Quotes with quicker

Inspirational quotes with quicker.

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I’m going to tell you something once and then whether you die is strictly up to you," Westley said, lying pleasantly on the bed. "What I’m going to tell you is this: drop your sword, and if you do, then I will leave with this baggage here"—he glanced at Buttercup—"and you will be tied up but not fatally, and will be free to go about your business. And if you choose to fight, well, then, we will not both leave alive."You are only alive now because you said 'to the pain.' I want that phrase explained."My pleasure. To the pain means this: if we duel and you win, death for me. If we duel and I win, life for you. But life on my terms. The first thing you lose will be your feet. Below the ankle. You will have stumps available to use within six months. Then your hands, at the wrists. They heal somewhat quicker. Five months is a fair average. Next your nose. No smell of dawn for you. Followed by your tongue. Deeply cut away. Not even a stump left. And then your left eye—"And then my right eye, and then my ears, and shall we get on with it?" the Prince said.Wrong!" Westley’s voice rang across the room. "Your ears you keep, so that every shriek of every child shall be yours to cherish—every babe that weeps in fear at your approach, every woman that cries 'Dear God, what is that thing?' will reverberate forever with your perfect ears. That is what 'to the pain' means. It means that I leave you in anguish, in humiliation, in freakish misery until you can stand it no more; so there you have it, pig, there you know, you miserable vomitous mass, and I say this now, and live or die, it’s up to you: Drop your sword!"The sword crashed to the floor.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

What doesthis F. — I.W. mean?”“Initial-slang,” informed Baines. “Made correctby common usage. It has become a worldwidemotto. You’ll see it all over the place if you haven’tnoticed it already.”“I have seen it here and there but attached no importanceto it and thought nothing more about it. Iremember now that it was inscribed in several placesincluding Seth’s and the fire depot.”“It was on the sides of that bus we couldn’tempty,” put in Gleed. “It didn’t mean anything tome.”“It means plenty,” said Jeff. “Freedom — IWon’t!”“That kills me,” Gleed responded. “I’m stonedead already. I’ve dropped in my tracks.” Hewatched Harrison thoughtfully pocketing the plaque.“A piece of abracadabra. What a weapon!”“Ignorance is bliss,” asserted Baines, strangelysure of himself. “Especially when you don’t knowthat what you’re playing with is the safety catch ofsomething that goes bang.”“All right,” challenged Gleed, taking him up onthat. “Tell us how it works.”“I won’t.” Baines’ grin reappeared. He seemed tobe highly satisfied about something.“That’s a fat lot of help.” Gleed felt let down, especiallyover that momentary hoped-for reward.“You brag and boast about a one-way weapon, tossacross a slip of stuff with three letters on it and thengo dumb. Any folly will do for braggarts and anybraggart can talk through the seat of his pants. Howabout backing up your talk?”“I won’t,” repeated Baines, his grin broader thanever. He gave the onlooking Harrison a fat, significantwink.It made something spark vividly within Harrison’smind. His jaw dropped, he dragged the plaque fromhis pocket and stared at it as if seeing it for the firsttime.“Give it back to me,” requested Baines, watchinghim.Replacing it in his pocket, Harrison said veryfirmly, “I won’t.”Baines chuckled. “Some people catch on quicker than others.



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