Begbie Quotes

-Fiona, this is my mate, Frank Begbie. Or Franco. Or Beggars. Or the Beggar Boy. Or the Generalissmo. Or Psychotic Bullying Prick.

It was Begbie who ensured he could never return. He had done what he wanted to do. He could now never go back to Leith, to Edinburgh, even to Scotland, ever again. There, he could not be anything other than he was. Now, free from them all, for good, he could be what he wanted to be. He'd stand or fall alone. This thought both terrified and excited him as he contemplated life in Amsterdam.

Begbie doesnae even notice; he's in his element, particularly good at funerals in the way a lot ay psychopaths tend tae be. Ah suppose if bringing death and despair is yir life's work, then being somewhere like this must feel like a result; the job's already done and you can just kick back and relax.

They filed out into the cold night at closing time, heading for Begbie's place with a carry-out. They'd already spent twelve hours drinking and pontificating about Matty's life and his motivations. In truth, the more reflective of them realised, all their insights pooled and processed, did little to illuminate the cruel puzzle of it all. They were no wiser now than at the start.

He really is a cunt ay the first order. Nae about that. The big problem is, he's a mate na aw. Whit kin ye dae?

Disnae matter if it's Mickey Platini or Franco Begbie, they will aw just have tae wait.

Agenda is bad when it usurps the beauty. Christian art should strive for a marriage of the two, just as Christ is described as being “full of grace and truth” (John 1:14). Truth without beauty can be a weapon; beauty without truth can be spineless. The two together are like lyric and melody. This is not to say that beauty itself isn’t a kind of truth, nor that truth itself isn’t beautiful. It’ll take a better philosopher than me to parse all that out. (I commend to you authors like Steve Guthrie and Jeremy Begbie if you want to swim in those deep but lovely waters.)

- Makes nae fucking difference. Rents n Stevie came up fae London for this. If Rents n Stevie kin come up fae fucking London, Sick Boy kin come up fae fuckcing France. Spud's senses were dangerously dulled with the alcohol. Stupidly, he kept the argument going. - Yeah, but, eh... France is further away... wir talking aboot the south ay France here, likesay. Ken? Begbie looked incredulously at Spud. Obviously the message had not got across. He spoke lower, higher and with a snarl twisting his cruel mouth into a strange shape below his blazing eyes. - IF RENTS N STEVIE KIN COME UP FI FUCKING LONDON, SICK BOY KIN COME UP FAE FUCKING FRANCE! - Yeah... right enough. Should've made the effort. Mate's funeral likesay, ken. Spud thought that the Conservative Party in Scotland could do with a few Begbies. It's not what the message is, the problem is just communication. Begbie is good at getting the message across.

Spud has two expressions: totally-scoobied-as-to-what-the-fuck's-going-on and the constantly-on-the-verge-of-tears look he is currently deploying. Assailed with self pity and self loathing, regarding his folly in sitting next to Begbie, he glances around. - Aye... it's bad, like say, he concedes, wondering how he can manoeuvre into another seat.

Even evil bastards like Frank Begbie probabably attained an angelic innocence when they were out for the count.

No fuckin way: cunt dies when ah fuckin well say eh dies. (Jim Frances Begbie as he is trying to resuscitate a friend who's having a stroke.)

Poor Spud's too pished tae pick up the vibe but, n he's still guan on: — Naw bit that wis amazing, see if ah could sing like you, Franco – — Shut the fuck up, Begbie says wi soft menace. Nicksy looks ower tae me wi a fraught, raised brow. — But ah'm jist sayin – Spud pleads. — Ah sais tae fuckin well shut it! Right! Spud falls silent, as does the rest ay the room. We all instantly understand how Begbie sees that this wee fragment ay beauty in his soul has been exposed, and how even through his ain ego and the flattery received, he looks on it as a potential weakness, something that might one day compromise him. — It's jist fuckin singin, right.

Ah hate cunts like that. Cunts like Begbie. Cunts that are intae baseball-batting every fucker that's different; pakis, poofs n what huv ye. Fucking failures in a country ay failures. It's nae good blamin it oan the English fir colonising us. Ah don't hate the English. They're just wankers. We can't even pick a decent, vibrant, healthy culture to be colonised by. No. We're ruled by effete arseholes. What does that make us? The lowest of the fuckin low, the scum of the earth. The most wretched, servile, miserable, pathetic trash that was ever shat intae creation. Ah don't hate the English. They just git oan wit the shite thuv goat. Ah hate the Scots.

Jeremy Begbie notes that music conveys meaning in a nonrepresentational manner, unlike our other forms of communication.121 Thus, music’s power of communication is unique: “Music is the least imitative of the arts, the least reducible to other things (certainly the least translatable into verbal discourse), the least dependent on preexisting things outside itself. Music is the closest we will get in this life to creating out of nothing.

The vision is rather of the artist, as physical and embodied, set in the midst of a God-given world vibrant with a dynamic beauty of its own, not simply "there" like a brute fact to be escaped or violently abused but there as a gift from a God of overflowing beauty, a gift for us to interact with vigorously, shape and reshape, form and transform, and in this way fashion something as consistent and dazzlingly novel as the Goldberg Variations, art that can anticipate the beauty previewed and promised in Jesus Christ.

Not so long ago a psychiatrist told me that one of the marks of an adult who has never properly grown up is an inability to wait, and a whole therapeutic movement has been built on that one insight alone. Because music takes or demands our time and depends on carefully timed relations between notes, it cannot be rushed. It schools us in the art of patience. Certainly we can play or sing a piece of music faster. But we can do this only to a very limited degree before the piece becomes incoherent. Given today’s technology we can cut and paste, we can hop from track to track on the MP3 player, flip from one song to another, and download highlights of a three-hour opera. But few would claim they hear a piece of music in its integrity that way. Music says to us: “There are things you will learn only by passing through this process, by being caught up in this series of relations and transformations.”34 Music requires my time, my flesh, and my blood for its performance and enjoyment, and this means going at its speed. Simone Weil described music as “time that one wants neither to arrest nor hasten.”35 In an interview, speaking of the tendency of our culture to think that music is there simply to “wash over” us, the composer James MacMillan remarked: “[Music] needs us to sacrifice something of ourselves to meet it, and it’s very difficult sometimes to do that, especially [in] the whole culture we’re in. Sacrifice and self-sacrifice—certainly sacrificing your time—is not valued any more.”36

Just as the Triune God lives as an endless momentum of attraction and joy, so God makes himself available not as an object for dispassionate scrutiny but through an overture of enticement, through which by the Spirit's agency we are made to long for God's presence, indeed, thirst for God. God "attracts our attention" by the outgoing Spirit, enabling us to respond, catching us up into the divine life. Indeed, can we not say that to experience the allure of God is nothing other than to experience the Spirit reconciling us to the Father through the Son and thus reordering our desires? No wedge need be driven between agape and eros provided the latter is not allowed to introduce notions of subsuming the "other" under manipulative restraint; indeed, as David Bentley Hart puts it, God's love, and hence the love with which we come to love God, is "eros and agape at once: a desire for the other that delights in the distance of otherness." As far as created beauty is concerned, beauty in the world that glorifies this God will also evoke desire--a yearning to explore and take pleasure in whatever is beautiful. There need be no shame in this provided our delight is delight in the other as other, and as long as we regularly recall that our love for God is the cantus firmus that enables all other desires to flourish.

Cotter stood on the lake shore, surveying an immense sheet of water. Its surface, ruffled to an ocean by a stiff westerly, teemed with birdlife – native ducks, great black swans, and seagulls in flocks of hundreds. A small group of emus grazed at a discreet distance. From the far shore rose an abrupt, dark-clad escarpment. This was a place to stir a man’s soul." (page 104)

This aspect of sentimentality also has its cultural forms. The Croatian sociologist Stjepan Mestrovic has described the postmodern condition as 'postemotional.' Drawing on the works of David Riesman, Emile Durkheim, George Ritzer, George Orwell, and others, he contends that emotions are the primary object of manipulation in postmodern culture. Emotion has increasingly been divorced from the intellect and judgement, and thus from responsible action: 'postemotional types,' as he puts it, 'know that they can experience the full range of emotions in any field, domestic or international, and never be called upon to demonstrate the authenticity of their emotions in commitment to appropriate action...Today, everyone knows that emotions carry no burden, no responsibility to act, and above all, that emotions of any sort are accessible to nearly everyone.

The artist, that is to say, begins by looking to the world around him, and then, on the basis of his powers of observation, offers some perceptual account of it for our appreciation.