Quotes about cap

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Ben Bradley under fire for urging jobless to have vasectomies, The Guardian (2018)

From Ilo ja epäsymmetria (Joy and Asymmetry, 1965. 88 Poems, WSOY, 2000, ISBN 951-0-24783-9. Translated by Anselm Hollo).

Hypnotising for improvement of eyesight, in “Neurypnology; or, The rationale of nervous sleep, considered in relation ...”, p. 68.

Section 41 (p. 130)
Venus Plus X (1960)

"One Bite at a Time: A Beginner's Guide to Conscious Eating", in the HuffPost (27 February 2007) https://www.huffpost.com/entry/one-bite-at-a-time-a-begi_b_42211.

Source: Queer: A Novel (1985), Chapter Two

Speech http://hansard.millbanksystems.com/lords/1962/aug/02/britain-and-the-common-market in the House of Lords on the British application to join the Common Market (2 August 1962).
Later life

During Prime Minister's Questions, 2 April 2008 http://www.youtube.com/watch?v=-AsiKI7uCog&feature=related, with Deputy Conservative Party Leader, William Hague

Americans for Prosperity. http://www.afphq.org/062609-cap-and-trade-fight-puts-obama-presidency-line

Fiction, The Doctor is Sick (1960)

Varanasi (Uttar Pradesh) , Tuzuk-i-Jahangiri, translated into English by Major David Price, Calcutta, 1906. pp. 24-25.

http://persian.packhum.org/persian/pf?file=11001040&ct=7, "Decisions Involving Urban Planning and Religious Institutions" Different translation: I made it my plea for throwing down the temple which was the scene of this imposture; and on the spot, with the very same materials, I erected the great mosque, because the very name of Islam was proscribed at Banaras, and with God’s blessing it is my design, if I live, to fill it full with true believers.

Memoirs of a Revolutionist (1899) http://dwardmac.pitzer.edu/anarchist_archives/kropotkin/memoirs/memoirstoc.html Part IV, Sect. 3 http://dwardmac.pitzer.edu/anarchist_archives/kropotkin/memoirs/memoirs4_3.html
Context: Belief in an ice-cap reaching Middle Europe was at that time rank heresy; but before my eyes a grand picture was rising, and I wanted to draw it, with the thousands of details I saw in it; to use it as a key to the present distribution of floras and faunas; to open new horizons for geology and physical geography.
But what right had I to these highest joys, when all around me was nothing but misery and struggle for a mouldy bit of bread; when whatsoever I should spend to enable me to live in that world of higher emotions must needs be taken from the very mouths of those who grew the wheat and had not bread enough for their children? From somebody's mouth it must be taken, because the aggregate production of mankind remains still so low.
Knowledge is an immense power. Man must know. But we already know much! What if that knowledge — and only that — should become the possession of all? Would not science itself progress in leaps, and cause mankind to make strides in production, invention, and social creation, of which we are hardly in a condition now to measure the speed?

Source: The Obstacle Race (1979), Chapter VII: The Disappearing Oeuvre (p. 136)
Context: By 1627 Judith Leyster was famous enough to be mentioned in Ampzing's description of the city of Haarlem; by 1661 she had been so far forgotten that De Bie does not mention her in his Golden Cabinet. Her eclipse by Frans Hals may have begun in her own lifetime, as a consequence of her marriage to Molenaer perhaps, for Sir Luke Schaub acquired the painting now known as The Jolly Companions as a Hals in Haarlem in the seventeenth century.
If Judith Leyster had not been in the habit of signing her work with the monogram JL attached to a star, a pun on the name her father had taken from his brewery, Leyster or Lodestar, her works might never have been reattributed to her: few paintings can boast of a provenance as clear as that of The Jolly Companions. As a result of the discovery that The Jolly Companions bore Leyster's monogram, the English firm which had sold the painting to Baron Schlichting in Paris as a Hals attempted to rescind their own purchase and get their money back from the dealer, Wertheimer, who had sold it to them for £4500 not only as a Hals but "one of the finest he ever painted." Sir John Millars agreed with Wertheimer about the authenticity and value of the painting. The special jury and the Lord Chief Justice never did get to hear the case, which was settled in court on 31st May 1893, with the plaintiffs agreeing to keep the painting for £3500 plus £500 costs. The gentlemen of the press made merry at the experts' expense, for all they had succeeded in doing was in destroying the value of the painting. Better, they opined, to have asked no questions. At no time did anyone throw his cap in the air and rejoice that another painter, capable of equalling Hals at his best, had been discovered.

Bewilderness (DVD, 2001)

Source: Commonplace Book (1985), p. 224
Context: Going to Bits. This phrase me to day and is indeed the one I have been looking for; not tragic, not mortal disintegration; only a central weakness which prevents me from concentrating or settling down I have so wanted to write and write ahead. The phrase "obligatory creation" has haunted me. I have so wanted to get out of my morning bath promptly: have decided to do so beforehand, and have then lain in it as usual and watched myself not getting out. It looks as if there is a physical as well as a moral break in the orders I send out. I have plenty of interesting thoughts but keep losing them like the post cards I have written, or like my cap. I can't clear anything up yet interrupt a 'good read' in order to clear up. I hope tomorrow to copy out a piece of someone else's pose: it is the best device known to me for taking one out of inself, Plunge into anothers minutiae.' 31-1-61

"Clowns' Houses"
Clowns' Houses (1918)
Context: p>The busy chatter of the heat
Shrilled like a parakeet;
And shuddering at the noonday light
The dust lay dead and whiteAs powder on a mummy's face,
Or fawned with simian grace
Round booths with many a hard bright toy
And wooden brittle joy:The cap and bells of Time the Clown
That, jangling, whistled down
Young cherubs hidden in the guise
Of every bird that flies;And star-bright masks for youth to wear,
Lest any dream that fare
— Bright pilgrim — past our ken, should see
Hints of Reality.</p

Part One: 1. Stultifera Navis
History of Madness (1961)
Context: From the knowledge of that fatal necessity that reduces man to dust we pass to a contemptuous contemplation of the nothingness that is life itself. The fear before the absolute limit of death becomes interiorised in a continual process of ironisation. Fear was disarmed in advance, made derisory by being tamed and rendered banal, and constantly paraded in the spectacle of life. Suddenly, it was there to be discerned in the mannerisms, failings and vices of normal people. Death as the destruction of all things no longer had meaning when life was revealed to be a fatuous sequence of empty words, the hollow jingle of a jester’s cap and bells. The death’s head showed itself to be a vessel already empty, for madness was the being-already-there of death. Death’s conquered presence, sketched out in these everyday signs, showed not only that its reign had already begun, but also that its prize was a meagre one. Death unmasked the mask of life, and nothing more: to show the skull beneath the skin it had no need to remove beauty or truth, but merely to remove the plaster or the tawdry clothes. The carnival mask and the cadaver share the same fixed smile. But the laugh of madness is an anticipation of the rictus grin of death, and the fool, that harbinger of the macabre, draws death’s sting.

The Savage Nation (1995- ), 2013

The Conquest of Bread (1907), p. 14 http://dwardmac.pitzer.edu/anarchist_archives/kropotkin/conquest/toc.html
Variant: All things for all men, since all men have need of them, since all men worked to produce them in the measure of their strength, and since it is not possible to evaluate everyone's part in the production of the world's wealth... All is for all!
This variant was probably produced by a combination of accidental as well as deliberate omission, rather than a separate translation.
Context: The means of production being the collective work of humanity, the product should be the collective property of the race. Individual appropriation is neither just nor serviceable. All belongs to all. All things are for all men, since all men have need of them, since all men have worked in the measure of their strength to produce them, and since it is not possible to evaluate every one's part in the production of the world's wealth.
All things are for all. Here is an immense stock of tools and implements; here are all those iron slaves which we call machines, which saw and plane, spin and weave for us, unmaking and remaking, working up raw matter to produce the marvels of our time. But nobody has the right to seize a single one of these machines and say, "This is mine; if you want to use it you must pay me a tax on each of your products," any more than the feudal lord of medieval times had the right to say to the peasant, "This hill, this meadow belong to me, and you must pay me a tax on every sheaf of corn you reap, on every rick you build."
All is for all! If the man and the woman bear their fair share of work, they have a right to their fair share of all that is produced by all, and that share is enough to secure them well-being. No more of such vague formulas as "The Right to work," or "To each the whole result of his labour." What we proclaim is The Right to Well-Being: Well-Being for All!

"Be A Clown"
The Pirate (1948)
Context: Wear the cap and the bells
And you'll rate all the great swells.
If you become a doctor, folks'll face you with dread.
If you become a dentist, they'll be glad when you're dead.
You get a bigger hand if you can stand on your head.
Be a clown, be a clown, be a clown.

The Laocoön

On his childhood inspiration to become a poet, and later studies and efforts to produce poetry.
The Paris Review interview (1963)
Context: I think Ushant describes it pretty well, with that epigraph from Tom Brown’s School Days: “I’m the poet of White Horse Vale, sir, with Liberal notions under my cap!” For some reason those lines stuck in my head, and I’ve never forgotten them. This image became something I had to be. … I compelled myself all through to write an exercise in verse, in a different form, every day of the year. I turned out my page every day, of some sort — I mean I didn’t give a damn about the meaning, I just wanted to master the form — all the way from free verse, Walt Whitman, to the most elaborate of villanelles and ballad forms. Very good training. I’ve always told everybody who has ever come to me that I thought that was the first thing to do. And to study all the vowel effects and all the consonant effects and the variation in vowel sounds.

"Written-In-Red", last lines.
Context: Bear it aloft, O roaring flame!
Skyward aloft, where all may see.
Slaves of the World! Our cause is the same;
One is the immemorial shame;
One is the struggle, and in One name —
Manhood— we battle to set men free.
"Uncurse us the Land!" burn the words of the Dead,
Written-in-red.

Vol I; XXXVII
Lacon (1820)

Source: The Institute (2019), p. 348

Cut It Out (2004)

Mike Papantonio in "Republicans & Democrats Agree, Loan Sharks Need To Be Regulated", The Ring of Fire, https://trofire.com/2019/06/02/republicans-democrats-agree-loan-sharks-need-to-be-regulated/ (2 June 2019)

R.K. Murthi in: "Encyclopedia of Bharat Ratnas", P.77

Paul O. Schmidt to Leon Goldensohn, March 13, 1946.

Source: The Life And Times of the Thunderbolt Kid (2006), p. 81

Conclusion, Part Second, II
Napoleon the Little (1852)

"Differences", V
The Collected Songs of Charles Mackay (1859)

Speech at the opening of a German natural history museum https://www.youtube.com/watch?v=dFmqtkeQy9c (13 December 2008)

31-1-61

p. 224
Commonplace Book (1985)

Speech https://api.parliament.uk/historic-hansard/lords/1910/nov/24/relations-of-the-two-houses#column_992 in the House of Lords (24 November 1910). The Phrygian cap was a symbol of the French Revolution
1910s

Swallowing the bottle cap, Sarkos swerved toward Martin. “Don’t you see? It’s the only solution that can possibly work. No other theory comes close. Of course God has a dark side. Not just dark—evil. Radically, radically evil.”
Source: Blameless in Abaddon (1996), Chapter 15 (p. 390; spoken by the Devil, named Jonathan Sarkos in the book)