Peanuts Lucy Quotes

Lucy: You learn more when you lose Charlie Brown: Well then I must be the smartest person in world!!!

A broken heart in real life isn't half as dreadful as it is in books. It's a good deal like a bad tooth, though you won't think THAT a very romantic simile. It takes spells of aching and gives you a sleepless night now and then, but between times it lets you enjoy life and dreams and echoes and peanut candy as if there were nothing the matter with it.

Lucy was using my blanket to dry the dishes... We now have very secure dishes!

May I ask a question, Lucy?" "Go right ahead!" "Just why do you want to draw this line all the way around the world?" "Well, you know the old saying, Charlie Brown... You have to draw the line someplace!

Good afternoon... My name is Lucy... I'm going to be your right-fielder... Our special today is a misjudged fly-ball. We also have a nice bobbled ground ball and an exellent late throw to the infield... I'll be back in a moment to take your order.

Can't you see me as king of the Hereford ranchers, Lucy?" "Oh, I can see you, all right... I can see you riding out on your beautiful palomino checking the herd... There you sit, silhouetted against the evening sky... Sucking your thumb and holding that stupid blanket!

Charlie Brown: A penny! Rats! Why couldn't I have found a nickel? What good is a penny these days? Why do things like that always happen to me?! *walks off frustrated* Lucy: Gee, he found a penny! Why don't things like that ever happen to me?

There's a characteristically brilliant Peanuts strip which opens with Linus sitting on the living-room floor, anxiously clutching his mouth. Lucy enters and asks what's wrong. "I'm aware of my tongue," he explains. "It's an awful feeling! Every now and then I become aware that I have a tongue inside my mouth, and then it starts to feel lumped up... I cant's help it... I can't put it out of my mind... I keep thinking about where my tongue would be if I weren't thinking about it, and then I can feel it sort of pressing against my teeth." Loudly declaring this the dumbest thing she's ever heard, Lucy scowls away. But a few steps down the corridor, she stops dead in her tracks. She clutches her own mouth. Suddenly she's aware of her tongue too. She runs back and chases him round the room, shouting, "You blockhead!" with her gigantic booming gob. Occasionally, late at night, while I'm trying to sleep and failing, I experience someting similar - except instead of being aware of my tongue, I'm aware of my entire body, the entire world, and the whole of reality itself. It's like waking from a dream, or a light going on, or a giant "YOU ARE HERE" sign appearing in the sky. The mere fact that I'm actually real and actually breathing suddenly hits me in the head with a thwack. It leaves me giddy. It causes a brief surge of clammy, bubbling anxiety, like the opening stages of a panic attack. The moment soon passes, but while it lasts it's strangely terrifying.

Charles Schulz once said that his Peanuts characters represented different aspects of himself. Philosophical Linus, crabby Lucy, insouciant Snoopy…and melancholic Charlie Brown, who was the heart of it all, the center of the strip, yet the one we could never admit to being. “I didn’t realize how many Charlie Browns there were in the world,” Schulz said. “I thought I was the only one.

Con questo non voglio dire che il depresso e insicuro Charlie Brown, l’egoista e sadica Lucy, l’eccentrico filosofo Linus e l’ossessivo Schroeder (che soddisfa le sue ambizioni beethoveniane con un pianoforte giocattolo e una sola ottava) non siano tutti avatar di Schultz. Ma il suo vero alter ego è chiaramente Snoopy: l’imbroglione proteiforme che fonda la propria libertà sulla certezza di essere in fondo adorabile, il trasformista che, per puro divertimento, può diventare un elicottero, un giocatore di hokey o il Grande Brachetto, e poi di nuovo, in un lampo, prima che il suo virtuosismo possa annoiarvi o sminuirvi, tornare a essere il cagnolino vivace che aspetta solo la cena.

But, Anne, a broken heart in real life isn’t half as dreadful as it is in books. It’s a good deal like a bad tooth … though you won’t think that a very romantic simile. It takes spells of aching and gives you a sleepless night now and then, but between times it lets you enjoy life and dreams and echoes and peanut-candy as if there were nothing the matter with it.

Our favorite example of meaning comes from a “Peanuts” cartoon strip. Lucy asks Schroeder—Schroeder playing the piano, of course, and ignoring Lucy—if he knows what love is. Schroeder stands at attention and intones, “Love: a noun, referring to a deep, intense, ineffable feeling toward another person or persons.” He then sits down and returns to his piano. The last caption shows Lucy looking off in the distance, balefully saying, “On paper, he’s great.” Most mission statements suffer that same fate: On paper, they’re great.

I love you, Lucian. Even if you wear suits to bed and are snooty about peanut butter brands.” “And I love you, Sloane. Even if you drive me absolutely insane twenty-four hours a day for the rest of my life.

Take a story that was told to me by a man named Donald Leka. Back in 1978, when his two children were in elementary school, Don volunteered to help out at a PTA fundraiser. In the interest of earning a laugh as well as some money, he set up a booth advertising legal advice for 25 cents—a sort of lawyerly version of Lucy’s advice booth in Peanuts. The booth was obviously something of a jest, but as a responsible lawyer, Don was careful to staff it with practicing members of the bar. So he was alarmed to learn that a guest had gotten legal advice about a healthcare issue not from a colleague who was among those appointed to give such advice, a man named Jim, but from Jim’s wife. “I grew quite concerned,” Don recollected, “because even though this was lighthearted, I didn’t want people’s wives just going around giving advice. As soon as I could, I located Jim and told him what his wife was doing”—at which point, Jim informed Don that his wife was general counsel of the largest HMO in the city.

This theme—cash before all—is also a hoary one. George Gershwin relied on it in his song “Freud and Jung and Adler” for the 1933 musical Pardon My English. In a repeated refrain, the doctors sing that they practice psychoanalysis because it “pays twice as well” as specialties that deal with bodily ailments. Therapists are inherently comical Luftmenschen, impractical, except on this one front. They like their fees. Lucy’s perky insistence about billing gives the five-cents-please strips their final kick.

His office was on the third floor of the Humanities & Social Sciences Building, just down the hall from the interview room. On the office door was a Peanuts cartoon of Lucy in the psychiatrist's booth with the little DOCTOR is IN sign. Professor Mitchell, a man on the cutting edge of humor.