It is well known to researchers of nature that one cannot perform even the slightest movement without motivation, meaning without somehow benefiting oneself. When, for example, one moves one’s hand from the chair to the table it is because one thinks that by putting one’s hand on the table one will thus receive greater pleasure. If one would not think so, one would leave one's hand on the chair for the rest of one's life without moving it an inch, all the more so concerning greater efforts.
Yehuda Ashlag
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McCain was down at the end of the table and we were talking to the head of the guerrilla group here at this end of the table, and I don’t know what attracted my attention. But I saw some kind of quick movement at the bottom of the table and I looked down there and John had reached over and grabbed this guy by the shirt collar and had snatched him up like he was throwing him up out of the chair to tell him what he thought about him or whatever. I don’t know what he was telling him but I thought, good grief everybody around here has got guns and we were there on a diplomatic mission. I don’t know what had happened to provoke John, but he obviously got mad at the guy and he just reached over there and snatched him.
John McCain
There is one language I can't understand, because it's from another planet, another dimension - that is the language of dentists. They speak in some kind of code, it's quite disturbing and sinister. They'll talk to you perfectly normally. You'll be sitting there like that [[simulates someone sitting on a dentists' couch with some kind of dental equipment in mouth) and they'll look down at you. 'Everything alright?' 'Yes, thank you very much'. Then, they'll turn to their assistant, and it all changes then, doesn't it? 'Jane. Some four. Some nine over the two. Mix me up some kraal (mimes antlers) over the ma-ma-ma-ma (does something strange with hands) Cheese. Go. Im. Shh. Nuhnuhnuhnuhnuh.' (in chair, frightened expression) 'What?' 'Seek out the chalky dust of the love-salmon' (in chair, confused expression) 'What?' Well, obviously, they can't refer to the instruments as they appear to us, otherwise we'd be out of the chair in a trice, wouldn't we? 'Jane, The Claw.' (in chair, terrified expression) 'Hand me The Colonel! The Punisher! The Talons of Saloth Sar!' Just to let them know I'm onto them I always freak them out right back - they look down and say 'Everything alright?' and I look up and I say (in chair, psychotic voice) 'The pheasant has no agenda'.
Ch. 23, 51:53Bill Bailey
..the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing.
Fernand Leger
[T]he thought of creation itself dictates the presence of an excessive will to receive in the souls, to fit the immense pleasure that the Creator thought to bestow upon them. For the great delight and the great desire to receive must go hand in hand.
Yehuda Ashlag
For every hero, there has to be a fall guy, and the greater the triumph on one hand, the greater the humiliation on the other.
Quintin Jardine
Ashlag, Yehuda
Ashley Cooper, Anthony
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