People From Birmingham

""All men", said Aristotle, "by nature desire to know." The pursuit of truth, the effort to comprehend, arrange, interpret some aspect or other of the universe we perceive, is an activity of humanity which justifies, rewards and motivates itself. The study of something for its own sake, for the sake of knowing, understanding, grasping it and for nothing else, is an essential characteristic of education, lower or higher, though more obviously of higher education. The content of education must therefore be that which men would wish to know for its own sake."

"We exist to say to the nation that its future, economically and socially, will best be what the people themselves make it; that the possibilities which lie open to their ingenuity, effort and initiative are wider far than any government could conceive, still less bring to pass; and that the duty of government is to help, but never constrain, the free development of the nation's resources and talents. We offer neither servitude, nor the safety, ease and irresponsibility of servitude. We offer freedom, and the risks, the dangers, the uncertainties, the untidinesses, but also the responsibilities and the opportunities which are inseparable from it."

"Society is much more than a collection of individuals acting together, even through the complex and subtle mechanisms of the free economy, for material advantage. It has an existence of its own; it thinks and feels; it looks inwards, as a community to its own members; it looks outwards as a nation, into a world populated by other societies, like or unlike itself. The Tory Party, with its deep sense of history, has always concerned itself especially with these two aspects of society, and I believe that the British people would instinctively and rightly reject a philosophy which offered them just an economic machine, however efficient and successful."

"Their fate will be in each other's hands as they decide whether to share or to shaft."

"We're told that the Arabs loathe us. Really? For liberating the Iraqis? For subsidising the lifestyles of people in Egypt and Jordan, to name but two, for giving them vast amounts of aid? For providing them with science, medicine, technology and all the other benefits of the West? They [Arabs] should go down on their knees and thank God for the munificence of the United States. What do they think we feel about them? That we adore them for the way they murdered more than 3,000 civilians on September 11 and then danced in the hot, dusty streets to celebrate the murders? That we admire them for the cold-blooded killings in Mombasa, Yemen and elsewhere? That we admire them for being suicide bombers, limb-amputators, women repressors?"

"The orgy of thieving in Iraq has more to do with the character of the people than the absence of restraining troops. And to think that good, decent, law-abiding young British and American men and women laid down their lives to liberate this thieving mob."

"The indigenous population is not responsible.... It is the foreigners that we have to focus on."

"A country peopled by peasants, priests and pixies."

"Moslems everywhere behave with equal savagery. They behead criminals, stone to death female — only female — adulteresses, throw acid in the faces of women who refuse to wear the chador, mutilate the genitals of young girls and ritually abuse animals."

"They Muslims] are backward and evil and if it is racist to say so... then racist I must be — and happy and proud, to be so."

"I didn't really hit him. If I had, he'd have stayed down."

"If you've got everybody collaborating on a mass scale; you can't be stopped. You can do anything, man. You can move mountains. If all the kids in this estate were a piecing, can you imagine what a beautiful place it would be?"

"There can never be another Murray Walker. We will try to enjoy Formula One and motor racing without him, but it will never be the same. Unless I am mistaken, we've lost an institution."

"I wouldn't want to stop making those gaffes, even if I could. People realise I am flesh and blood. I am not sensitive about it. It's just my enthusiasm. I want to say so much more than I have time for."

"I'm a frustrated driver. I would love to be out on the track instead of them. I look at them with envy."

"We all make mistakes, but when I made mistakes there was no filter between me and the consumer."

"I don't make mistakes. I make prophecies that immediately turn out to be wrong."

"My target audience in my mind was not the dedicated, dyed-in-the-wool knowledgeable anorak, who would watch anything and listen to anything on the subject. It was the un-committed, uninvolved and probably not very enthusiastic ordinary folks who were watching at home. I wanted to grip them by the throats and say 'Hey look this is fantastic! I love it and you ought to love it too. And here's why!'"

"Motor racing can never be totally safe and it never should be in my opinion. But thank God it's a lot safer now."

"I know this is going to sound peculiar but denon was the one who help me,im so glad, but you're not really conscious of what you're saying. You see a picture in front of you and it's your job to interpret that picture for the viewers at home and put what they are seeing into context with everybody else in the race. You use whatever words come into your head at the time. It's not something that you can think about."

"I was often in the pit lane the noise was indescribable and I've no doubt that is why my hearing was affected."

"I miss it enormously. I miss the buzz. I miss the adrenalin and I miss shouting into the microphone. I miss the atmosphere, I miss the camaraderie. But I don't miss it as much as I might have done, because I haven't had a total withdrawal."

"In my defence...it depends how you define the word 'mistake'. What people call Murrayisms are malapropisms or getting the words in the wrong order. You're standing there in front of a TV set and getting live pictures. The words are pouring out of you. You have to say what comes into your head, and sometimes the wrong words come, in the wrong order or I'd make prophecies which immediately turned out to be wrong."

"Andrea de Cesaris, the man who has won more Grands Prix than anybody else in the history of Grand Prix racing without actually winning one of them."

"Every speech, for Olivier, is like a mass of marble at which the sculptor chips away until its essential form and meaning are revealed. No matter how ignoble the character he plays, the result is always noble as a work of art."

"In most writers, style is a welcome, an invitation, a letting down of the drawbridge between the artist and the world. Shaw had no time for such ruses. Unlike most of his countrymen, he abominated charm, which he regarded as evidence of chronic temperamental weakness."

"All writing is an antisocial act, since the writer is a man who can speak freely only when alone; to be himself he must lock himself up, to communicate he must cut himself off from all communication; and in this there is something always a little mad."

"What, when drunk, one sees in other women, one sees in Garbo sober."

"Welles is at once as abnormal and as natural as Niagara Falls."

"One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself."

"The buttocks are the most aesthetically pleasing part of the body because they are non-functional. Although they conceal an essential orifice, these pointless globes are as near as the human form can ever come to abstract art."

"Judge and prosecutor had hammered it home that Lady Chatterly was an immoral woman, that she had had sexual relations before marriage, that she had committed adultery under her husband's roof; as if these charges somehow disqualified her from participation in serious literature. Indeed, there were long periods of the trial during which an outsider might well have assumed that a divorce case was being heard."

"Everyone is vulnerable who is at once gifted and gregarious."

"Does the critic wish to influence the kind of film that costs more than £250,000? It is as if he were to send a postcard to General Motors explaining that he would like them to make a raft next year, or a helicopter, instead of a car."

"I attacked those Western playwrights who use their influence and affluence to preach to the world the nihilistic doctrine that life is pointless and irrationally destructive, and that there is nothing we can do about it. Until everyone is fed, clothed, housed and taught, until human beings have equal leisure to contemplate the overwhelming fact of mortality, we should not (I argued) indulge in the luxury of "privileged despair.""

"When a society has doubts about its future, it tends to produce spokesmen whose main appeal is to the emotions, who argue from intuitions, and whose claim to be truth-bearers rests solely on intense personal feeling."

"How far should one accept the rules of the society in which one lives? To put it another way: at what point does conformity become corruption? Only by answering such questions does the conscience truly define itself."

"The man who reacts to the universe with a cry of impotent anguish is acceptable as an artist only if he can persuade us that he has sanely considered the other possible reactions and found them inadequate."

"We shall be judged by what we do, not by how we felt while we were doing it."

"A villain who shares one's guilt is inevitably more attractive than a hero convinced of one's innocence."

"When you've seen all of Ionesco's plays, I felt at the end, you've seen one of them."

"People have always needed art: but why have they needed it? And what shaped the forms by which they satisfied their need? … In the arts form tends to be conservative, and content to be revolutionary; it is novelty of content that precedes, demands and imposes novelty of form."

"John Osborne spoke out in a vein of ebullient, free-wheeling rancour that betokened the arrival of something new in the theatre — a sophisticated, articulate lower-class. Most of the critics were offended by Jimmy Porter, but not on account of his anger; a working-class hero is expected to be angry. What nettled them was something quite different: his self-confidence. This was no envious inferior whose insecurity they could pity."

"A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening."

"If a play does anything either tragically or comically satirically or farcically — to explain to me why I am alive, it is a good play. If it seems unaware that such questions exist, I tend to suspect that it's a bad one."

"Not content to have the audience in the palm of his hand; he goes one further and clinches his fist."

"The unique thing about Margaret Rutherford is that she can act with her chin alone. Among its many moods I especially cherish the chin commanding, the chin in doubt, and the chin at bay."

"William Congreve is the only sophisticated playwright England has produced; and like Shaw, Sheridan, and Wilde, his nearest rivals, he was brought up in Ireland."

"Art and ideology often interact on each other; but the plain fact is that both spring from a common source. Both draw on human experience to explain mankind to itself; both attempt, in very different ways, to assemble coherence from seemingly unrelated phenomena; both stand guard for us against chaos."

"A neurosis is a secret that you don't know you're keeping."