What we’re trying to do is write cricket bats, so that when we throw up an idea and give it a little knock, it might … travel … ([He] picks up the script.) Now, what we’ve got here is a lump of wood of roughly the same shape trying to be a cricket bat, and if you hit a ball with it, the ball would travel about ten feet and you will drop the bat and dance about shouting ‘Ouch!’ with your hands stuck into your armpits. (indicating the cricket bat) This isn’t better because someone says it’s better, or because there’s a conspiracy by the MCC to keep cudgels out of Lords. It’s better because it’s better.

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GUIL: It [Hamlet's madness] really boils down to symptoms. Pregnant replies, mystic allusions, mistaken identities, arguing his father is his mother, that sort of thing; intimations of suicide, forgoing of exercise, loss of mirth, hints of claustrophobia not to say delusions of imprisonment; invocations of camels, chameleons, capons, whales, weasels, hawks, handsaws — riddles, quibbles and evasions; amnesia, paranoia, myopia; day-dreaming, hallucinations; stabbing his elders, abusing his parents, insulting his lover, and appearing hatless in public — knock-kneed, droop-stockinged and sighing like a love-sick schoolboy, which at his age is coming on a bit strong.

ROS: And talking to himself.

GUIL: And talking to himself.

GUIL: I think I have it. A man talking sense to himself is no madder then a man talking nonsense not to himself.
ROS: Or just as mad.
GUIL: Or just as mad.
ROS: And he does both.
GUIL: So there you are.
ROS: Stark raving sane.

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What do I want?
Nothing which you'd call indecent, though I don't see what's wrong with it myself. You want to be brothers-in-arms, to have him to yourself... to be shipwrecked together, (to) perform valiant deeds to earn his admiration, to save him from certain death, to die for him - to die in his arms, like a Spartan, kissed once on the lips... or just run his errands in the meanwhile. You want him to know what cannot be spoken, and to make the perfect reply, in the same language.

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Alexander: No spunk, simple as that! Your brother's an army deserter! Michael: Oh yes, I've resigned my commission. Alexander: He's refusing to return to duty. Michael: On grounds of ill health, Papa. I'm sick of the Army. Alexander: No discipline, that's the problem! Michael: No, it's riddled with discipline, that's the problem. That and Poland.

Now a philosopher exploring the difficult terrain of right and wrong should not be over-impressed by the argument "a child would know the difference". But when, let us say, we are being persuaded that it is ethical to put someone in prison for reading or writing the wrong books, it is well to be reminded that you can persuade a man to believe almost anything provided he is clever enough, but it is much more difficult to persuade someone less clever.

An artist is the magician put among men to gratify — capriciously — their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships — and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes — husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.

Well, he us a nab, he is mortal, death comes to us all, etcetera, and consequently he would have died anyways, sooner or later. Or to look at it from the social point of view - he's just one man among many, the loss would be well within reason and convenience.

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