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M Quotes

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All M Quotes

“Mathematics may be compared to a mill of exquisite workmanship, which grinds you stuff of any degree of fineness; but, nevertheless, what you get out depends upon what you put in; and as the grandest mill in the world will not extract wheat-flour from peascods, so pages of formulae will not get a definite result out of loose data.”

“Mathematics may be likened to a large rock whose interior composition we wish to examine. The older mathematicians appear as persevering stone cutters slowly attempting to demolish the rock from the outside with hammer and chisel. The later mathematicians resemble expert miners who seek vulnerable veins, drill into these strategic places, and then blast the rock apart with well placed internal charges.”

“Mathematics never reveals man to the degree, never expresses him in the way, that any other field of human endeavour does: the extent of the negation of man's corporeal self that mathematics achieves cannot be compared with anything. Whoever is interested in this subject I refer to my articles. Here I will say only that the world injected its patterns into human language at the very inception of that language; mathematics sleeps in every utterance, and can only be discovered, never invented.”

“Mathematics, rightly viewed, possesses not only truth, but supreme beauty a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the georgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than Man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry.”

“Matheson instituía assim uma espécie de distopia vampiresca — sua obra servindo, inclusive, como modelo para muitos cenários de “apocalipse zumbi” que surgiriam na segunda metade do século 20, como o clássico A Noite dos Mortos-vivos (1968) de George A. Romero —, fazendo uso desse modo narrativo que se apropria de tensões do presente para imaginar os mais variados cenários de desastre alternativos ou futuros, bem como da figura do vampiro como agente propagador de doenças, o veículo para o apocalipse.”

“Mathias shivered. The forest had pulled so close when they drew near to this hostel, branches twitching. And he couldn’t tell if the feel of branches against his legs had been coincidental or if a tree had reached out to brush against him, taking his measure. At least no one had been yanked from their saddle. But no one looked comfortable. Except Aunia. She merely raised her face to the canopy, eyes wide as if a chorus of faeries danced for only her.”

“Mathieu didn’t know at all what to do about May. He felt a kind of nausea, probably induced by the regular movement of the ball. She was having religious fits again. Jesus Christ, she thought, how many thousands of years will it take people to get over their folklore? There was nothing he could do about that now. She wouldn’t listen to all the scientific explanations and would go on imagining things. People will always keep imagining things. It was impossible to convince them that there is nothing there. Nothing at all. Only matter. Particles. Energy.”

“Mathilde made an effort to use the more intimate form; she was evidently more attentive to this unusual way of speaking than to what she was saying. This use of the singular form, stripped of the tone of affection, ceased, after a moment, to afford Julien any pleasure, he was astonished at the absence of happiness; finally, in order to feel it, he had recourse to his reason. He saw himself highly esteemed by this girl who was so proud, and never bestowed unrestricted praise; by this line of reasoning he arrived at a gratification of his self-esteem.”