Tom Stoppard

I would join Sisyphus in Hades and gladly push my boulder up the slope if only, each time it rolled back down, I were given a line of Aeschylus.

When people discuss his plays, he says that he feels like he's standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can't deny that they're there, he can't for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.

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.

It's where we're nearest to our humanness. Useless knowledge for its own sake. Useful knowledge is good, too, but it's for the faint-hearted, an elaboration of the real thing, which is only to shine some light, it doesn't matter where on what, it's the light itself, against the darkness, it's what's left of God's purpose when you take away God.

I extract significance from melodrama, a significance which it does not in fact contain; but occasionally, from out of this matter, there escapes a thin beam of light that, seen at the right angle, can crack the shell of mortality.

Autumnal — nothing to do with leaves. It is to do with a certain brownness at the edges of the day ... Brown is creeping up on us, take my word for it ... Russets and tangerine shades of old gold flushing the very outside edge of the senses... deep shining ochres, burnt umber and parchments of baked earth — reflecting on itself and through itself, filtering the light. At such times, perhaps, coincidentally, the leaves might fall, somewhere, by repute. Yesterday was blue, like smoke.

Every exit is an Entry somewhere else.

Actors! The mechanics of cheap melodrama! That isn't death! You scream and choke and sink to your knees but it doesn't bring death home to anyone- it doesn't catch them unawares and start the whisper in their skulls that says- 'One day you are going to die.

the natural condition is one of insurmountable obstacles on the road to imminent disaster. strangely enough it all works out in the end... it's a mystery.

He's never known anything like it! But then, he has never known anything to write home about, so this is nothing to write home about.

A scholar's business is to add to what is known. That is all. But it is capable of giving the very greatest satisfaction, because knowledge is good. It does not have to look good or even sound good or even do good. It is good just by being knowledge. And the only thing that makes it knowledge is that it is true. You can't have too much of it and there is no little too little to be worth having. There is truth and falsehood in a comma.

LADY CROOM: You have been reading too many novels by Mrs Radcliffe, that is my opinion. This is a garden for The Castle of Otranto or The Mysteries of Udolpho — CHATER: The Castle of Otranto, my lady, is by Horace Walpole.

NOAKES: (Thrilled) Mr Walpole the gardener?!

LADY CROOM: Mr Chater, you are a welcome guest at Sidley Park but while you are one, The Castle of Otranto was written by whomsoever I say it was, otherwise what is the point of being a guest or having one?

(Words) deserve respect. Get the right ones in the right order, and you can nudge the world a little.

Eternity is a terrible thought. I mean, where's it going to end?

...Everything has to be taken on trust; truth is only that what is taken to be true. It's the currency дf living. There may be nothing behind it, but it doesn't make any difference so long as it is honoured. One acts on assumptions. What do you assume?