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All I Quotes

“In Paris style is everything. That is traditionally understood. Every street, every structure, every shopgirl has style. The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste. There are few violations of this taste, and there is exemplary architectural consistency. Paris has defined the aesthetics of a sophisticated urban culture.”

“In Paris, friend of Bequerel’s, a young physicist-chemist couple named Pierre and Marie Curie, began to scour the natural world for even more powerful chemical sources of X-rays. Pierre and Marie (then Maria Sklodowska, a penniless Polish immigrant living in a garret in Paris) had met at the Sorbonne and been drawn to each other because of a common interest in magnetism.”

“In Paris, when certain people see you ready to set your foot in the stirrup, some pull your coat-tails, others loosen the buckle of the strap that you may fall and crack your skull; one wrenches off your horse's shoes, another steals your whip, and the least treacherous of them all is the man whom you see coming to fire his pistol at you point blank.”

“In Paris, when the picture came out [Casablanca] they weren't too pleased with it. They didn't like the political point of view. The picture was taken off immediately and was never sold to television. A while ago it was brought in and opened in five theatres in Paris, as a new movie. They had a big gala opening where I appeared and people were absolutely crazy about it.”

“In Paris, you couldn't really turn around without seeing the result of lovers' bad decisions. An artist given to sexual excess was almost a cliché, but no one seemed to mind. As long as you were making something good or interesting or sensational, you could have as many lovers as you wanted and ruin them all.”

“In part I'm just mystified. Here's a woman, Hillary [Clinton], who wrote a book about it takes a "village" to raise children. It wasn't about a book about "it takes a pill." There's a "double think" that the modern person often has. Anything that's called "science" is accepted as an absolute and sweeps reason away.”

“In part of Lord Kames' Elements of Criticism, he says that "music improves the relish of a banquet." That I deny,--any more than painting might do. They may both be additional pleasures, as well as conversation is, but are perfectly distinct notices; and cannot, with the least propriety, be said to mix or blend with the repast, as none of them serve to raise the flavor of the wine, the sauce, the meat, or help to quicken appetite. But music and painting both add a spirit to devotion, and elevate the ardor.”

“In part, it's almost surely a failure of modern education, whether K through 12 or higher education, or really both. Barack Obama went to Ivy League institutions like Columbia, which are reputed to be among America's top colleges. And yet, this very recent product of those American institutions is not publicly articulating an appreciation of the American founding or the founders and their vision for America.”

“In particular, husbands and wives who do poorly at nonverbal communication tend to be dissatisfied with their marriages. Moreover, when such problems occur, it's usually the husband's fault . In the first ingenious study of this sort, Patricia Noller (1980) found that husbands in unhappy marriages sent more confusing messages and made more decoding errors than happy husbands did. There were no such differences among the wives, so the poorer communication Noller observed in the distressed marriages appeared to be the husbands' fault. Men in troubled marriages were misinterpreting communications from their wives that were clearly legible to total strangers. Even worse, such husbands were completely clueless about their mistakes; they assumed that they were doing a fine job communicating with their wives, and were confident that they understood their wives and that their wives understood them. The men were doing a poor job communicating and didn't know it, and that's why they seemed to be at fault.”

“In particular I may mention Sophocles the poet, who was once asked in my presence, How do you feel about love, Sophocles? are you still capable of it? to which he replied, Hush! if you please: to my great delight I have escaped from it, and feel as if I had escaped from a frantic and savage master. I thought then, as I do now, that he spoke wisely. For unquestionably old age brings us profound repose and freedom from this and other passions.”

“In particular, the State has arrogated to itself a compulsory monopoly over police and military services, the provision of law, judicial decision-making, the mint and the power to create money, unused land ("the public domain"), streets and highways, rivers and coastal waters, and the means of delivering mail...the State relies on control of the levers of propaganda to persuade its subjects to obey or even exalt their rulers.”

“In particular those who are condemned to stagnation are often pronounced happy on the pretext that happiness consists in being at rest. This notion we reject, for our perspective is that of existentialist ethics. Every subject plays his part as such specifically through exploits or projects that serve as a mode of transcendence; he achieves liberty only through a continual reaching out towards other liberties. There is no justification for present existence other than its expansion into an indefinitely open future. Every time transcendence falls back into immanence, stagnation, there is a degradation of existence into the ‘en-sois’ – the brutish life of subjection to given conditions – and of liberty into constraint and contingence. This downfall represents a moral fault if the subject consents to it; if it is inflicted upon him, it spells frustration and oppression. In both cases it is an absolute evil. Every individual concerned to justify his existence feels that his existence involves an undefined need to transcend himself, to engage in freely chosen projects.”

“In particular, I argue that in both evolution and creation we have rival religious responses to a crisis of faith-rival stories of origins, rival judgments about he meaning of human life, rival sets of moral dictates, and above all what theologians call rival eschatologies-pictures of the future and of what lies ahead for humankind.”