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1 " When you expect nothing and receive something, it's such a nice surprise. I'm not saying to be pessimistic. Just when it comes to other people, don't hinge your happiness to expectation and outcome. Don't make it tit for tat. Don't keep score. Don't expect or demand something back. Do the best you can. Work passionately towards your dreams. Be a good person. Liberate yourself from expectation so much that when something does happen: when someone does do something nice, you can be surprised. Celebrate in that joy. It makes it all the more fun when it comes unexpectedly! Expectations in relationships suck all the gratitude and appreciation out of everything. Beyond honesty, respect and basic decency nothing need be " expected" . Let it occur naturally. Go with the flow. Whatever you end up with will be more honest and real. "
2 " If we love someone deeply, be they friends, family or lovers, don’t treat the relationship like a playground game of back and forth or tit for tat. See it as a loving connection and let that be the basis of it all. "
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3 " Not to forgive is to be imprisoned by the past, by old grievances that do not permit life to proceed with new business. Not to forgive is to yield oneself to another's control... to be locked into a sequence of act and response, of outrage and revenge, tit for tat, escalating always. The present is endlessly overwhelmed and devoured by the past. Forgiveness frees the forgiver. It extracts the forgiver from someone else's nightmare. "
4 " Monza never had understood why getting out a tit or two made for a better painting. But painters seemed to think it did, so tits is what you got. "
― Joe Abercrombie , Best Served Cold
5 " And at the risk of sounding like Andy Rooney on Sixty Minutes, have you ever wondered why we say fiddle-faddle and not faddle- fiddle? Why is it ping-pong and pitter-patter rather than pong-ping and patter-pitter? Why dribs and drabs, rather than vice versa? Why can't a kitchen be span and spic? Whence riff-raff, mish-mash, flim-flam, chit-chat, tit for tat, knick-knack, zig-zag, sing-song, ding-dong, King Kong, criss-cross, shilly-shally, see-saw, hee-haw, flip-flop, hippity-hop, tick-tock, tic-tac-toe, eeny-meeny-miney-moe, bric-a-brac, clickety-clack, hickory-dickory-dock, kit and kaboodle, and bibbity-bobbity-boo? The answer is that the vowels for which the tongue is high and in the front always come before the vowels for which the tongue is low and in the back. "
― Steven Pinker , The Language Instinct: How the Mind Creates Language
6 " Pay it forward generates more value than tit for tat. "
7 " To my lovely starling, Maybe there are magical words that will make you understand, but if so, I do not know them. Words are your domain. I've always been better with pictures. I fear you think I am a monster. It's true I've disrupted many graves. The way I see it, the dead are dead. If, after their death, we can learn things from the about the human form - things that will increase the sum of human knowledge and the possibilities of art - what harm is that? After death, new life, new beauty. How can that be wrong? My friends and I have made use of some of the bodies as models. some we sell to surgeons who study them with the hopes of learning something about the frail mechanisms of the human body. I don't know exactly what Dottor de Gradi does in his workshop on the Rialto, and I was as surprised as you were to stumble on it. He couldn't - he wouldn't tell me if your friend's body ended up there. But he did assure me all of his work is focused solely on extending human life. I won't lie. I did it for the money as well. Don Loredan is holding a private exhibition in his palazzo tomorrow. The entry fee was quite steep but two of my paintings were accepted. This could be the beginning for me. I could find my own patrons. I could be more than just a peasant. Tommaso's assistant.So yes; a little for money. But mostly I did for the art.I don't expect these words to change how you feel. I simply want you not to see me as a monster. I don't want to be a monster. Not anymore. Not after meeting you. I know that we disrupted you dear friend's body, and for that I am deeply regretful. But if we had not done so, if I had not lingered in the San Domenico churchyard after standing guard for my friends, you and I might never have met. Meeting you is one thing I will never regret. I hope you like the painting. Consider tit a wedding gift. How stupid of me to let my heart go. It was a lovely fantasy while it lasted, though, wasn't it?Yours, Falco "
― Fiona Paul , Venom (Secrets of the Eternal Rose, #1)
8 " If the secret core of potlatch is the reciprocity of exchange, why is this reciprocity not asserted directly, why does it assume the “mystified” form of two consecutive acts each of which is staged as a free voluntary display of generosity? Here we encounter the paradoxes of forced choice, of freedom to do what is necessary, at its most elementary: I have to do freely what I am expected to do. (If, upon receiving a gift, I immediately return it to the giver, this direct circulation would amount to an extremely aggressive gesture of humiliation, it would signal that I refused the other’s gifts — recall those embarrassing moments when elderly people forget and give us last year’s present once again … ) …the reciprocity of exchange is in itself thoroughly ambiguous; at its most fundamental, it is destructive of the social bond, it is the logic of revenge, tit for tat. To cover this aspect of exchange, to make it benevolent and pacific, one has to pretend that each person’s gift is free and stands on its own. This brings us to potlatch as the “pre-economy of the economy,” its zero-level, that is, exchange as the reciprocal relation of two non-productive expenditures. If the gift belongs to Master and exchange to the Servant, potlatch is the paradoxical exchange between Masters. Potlach is simultaneously the zero-level of civility, the paradoxical point at which restrained civility and obscene consumption overlap, the point at which it is polite to behave impolitely. "
― Slavoj Žižek , In Defense of Lost Causes
9 " it's colder than a witch's tit in a steel bra "
― David Levithan , Will Grayson, Will Grayson
10 " I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. …Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’As reported by Gambon, their conversation went like this:Olivier: ‘What are you going to do for me?’Gambon: ‘Richard the Third.’Olivier: ‘Is that so. Which part?’Gambon: ‘Richard the Third.’Olivier: ‘Yes, but which part?’Gambon: ‘Richard the Third.’Olivier: ‘Yes, I understand that, but which part?’Gambon: ‘Richard the Third.’Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’Olivier: ‘What, the King? Richard?’Gambon: ‘ — the Third, yeah.’Olivier: “You’ve got a fucking cheek, haven’t you?’Gambon: ‘Beg your pardon?’Olivier: ‘Never mind, which part are you going to do?’Gambon: ‘Richard the Third.’Olivier: ‘Don’t start that again. Which speech?’Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘Olivier: ‘Right. Whenever you’re ready.’Gambon: ‘ “Was ever woman in this humour woo’d –” ‘Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘Olivier: ‘Wait. Stop. What’s the blood?’Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done.Gambon: ‘Shall I start again?’Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic.‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning. "
― Antony Sher , Year of the King: An Actor's Diary and Sketchbook
11 " For this reason poets and artists developed the doctrine of Art for Art's Sake. The community did not appear to need them, so, tit for tat, they did not need the community. This being granted, it was no longer necessary or even desirable to make one's poetry either intelligible or sympathetic to the community. "
