All Quotes

"Leon's pictures had to be as phony as Rachael's. I didn't know why a Replicant would collect photos. Maybe they were like Rachael... they needed memories."

"The report would be "routine retirement of a Replicant", which didn't make me feel any better about shooting a woman in the back. There it was again... feeling in myself... for her... for Rachael."

"I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life... anybody's life... my life. All he'd wanted was the same answers the rest of us want. Where do I come from? Where am I going? How long have I got? All I could do is sit there and watch him die."

"Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long we had together... who does?"

"Otto: Well, I wouldn't have broken my leg if you hadn't made me go off that jump!"

"Reggie: (offended) I made you go off that jump?"

"Otto: (quietly) Ow."

"I am a frayed and nibbled survivor in a fallen world, and I am getting along. I am aging and eaten and have done my share of eating too. I am not washed and beautiful, in control of a shining world in which everything fits, but instead am wandering awed about on a splintered wreck I've come to care for, whose gnawed trees breathe a delicate air, whose bloodied and scarred creatures are my dearest companions, and whose beauty beats and shines not in its imperfections but overwhelmingly in spite of them, under the wind-rent clouds, upstream and down. Simone Weil says simply, "Let us love the country of here below. It is real; it offers resistance to love.""

"I am a sacrifice bound with cords to the horns of the world's rock altar, waiting for worms. I take a deep breath, I open my eyes. Looking, I see there are worms in the horns of the altar like live maggots in amber, there are shells of worms in the rock and moths flapping at my eyes. A wind from no place rises. A sense of the real exults me; the cords loose; I walk on my way."

"Each of these butterflies, the fruit of two or three broods of this summer, had hatched successfully from one of those emerald cases that Teale's caterpillar had been about to form when the parasitic larvae snapped it limp, eating their way out of its side. They had hatched, many of them, just before a thunderstorm, when winds lifted the silver leaves of trees and birds sought the shelter of shrubbery, uttering cries."

"Considering how readily musicologists criticize one another – witness the merciless footnotes (and reviews) of so many books and articles – the innocent bystander must find it strange that they remain unwilling to venture judgments about the quality of the music around which they work…But it is hard to see what can be the purpose of musicology if not to advise people on what to hear and how to hear it. Separating out the good, the bad and the indifferent, and helping listeners enjoy the best, is surely the least we can offer society in return for our keep."

"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."

"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."

"For rhetoric, he could not ope His mouth, but out there flew a trope; And when he happen'd to break off I' th' middle of his speech, or cough, H' had hard words,ready to show why, And tell what rules he did it by; Else, when with greatest art he spoke, You'd think he talk'd like other folk, For all a rhetorician's rules Teach nothing but to name his tools."

"Delivery, delivery, delivery."

"It is the fault of our rhetoric that we cannot strongly state one fact without seeming to belie some other."

"Plato sees true rhetoric as psychology which can fulfill its truly “moving” function only if it masters original images [eide]. Thus the true philosophy is rhetoric, and the true rhetoric is philosophy, a philosophy which does not need an “external” rhetoric to convince, and a rhetoric that does not need an “external” content of verity."

"“Rhetoric like this has consequences,” said Timothy J. Heaphy, the lead investigator for the select House committee that investigated the Jan. 6 attack on the Capitol and Mr. Trump’s efforts to remain in the White House after his presidency. “People who we interviewed for the Jan. 6 investigation said they came to the Capitol because politicians and the president told them to be there. Politicians think that when they say things it’s just rhetoric, but people listen to it and take it seriously. In this climate politicians need to realize this and be more responsible.”"

"Academic writing excuses itself from rhetorical care in the selfless service of some precise truth—and then deforms our only means for speaking truth."

"What do you believe was on the mind of the ancient Romans that they called the arts of speaking humanity? They judged that, indisputably, by the study of these disciplines not only was the tongue refined, but also the wildness and barbarity of people’s minds was amended."

"The relations between rhetoric and ethics are disturbing: the ease with which language can be twisted is worrisome, and the fact that our minds accept these perverse games so docilely is no less cause for concern."

"Rhetoric, it seems, is a producer of persuasion for belief, not for instruction in the matter of right and wrong … And so the rhetorician's business is not to instruct a law court or a public meeting in matters of right and wrong, but only to make them believe."

"Rhetoric, I shall urge, should be a study of misunderstanding and its remedies."

"Since we want not emancipation from impulse but clarification of impulse, the duty of rhetoric is to bring together action and understanding into a whole that is greater than scientific perception."

"Rhetoric in its truest sense seeks to perfect men by showing them better versions of themselves, links in that chain extending up toward the ideal."

"Concerning the utility of Rhetoric, it is to be observed that it divides itself into two; first, whether Oratorical skill be, on the whole, a public benefit, or evil; and secondly, whether any artificial system of Rules is conducive to the attainment of that skill."

"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."

"As a music theorist, I have always contended that the historical approach to music theory is not enough. The modern theorist should, of course, be able to analyze the music of the masters, to explain (as much as possible) the sources of their musical language. They should also, however, be able to suggest new paths, new theories, including those that break with creative and scholarly tradition....This attitude has puzzled some of my academic colleagues, since I am in my own composition essentially a traditionalist. I do not believe that this is a contradiction or an inconsistency."

"The rhetorical process functioned in many areas other than speech: Curtius wrote about 'rhetorical landscape representations' while Serpieris speaks of 'la retorica al teatro' (the rhetorical use of theatrical space), and music historians have learned that the language and approach of musical theory in the Middle Ages were borrowed directly from medieval grammar and rhetoric."

"A poet's hope: to be, like some valley cheese, local, but prized elsewhere."

"On ne peut pas rassembler les Françis que sous le coup de la peur. On ne peut pas rassembler à froid un pays qui compte 265 spécialités de fromages."

"Ye set circumquaques to make me beleue Or thinke, that the moone is made of gréene chéese."

"Our Transatlantic cousins are very fond of apple-pie. It is consumed to a large extent all over the country. Not raised apple-pie; but flat, and with a paste that is invariably very coarse and indigestible. You have a triangular-shaped slice put on your plate, and (in some parts of America) if you do not want to be singular you will eat it with a bit of cheese, Yorkshire fashion. As an American lady once graphically put it: "Apple-pie without cheese Is like a kiss without a squeeze.""

"A slice of pie without cheese is like a kiss without a squeeze."

"Hellish dark, and smells of cheese!"

"Many's the long night I've dreamed of cheese — toasted, mostly."

"Two-thirds of the apples and nine-tenths of the pears that we eat are imported, not to mention two thirds of the cheese. And that is a disgrace. From the apple that dropped on Isaac Newton’s head to the orchards of nursery rhymes, this fruit has always been a part of Britain. I want our children to grow up enjoying the taste of British apples as well as Cornish sardines, Norfolk turkey, Melton Mowbray pork pies, Wensleydale cheese, Herefordshire pears and of course black pudding."

"Why did you yell, 'Cheese'?" And The Man would tell him mockingly, "Because I felt like it, you stupid machine."

"I was upset, so I had a little brie. And a little havarti. And…some cheddar; maybe a bit of camembert— Anyway…"

"There's always free cheese in a mousetrap."

"When life gives you cheese, send a thank you bell to the cow."

"On Mondays, Wednesdays and Fridays it was Court Hand and Summulae Logicales, while the rest of the week it was the Organon, Repetition and Astrology. The governess was always getting muddled with her astrolabe, and when she got specially muddled she would take it out of the Wart by rapping his knuckles. She did not rap Kay's knuckles, because when Kay grew older he would be Sir Kay, the master of the estate. The Wart was called the Wart because it more or less rhymed with Art, which was short for his real name."

"The governess had red hair and some mysterious wound from which she derived a lot of prestige by showing it to all the women of the castle, behind closed doors. It was believed to be where she sat down, and to have been caused by sitting on some armour at a picnic by mistake. Eventually she offered to show it to Sir Ector, who was Kay's father, had hysterics and was sent away. They found out afterwards that she had been in a lunatic hospital for three years."

"Couldn't send them to Eton, I suppose?" inquired Sir Grummore cautiously. "Long way and all that, we know." It was not really Eton that he mentioned, for the College of Blessed Mary was not founded until 1440, but it was a place of the same sort. Also they were drinking Metheglyn, not Port, but by mentioning the modern wine it is easier to give you the feel. "The only other thing," said Sir Grummore, "is to have a tutor."

"The Wart was not a proper son. He did not understand this, but it made him feel unhappy, because Kay seemed to regard it as making him inferior in some way. Also it was different not having a father and mother, and Kay had taught him that being different was wrong."

"Wart would not have been frightened of an English forest nowadays, but the great jungle of Old England was a different matter. The mad and wicked animals were not the only inhabitants of the crowded gloom. There were magicians in the forest…as well as strange animals not known to modern works of natural history. There were regular bands of Saxon outlaws, who lived together and wore green and shot with arrows which never missed. There were even a few dragons, though these were small ones, which lived under stones and could hiss like a kettle."

""Excuse me, sir," said the Wart, "but can you tell me the way to Sir Ector's castle, if you don't mind?" The aged gentleman put down his bucket and looked at him. "Your name would be the Wart." "Yes, sir, please, sir." "My name," said the old man, "is Merlyn." "How do you do?" "How do." When these formalities had been concluded, the Wart had leisure to look at him more closely. The magician was staring at him with a kind of unwinking and benevolent curiosity which made him feel that it would not be at all rude to stare back."

"Now ordinary people are born forwards in Time, if you understand what I mean, and nearly everything in the world goes forward too. This makes it quite easy for the ordinary people to live… But I unfortunately was born at the wrong end of time, and I have to live backwards from in front, while surrounded by a lot of people living forwards from behind. Some people call it having second sight."

"Merlyn stopped talking and looked at the Wart in an anxious way. "Have I told you this before?" "No, we only met about half an hour ago." "So little time to pass?" and a big tear ran down to the end of his nose. He wiped it off with his pyjamas and added anxiously, "Am I going to tell it you again?""

"Merlyn took the Wart's hand and said kindly, "You are young, and do not understand these things. But you will learn that owls are the most courteous, single-hearted and faithful creatures living. You must never be familiar, rude or vulgar with them, or make them look ridiculous. Their mother is Athene, the goddess of wisdom, and, although they are often ready to play the buffoon to amuse you, such conduct is the prerogative of the truly wise. No owl can possibly be called 'Archie'." "I am sorry, owl," said the Wart."