoise<br />
Is not born,<br />
And does not die,<br />
But, if it is ill,<br />
It has a frightened look in its eyes.<br />
At the House <strong>of</strong> Mrs Kinfoot (1921) p. 8<br />
In reality, killing time<br />
Is only the name for another <strong>of</strong> the multifarious ways<br />
By which Time kills us.<br />
Poems about People (1958) "Milordo Inglese"<br />
Educ: during the holidays from Eton.<br />
Entry in Who's Who (1929)<br />
19.75 'Red Skelton' (Richard Skelton)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
Well, it only proves what they always say--give the public something they<br />
want to see, and they'll come out for it.<br />
Comment on crowds attending the funeral <strong>of</strong> Harry Cohn on 2 Mar. 1958, in<br />
Bob Thomas King Cohn (1967) "Foreground"<br />
19.76 B. F. Skinner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1904-1990<br />
Education is what survives when what has been learned has been forgotten.<br />
New Scientist 21 May 1964<br />
19.77 Elizabeth Smart<br />
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1913-1986<br />
By Grand Central Station I sat down and wept.<br />
Title <strong>of</strong> book (1945). Cf. Psalm 137:1<br />
19.78 Alfred Emanuel Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1873-1944<br />
No sane local <strong>of</strong>ficial who has hung up an empty stocking over the<br />
municipal fireplace, is going to shoot Santa Claus just before a hard<br />
Christmas.<br />
Comment on the New Deal, in New Outlook Dec. 1933<br />
<strong>The</strong> crowning climax to the whole situation is the undisputed fact that<br />
William Randolph Hearst gave him [Ogden Mills] the kiss <strong>of</strong> death.<br />
Comment on Hearst's support for Smith's unsuccessful opponent for governor<br />
<strong>of</strong> New York State in New York Times 25 Oct. 1926<br />
All the ills <strong>of</strong> democracy can be cured by more democracy.<br />
Speech in Albany, 27 June 1933, in New York Times 28 June 1933<br />
19.79 Sir Cyril Smith<br />
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1928-<br />
This place is the longest running farce in the West End.<br />
Comment to journalists on the House <strong>of</strong> Commons, July 1973, in Big Cyril<br />
(1977) ch. 8<br />
19.80 Dodie Smith<br />
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1896-1990<br />
And so I give you our toast. From that young man upstairs who has had the<br />
impudence to make me a great-uncle, to Mother and Father on their Golden<br />
Wedding; through four generations <strong>of</strong> us, and to those who have gone, and<br />
those who are to come. To the family--that dear octopus from whose<br />
tentacles we never quite escape, nor, in our inmost hearts, ever quite<br />
wish to.<br />
Dear Octopus (1938) p. 120<br />
Noble deeds and hot baths are the best cures for depression.<br />
I Capture the Castle (1949) pt. 1, ch. 3<br />
19.81 Edgar Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1857-1938<br />
You may tempt the upper classes<br />
With your villainous demi-tasses,<br />
But; Heaven will protect a working-girl!<br />
Heaven Will Protect the Working-Girl (1909 song; music by A. Baldwin<br />
Sloane)<br />
19.82 F. E. Smith (Earl <strong>of</strong> Birkenhead)<br />
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1872-1930<br />
We have the highest authority for believing that the meek shall inherit<br />
the Earth; though I have never found any particular corroboration <strong>of</strong> this<br />
aphorism in the records <strong>of</strong> Somerset House.<br />
Contemporary Personalities (1924) "Marquess Curzon"<br />
Judge Willis...after a long wrangle with F. E. Smith, whom by this time he<br />
must have come to loathe, upon a point <strong>of</strong> procedure asked plaintively:<br />
"What do you suppose I am on the Bench for, Mr Smith?" "It is not for me,<br />
Your Honour, to attempt to fathom the inscrutable workings <strong>of</strong> Providence."<br />
In Second Earl <strong>of</strong> Birkenhead F. E. <strong>The</strong> Life <strong>of</strong> F. E. Smith First Earl <strong>of</strong><br />
Birkenhead (1959 ed.) ch. 9<br />
Judge: I have read your case, Mr Smith, and I am no wiser now than<br />
I was when I started.<br />
Smith: Possibly not, My Lord, but far better informed.<br />
In Second Earl <strong>of</strong> Birkenhead F. E. <strong>The</strong> Life <strong>of</strong> F. E. Smith First Earl <strong>of</strong><br />
Birkenhead (1959 ed.) ch. 9<br />
Judge willis: You are extremely <strong>of</strong>fensive, young man.<br />
F. e. smith: As a matter <strong>of</strong> fact, we both are, and the only difference<br />
between us is that I am trying to be, and you can't help it.<br />
In Second Earl <strong>of</strong> Birkenhead Frederick Edwin Earl <strong>of</strong> Birkenhead (1933)<br />
vol. 1, ch. 9<br />
Mr justice darling: And who is George Robey?<br />
F. e. smith: Mr George Robey is the Darling <strong>of</strong> the music halls, m'lud.<br />
In A. E. Wilson <strong>The</strong> Prime Minister <strong>of</strong> Mirth (1956) ch. 1<br />
<strong>The</strong> world continues to <strong>of</strong>fer glittering prizes to those who have stout<br />
hearts and sharp swords.<br />
Rectorial Address, Glasgow University, 7 Nov. 1923, in <strong>The</strong> Times 8 Nov.<br />
1923<br />
19.83 Ian Smith<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
Let me say again, I don't believe in black majority rule in Rhodesia--not<br />
in a thousand years. I believe in blacks and whites working together.<br />
Broadcast speech, 20 Mar. 1976, in Sunday Times 21 Mar. 1976<br />
19.84 Logan Pearsall Smith<br />
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1865-1946
Happiness is a wine <strong>of</strong> the rarest vintage, and seems insipid to a vulgar<br />
taste.<br />
Afterthoughts (1931) "Life and Human Nature"<br />
<strong>The</strong>re are two things to aim at in life: first, to get what you want; and,<br />
after that, to enjoy it. Only the wisest <strong>of</strong> mankind achieve the second.<br />
Afterthoughts (1931) "Life and Human Nature"<br />
How awful to reflect that what people say <strong>of</strong> us is true!<br />
Afterthoughts (1931) "Life and Human Nature"<br />
How many <strong>of</strong> our daydreams would darken into nightmares if there seemed any<br />
danger <strong>of</strong> their coming true!<br />
Afterthoughts (1931) "Life and Human Nature"<br />
<strong>The</strong>re are few sorrows, however poignant, in which a good income is <strong>of</strong> no<br />
avail.<br />
Afterthoughts (1931) "Life and Human Nature"<br />
An improper mind is a perpetual feast.<br />
Afterthoughts (1931) "Life and Human Nature"<br />
<strong>The</strong>re is more felicity on the far side <strong>of</strong> baldness than young men can<br />
possibly imagine.<br />
Afterthoughts (1931) "Age and Death"<br />
What music is more enchanting than the voices <strong>of</strong> young people, when you<br />
can't hear what they say?<br />
Afterthoughts (1931) "Age and Death"<br />
<strong>The</strong> denunciation <strong>of</strong> the young is a necessary part <strong>of</strong> the hygiene <strong>of</strong> older<br />
people, and greatly assists the circulation <strong>of</strong> their blood.<br />
Afterthoughts (1931) "Age and Death"<br />
I cannot forgive my friends for dying; I do not find these vanishing acts<br />
<strong>of</strong> theirs at all amusing.<br />
Afterthoughts (1931) "Age and Death"<br />
Those who set out to serve both God and Mammon soon discover that there is<br />
no God.<br />
Afterthoughts (1931) "Other People"<br />
Most people sell their souls, and live with a good conscience on the<br />
proceeds.<br />
Afterthoughts (1931) "Other People"<br />
All Reformers, however strict their social conscience, live in houses just<br />
as big as they can pay for.<br />
Afterthoughts (1931) "Other People"<br />
When they come downstairs from their Ivory Towers, Idealists are very apt<br />
to walk straight into the gutter.<br />
Afterthoughts (1931) "Other People"<br />
Married women are kept women, and they are beginning to find it out.<br />
Afterthoughts (1931) "Other People"<br />
You cannot be both fashionable and first-rate.<br />
Afterthoughts (1931) "In the World"
It is the wretchedness <strong>of</strong> being rich that you have to live with rich<br />
people.<br />
Afterthoughts (1931) "In the World"<br />
To suppose, as we all suppose, that we could be rich and not behave as the<br />
rich behave, is like supposing that we could drink all day and keep<br />
absolutely sober.<br />
Afterthoughts (1931) "In the World"<br />
<strong>The</strong> test <strong>of</strong> a vocation is the love <strong>of</strong> the drudgery it involves.<br />
Afterthoughts (1931) "Art and Letters"<br />
A best-seller is the gilded tomb <strong>of</strong> a mediocre talent.<br />
Afterthoughts (1931) "Art and Letters"<br />
People say that life is the thing, but I prefer reading.<br />
Afterthoughts (1931) "Myself"<br />
Thank heavens, the sun has gone in, and I don't have to go out and enjoy<br />
it.<br />
Afterthoughts (1931) "Myself"<br />
What I like in a good author is not what he says, but what he whispers.<br />
All Trivia (1933) "Afterthoughts" pt. 5<br />
Two weeks before his death, a friend asked him half-jokingly if he had<br />
discovered any meaning in life. "Yes," he replied, "there is a meaning, at<br />
least for me, there is one thing that matters--to set a chime <strong>of</strong> words<br />
tinkling in the minds <strong>of</strong> a few fastidious people."<br />
Cyril Connolly "Logan Pearsall Smith," obituary notice in New Statesman<br />
9 Mar. 1946<br />
19.85 Stevie Smith (Florence Margaret Smith)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1971<br />
This Englishwoman is so refined<br />
She has no bosom and no behind.<br />
A Good Time was had by All (1937) "This Englishwoman"<br />
Nobody heard him, the dead man,<br />
But still he lay moaning:<br />
I was much further out than you thought<br />
And not waving but drowning.<br />
Poor chap, he always loved larking<br />
And now he's dead<br />
It must have been too cold for him his heart gave way,<br />
<strong>The</strong>y said.<br />
Oh, no no no, it was too cold always<br />
(Still the dead one lay moaning)<br />
I was much too far out all my life<br />
And not waving but drowning.<br />
Not Waving but Drowning (1957) title poem<br />
People who are always praising the past<br />
And especially the times <strong>of</strong> faith as best<br />
Ought to go and live in the Middle Ages
And be burnt at the stake as witches and sages.<br />
Not Waving but Drowning (1957) "<strong>The</strong> Past"<br />
<strong>The</strong>re you are you see, quite simple. If you cannot have your dear husband<br />
for a comfort and a delight, for a breadwinner and a crosspatch, for<br />
a s<strong>of</strong>a, chair or a hot-water bottle, one can use him as a Cross to be<br />
Borne.<br />
Novel on Yellow Page (1936) p. 24<br />
Oh I am a cat that likes to<br />
Gallop about doing good.<br />
Scorpion and Other Poems (1972) "<strong>The</strong> Galloping Cat"<br />
I long for the Person from Porlock<br />
To bring my thoughts to an end,<br />
I am growing impatient to see him<br />
I think <strong>of</strong> him as a friend.<br />
Selected Poems (1962) "Thoughts about the 'Person from Porlock'"<br />
Private Means is dead<br />
God rest his soul, <strong>of</strong>ficers and fellow-rankers said.<br />
Selected Poems (1962) "Private Means is Dead"<br />
Why does my Muse only speak when she is unhappy?<br />
She does not, I only listen when I am unhappy<br />
When I am happy I live and despise writing<br />
For my Muse this cannot but be dispiriting.<br />
Selected Poems (1964) "My Muse"<br />
19.86 John Snagge<br />
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1904-<br />
His [Snagge's] famous gaffe [in a commentary on the Boat Race] to the<br />
effect that he couldn't see who was in the lead but it was either <strong>Oxford</strong><br />
or Cambridge he had no recollection <strong>of</strong> until he heard a recording<br />
afterwards.<br />
C. Dodd <strong>Oxford</strong> and Cambridge Boat Race (1983) ch. 14<br />
19.87 C. P. Snow (Baron Snow <strong>of</strong> Leicester)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1980<br />
<strong>The</strong> <strong>of</strong>ficial world, the corridors <strong>of</strong> power, the dilemmas <strong>of</strong> conscience and<br />
egotism--she disliked them all.<br />
Homecomings (1956) ch. 22<br />
I believe the intellectual life <strong>of</strong> the whole <strong>of</strong> western society is<br />
increasingly being split into two polar groups... Literary intellectuals<br />
at one pole--at the other scientists, and as the most representative, the<br />
physical scientists. Between the two a gulf <strong>of</strong> mutual incomprehension.<br />
<strong>The</strong> Two Cultures and the Scientific Revolution (1959 Rede Lecture) p. 3<br />
A good many times I have been present at gatherings <strong>of</strong> people who, by the<br />
standards <strong>of</strong> the traditional culture, are thought highly educated and who<br />
have with considerable gusto been expressing their incredulity at the<br />
illiteracy <strong>of</strong> scientists. Once or twice I have been provoked and have<br />
asked the company how many <strong>of</strong> them could describe the Second Law <strong>of</strong>
<strong>The</strong>rmodynamics. <strong>The</strong> response was cold: it was also negative.<br />
<strong>The</strong> Two Cultures and the Scientific Revolution (1959 Rede Lecture) p. 14<br />
19.88 Philip Snowden (Viscount Snowden)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1937<br />
It would be desirable if every Government, when it comes to power, should<br />
have its old speeches burnt.<br />
In C. E. Bech<strong>of</strong>er Roberts ("Ephesian") Philip Snowden (1929) ch. 12<br />
I hope you have read the election programme <strong>of</strong> the Labour Party: It is the<br />
most fantastic and impracticable programme ever put before the electors.<br />
All the derelict industries are to be taken over by the State, and the<br />
taxpayer is to shoulder the losses. <strong>The</strong> banks and financial houses are to<br />
be placed under national ownership and control, which means, I suppose,<br />
that they are to be run by a joint committee <strong>of</strong> the Labour Party and the<br />
Trades Union Council. Your investments are to be ordered by some board,<br />
and your foreign investments are to be mobilized to finance this madcap<br />
policy. This is not Socialism. It is Bolshevism run mad.<br />
BBC radio election broadcast, 17 Oct. 1931, in <strong>The</strong> Times 19 Oct. 1931<br />
19.89 Alexander Solzhenitsyn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
Meanwhile no such thing as INTERNAL AFFAIRS remains on our crowded Earth.<br />
Mankind's salvation lies exclusively in everyone's making everything his<br />
business, in the people <strong>of</strong> the East being anything but indifferent to what<br />
is thought in the West, and in the people <strong>of</strong> the West being anything but<br />
indifferent to what happens in the East.<br />
Nobel Prize Lecture, 1970, in John B. Dunlop, Richard Haugh and Alexis<br />
Klim<strong>of</strong>f (eds.) Aleksandr Solzhenitsyn: Critical Essays and Documentary<br />
Materials (1974) p. 574<br />
If decade after decade the truth cannot be told, each person's mind begins<br />
to roam irretrievably. One's fellow countrymen become harder to understand<br />
than Martians.<br />
(Cancer Ward, 1968) pt. 2, ch. 32<br />
You only have power over people as long as you don't take everything away<br />
from them. But when you've robbed a man <strong>of</strong> everything he's no longer in<br />
your power--he's free again.<br />
(<strong>The</strong> First Circle, 1968) ch. 17<br />
Yes, we are still the prisoners <strong>of</strong> communism, and yet, for us in Russia,<br />
communism is a dead dog, while for many people in the West it is still<br />
living lion.<br />
Broadcast on BBC Russian Service, in Listener 15 Feb. 1979<br />
In our country the lie has become not just a moral category but a pillar<br />
<strong>of</strong> the State.<br />
1974 interview, printed in appendix to (<strong>The</strong> Oak and the Calf, 1975)<br />
19.90 Anastasio Somoza<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-1980
Indeed, you won the elections, but I won the count.<br />
Reply to accusation <strong>of</strong> ballot-rigging, in Guardian 17 June 1977<br />
19.91 Stephen Sondheim<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1930-<br />
Everything's coming up roses.<br />
Title <strong>of</strong> song (1959; music by Jule Styne)<br />
Send in the clowns.<br />
Title <strong>of</strong> song (1973)<br />
19.92 Susan Sontag<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1933-<br />
Interpretation is the revenge <strong>of</strong> the intellect upon art.<br />
Evergreen Review Dec. 1964<br />
Real art has the capacity to make us nervous. By reducing the work <strong>of</strong> art<br />
to its content, and then interpreting that, one tames the work <strong>of</strong> art.<br />
Interpretation makes art manageable, conformable.<br />
Evergreen Review Dec. 1964<br />
<strong>The</strong> camera makes everyone a tourist in other people's reality, and<br />
eventually in one's own.<br />
New York Review <strong>of</strong> Books 18 Apr. 1974<br />
A photograph is not only an image (as a painting is an image), an<br />
interpretation <strong>of</strong> the real; it is also a trace, something directly<br />
stencilled <strong>of</strong>f the real, like a footprint or a death mask.<br />
New York Review <strong>of</strong> Books 23 June 1977<br />
Illness is the night-side <strong>of</strong> life, a more onerous citizenship. Everyone<br />
who is born holds dual citizenship, in the kingdom <strong>of</strong> the well and in the<br />
kingdom <strong>of</strong> the sick. Although we all prefer to use only the good<br />
passport, sooner or later each <strong>of</strong> us is obliged, at least for a spell, to<br />
identify ourselves as citizens <strong>of</strong> that other place.<br />
New York Review <strong>of</strong> Books 26 Jan. 1978<br />
<strong>The</strong> truth is that Mozart, Pascal, Boolean algebra, Shakespeare,<br />
parliamentary government, baroque churches, Newton, the emancipation <strong>of</strong><br />
women, Kant, Marx, Balanchine ballet et al, don't redeem what this<br />
particular civilization has wrought upon the world. <strong>The</strong> white race is the<br />
cancer <strong>of</strong> human history, it is the white race, and it alone--its<br />
ideologies and inventions--which eradicates autonomous civilizations<br />
wherever it spreads, which has upset the ecological balance <strong>of</strong> the planet,<br />
which now threatens the very existence <strong>of</strong> life itself.<br />
Partisan Review Winter 1967, p. 57<br />
19.93 Donald Soper (Baron Soper)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
<strong>The</strong> quality <strong>of</strong> debate [in the House <strong>of</strong> Lords] is pretty high--and it is,
I think, good evidence <strong>of</strong> life after death.<br />
Radio interview, in Listener 17 Aug. 1978<br />
19.94 Charles Hamilton Sorley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1915<br />
When you see millions <strong>of</strong> the mouthless dead<br />
Across your dreams in pale battalions go,<br />
Say not s<strong>of</strong>t things as other men have said,<br />
That you'll remember. For you need not so.<br />
Give them not praise. For, deaf, how should they know<br />
It is not curses heaped on each gashed head?<br />
Marlborough and Other Poems (1916) "A Sonnet"<br />
19.95 Henry D. Spalding<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
d. 1990<br />
I like Ike.<br />
US button badge first used in 1947 when General Eisenhower was seen as<br />
a potential presidential nominee, in New Republic 27 Oct. 1947<br />
19.96 Muriel Spark<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
Parents learn a lot from their children about coping with life.<br />
<strong>The</strong> Comforters (1957) ch. 6<br />
"I am putting old heads on your young shoulders," Miss Brodie had told<br />
them at that time, "and all my pupils are the crŠme de la crŠme."<br />
Prime <strong>of</strong> Miss Jean Brodie (1961) ch. 1<br />
Give me a girl at an impressionable age, and she is mine for life.<br />
Prime <strong>of</strong> Miss Jean Brodie (1961) ch. 1<br />
One's prime is elusive. You little girls, when you grow up, must be on<br />
the alert to recognise your prime at whatever time <strong>of</strong> your life it may<br />
occur. You must live it to the full.<br />
Prime <strong>of</strong> Miss Jean Brodie (1961) ch. 1<br />
19.97 John Sparrow<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
That indefatigable and unsavoury engine <strong>of</strong> pollution, the dog.<br />
Letter in <strong>The</strong> Times 30 Sept. 1975<br />
19.98 Countess Spencer (Raine Spencer)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Alas, for our towns and cities. Monstrous carbuncles <strong>of</strong> concrete have<br />
erupted in gentle Georgian Squares.
<strong>The</strong> Spencers on Spas (1983) p. 14. Cf. Prince Charles 50:2<br />
19.99 Sir Stanley Spencer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-1959<br />
Painting is saying "Ta" to God.<br />
In letter from Spencer's daughter Shirin, Observer 7 Feb. 1988<br />
19.100 Stephen Spender<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-<br />
Never being, but always at the edge <strong>of</strong> Being.<br />
Poems (1933) no. 10<br />
My parents kept me from children who were rough<br />
And who threw words like stones and who wore torn clothes.<br />
Poems (1933) no. 12<br />
What I had not foreseen<br />
Was the gradual day<br />
Weakening the will<br />
Leaking the brightness away.<br />
Poems (1933) no. 13<br />
Who live under the shadow <strong>of</strong> a war,<br />
What can I do that matters?<br />
Poems (1933) no. 17<br />
<strong>The</strong> names <strong>of</strong> those who in their lives fought for life<br />
Who wore at their hearts the fire's centre.<br />
Born <strong>of</strong> the sun they travelled a short while towards the sun,<br />
And left the vivid air signed with their honour.<br />
Poems (1933) no. 23 "I think continually <strong>of</strong> those who were truly great"<br />
After the first powerful plain manifesto<br />
<strong>The</strong> black statement <strong>of</strong> pistons, without more fuss<br />
But gliding like a queen, she leaves the station.<br />
Poems (1933) no. 26 "<strong>The</strong> Express"<br />
Now over these small hills they have built the concrete<br />
That trails black wire:<br />
Pylons, those pillars<br />
Bare like nude, giant girls that have no secret.<br />
Poems (1933) no. 28 "<strong>The</strong> Pylons"<br />
Consider: only one bullet in ten thousand kills a man.<br />
Ask: was so much expenditure justified<br />
On the death <strong>of</strong> one so young and so silly<br />
Stretched under the olive trees, Oh, world, Oh, death?<br />
Stephen Spender and John Lehmann (eds.) Poems for Spain (1939) "Regum<br />
Ultimo Ratio"<br />
...their collected<br />
Hearts wound up with love, like little watch springs.<br />
Still Centre (1939) "<strong>The</strong> Past Values"
People sometimes divide others into those you laugh at and those you laugh<br />
with. <strong>The</strong> young Auden was someone you could laugh-at-with.<br />
W. H. Auden (address delivered at Auden's memorial service at Christ<br />
Church Cathedral, <strong>Oxford</strong>, 27 Oct. 1973)<br />
19.101 Oswald Spengler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1880-1936<br />
Der Sozialismus ist nichts als der Kapitalismus der Unterklasse.<br />
Socialism is nothing but the capitalism <strong>of</strong> the lower classes.<br />
Jahre der Entscheidung (<strong>The</strong> Hour <strong>of</strong> Decision, 1933) pt. 1<br />
19.102 Steven Spielberg<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1947-<br />
Close encounters <strong>of</strong> the third kind.<br />
Title <strong>of</strong> film (1977)<br />
19.103 Dr Benjamin Spock<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-<br />
You know more than you think you do.<br />
Common Sense Book <strong>of</strong> Baby and Child Care (1946) [later Baby and Child<br />
Care ], opening words<br />
To win in Vietnam, we will have to exterminate a nation.<br />
Dr Spock on Vietnam (1968) ch. 7<br />
19.104 William Archibald Spooner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1844-1930<br />
Mr Spooner has a habit <strong>of</strong> transferring his syllables, so that it is no<br />
unusual experience for the members <strong>of</strong> New College to hear their late Dean<br />
give out in chapel a well-known sentence in the unintelligible guise <strong>of</strong><br />
"Kinkering Kongs their tykles tate."<br />
Echo 4 May 1892<br />
A famous New College personality...was Warden Spooner.... "You have tasted<br />
your worm," he is reputed to have said to an undergraduate, "you have<br />
hissed my mystery lectures, and you must leave by the first town drain."<br />
He was also responsible for proposing a toast to "our queer old dean."<br />
<strong>Oxford</strong> University What's What (1948) p. 8 (William Hayter in Spooner<br />
(1977) ch. 6 maintains these sayings are apocryphal)<br />
Mr Huxley assures me that it's no farther from the north coast <strong>of</strong><br />
Spitzbergen to the North Pole than it is from Land's End to John <strong>of</strong> Gaunt.<br />
Julian Huxley in SEAC (Calcutta) 27 Feb. 1944<br />
You will find as you grow older that the weight <strong>of</strong> rages will press harder<br />
and harder upon the employer.<br />
In William Hayter Spooner (1977) ch. 6
Poor soul, very sad; her late husband, you know, a very sad death--eaten<br />
by missionaries--poor soul!<br />
In William Hayter Spooner (1977) ch. 6<br />
19.105 Sir Cecil Spring Rice<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1918<br />
I vow to thee, my country--all earthly things above--<br />
Entire and whole and perfect, the service <strong>of</strong> my love,<br />
<strong>The</strong> love that asks no question: the love that stands the test,<br />
That lays upon the altar the dearest and the best:<br />
<strong>The</strong> love that never falters, the love that pays the price,<br />
<strong>The</strong> love that makes undaunted the final sacrifice.<br />
Poems (1920) "I Vow to <strong>The</strong>e, My Country"<br />
And there's another country, I've heard <strong>of</strong> long ago--<br />
Most dear to them that love her, most great to them that know.<br />
Poems (1920) "I Vow to <strong>The</strong>e, My Country"<br />
And her ways are ways <strong>of</strong> gentleness and all her paths are Peace.<br />
Poems (1920) "I Vow to <strong>The</strong>e, My Country"<br />
I am the Dean <strong>of</strong> Christ Church, Sir:<br />
<strong>The</strong>re's my wife; look well at her.<br />
She's the Broad and I'm the High;<br />
We are the University.<br />
<strong>The</strong> Masque <strong>of</strong> Balliol in W. G. Hiscock (ed.) <strong>The</strong> Balliol Rhymes (1939)<br />
p. 29<br />
19.106 Bruce Springsteen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1949-<br />
We gotta get out while we're young,<br />
'Cause tramps like us, baby, we were born to run.<br />
Born to Run (1975 song)<br />
19.107 Sir J. C. Squire<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1958<br />
But I'm not so think as you drunk I am.<br />
M. Baring et al. One Hundred and One Ballades (1931 "Ballade <strong>of</strong> Soporific<br />
Absorption"<br />
It did not last: the Devil howling "Ho!<br />
Let Einstein be!" restored the status quo.<br />
Poems (1926) "In continuation <strong>of</strong> Pope on Newton." Cf. <strong>Oxford</strong> <strong>Dictionary</strong><br />
<strong>of</strong> <strong>Quotations</strong> (1979) 378:7<br />
19.108 Joseph Stalin (Iosif Vissarionovich Dzhugashvili)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1953
<strong>The</strong> State is an instrument in the hands <strong>of</strong> the ruling class, used to break<br />
the resistance <strong>of</strong> the adversaries <strong>of</strong> that class.<br />
Foundations <strong>of</strong> Leninism (1924) section 4/6<br />
Mr Churchill, Mr Prime Minister, how many divisions did you say the Pope<br />
had?<br />
At the Potsdam Conference, reported by Harry S. Truman in speech to<br />
American Association for the Advancement <strong>of</strong> Science, in New York Times<br />
14 Sept. 1948, p. 24 (reporting Stalin's reaction to Churchill's<br />
statement that the Pope would not like the Communists to take over the<br />
Catholic part <strong>of</strong> Poland)<br />
First <strong>of</strong> all there is the question: Can Socialism possibly be established<br />
in one country alone by that country's unaided strength? <strong>The</strong> question<br />
must be answered in the affirmative.<br />
Problems <strong>of</strong> Leninism (1926) ch. 6<br />
19.109 Charles E. Stanton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1933<br />
Lafayette, nous voila!<br />
Lafayette, we are here.<br />
At the tomb <strong>of</strong> Lafayette in Paris, 4 July 1917, in New York Tribune<br />
6 Sept. 1917<br />
19.110 Frank L. Stanton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1927<br />
Sweetes' li'l' feller,<br />
Everybody knows;<br />
Dunno what to call him,<br />
But he's mighty lak' a rose!<br />
Mighty Lak' a Rose (1901 song; music by Ethelbert Nevin)<br />
19.111 Dame Freya Stark<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1893-<br />
<strong>The</strong> great and almost only comfort about being a woman is that one can<br />
always pretend to be more stupid than one is and no one is surprised.<br />
<strong>The</strong> Valleys <strong>of</strong> the Assassins (1934) ch. 2<br />
19.112 Enid Starkie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1970<br />
Unhurt people are not much good in the world.<br />
Letter, 18 June 1943, in Joanna Richardson Enid Starkie (1973) pt. 6,<br />
ch. 18<br />
19.113 Christina Stead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1902-1983<br />
If all the rich people in the world divided up their money among<br />
themselves there wouldn't be enough to go round.<br />
House <strong>of</strong> All Nations (1938) "Credo"<br />
A self-made man is one who believes in luck and sends his son to <strong>Oxford</strong>.<br />
House <strong>of</strong> All Nations (1938) "Credo"<br />
19.114 Sir David Steel<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1938-<br />
I have the good fortune to be the first Liberal leader for over half<br />
a century who is able to say to you at the end <strong>of</strong> our annual assembly: go<br />
back to your constituencies and prepare for government.<br />
Speech at Liberal Party Assembly, Llandudno, 18 Sept. 1981, in <strong>The</strong> Times<br />
19 Sept. 1981<br />
19.115 Lincoln Steffens<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1936<br />
I have seen the future; and it works.<br />
Letter to Marie Howe, 3 Apr. 1919, in Letters (1938) vol. 1, p. 463<br />
(describing a visit to the Soviet Union in 1919; cf. Steffens's<br />
Autobiography (1931) ch. 18: "So you've been over into Russia?" said<br />
Bernard Baruch, and I answered very literally, "I have been over into the<br />
future, and it works")<br />
19.116 Gertrude Stein<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1946<br />
Hemingway...brought the manuscript he intended sending to America. He<br />
handed it to Gertrude Stein. He had added to his stories a little story <strong>of</strong><br />
meditations and in these he said that <strong>The</strong> Enormous Room was the greatest<br />
book he had ever read. It was then that Gertrude Stein said, Hemingway,<br />
remarks are not literature.<br />
Autobiography <strong>of</strong> Alice B. Toklas (1933) ch. 7<br />
Anyone who marries three girls from St Louis hasn't learned much.<br />
Said <strong>of</strong> Ernest Hemingway in James R. Mellow Charmed Circle: Gertrude Stein<br />
and Company (1974) ch. 16<br />
Anything scares me, anything scares anyone but really after all<br />
considering how dangerous everything is nothing is really very<br />
frightening.<br />
Everybody's Autobiography (1937) ch. 2<br />
It takes a lot <strong>of</strong> time to be a genius, you have to sit around so much<br />
doing nothing, really doing nothing.<br />
Everybody's Autobiography (1937) ch. 2<br />
What was the use <strong>of</strong> my having come from Oakland it was not natural to have<br />
come from there yes write about it if I like or anything if I like but not<br />
there, there is no there there.
Everybody's Autobiography (1937) ch. 4<br />
Ezra Pound failed to impress her [Stein].... She said he was a village<br />
explainer, excellent if you were a village, but if you were not, not.<br />
Janet Hobhouse Everyone who was Anybody (1975) ch. 6<br />
You are so afraid <strong>of</strong> losing your moral sense that you are not willing to<br />
take it through anything more dangerous than a mud-puddle.<br />
Fernhurst, Q.E.D., and Other Early Writings (1971) "Q.E.D." (1903) bk. 1<br />
Pigeons on the grass alas.<br />
Four Saints in Three Acts (1934) act 3, sc. 2<br />
In the United States there is more space where nobody is than where<br />
anybody is. That is what makes America what it is.<br />
<strong>The</strong> Geographical History <strong>of</strong> America (1936)<br />
Just before she [Stein] died she asked, "What is the answer?" No answer<br />
came. She laughed and said, "In that case what is the question?" <strong>The</strong>n she<br />
died.<br />
Donald Sutherland Gertrude Stein, A Biography <strong>of</strong> her Work (1951) ch. 6<br />
Disillusionment in living is the finding out nobody agrees with you not<br />
those that are and were fighting with you. Disillusionment in living is<br />
the finding out nobody agrees with you not those that are fighting for<br />
you. Complete disillusionment is when you realise that no one can for they<br />
can't change.<br />
Making <strong>of</strong> Americans (1934) ch. 5<br />
Rose is a rose is a rose is a rose, is a rose.<br />
Sacred Emily (1913) p. 187<br />
You are all a lost generation.<br />
In Ernest Hemingway <strong>The</strong> Sun Also Rises (1926) epigraph (Gertrude Stein<br />
heard the phrase "a lost generation" (une g‚n‚ration perdue) from a French<br />
garage-owner: see James R. Mellow Charmed Circle (1974) ch. 10)<br />
19.117 John Steinbeck<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1968<br />
Man, unlike any other thing organic or inorganic in the universe, grows<br />
beyond his work, walks up the stairs <strong>of</strong> his concepts, emerges ahead <strong>of</strong> his<br />
accomplishments.<br />
Grapes <strong>of</strong> Wrath (1939) ch. 14<br />
I know this--a man got to do what he got to do.<br />
Grapes <strong>of</strong> Wrath (1939) ch. 18<br />
Okie use' ta mean you was from Oklahoma. Now it means you're a dirty<br />
son-<strong>of</strong>-a-bitch. Okie means you're scum. Don't mean nothing itself, it's<br />
the way they say it.<br />
Grapes <strong>of</strong> Wrath (1939) ch. 18<br />
19.118 Gloria Steinem<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-
Now, we are becoming the men we wanted to marry.<br />
Ms July/Aug. 1982<br />
A woman without a man is like a fish without a bicycle.<br />
Attributed<br />
19.119 James Stephens<br />
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1882-1950<br />
Women are stronger than men--they do not die <strong>of</strong> wisdom.<br />
<strong>The</strong>y are better than men because they do not seek wisdom.<br />
<strong>The</strong>y are wiser than men because they know less and understand more.<br />
<strong>The</strong> Crock <strong>of</strong> Gold (1912) bk. 1, ch. 2<br />
Finality is death. Perfection is finality.<br />
Nothing is perfect. <strong>The</strong>re are lumps in it.<br />
<strong>The</strong> Crock <strong>of</strong> Gold (1912) bk. 1, ch. 4<br />
I hear a sudden cry <strong>of</strong> pain!<br />
<strong>The</strong>re is a rabbit in a snare:<br />
Now I hear the cry again,<br />
But I cannot tell from where....<br />
Little one! Oh, little one!<br />
I am searching everywhere.<br />
Songs from the City (1915) "<strong>The</strong> Snare"<br />
19.120 Andrew B. Sterling<br />
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1874-1955<br />
Wait till the sun shines, Nellie,<br />
When the clouds go drifting by.<br />
Wait till the Sun Shines, Nellie (1905 song; music by Harry von Tilzer)<br />
19.121 Wallace Stevens<br />
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1879-1955<br />
Poetry is the supreme fiction, madame.<br />
Harmonium (1923) "A High-Toned old Christian Woman"<br />
Call the roller <strong>of</strong> big cigars,<br />
<strong>The</strong> muscular one, and bid him whip<br />
In kitchen cups concupiscent curds.<br />
Let the wenches dawdle in such dress<br />
As they are used to wear, and let the boys<br />
Bring flowers in last month's newspapers.<br />
Let be be finale <strong>of</strong> seem.<br />
<strong>The</strong> only emperor is the emperor <strong>of</strong> ice-cream.<br />
Harmonium (1923) "<strong>The</strong> Emperor <strong>of</strong> Ice-Cream"<br />
Complacencies <strong>of</strong> the peignoir, and late<br />
C<strong>of</strong>fee and oranges in a sunny chair,<br />
And the green freedom <strong>of</strong> a cockatoo<br />
Upon a rug mingle to dissipate<br />
<strong>The</strong> holy hush <strong>of</strong> ancient sacrifice.
Harmonium (1923) "Sunday Morning, I"<br />
Just as my fingers on these keys<br />
Make music, so the self-same sounds<br />
On my spirit make a music, too.<br />
Music is feeling, then, not sound;<br />
And thus it is that what I feel,<br />
Here in this room, desiring you,<br />
Thinking <strong>of</strong> your blue-shadowed silk,<br />
Is music.<br />
Harmonium (1923) "Peter Quince at the Clavier" pt. 1<br />
Beauty is momentary in the mind--<br />
<strong>The</strong> fitful tracing <strong>of</strong> a portal;<br />
But in the flesh it is immortal.<br />
<strong>The</strong> body dies; the body's beauty lives.<br />
Harmonium (1923) "Peter Quince at the Clavier" pt. 4<br />
I do not know which to prefer,<br />
<strong>The</strong> beauty <strong>of</strong> inflections<br />
Or the beauty <strong>of</strong> innuendoes,<br />
<strong>The</strong> blackbird whistling<br />
Or just after.<br />
Harmonium (1923) "Thirteen Ways <strong>of</strong> Looking at a Blackbird"<br />
<strong>The</strong> man bent over his guitar,<br />
A shearsman <strong>of</strong> sorts. <strong>The</strong> day was green.<br />
<strong>The</strong>y said, "You have a blue guitar,<br />
You do not play things as they are."<br />
<strong>The</strong> man replied, "Things as they are<br />
Are changed upon the blue guitar."<br />
<strong>The</strong> Man with the Blue Guitar (1937) title poem<br />
<strong>The</strong>y will get it straight one day at the Sorbonne.<br />
We shall return at twilight from the lecture<br />
Pleased that the irrational is rational.<br />
Notes Toward a Supreme Fiction (1942) "It must give Pleasure"<br />
<strong>The</strong> poet is the priest <strong>of</strong> the invisible.<br />
Opus Posthumous (1957) "Adagia"<br />
19.122 Adlai Stevenson<br />
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1900-1965<br />
I suppose flattery hurts no one, that is, if he doesn't inhale.<br />
TV broadcast, 30 Mar. 1952, in N. F. Busch Adlai E. Stevenson (1952) ch. 5<br />
I have been thinking that I would make a proposition to my Republican<br />
friends...that if they will stop telling lies about the Democrats, we will<br />
stop telling the truth about them.<br />
Speech during 1952 Presidential Campaign, in J. B. Martin Adlai Stevenson<br />
and Illinois (1976) ch. 8<br />
We must be patient--making peace is harder than making war.<br />
Speech to Chicago Council on Foreign Relations, 21 Mar. 1946, in Chicago<br />
Daily News 22 Mar. 1946
In America any boy may become President and I suppose it's just one <strong>of</strong> the<br />
risks he takes!<br />
Speech in Indianapolis, 26 Sept. 1952, in Major Campaign Speeches <strong>of</strong> Adlai<br />
E. Stevenson; 1952 (1953) p. 174<br />
My definition <strong>of</strong> a free society is a society where it is safe to be<br />
unpopular.<br />
Speech in Detroit, 7 Oct. 1952, in Major Campaign Speeches <strong>of</strong> Adlai E.<br />
Stevenson; 1952 (1953) p. 218<br />
We hear the Secretary <strong>of</strong> State [John Foster Dulles] boasting <strong>of</strong> his<br />
brinkmanship--the art <strong>of</strong> bringing us to the edge <strong>of</strong> the abyss.<br />
Speech in Hartford, Connecticut, 25 Feb. 1956, in New York Times 26 Feb.<br />
1956, p. 64<br />
She [Eleanor Roosevelt] would rather light a candle than curse the<br />
darkness, and her glow has warmed the world.<br />
Comment on learning <strong>of</strong> Mrs Roosevelt's death, in New York Times 8 Nov.<br />
1962<br />
A funny thing happened to me on the way to the White House.<br />
Speech in Washington, 13 Dec. 1952 (after his defeat in the Presidential<br />
election), in Alden Whitman Portrait: Adlai E. Stevenson (1965) ch. 1<br />
Let's face it. Let's talk sense to the American people. Let's tell them<br />
the truth, that there are no gains without pains, that we are now on the<br />
eve <strong>of</strong> great decisions, not easy decisions, like resistance when you're<br />
attacked, but a long, patient, costly struggle which alone can assure<br />
triumph over the great enemies <strong>of</strong> man--war, poverty and tyranny--and the<br />
assaults upon human dignity which are the most grievous consequences <strong>of</strong><br />
each.<br />
Speech <strong>of</strong> Acceptance at the Democratic National Convention, Chicago,<br />
Illinois, 26 July 1952, in Speeches <strong>of</strong> Adlai Stevenson (1952) p. 20<br />
A hungry man is not a free man.<br />
Speech at Kasson, Minnesota, 6 Sept. 1952, in Speeches <strong>of</strong> Adlai Stevenson<br />
(1952) "Farm Policy"<br />
<strong>The</strong>re is no evil in the atom; only in men's souls.<br />
Speech at Hartford, Connecticut, 18 Sept. 1952, in Speeches <strong>of</strong> Adlai<br />
Stevenson (1952) "<strong>The</strong> Atomic Future"<br />
It reminds me <strong>of</strong> the small boy who jumbled his biblical quotations and<br />
said: "A lie is an abomination unto the Lord, and a very present help in<br />
trouble."<br />
In Bill Adler <strong>The</strong> Stevenson Wit (1966) p. 84 (cf. Proverbs 12:22, Psalms<br />
46:1)<br />
19.123 Anne Stevenson<br />
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1933-<br />
Blackbirds are the cellos <strong>of</strong> the deep farms.<br />
minute by Glass Minute (1982) "Green Mountain, Black Mountain"<br />
19.124 Caskie Stinnett<br />
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1911-
A diplomat...is a person who can tell you to go to hell in such a way that<br />
you actually look forward to the trip.<br />
Out <strong>of</strong> the Red (1960) ch. 4<br />
19.125 Rt. Revd Mervyn Stockwood<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1913-<br />
A psychiatrist is a man who goes to the Folies-BergŠre and looks at the<br />
audience.<br />
In Observer 15 Oct. 1961<br />
19.126 Tom Stoppard<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1937-<br />
It's not the voting that's democracy, it's the counting.<br />
Jumpers (1972) act 1<br />
My problem is that I am not frightfully interested in anything, except<br />
myself. And <strong>of</strong> all forms <strong>of</strong> fiction autobiography is the most gratuitous.<br />
Lord Malquist and Mr Moon (1966) pt. 2<br />
<strong>The</strong> House <strong>of</strong> Lords, an illusion to which I have never been able to<br />
subscribe--responsibility without power, the prerogative <strong>of</strong> the eunuch<br />
throughout the ages.<br />
Lord Malquist and Mr Moon (1966) pt. 6. Cf. Rudyard Kipling<br />
A foreign correspondent is someone who lives in foreign parts and<br />
corresponds, usually in the form <strong>of</strong> essays containing no new facts.<br />
Otherwise he's someone who flies around from hotel to hotel and thinks<br />
that the most interesting thing about any story is the fact that he has<br />
arrived to cover it.<br />
Night and Day (1978) act 1<br />
Wagner: You don't care much for the media, do you, Ruth?<br />
Ruth: <strong>The</strong> media. It sounds like a convention <strong>of</strong> spiritualists.<br />
Carson: Ruth has mixed feelings about reporters.<br />
Night and Day (1978) act 1<br />
Milne: No matter how imperfect things are, if you've got a free press<br />
everything is correctable, and without it everything is concealable.<br />
Ruth: I'm with you on the free press. It's the newspapers I can't<br />
stand.<br />
Night and Day (1978) act 1<br />
We do on stage things that are supposed to happen <strong>of</strong>f. Which is a kind <strong>of</strong><br />
integrity, if you look on every exit as being an entrance somewhere else.<br />
Rosencrantz and Guildenstern Are Dead (1967) act 1<br />
Guildenstern: Well then--one <strong>of</strong> the Greeks, perhaps? You're familiar<br />
with the tragedies <strong>of</strong> antiquity, are you? <strong>The</strong> great homicidal classics?<br />
Matri, patri, sorori, uxori and it goes without saying--suicidal--hm?<br />
Maidens aspiring to godheads--<br />
Rosencrantz: And vice versa.<br />
Rosencrantz and Guildenstern Are Dead (1967) act 1
I can do you blood and love without the rhetoric, and<br />
I can do you blood and rhetoric without the love, and<br />
I can do you all three concurrent or consecutive, but<br />
I can't do you love and rhetoric without the blood.<br />
Blood is compulsory--they're all blood, you see.<br />
Rosencrantz and Guildenstern Are Dead (1967) act 1<br />
To sum up: your father, whom you love, dies, you are his heir, you come<br />
back to find that hardly was the corpse cold before his young brother<br />
popped onto his throne and into his sheets, thereby <strong>of</strong>fending both legal<br />
and natural practice. Now why exactly are you behaving in this<br />
extraordinary manner?<br />
Rosencrantz and Guildenstern Are Dead (1967) act 1<br />
We're actors--we're the opposite <strong>of</strong> people. Think, in your head, now,<br />
think <strong>of</strong> the most...private...secret...intimate thing you have ever done<br />
secure in the knowledge <strong>of</strong> its privacy.... Are you thinking <strong>of</strong> it?...<br />
Well, I saw you do it!<br />
Rosencrantz and Guildenstern Are Dead (1967) act 2<br />
Eternity's a terrible thought. I mean, where's it all going to end?<br />
Rosencrantz and Guildenstern Are Dead (1967) act 2<br />
<strong>The</strong> bad end unhappily, the good unluckily. That is what tragedy means.<br />
Rosencrantz and Guildenstern Are Dead (1967) act 2. Cf. <strong>Oxford</strong> <strong>Dictionary</strong><br />
<strong>of</strong> <strong>Quotations</strong> (1979) 573:3<br />
Life is a gamble at terrible odds--if it was a bet, you wouldn't take it.<br />
Rosencrantz and Guildenstern Are Dead (1967) act 3<br />
I doubt that art needed Ruskin any more than a moving train needs one <strong>of</strong><br />
its passengers to shove it.<br />
Times Literary Supplement 3 June 1977<br />
War is capitalism with the gloves <strong>of</strong>f and many who go to war know it but<br />
they go to war because they don't want to be a hero.<br />
Travesties (1975) act 1<br />
19.127 Lytton Strachey<br />
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1880-1932<br />
[Samuel] Johnson's aesthetic judgements are almost invariably subtle, or<br />
solid, or bold; they have always some good quality to recommend<br />
them--except one: they are never right.<br />
Books and Characters (1922) "Lives <strong>of</strong> the Poets"<br />
<strong>The</strong> history <strong>of</strong> the Victorian Age will never be written: we know too much<br />
about it. For ignorance is the first requisite <strong>of</strong> the<br />
historian--ignorance, which simplifies and clarifies, which selects and<br />
omits, with a placid perfection unattainable by the highest art.<br />
Eminent Victorians (1918) preface<br />
<strong>The</strong> time was out <strong>of</strong> joint, and he [Hurrell Froude] was only too delighted<br />
to have been born to set it right.<br />
Eminent Victorians (1918) "Cardinal Manning" pt. 2. Cf. <strong>Oxford</strong><br />
<strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979) 524:4<br />
Miss Nightingale, however, with all her experience <strong>of</strong> public life, never
stopped to consider the question whether God might not be a Limited<br />
Monarchy. Yet her conception <strong>of</strong> God was certainly not orthodox. She felt<br />
towards Him as she might have felt towards a glorified sanitary engineer;<br />
and in some <strong>of</strong> her speculations she seems hardly to distinguish between<br />
the Deity and the Drains.<br />
Eminent Victorians (1918) "Florence Nightingale" pt. 4<br />
His legs, perhaps, were shorter than they should have been.<br />
Eminent Victorians (1918) "Dr Arnold"<br />
Asked by the chairman [<strong>of</strong> a military tribunal] the usual question: "I<br />
understand, Mr Strachey, that you have a conscientious objection to war?"<br />
he replied (in his curious falsetto voice), "Oh no, not at all, only to<br />
this war." Better than this was his reply to the chairman's other stock<br />
question, which had previously never failed to embarrass the claimant.<br />
"Tell me, Mr Strachey, what would you do if you saw a German soldier<br />
trying to violate your sister?" With an air <strong>of</strong> noble virtue: "I would try<br />
to get between them."<br />
Robert Graves Good-bye to All That (1929) ch. 23<br />
Discretion is not the better part <strong>of</strong> biography.<br />
In Michael Holroyd Lytton Strachey vol. 1 (1967) preface<br />
He [Max Beerbohm] has the most remarkable and seductive genius--and<br />
I should say about the smallest in the world.<br />
Letter to Clive Bell, 4 Dec. 1917, in Michael Holroyd Lytton Strachey<br />
vol. 2 (1968) pt. 1, ch. 5<br />
"If this is dying," he remarked quietly, just before falling into<br />
unconsciousness, "then I don't think much <strong>of</strong> it."<br />
Michael Holroyd Lytton Strachey vol. 2, (1968) pt. 2, ch. 6<br />
19.128 Igor Stravinsky<br />
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1882-1971<br />
Music is, by its very nature, essentially powerless to express anything at<br />
all...music expresses itself.<br />
In Esquire Dec. 1972<br />
My music is best understood by children and animals.<br />
In Observer 8 Oct. 1961<br />
A good composer does not imitate; he steals.<br />
In Peter Yates Twentieth Century Music (1967) pt. 1, ch. 8. Cf. T. S.<br />
Eliot 76:8, Lionel Trilling 218:1<br />
19.129 Simeon Strunsky<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1948<br />
People who want to understand democracy should spend less time in the<br />
library with Aristotle and more time on the buses and in the subway.<br />
No Mean City (1944) ch. 2<br />
Famous remarks are very seldom quoted correctly.<br />
No Mean City (1944) ch. 38
19.130 G. A. Studdert Kennedy<br />
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1883-1929<br />
Waste <strong>of</strong> Muscle, waste <strong>of</strong> Brain,<br />
Waste <strong>of</strong> Patience, waste <strong>of</strong> Pain,<br />
Waste <strong>of</strong> Manhood, waste <strong>of</strong> Health,<br />
Waste <strong>of</strong> Beauty, waste <strong>of</strong> Wealth,<br />
Waste <strong>of</strong> Blood, and waste <strong>of</strong> Tears,<br />
Waste <strong>of</strong> youth's most precious years,<br />
Waste <strong>of</strong> ways the saints have trod,<br />
Waste <strong>of</strong> Glory, waste <strong>of</strong> God,<br />
War!<br />
More Rough Rhymes <strong>of</strong> a Padre by "Woodbine Willie" (1919) "Waste"<br />
When Jesus came to Golgotha they hanged Him on a tree,<br />
<strong>The</strong>y drave great nails through hands and feet, and made a Calvary.<br />
<strong>The</strong>y crowned Him with a crown <strong>of</strong> thorns, red were His wounds and deep,<br />
For those were crude and cruel days, and human flesh was cheap.<br />
When Jesus came to Birmingham they simply passed Him by,<br />
<strong>The</strong>y never hurt a hair <strong>of</strong> Him, they only let Him die.<br />
For men had grown more tender and they would not give Him pain,<br />
<strong>The</strong>y only just passed down the street, and left Him in the rain.<br />
Peace Rhymes <strong>of</strong> a Padre (1921) "Indifference"<br />
19.131 Terry Sullivan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
She sells sea-shells on the sea-shore,<br />
<strong>The</strong> shells she sells are sea-shells, I'm sure,<br />
For if she sells sea-shells on the sea-shore,<br />
<strong>The</strong>n I'm sure she sells sea-shore shells.<br />
She Sells Sea-Shells (1908 song; music by Harry Gifford)<br />
19.132 Arthur Hays Sulzberger<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1891-<br />
We [journalists] tell the public which way the cat is jumping. <strong>The</strong> public<br />
will take care <strong>of</strong> the cat.<br />
Time 8 May 1950<br />
19.133 Edith Summerskill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1901-1980<br />
<strong>The</strong> housewife is the Cinderella <strong>of</strong> the affluent state.... She is wholly<br />
dependent on the whim <strong>of</strong> an individual to give her money for the<br />
essentials <strong>of</strong> life. If she complains she is a nagger--for nagging is the<br />
repetition <strong>of</strong> unpalatable truths.<br />
Speech to Married Women's Association, House <strong>of</strong> Commons, 14 July 1960, in<br />
<strong>The</strong> Times 15 July 1960<br />
19.134 Jacqueline Susann (Mrs Irving Mansfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1921-1974<br />
Valley <strong>of</strong> the dolls.<br />
Title <strong>of</strong> novel (1966)<br />
19.135 Hannen Swaffer<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1962<br />
Perhaps it was about now [circa.1902] that he [Swaffer] began to formulate<br />
a dictum which, though not always attributed to him, has <strong>of</strong>ten been quoted<br />
(among others, by witnesses before the first Royal Commssion on the<br />
Press): "<strong>Free</strong>dom <strong>of</strong> the press in Britain means freedom to print such <strong>of</strong><br />
the proprietor's prejudices as the advertisers don't object to."<br />
Tom Driberg Swaff (1974) ch. 2<br />
19.136 Herbert Bayard Swope<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1958<br />
<strong>The</strong> First Duty <strong>of</strong> a newspaper is to be Accurate. If it is Accurate, it<br />
follows that it is Fair.<br />
Letter to New York Herald Tribune 16 Mar. 1958<br />
He [Swope] enunciated no rules for success, but <strong>of</strong>fered a sure formula for<br />
failure: Just try to please everyone.<br />
In E. J. Kahn Jr. World <strong>of</strong> Swope (1965) p. 7 See also Bernard Baruch<br />
(2.27)<br />
19.137 Eric Sykes and Max Bygraves<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1922-<br />
Eric Sykes had this quick ear and could tell by any inflection I put into<br />
a line how to make it a catch phrase--at one time I had more catch phrases<br />
than I could handle. I had the whole country saying things like "I've<br />
arrived and to prove it I'm here!" "A good idea--son" "Bighead!" "Dollar<br />
lolly."<br />
Max Bygraves I Wanna Tell You a Story! (1976) p. 96 (describing<br />
catch-phrases on Educating Archie, 1950-3 BBC radio comedy series)<br />
19.138 John Millington Synge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1909<br />
"A man who is not afraid <strong>of</strong> the sea will soon be drownded," he said "for<br />
he will be going out on a day he shouldn't. But we do be afraid <strong>of</strong> the<br />
sea, and we do only be drownded now and again."<br />
Aran Islands (1907) pt. 2<br />
"A translation is no translation," he said, "unless it will give you the<br />
music <strong>of</strong> a poem along with the words <strong>of</strong> it."<br />
Aran Islands (1907) pt. 3<br />
When I was writing "<strong>The</strong> Shadow <strong>of</strong> the Glen," some years ago, I got more<br />
aid than any learning could have given me from a chink in the floor <strong>of</strong> the
old Wicklow house where I was staying, that let me hear what was being<br />
said by the servant girls in the kitchen.<br />
Playboy <strong>of</strong> the Western World (1907) preface<br />
Oh my grief, I've lost him surely. I've lost the only Playboy <strong>of</strong> the<br />
Western World.<br />
Playboy <strong>of</strong> the Western World (1907) act 3 (last lines)<br />
19.139 Thomas Szasz<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1920-<br />
A child becomes an adult when he realizes that he has a right not only to<br />
be right but also to be wrong.<br />
<strong>The</strong> Second Sin (1973) "Childhood"<br />
Masturbation: the primary sexual activity <strong>of</strong> mankind. In the nineteenth<br />
century, it was a disease; in the twentieth, it's a cure.<br />
<strong>The</strong> Second Sin (1973) "Sex"<br />
Traditionally, sex has been a very private, secretive activity. Herein<br />
perhaps lies its powerful force for uniting people in a strong bond. As we<br />
make sex less secretive, we may rob it <strong>of</strong> its power to hold men and women<br />
together.<br />
<strong>The</strong> Second Sin (1973) "Sex"<br />
Happiness is an imaginary condition, formerly <strong>of</strong>ten attributed by the<br />
living to the dead, now usually attributed by adults to children, and by<br />
children to adults.<br />
<strong>The</strong> Second Sin (1973) "Emotions"<br />
<strong>The</strong> stupid neither forgive nor forget; the na‹ve forgive and forget; the<br />
wise forgive but do not forget.<br />
<strong>The</strong> Second Sin (1973) "Personal Conduct"<br />
Two wrongs don't make a right, but they make a good excuse.<br />
<strong>The</strong> Second Sin (1973) "Social Relations"<br />
If you talk to God, you are praying; if God talks to you, you have<br />
schizophrenia. If the dead talk to you, you are a spiritualist; if God<br />
talks to you, you are a schizophrenic.<br />
<strong>The</strong> Second Sin (1973) "Schizophrenia"<br />
Formerly, when religion was strong and science weak, men mistook magic for<br />
medicine; now, when science is strong and religion weak, men mistake<br />
medicine for magic.<br />
<strong>The</strong> Second Sin (1973) "Science and Scientism"<br />
19.140 George Szell<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1970<br />
Conductors must give unmistakable and suggestive signals to the<br />
orchestra--not choreography to the audience.<br />
Newsweek 28 Jan. 1963<br />
19.141 Albert von Szent-Gy”rgyi<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1893-1986<br />
Discovery consists <strong>of</strong> seeing what everybody has seen and thinking what<br />
nobody has thought.<br />
In Irving Good (ed.) <strong>The</strong> Scientist Speculates (1962) p. 15<br />
20.0 T<br />
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20.1 Sir Rabindranath Tagore<br />
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1861-1941<br />
Bigotry tries to keep truth safe in its hand<br />
With a grip that kills it.<br />
Fireflies (1928) p. 29<br />
20.2 Nellie Talbot<br />
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Jesus wants me for a sunbeam.<br />
Title <strong>of</strong> hymn (1921), in CSSM Choruses No. 1<br />
20.3 S. G. Tallentyre (E. Beatrice Hall)<br />
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1868-<br />
"On the Mind" [De l'Esprit] became not the success <strong>of</strong> the season, but one<br />
<strong>of</strong> the most famous books <strong>of</strong> the century. <strong>The</strong> men who had hated it, and had<br />
not particularly loved Helv‚tius, flocked round him now. Voltaire forgave<br />
him all injuries, intentional or unintentional.... "I disapprove <strong>of</strong> what<br />
you say, but I will defend to the death your right to say it," was his<br />
attitude now.<br />
<strong>The</strong> Friends <strong>of</strong> Voltaire (1906) ch. 7 (<strong>of</strong>ten attributed to Voltaire but<br />
not found in his works)<br />
20.4 Booth Tarkington<br />
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1869-1946<br />
<strong>The</strong>re are two things that will be believed <strong>of</strong> any man whatsoever, and one<br />
<strong>of</strong> them is that he has taken to drink.<br />
Penrod (1914) ch. 10<br />
20.5 A. J. P. Taylor<br />
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1906-1990<br />
He [Lord Northcliffe] aspired to power instead <strong>of</strong> influence, and as<br />
a result forfeited both.<br />
English History, 1914-1945 (1965) ch. 1
Communism continued to haunt Europe as a spectre--a name men gave to their<br />
own fears and blunders. But the crusade against Communism was even more<br />
imaginary than the spectre <strong>of</strong> Communism.<br />
Origins <strong>of</strong> the Second World War (1962) ch. 2<br />
A racing tipster who only reached Hitler's level <strong>of</strong> accuracy would not do<br />
well for his clients.<br />
Origins <strong>of</strong> the Second World War (1962) ch. 7<br />
20.6 Bert Leston Taylor<br />
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1866-1901<br />
A bore is a man who, when you ask him how he is, tells you.<br />
<strong>The</strong> So-Called Human Race (1922) p. 163<br />
20.7 Norman Tebbit<br />
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1931-<br />
We cannot ignore the price that unemployment today is exacting from the<br />
failures <strong>of</strong> the past. I have known about these things. I grew up in the<br />
Thirties with our unemployed father. He did not riot, he got on his bike<br />
and looked for work.<br />
Speech at Conservative Party Conference, 15 Oct. 1981, in Daily Telegraph<br />
16 Oct. 1981<br />
20.8 Archbishop William Temple<br />
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1881-1944<br />
In place <strong>of</strong> the conception <strong>of</strong> the power-state we are led to that <strong>of</strong> the<br />
welfare-state.<br />
Citizen and Churchman (1941) ch. 2<br />
It is a mistake to suppose that God is only, or even chiefly, concerned<br />
with religion.<br />
In R. V. C. Bodley In Search <strong>of</strong> Serenity (1955) ch. 12<br />
Christianity is the most materialistic <strong>of</strong> all great religions.<br />
Readings in St John's Gospel vol. 1 (1939) introduction<br />
20.9 A. S. J. Tessimond<br />
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1902-1962<br />
Cats, no less liquid than their shadows,<br />
Offer no angles to the wind.<br />
<strong>The</strong>y slip, diminished, neat, through loopholes<br />
Less than themselves.<br />
Cats (1934) p. 20<br />
20.10 Margaret Thatcher<br />
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1925-
We have to get our production and our earnings into balance. <strong>The</strong>re's no<br />
easy popularity in what we are proposing, but it is fundamentally sound.<br />
Yet I believe people accept there is no real alternative.<br />
Speech at Conservative Women's Conference, 21 May 1980, in Daily Telegraph<br />
22 May 1980<br />
A triumphant Prime Minister declared "Rejoice, rejoice" last night....<br />
"Let us congratulate our armed forces and the Marines," she added.<br />
On recapture <strong>of</strong> South Georgia, 25 Apr. 1982, Daily Telegraph 26 Apr. 1982<br />
In church on Sunday morning--it was a lovely morning and we haven't had<br />
many lovely days--the sun was coming through a stained glass window and<br />
falling on some flowers, falling right across the church. It just occurred<br />
to me that this was the day I was meant not to see. <strong>The</strong>n all <strong>of</strong> a sudden<br />
I thought, "there are some <strong>of</strong> my dearest friends who are not seeing this<br />
day."<br />
Television interview, 15 Oct. 1984, after the Brighton bombing, in Daily<br />
Telegraph 16 Oct. 1984<br />
We're going to be rather lucky to be living at a time when you get the<br />
turn <strong>of</strong> the thousand years and we really ought to set Britain's course for<br />
the next century as well as this.... Yes, I hope to go on and on.<br />
Television interview, 11 May 1987, in Independent 12 May 1987<br />
I don't mind how much my Ministers talk, so long as they do what I say.<br />
In Observer 27 Jan. 1980<br />
I am extraordinarily patient, provided I get my own way in the end.<br />
In Observer 4 Apr. 1989<br />
Ladies and gentlemen, I stand before you tonight in my red chiffon evening<br />
gown, my face s<strong>of</strong>tly made up, my fair hair gently waved...the Iron Lady <strong>of</strong><br />
the Western World! Me? A cold war warrior? Well, yes--if that is how they<br />
wish to interpret my defence <strong>of</strong> values and freedoms fundamental to our way<br />
<strong>of</strong> life.<br />
Speech at Finchley, 31 Jan. 1976, in Sunday Times 1 Feb. 1976<br />
I was asked whether I was trying to restore Victorian values. I said<br />
straight out I was. And I am.<br />
Speech to British Jewish Community, 21 July 1983, in M. Mc Fadyean & M.<br />
Renn Thatcher's Reign (1984) p. 114<br />
We shall not be diverted from our course. To those waiting with bated<br />
breath for that favourite media catch-phrase, the U-turn, I have only this<br />
to say. "You turn if you want; the lady's not for turning."<br />
Speech at Conservative Party Conference in Brighton, 10 Oct. 1980, in <strong>The</strong><br />
Times 11 Oct. 1980<br />
Let me make one thing absolutely clear. <strong>The</strong> National Health Service is<br />
safe with us.<br />
Speech at Conservative party Conference, 8 Oct. 1982, in <strong>The</strong> Times 9 Oct.<br />
1982<br />
<strong>The</strong> Prime Minister [Mrs Thatcher] said yesterday that she liked Mr<br />
Gorbachev--"we can do business together"--and that she was cautiously<br />
optimistic for detente and world peace in the new year.<br />
<strong>The</strong> Times 18 Dec. 1984<br />
We must try to find ways to starve the terrorist and the hijacker <strong>of</strong> the
oxygen <strong>of</strong> publicity on which they depend.<br />
Speech to American Bar Association in London, 15 July 1985, in <strong>The</strong> Times<br />
16 July 1985<br />
No one would remember the Good Samaritan if he'd only had good intentions.<br />
He had money as well.<br />
Television interview, 6 Jan. 1986, in <strong>The</strong> Times 12 Jan. 1986<br />
Mrs Margaret Thatcher informed the world with regal panache yesterday that<br />
her daughter-in-law had given birth to a son. "We have become a<br />
grandmother," the Prime Minister said.<br />
<strong>The</strong> Times 4 Mar. 1989<br />
<strong>The</strong>re is no such thing as Society. <strong>The</strong>re are individual men and women, and<br />
there are families.<br />
Woman's Own 31 Oct. 1987<br />
20.11 Sam <strong>The</strong>ard and Fleecie Moore<br />
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Let the good times roll.<br />
Title <strong>of</strong> song (1946)<br />
20.12 Diane Thomas<br />
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Romancing the stone.<br />
Title <strong>of</strong> film (1984)<br />
20.13 Dylan Thomas<br />
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1914-1953<br />
One Christmas was so much like another, in those years around the sea-town<br />
corner now and out <strong>of</strong> all sound except the distant speaking <strong>of</strong> the voices<br />
I sometimes hear a moment before sleep, that I can never remember whether<br />
it snowed for six days and six nights when I was twelve or whether it<br />
snowed for twelve days and twelve nights when I was six.<br />
A Child's Christmas in Wales (1954) p. 5<br />
Years and years and years ago, when I was a boy, when there were wolves in<br />
Wales, and birds the colour <strong>of</strong> red-flannel petticoats whisked past the<br />
harp-shaped hills, when we sang and wallowed all night and day in caves<br />
that smelt like Sunday afternoons in damp front farmhouse parlours, and we<br />
chased, with the jawbones <strong>of</strong> deacons, the English and the bears, before<br />
the motor car, before the wheel, before the duchess-faced horse, when we<br />
rode the daft and happy hills bareback, it snowed and it snowed.<br />
A Child's Christmas in Wales (1954) p. 11<br />
Do not go gentle into that good night,<br />
Old age should burn and rave at close <strong>of</strong> day;<br />
Rage, rage against the dying <strong>of</strong> the light.<br />
Collected poems (1952) "Do Not Go Gentle into that Good Night"<br />
After the first death, there is no other.<br />
Deaths and Entrances (1946) "A Refusal to Mourn the Death, by Fire, <strong>of</strong><br />
a Child in London"
It was my thirtieth year to heaven<br />
Woke to my hearing from harbour and neighbour wood<br />
And the mussel pooled and the heron<br />
Priested shore.<br />
<strong>The</strong> morning beckon.<br />
Deaths and Entrances (1946) "Poem in October"<br />
Pale rain over the dwindling harbour<br />
And over the sea wet church the size <strong>of</strong> a snail<br />
With its horns through mist and the castle<br />
Brown as owls<br />
But all the gardens<br />
Of spring and summer were blooming in the tall vales<br />
Beyond the border and under the lark full cloud.<br />
<strong>The</strong>re could I marvel<br />
My birthday<br />
Away but the weather turned around.<br />
Deaths and Entrances (1946) "Poem in October"<br />
Now as I was young and easy under the apple boughs<br />
About the lilting house and happy as the grass was green.<br />
Deaths and Entrances (1946) "Fern Hill"<br />
Oh as I was young and easy in the mercy <strong>of</strong> his means,<br />
Time held me green and dying<br />
Though I sang in my chains like the sea.<br />
Deaths and Entrances (1946) "Fern Hill"<br />
<strong>The</strong> land <strong>of</strong> my fathers [Wales]. My fathers can have it.<br />
In Adam Dec. 1953<br />
<strong>The</strong> force that through the green fuse drives the flower<br />
Drives my green age; that blasts the roots <strong>of</strong> trees<br />
Is my destroyer.<br />
And I am dumb to tell the crooked rose<br />
My youth is bent by the same wintry fever.<br />
18 Poems (1934) "<strong>The</strong> Force that through the Green Fuse drives the Flower"<br />
Light breaks where no sun shines;<br />
Where no sea runs, the waters <strong>of</strong> the heart<br />
Push in their tides.<br />
18 Poems (1934) "Light Breaks Where No Sun Shines"<br />
Dylan talked copiously, then stopped. "Somebody's boring me," he said, "I<br />
think it's me."<br />
Rayner Heppenstall Four Absentees (1960) ch. 16<br />
Dylan himself once defined an alcoholic as a man you don't like who drinks<br />
as much as you do.<br />
Constantine Fitzgibbon Life <strong>of</strong> Dylan Thomas (1965) ch. 6<br />
Portrait <strong>of</strong> the artist as a young dog.<br />
Title <strong>of</strong> book (1940); cf. James Joyce's Portrait <strong>of</strong> the Artist as a Young<br />
Man (1916)<br />
Too many <strong>of</strong> the artists <strong>of</strong> Wales spend too much time talking about the<br />
position <strong>of</strong> the artists <strong>of</strong> Wales. <strong>The</strong>re is only one position for an<br />
artist anywhere: and that is, upright.<br />
Quite Early One Morning (1954) pt. 2 "Wales and the Artist"
<strong>The</strong> hand that signed the paper felled a city;<br />
Five sovereign fingers taxed the breath,<br />
Doubled the globe <strong>of</strong> dead and halved a country;<br />
<strong>The</strong>se five kings did a king to death.<br />
25 Poems (1936) "<strong>The</strong> Hand that Signed the Paper Felled a City"<br />
<strong>The</strong> hand that signed the treaty bred a fever,<br />
And famine grew, and locusts came;<br />
Great is the hand that holds dominion over<br />
Man by a scribbled name.<br />
25 Poems (1936) "<strong>The</strong> Hand That Signed the Paper Felled a City"<br />
Though they go mad they shall be sane,<br />
Though they sink through the sea they shall rise again;<br />
Though lovers be lost love shall not;<br />
And death shall have no dominion.<br />
25 Poems (1936) "And Death Shall Have No Dominion." Cf. Romans 6:9<br />
To begin at the beginning: It is spring, moonless night in the small town,<br />
starless and bible-black, the cobblestreets silent and the hunched<br />
courters'-and-rabbits' wood limping invisible down to the sloeblack, slow,<br />
black, crowblack, fishingboat-bobbing sea.<br />
Under Milk Wood (1954) p. 1<br />
Mr pritchard: I must dust the blinds and then I must raise them.<br />
Mrs ogmore-pritchard: And before you let the sun in, mind it wipes its<br />
shoes.<br />
Under Milk Wood (1954) p. 16<br />
Alone until she dies, Bessie Bighead, hired help, born in the workhouse,<br />
smelling <strong>of</strong> the cowshed, snores bass and gruff on a couch <strong>of</strong> straw in<br />
a l<strong>of</strong>t in Salt Lake Farm and picks a posy <strong>of</strong> daisies in Sunday Meadow to<br />
put on the grave <strong>of</strong> Gomer Owen who kissed her once by the pig-sty when she<br />
wasn't looking and never kissed her again although she was looking all the<br />
time.<br />
Under Milk Wood (1954) p. 19<br />
Me, Polly Garter, under the washing line, giving the breast in the garden<br />
to my bonny new baby. Nothing grows in our garden, only washing. And<br />
babies. And where's their fathers live, my love? Over the hills and far<br />
away. You're looking up at me now. I know what you're thinking, you poor<br />
little milky creature. You're thinking, you're no better than you should<br />
be, Polly, and that's good enough for me. Oh, isn't life a terrible thing,<br />
thank God?<br />
Under Milk Wood (1954) p. 30<br />
Mae rose cottage: I'm fast. I'm a bad lot. God will strike me dead.<br />
I'm seventeen. I'll go to hell.<br />
Second voice: She tells the goats.<br />
Mae rose cottage: You just wait. I'll sin till I blow up!<br />
Second voice: She lies deep, waiting for the worst to happen; the goats<br />
champ and sneer.<br />
Under Milk Wood (1954) p. 78<br />
20.14 Edward Thomas<br />
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1878-1917
Out in the dark over the snow<br />
<strong>The</strong> fallow fawns invisible go<br />
With the fallow doe;<br />
And the winds blow<br />
Fast as the stars are slow.<br />
Last Poems (1918) "Out in the Dark"<br />
If I should ever by chance grow rich<br />
I'll buy Codham, Cockridden, and Childerditch,<br />
Roses, Pyrgo, and Lapwater,<br />
And let them all to my elder daughter.<br />
Poems (1917) "If I Should Ever By Chance"<br />
<strong>The</strong> past is the only dead thing that smells sweet.<br />
Poems (1917) "Early One Morning"<br />
Yes; I remember Adlestrop--<br />
<strong>The</strong> name, because one afternoon<br />
Of heat the express-train drew up there<br />
Unwontedly. It was late June.<br />
Poems (1917) "Adlestrop"<br />
As well as any bloom upon a flower<br />
I like the dust on the nettles, never lost<br />
Except to prove the sweetness <strong>of</strong> a shower.<br />
Poems (1917) "Tall Nettles"<br />
I have come to the borders <strong>of</strong> sleep,<br />
<strong>The</strong> unfathomable deep<br />
Forest where all must lose<br />
<strong>The</strong>ir way, however straight<br />
Or winding, soon or late;<br />
<strong>The</strong>y can not choose.<br />
Poems (1917) "Lights Out"<br />
20.15 Gwyn Thomas<br />
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1913-<br />
<strong>The</strong>re are still parts <strong>of</strong> Wales where the only concession to gaiety is a<br />
striped shroud.<br />
Punch 18 June 1958<br />
20.16 Francis Thompson<br />
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1859-1907<br />
Wake! for the Ruddy Ball has taken flight<br />
That scatters the slow Wicket <strong>of</strong> the Night;<br />
And the swift Batsman <strong>of</strong> the Dawn has driven<br />
Against the Star-spiked Rails a fiery smite.<br />
"Wake! for the Ruddy Ball has Taken Flight" (parody <strong>of</strong> Edward Fitzgerald)<br />
in J. C. Squire Apes and Parrots (1929) p. 173<br />
<strong>The</strong> fairest things have fleetest end,<br />
<strong>The</strong>ir scent survives their close:<br />
But the rose's scent is bitterness<br />
To him that loved the rose!
Poems (1913) vol. 1 "Daisy"<br />
She went her unremembering way,<br />
She went and left in me<br />
<strong>The</strong> pang <strong>of</strong> all the partings gone,<br />
And partings yet to be.<br />
She left me marvelling why my soul<br />
Was sad that she was glad;<br />
At all the sadness in the sweet,<br />
<strong>The</strong> sweetness in the sad.<br />
Poems (1913) vol. 1 "Daisy"<br />
Nothing begins, and nothing ends,<br />
That is not paid with moan;<br />
For we are born in other's pain,<br />
And perish in our own.<br />
Poems (1913) vol. 1 "Daisy"<br />
Summer set lip to earth's bosom bare,<br />
And left the flushed print in a poppy there.<br />
Poems (1913) vol. 1 "<strong>The</strong> Poppy"<br />
<strong>The</strong> sleep-flower sways in the wheat its head,<br />
Heavy with dreams, as that with bread:<br />
<strong>The</strong> goodly grain and the sun-flushed sleeper<br />
<strong>The</strong> reaper reaps, and Time the reaper.<br />
I hang 'mid men my needless head,<br />
And my fruit is dreams, as theirs is bread:<br />
<strong>The</strong> goodly men and the sun-hazed sleeper<br />
Time shall reap, but after the reaper<br />
<strong>The</strong> world shall glean <strong>of</strong> me, me the sleeper.<br />
Poems (1913) vol. 1 "<strong>The</strong> Poppy"<br />
Look for me in the nurseries <strong>of</strong> heaven.<br />
Poems (1913) vol. 1 "To My Godchild Francis M.W.M."<br />
I fled Him, down the nights and down the days;<br />
I fled Him, down the arches <strong>of</strong> the years;<br />
I fled Him, down the labyrinthine ways<br />
Of my own mind; and in the mist <strong>of</strong> tears<br />
I hid from Him, and under running laughter.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 1<br />
But with unhurrying chase,<br />
And unperturbŠd pace,<br />
Deliberate speed, majestic instancy,<br />
<strong>The</strong>y beat--and a Voice beat<br />
More instant than the Feet--<br />
All things betray thee, who betrayest Me.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 1<br />
For, though I knew His love Who followŠd, Yet was I sore adread<br />
Lest, having Him, I must have naught beside.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 2<br />
Fear wist not to evade, as Love wist to pursue.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 2<br />
I said to Dawn: Be sudden--to Eve :<br />
Be soon.
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 2<br />
To all swift things for swiftness did I sue;<br />
Clung to the whistling mane <strong>of</strong> every wind.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 2<br />
Still with unhurrying chase,<br />
And unperturbŠd pace,<br />
Deliberate speed, majestic instancy,<br />
Came on the following Feet,<br />
And a Voice above their beat--<br />
"Naught shelters thee, who wilt not shelter Me."<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 2<br />
I was heavy with the even,<br />
When she lit her glimmering tapers<br />
Round the day's dead sanctities.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 3<br />
My harness piece by piece Thou hast hewn from me,<br />
And smitten me to my knee.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 4<br />
Yea, faileth now even dream<br />
<strong>The</strong> dreamer, and the lute the lutanist;<br />
Even the linked fantasies, in whose blossomy twist<br />
I swung the earth a trinket at my wrist.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 4<br />
Ah! must--<br />
Designer infinite!--<br />
Ah! must Thou char the wood ere Thou canst limm with it?<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 4<br />
Such is: what is to be?<br />
<strong>The</strong> pulp so bitter, how shall taste the rind?<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 4<br />
Yet ever and anon a trumpet sounds<br />
From the hid battlements <strong>of</strong> Eternity;<br />
Those shaken mists a space unsettle, then<br />
Round the half-glimpsŠd turrets slowly wash again.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 4<br />
Now <strong>of</strong> that long pursuit<br />
Comes on at hand the bruit;<br />
That Voice is round me like a bursting sea :<br />
"And is thy earth so marred,<br />
Shattered in shard on shard?<br />
Lo, all things fly thee, for thou fliest Me!"<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 5<br />
All which I took from thee I did but take,<br />
Not for thy harms,<br />
But just that thou might'st seek it in My arms.<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 5<br />
Halts by me that footfall :<br />
Is my gloom, after all,<br />
Shade <strong>of</strong> His hand, outstretched caressingly?
"Ah, fondest, blindest, weakest,<br />
I am He whom thou seekest!<br />
Thou dravest love from thee, who dravest Me."<br />
Poems (1913) vol. 1 "Hound <strong>of</strong> Heaven" pt. 5<br />
And thou--what needest with thy tribe's black tents<br />
Who hast the red pavilion <strong>of</strong> my heart?<br />
Poems (1913) vol. 1 "Arab Love-Song"<br />
It is little I repair to the matches <strong>of</strong> the Southron folk,<br />
Though my own red roses there may blow;<br />
It is little I repair to the matches <strong>of</strong> the Southron folk,<br />
Though the red roses crest the caps I know.<br />
For the field is full <strong>of</strong> shades as I near the shadowy coast,<br />
And a ghostly batsman plays to the bowling <strong>of</strong> a ghost,<br />
And I look through my tears on a soundless-clapping host<br />
As the run-stealers flicker to and fro,<br />
To and fro:--<br />
O my Hornby and my Barlow long ago!<br />
Poems (1913) vol. 1 "At Lord's"<br />
<strong>The</strong>re is no expeditious road<br />
To pack and label men for God,<br />
And save them by the barrel-load.<br />
Some may perchance, with strange surprise,<br />
Have blundered into Paradise.<br />
Poems (1913) vol. 1 "Epilogue to 'A Judgement in Heaven'"<br />
Go, songs, for ended is our brief, sweet play;<br />
Go, children <strong>of</strong> swift joy and tardy sorrow:<br />
And some are sung, and that was yesterday,<br />
And some unsung, and that may be to-morrow.<br />
Poems (1913) vol. 1 "Envoy"<br />
Ah, for a heart less native to high Heaven,<br />
A hooded eye, for jesses and restraint,<br />
Or for a will accipitrine to pursue!<br />
Poems (1913) vol. 2 "Dread <strong>of</strong> Height"<br />
Spring is come home with her world-wandering feet,<br />
And all things are made young with young desires.<br />
Poems (1913) vol. 2 "From the Night <strong>of</strong> Forebeing"<br />
Let even the slug-abed snail upon the thorn<br />
Put forth a conscious horn!<br />
Poems (1913) vol. 2 "From the Night <strong>of</strong> Forebeing"<br />
And, while she feels the heavens lie bare,<br />
She only talks about her hair.<br />
Poems (1913) vol. 2 "<strong>The</strong> Way <strong>of</strong> a Maid"<br />
Pontifical Death, that doth the crevasse bridge<br />
To the steep and trifid God.<br />
Poems (1913) vol. 2 "An Anthem <strong>of</strong> Earth"<br />
And all man's Babylons strive but to impart<br />
<strong>The</strong> grandeurs <strong>of</strong> his Babylonian heart.<br />
Poems (1913) vol. 2 "<strong>The</strong> Heart" no. 2<br />
What heart could have thought you?--
Past our devisal<br />
(O filigree petal!)<br />
Fashioned so purely,<br />
Fragilely, surely,<br />
From what Paradisal<br />
Imagineless metal,<br />
Too costly for cost?<br />
Poems (1913) vol. 2 "To a Snowflake"<br />
Insculped and embossed,<br />
With His hammer <strong>of</strong> wind,<br />
And His graver <strong>of</strong> frost.<br />
Poems (1913) vol. 2 "To a Snowflake"<br />
O world invisible, we view thee,<br />
O world intangible, we touch thee,<br />
O world unknowable, we know thee,<br />
Inapprehensible, we clutch thee!<br />
Poems (1913) vol. 2 "<strong>The</strong> Kingdom <strong>of</strong> God"<br />
<strong>The</strong> angels keep their ancient places;--<br />
Turn but a stone, and start a wing!<br />
'Tis ye, 'tis your estrangŠd faces,<br />
That miss the many-splendoured thing.<br />
But (when so sad thou canst not sadder)<br />
Cry;--and upon thy so sore loss<br />
Shall shine the traffic <strong>of</strong> Jacob's ladder<br />
Pitched betwixt Heaven and Charing Cross.<br />
Yea, in the night, my Soul, my daughter,<br />
Cry,--clinging Heaven by the hems;<br />
And lo, Christ walking on the water<br />
Not <strong>of</strong> Gennesareth, but Thames!<br />
Poems (1913) vol. 2 "<strong>The</strong> Kingdom <strong>of</strong> God"<br />
20.17 Hunter S. Thompson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1939-<br />
Fear and loathing in Las Vegas.<br />
Title <strong>of</strong> two articles in Rolling Stone 11 and 25 Nov. 1971 (under the<br />
pseudonym "Raoul Duke")<br />
20.18 Lord Thomson (Roy Herbert Thomson, Baron Thomson <strong>of</strong> Fleet)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1976<br />
It is just like having your own licence to print money.<br />
On the pr<strong>of</strong>itability <strong>of</strong> commercial television in Britain, in R. Braddon<br />
Roy Thomson (1965) ch. 32<br />
20.19 Jeremy Thorpe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1929-<br />
Greater love hath no man than this, that he lay down his friends for his
life.<br />
Comment on Harold Macmillan sacking many <strong>of</strong> his Cabinet, 13 July 1962, in<br />
D. E. Butler and Anthony King General Election <strong>of</strong> 1964 (1965) ch. 1<br />
20.20 James Thurber<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1894-1961<br />
I suppose that the high-water mark <strong>of</strong> my youth in Columbus, Ohio, was the<br />
night the bed fell on my father.<br />
My Life and Hard Times (1933) ch. 1<br />
Her own mother lived the latter years <strong>of</strong> her life in the horrible<br />
suspicion that electricity was dripping invisibly all over the house.<br />
My Life and Hard Times (1933) ch. 2<br />
All right, have it your own way--you heard a seal bark!<br />
Cartoon caption in New Yorker 30 Jan. 1932<br />
That's my first wife up there and this is the present Mrs Harris.<br />
Cartoon caption in New Yorker 16 Mar. 1933<br />
<strong>The</strong> war between men and women.<br />
Title <strong>of</strong> series <strong>of</strong> cartoons in New Yorker 20 Jan.-28 Apr. 1934<br />
It's a na‹ve domestic Burgundy without any breeding, but I think you'll be<br />
amused by its presumption.<br />
Cartoon caption in New Yorker 27 Mar. 1937<br />
Well, if I called the wrong number, why did you answer the phone?<br />
Cartoon caption in New Yorker 5 June 1937<br />
<strong>The</strong>re is no safety in numbers, or in anything else.<br />
New Yorker 4 Feb. 1939 "<strong>The</strong> Fairly Intelligent Fly"<br />
Early to rise and early to bed makes a male healthy and wealthy and dead.<br />
New Yorker 18 Feb. 1939 "<strong>The</strong> Shrike and the Chipmunks"<br />
It's our own story exactly! He bold as a hawk, she s<strong>of</strong>t as the dawn.<br />
Cartoon caption in New Yorker 25 Feb. 1939<br />
<strong>The</strong>n, with that faint fleeting smile playing about his lips, he faced the<br />
firing squad; erect and motionless, proud and disdainful, Walter Mitty,<br />
the undefeated, inscrutable to the last.<br />
New Yorker 18 Mar. 1939 "<strong>The</strong> Secret Life <strong>of</strong> Walter Mitty"<br />
You might as well fall flat on your face as lean over too far backward.<br />
New Yorker 29 Apr. 1939 "<strong>The</strong> Bear Who Let It Alone"<br />
You can fool too many <strong>of</strong> the people too much <strong>of</strong> the time.<br />
New Yorker 29 Apr. 1939 "<strong>The</strong> Owl who was God"<br />
"Humour," he said, "is emotional chaos remembered in tranquillity."<br />
In New York Post 29 Feb. 1960. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong> (1979)<br />
583:10<br />
20.21 Paul Tillich<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1886-1965<br />
Neurosis is the way <strong>of</strong> avoiding non-being by avoiding being.<br />
<strong>The</strong> Courage To Be (1952) pt. 2, ch. 3<br />
He who knows about depth knows about God.<br />
<strong>The</strong> Shaking <strong>of</strong> the Foundations (1948) ch. 7<br />
20.22 Dion Titheradge<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
And her mother came too!<br />
Title <strong>of</strong> song (1921; music by Ivor Novello)<br />
20.23 Alvin T<strong>of</strong>fler<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1928-<br />
Future shock.<br />
Title <strong>of</strong> book (1970)<br />
20.24 J. R. R. Tolkien<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1973<br />
In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet<br />
hole, filled with the ends <strong>of</strong> worms and an oozy smell, nor yet a dry,<br />
bare, sandy hole with nothing in it to sit down on or to eat: it was<br />
a hobbit-hole, and that means comfort.<br />
<strong>The</strong> Hobbit (1937) ch. 1<br />
One Ring to rule them all, One Ring to find them<br />
One Ring to bring them all and in the darkness bind them.<br />
Lord <strong>of</strong> the Rings, pt. 1 <strong>The</strong> Fellowship <strong>of</strong> the Ring (1954) epigraph<br />
20.25 Nicholas Tomalin<br />
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<strong>The</strong> only qualities for real success in journalism are ratlike cunning,<br />
a plausible manner and a little literary ability.... <strong>The</strong> capacity to steal<br />
other people's ideas and phrases--that one about ratlike cunning was<br />
invented by my colleague Murray Sayle--is also invaluable.<br />
Sunday Times Magazine 26 Oct. 1969<br />
20.26 Barry Took and Marty Feldman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Hello, I'm Julian and this is my friend, Sandy.<br />
Catch-phrase in Round the Horne (BBC radio series, 1965-8)<br />
20.27 Sue Townsend<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
<strong>The</strong> secret diary <strong>of</strong> Adrian Mole aged 13-3/4.
Title <strong>of</strong> book (1982)<br />
20.28 Pete Townshend<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1945-<br />
Hope I die before I get old.<br />
My Generation (1965 song)<br />
20.29 Polly Toynbee<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Feminism is the most revolutionary idea there has ever been. Equality for<br />
women demands a change in the human psyche more pr<strong>of</strong>ound then anything<br />
Marx dreamed <strong>of</strong>. It means valuing parenthood as much as we value banking.<br />
Guardian 19 Jan. 1987<br />
20.30 Sir Herbert Beerbohm Tree<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1852-1917<br />
To a man who was staggering in the street under the weight <strong>of</strong> a<br />
grandfather clock. "My poor fellow, why not carry a watch?"<br />
Hesketh Pearson Beerbohm Tree (1956) ch. 12<br />
His own note books inform us that a gramophone company asked him for<br />
a testimonial, and he replied that he never gave testimonials to objects<br />
<strong>of</strong> merchandise. <strong>The</strong> company begged him to favour their special case, since<br />
his own voice had been reproduced by this means. So he wrote the<br />
following: "Sirs, I have tested your machine. It adds a new terror to life<br />
and makes death a long-felt want." He was asked to amend this, as the<br />
public might misconstrue it; but he answered that it was not open to<br />
misconstruction. "<strong>The</strong> immortalism must stand," said he; but it was not<br />
used as an advertisement by the company.<br />
Hesketh Pearson Beerbohm Tree (1956) ch. 19<br />
He [Israel Zangwill] is an old bore. Even the grave yawns for him.<br />
In Max Beerbohm Herbert Beerbohm Tree (1920) appendix 4<br />
He [Beerbohm Tree] approved cheerfully enough <strong>of</strong> everything until he came<br />
to the collection <strong>of</strong> damsels that had been dragged into the theatre as<br />
ladies in waiting to the queen. He looked at them in pained and prolonged<br />
dissatisfaction and then said what we have all wanted to say <strong>of</strong> the<br />
extra-women in nearly every throne-room and ball-room and school-room<br />
scene since the theatre began. "Ladies," said Tree, peering at them<br />
plaintively through his monacle, "just a little more virginity, if you<br />
don't mind."<br />
Alexander Woollcott Shouts and Murmurs (1923) "Capsule Criticism"<br />
20.31 Herbert Trench<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1923<br />
Come, let us make love deathless, thou and I.<br />
Deirdre Lived and Other Poems (1901) "Come, let us make love deathless"
20.32 G. M. Trevelyan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1876-1962<br />
Disinterested intellectual curiosity is the life-blood <strong>of</strong> real<br />
civilization.<br />
English Social History (1942) introduction<br />
It [education] has produced a vast population able to read but unable to<br />
distinguish what is worth reading, an easy prey to sensations and cheap<br />
appeals.<br />
English Social History (1942) ch. 18<br />
20.33 Lionel Trilling<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1905-1975<br />
Immature artists imitate. Mature artists steal.<br />
In Esquire Sept. 1962. Cf. Igor Stravinsky 210:16<br />
20.34 Tommy Trinder<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1989<br />
Overpaid, overfed, oversexed, and over here.<br />
Describing American troops in Britain during World War II, in Sunday Times<br />
4 Jan. 1976<br />
20.35 Leon Trotsky (Lev Davidovich Bronstein)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1940<br />
Old age is the most unexpected <strong>of</strong> all things that happen to a man.<br />
Diary in Exile (1959) 8 May 1935<br />
Civilization has made the peasantry its pack animal. <strong>The</strong> bourgeoisie in<br />
the long run only changed the form <strong>of</strong> the pack.<br />
History <strong>of</strong> the Russian Revolution (1933) vol. 3, ch. 1<br />
You [the Mensheviks] are pitiful isolated individuals; you are bankrupts;<br />
your role is played out. Go where you belong from now on--into the dustbin<br />
<strong>of</strong> history!<br />
History <strong>of</strong> the Russian Revolution (1933) vol. 3, ch. 10<br />
Where force is necessary, there it must be applied boldly, decisively and<br />
completely. But one must know the limitations <strong>of</strong> force; one must know when<br />
to blend force with a man”uvre, a blow with an agreement.<br />
What Next? (1932) ch. 14<br />
20.36 Harry S. Truman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1972<br />
I never give them [the public] hell. I just tell the truth, and they
think it is hell.<br />
In Look 3 Apr. 1956<br />
I used to have a saying that applies here, and I note that some people<br />
have picked it up: "If you can't stand the heat, get out <strong>of</strong> the kitchen."<br />
Mr Citizen (1960) ch. 15 (see also Harry Vaughan 22.6)<br />
A politician is a man who understands government, and it takes<br />
a politician to run a government. A statesman is a politician who's been<br />
dead 10 or 15 years.<br />
In New York World Telegram and Sun 12 Apr. 1958<br />
It's a recession when your neighbour loses his job; it's a depression when<br />
you lose yours.<br />
In Observer 13 Apr. 1958<br />
All the President is, is a glorified public relations man who spends his<br />
time flattering, kissing and kicking people to get them to do what they<br />
are supposed to do anyway.<br />
Letter to his sister, 14 Nov. 1947, in Off the Record: the Private Papers<br />
<strong>of</strong> Harry S. Truman (1980) p. 119<br />
I didn't fire him [General MacArthur] because he was a dumb son <strong>of</strong> a<br />
bitch, although he was, but that's not against the law for generals. If<br />
it was, half to three-quarters <strong>of</strong> them would be in jail.<br />
In Merle Miller Plain Speaking (1974) ch. 24<br />
When the decision is up before you--and on my desk I have a motto which<br />
says "<strong>The</strong> buck stops here"--the decision has to be made.<br />
Speech at National War College, 19 Dec. 1952, in Public Papers 1952-53<br />
(1966) p. 1094<br />
Wherever you have an efficient government you have a dictatorship.<br />
Lecture at Columbia University, 28 Apr. 1959, in Truman Speaks (1960)<br />
p. 51<br />
20.37 Barbara W. Tuchman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1912-1989<br />
Dead battles, like dead generals, hold the military mind in their dead<br />
grip and Germans, no less than other peoples, prepare for the last war.<br />
August 1914 (1962) ch. 2<br />
No more distressing moment can ever face a British government than that<br />
which requires it to come to a hard, fast and specific decision.<br />
August 1914 (1962) ch. 9<br />
For one August in its history Paris was French--and silent.<br />
August 1914 (1962) ch. 20<br />
20.38 Sophie Tucker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1966<br />
From birth to 18 a girl needs good parents. From 18 to 35, she needs good<br />
looks. From 35 to 55, good personality. From 55 on, she needs good cash.<br />
I'm saving my money.
In Michael <strong>Free</strong>dland Sophie (1978) p. 214<br />
20.39 Walter James Redfern Turner<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1946<br />
When I was but thirteen or so<br />
I went into a golden land,<br />
Chimborazo, Cotopaxi<br />
Took me by the hand.<br />
<strong>The</strong> Hunter and Other Poems (1916) "Romance"<br />
20.40 Mark Twain (Samuel Langhorne Clemens)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1835-1910<br />
"<strong>The</strong> Adventures <strong>of</strong> Tom Sawyer" ...was made by Mr Mark Twain, and he told<br />
the truth, mainly. <strong>The</strong>re was things which he stretched, but mainly he<br />
told the truth.<br />
<strong>The</strong> Adventures <strong>of</strong> Huckleberry Finn (1884) ch. 1<br />
<strong>The</strong>re was some books....One was "Pilgrim's Progress," about a man that<br />
left his family it didn't say why. I read considerable in it now and then.<br />
<strong>The</strong> statements was interesting, but tough. Another was "Friendship's<br />
Offering," full <strong>of</strong> beautiful stuff and poetry; but I didn't read the<br />
poetry.<br />
<strong>The</strong> Adventures <strong>of</strong> Huckleberry Finn (1884) ch. 17<br />
All kings is mostly rapscallions.<br />
<strong>The</strong> Adventures <strong>of</strong> Huckleberry Finn (1884) ch. 23<br />
Hain't we got all the fools in town on our side? and ain't that a big<br />
enough majority in any town?<br />
<strong>The</strong> Adventures <strong>of</strong> Huckleberry Finn (1884) ch. 26<br />
If there was two birds setting on a fence, he would bet you which one<br />
would fly first.<br />
<strong>The</strong> Celebrated Jumping Frog (1867) p. 10<br />
I don't see no p'ints about that frog that's any better'n any other frog.<br />
<strong>The</strong> Celebrated Jumping Frog (1867) p. 16<br />
An experienced, industrious, ambitious, and quite <strong>of</strong>ten picturesque liar.<br />
Century Magazine Dec. 1885 "Private History <strong>of</strong> a Campaign that Failed"<br />
Be virtuous and you will be eccentric.<br />
A Curious Dream (1872) "Mental Photographs"<br />
Soap and education are not as sudden as a massacre, but they are more<br />
deadly in the long run.<br />
A Curious Dream (1872) "Facts concerning the Recent Resignation"<br />
Barring that natural expression <strong>of</strong> villainy which we all have, the man<br />
looked honest enough.<br />
A Curious Dream (1872) "A Mysterious Visit"<br />
Truth is the most valuable thing we have. Let us economize it.<br />
Following the Equator (1897) ch. 7
It is by the goodness <strong>of</strong> God that in our country we have those three<br />
unspeakably precious things: freedom <strong>of</strong> speech, freedom <strong>of</strong> conscience, and<br />
the prudence never to practise either <strong>of</strong> them.<br />
Following the Equator (1897) ch. 20<br />
"Classic." A book which people praise and don't read.<br />
Following the Equator (1897) ch. 25. Cf. Twain's speech to the 19th<br />
Century Club in New York, 20 Nov. 1900, in Speeches (1910) p. 194: "It's<br />
a classic, just as Pr<strong>of</strong>essor [Caleb] Winchester says, and it meets his<br />
definition <strong>of</strong> a classic--something that everybody wants to have read and<br />
nobody wants to read."<br />
Man is the Only Animal that Blushes. Or needs to.<br />
Following the Equator (1897) ch. 27<br />
Let us be thankful for the fools. But for them the rest <strong>of</strong> us could not<br />
succeed.<br />
Following the Equator (1897) ch. 28<br />
<strong>The</strong>re are several good protections against temptations, but the surest is<br />
cowardice.<br />
Following the Equator (1897) ch. 36<br />
By trying we can easily learn to endure adversity. Another man's, I mean.<br />
Following the Equator (1897) ch. 39<br />
It takes your enemy and your friend, working together, to hurt you to the<br />
heart: the one to slander you and the other to get the news to you.<br />
Following the Equator (1897) ch. 45<br />
I must have a prodigious quantity <strong>of</strong> mind; it takes me as much as a week,<br />
sometimes, to make it up.<br />
<strong>The</strong> Innocents Abroad (1869) ch. 7<br />
<strong>The</strong>y spell it Vinci and pronounce it Vinchy; foreigners always spell<br />
better than they pronounce.<br />
<strong>The</strong> Innocents Abroad (1869) ch. 19<br />
I do not want Michael Angelo for breakfast--for luncheon--for dinner--for<br />
tea--for supper--for between meals.<br />
<strong>The</strong> Innocents Abroad (1869) ch. 27<br />
Lump the whole thing! say that the Creator made<br />
Italy from designs by Michael Angelo!<br />
<strong>The</strong> Innocents Abroad (1869) ch. 27<br />
That joke was lost on the foreigner--guides cannot master the subtleties<br />
<strong>of</strong> the American joke.<br />
<strong>The</strong> Innocents Abroad (1869) ch. 27<br />
If you've got a nice fresh corpse, fetch him out!<br />
<strong>The</strong> Innocents Abroad (1869) ch. 27<br />
<strong>The</strong> report <strong>of</strong> my death was an exaggeration.<br />
New York Journal 2 June 1897 (correcting newspaper reports which<br />
erroneously said that he was ill or dead, confusing him with his cousin,<br />
James Ross Clemens, who had been seriously ill in London)<br />
He [Thomas Carlyle] said it in a moment <strong>of</strong> excitement, when chasing
Americans out <strong>of</strong> his backyard with brickbats. <strong>The</strong>y used to go there and<br />
worship. At bottom he was probably fond <strong>of</strong> them, but he was always able to<br />
conceal it.<br />
New York World 10 Dec. 1899, "Mark Twain's Christmas Book"<br />
What a good thing Adam had. When he said a good thing he knew nobody had<br />
said it before.<br />
Notebooks (1935) p. 67<br />
Familiarity breeds contempt--and children.<br />
Notebooks (1935) p. 237<br />
Good breeding consists in concealing how much we think <strong>of</strong> ourselves and<br />
how little we think <strong>of</strong> the other person.<br />
Notebooks (1935) p. 345<br />
Adam was but human--this explains it all. He did not want the apple for<br />
the apple's sake; he wanted it only because it was forbidden.<br />
Pudd'nhead Wilson (1894) ch. 2<br />
Whoever has lived long enough to find out what life is, knows how deep<br />
a debt <strong>of</strong> gratitude we owe to Adam, the first great benefactor <strong>of</strong> our<br />
race. He brought death into the world.<br />
Pudd'nhead Wilson (1894) ch. 3<br />
Training is everything. <strong>The</strong> peach was once a bitter almond; cauliflower is<br />
nothing but cabbage with a college education.<br />
Pudd'nhead Wilson (1894) ch. 5<br />
One <strong>of</strong> the most striking differences between a cat and a lie is that a cat<br />
has only nine lives.<br />
Pudd'nhead Wilson (1894) ch. 7<br />
When angry, count four; when very angry, swear.<br />
Pudd'nhead Wilson (1894) ch. 10<br />
As to the Adjective: when in doubt, strike it out.<br />
Pudd'nhead Wilson (1894) ch. 11<br />
Put all your eggs in the one basket, and--watch that basket.<br />
Pudd'nhead Wilson (1894) ch. 15<br />
Few things are harder to put up with than the annoyance <strong>of</strong> a good example.<br />
Pudd'nhead Wilson (1894) ch. 19<br />
It were not best that we should all think alike; it is difference <strong>of</strong><br />
opinion that makes horse-races.<br />
Pudd'nhead Wilson (1894) ch. 19<br />
<strong>The</strong>re is a sumptuous variety about the New England weather that compels<br />
the stranger's admiration--and regret. <strong>The</strong> weather is always doing<br />
something there; always attending strictly to business; always getting up<br />
new designs and trying them on the people to see how they will go. But it<br />
gets through more business in spring than in any other season. In the<br />
spring I have counted one hundred and thirty-six different kinds <strong>of</strong><br />
weather inside <strong>of</strong> four-and-twenty hours.<br />
Speech to New England Society in New York, 22 Dec. 1876, in Speeches<br />
(1910) p. 59<br />
<strong>The</strong>re's plenty <strong>of</strong> boys that will come hankering and grovelling around you
when you've got an apple, and beg the core <strong>of</strong>f <strong>of</strong> you; but when they've<br />
got one, and you beg for the core and remind them how you give them a core<br />
one time, they say thank you 'most to death, but there ain't-a-going to be<br />
no core.<br />
Tom Sawyer Abroad (1894) ch. 1<br />
<strong>The</strong>re ain't no way to find out why a snorer can't hear himself snore.<br />
Tom Sawyer Abroad (1894) ch. 10<br />
<strong>The</strong> cross <strong>of</strong> the Legion <strong>of</strong> Honour has been conferred upon me. However, few<br />
escape that distinction.<br />
A Tramp Abroad (1880) ch. 8<br />
All you need in this life is ignorance and confidence; then success is<br />
sure.<br />
Letter to Mrs Foote, 2 Dec. 1887, in B. DeCasseres When Huck Finn Went<br />
Highbrow (1934) p. 7<br />
20.41 Kenneth Tynan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-1980<br />
Forty years ago he [Noel Coward] was Slightly in Peter Pan, and you might<br />
say that he has been wholly in Peter Pan ever since.<br />
Curtains (1961) pt. 1, p. 59<br />
What, when drunk, one sees in other women, one sees in Garbo sober.<br />
Curtains (1961) pt. 2, p. 347<br />
A critic is a man who knows the way but can't drive the car.<br />
In New York Times Magazine 9 Jan. 1966, p. 27<br />
A good drama critic is one who perceives what is happening in the theatre<br />
<strong>of</strong> his time. A great drama critic also perceives what is not happening.<br />
Tynan Right and Left (1967) foreword<br />
21.0 U<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
21.1 Miguel de Unamuno<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1864-1937<br />
La vida es duda,<br />
y la fe sin la duda es s¢lo muerte.<br />
Life is doubt,<br />
And faith without doubt is nothing but death.<br />
Po‚sias (1907) "Salmo II"<br />
C£rate de la affeccion de preocuparte c¢mo aparez¡as los dem s. Cu¡date<br />
s¢lo de c¢mo aparez¡as Dios, cu¡date de la idea que de ti Dios tenga.<br />
Cure yourself <strong>of</strong> the condition <strong>of</strong> bothering about how you look to other<br />
people. Concern yourself only with how you appear to God, with the idea<br />
that God has <strong>of</strong> you.
Vida de Don Quixote y Sancho (Life <strong>of</strong> Don Quixote and Sancho, 1905) pt. 1<br />
21.2 John Updike<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
One out <strong>of</strong> three hundred and twelve Americans is a bore, for instance, and<br />
a healthy male adult bore consumes each year one and a half times his own<br />
weight in other people's patience.<br />
Assorted Prose (1965) "Confessions <strong>of</strong> a Wild Bore"<br />
<strong>The</strong> difficulty with humorists is that they will mix what they believe with<br />
what they don't; whichever seems likelier to win an effect.<br />
Rabbit, Run (1960) p. 160<br />
21.3 Sir Peter Ustinov<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
I was irrevocably betrothed to laughter, the sound <strong>of</strong> which has always<br />
seemed to me the most civilized music in the world.<br />
Dear Me (1977) ch. 3<br />
Contrary to general belief, I do not believe that friends are necessarily<br />
the people you like best, they are merely the people who got there first.<br />
Dear Me (1977) ch. 5<br />
Laughter would be bereaved if snobbery died.<br />
In Observer 13 Mar. 1955<br />
If Botticelli were alive today he'd be working for Vogue.<br />
In Observer 21 Oct. 1962<br />
As for being a General, well at the age <strong>of</strong> four with paper hats and wooden<br />
swords we're all Generals. Only some <strong>of</strong> us never grow out <strong>of</strong> it.<br />
Roman<strong>of</strong>f and Juliet (1956) act 1<br />
A diplomat these days is nothing but a head-waiter who's allowed to sit<br />
down occasionally.<br />
Roman<strong>of</strong>f and Juliet (1956) act 1<br />
22.0 V<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
22.1 Paul Val‚ry<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1871-1945<br />
Un poŠme n'est jamais achev‚--c'est toujours un accident qui le termine,<br />
c'est-…-dire qui le donne au public.<br />
A poem is never finished; it's always an accident that puts a stop to<br />
it--i.e. gives it to the public.<br />
Litt‚rature (1930) p. 46
Il faut n'appeler Science: que l'ensemble des recettes qui r‚ussissent<br />
toujours.--Tout le reste est litt‚rature.<br />
"Science" means simply the aggregate <strong>of</strong> all the recipes that are always<br />
successful. All the rest is literature.<br />
Moralit‚s (1932) p. 41<br />
Dieu cr‚a l'homme, et ne le trouvant pas assez seul, il lui donne une<br />
compagne pour lui faire mieux sentir sa solitude.<br />
God created man and, finding him not sufficiently alone, gave him<br />
a companion to make him feel his solitude more keenly.<br />
Tel Quel 1 (1941) "Moralit‚s"<br />
La politique est l'art d'empˆcher les gens de se mˆler de ce qui les<br />
regarde.<br />
Politics is the art <strong>of</strong> preventing people from taking part in affairs which<br />
properly concern them.<br />
Tel Quel 2 (1943) "Rhumbs"<br />
22.2 Paul Vance and Lee Pockriss<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Itsy bitsy teenie weenie, yellow polkadot bikini.<br />
Title <strong>of</strong> song (1960)<br />
22.3 Vivien van Damm<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
?1889-1960<br />
I did not coin the slogan "We Never Closed" [for the Windmill <strong>The</strong>atre in<br />
London]. It was merely a statement <strong>of</strong> fact.<br />
Tonight and Every Night (1952) ch. 18<br />
22.4 Laurens van der Post<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
Human beings are perhaps never more frightening than when they are<br />
convinced beyond doubt that they are right.<br />
Lost World <strong>of</strong> the Kalahari (1958) ch. 3<br />
22.5 Bartolomeo Vanzetti<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1927<br />
If it had not been for these thing, I might have live out my life talking<br />
at street corners to scorning men. I might have die, unmarked, unknown, a<br />
failure. Now we are not a failure. This is our career and our triumph.<br />
Never in our full life could we hope to do such work for tolerance, for<br />
joostice, for man's onderstanding <strong>of</strong> man as now we do by accident.<br />
Our words--our lives--our pains--nothing! <strong>The</strong> taking <strong>of</strong> our lives--lives<br />
<strong>of</strong> a good shoemaker and a poor fish-peddler--all! That last moment belongs<br />
to us--that agony is our triumph.
Statement after being sentenced, 9 Apr. 1927, in M. D. Frankfurter and G.<br />
Jackson Letters <strong>of</strong> Sacco and Vanzetti (1928) preface<br />
Sacco's name will live in the hearts <strong>of</strong> the people and in their gratitude<br />
when Katzmann's and yours bones will be dispersed by time, when your name,<br />
his name, your laws, institutions, and your false god are but a deem<br />
rememoring <strong>of</strong> a cursed past in which man was wolf to the man.<br />
Note by Vanzetti <strong>of</strong> what he wanted to say at his trial, 9 Apr. 1927, in<br />
M. D. Frankfurter and G. Jackson Letters <strong>of</strong> Sacco and Vanzetti (1928)<br />
p. 380<br />
22.6 Harry Vaughan<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
If you can't stand the heat, get out <strong>of</strong> the kitchen.<br />
In Time 28 Apr. 1952 (<strong>of</strong>ten used by Harry S. Truman, q.v.)<br />
22.7 Ralph Vaughan Williams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1872-1958<br />
I don't know whether I like it [the 4th symphony], but it's what I meant.<br />
In Christopher Headington Bodley Head History <strong>of</strong> Western Music (1974)<br />
p. 293<br />
On arrival on a visit to the United States, Ralph Vaughan Williams was met<br />
by a crowd <strong>of</strong> reporters. One <strong>of</strong> them seized him by the arm and said, "Tell<br />
me, Dr Vaughan Williams, what do you think about music?" <strong>The</strong> old man<br />
peered quizzically into his face and made the solemn pronouncement: "It's<br />
a Rum Go!"<br />
Leslie Ayr <strong>The</strong> Wit <strong>of</strong> Music (1966) p. 43<br />
22.8 Thorstein Veblen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1857-1929<br />
Conspicuous consumption <strong>of</strong> valuable goods is a means <strong>of</strong> reputability to<br />
the gentleman <strong>of</strong> leisure.<br />
<strong>The</strong>ory <strong>of</strong> the Leisure Class (1899) ch. 4<br />
So it is something <strong>of</strong> a homiletical commonplace to say that the outcome <strong>of</strong><br />
any serious research can only be to make two questions grow where one<br />
question grew before.<br />
University <strong>of</strong> California Chronicle (1908) vol. 10, no. 4, "Evolution <strong>of</strong><br />
the Scientific Point <strong>of</strong> View"<br />
22.9 Gore Vidal<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-<br />
It is not enough to succeed. Others must fail.<br />
In G. Irvine Antipanegyric for Tom Driberg 8 Dec. 1976, p. 2<br />
It is the spirit <strong>of</strong> the age to believe that any fact, no matter how<br />
suspect, is superior to any imaginative exercise, no matter how true.<br />
Encounter Dec. 1967, "French Letters: <strong>The</strong>ories <strong>of</strong> the New Novel"
A triumph <strong>of</strong> the embalmer's art.<br />
In Observer 26 Apr. 1981 (describing Ronald Reagan)<br />
I'm all for bringing back the birch, but only between consenting adults.<br />
In Sunday Times Magazine 16 Sept. 1973<br />
Whenever a friend succeeds, a little something in me dies.<br />
In Sunday Times Magazine 16 Sept. 1973<br />
American writers want to be not good but great; and so are neither.<br />
Two Sisters (1970) p. 65<br />
22.10 King Vidor<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1982<br />
Take it from me, marriage isn't a word...it's a sentence!<br />
<strong>The</strong> Crowd (1928 film)<br />
22.11 Jos‚ Antonio Viera Gallo<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1943-<br />
El socialismo puede llegar solo en bicicleta.<br />
Socialism can only arrive by bicycle.<br />
Said when Assistant Secretary <strong>of</strong> Justice in Chilean Government, in Ivan<br />
Illich Energy and Equity (1974) p. 11<br />
23.0 W<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
23.1 John Wain<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1925-<br />
Poetry is to prose as dancing is to walking.<br />
BBC radio broadcast, 13 Jan. 1976<br />
23.2 Jerry Wald and Richard Macaulay<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Jerry Wald 1911-1962<br />
Richard Macaulay<br />
Naughty but nice.<br />
Title <strong>of</strong> film (1939)<br />
23.3 Prince <strong>of</strong> Wales<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See Prince Charles (3.48)
23.4 Arthur Waley<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1966<br />
What is hard today is to censor one's own thoughts--<br />
To sit by and see the blind man<br />
On the sightless horse, riding into the bottomless abyss.<br />
Censorship<br />
23.5 Edgar Wallace<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1875-1932<br />
What is a highbrow? He is a man who has found something more interesting<br />
than women.<br />
New York Times 24 Jan. 1932, sec. 8, p. 6<br />
Dreamin' <strong>of</strong> thee! Dreamin' <strong>of</strong> thee!<br />
Writ in Barracks (1900) "T. A. in Love" (popularised in 1930 broadcast by<br />
Cyril Fletcher)<br />
23.6 George Wallace<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
Segregation now, segregation tomorrow and segregation forever!<br />
Inaugural speech as Governor <strong>of</strong> Alabama, Jan. 1963, in Birmingham World<br />
19 Jan. 1963<br />
23.7 Henry Wallace<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1888-1965<br />
<strong>The</strong> century on which we are entering--the century which will come out <strong>of</strong><br />
this war--can be and must be the century <strong>of</strong> the common man.<br />
Speech, 8 May 1942, in Vital Speeches (1942) vol. 8, p. 483<br />
23.8 Graham Wallas<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1932<br />
<strong>The</strong> little girl had the making <strong>of</strong> a poet in her who, being told to be sure<br />
<strong>of</strong> her meaning before she spoke, said, "How can I know what I think till<br />
I see what I say?"<br />
Art <strong>of</strong> Thought (1926) ch. 4. Cf. E. M. Forster 83:9<br />
23.9 Sir Hugh Walpole<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1941<br />
'Tisn't life that matters! 'Tis the courage you bring to it.<br />
Fortitude (1913) bk.1, ch. 1
23.10 Andy Warhol<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1927-1987<br />
It's the place where my prediction from the sixties finally came true: "In<br />
the future everyone will be famous for fifteen minutes." I'm bored with<br />
that line. I never use it anymore. My new line is, "In fifteen minutes<br />
everybody will be famous."<br />
Andy Warhol's Exposures (1979) "Studio 54"<br />
Being good in business is the most fascinating kind <strong>of</strong> art.<br />
In Observer 1 Mar. 1987<br />
An artist is someone who produces things that people don't need to have<br />
but that he--for some reason--thinks it would be a good idea to give them.<br />
Philosophy <strong>of</strong> Andy Warhol (From A to B and Back Again) (1975) ch. 10<br />
23.11 Jack Warner (Horace Waters)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1981<br />
Mind my bike!<br />
Catch-phrase used in the BBC radio series Garrison <strong>The</strong>atre, 1939 onwards,<br />
in D. Parker Radio: the Great Years (1977) p. 94<br />
23.12 Ned Washington<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Hi diddle dee dee (an actor's life for me).<br />
Title <strong>of</strong> song (1940; music by Leigh Harline)<br />
When you wish upon a star.<br />
Title <strong>of</strong> song (1940; music by Leigh Harline)<br />
23.13 Sir William Watson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1935<br />
April, April,<br />
Laugh thy girlish laughter;<br />
<strong>The</strong>n, the moment after,<br />
Weep thy girlish tears!<br />
Poems (1905) vol. 1, "Song"<br />
<strong>The</strong>se and a thousand tricks and ways and traits<br />
I noted as <strong>of</strong> Demos at their root,<br />
And foreign to the staid, conservative<br />
Came-over-with-the Conqueror type <strong>of</strong> mind.<br />
Poems (1905) vol. 1, "A Study in Contrasts"<br />
23.14 Evelyn Waugh<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1903-1966<br />
Brideshead revisited.
Title <strong>of</strong> novel (1945)<br />
A shriller note could now be heard rising from Sir Alastair's rooms; any<br />
who have heard that sound will shrink at the recollection <strong>of</strong> it; it is the<br />
sound <strong>of</strong> English county families baying for broken glass.<br />
Decline and Fall (1928) "Prelude." Cf. Hilaire Belloc 25:9<br />
I expect you'll be becoming a schoolmaster, sir. That's what most <strong>of</strong> the<br />
gentlemen does, sir, that gets sent down for indecent behaviour.<br />
Decline and Fall (1928) "Prelude"<br />
"We class schools, you see, into four grades: Leading School, First-rate<br />
School, Good School, and School. Frankly," said Mr Levy, "School is<br />
pretty bad."<br />
Decline and Fall (1928) pt. 1, ch. 1<br />
For generations the British bourgeoisie have spoken <strong>of</strong> themselves as<br />
gentlemen, and by that they have meant, among other things,<br />
a self-respecting scorn <strong>of</strong> irregular perquisites. It is the quality that<br />
distinguishes the gentleman from both the artist and the aristocrat.<br />
Decline and Fall (1928) pt. 1, ch. 6<br />
"I <strong>of</strong>ten think," he continued, "that we can trace almost all the disasters<br />
<strong>of</strong> English history to the influence <strong>of</strong> Wales!"<br />
Decline and Fall (1928) pt. 1, ch. 8<br />
I haven't been to sleep for over a year. That's why I go to bed early. One<br />
needs more rest if one doesn't sleep.<br />
Decline and Fall (1928) pt. 2, ch. 3<br />
Apparently he has been reading a series <strong>of</strong> articles by a popular bishop<br />
and has discovered that there is a species <strong>of</strong> person called a "<strong>Modern</strong><br />
Churchman" who draws the full salary <strong>of</strong> a beneficed clergyman and need not<br />
commit himself to any religious belief.<br />
Decline and Fall (1928) pt. 2, ch. 4<br />
I came to the conclusion many years ago that almost all crime is due to<br />
the repressed desire for aesthetic expression.<br />
Decline and Fall (1928) pt. 3, ch. 1<br />
Any one who has been to an English public school will always feel<br />
comparatively at home in prison. It is the people brought up in the gay<br />
intimacy <strong>of</strong> the slums, Paul learned, who find prison so soul-destroying.<br />
Decline and Fall (1928) pt. 3, ch. 4<br />
Punctuality is the virtue <strong>of</strong> the bored.<br />
Michael Davie (ed.) Diaries <strong>of</strong> Evelyn Waugh (1976) "Irregular Notes<br />
1960-65," 26 Mar. 1962<br />
Randolph Churchill went into hospital...to have a lung removed. It was<br />
announced that the trouble was not "malignant." Seeing Ed Stanley in<br />
White's, on my way to Rome, I remarked that it was a typical triumph <strong>of</strong><br />
modern science to find the only part <strong>of</strong> Randolph that was not malignant<br />
and remove it.<br />
Michael Davie (ed.) Diaries <strong>of</strong> Evelyn Waugh (1976) "Irregular Notes<br />
1960-65," Mar. 1964<br />
You never find an Englishman among the under-dogs--except in England, <strong>of</strong><br />
course.<br />
<strong>The</strong> Loved One (1948) ch. 1
In the dying world I come from quotation is a national vice. No one would<br />
think <strong>of</strong> making an after-dinner speech without the help <strong>of</strong> poetry. It used<br />
to be the classics, now it's lyric verse.<br />
<strong>The</strong> Loved One (1948) ch. 9<br />
Manners are especially the need <strong>of</strong> the plain. <strong>The</strong> pretty can get away with<br />
anything.<br />
In Observer 15 Apr. 1962<br />
"<strong>The</strong> Beast stands for strong mutually antagonistic governments<br />
everywhere," he [Lord Copper] said. "Self-sufficiency at home,<br />
self-assertion abroad."<br />
Scoop (1938) bk. 1, ch. 1<br />
Mr Salter's side <strong>of</strong> the conversation was limited to expressions <strong>of</strong> assent.<br />
When Lord Copper was right, he said, "Definitely, Lord Copper"; when he<br />
was wrong, "Up to a point."<br />
Scoop (1938) bk. 1, ch. 1<br />
"He [Boot]'s supposed to have a particularly high-class style:<br />
'Feather-footed through the plashy fen passes the questing vole.'..would<br />
that be it?" "Yes," said the Managing Editor. "That must be good style."<br />
Scoop (1938) bk. 1, ch. 1<br />
News is what a chap who doesn't care much about anything wants to read.<br />
And it's only news until he's read it. After that it's dead.<br />
Scoop (1938) bk. 1, ch. 5<br />
"I will not stand for being called a woman in my own house," she [Mrs Earl<br />
Russell Jackson] said.<br />
Scoop (1938) bk. 2, ch. 1<br />
Other nations use "force"; we Britons alone use "Might."<br />
Scoop (1938) bk. 2, ch. 5<br />
All this fuss about sleeping together. For physical pleasure I'd sooner go<br />
to my dentist any day.<br />
Vile Bodies (1930) ch. 6<br />
Lady Peabury was in the morning room reading a novel; early training gave<br />
a guilty spice to this recreation, for she had been brought up to believe<br />
that to read a novel before luncheon was one <strong>of</strong> the gravest sins it was<br />
possible for a gentlewoman to commit.<br />
Work Suspended (1942) "An Englishman's Home"<br />
<strong>The</strong> trouble with the Conservative Party is that it has not turned the<br />
clock back a single second.<br />
Attributed<br />
23.15 Frederick Weatherly<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1848-1929<br />
Where are the boys <strong>of</strong> the old Brigade,<br />
Who fought with us side by side?<br />
<strong>The</strong> Old Brigade<br />
Roses are flowering in Picardy,
But there's never a rose like you.<br />
Roses <strong>of</strong> Picardy (1916 song)<br />
23.16 Beatrice Webb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1858-1943<br />
If I ever felt inclined to be timid as I was going into a room full <strong>of</strong><br />
people, I would say to myself, "You're the cleverest member <strong>of</strong> one <strong>of</strong> the<br />
cleverest families in the cleverest class <strong>of</strong> the cleverest nation in the<br />
world, why should you be frightened?"<br />
In Bertrand Russell Autobiography (1967) vol. 1, ch. 4<br />
See also Sidney Webb and Beatrice Webb (23.20)<br />
23.17 Ge<strong>of</strong>frey Webb and Edward J. Mason<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
An everyday story <strong>of</strong> country folk.<br />
Introduction to <strong>The</strong> Archers (BBC radio serial, 1950 onwards)<br />
23.18 Jim Webb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1946-<br />
Up, up and away.<br />
Title <strong>of</strong> song (1967)<br />
23.19 Sidney Webb (Baron Passfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1947<br />
First let me insist on what our opponents habitually ignore, and indeed,<br />
what they seem intellectually incapable <strong>of</strong> understanding, namely the<br />
inevitable gradualness <strong>of</strong> our scheme <strong>of</strong> change.<br />
Presidential address at Labour Party Conference in London, 26 June 1923,<br />
in Report (1923) p. 178<br />
23.20 Sidney Webb (Baron Passfield) and Beatrice Webb<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Sidney Webb (Baron Passfield) 1859-1947<br />
Beatrice Webb 1858-1943<br />
Sidney would remark, "I know just what Beatrice is saying at this moment.<br />
She is saying, 'as Sidney always says, marriage is the waste-paper basket<br />
<strong>of</strong> the emotions.'"<br />
Bertrand Russell Autobiography (1967) vol. 1, ch. 4<br />
23.21 Simone Weil<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1909-1943<br />
What a country calls its vital economic interests are not the things which
enable its citizens to live, but the things which enable it to make war.<br />
Gasoline is much more likely than wheat to be a cause <strong>of</strong> international<br />
conflict.<br />
In W. H. Auden A Certain World (1971) p. 384<br />
La culture est un instrument mani‚ par des pr<strong>of</strong>esseurs pour fabriquer des<br />
pr<strong>of</strong>esseurs qui … leur tour fabriqueront des pr<strong>of</strong>esseurs.<br />
Culture is an instrument wielded by pr<strong>of</strong>essors, to manufacture pr<strong>of</strong>essors,<br />
who when their turn comes will manufacture pr<strong>of</strong>essors.<br />
L'Enracinement (<strong>The</strong> Need for Roots, 1949) "D‚racinement ouvrier"<br />
Tous les P‚ch‚s sont des tentatives pour combler des vides.<br />
All sins are attempts to fill voids.<br />
La Pesanteur et la grƒce(Gravity and Grace, 1948) p. 27<br />
23.22 Johnny Weissmuller<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1904-1984<br />
I didn't have to act in "Tarzan, the Ape Man"--just said, "Me Tarzan, you<br />
Jane."<br />
Photoplay Magazine June 1932 (the words "Me Tarzan, you Jane" do not<br />
occur in the 1932 film)<br />
23.23 Thomas Earle Welby<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1933<br />
"Turbot, Sir," said the waiter, placing before me two fishbones, two<br />
eyeballs, and a bit <strong>of</strong> black mackintosh.<br />
<strong>The</strong> Dinner Knell (1932) "Birmingham or Crewe?"<br />
23.24 Fay Weldon<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
Natalie had left the wives and joined the women.<br />
Heart <strong>of</strong> the Country (1987) p. 51<br />
<strong>The</strong> life and loves <strong>of</strong> a she-devil.<br />
Title <strong>of</strong> novel (1984)<br />
23.25 Colin Welland<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1934-<br />
<strong>The</strong> British are coming.<br />
Speech accepting an Oscar for his Chariots <strong>of</strong> Fire screenplay, 30 Mar.<br />
1982, in Sight & Sound Summer 1982<br />
23.26 Orson Welles<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-1985
To his associate, Richard Wilson...Orson [Welles] then declared, "This<br />
[the RKO studio] is the biggest electric train set any boy ever had!"<br />
Peter Noble <strong>The</strong> Fabulous Orson Welles (1956) ch. 7<br />
In Italy for thirty years under the Borgias they had warfare, terror,<br />
murder, bloodshed--they produced Michelangelo, Leonardo da Vinci and the<br />
Renaissance. In Switzerland they had brotherly love, five hundred years <strong>of</strong><br />
democracy and peace and what did that produce...? <strong>The</strong> cuckoo clock.<br />
<strong>The</strong> Third Man (1949 film; words added by Welles to the script, in Graham<br />
Greene and Carol Reed <strong>The</strong> Third Man (1969) p. 114<br />
23.27 H. G. Wells<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1866-1946<br />
If Max [Beaverbrook] gets to Heaven he won't last long. He will be chucked<br />
out for trying to pull <strong>of</strong>f a merger between Heaven and Hell. after having<br />
secured a controlling interest in key subsidiary companies in both places,<br />
<strong>of</strong> course.<br />
In A. J. P. Taylor Beaverbrook (1972) ch. 8<br />
<strong>The</strong> thing his [Henry James's] novel is about is always there. It is like<br />
a church lit but without a congregation to distract you, with every light<br />
and line focussed on the high altar. And on the altar, very reverently<br />
placed, intensely there, is a dead kitten, an egg-shell, a bit <strong>of</strong> string.<br />
Boon (1915) ch. 4<br />
It is leviathan retrieving pebbles. It is a magnificent but painful<br />
hippopotamus resolved at any cost, even at the cost <strong>of</strong> its dignity, upon<br />
picking up a pea which has got into a corner <strong>of</strong> its den. Most things, it<br />
insists, are beyond it, but it can, at any rate modestly, and with an<br />
artistic singleness <strong>of</strong> mind, pick up that pea.<br />
Boon (1915) ch. 4 (on Henry James)<br />
He [James Holroyd] was a practical electrician but fond <strong>of</strong> whisky,<br />
a heavy, red-haired brute with irregular teeth. He doubted the existence<br />
<strong>of</strong> the Deity but accepted Carnot's cycle, and he had read Shakespeare and<br />
found him weak in chemistry.<br />
Complete Short Stories (1927) "Lord <strong>of</strong> the Dynamos"<br />
But Nunez advanced with the confident steps <strong>of</strong> a youth who enters upon<br />
life. All the old stories <strong>of</strong> the lost valley and the Country <strong>of</strong> the Blind<br />
had come back to his mind, and through his thoughts ran this old proverb,<br />
as if it were a refrain--In the Country <strong>of</strong> the Blind the One-Eyed Man is<br />
King.<br />
<strong>The</strong> Country <strong>of</strong> the Blind (1904; revised 1939) p. 52<br />
"Sesquippledan," he would say. "Sesquippledan verboojuice."<br />
History <strong>of</strong> Mr Polly (1909) ch. 1, pt. 5<br />
"I'm a Norfan, both sides," he would explain, with the air <strong>of</strong> one who had<br />
seen trouble.<br />
Kipps (1905) bk. 1, ch. 6, pt. 1<br />
"I expect," he said, "I was thinking jest what a Rum Go everything is.<br />
I expect it was something like that."<br />
Kipps (1905) bk. 3, ch. 3, pt. 8
<strong>The</strong> Social Contract is nothing more or less than a vast conspiracy <strong>of</strong><br />
human beings to lie to and humbug themselves and one another for the<br />
general Good. Lies are the mortar that bind the savage individual man into<br />
the social masonry.<br />
Love and Mr Lewisham (1900) ch. 23<br />
Human history becomes more and more a race between education and<br />
catastrophe.<br />
Outline <strong>of</strong> History (1920) vol. 2, ch. 41, pt. 4<br />
<strong>The</strong> shape <strong>of</strong> things to come.<br />
Title <strong>of</strong> book (1933)<br />
<strong>The</strong> war that will end war.<br />
Title <strong>of</strong> book (1914). Cf. David Lloyd-George 138:8<br />
Moral indignation is jealousy with a halo.<br />
<strong>The</strong> Wife <strong>of</strong> Sir Isaac Harman (1914) ch. 9, sect. 2<br />
In England we have come to rely upon a comfortable time-lag <strong>of</strong> fifty years<br />
or a century intervening between the perception that something ought to be<br />
done and a serious attempt to do it.<br />
<strong>The</strong> Work, Wealth and Happiness <strong>of</strong> Mankind (1931) ch. 2<br />
23.28 Arnold Wesker<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1932-<br />
And then I saw the menu, stained with tea and beautifully written by<br />
a foreign hand, and on top it said--God I hated that old man--it said<br />
"Chips with everything." Chips with every damn thing. You breed babies and<br />
you eat chips with everything.<br />
Chips with Everything (1962) act 1, sc. 2<br />
23.29 Mae West<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1980<br />
It's better to be looked over than overlooked.<br />
Belle <strong>of</strong> the Nineties (1934 film)<br />
A man in the house is worth two in the street.<br />
Belle <strong>of</strong> the Nineties (1934 film)<br />
You ought to get out <strong>of</strong> those wet clothes and into a dry Martini.<br />
Every Day's a Holiday (1937 film). A similar line is spoken by Robert<br />
Benchley in the 1942 film <strong>The</strong> Major and the Minor, written by Charles<br />
Brackett and Billy Wilder. Cf. 7:12<br />
I always say, keep a diary and some day it'll keep you.<br />
Every Day's a Holiday (1937 film)<br />
Beulah, peel me a grape.<br />
I'm No Angel (1933 film)<br />
I've been things and seen places.<br />
I'm No Angel (1933 film)
When I'm good, I'm very, very good, but when I'm bad, I'm better.<br />
I'm No Angel (1933 film)<br />
It's not the men in my life that counts--it's the life in my men.<br />
I'm No Angel (1933 film)<br />
Give a man a free hand and he'll try to put it all over you.<br />
Klondike Annie (1936 film)<br />
Between two evils, I always pick the one I never tried before.<br />
Klondike Annie (1936 film)<br />
I've been in Who's Who, and I know what's what, but it'll be the first<br />
time I ever made the dictionary.<br />
Letter to the RAF, early 1940s, on having an inflatable life jacket named<br />
after her, in Fergus Cashin Mae West (1981) ch. 9<br />
"Goodness, what beautiful diamonds!"<br />
"Goodness had nothing to do with it, dearie."<br />
Night After Night (1932 film)<br />
Is that a gun in your pocket, or are you just glad to see me?<br />
In Joseph Weintraub Peel Me a Grape (1975) p. 47<br />
I used to be Snow White...but I drifted.<br />
In Joseph Weintraub Peel Me a Grape (1975) p. 47<br />
Why don't you come up sometime, and see me? I'm home every evening.<br />
She Done Him Wrong (1933 film; <strong>of</strong>ten misquoted as "Come up and see me<br />
sometime," which became Mae West's catch-phrase)<br />
23.30 Dame Rebecca West (Cicily Isabel Fairfield)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1983<br />
Journalism--an ability to meet the challenge <strong>of</strong> filling the space.<br />
New York Herald Tribune 22 Apr. 1956, sec. 6, p. 2<br />
He [Michael Arlen] is every other inch a gentleman.<br />
In Victoria Glendinning Rebecca West (1987) pt. 3, ch. 5<br />
God forbid that any book should be banned. <strong>The</strong> practice is as<br />
indefensible as infanticide.<br />
<strong>The</strong> Strange Necessity (1928) "<strong>The</strong> Tosh Horse"<br />
Just how difficult it is to write biography can be reckoned by anybody who<br />
sits down and considers just how many people know the truth about his or<br />
her love affairs.<br />
Vogue 1 Nov. 1952<br />
23.31 Edith Wharton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1862-1937<br />
She sang, <strong>of</strong> course, "M'ama!" and not "he loves me," since an unalterable<br />
and unquestioned law <strong>of</strong> the musical world required that the German text <strong>of</strong><br />
French operas sung by Swedish artists should be translated into Italian<br />
for the clearer understanding <strong>of</strong> English-speaking audiences.
Age <strong>of</strong> Innocence (1920) bk. 1, ch. 1<br />
She keeps on being Queenly in her own room with the door shut.<br />
<strong>The</strong> House <strong>of</strong> Mirth (1905) bk. 2, ch. 1<br />
Another unsettling element in modern art is that common symptom <strong>of</strong><br />
immaturity, the dread <strong>of</strong> doing what has been done before.<br />
<strong>The</strong> Writing <strong>of</strong> Fiction (1925) ch. 1<br />
Mrs Ballinger is one <strong>of</strong> the ladies who pursue Culture in bands, as though<br />
it were dangerous to meet it alone.<br />
Xingu and Other Stories (1916) "Xingu"<br />
23.32 E. B. White<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1985<br />
Mother: It's broccoli, dear.<br />
Child: I say it's spinach, and I say the hell with it.<br />
New Yorker 8 Dec. 1928 (cartoon caption)<br />
Democracy is the recurrent suspicion that more than half <strong>of</strong> the people are<br />
right more than half <strong>of</strong> the time.<br />
New Yorker 3 July 1944<br />
Commuter--one who spends his life<br />
In riding to and from his wife;<br />
A man who shaves and takes a train,<br />
And then rides back to shave again.<br />
Poems and Sketches (1982) "<strong>The</strong> Commuter"<br />
23.33 T. H. White<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-1964<br />
<strong>The</strong> Victorians had not been anxious to go away for the weekend. <strong>The</strong><br />
Edwardians, on the contrary, were nomadic.<br />
Farewell Victoria (1933) pt. 4<br />
<strong>The</strong> once and future king.<br />
Title <strong>of</strong> novel (1958)<br />
23.34 Alfred North Whitehead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1861-1947<br />
Life is an <strong>of</strong>fensive, directed against the repetitious mechanism <strong>of</strong> the<br />
Universe.<br />
Adventures <strong>of</strong> Ideas (1933) pt. 1, ch. 5<br />
It is more important that a proposition be interesting than that it be<br />
true. This statement is almost a tautology. For the energy <strong>of</strong> operation<br />
<strong>of</strong> a proposition in an occasion <strong>of</strong> experience is its interest, and is its<br />
importance. But <strong>of</strong> course a true proposition is more apt to be interesting<br />
than a false one.<br />
Adventures <strong>of</strong> Ideas (1933) pt. 4, ch. 16
<strong>The</strong>re are no whole truths; all truths are half-truths. It is trying to<br />
treat them as whole truths that plays the devil.<br />
Dialogues (1954) prologue<br />
Intelligence is quickness to apprehend as distinct from ability, which is<br />
capacity to act wisely on the thing apprehended.<br />
Dialogues (1954) 15 Dec. 1939<br />
What is morality in any given time or place? It is what the majority then<br />
and there happen to like, and immorality is what they dislike.<br />
Dialogues (1954) 30 Aug. 1941<br />
Art is the imposing <strong>of</strong> a pattern on experience, and our aesthetic<br />
enjoyment is recognition <strong>of</strong> the pattern.<br />
Dialogues (1954) 10 June 1943<br />
Civilization advances by extending the number <strong>of</strong> important operations<br />
which we can perform without thinking about them.<br />
Introduction to Mathematics (1911) ch. 5<br />
<strong>The</strong> safest general characterization <strong>of</strong> the European philosophical<br />
tradition is that it consists <strong>of</strong> a series <strong>of</strong> footnotes to Plato.<br />
Process and Reality (1929) pt. 2, ch. 1<br />
23.35 Bertrand Whitehead<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Drinka Pinta Milka Day.<br />
Slogan for the British Milk Marketing Board, 1958<br />
23.36 Katharine Whitehorn<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-<br />
No nice men are good at getting taxis.<br />
Observer 1977<br />
Hats divide generally into three classes: <strong>of</strong>fensive hats, defensive hats,<br />
and shrapnel.<br />
Shouts and Murmurs (1963) "Hats"<br />
I wouldn't say when you've seen one Western you've seen the lot; but when<br />
you've seen the lot you get the feeling you've seen one.<br />
Sunday Best (1976) "Decoding the West"<br />
23.37 George Whiting<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
My blue heaven.<br />
Title <strong>of</strong> song (1927; music by Walter Donaldson)<br />
When you're all dressed up and have no place to go.<br />
Title <strong>of</strong> song (1912; music by Newton Harding)<br />
23.38 Gough Whitlam<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1916-<br />
Well may he say "God Save the Queen." But after this nothing will save the<br />
Governor-General.... Maintain your rage and your enthusiasm through the<br />
campaign for the election now to be held and until polling day.<br />
Speech in Canberra, 11 Nov. 1975, in <strong>The</strong> Times 12 Nov. 1975<br />
23.39 Charlotte Whitton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1896-1975<br />
Whatever women do they must do twice as well as men to be thought half as<br />
good. Luckily, this is not difficult.<br />
In Canada Month June 1963<br />
23.40 William H. Whyte<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1917-<br />
This book is about the organization man.... I can think <strong>of</strong> no other way to<br />
describe the people I am talking about. <strong>The</strong>y are not the workers, nor are<br />
they the white-collar people in the usual, clerk sense <strong>of</strong> the word. <strong>The</strong>se<br />
people only work for the Organization. <strong>The</strong> ones I am talking about belong<br />
to it as well.<br />
<strong>The</strong> Organization Man (1956) ch. 1<br />
23.41 Anna Wickham (Edith Alice Mary Harper)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1884-1947<br />
It is well within the order <strong>of</strong> things<br />
That man should listen when his mate sings;<br />
But the true male never yet walked<br />
Who liked to listen when his mate talked.<br />
<strong>The</strong> Contemplative Quarry (1915) "<strong>The</strong> Affinity"<br />
23.42 Richard Wilbur<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1921-<br />
We milk the cow <strong>of</strong> the world, and as we do<br />
We whisper in her ear, "You are not true."<br />
Ceremony and Other Poems (1950) "Epistemology"<br />
23.43 Billy Wilder (Samuel Wilder)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1906-<br />
Hindsight is always twenty-twenty.<br />
In J. R. Columbo Wit and Wisdom <strong>of</strong> the Moviemakers (1979) ch. 7<br />
23.44 Billy Wilder and I. A. L. Diamond<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Billy Wilder 1906-<br />
I. A. L. Diamond<br />
Gerry: We can't get married at all.... I'm a man.<br />
Osgood: Well, nobody's perfect.<br />
Some Like It Hot (1959 film; closing words)<br />
23.45 Thornton Wilder<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1897-1975<br />
Marriage is a bribe to make a housekeeper think she's a householder.<br />
Merchant <strong>of</strong> Yonkers (1939) act 1<br />
<strong>The</strong> fights are the best part <strong>of</strong> married life. <strong>The</strong> rest is merely so-so.<br />
Merchant <strong>of</strong> Yonkers (1939) act 2<br />
Literature is the orchestration <strong>of</strong> platitudes.<br />
In Time 12 Jan. 1953<br />
23.46 Kaiser Wilhelm II<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1859-1941<br />
We have...fought for our place in the sun and have won it. It will be my<br />
business to see that we retain this place in the sun unchallenged, so that<br />
the rays <strong>of</strong> that sun may exert a fructifying influence upon our foreign<br />
trade and traffic.<br />
Speech in Hamburg, 18 June 1901, in <strong>The</strong> Times 20 June 1901<br />
23.47 Ge<strong>of</strong>frey Willans and Ronald Searle<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Ge<strong>of</strong>frey Willans 1911-1958<br />
Ronald Searle 1920-<br />
<strong>The</strong> only good things about skool are the boys wizz who are noble brave<br />
fearless etc. although you hav various swots, bulies, cissies, milksops,<br />
greedy guts and oiks with whom i am forced to mingle hem-hem.<br />
Down With Skool! (1953) p. 7<br />
This is wot it is like when we go back on the skool trane. <strong>The</strong>re are lots<br />
<strong>of</strong> new bugs and all there maters blub they hav every reason if they knew<br />
what they were going to. For us old lags however it is just another<br />
stretch same as any other and no remision for good conduc. We kno what it<br />
will be like at the other end Headmaster beaming skool bus ratle <strong>of</strong>f<br />
leaving trail <strong>of</strong> tuck boxes peason smugling in a box <strong>of</strong> flat 50 cigs<br />
fotherington-tomas left in the lugage rack and new bugs stand as if<br />
amazed.<br />
How To Be Topp (1954) ch. 1<br />
<strong>The</strong>re is no better xsample <strong>of</strong> a goody-goody than fotherington-tomas in the<br />
world in space. You kno he is the one who sa Hullo Clouds Hullo Sky and<br />
skip about like a girly.<br />
How To Be Topp (1954) ch. 4<br />
Still xmas is a good time with all those presents and good food and i hope
it will never die out or at any rate not until i am grown up and hav to<br />
pay for it all.<br />
How To Be Topp (1954) ch. 11<br />
23.48 Harry Williams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1924<br />
I'm afraid to come home in the dark.<br />
Title <strong>of</strong> song (1907; music by Egbert van Alstyne)<br />
23.49 Kenneth Williams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1926-1988<br />
<strong>The</strong> nice thing about quotes is that they give us a nodding acquaintance<br />
with the originator which is <strong>of</strong>ten socially impressive.<br />
Acid Drops (1980) preface<br />
23.50 Tennessee Williams (Thomas Lanier Williams)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1911-1983<br />
We have to distrust each other. It's our only defence against betrayal.<br />
Camino Real (1953) block 10<br />
We're all <strong>of</strong> us guinea pigs in the laboratory <strong>of</strong> God. Humanity is just<br />
a work in progress.<br />
Camino Real (1953) block 12<br />
What is the victory <strong>of</strong> a cat on a hot tin ro<strong>of</strong>?--I wish I knew....Just<br />
staying on it, I guess, as long as she can.<br />
Cat on a Hot Tin Ro<strong>of</strong> (1955) act 1<br />
Brick: Well, they say nature hates a vacuum, Big Daddy.<br />
Big daddy: That's what they say, but sometimes I think that a vacuum is<br />
a hell <strong>of</strong> a lot better than some <strong>of</strong> the stuff that nature replaces it<br />
with.<br />
Cat on a Hot Tin Ro<strong>of</strong> (1955) act 2. Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong> <strong>Quotations</strong><br />
(1979) 403:27<br />
Mendacity is a system that we live in. Liquor is one way out an' death's<br />
the other.<br />
Cat on a Hot Tin Ro<strong>of</strong> (1955) act 2<br />
I didn't go to the moon, I went much further--for time is the longest<br />
distance between two places.<br />
<strong>The</strong> Glass Menagerie (1945) p. 123<br />
We're all <strong>of</strong> us sentenced to solitary confinement inside our own skins,<br />
for life!<br />
Orpheus Descending (1958) act 2, sc. 1<br />
Turn that <strong>of</strong>f! I won't be looked at in this merciless glare!<br />
A Streetcar Named Desire (1947) sc. 1<br />
I have always depended on the kindness <strong>of</strong> strangers.
A Streetcar Named Desire (1947) sc. 11 (Blanche's final words)<br />
23.51 William Carlos Williams<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1883-1963<br />
I will teach you my townspeople<br />
how to perform a funeral<br />
for you have it over a troop<br />
<strong>of</strong> artists-unless<br />
one should scour the world-you<br />
have the ground sense necessary.<br />
Book <strong>of</strong> Poems Al Que Quiere! (1917) "Tract"<br />
Minds like beds always made up,<br />
(more stony than a shore)<br />
unwilling or unable.<br />
Paterson (1946) bk. 1, preface<br />
so much depends<br />
upon<br />
a red wheel<br />
barrow<br />
glazed with rain<br />
water<br />
beside the white<br />
chickens.<br />
Spring and All (1923) "<strong>The</strong> Red Wheelbarrow"<br />
Is it any better in Heaven, my friend Ford,<br />
Than you found it in Provence?<br />
<strong>The</strong> Wedge (1944) "To Ford Madox Ford in Heaven"<br />
23.52 Ted Willis (Edward Henry Willis, Baron Willis <strong>of</strong> Chislehurst)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1918-<br />
Evening, all.<br />
Opening words spoken by Jack Warner as Sergeant Dixon in Dixon <strong>of</strong> Dock<br />
Green (BBC television series, 1956-76)<br />
23.53 Wendell Willkie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1944<br />
<strong>The</strong> constitution does not provide for first and second class citizens.<br />
An American Programme (1944) ch. 2<br />
<strong>Free</strong>dom is an indivisible word. If we want to enjoy it, and fight for it,<br />
we must be prepared to extend it to everyone, whether they are rich or<br />
poor, whether they agree with us or not, no matter what their race or the<br />
colour <strong>of</strong> their skin.<br />
One World (1943) ch. 13<br />
23.54 Angus Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
1913-<br />
"God knows how you Protestants can be expected to have any sense <strong>of</strong><br />
direction," she said. "It's different with us, I haven't been to mass for<br />
years, I've got every mortal sin on my conscience, but I know when I'm<br />
doing wrong. I'm still a Catholic, it's there, nothing can take it away<br />
from me." "Of course, duckie," said Jeremy..."once a Catholic always<br />
a Catholic."<br />
<strong>The</strong> Wrong Set (1949) p. 168. Cf. Mary O'Malley<br />
23.55 Charles E. Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1890-1961<br />
For years I thought what was good for our country was good for General<br />
Motors and vice versa. <strong>The</strong> difference did not exist. Our company is too<br />
big. It goes with the welfare <strong>of</strong> the country. Our contribution to the<br />
nation is quite considerable.<br />
Testimony to the Senate Armed Services Committee on his proposed<br />
nomination to be Secretary <strong>of</strong> Defence, 15 Jan. 1953, in New York Times<br />
24 Feb. 1953, p. 8<br />
23.56 Edmund Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1895-1972<br />
Of all the great Victorian writers, he [Dickens] was probably the most<br />
antagonistic to the Victorian age itself.<br />
<strong>The</strong> Wound and the Bow (1941) "Dickens: the Two Scrooges"<br />
23.57 Harold Wilson (Baron Wilson <strong>of</strong> Rievaulx)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1916-<br />
Traders and financiers all over the world had been listening to the<br />
Chancellor. For months he had said that if he could not stop the wage<br />
claims, the country was "facing disaster."... Rightly or wrongly these<br />
people believed him. For them, 5th September--the day that the Trades<br />
Union Congress unanimously rejected the policy <strong>of</strong> wage restraint--marked<br />
the end <strong>of</strong> an era. And all these financiers, all the little gnomes in<br />
Zurich and the other financial centres about whom we keep on hearing,<br />
started to make their dispositions in regard to sterling.<br />
Hansard 12 Nov. 1956, col. 578<br />
<strong>The</strong> Smethwick Conservatives can have the satisfaction <strong>of</strong> having topped the<br />
poll, and <strong>of</strong> having sent here as their Member one who, until a further<br />
General Election restores him to oblivion, will serve his term here as<br />
a Parliamentary leper.<br />
Hansard 3 Nov. 1964, col. 71<br />
My hon. Friends know that if one buys land on which there is a slag heap<br />
120 ft. high and it costs œ100,000 to remove that slag, that is not land<br />
speculation in the sense that we condemn it. It is land reclamation.<br />
Hansard 4 Apr. 1974, col. 1441<br />
If I had the choice between smoked salmon and tinned salmon, I'd have it<br />
tinned. With vinegar.
In Observer 11 Nov. 1962<br />
<strong>The</strong> Monarchy is a labour-intensive industry.<br />
In Observer 13 Feb. 1977<br />
Harold Wilson...was unable to remember when he first uttered his dictum to<br />
the effect that: A week is a long time in politics. Inquiries among<br />
political journalists led to the conclusion that in its present form the<br />
phrase was probably first uttered at a meeting between Wilson and the<br />
Parliamentary lobby in the wake <strong>of</strong> the Sterling crisis shortly after he<br />
first took <strong>of</strong>fice as Prime Minister in 1964. However, Robert<br />
Carvel...recalled Wilson at a Labour Party conference in 1960 saying<br />
"Forty-eight hours is a long time in politics."<br />
Nigel Rees Sayings <strong>of</strong> the Century (1984) p. 149<br />
This party [the Labour Party] is a moral crusade or it is nothing.<br />
Speech at Labour Party Conference 1 Oct. 1962, in <strong>The</strong> Times 2 Oct. 1962<br />
<strong>The</strong> Prime Ministers [at the Lagos Conference, 9-12 Jan. 1966] noted the<br />
statement by the British Prime Minister that on the expert advice<br />
available to him the cumulative effects <strong>of</strong> the economic and financial<br />
sanctions might well bring the rebellion to an end within a matter <strong>of</strong><br />
weeks rather than months.<br />
<strong>The</strong> Times 13 Jan. 1966<br />
From now the pound abroad is worth 14 per cent or so less in terms <strong>of</strong><br />
other currencies. It does not mean, <strong>of</strong> course, that the pound here in<br />
Britain, in your pocket or purse or in your bank, has been devalued.<br />
Ministerial broadcast, 19 Nov. 1967, in <strong>The</strong> Times 20 Nov. 1967<br />
Everyone wanted more wage increases, he [Mr Wilson] said, believing that<br />
prices would remain stable; but one man's wage increase was another man's<br />
price increase.<br />
Speech at Blackburn, 8 Jan. 1970, in <strong>The</strong> Times 9 Jan. 1970<br />
23.58 McLandburgh Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-<br />
'Twixt the optimist and pessimist<br />
<strong>The</strong> difference is droll:<br />
<strong>The</strong> optimist sees the doughnut<br />
But the pessimist sees the hole.<br />
Optimist and Pessimist<br />
23.59 Sandy Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1924-<br />
It's never too late to have a fling,<br />
For Autumn is just as nice as Spring,<br />
And it's never too late to fall in love.<br />
It's Never too Late to Fall in Love (1953 song)<br />
23.60 Woodrow Wilson<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1856-1924
It must be a peace without victory.... Only a peace between equals can<br />
last. Only a peace the very principle <strong>of</strong> which is equality and a common<br />
participation in a common benefit.<br />
Speech to US Senate, 22 Jan. 1917, in Messages and Papers (1924) vol. 1,<br />
p. 352<br />
Sometimes people call me an idealist. Well, that is the way I know I am<br />
an American. America, my fellow citizens--I do not say it in<br />
disaparagement <strong>of</strong> any other great people--America is the only idealistic<br />
Nation in the world.<br />
Speech at Sioux Falls, South Dakota, 8 Sept. 1919, in Messages and Papers<br />
(1924) vol. 2, p. 822<br />
Once lead this people into war and they will forget there ever was such<br />
a thing as tolerance.<br />
In John Dos Passos Mr Wilson's War (1917) pt. 3, ch. 12<br />
We have stood apart, studiously neutral.<br />
Speech to Congress, 7 Dec. 1915, in New York Times 8 Dec. 1915, p. 4<br />
America can not be an ostrich with its head in the sand.<br />
Speech at Des Moines, 1 Feb. 1916, in New York Times 2 Feb. 1916, p. 1<br />
A little group <strong>of</strong> wilful men representing no opinion but their own, have<br />
rendered the Great Government <strong>of</strong> the United States helpless and<br />
contemptible.<br />
Statement, 4 Mar. 1917, after a successful filibuster against Wilson's<br />
bill to arm American merchant ships, in New York Times 5 Mar. 1917, p. 1<br />
Liberty has never come from the government. Liberty has always come from<br />
the subjects <strong>of</strong> government. <strong>The</strong> history <strong>of</strong> liberty is the history <strong>of</strong><br />
resistance. <strong>The</strong> history <strong>of</strong> liberty is a history <strong>of</strong> the limitation <strong>of</strong><br />
governmental power, not the increase <strong>of</strong> it.<br />
Speech to New York Press Club in New York, 9 Sept. 1912, in Papers <strong>of</strong><br />
Woodrow Wilson (1978) vol. 25, p. 124<br />
No nation is fit to sit in judgement upon any other nation.<br />
Speech in New York, 20 Apr. 1915, in Selected Addresses (1918) p. 79<br />
<strong>The</strong>re is such a thing as a man being too proud to fight; there is such<br />
a thing as a nation being so right that it does not need to convince<br />
others by force that it is right.<br />
Speech in Philadelphia, 10 May 1915, in Selected Addresses (1918) p. 88<br />
Armed neutrality is ineffectual enough at best.<br />
Speech to Congress, 2 Apr. 1917, in Selected Addresses (1918) p. 190<br />
<strong>The</strong> world must be made safe for democracy. Its peace must be planted upon<br />
the tested foundations <strong>of</strong> political liberty.<br />
Speech to Congress, 2 Apr. 1917, in Selected Addresses (1918) p. 195<br />
<strong>The</strong> right is more precious than peace.<br />
Speech to Congress, 2 Apr. 1917, in Selected Addresses (1918) p. 197<br />
<strong>The</strong> programme <strong>of</strong> the world's peace...is this:<br />
1. Open covenants <strong>of</strong> peace, openly arrived at, after which there shall<br />
be no private international understandings <strong>of</strong> any kind but diplomacy shall<br />
proceed always frankly and in the public view.<br />
Speech to Congress, 8 Jan. 1918, in Selected Addresses (1918) p. 247
23.61 Robb Wilton<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1957<br />
<strong>The</strong> day war broke out.<br />
Catch-phrase, from circa 1940<br />
23.62 Arthur Wimperis<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1874-1953<br />
I've gotter motter<br />
Always merry and bright!<br />
Look around and you will find<br />
Every cloud is silver-lined;<br />
<strong>The</strong> sun will shine<br />
Altho' the sky's a grey one;<br />
I've <strong>of</strong>ten said to meself, I've said,<br />
"Cheer up, curly you'll soon be dead!<br />
A short life and a gay one!"<br />
My Motter (1909 song; music by Lionel Monckton and Howard Talbot)<br />
23.63 Owen Wister<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1860-1938<br />
<strong>The</strong>refore Trampas spoke. "You bet, you son-<strong>of</strong>-a--" <strong>The</strong> Virginian's pistol<br />
came out, and...he issued his orders to the man Trampas:--"When you call<br />
me that, smile!"<br />
<strong>The</strong> Virginian (1902) ch. 2<br />
23.64 Ludwig Wittgenstein<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1889-1951<br />
G„be es ein Verbum mit der Bedeutung "f„lschlich glamben," so h„tte das<br />
heine sinnvolle erste Person im Indikatir des Pr„sens.<br />
If there were a verb meaning "to behave falsely," it would not have any<br />
significant first person, present indicative.<br />
Philosophical Investigations (1953) pt. 2, sec. 10<br />
Was sich berhaupt sagen l„sst, l„sst sich klar sagen; und wovon man nicht<br />
reden kann, darber muss man schweigen.<br />
What can be said at all can be said clearly; and where<strong>of</strong> one cannot speak<br />
there<strong>of</strong> one must be silent.<br />
Tractatus Logico-Philosophicus (1922) preface<br />
Die Welt ist alles, was der Fall ist.<br />
<strong>The</strong> world is everything that is the case.<br />
Tractatus Logico-Philosophicus (1922) p. 30<br />
Die Logik muss fr sich selber sorgen.
Logic must take care <strong>of</strong> itself.<br />
Tractatus Logico-Philosophicus (1922) p. 126<br />
Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt.<br />
<strong>The</strong> limits <strong>of</strong> my language mean the limits <strong>of</strong> my world.<br />
Tractatus Logico-Philosophicus (1922) p. 148<br />
Die Welt des Glcklichen ist eine andere als die des Unglcklichen.<br />
<strong>The</strong> world <strong>of</strong> the happy is quite different from that <strong>of</strong> the unhappy.<br />
Tractatus Logico-Philosophicus (1922) p. 184<br />
23.65 P. G. Wodehouse<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1881-1975<br />
Chumps always make the best husbands. When you marry, Sally, grab<br />
a chump. Tap his forehead first, and if it rings solid, don't hesitate.<br />
All the unhappy marriages come from the husbands having brains. What good<br />
are brains to a man? <strong>The</strong>y only unsettle him.<br />
<strong>The</strong> Adventures <strong>of</strong> Sally (1920) ch. 10<br />
It is never difficult to distinguish between a Scotsman with a grievance<br />
and a ray <strong>of</strong> sunshine.<br />
Blandings Castle and Elsewhere (1935) "<strong>The</strong> Custody <strong>of</strong> the Pumpkin"<br />
At this point in the proceedings there was another ring at the front door.<br />
Jeeves shimmered out and came back with a telegram.<br />
Carry On, Jeeves! (1925) "Jeeves Takes Charge"<br />
He spoke with a certain what-is-it in his voice, and I could see that, if<br />
not actually disgruntled, he was far from being gruntled, so I tactfully<br />
changed the subject.<br />
<strong>The</strong> Code <strong>of</strong> the Woosters (1938) ch. 1<br />
Slice him where you like, a hellhound is always a hellhound.<br />
<strong>The</strong> Code <strong>of</strong> the Woosters (1938) ch. 1<br />
It is no use telling me that there are bad aunts and good aunts. At the<br />
core, they are all alike. Sooner or later, out pops the cloven ho<strong>of</strong>.<br />
<strong>The</strong> Code <strong>of</strong> the Woosters (1938) ch. 2<br />
Roderick Spode? Big chap with a small moustache and the sort <strong>of</strong> eye that<br />
can open an oyster at sixty paces?<br />
<strong>The</strong> Code <strong>of</strong> the Woosters (1938) ch. 2<br />
To my daughter Leonora without whose never-failing sympathy and<br />
encouragement this book would have been finished in half the time.<br />
<strong>The</strong> Heart <strong>of</strong> a Go<strong>of</strong> (1926) dedication<br />
<strong>The</strong> lunches <strong>of</strong> fifty-seven years had caused his chest to slip down into<br />
the mezzanine floor.<br />
<strong>The</strong> Heart <strong>of</strong> a Go<strong>of</strong> (1926) "Chester Forgets Himself"<br />
I turned to Aunt Agatha, whose demeanour was now rather like that <strong>of</strong> one<br />
who, picking daisies on the railway, has just caught the down express in<br />
the small <strong>of</strong> the back.
<strong>The</strong> Inimitable Jeeves (1923) ch. 4<br />
Sir Roderick Glossop, Honoria's father, is always called a nerve<br />
specialist, because it sounds better, but everybody knows that he's really<br />
a sort <strong>of</strong> janitor to the looney-bin.<br />
<strong>The</strong> Inimitable Jeeves (1923) ch. 7<br />
As a rule, you see, I'm not lugged into Family Rows. On the occasions<br />
when Aunt is calling to Aunt like mastodons bellowing across primeval<br />
swamps and Uncle James's letter about Cousin Mabel's peculiar behaviour is<br />
being shot round the family circle ("Please read this carefully and send<br />
it on to Jane"), the clan has a tendency to ignore me. It's one <strong>of</strong> the<br />
advantages I get from being a bachelor--and, according to my nearest and<br />
dearest, practically a half-witted bachelor at that.<br />
<strong>The</strong> Inimitable Jeeves (1923) ch. 16<br />
It was my Uncle George who discovered that alcohol was a food well in<br />
advance <strong>of</strong> medical thought.<br />
<strong>The</strong> Inimitable Jeeves (1923) ch. 16<br />
It is a good rule in life never to apologize. <strong>The</strong> right sort <strong>of</strong> people do<br />
not want apologies, and the wrong sort take a mean advantage <strong>of</strong> them.<br />
<strong>The</strong> Man Upstairs (1914) title story<br />
She fitted into my biggest armchair as if it had been built round her by<br />
someone who knew they were wearing armchairs tight about the hips that<br />
season.<br />
My Man Jeeves (1919) "Jeeves and the Unbidden Guest"<br />
What with excellent browsing and sluicing and cheery conversation and<br />
what-not, the afternoon passed quite happily.<br />
My Man Jeeves (1919) "Jeeves and the Unbidden Guest"<br />
"What ho!" I said.<br />
"What ho!" said Motty.<br />
"What ho! What ho!"<br />
"What ho! What ho! What ho!"<br />
After that it seemed rather difficult to go on with the conversation.<br />
My Man Jeeves (1919) "Jeeves and the Unbidden Guest"<br />
I spent the afternoon musing on Life. If you come to think <strong>of</strong> it, what<br />
a queer thing Life is! So unlike anything else, don't you know, if you see<br />
what I mean.<br />
My Man Jeeves (1919) "Rallying Round Old George"<br />
Ice formed on the butler's upper slopes.<br />
Pigs Have Wings (1952) ch. 5<br />
<strong>The</strong> Right Hon. was a tubby little chap who looked as if he had been poured<br />
into his clothes and had forgotten to say "When!."<br />
Very Good, Jeeves (1930) "Jeeves and the Impending Doom"<br />
23.66 Humbert Wolfe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1886-1940<br />
You cannot hope<br />
to bribe or twist,<br />
thank God! the
British journalist.<br />
But, seeing what<br />
the man will do<br />
unbribed, there's<br />
no occasion to.<br />
<strong>The</strong> Uncelestial City (1930) "Over the Fire"<br />
23.67 Thomas Wolfe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1900-1938<br />
Most <strong>of</strong> the time we think we're sick, it's all in the mind.<br />
Look Homeward, Angel (1929) pt. 1, ch. 1<br />
"Where they got you stationed now, Luke?" said Harry Tugman peering up<br />
snoutily from a mug <strong>of</strong> c<strong>of</strong>fee. "At the p-p-p-present time in Norfolk at<br />
the Navy base," Luke answered, "m-m-making the world safe for hypocrisy."<br />
Look Homeward, Angel (1929) pt. 3, ch. 36<br />
You can't go home again.<br />
Title <strong>of</strong> novel (1940)<br />
23.68 Tom Wolfe<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1931-<br />
<strong>The</strong> bonfire <strong>of</strong> the vanities.<br />
Title <strong>of</strong> novel (1987)<br />
23.69 Woodbine Willie<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
See G. A. Studdert Kennedy (19.130)<br />
23.70 Lt.-Commander Thomas Woodro<strong>of</strong>e<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1899-1978<br />
At the present moment, the whole Fleet's lit up. When I say "lit up,"<br />
I mean lit up by fairy lamps.<br />
Radio broadcast, 20 May 1937<br />
23.71 Harry Woods<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Oh we ain't got a barrel <strong>of</strong> money,<br />
Maybe we're ragged and funny,<br />
But we'll travel along<br />
Singin' a song,<br />
Side by side.<br />
Side by Side (1927 song)<br />
When the red, red, robin comes bob, bob, bobbin' along.<br />
Title <strong>of</strong> song (1926)
23.72 Virginia Woolf<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1882-1941<br />
Righteous indignation. is misplaced if we agree with the lady's maid that<br />
high birth is a form <strong>of</strong> congenital insanity, that the sufferer merely<br />
inherits diseases <strong>of</strong> his ancestors, and endures them, for the most part<br />
very stoically, in one <strong>of</strong> those comfortably padded lunatic asylums which<br />
are known, euphemistically, as the stately homes <strong>of</strong> England.<br />
<strong>The</strong> Common Reader (1925) "Lady Dorothy Nevill." Cf. <strong>Oxford</strong> <strong>Dictionary</strong> <strong>of</strong><br />
<strong>Quotations</strong> (1979) 244:21<br />
We are nauseated by the sight <strong>of</strong> trivial personalities decomposing in the<br />
eternity <strong>of</strong> print.<br />
<strong>The</strong> Common Reader (1925) "<strong>The</strong> <strong>Modern</strong> Essay"<br />
Each had his past shut in him like the leaves <strong>of</strong> a book known to him by<br />
heart; and his friends could only read the title.<br />
Jacob's Room (1922) ch. 5<br />
Never did I read such tosh [as James Joyce's Ulysses]. As for the first<br />
two chapters we will let them pass, but the 3rd 4th 5th 6th--merely the<br />
scratching <strong>of</strong> pimples on the body <strong>of</strong> the bootboy at Claridges.<br />
Letter to Lytton Strachey, 24 Apr. 1922, in Letters (1976) vol. 2, p. 551<br />
A woman must have money and a room <strong>of</strong> her own if she is to write fiction.<br />
A Room <strong>of</strong> One's Own (1929) ch. 1<br />
Women have served all these centuries as looking-glasses possessing the<br />
magic and delicious power <strong>of</strong> reflecting the figure <strong>of</strong> a man at twice its<br />
natural size.<br />
A Room <strong>of</strong> One's Own (1929) ch. 2<br />
Literature is strewn with the wreckage <strong>of</strong> men who have minded beyond<br />
reason the opinions <strong>of</strong> others.<br />
A Room <strong>of</strong> One's Own (1929) ch. 3<br />
So that is marriage, Lily thought, a man and a woman looking at a girl<br />
throwing a ball.<br />
To the Lighthouse (1927) pt. 1, ch. 13<br />
Things have dropped from me. I have outlived certain desires; I have lost<br />
friends, some by death--Percival--others through sheer inability to cross<br />
the street.<br />
<strong>The</strong> Waves (1931) p. 202<br />
23.73 Alexander Woollcott<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1887-1943<br />
A broker is a man who takes your fortune and runs it into a shoestring.<br />
In Samuel Hopkins Adams Alexander Woollcott (1945) ch. 15<br />
I have no need <strong>of</strong> your God-damned sympathy. I only wish to be entertained<br />
by some <strong>of</strong> your grosser reminiscences.<br />
Letter to Rex O'Malley, 1942, in Samuel Hopkins Adams Alexander Woollcott<br />
(1945) ch. 34
She [Dorothy Parker] is so odd a blend <strong>of</strong> Little Nell and Lady Macbeth.<br />
It is not so much the familiar phenomenon <strong>of</strong> a hand <strong>of</strong> steel in a velvet<br />
glove as a lacy sleeve with a bottle <strong>of</strong> vitriol concealed in its folds.<br />
While Rome Burns (1934) "Our Mrs Parker"<br />
All the things I really like to do are either illegal, immoral, or<br />
fattening.<br />
In R. E. Drennan Wit's End (1973)<br />
23.74 Frank Lloyd Wright<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1867-1959<br />
<strong>The</strong> necessities were going by default to save the luxuries until I hardly<br />
knew which were necessities and which luxuries.<br />
Autobiography (1945) bk. 2, p. 108<br />
<strong>The</strong> physician can bury his mistakes, but the architect can only advise his<br />
client to plant vines--so they should go as far as possible from home to<br />
build their first buildings.<br />
New York Times 4 Oct. 1953, sec. 6, p. 47<br />
23.75 Woodrow Wyatt (Baron Wyatt)<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1919-<br />
A man falls in love through his eyes, a woman through her ears.<br />
To the Point (1981) p. 107<br />
23.76 Laurie Wyman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Left hand down a bit!<br />
<strong>The</strong> Navy Lark (BBC radio series, 1959-77)<br />
23.77 George Wyndham<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1863-1913<br />
Over the construction <strong>of</strong> Dreadnoughts. What the people said was, "We want<br />
eight, and we won't wait."<br />
Speech in Wigan, 27 Mar. 1909, in <strong>The</strong> Times 29 Mar. 1909<br />
23.78 Tammy Wynette (Wynette Pugh) and Billy Sherrill<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
Tammy Wynette (Wynette Pugh) 1942-<br />
Billy Sherrill<br />
Stand by your man.<br />
Title <strong>of</strong> song (1968)<br />
24.0 Y<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
24.1 R. J. Yeatman<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1898-1968<br />
See W. C. Sellar and R. J. Yeatman (19.45)<br />
24.2 W. B. Yeats<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1865-1939<br />
I think it better that at times like these<br />
We poets keep our mouths shut, for in truth<br />
We have no gift to set a statesman right;<br />
He's had enough <strong>of</strong> meddling who can please<br />
A young girl in the indolence <strong>of</strong> her youth<br />
Or an old man upon a winter's night.<br />
"A Reason for Keeping Silent" in Edith Wharton (ed.) <strong>The</strong> Book <strong>of</strong> the<br />
Homeless (1916) p. 45<br />
We had fed the heart on fantasies,<br />
<strong>The</strong> heart's grown brutal from the fare,<br />
More substance in our enmities<br />
Than in our love; Oh, honey-bees<br />
Come build in the empty house <strong>of</strong> the stare.<br />
<strong>The</strong> Cat and the Moon (1924) "Meditations in Time <strong>of</strong> Civil War 6: <strong>The</strong><br />
Stare's Nest by my Window"<br />
Out-worn heart, in a time out-worn,<br />
Come clear <strong>of</strong> the nets <strong>of</strong> wrong and right;<br />
Laugh, heart, again in the gray twilight;<br />
Sigh, heart, again in the dew <strong>of</strong> morn.<br />
<strong>The</strong> Celtic Twilight (1893) "Into the Twilight"<br />
When you are old and grey and full <strong>of</strong> sleep,<br />
And nodding by the fire, take down this book<br />
And slowly read and dream <strong>of</strong> the s<strong>of</strong>t look<br />
Your eyes had once, and <strong>of</strong> their shadows deep.<br />
How many loved your moments <strong>of</strong> glad grace,<br />
And loved your beauty with love false or true,<br />
But one man loved the pilgrim soul in you,<br />
And loved the sorrows <strong>of</strong> your changing face.<br />
And bending down beside the glowing bars<br />
Murmur, a little sad, "From us fled Love.<br />
He paced upon the mountains far above,<br />
And hid his face amid a crowd <strong>of</strong> stars."<br />
<strong>The</strong> Countess Kathleen (1892) "When You Are Old"<br />
A pity beyond all telling,<br />
Is hid in the heart <strong>of</strong> love.<br />
<strong>The</strong> Countess Kathleen (1892) "<strong>The</strong> Pity <strong>of</strong> Love"<br />
I will arise and go now, and go to Innisfree,<br />
And a small cabin build there, <strong>of</strong> clay and wattles made;<br />
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade.<br />
And I shall have some peace there, for peace comes dropping slow,<br />
Dropping from the veils <strong>of</strong> the morning to where the cricket sings;<br />
<strong>The</strong>re midnight's all a glimmer, and noon a purple glow,<br />
And evening full <strong>of</strong> the linnet's wings.<br />
I will arise and go now, for always night and day<br />
I hear lake water lapping with low sounds by the shore;<br />
While I stand on the roadway or on the pavements gray,<br />
I hear it in the deep heart's core.<br />
<strong>The</strong> Countess Kathleen (1892) "<strong>The</strong> Lake Isle <strong>of</strong> Innisfree"<br />
We make out <strong>of</strong> the quarrel with others, rhetoric, but <strong>of</strong> the quarrel with<br />
ourselves, poetry.<br />
Essays (1924) "Anima Hominis" sec. 5<br />
Why, what could she have done being what she is?<br />
Was there another Troy for her to burn?<br />
<strong>The</strong> Green Helmet and Other Poems (1910) "No Second Troy"<br />
<strong>The</strong> fascination <strong>of</strong> what's difficult<br />
Has dried the sap out <strong>of</strong> my veins, and rent<br />
Spontaneous joy and natural content<br />
Out <strong>of</strong> my heart.<br />
<strong>The</strong> Green Helmet and Other Poems (1910) "<strong>The</strong> Fascination <strong>of</strong> What's<br />
Difficult"<br />
But where's the wild dog that has praised his fleas?<br />
<strong>The</strong> Green Helmet and Other Poems (1910) "To a Poet, Who would have Me<br />
Praise certain bad Poets, Imitators <strong>of</strong> His and <strong>of</strong> Mine"<br />
When I was young,<br />
I had not given a penny for a song<br />
Did not the poet sing it with such airs,<br />
That one believed he had a sword upstairs.<br />
<strong>The</strong> Green Helmet and Other Poems (1910) "All Things can Tempt Me"<br />
Where, where but here have Pride and Truth,<br />
That long to give themselves for wage,<br />
To shake their wicked sides at youth<br />
Restraining reckless middle age?<br />
<strong>The</strong> Green Helmet and Other Poems (1912) "On hearing that the Students <strong>of</strong><br />
our New University have joined the Agitation against Immoral Literature"<br />
I said "a line will take us hours maybe,<br />
Yet if it does not seem a moment's thought<br />
Our stitching and unstitching has been naught."<br />
In the Seven Woods (1903) "Adam's Curse"<br />
<strong>The</strong> land <strong>of</strong> faery,<br />
Where nobody gets old and godly and grave,<br />
Where nobody gets old and crafty and wise,<br />
Where nobody gets old and bitter <strong>of</strong> tongue.<br />
<strong>The</strong> Land <strong>of</strong> Heart's Desire (1894) p. 12<br />
Land <strong>of</strong> Heart's Desire,<br />
Where beauty has no ebb, decay no flood,<br />
But joy is wisdom, Time an endless song.<br />
<strong>The</strong> Land <strong>of</strong> Heart's Desire (1894) p. 36
Measurement began our might:<br />
Forms a stark Egyptian thought,<br />
Forms that gentler Phidias wrought.<br />
Michaelangelo left a pro<strong>of</strong><br />
On the Sistine Chapel ro<strong>of</strong>,<br />
Where but half-awakened Adam<br />
Can disturb globe-trotting Madam<br />
Till her bowels are in heat,<br />
Pro<strong>of</strong> that there's a purpose set<br />
Before the secret working mind:<br />
Pr<strong>of</strong>ane perfection <strong>of</strong> mankind.<br />
Last Poems (1939) "Under Ben Bulben" pt. 4<br />
Irish poets, learn your trade,<br />
Sing whatever is well made,<br />
Scorn the sort now growing up<br />
All out <strong>of</strong> shape from toe to top,<br />
<strong>The</strong>ir unremembering hearts and heads<br />
Base-born products <strong>of</strong> base beds.<br />
Sing the peasantry, and then<br />
Hard-riding country gentlemen,<br />
<strong>The</strong> holiness <strong>of</strong> monks, and after<br />
Porter-drinkers' randy laughter.<br />
Last Poems (1939) "Under Ben Bulben" pt. 5<br />
Cast your mind on other days<br />
That we in coming days may be<br />
Still the indomitable Irishry.<br />
Last Poems (1939) "Under Ben Bulben" pt. 5<br />
Under bare Ben Bulben's head<br />
In Drumcliffe churchyard Yeats is laid.<br />
An ancestor was rector there<br />
Long years ago, a church stands near,<br />
By the road an ancient cross.<br />
No marble, no conventional phrase;<br />
On limestone quarried near the spot<br />
By his command these words are cut:<br />
Cast a cold eye<br />
On life, on death.<br />
Horseman pass by!<br />
Last Poems (1939) "Under Ben Bulben" pt. 6<br />
Pythagoras planned it. Why did the people stare?<br />
His numbers, though they moved or seemed to move<br />
In marble or in bronze, lacked character.<br />
But boys and girls, pale from the imagined love<br />
Of solitary beds, knew what they were,<br />
That passion could bring character enough,<br />
And pressed at midnight in some public place<br />
Live lips upon a plummet-measured face.<br />
No! Greater than Pythagoras, for the men<br />
That with a mallet or a chisel modelled these<br />
Calculations that look but casual flesh, put down<br />
All Asiatic vague immensities,<br />
And not the banks <strong>of</strong> oars that swam upon<br />
<strong>The</strong> many-headed foam at Salamis.<br />
Europe put <strong>of</strong>f that foam when Phidias<br />
Gave women dreams and dreams their looking glass.
Last Poems (1939) "<strong>The</strong> Statues"<br />
When Pearse summoned Cuchulain to his side<br />
What stalked through the Post Office? What intellect,<br />
What calculation, number, measurement, replied?<br />
We Irish, born into that ancient sect<br />
But thrown upon this filthy modern tide<br />
And by its formless spawning, fury wrecked,<br />
Climb to our proper dark, that we may trace<br />
<strong>The</strong> lineaments <strong>of</strong> a plummet-measured face.<br />
Last Poems (1939) "<strong>The</strong> Statues"<br />
Our master Caesar is in the tent<br />
Where the maps are spread,<br />
His eyes fixed upon nothing,<br />
A hand under his head.<br />
Like a long-legged fly upon the stream<br />
His mind moves upon silence.<br />
Last Poems (1939) "Long-Legged Fly"<br />
Now that my ladder's gone<br />
I must lie down where all ladders start<br />
In the foul rag and bone shop <strong>of</strong> the heart.<br />
Last Poems (1939) "<strong>The</strong> Circus Animals' Desertion" pt. 3<br />
I have met them at close <strong>of</strong> day<br />
Coming with vivid faces<br />
From counter or desk among grey<br />
Eighteenth-century houses.<br />
I have passed with a nod <strong>of</strong> the head<br />
Or polite meaningless words,<br />
Or have lingered awhile and said<br />
Polite meaningless words,<br />
And thought before I had done<br />
Of a mocking tale or a gibe<br />
To please a companion<br />
Around the fire at the club,<br />
Being certain that they and I<br />
But lived where motley is worn:<br />
All changed, changed utterly:<br />
A terrible beauty is born.<br />
Michael Robartes and the Dancer (1920) "Easter, 1916"<br />
Too long a sacrifice<br />
Can make a stone <strong>of</strong> the heart.<br />
O when may it suffice?<br />
Michael Robartes and the Dancer (1920) "Easter, 1916"<br />
I write it out in a verse--<br />
MacDonagh and MacBride<br />
And Connolly and Pearse<br />
Now and in time to be,<br />
Wherever green is worn,<br />
Are changed, changed utterly:<br />
A terrible beauty is born.<br />
Michael Robartes and the Dancer (1920) "Easter, 1916"<br />
Turning and turning in the widening gyre<br />
<strong>The</strong> falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;<br />
Mere anarchy is loosed upon the world,<br />
<strong>The</strong> blood-dimmed tide is loosed, and everywhere<br />
<strong>The</strong> ceremony <strong>of</strong> innocence is drowned;<br />
<strong>The</strong> best lack all conviction, while the worst<br />
Are full <strong>of</strong> passionate intensity.<br />
Michael Robartes and the Dancer (1920) "<strong>The</strong> Second Coming"<br />
<strong>The</strong> darkness drops again but now I know<br />
That twenty centuries <strong>of</strong> stony sleep<br />
Were vexed to nightmare by a rocking cradle,<br />
And what rough beast, its hour come round at last,<br />
Slouches towards Bethlehem to be born?<br />
Michael Robartes and the Dancer (1920) "<strong>The</strong> Second Coming"<br />
An intellectual hatred is the worst,<br />
So let her think opinions are accursed.<br />
Have I not seen the loveliest woman born<br />
Out <strong>of</strong> the mouth <strong>of</strong> Plenty's horn,<br />
Because <strong>of</strong> her opinionated mind<br />
Barter that horn and every good<br />
By quiet natures understood<br />
For an old bellows full <strong>of</strong> angry wind?<br />
Michael Robartes and the Dancer (1920) "A Prayer for My Daughter"<br />
<strong>The</strong> ghost <strong>of</strong> Roger Casement<br />
Is beating on the door.<br />
New Poems (1938) "<strong>The</strong> Ghost <strong>of</strong> Roger Casement"<br />
Think where man's glory most begins and ends<br />
And say my glory was I had such friends.<br />
New Poems (1938) "<strong>The</strong> Municipal Gallery Re-visited"<br />
You think it horrible that lust and rage<br />
Should dance attendance upon my old age;<br />
<strong>The</strong>y were not such a plague when I was young;<br />
What else have I to spur me into song?<br />
New Poems (1938) "<strong>The</strong> Spur"<br />
I thought no more was needed<br />
Youth to prolong<br />
Than dumb-bell and foil<br />
To keep the body young.<br />
Oh, who could have foretold<br />
That the heart grows old?<br />
Nine Poems (1918) "A Song"<br />
That is no country for old men. <strong>The</strong> young<br />
In one another's arms, birds in the trees--<br />
Those dying generations--at their song,<br />
<strong>The</strong> salmon-falls, the mackerel-crowded seas,<br />
Fish flesh or fowl, commend all summer long<br />
Whatever is begotten born and dies.<br />
Caught in that sensual music all neglect<br />
Monuments <strong>of</strong> unageing intellect.<br />
October Blast (1927) "Sailing to Byzantium"<br />
An aged man is but a paltry thing,<br />
A tattered coat upon a stick, unless<br />
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress.<br />
October Blast (1927) "Sailing to Byzantium"<br />
And therefore I have sailed the seas and come<br />
To the holy city <strong>of</strong> Byzantium.<br />
October Blast (1927) "Sailing to Byzantium"<br />
O body swayed to music, O brightening glance<br />
How can we know the dancer from the dance?<br />
October Blast (1927) "Among School Children"<br />
<strong>The</strong> Light <strong>of</strong> Lights<br />
Looks always on the motive, not the deed,<br />
<strong>The</strong> Shadow <strong>of</strong> Shadows on the deed alone.<br />
Poems (1895) "<strong>The</strong> Countess Cathleen" act 3<br />
<strong>The</strong> years like great black oxen tread the world,<br />
And God the herdsman goads them on behind,<br />
And I am broken by their passing feet.<br />
Poems (1895) "<strong>The</strong> Countess Cathleen" act 4<br />
Red Rose, proud Rose, sad Rose <strong>of</strong> all my days!<br />
Come near me, while I sing the ancient ways.<br />
Poems (1895) "To the Rose upon the Rood <strong>of</strong> Time"<br />
Rose <strong>of</strong> all Roses, Rose <strong>of</strong> all the World!<br />
Poems (1895) "<strong>The</strong> Rose <strong>of</strong> Battle"<br />
Down by the salley gardens my love and I did meet;<br />
She passed the salley gardens with little snow-white feet.<br />
She bid me take love easy, as the leaves grow on the tree;<br />
But I, being young and foolish, with her would not agree.<br />
In a field by the river my love and I did stand,<br />
And on my leaning shoulder she laid her snow-white hand.<br />
She bid me take life easy, as the grass grows on the weirs;<br />
But I was young and foolish, and now am full <strong>of</strong> tears.<br />
Poems (1895) "Down by the Salley Gardens"<br />
In dreams begins responsibility.<br />
Responsibilities (1914) epigraph<br />
Was it for this the wild geese spread<br />
<strong>The</strong> grey wing upon every tide;<br />
For this that all that blood was shed,<br />
For this Edward Fitzgerald died,<br />
And Robert Emmet and Wolfe Tone,<br />
All that delirium <strong>of</strong> the brave;<br />
Romantic Ireland's dead and gone,<br />
It's with O'Leary in the grave.<br />
Responsibilities (1914) "September, 1913"<br />
I made my song a coat<br />
Covered with embroideries<br />
Out <strong>of</strong> old mythologies<br />
From heel to throat;<br />
But the fools caught it,<br />
Wore it in the world's eye<br />
As though they'd wrought it.<br />
Song, let them take it<br />
For there's more enterprise
In walking naked.<br />
Responsibilities (1914) "A Coat"<br />
A woman <strong>of</strong> so shining loveliness<br />
That men threshed corn at midnight by a tress,<br />
A little stolen tress.<br />
<strong>The</strong> Secret Rose (1897) "To the Secret Rose"<br />
When shall the stars be blown about the sky,<br />
Like the sparks blown out <strong>of</strong> a smithy, and die?<br />
Surely thine hour has come, thy great wind blows,<br />
Far <strong>of</strong>f, most secret, and inviolate Rose?<br />
<strong>The</strong> Secret Rose (1897) "To the Secret Rose"<br />
Bald heads forgetful <strong>of</strong> their sins,<br />
Old, learned, respectable bald heads<br />
Edit and annotate the lines<br />
That young men, tossing on their beds,<br />
Rhymed out in love's despair<br />
To flatter beauty's ignorant ear.<br />
All shuffle there; all cough in ink;<br />
All wear the carpet with their shoes;<br />
All think what other people think;<br />
All know the man their neighbour knows.<br />
Lord, what would they say<br />
Did their Catullus walk that way?<br />
Selected Poems (1929) "<strong>The</strong> Scholars"<br />
Does the imagination dwell the most<br />
Upon a woman won or woman lost?<br />
If on the lost, admit you turned aside<br />
From a great labyrinth out <strong>of</strong> pride.<br />
<strong>The</strong> Tower (1928) "<strong>The</strong> Tower" pt. 2<br />
A sudden blow: the great wings beating still<br />
Above the staggering girl, her thighs caressed<br />
By the dark webs, her nape caught in his bill,<br />
He holds her helpless breast upon his breast.<br />
How can those terrified vague fingers push<br />
<strong>The</strong> feathered glory from her loosening thighs?<br />
<strong>The</strong> Tower (1928) "Leda and the Swan"<br />
A shudder in the loins engenders there<br />
<strong>The</strong> broken wall, the burning ro<strong>of</strong> and tower<br />
And Agamemnon dead.<br />
<strong>The</strong> Tower (1928) "Leda and the Swan"<br />
Never to have lived is best, ancient writers say;<br />
Never to have drawn the breath <strong>of</strong> life, never to have looked into the<br />
eye <strong>of</strong> day;<br />
<strong>The</strong> second best's a gay goodnight and quickly turn away.<br />
<strong>The</strong> Tower (1928) "From Oedipus at Colonus"<br />
I mourn for that most lonely thing; and yet God's will be done,<br />
I knew a phoenix in my youth so let them have their day.<br />
<strong>The</strong> Wild Swans at Coole (1917) "His Phoenix"<br />
I see a schoolboy when I think <strong>of</strong> him<br />
With face and nose pressed to a sweet-shop window,
For certainly he sank into his grave<br />
His senses and his heart unsatisfied,<br />
And made--being poor, ailing and ignorant,<br />
Shut out from all the luxury <strong>of</strong> the world,<br />
<strong>The</strong> ill-bred son <strong>of</strong> a livery stable-keeper--<br />
Luxuriant song.<br />
<strong>The</strong> Wild Swans at Coole (1917) "Ego Dominus Tuus" [<strong>of</strong> Keats]<br />
Nor law, nor duty bade me fight,<br />
Nor public man, nor angry crowds,<br />
A lonely impulse <strong>of</strong> delight<br />
Drove to this tumult in the clouds;<br />
I balanced all, brought all to mind,<br />
<strong>The</strong> years to come seemed waste <strong>of</strong> breath,<br />
A waste <strong>of</strong> breath the years behind<br />
In balance with this life, this death.<br />
<strong>The</strong> Wild Swans at Coole (1919) "An Irish Airman Foresees his Death"<br />
And pluck till time and times are done,<br />
<strong>The</strong> silver apples <strong>of</strong> the moon,<br />
<strong>The</strong> golden apples <strong>of</strong> the sun.<br />
<strong>The</strong> Wind Among the Reeds (1899) "Song <strong>of</strong> Wandering Aengus"<br />
Had I the heavens' embroidered cloths,<br />
Enwrought with golden and silver light,<br />
<strong>The</strong> blue and the dim and the dark cloths<br />
Of night and light and the half light,<br />
I would spread the cloths under your feet:<br />
But I, being poor, have only my dreams;<br />
I have spread my dreams under your feet;<br />
Tread s<strong>of</strong>tly because you tread on my dreams.<br />
<strong>The</strong> Wind Among the Reeds (1899) "Aedh Wishes for the Cloths <strong>of</strong> Heaven"<br />
<strong>The</strong> light <strong>of</strong> evening, Lissadell,<br />
Great windows open to the south,<br />
Two girls in silk kimonos, both<br />
Beautiful, one a gazelle.<br />
<strong>The</strong> Winding Stair (1929) "In Memory <strong>of</strong> Eva Gore Booth and Con Markiewicz"<br />
<strong>The</strong> innocent and the beautiful<br />
Have no enemy but time.<br />
<strong>The</strong> Winding Stair (1929) "In Memory <strong>of</strong> Eva Gore Booth and Con Markiewicz"<br />
Nor dread nor hope attend<br />
A dying animal;<br />
A man awaits his end<br />
Dreading and hoping all.<br />
<strong>The</strong> Winding Stair (1929) "Death"<br />
He knows death to the bone--<br />
Man has created death.<br />
<strong>The</strong> Winding Stair (1929) "Death"<br />
What lively lad most pleasured me<br />
Of all that with me lay?<br />
I answer that I gave my soul<br />
And loved in misery,<br />
But had great pleasure with a lad
That I loved bodily.<br />
Flinging from his arms I laughed<br />
To think his passion such<br />
He fancied that I gave a soul<br />
Did but our bodies touch,<br />
And laughed upon his breast to think<br />
Beast gave beast as much.<br />
<strong>The</strong> Winding Stair (1929) "A Woman Young and Old" pt. 9<br />
We were the last romantics--chose for theme<br />
Traditional sanctity and loveliness;<br />
Whatever's written in what poets name<br />
<strong>The</strong> book <strong>of</strong> the people; whatever most can bless<br />
<strong>The</strong> mind <strong>of</strong> man or elevate a rhyme;<br />
But all is changed, that high horse riderless,<br />
Though mounted in that saddle Homer rode<br />
Where the swan drifts upon a darkening flood.<br />
<strong>The</strong> Winding Stair and Other Poems (1933) "Coole and Ballylee, 1931"<br />
A woman can be proud and stiff<br />
When on love intent;<br />
But Love has pitched his mansion in<br />
<strong>The</strong> place <strong>of</strong> excrement;<br />
For nothing can be sole or whole<br />
That has not been rent.<br />
<strong>The</strong> Winding Stair and Other Poems (1933) "Crazy Jane Talks with the<br />
Bishop"<br />
A starlit or a moonlit dome distains<br />
All that man is;<br />
All mere complexities,<br />
<strong>The</strong> fury and the mire <strong>of</strong> human veins.<br />
Words for Music Perhaps and Other Poems (1932) "Byzantium"<br />
Those images that yet<br />
Fresh images beget,<br />
That dolphin-torn, that gong-tormented sea.<br />
Words for Music Perhaps and Other Poems (1932) "Byzantium"<br />
While on the shop and street I gazed<br />
My body <strong>of</strong> a sudden blazed;<br />
And twenty minutes more or less<br />
It seemed, so great my happiness,<br />
That I was blessŠd and could bless.<br />
Words for Music Perhaps and Other Poems (1932) "Vacillation"<br />
<strong>The</strong> intellect <strong>of</strong> man is forced to choose<br />
Perfection <strong>of</strong> the life, or <strong>of</strong> the work,<br />
And if it take the second must refuse<br />
A heavenly mansion, raging in the dark.<br />
Words for Music Perhaps and Other Poems (1932) "Coole Park and Ballylee,<br />
1932"<br />
Only God, my dear,<br />
Could love you for yourself alone<br />
And not your yellow hair.<br />
Words for Music Perhaps and Other Poems (1932) "Anne Gregory"<br />
Swift has sailed into his rest;
Savage indignation there<br />
Cannot lacerate his breast.<br />
Imitate him if you dare,<br />
World-besotted traveller; he<br />
Served human liberty.<br />
Words for Music Perhaps and Other Poems (1932) "Swift's Epitaph"<br />
Out <strong>of</strong> Ireland have we come.<br />
Great hatred, little room,<br />
Maimed us at the start.<br />
I carry from my mother's womb<br />
A fanatic heart.<br />
Words for Music Perhaps and Other Poems (1932) "Remorse for Intemperate<br />
Speech"<br />
What were all the world's alarms<br />
To mighty Paris when he found<br />
Sleep upon a golden bed<br />
That first night in Helen's arms?<br />
Words for Music Perhaps and Other Poems (1932) "Lullaby"<br />
24.3 Jack Yellen<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1892-1958<br />
Happy days are here again!<br />
<strong>The</strong> skies above are clear again.<br />
Let us sing a song <strong>of</strong> cheer again,<br />
Happy days are here again!<br />
Happy Days Are Here Again (1929 song; music by Milton Ager)<br />
I'm the last <strong>of</strong> the red-hot mamas.<br />
Title <strong>of</strong> song (1928; popularized by Sophie Tucker)<br />
24.4 Michael Young<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1915-<br />
<strong>The</strong> rise <strong>of</strong> the meritocracy 1870-2033.<br />
Title <strong>of</strong> book (1958)<br />
24.5 Waldemar Young et al.<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
We have ways <strong>of</strong> making men talk.<br />
Lives <strong>of</strong> a Bengal Lancer (1935 film; the words became a catch-phrase as<br />
"We have ways <strong>of</strong> making you talk")<br />
25.0 Z<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
25.1 Darryl F. Zanuck<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1902-1979
For God's sake don't say yes until I've finished talking.<br />
In Philip French <strong>The</strong> Movie Moguls (1969) ch. 5<br />
25.2 Emiliano Zapata<br />
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-<br />
1879-1919<br />
Muchos de ellos, por complacer a tiranos, por un pu¤ado de monedas, o por<br />
cohecho o soborno, est n derramando la sangre de sus hermanos.<br />
Many <strong>of</strong> them, so as to curry favour with tyrants, for a fistful <strong>of</strong> coins,<br />
or through bribery or corruption, are shedding the blood <strong>of</strong> their<br />
brothers.<br />
Plan de Ayala 28 Nov. 1911, para. 10 (referring to the maderistas who, in<br />
Zapata's view, had betrayed the revolutionary cause)<br />
25.3 Frank Zappa<br />
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1940-<br />
Rock journalism is people who can't write interviewing people who can't<br />
talk for people who can't read.<br />
In Linda Botts Loose Talk (1980) p. 177<br />
25.4 Robert Zemeckis and Bob Gale<br />
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Robert Zemeckis 1952-<br />
Bob Gale 1952-<br />
Back to the future.<br />
Title <strong>of</strong> film (1985)<br />
25.5 Ronald L. Ziegler<br />
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1939-<br />
Reminded <strong>of</strong> the President's previous statements that the White House was<br />
not involved [in the Watergate affair], Ziegler said that Mr Nixon's<br />
latest statement "is the Operative White House Position...and all previous<br />
statements are inoperative."<br />
Boston Globe 18 Apr. 1973<br />
25.6 Grigori Zinoviev<br />
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Armed warfare must be preceded by a struggle against the inclinations to<br />
compromise which are embedded among the majority <strong>of</strong> British workmen,<br />
against the ideas <strong>of</strong> evolution and peaceful extermination <strong>of</strong> capitalism.<br />
Only then will it be possible to count upon complete success <strong>of</strong> an armed<br />
insurrection.<br />
Letter to the British Communist Party, 15 Sept. 1924, in <strong>The</strong> Times 25 Oct.<br />
1924 (the "Zinoviev Letter," said by some to be a forgery: see Listener<br />
17 Sept. 1987)