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All I Quotes

“In the distance, I see a frightful storm brewing in the form of un-tethered government debt. I choose the words -“frightful storm' - deliberately to avoid hyperbole. Unless we take steps to deal with it, the long-term fiscal situation of the federal government will be unimaginably more devastating to our economic prosperity than the subprime debacle and the recent debauching of credit markets that we are working right now so hard to correct.”

“In the distant future I see open fields for far more important researches. Psychology will be based on a new foundation, that of the necessary acquirement of each mental power and capacity by gradation. Light will be thrown on the origin of man and his history.”

“In the distant past, in what might be described as the Golden Days of War, the business of wreaking havoc on your neighbours (these being the only people you could logistically expect to wreak havoc upon) was uncomplicated. You—the King—pointed at the next-door country and said, “I want me one of those!” Your vassals—stalwart fellows selected for heft and musculature rather than brain—said, “Yes, my liege,” or sometimes, “What’s in it for me?” but broadly speaking they rode off and burned, pillaged, slaughtered and hacked until either you were richer by a few hundred square miles of forest and farmland, or you were rudely arrested by heathens from the other side who wanted a word in your shell-like ear about cross-border aggression. It was a personal thing, and there was little doubt about who was responsible for kicking it off, because that person was to be found in the nicest room of a big stone house wearing a very expensive hat.”

“In the doctrine of Providence, we have a specific Christian confession exclusively possible through faith in Jesus Christ. This faith is no general, vague notion of Providence. It has a concrete focus: ‘If God is for us, who is against us? He that spared not his own Son, but delivered him up for us all, how shall he not also with him freely give us all things?’ (Rom.8:31, 32).”

“In the dog two conditions were found to produce pathological disturbances by functional interference, namely, an unusually acute clashing of the excitatory and inhibitory processes, and the influence of strong and extraordinary stimuli. In man precisely similar conditions constitute the usual causes of nervous and psychic disturbances. Different conditions productive of extreme excitation, such as intense grief or bitter insults, often lead, when the natural reactions are inhibited by the necessary restraint, to profound and prolonged loss of balance in nervous and psychic activity.”

“In the domain of pharmaceuticals, we need a metric for health impact, and with this metric we can then assess the value of the introduction of a new product and pay its innovator accordingly, say on the basis of the product's measured health impact during its first ten years on the market. In exchange, innovators must of course renounce the usual rewards they are otherwise entitled to, namely the patent-protected markup on the price of their product.”

“In the domain of Political Economy, free scientific inquiry meets not merely the same enemies as in all other domains. The peculiar nature of the material it deals with, summons as foes into the field of battle the most violent, mean and malignant passions of the human breast, the Furies of private interest.”

“In the domain of telling stories, a gesture homologous to translation would be a change in the plot of the original narrative which makes us think 'it is only now that we really understand what the story is about.' This is how we should approach numerous recent attempts to stage some classical opera by not only transposing its action into a different (most often contemporary) era, but also by changing some basic facts of the narrative itself. There is no a priori abstract criterion which would allow us to judge its success of failure: each such intervention is a risky act and must be judged by its own immanent standards. Such experiments often ridiculously misfire - however, not always, and there is no way to tell in advance, so one has to take the risk. Only one thing is certain: the only way to be faithful to a classic work is to take such as risk - avoiding it, sticking to the the traditional letter, is the safest way to betray the spirit of the classic. In other words, the only way to keep a classical work alive is to treat it as 'open', pointing towards the future, or, to use the metaphor evoked by Walter Benjamin, to act as if the classic work is a film for which the appropriate chemical liquid to develop was invented only later, so that it is only today that we can get the full picture. In both these cases, that of translation and that of (re)telling stories, the result is thus the same: instead of the original and its translation (or re-telling), both versions are conceived as fragmentary variations of an impossible Idea which can only be discerned by way of bringing out all its variations.”

“In the dominant Western religious system, the love of God is essentially the same as the belief in God, in God’s existence, God’s justice, God’s love. The love of God is essentially a thought experience. In the Eastern religions and in mysticism, the love of God is an intense feeling experience of oneness, inseparably linked with the expression of this love in every act of living.”

“In the dooryard fronting an old farm-house near the white-wash'd palings, Stands the lilac-bush tall-growing with heart-shaped leaves of rich green, with many a pointed blossom rising delicate, with the perfume strong I love, With every leaf a miracle - and from this bush in the dooryard, With delicate-color'd blossoms and heart-shaped leaves of rich green, A sprig with its flower I break.”

“In the downhill of life, when I find I'm declining, May my lot no less fortunate be Than a snug elbow-chair can afford for reclining, And a cot that o'erlooks the wide sea; With an ambling pad-pony to pace o'er the lawn, While I carol away idle sorrow, And blithe as the lark that each day hails the dawn, Look forward with hope for to-morrow.”

“In the drawing room [of the Queen's palace] hung a Venus and Cupid by Michaelangelo, in which, instead of a bit of drapery, the painter has placed Cupid's foot between Venus's thighs. Queen Caroline asked General Guise, an old connoisseur, if it was not a very fine piece? He replied "Madam, the painter was a fool, for he has placed the foot where the hand should be.”

“In the dream of approaching forty I saw myself as about to die and realized that I was no longer myself, but a creature inhabited entirely by parasites, as a caterpillar is occupied by the grubs of the ichneumon fly. Gin, whisky, sloth, fear, guilt, tobacco, had made themselves my inquilines; alcohol sloshed about within, while tendrils of melon and vine grew out of ears and nostrils; my mind was a worn gramophone record, my true self was such a ruin as to seem non-existent, and all this had happened in the last three years.”

“In the dream state, the mind and soul are set free to create as they please, to imagine vast worlds not tied to gross sensory realities but reaching out, almost magically, to touch other souls, other people and far-off places, wild and radiant images cascading to the rhythm of the heart's desire.”

“In the dry places, men begin to dream. Where the rivers run sand, there is something in man that begins to flow. West of the 98TH Meridian - where it sometimes rain and it sometimes doesn’t – towns, like weeds, spring up when it rains, dry up when it stops. But in a dry climate, the husk of the plant remains. The stranger might find, as if preserved in amber, something of the green life that was once lived there, and the ghosts of men who have gone on to a better place. The withered towns are empty, but not uninhabited. Faces sometimes peer out from the broken windows, or whisper from the sagging balconies, as if this place – now that is dead – had come to life. As if empty it is forever occupied. Reproduced in THE BORSCHT BELT from The Works of Love by Wright Morris by permission of the University of Nebraska Press. Copyright 1949, 1951 by Wright Morris.”