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I Quotes

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All I Quotes

“Ivo observed the group of children still at the sideboard, and heaved a sigh. "They're out of control," he said. "I suppose I'll have to do something about it." He executed a precise bow in Pandora's direction. "You look very pretty tonight, Lady Pandora." "Thank you, Ivo," she said demurely, and grinned as Ivo hurried away to herd his charges from the room. "What a little rogue," she said. "I think our grandfather- his namesake- would have doted on him," Gabriel replied. "There's more Jenner than Challon in Ivo, which is to say more fire than ice.”

“Ivo van Hove is directing The Crucible, and rehearses in quite an unusual way. We started rehearsals last week and dived straight into the first act, like, five minutes after we all turned up. No warm-ups. We were very intensely immersed in that whole world on day one. It was quite surreal because I've never done any theater before.”

“Ivy [Wilkes] does exhibit a certain impatience at the beginning of the book [The Dissemblers]. She doesn't want to wait through years of hard work and insignificance to make her mark on the art world. Part of her growth is in realizing - even embracing - that the process of art is more important than the product or the recognition.”

“Ivy and Rose's favorite spot in the cottage was the library, and there were trinkets and talismans hidden behind all the books they loved most. Those numbered in the hundreds, and they were rarely without one. Back in those days, no one cared if girls went to school, so Ivy and Rose were free to learn what they thought was necessary. If Ivy discovered the diary of a medieval botanist--- or a dusty grimoire with ancient symbols scribbled in the margins--- she could go an entire week without speaking. No one in her family minded at all. Rose, whose taste in books leaned toward romance and poetry, was happy to speak for the both of them.”

“Ivy hugs me tighter. "Wonderful, Rylan. This is good to know. And thank you for calling me...your friend. I love being called that." Love. My cheeks catch fire and my heart races as we continue holding each other. That word has become so foreign in my house, ever since my dad started distancing himself. But here's my best friend using it in a way that makes me feel like everything's okay and I'm whole again. It's the same one word—the only word—that could describe what I'm feeling for Ivy.”

“IWW General Headquarters was collecting information regarding past free speech fights in response to a request from the U.S. Committee on Industrial Relations. Believing the “publicity to be worth the work it will entail,” Vincent St. John made an appeal in Solidarity one week before the September convention. Anyone who had first-hand experience was asked to submit personal narratives, pamphlets, bulletins, reports, and detailed histories regarding the various free speech fights. …. The committee determined that non-English-speaking workers had prevented development of better employer-employee relationships, especially with the “unreasonable prejudice of almost every class of Americans toward immigrants.” With rumblings of a European war, the committee recommended immediate legislation for restricting immigration except for those who were “likely to make the most desirable citizens.”

“Iyengar sees the relationship between art and science as follows: “Art in its initial stages is science; science in its highest form is art.”6 That is to say, at first the artist must master technique (the scientific part of art), just as the scientist who wants to master science must see beauty in truth. The delight and awe of mathematicians when looking at a particularly concise formula is a well-known manifestation of artistic sensibility. Long ago, Pythagoras knew of the meeting place of science (in the form of mathematics) and art (in the form of music). Even before him, the Indians had discovered the same connection, as expressed in their Shulba-Sūtras. Yoga practitioners look upon their own body-mind as an artistic instrument that can be explored fairly precisely by carefully observing the timehonored rules of the yogic heritage. This effort yields what the Western esoteric traditions call the “music of the spheres”—the mystical sound om reverberating throughout the cosmos followed by the wondrous realization of absolute oneness (ekatva) beyond all qualities.”

“Izlazi iz dubine i pruža dubinu k meni, i ja je kušam. Isprva, ne slaže se sa mnom, ne mogu da je svarim, nemam predispoziciju da je svarim, pa je iz sebe izbacujem uobličenu u krik. Čak i u snoviđenju je čujem kako se uz mene uspinje i iz mene izvlači, krik nad kricima, dubok, demonski. S druge strane, u mene se ulivala sveprožimajuća snaga, strahotna i strana mi – strana svemu što je u meni u tom trenutku moglo da se nazove imalo ljudskim i prema svemu ljudskom izazivala posvemašni prezir. I glad. Ali, pre nego što se potpuno rasturi i raspe, poseže za mnom, grabi ka meni i hoće da grebe, da guli kožu koju želi za sebe, ali je i ne želi. Želi da mu ona posluži kao odelo, jer živa je, a života ima tako malo. Uprkos tome, trenutni život je užasan, potrebno ga je preobraziti, prekrojiti ga prema kriku koji se iz mene probio. U ljudsku ljusku treba ući samo da bi se iz nje moglo probiti u svet koji u svom srcu žudi za promenom, u sve svetove, ali je se plaši, iako su tu promenu zazivali i proroci stariji od onih starozavetnih. Pomračenja su uvek uživala strahopoštovanje, posebno period u kojem je sve uvijeno u plahtu neprirodne, a tako dobrodošle tmine. Uneti harmoniju u haos, ali ne ustezanjem od haosa. Vatrom se nositi sa vatrom ne bi li se novi poredak podigao sa zgarišta, sa sebe stresao pepeo i vinuo se ka zvezdama, koje će u potpunom mraku sjati kao i pre prve klice života na zemlji, ali novim sjajem, koji ne isijava. I, u tom potpunom mraku, u uspinjanju, a ne raspinjanju, moći će da se raduju samo oni koji su se uzdigli pokušavajući da postignu prevagu nad onim koji, postojeći, odista osećaju spram onih koji prosto postoje.”