People from Bucharest

"Old rules and habits have to be rejected and dismissed so that something new can be created."

"I started writing hits the day I sold my piano."

"The crude product of nature, the object fashioned by the industry of man, acquire their reality, their identity, only to the extent of their participation in a transcendent reality."

"In virtue of this, the artisan is a connoisseur of secrets, a magician; thus all crafts include some kind off initiation and are handed down by an occult tradition. He who 'makes' real things is he who knows the secret of making them."

"The Experience of Sacred Space makes possible the "founding of the world": where the sacred Manifests itself in space, the real unveils itself, the world comes into existence."

"Man becomes aware of the sacred because it manifests itself, shows itself, as something wholly different from the profane. To designate the act of manifestation of the sacred, we have proposed the term hierophany. It is a fitting term, because it does not imply anything further; it expresses no more than is implicit in its etymological content, i.e., that something sacred shows itself to us. It could be said that the history of religions — from the most primitive to the most highly developed — is constituted by a great number of hierophanies, by manifestations of sacred realities. From the most elementary hierophany — e.g. manifestation of the sacred in some ordinary object, a stone or a tree — to the supreme hierophany (which, for a Christian, is the incarnation of God in Jesus Christ) there is no solution of continuity. In each case we are confronted by the same mysterious act — the manifestation of something of a wholly different order, a reality that does not belong to our world, in objects that are an integral part of our natural "profane" world."

"These thirty years, and more, that I've spent among exotic, barbaric, indomitable gods and goddesses, nourished on myths, obsessed by symbols, nursed and bewitched by so many images which have come down to me from those submerged worlds, today seem to me to be the stages of a long initiation. Each one of these divine figures, each of these myths or symbols, is connected to a danger that was confronted and overcome. How many times I was almost lost, gone astray in this labyrinth where I risked being killed... These were not only bits of knowledge acquired slowly and leisurely in books, but so many encounters, confrontations, and temptations. I realize perfectly well now all the dangers I skirted during this long quest, and, in the first place, the risk of forgetting that I had a goal... that I wanted to reach a "center"."

"For those to whom a stone reveals itself as sacred, its immediate reality is transmuted into supernatural reality. In other words, for those who have a religious experience all nature is capable of revealing itself as cosmic sacrality."

"A religious phenomenon will only be recognized as such if it is grasped at its own level, that is to say, if it is studied as something religious. To try to grasp the essence of such phenomenon by means of physiology, psychology, sociology, economics, linguistics, art or any other study is false; it misses the one unique and irreducible element in it — the element of the sacred."

"Psychoanalysis justifies its importance by asserting that it forces you to look to and accept reality. But what sort of reality? A reality conditioned by the materialistic and scientific ideology of psychoanalysis, that is, a historical product..."

"The History of Religions is destined to play an important role in contemporary cultural life. This is not only because an understanding of exotic and archaic religions will significantly assist in a cultural dialogue with the representatives of such religions. It is more especially because … the history of religions will inevitably attain to a deeper knowledge of man. It is on the basis of such knowledge that a new humanism, on a world-wide scale, could develop."

"It is not without fear and trembling that a historian of religion approaches the problem of myth. This is not only because of that preliminary embarrassing question: what is intended by myth? It is also because the answers given depend for the most part on the documents selected."

"The history of religions reaches down and makes contact with that which is essentially human: the relation of man to the sacred. The history of religions can play an extremely important role in the crisis we are living through. The crises of modern man are to a large extent religious ones, insofar as they are an awakening of his awareness to an absence of meaning."

"The interpretations of Freud are more and more successful because they are among the myths accessible to modern man. The myth of the murdered father, among others, reconstituted and interpreted in Totem and Taboo. It would be impossible to ferret out a single example of slaying the father in primitive religions or mythologies. This myth was created by Freud. And what is more interesting: the intellectual élite accept it (is it because they understand it? Or because it is "true" for modern man?)"

"TRINITY. Trinitarian doctrine touches on virtually every aspect of Christian faith, theology, and piety, including Christology and pneumatology, theological epistemology (faith, revelation, theological methodology), spirituality and mystical theology, and ecelesial life (sacraments, community, ethics). This article summarizes the main lines of trinitarian doctrine without presenting detailed explanations of important ideas, persons, or terms. The doctrine of the Trinity is the summary of Christian faith in God, who out of love creates humanity for union with God, who through Jesus Christ redeems the world, and in the power of the Holy Spirit transforms and divinizes (2 Cor. 3:18). The heart of trinitarian theology is the conviction that the God revealed in Jesus Christ is involved faithfully and unalterably in covenanted relationship with the world. Christianity is not unique in believing God is "someone" rather than something," but it is unique in its belief that Christ is the personal Word of God, and that through Christ's death and resurrection into new life, "God was in Christ reconciling all things to God" (2 Cor. 5:19). Christ is not looked upon as an intermediary between God and world but as an essential agent of salvation. The Spirit poured out at Pentecost, by whom we live in Christ and are returned to God (Father), is also not a "lesser God" but one and the same God who creates and redeems us. The doctrine of the Trinity is the product of reflection on the events of redemptive history, especially the Incarnation and the sending of the Spirit."

"Exegetes and theologians today are in agreement that the Hebrew Bible does not contain a doctrine of the Trinity, even though it was customary in past dogmatic tracts on the Trinity to cite texts like Genesis 1:26, "Let us make humanity in our image, after our likeness" (see also Gn. 3:22, 11:7; Is. 6:23) as proof of plurality in God. Although the Hebrew Bible depicts God as the father of Israel and employs personifications of God such as Word (davar), Spirit (ruah), Wisdom (hokhmah), and Presence (shekhinah), it would go beyond the intention and spirit of the Old Testament to correlate these notions with later trinitarian doctrine. Further, exegetes and theologians agree that the New Testament also does not contain an explicit doctrine of the Trinity. God the Father is source of all that is (Pantokrator) and also the father of Jesus Christ; "Father" is not a title for the first person of the Trinity but a synonym for God. Early liturgical and creedal formulas speak of God as "Father of our Lord Jesus Christ"; praise is to be rendered to God through Christ (see opening greetings in Paul and deutero-Paul)."

"It is above all the valorizing of the present that requires emphasizing. The simple fact of existing, of living in time, can comprise a religious dimension. This dimension is not always obvious, since sacrality is in a sense camouflaged in the immediate, in the "natural" and the everyday. The joy of life discovered by the Greeks is not a profane type of enjoyment: it reveals the bliss of existing, of sharing — even fugitively — in the spontaneity of life and the majesty of the world. Like so many others before and after them, the Greeks learned that the surest way to escape from time is to exploit the wealth, at first sight impossible to suspect, of the lived instant."

"To believe that I could, at twenty-three, sacrifice history and culture for "the Absolute" was further proof that I had not understood India. My vocation was culture, not sainthood."

"When the sacred manifests itself in any hierophany, there is not only a break in the homogeneity of space; there is also a revelation of an absolute reality, opposed to the nonreality of the vast surrounding expanse. The manifestation of the sacred ontologically founds the world. In the homogenous and infinite expanse, in which no point of reference is possible and hence no orientation can be established, the hierophany reveals an absolute fixed point, a center."

"It would be frightening to think that in all the cosmos, which is so harmonious, so complete and equal to itself, that only human life is happening randomly, that only one's destiny lacks meaning."

"The way towards 'wisdom' or towards 'freedom' is the way towards your inner being. This is the simplest definition of metaphysics."

"The worldly man lives in society, marries, establishes a family; Yoga prescribes absolute solitude and chastity. The worldly man is “possessed” by his own life; the yogin refuses to “let himself live”; to continual movement, he opposes his static posture, the immobility of āsana; to agitated, unrhythmical, changing respiration, he opposes prānāyāma, and even dreams of holding his breath indefinitely; to the chaotic flux of psychomental life, he replies by “fixing thought on a single point,” the first step to that final withdrawal from the phenomenal world which he will obtain through pratyāhāra. All of the yogic techniques invite to one and the same gesture—to do exactly the opposite of what human nature forces one to do. From solitude and chastity to samyama, there is no solution of continuity. The orientation always remains the same—to react against the “normal,” “secular,” and finally “human” inclination."

"In Dhaka, Muslims have started riots with the complicity of the police. They attacked the houses of the Hindus, raped the women and slaughtered all those who resisted. They burned down whole neighbourhoods under the eyes of the policemen. These only intervened when a Hindu grabbed a weapon to defend himself. In that case, they entered the house, seized the weapons and arrested the men. The Muslims were armed; they on their part did have that right. All attempts by Congress to brng them to peace have failed."

"The psychological and parapsychological experience of the East in general, and of yoga in particular, is unchallengeably more extensive and more organized than the experience on which the Western theories of the structure of the psyche have been erected."

"The hearer of myth, regardless of his level of culture, when he is listening to a myth, forgets, as it were, his particular situation and is projected into another world, into another universe which is no longer his poor little universe of every day. . . . The myths are true because they are sacred, because they tell him about sacred beings and events. Consequently, in reciting or listening to a myth, one resumes contact with the sacred and with reality, and in so doing one transcends the profane condition, the "historical situation." In other words one goes beyond the temporal condition and the dull self-sufficiency which is the lot of every human being simply because every human being is "ignorant" — in the sense that he is identifying himself, and Reality, with his own particular situation. And ignorance is, first of all, this false identification of Reality with what each one of us appears to be or to possess."

"The great cosmic illusion is a hierophany.... One is devoured by Time, not because one lives in Time, but because one believes in its reality, and therefore forgets or despises eternity."

"It is only through the discovery of History — more precisely by the awakening of the historical consciousness in Judaeo-Christianity and its propagation by Hegel and his successors — it is only through the radical assimilation of the new mode of being represented by human existence in the world that myth could be left behind. But we hesitate to say that mythical thought has been abolished. As we shall soon see, it managed to survive, though radically changed (if not perfectly camouflaged). And the astonishing fact is that, more than anywhere else it survives in historiography!"

"In archaic and traditional societies, the surrounding world is conceived as a microcosm. At the limits of this closed world begins the domain of the unknown, of the formless. On this side there is ordered — because of inhabited and organized — space; on the other, outside this familiar space, there is the unknown and dangerous region of the demons, the ghosts, and the dead and foreigners — in a world, chaos or death or night. This image of an inhabited microcosm, surrounded by desert regions as a chaos or a kingdom of the dead, has survived even in highly evolved civilizations such as those of China, Mesopotamia and Egypt."

"For the past fifty years at least, Western scholars have approached the study of myth from a viewpoint markedly different from, let us say, that of the nineteenth century. Unlike their predecessors, who treated myth in the usual meaning of the word, that is, as "fable," "invention," "fiction," they have accepted it as it was understood in archaic societies, where, on the contrary, "myth" means a "true story" and, beyond that, a story that is a most precious possession because it is sacred, exemplary, significant. This new semantic value given the term "myth" makes its use in contemporary parlance somewhat equivocal. Today, that is, the word is employed both in the sense of "fiction" or "illusion" and in that familiar especially to ethnologists, sociologists, and historians of religions, the sense of "sacred tradition, primordial revelation, exemplary model." … the Greeks steadily continued to empty mythos of all religious and metaphysical value. Contrasted both with logos and, later, with historia, mythos came in the end to denote "what cannot really exist." On its side, Judaeo-Christianity put the stamp of "falsehood" and "illusion" on whatever was not justified or validated by the two Testaments."

"Myth is an extremely complex cultural reality, which can be approached and interpreted from various and complementary viewpoints. Speaking for myself, the definition that seems least inadequate because most embracing is this: Myth narrates a sacred history; it relates an event that took place in primordial Time, the fabled time of the "beginnings." In other words myth tells how, through the deeds of Supernatural Beings, a reality came into existence, be it the whole of reality, the Cosmos, or only a fragment of reality — an island, a species of plant, a particular kind of human behavior, an institution. Myth, then, is always an account of a "creation"; it relates how something was produced, began to be. Myth tells only of that which really happened, which manifested itself completely. The actors in myths are Supernatural Beings. They are known primarily by what they did in the transcendent times of the "beginnings." hence myths disclose their creative activity and reveal the sacredness (or simply the "supernaturalness") of their works. In short, myths describe the various and sometimes dramatic breakthroughs of the sacred (or the "supernatural") into the World. It is this sudden breakthrough of the sacred that really establishes the World and makes it what it is today. Furthermore, it is as a result of the intervention of Supernatural Beings that man himself is what he is today, a mortal, sexed, and cultural being."

"Whereas "false stories" can be told anywhere and at any time, myths must not be recited except during a period of sacred time (usually in autumn or winter, and only at night).... This custom has survived even among peoples who have passed beyond the archaic stage of culture. Among the Turco-Mongols and the Tibetans the epic songs of the Gesar cycle can be recited only at night and in winter."

"In one way or another one "lives" the myth, in the sense that one is seized by the sacred, exalting power of the events recollected or re-enacted. "Living" a myth, then, implies a genuinely "religious" experience, since it differs from the ordinary experience of everyday life. The "religiousness" of this experience is due to the fact that one re-enacts fabulous, exalting, significant events, one again witnesses the creative deeds of the Supernaturals; one ceases to exist in the everyday world and enters a transfigured, auroral world impregnated with the Supernaturals' presence. What is involved is not a commemoration of mythical events but a reiteration of them. The protagonists of the myth are made present; one becomes their contemporary. This also implies that one is no longer living in chronological time, but in the primordial Time, the Time when the event first took place. This is why we can use the term the "strong time" of myth; it is the prodigious, "sacred" time when something new, strong, and significant was manifested. To re-experience that time, to re-enact it as often as possible, to witness again the spectacle of the divine works, to meet with the Supernaturals and relearn their creative lesson is the desire that runs like a pattern through all the ritual reiterations of myths. In short, myths reveal that the World, man, and life have a supernatural origin and history, and that this history is significant, precious, and exemplary."

"In imitating the exemplary acts of a god or of a mythic hero, or simply by recounting their adventures, the man of an archaic society detaches himself from profane time and magically re-enters the Great Time, the sacred time."

"As long as you have not grasped that you have to die to grow, you are a troubled guest on the dark earth."

"Mircea Eliade is preeminent as the scholarly prophet of a "new humanism" that it is hoped will bring man back to the "sacred" Eliade believes pre-modern man to have discerned in "being." … Eliade in his many writings is reminding us of past man's vision of life amidst the sacred that present man must regain if there is to be future man... Eliade the novelist and man of letters and Eliade the scholar and writer of learned tomes are not two men, but one who through his combination of sensitive, empathetic scholarship, and aesthetic appreciation and insight recognized the ultimate nature of the sacrality of being, and the terror of man when the sense of that sacrality is lost."

"The breadth and depth of Eliade's learning, which astonished all who met him, his reverence toward the tradition he studied, and his intense, infectious enthusiasm, were an assurance that, if anyone could find what was religious about religion(s), he could. I believe the record shows that he could not. As a result, we now know a great deal more about religion(s) and we can ask totally new questions about it/them."

"Like Freud and Jung and Rudolf Otto, all of whom contributed deep strands to his work, Eliade argued boldly for universals where he might more safely have argued for widely prevalent patterns. Yet many of the patterns that he identified in religions that spanned the entire globe and the whole of human history — a span that no one has ever known as well as he did — inspired an entire generation of both scholars and amateurs of the study of religion, and they still prove useful as starting points for the comparative study of religion and still hold water even after the challenges posed by new data to which Eliade did not have access. His concept of hierophany, the sudden irruption of the sacred in the profane world, sacred time opening to the transcendent, resulting in radical discontinuities, has proved a far more widely applicable and heuristic term than the older, narrower term "theophany," denoting the manifestation of a god. And his argument that religious forms, particularly myths, are usefully studied in popular culture as well as in the great scriptures is a postmodern idea that he formulated long before postmodernism. He taught us that myths (and, to a great extent, rituals) retold and reenacted in the present transport the worshipper back to the world of origins, the world of events that took place in illo tempore, "in that time"; this basic idea of what he called (after Nietzsche) "the eternal return" has become a truism in the study of religion and does, I think, apply to many mythologies, though not, as Eliade claimed, to all. His ideas about the alternation and interaction of cosmos and chaos, and cyclical/mythical time and linear/historical time, the sacred and the profane, are similarly fruitful starting points for many, if not all, cultures. Above all, his insistence that it is possible to find meaningful synchronic patterns of symbolism in addition to the phenomena that are unique to each time and place — this is the foundation on which the entire field of comparative religion still stands, and Eliade laid the cornerstone."

"I prostrate in front of the memory of Mircea, my unforgettable friend. I am, in my moments of sadness, obliged to those who have permitted me to say that we have loved him, admired him, respected him and that once more he, Mircea, does never cease to be missed spiritually and emotionally, by all of us. But his work, so rich, so immense, still exists."

"Eliade's interest is neither in the concept of profane experience nor in the derived concept of the sacred, but rather in the way these two are actually experienced. It is the phenomenological method that claims to describe these experiences of the sacred and the profane... When Eliade defines myth as a "true story" he is giving us a phenomenological description. For the people for whom the myth is a true story, it is not a figment of the imagination or merely a subjective belief but the perceived reality in which they live out their lives. What constitute's one's life, is the world fraught with meaning and value. It is the living perception of people. That and that alone is what is meant by phenomena."

"Mircea Eliade was motivated at all times by a deep concern for the future of Western civilisation, which he saw as threatened by possible extinction. He believed it essential that we recognise and acknowledge the archaic and the Eastern contributions to man's spiritual history while there is still time to do so with good grace. Otherwise, by maintaining an attitude of contempt or superiority towards the rest of the world — past and present — we would bring disaster on ourselves and the world as a whole. Eliade's whole life was devoted to trying to save the world's culture by introducing it to itself. … His disciples are legion, and to a large extent he actually created both the academic subject itself and the institutional movement which led to the founding of all the departments and professorships which now abound in the history of religions. But during his entire career one great mystery remained: what did Eliade himself believe? In Ordeal by Labyrinth he admits that he never wished to distract his readers or his students with his own personal opinions, despite his ability to appear to act as an advocate for each religion in turn as he surveyed it. Perhaps this was Eliade's finest and most fitting gift of all: the complete obliteration of his private self in the pursuit of his higher aims. How ironic it is, then, that as a result we will never be able to forget him."

"While the Christian apostles preached their ideal in the open, the Talmud hides; and its two appendages, the Kahal and Freemasonry, are even more invisible. The three of them use, in order to remain in the dark, a scabrous and accursed means, namely the lie. In other words, the lie is the basis of the system used by Jews, to whom one can say.. 'You speak, therefore you be.' But the lie has a mortal enemy, namely the truth. For truth is the distinctive trait of Christianity."

"The Kahal is the organization of the Jewish nation. It is the result of the Talmudic dogma of Chosen People, the doctrine under which the Jews should not merge with other nations, because God has promised them to have all the earth and to rule the world... The Kahal organization is mysterious which, wrapped in the innocuous appearance of religious communities, made possible the preservation of the Jewish people, amid strong nations which he broke, or is on the road to destroy."

"The Kahal is the corrupting factor which changes our state - it is the cause of the seizure, the trusts, the failures that undermine trade, industry and agriculture in Romania - it is the body that wanders through the public newspapers which it subsidizes - it is the agent spreading the insidious ideas of materialism and liberalism, socialism, anarchism - it is the power of occult Freemasonry. The Kahal is, finally, the agent of revolutions that shook the world and, for some time, troubled the peace of the wretched Romanian people. This is the occult Jewish power against which mankind is disarmed, because they do not know."

"You see, it is not enough to be a great composer. To write music like that you must be a chosen instrument of God."

"The Romanian pianist Dinu Lipatti, just thirty-three when he died, made his precious few recordings while suffering from leukaemia and searching with increasing desperation for emergent cures. Despite his condition, there is nothing of the sickbed about his performances. A student of the iconoclastic Alfred Cortot, who did much to advance his career by word of recommendation, Lipatti’s crisp, witty articulation overturns the image of Chopin himself as a morbid melancholic, not long for this world. … Lipatti’s energy and optimism made even the gloomier waltzes in minor keys sparkle and sway. The run of B minor, E minor and A minor in the middle of the series amounts in his hands to a kaleidoscope of subtly shifting moods within a Chekovian stage set, dramatic and irresoluble. Lipatti went on after the recording to play a concerto in Lucerne and a solo recital in Besancon, but the respite was short lived and he was gone by Christmas. The few discs he left behind-Mozart and Schumann concertos with Karajan; a recital of Bach, Mozart, Schubert and Chopin; and the Chopin waltzes and nocturnes-reveal a pianist of expressive genius who nonetheless allowed the music to speak for itself. Although Rubinstein and Horowitz were more celebrated in Chopin, Lipatti was the pianists’ Chopin pianist."

"In this performance, this partita is really prodigious. Bach's beauty and charm; a magnificent piano tone and a magnificent pianist!"

"The kind of playing that encourages me is playing that lets me in, so to speak: the pianist, by the intimacy of his or her playing, makes me feel that I would want to play that way too. The work of Dinu Lipatti, who turned out burningly pure performances of Mozart and Chopin, exudes that sense, as does the work of a relatively obscure school of British pianists—Myra Hess, Clifford Curzon, the great Solomon, and the equally fine Benno Moiseiwitsch. Today Daniel Barenbboim, Radu Lupu, and Perahia carry on in that vein."

"Dinu Lipatti from Rumania worked with Cortot in Paris. His death in 1950 at the age of 33 took away a pianist who would have been one of the major figures of the century. He had everything—technique, style, a beautiful sound, sensitivity, musicianship, elegance."

"George M., In spite of the fact that this fight has taken on such profound dimensions my deep affection for you insists on keeping you a very central figure. Only the fact that I am deeply moved will excuse me from this note which I am writing with great respect. At the Equity meeting yesterday afternoon the thought occurred to me often, notwithstanding the thrill and fine feeling of the occasion itself, that it was not perfect without you, that I couldn't get the idea out of my mind that you would be happier if you were there. This occurs to me as so possible a course for you that from my modest position I am going to suggest it: that you do now, with the situation locked, forgive some things that have offended you and acknowledge—with the humility which will exalt the high position that your people, the actors, have so generously given you—that you yourself did temporarily lose your way. As I said in the beginning of this note, my deep affection for you will surely absolve me from an attempt to instruct you impertinently. I am honestly tying to serve you. Very hopefully yours, Eddie"

"You can tell them that I live passionately. In fact, you may go further and say that unless a human being lives passionately, he may almost as well be dead. Now passion and sex are usually confused, but life without a passion for living is a pretty dull procedure. I have a passion for acting, for music, for art and, thank God, I have the opportunity to express myself in the first and to indulge myself in the other two."

"I was not alone. The atmosphere, after the joys of the armistice, was strange and foreboding for those of us who sought a world of peace and international comity. Woodrow Wilson had, as Martin Luther King had, a dream, and I shared that dream—all fourteen points of it—and watched it come to nothing. (I was in the press gallery of the House of Representatives when President Woodrow Wilson returned from Europe and addressed Congress. I saw Senator Henry Cabot Lodge avoiding him. I heard Wilson's muted passion, and I cried.) What a splendid vision the League of Nations was; how sickening to watch it scuttled."

"You know, I've always figured the waiting is what I get paid for. The acting I do free."

"He's the greatest bull artist in the world—and only occasionally the greatest artist in the world."

"Did it ever occur to anyone how boring his pictures are?"

"I'm told he's no longer a hero and he could have done more for the Jews, that he had a mistress. Well, count up the score. He turned the twentieth century around; without him, I think we'd all be ruled by a commissariat."

"He may yet turn out to have greatness in him despite himself. I think his kind of ambition is indeed a grievous thing; now that he cannot be reelected, maybe he'll let his humanity emerge. There simply has to be more to the man than he lets us see."

"I love everything he stands for; I just wish he didn't love it so much. He needs a director to tell him when he's made his point. I think he'd have been a good President."

"The greatest actor of the century, and lucky he was out of politics before TV. Like William Jennings Bryan, he could never have read from cue cards."

"I always keep four or five books on my bed table, and each night I read a little of each; I guess I can't concentrate on any one at a time. But I always finish them."

"I hated every minute of it and couldn't stop crying."

"I think it should be declared illegal. I don't think we should gamble on wheat futures."

"I went to see one. It did nothing for me. But I think that has to do with my age, not my morals."

"I think he means everything he says, but he says it so badly that he sounds like a ventriloquist's dummy. His ambition was also grievous."

"Sandy Koufax, come home!"

"He belonged to more causes than I did. I think I had a letter from him every other day asking for money. I always responded."

"I'd rather see Joe Louis punch than listen to Muhammad Ali recite."

"It's the word I dislike, not the food. Give me a piece of bread and butter and I'll enjoy it. Now tell me it's margarine and I'll throw up."

"I think he, Christ and Marx are responsible for the world being the way it is—and I confer my thanks upon all of them, as I withhold it."

"The first symptom is that hair grows on your ears. It's very disconcerting."

"No matter how big you get, check out all the props. Make certain they're where they're supposed to be. In The Racket, I was supposed to be gunned down. One night the poor actor shooting me had no blanks in his pistol, so I had no cue. Improvising out of pure desperation, I changed Bart Cormack's play and died of a heart attack. It was simulated, but it was almost real."

"I may be wrong, but I don't think a picture of mine ever played there. It was , and I played mostly at the Strand, which wasn't exactly Woolworth's, but close."

"I'm breaking all the rules, but I have to say you have been my idol. I admit being jealous of an actor. How I would like to have been what you are. How I wish my career had approximated yours. You have never deserted or failed to serve our profession. Sir, to be presented an award by you gives me infinite pride. You, being a Lord, have raised me to a slightly higher position. I don't feel that I'm quite such a commoner. But, more important, I'm Eddie and you're Larry. And how much easier that is."

"I was invited to do a picture—a nineteen-day marvel called Big Leaguer, with Edward G. Robinson as a baseball manager. Eddie Robinson was a marvelous actor and a brilliant man, but he was physically uncoordinated. He would walk to first base and trip over home plate."

"In one scene where I'm driving in a convertible with Eddie Robinson and in the back, I'm supposed to imitate all these bird tweets. We did the scene against a transparency, then Eddie rushes to the director, Lloyd Bacon, and barks, "Ralph is interpolating bird whistles not in the script. He's trying to steal the scene with those tweets." We all dissolved in laughter but Eddie was dead serious."

"Edward G. Robinson can play an innocent man inadvertently confused in crime as no one else. Whether it's Mr. Robinson's face, character, or plain old ability, or perhaps all three, we can't decide. Anyway, he shines again in just such a role—a mild, home-loving professor with a corpse on his hands, and in the home of a beautiful woman not his wife, to boot."

"Our Saviour Jesus Christ has never said that everything turns into success, that everything goes step by step. This was proven in times of persecution, in times of all kinds of suffering. What is utterly important is continuity in the mission of the Church, because God does not always judge by figures, by how many things we have accomplished, but by how faithful we have been."

"Yahoo has a very large, diverse, and fast growing user base plus massive amounts of content and data."

"This is the perfect environment for fundamental research on the Web."

"I am excited to join Yahoo!’s leading Internet researchers in exploring emerging search technologies that will distill all the information that the Web has to offer to the maximum benefit of our users."

"The industry is pretty small, and I had offers from Yahoo and the other big guys in search."

"I have many friends at all three, and no matter which one I chose, two-thirds of my friends would be unhappy that I didn’t chose them."

"My background is research."

"People often ask what is the difference between research and advanced development."

"It’s a very interesting question these days, because it used to be that research looks five years forward and advanced development is much shorter term."

"That’s not true any longer because the cycle has become so short."

"Research and advanced development are beginning to sync up."

"The goal of research is to advance the state of the art in the world."

"The entire research community together advances the state of the art."

"Companies, such as IBM and Microsoft, support research because the pie gets larger and everyone benefits."

"Yahoo intends to pursue a similar open approach to development, research and publishing and the research environment and goals at Yahoo are more compelling to me right now."

"I was in New York, but I am very glad to be back in California."

"I was working in Hawthorne, just outside of Manhattan, and lived in Riverdale, it was nice."

"There’s no place like New York, culturally."

"By the way, we have offices in New York; Yahoo Research has an outfit there in the old HotJobs office."

"I broke my shoulder skiing four years ago, and now that I’ve moved back to California."

"Not while skiing, but While I was at AltaVista, I traveled a lot."

"On a trip from Rome to Zurich, I was writing email and doing other things you normally do on a business trip, and seated next to me was a Korean-American girl, 9 years old, very talkative."

"She was asking me lots of questions, what do you do, what kind of computer is that."

"I was telling her I work at AltaVista."

"I know that it’s a search engine, but we are not allowed to use it."

"So a precocious 9 year old knows what I am working on, that was pretty amazing. *If I had said Digital or Compaq, she would have no idea what I was talking about."

"That’s the magic of the web."