Aunt Polly Quotes

Who knows, he may grow up to be President someday, unless they hang him first!" Aunt Polly about Tom Sawyer

Oh, but Aunt Polly, Aunt Polly, you haven't left me any time at all just to- to live.

Aunt Polly is all stirred up over it. You see, she wants Uncle Tom to have what he wants, only she wants him to want what she wants him to want. See?" Mrs. Carew laughed suddenly. (22)

You don't know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain't no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly—Tom's Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

In another moment he was flying down the street with his pail and a tingling rear, Tom was whitewashing with vigor, and Aunt Polly was retiring from the field with a slipper in her hand and triumph in her eye.

Then you--weren't lovers?" Pollyanna's voice was tragic with dismay. "Never!" "And it isn't all coming out like a book? . . . Oh dear! And it was all going so splendidly," almost sobbed Pollyanna. "I'd have been so glad to come--with Aunt Polly." "And you won't--now?" The man asked the question without turning his head. "Of course not! I'm Aunt Polly's!

You really shouldn’t drink potions if you don’t know what they do. - Aunt Polly

Oh, of course I'd be BREATHING all the time I was doing those things, Aunt Polly, but I wouldn't be living. You breathe all the time you're asleep, but you aren't living. I mean living—doing the things you want to do: playing outdoors, reading (to myself, of course), climbing hills, talking to Mr. Tom in the garden, and Nancy, and finding out all about the houses and the people and everything everywhere all through the perfectly lovely streets I came through yesterday. That's what I call living, Aunt Polly. Just breathing isn't living!

Oh, of course I'd be BREATHING all the time I was doing those things, Aunt Polly, but I wouldn't be living. You breathe all the time you're asleep, but you aren't living. I mean living—doing the things

Easy for you to say," Polly said. "You've lived here all your life and stayed under the radar. No one points at you." "Sometimes small children point at my butt," Aunt Rhea said. "But that's just on account of all the fried chicken.

The old lady whirled round, and snatched her skirts out of danger. The lad fled on the instant, scrambled up the high board-fence, and disappeared over it. His aunt Polly stood surprised a moment, and then broke into a gentle laugh.

Then he skipped out, and saw Sid just starting up the outside stairway that led to the back rooms on the second floor. Clods were handy and the air was full of them in a twinkling. They raged around Sid like a hail-storm; and before Aunt Polly could collect her surprised faculties and sally to the rescue, six or seven clods had taken personal effect, and Tom was over the fence and gone. There was a gate, but as a general thing he was too crowded for time to make use of it. His soul was at peace, now that he had settled with Sid for calling attention to his black thread and getting him into trouble.

Tom felt that it was time to wake up; this sort of life might be romantic enough, in his blighted condition, but it was getting to have too little sentiment and too much distracting variety about it. So he thought over various plans for relief, and finally hit pon that of professing to be fond of Pain-killer. He asked for it so often that he became a nuisance, and his aunt ended by telling him to help himself and quit bothering her. If it had been Sid, she would have had no misgivings to alloy her delight; but since it was Tom, she watched the bottle clandestinely. She found that the medicine did really diminish, but it did not occur to her that the boy was mending the health of a crack in the sitting-room floor with it. One day Tom was in the act of dosing the crack when his aunt's yellow cat came along, purring, eying the teaspoon avariciously, and begging for a taste. Tom said: "Don't ask for it unless you want it, Peter." But Peter signified that he did want it. "You better make sure." Peter was sure. "Now you've asked for it, and I'll give it to you, because there ain't anything mean about me; but if you find you don't like it, you mustn't blame anybody but your own self." Peter was agreeable. So Tom pried his mouth open and poured down the Pain-killer. Peter sprang a couple of yards in the air, and then delivered a war-whoop and set off round and round the room, banging against furniture, upsetting flower-pots, and making general havoc. Next he rose on his hind feet and pranced around, in a frenzy of enjoyment, with his head over his shoulder and his voice proclaiming his unappeasable happiness. Then he went tearing around the house again spreading chaos and destruction in his path. Aunt Polly entered in time to see him throw a few double summersets, deliver a final mighty hurrah, and sail through the open window, carrying the rest of the flower-pots with him. The old lady stood petrified with astonishment, peering over her glasses; Tom lay on the floor expiring with laughter.

Hang the boy, can't I never learn anything? Ain't he played tricks on me enough like that for me to be looking out for him by this time? But old fools is the biggest fools there is. Can;t learn an old dog new tricks, as the saying is. But my goodness, he never plays them alike, two days, and how is a body to know what's coming? He 'pears to know just how long he can torment me before I get my dander up and he knows if he can make out to put me off for a minute or make me laugh, it's all down again and I can't hit him a lick. I ain't doing my duty by that boy, and that's the Lord's truth, goodness knows. Spare the rod and spile the child, as the Good Book says. I'm a-laying up sin and suffering for the both of us, I know. He's full of the Old Scratch, but laws-a-me! he's my own dead sister's boy, poor thing, and I ain't got the heart to lash him, somehow. Every time I let him off, my conscience does hurt me so, and every time I hit him my old heart almost breaks. Well-a-well, man that is born of woman is of few days and full of trouble, as the Scripture says, and I reckon it's so. He'll play hooky this evening, and I'll just be obleeged to make him work tomorrow, to punish him. It's mighty hard to make him work Saturdays, when all the boys is having holiday, but he hates work more than he hates anything else, and I've got to do some of my duty by him, or I'll be the ruination of the child.

You are either a half-baked, baked, or burnt cookie. You decide, but you can't be all three in life. - Aunt Polly

Peter was agreeable. So Tom pried his mouth open and poured down the Pain-killer. Peter sprang a couple of yards in the air, and then delivered a war-whoop and set off round and round the room, banging against furniture, upsetting flower-pots, and making general havoc. Next he rose on his hind feet and pranced around, in a frenzy of enjoyment, with his head over his shoulder and his voice proclaiming his unappeasable happiness. Then he went tearing around the house again spreading chaos and destruction in his path. Aunt Polly entered in time to

Polly asked him questions that were full of guile, and very deep—for she wanted to trap him into damaging revealments. Like many other simple-hearted souls, it was her pet vanity to believe she was endowed with a talent for dark and mysterious diplomacy, and she loved to contemplate her most transparent devices as marvels of low cunning. Said she: "Tom, it was middling warm in school, warn't it?" "Yes'm." "Powerful warm, warn't it?" "Yes'm." "Didn't you want to go in a-swimming, Tom?" A bit of a scare shot through Tom—a touch of uncomfortable suspicion. He searched Aunt Polly's face, but it told him nothing. So he said: "No'm—well, not very much.

One day Tom was in the act of dosing the crack when his aunt's yellow cat came along, purring, eyeing the teaspoon avariciously, and begging for a taste. Tom said: "Don't ask for it unless you want it, Peter." But Peter signified that he did want it. "You better make sure." Peter was sure. "Now you've asked for it, and I'll give it to you, because there ain't anything mean about me; but if you find you don't like it, you mustn't blame anybody but your own self." Peter was agreeable. So Tom pried his mouth open and poured down the Pain-killer. Peter sprang a couple of yards in the air, and then delivered a war-whoop and set off round and round the room, banging against furniture, upsetting flower-pots, and making general havoc. Next he rose on his hind feet and pranced around, in a frenzy of enjoyment, with his head over his shoulder and his voice proclaiming his unappeasable happiness. Then he went tearing around the house again spreading chaos and destruction in his path. Aunt Polly entered in time to see him throw a few double summersets, deliver a final mighty hurrah, and sail through the open window, carrying the rest of the flower-pots with him. The old lady stood petrified with astonishment, peering over her glasses; Tom lay on the floor expiring with laughter. "Tom, what on earth ails that cat?" "I don't know, aunt," gasped the boy. "Why, I never see anything like it. What did make him act so?

OU DON’T KNOW ABOUT ME WITHOUT YOU HAVE READ A BOOK BY THE name of The Adventures of Tom Sawyer; but that ain’t no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly—Tom’s Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before. Now

Sawyer Effect: A weird behavioral alchemy inspired by the scene in The Adventures of Tom Sawyer in which Tom and friends whitewash Aunt Polly’s fence. This effect has two aspects. The negative: Rewards can turn play into work. The positive: Focusing on mastery can turn work into play.

I know, father-among-the-angels, I'm not playing the game one bit now—not one bit; but I don't believe even you could find anything to be glad about sleeping all alone 'way off up here in the dark—like this. If only I was near Nancy or Aunt Polly, or even a Ladies' Aider, it would be easier!" Down-stairs

at Dunkin’ Donuts, how did we move our anchor to Starbucks? This is where it gets really interesting. When Howard Shultz created Starbucks, he was as intuitive a businessman as Salvador Assael. He worked diligently to separate Starbucks from other coffee shops, not through price but through ambience. Accordingly, he designed Starbucks from the very beginning to feel like a continental coffeehouse. The early shops were fragrant with the smell of roasted beans (and better-quality roasted beans than those at Dunkin’ Donuts). They sold fancy French coffee presses. The showcases presented alluring snacks—almond croissants, biscotti, raspberry custard pastries, and others. Whereas Dunkin’ Donuts had small, medium, and large coffees, Starbucks offered Short, Tall, Grande, and Venti, as well as drinks with high-pedigree names like Caffè Americano, Caffè Misto, Macchiato, and Frappuccino. Starbucks did everything in its power, in other words, to make the experience feel different—so different that we would not use the prices at Dunkin’ Donuts as an anchor, but instead would be open to the new anchor that Starbucks was preparing for us. And that, to a great extent, is how Starbucks succeeded. GEORGE, DRAZEN, AND I were so excited with the experiments on coherent arbitrariness that we decided to push the idea one step farther. This time, we had a different twist to explore. Do you remember the famous episode in The Adventures of Tom Sawyer, the one in which Tom turned the whitewashing of Aunt Polly’s fence into an exercise in manipulating his friends? As I’m sure you recall, Tom applied the paint with gusto, pretending to enjoy the job. “Do you call this work?” Tom told his friends. “Does a boy get a chance to whitewash a fence every day?” Armed with this new “information,” his friends discovered the joys of whitewashing a fence. Before long, Tom’s friends were not only paying him for the privilege, but deriving real pleasure from the task—a win-win outcome if there ever was one. From our perspective, Tom transformed a negative experience to a positive one—he transformed a situation in which compensation was required to one in which people (Tom’s friends) would pay to get in on the fun. Could we do the same? We

YOU don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter. That book was made by Mr. Mark Twain, and he told the truth, mainly. There was things which he stretched, but mainly he told the truth. That is nothing. I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary. Aunt Polly—Tom’s Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before.

​​​CHAPTER I.​​ Civilizing Huck.—Miss Watson.—Tom Sawyer Waits. YOU don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter.  That book was made by Mr. Mark Twain, and he told the truth, mainly.  There was things which he stretched, but mainly he told the truth.  That is nothing.  I never seen anybody but lied one time or another, without it was Aunt Polly, or the widow, or maybe Mary.  Aunt Polly—Tom’s Aunt Polly, she is—and Mary, and the Widow Douglas is all told about in that book, which is mostly a true book, with some stretchers, as I said before. Now

About a week after this it was quite certain that Digory's Mother was getting better. About a fortnight later she was able to sit out in the garden. And a month later that whole house had become a different place. Aunt Letty did everything that Mother liked; windows were opened, frowsy curtains were drawn back to brighten up the rooms, there were new flowers everywhere, and nicer things to eat, and the old piano was tuned and Mother took up her singing again, and had such games with Digory and Polly that Aunt Letty would say "I declare, Mabel, you're the biggest baby of the three.

At nine o'clock every morning you will read aloud one half-hour to me. Before that you will use the time to put this room in order. Wednesday and Saturday forenoons, after half-past nine, you will spend with Nancy in the kitchen, learning to cook. Other mornings you will sew with me. That will leave the afternoons for your music. I shall, of course, procure a teacher at once for you," she finished decisively, as she arose from her chair. Pollyanna cried out in dismay. "Oh, but Aunt Polly, Aunt Polly, you haven't left me any time at all just to to live." "To live, child! What do you mean? As if you weren't living all the time!" "Oh, of course I'd be breathing all the time I was doing those things, Aunt Polly, but I wouldn't be living. You breathe all the time you're asleep, but you aren't living. I mean living doing the things you want to do: playing outdoors, reading (to myself, of course), climbing hills, talking to Mr. Tom in the garden, and Nancy, and finding out all about the houses and the people and everything everywhere all through the perfectly lovely streets I came through yesterday. That's what I call living, Aunt Polly. Just breathing isn't living!

He moves through the white glare of a Key West afternoon in that curious, rolling, cantilevered, ball-of-the-foot, and just-off-kilter gait that suggests a kind of subtle menace. He’s on dense and narrow and aromatic streets bearing people’s first names—Olivia, Petronia, Thomas, Emma, Angela, Geraldine. He’s Tom Sawyer on a Saturday in Hannibal, tooting like a steamboat, rid now of Aunt Polly’s clutches, left to his own devices, not to show back home until the sun is slanting in long bars. He’s Jake Barnes on a spring morning in Paris, when the horse chestnut trees are in bloom in the Luxembourg gardens. Jake is expert at shortcutting down the Boul’Mich’ to the rue Soufflot, where he hops on the back platform of an S bus, and rides it to the Madeleine, and then jumps off and strolls along the boulevard des Capucines to l’Opéra, where he then turns in at his building and rides the elevator up to his office to read the mail and sit at the typewriter and prepare a few cables for his newspaper across the Atlantic. “There was the pleasant early-morning feel of a hot day,” is the way Jake’s creator, living in this different region of light, had said it at the start of chapter 5 of The Sun Also Rises.

I don't know how else to handle it. I work, I talk to people, I walk, I see you and Polly and Aunt Janet, but there are moments when I'm stark lonely. Other moments when I think my loneliness will eat me alive. And sometimes it's vaguely there, hanging around, waiting to go away, maybe on a trip somewhere, and often I'm not lonely at all and feel happy to be alive. Does that make any sense?" "Yes, honey, it does." "So I try to get busy, I work in my garden, I read and make things, and move through it." "That's about all we can do, sweetie, move through it, right?" "Yep. Move through loneliness and isolation and hope you can outrun it for awhile.

Magic doesn’t work like that. You have to have intent and focus, but not think about it. - Aunt Polly

You can’t just bippity-bap with your dipple-stack. - Aunt Polly

I’m always where I’m supposed to be. - Aunt Polly

Shut your mouth, Florus, or the ghosts will get in. The disembodied are always looking to hitch a ride in the right vessel. - Aunt Polly

Just because you’re dead doesn’t mean you have to lay on your backside all day. - Aunt Polly

He’s like a half-baked cookie. - Aunt Polly

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

One of the most enduring scenes in American literature offers an important lesson in human motivation. In Chapter 2 of Mark Twain’s The Adventures of Tom Sawyer, Tom faces the dreary task of whitewashing Aunt Polly’s 810-square-foot fence. He’s not

Where’s Lardo?” asked Charlie. Alice had just pointed under the bed, when they heard a branch snap outside. Alice and Charlie looked at each other. Another snap sent Charlie skittering across the room into the closet to hide. Alice turned off the light and lay back down in her bed to wait. A few minutes later, a shadowy figure slipped through the window, crossed quickly to the bed, and hesitated slightly before slowly sliding a hand under Alice’s pillow. That’s when Lardo made his surprise attack. Charging out from under the bed, fangs bared and back arched, he leapt at the intruder with a terrifying hiss. Alice turned on the light, and Charlie came busting out of the closet screaming bloody murder. In a flash the woman, dark haired and dressed head to toe in black, was out the window again, but Charlie grabbed her by the legs and hung on for dear life. Alice’s parents came running when they heard the commotion. “What’s going on?” her mother cried. “Who’s that hanging out the window?” “It’s the person who stole your pie, Mom. The same person who broke into the pie shop and catnapped Lardo and stole Aunt Polly’s key and —” “Can you hurry it up?” said Charlie. “I don’t think I can

About a week after this it was quite certain that Digory's Mother was getting better. About a fortnight later she was able to sit out in the garden. And a month later that whole house had become a different place. Aunt Letty did everything that Mother liked; windows were opened, frowsy curtains were drawn back to brighten up the rooms, there were new flowers everywhere, and nicer things to eat, and the old piano was tuned and Mother took up her singing again, and had such games with Digory and Polly that Aunt Letty would say "I declare, Mabel, you're the biggest baby of the three.

Society at large can't make up its mind about men. Having spent the last thirty years redefining masculinity into something more sensitive, safe, manageable and, well, feminine, it now berates men for not being men. Boys will be boys, they sigh. As though if a man were to truly grow up he would forsake wilderness and wanderlust and settle down, be at home forever in Aunt Polly's parlor. "Where are all the *real* men?" is regular fare for talk shows and new books. *You asked them to be women,* I want to say. The result is a gender confusion never experienced at such a wide level in the history of the world. How can a man know he is one when his highest aim is minding his manners? And then, alas, there is the church. Christianity, as it currently exists, has done damage to masculinity. When all is said and done, I think most men in the church believe that God put them on the earth to be a good boy. The problem with men, we are told, is that they don't know how to keep their promises, be spiritual leaders, talk to their wives, or raise their children. But, if they will try real hard they can reach the lofty summit of becoming … a nice guy. That's what we hold up as models of Christian maturity: Really Nice Guys. We don't smoke, drink, or swear; that's what makes us *men*. Now let me ask my male readers: in all your boyhood dreams growing up, did you ever dream of becoming a Nice Guy? (Ladies, was the prince of your dreams dashing … or merely nice?

If you think your choice of wife isn't important, you're sadly uninformed. I've heard you speak time and again about keeping all the parts of your life separate and tidy, even having the boldness to claim that you can confine God to only a portion of your life, but what you're attempting with a wife is just as impossible. Especially if you want to receive any joy from your relationship with your bride."~Aunt Polly

I told you, either use it or don’t, but you can’t just dibble-dabble with the bibble-babble.” – Aunt Polly