All Quotes

"Is not this Medium [æther] much rarer within the dense Bodies of the Sun, Stars, Planets, and Comets, than in the empty celestial Spaces between them? And in passing from them to great distances, doth it not grow denser and denser perpetually, and thereby cause the gravity of those great Bodies towards one another, and of their parts towards the Bodies; every Body endeavouring to go from the denser parts of the Medium towards the rarer? ... And though this Increase of density may at great distances be exceeding stow, yet if the elastick force of this Medium be exceeding great, it may suffice to impel Bodies from the denser parts of the Medium towards the rarer, with all that power which we call Gravity. And that the elastic force of this Medium is exceeding great, may be gather'd from the swiftness of its Vibrations."

"As Attraction is stronger in small Magnets than in great ones in proportion to their Bulk, and Gravity is greater in the Surfaces of small Planets than in those of great ones in proportion to their bulk, and small Bodies are agitated much more by electric attraction than great ones; so the smallness of the Rays of Light may contribute very much to the power of the Agent by which they are refracted."

"And so if any one would suppose that Æther (like our Air) may contain Particles which endeavour to recede from one another (for I do not know what this Æther is) and that its Particles are exceedingly smaller than those of Air, or even than those of Light: The exceeding smallness of its Particles may contribute to the greatness of the force by which those Particles may recede from one another, and thereby make that Medium exceedingly more rare and elastick than Air, and by consequence exceedingly less able to resist the motions of projectiles, and exceedingly more able to press upon gross Bodies, by endeavouring to expand it self."

"Are not all Hypotheses erroneous in which Light is supposed to consist of Pression or Motion propagated through a fluid medium?"

"[T]o make way for the regular and lasting Motions of the Planets and Comets, it's necessary to empty the Heavens of all Matter, except perhaps some very thin Vapours, Steams or Effluvia, arising from the Atmospheres of the Earth, Planets and Comets, and from such an exceedingly rare Æthereal Medium...A dense Fluid can be of no use for explaining the Phænomena of Nature, the Motions of the Planets and Comets being better explain'd without it. It serves only to disturb and retard the Motions of those great Bodies, and make the frame of Nature languish: And in the Pores of Bodies, it serves only to stop the vibrating Motions of their Parts, wherein their Heat and Activity consists. And as it is of no use, and hinders the Operations of Nature, and makes her languish, so there is no evidence for its Existence, and therefore it ought to be rejected. And if it be rejected, the Hypotheses that Light consists in Pression or Motion propagated through such a Medium, are rejected with it."

"And for rejecting such a Medium, we have the authority of those the oldest and most celebrated philosophers of ancient Greece and Phoenicia, who made a Vacuum and Atoms and the Gravity of Atoms the first Principles of their Philosophy, tacitly attributing Gravity to some other Cause than dense Matter. Later Philosophers banish the Consideration of such a Cause out of natural Philosophy, feigning Hypotheses for explaining all things mechanically, and referring other Causes to Metaphysicks: Whereas the main Business of natural Philosophy is to argue from Phænomena without feigning Hypotheses, and to deduce Causes from Effects, till we come to the very first Cause, which certainly is not mechanical; and not only to unfold the Mechanism of the World, but chiefly to resolve these such such like Questions."

"What is there in places empty of matter? and Whence is it that the sun and planets gravitate toward one another without dense matter between them? Whence is it that Nature doth nothing in vain? and Whence arises all that order and beauty which we see in the world? To what end are comets, and whence is it that Planets move all one and the same way in Oorbs concentrick, while comets move all manner of ways in Orbs very excentrick; and what hinders the fix'd Stars from falling upon one another?"

"[D]oes it not appear from Phænomena that there is a Being incorporeal, living, intelligent, omnipresent, who in infinite Space, as it were in his Sensory, sees the things themselves intimately, and throughly perceives them, and comprehends them wholly by their immediate presence to himself."

"[U]nless they be exceeding rare, a great Objection arises from the regular and very lasting Motions of the Planets and Comets in all manner of Courses through the Heavens."

"How came the Bodies of Animals to be contrived with so much Art, and for what ends were their several Parts? Was the Eye contrived without Skill in Opticks, and the Ear without Knowledge of Sounds? How do the Motions of the Body follow from the Will, and whence is the Instinct in Animals? Is not the Sensory of Animals that place to which the sensitive Substance is present, and into which the sensible Species of Things are carried through the Nerves and Brain, that there they may be perceived by their immediate presence to that Substance? And these things being rightly dispatch'd, does it not appear from Phænomena that there is a Being incorporeal, living, intelligent, omnipresent, who in infinite Space, as it were in his Sensory, sees the things themselves intimately, and throughly perceives them, and comprehends them wholly by their immediate presence to himself: Of which things the Images only carried through the Organs of Sense into our little Sensoriums, are there seen and beheld by that which in us perceives and thinks. And though every true Step made in this Philosophy brings us not immediately to the Knowledge of the first Cause, yet it brings us nearer to it, and on that account is to be highly valued."

"[T]he main Business of natural Philosophy is to argue from Phænomena without feigning Hypotheses, and to deduce Causes from Effects, till we come to the very first Cause, which certainly is not mechanical; and not only to unfold the Mechanism of the World, but chiefly to resolve these and such like Questions."

"Are not the rays of Light very small Bodies emitted from shining Substances? ... Pellucid Substances act upon Rays of Light at a distance in refracting, reflecting, and inflecting them, and the Rays mutually agitate the Parts of those Substances at a distance for heating them; and this Action and Re-action at a distance very much resembles an attractive Force between Bodies."

"[after running Tobias over] The chocolate orange was pronounced dead at the scene."

"So... I was thinking... maybe, um, we... should have some sex... before my treatment begins."

"I found its throwback nature to be immensely charming, a big, full-throated romantic drama that knows exactly how to make us swoon as well as make us sad. I hope there’s time for more like it."

"Andrew Garfield — Tobias"

"Florence Pugh — Almut"

"Grace Delaney — Ella"

"Lee Braithwaite — Jade"

"Aoife Hinds — Skye"

"Adam James — Simon Maxson"

"Douglas Hodge — Reginald"

"Amy Morgan — Leah"

"Niamh Cusack — Sylvia"

"Lucy Briers — Kerri Weaver, a doctor"

"Robert Boulter — Hernandez, a doctor"

"Nikhil Parmar — Sanjay"

"Kerry Godliman — Jane"

"Heather Craney — Buffy Jones"

"Marama Corlett — Adrienne Duvall"

"A garden is a place to enjoy and indulge in, something you can love, somewhere you can nurture. It stimulates all the senses, and its very unpredictability gives it a vitality not often encountered in our contrived and controlled world. My plot is on a south-west-facing slope about 150m above sea level in north , in a lull between and . The soil is heavy , ochre and grey at its worst, with random streaks of , known locally as shillet. There are trees wrapped around one side of it and a seriously overgrown hedge, up to 18m tall and counting, whose fallen leaves have gradually changed the soil beneath to acid . All the garden lies in front of the house and is bisected by a track that joins the cottage to the outside world - or is it the other way around? For such a small plot, less than an acre, there is a huge diversity of conditions, from sunny and Mediterranean to murky shade, enabling us to grow a wide range of plants. We cultivate vegetables and some fruit, too."

"The garden at Ashwood Nurseries is wonderful and John Massey is a brilliant bloke. , naturally, but also Marchants Hardy Plants. I’ve known [founder] Graham Gough ever since he was working with Elizabeth Strangman, who is one of my all-time heroines. I love the – I love everything about it, but particularly its overall attitude. It’s incredibly welcoming and it involves not just visitors from elsewhere but everybody in the city. It has real energy."

"In 1978, she and her husband Neil (who sounds completely splendid) settled in and bought Glebe Cottage, which came with an acre of rough grass, weeds and brambles. Creating a garden there, the first proper one she’d ever had, transformed her life. ‘As much as I made this garden, this garden made me,’ she writes. She discovered she had a knack for propagating plants and started selling them at country markets before creating her own nursery, while also raising her two daughters. Soon she began exhibiting at shows and then was asked to design a garden at the . Before long, a TV producer spotted her potential and she got a job presenting the show Real Gardens. Klein first appeared on in 1989 when the late, great did a feature on Glebe Cottage."

"The wilderness begins at the edge of my body, at the edge of my consciousness, and extends to the edge of the universe, and it is filled with menace."

"I had always been aware that the Universe is sad; everything in it, animate or inanimate, the wild creatures, the stones, the stars, was enveloped in the great sadness, pervaded by it. [...] Never then or now have I been able to look at a cloudless sky at night and see beauty there."

"This is not a man who sits down to "write a poem"; rather, some burden of understanding and feeling, some need to know, forces his poems into being. Thoreau said, "Be it life or death, what we crave is reality." So it is with Carruth. And even in hell, knowledge itself bestows a halo around the consciousness with, at moments, attains it."

"It’s easier to be on TV. Politics is much harsher than the small screen."

"[Three adjectives to describe yourself?] Moody. Determined. Sensitive."

"(About Francesco Boccia) At the beginning of our relationship, he was a free spirit, very much aligned with the libertine ideal embodied by Franco Califano, his idol and dearest friend. I was insecure and saw danger everywhere; today, I don’t. Family comes first for both of us. However, at the start of our relationship, he was easily distracted—that’s for sure."

"Interviewer: What is your erotic fantasy? De Girolamo: Doing it in public, on a beach or in the street, without worrying about prying eyes."

"I’m very straight, but anything can happen—who knows? I get hit on by men but also by lots of women. Today I received a letter from a lesbian girl who wrote that I’m her ideal woman. And I also have lots of foot fetishists who’d do anything for me, even though I’m a size 10—not exactly Cinderella’s shoe size."

"I remember more the atmosphere than specific memories — being in the garden and hanging out with both my parents while they were doing things, walking through, smelling the flowers. I was very keen on s from a young age – that very much formed the basis of my love of gardening. Wild collecting dictated what we had in the gardens. On holidays in the Mediterranean, my parents collected plants such as and s – we had them long before they were fashionable. s, too."

"I'm on a mission to get more of us to grow British wild flowers in our gardens. As ever-increasing numbers of these plants vanish from the countryside, our own private spaces become more important – and genuinely useful. Between us, our gardens cover more than a million acres, which far exceeds the total area of all our nature reserves. We need to think of our gardens as little reservoirs in which British biodiversity can survive. In time, it will spread out from there, but if we make our gardens wild flower hot spots, then at least we know things aren't disappearing at quite such a rate. There's plenty of evidence from the work of etymologists such as Dr (see her brilliant book Wildlife Of A Garden: A Thirty-Year Study) that gardens can provide rich s, with flowers the key part of that ."

"'Madame Alfred Carrière' This was the first rose planted by Vita at in 1930, before the deeds were even signed, and it quickly covered most of the south face of the South Cottage and in Vita and Harold's day was left to 'render invisible' most of the front of the house and trained around her bedroom window to pour scent into the house for months at a stretch. It is still there, and now has a huge trunk wider than my husband's thigh."

"We moved to Perch Hill in 1994 from London and found a rather ramshackle ex- with a lot of concrete, corrugated iron and a small garden with a on the south side of the house. Since then, we converted the farm into an organic 90 acres, putting in new hedges on old lines, trying to encourage wildflowers into the meadows and introducing our own herd of and a flock or Romney-cross sheep."

"Let’s start in the garden. This year cookery writers are as happy digging and planting as slicing and braising. Sarah Raven is a great gardener and, on the evidence of her latest book, Sarah Raven’s Garden Cookbook (, £35), she’s a good cook too. This is a book for a lifetime of cooking: there are more than 400 recipes based on fruit and vegetables. It is not vegetarian — she uses fish and meat too — but vegetables and fruit are to the fore. Raven’s recipes are simple, practical and enticing, and there isn’t one I don’t want to cook. The book is divided into two-month chunks and full of suggestions (snip off pea tendrils for salads, or leave a few beetroot in the ground to produce an early spring salad leaf) and tips on the most tasty varieties to grow. Her ten recipes will sort out an impending green avalanche, and she has five good marrow recipes for when the wretched plants have triumphed."

"Sal Da Vinci's Naples today, like Mario Merola's Naples yesterday, represents a stereotype that has little to do with Neapolitan culture. It is a heart-wrenching, emphatic, consolatory attitude: love forever, I promise you before God... It seems to me to be a step backwards not only compared to Quanno chiove, but also compared to Nel blu dipinto di blu. Modugno was from Puglia, even though he was considered Sicilian, but he was still an artist from the South; and the song with which he won Sanremo in 1958 was very popular and very modern. Unfortunately, we cannot say the same about Sal Da Vinci."

"Sal Da Vinci sings things I don't like, but I like him and I like his songs that I don't listen to."

"Karen has many privileges. She must learn not to take, always, the extra inch when the ell is so gladly granted."

"These insolent words, hurled at it, convulsed the livid face that fronted Karen. And suddenly, holding Karen's shoulders and leaning forward, Madame von Marwitz broke into tears, horrible tears—in all her life Karen had never pitied her as she pitied her then—sobbing with raking breaths: "No, no; it is too much. Have I not loved him with a saintly love, seeking to uplift what would draw me down? Has he not loved me? Has he not sought to be my lover? And he can spit upon me in the dust!""