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M Quotes

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All M Quotes

“Much is made of the accelerating brutality of young people's crimes, but rarely does our concern for dangerous children translateinto concern for children in danger. We fail to make the connection between the use of force on children themselves, and violent antisocial behavior, or the connection between watching father batter mother and the child deducing a link between violence and masculinity.”

“Much is missed if we have eyes only for the bright colors. Nature should be viewed without distinction... She makes no choice herself; everything that happens has equal significance. Nothing can be dispensed with. This is a common mistake that many people make: They think that half of nature can be destroyed - the uncomfortable half - while still retaining the acceptable and the pleasing side.”

“Much is now being said about evangelism; but before we get effective evangelism, we have to get effective evangelists. Evangelism is useless unless it is the work of one devoted to God, willing and glad to suffer all things for God, penetrated by the attractiveness of God. New machinery, adaptations and adjustments, are not the first need... but more devoted, adoring, sacrificial souls.”

“Much is said about love and heartbreak but nobody ever talks about falling out of love. Nobody has penned words on how glorious an experience it can be. Nobody talks about how it can feel like wings of healing and winds of enrapturement; how it can feel like snowflakes against your cheeks when you've been waiting and waiting for the blissful calm of winter. No one recognizes the pristine beauty of falling out of love, what a breathtaking process and journey it can be. We talk about falling into love like it's something so good we should wake up every morning wanting it. But nobody talks about the enrapturement, the ascension, of rising up and out of it!”

“Much later in his life, Auden would borrow a musical metaphor from Dietrich Bonhoeffer and say that Kierkegaard was a 'monodist, who can hear with particular acuteness one theme in the New Testament -- in his case, the theme of suffering and sacrifice -- but is deaf to its rich polyphony.' And for the Auden who emerges in the pages of this volume [Prose, Volume III: 1949-1955], the unique power of Christian doctrine is its polyphonic character, its capacity to address every dimension of our being, to give a comprehensive account of how history and nature relate, and -- decisively in Christ's incarnation, crucifixion, and resurrection -- how they may be reconciled. (The Poet's Prose)”

“Much later that night, I thought the door opened and a man came into the bedroom. He was leaning on a stick. He didn't say anything but he stood there, looking sadly at Andreas and me, and as a shaft of moonlight came slanting in through the window, I recognized Atticus Pünd. I was asleep, of course, and dreaming, but I remember wondering how he had managed to enter my world before the thought occurred to me that maybe it was I who had entered his.”

“Much later, when I discussed the problem with Einstein, he remarked that the introduction of the cosmological term was the biggest blunder he ever made in his life. But this "blunder," rejected by Einstein, is still sometimes used by cosmologists even today, and the cosmological constant denoted by the Greek letter Λ rears its ugly head again and again and again.”

“Much later, when I understood what perfection was, I realized that to become a saint one must suffer a great deal, always seek what is best, and forget oneself. I understood that there were many kinds of of sanctity and that each soul was free to respond to the approaches of Our Lord and to do little or much for Him - in other words,to make a choice among the sacrifices He demands.”

“Much like books, she could tell how voiceless things had provided a brand of companionship more compatible to his nature than human friendship had ever been. These things, locked in their inanimate ways, fed him ideas, she thought. They whispered their tales to him through unmoving lips and he listened, opening himself to their world so much more than any normal passerby. That much was evident in the way he’d taken the photos, as if he’d caught each soulless thing in a candid moment of secret animation. Like they’d sensed him coming and so turned themselves his way because they knew that he held the power to translate their silence into words.”

“Much like GM and GE, Kodak had a fair employment policy in place by the 1960s and had laid out is own Plan for Progress, which included a commitment to “hold discussions with the employment interviewers in the various division to remind them: that “such things as race, creed, color, or national origin” are neither to “help nor hinder in getting a job at Kodak.” Yet for blacks trying to work and move up at the company, these assurances didn’t mesh with their own experiences. Some of this was a consequence of blacks being poorly educated, especially those who had relocated to Rochester from the rural South. In the company’s eyes, the simply weren’t qualified. “We don’t grow many peanuts in Eastman Kodak,” Monroe Dill, Kodak’s industrial relations director said in 1963, adding that the company would start to recruit more from all-black colleges so as to not keep “discriminating by omission.” But there was also plenty of discrimination by commission, as individual Kodak managers used their discretion to hire whomever they liked and cast off whomever they didn’t. “They would say it blatant, like, 'We don't have any colored jobs,"" recalled Clarence Ingram, who served as general manager of the Rochester Business Opportunities Corporation, an entity formed after the '64 riots to support minority businesses. "They would tell you that." Apparently, they told a lot of blacks that. In 1964, only about 600 African Americans worked for Kodak in Rochester. less than 2 percent of the 33,000 employees based there. Determined to remedy this was FIGHT, which was led by Franklin Delano Roosevelt Florence, the thirty-one-year-old pastor of the Reynolds Street Church of Christ, a stocky, hard-charging, charismatic man, who called Malcolm X a friend. On September 2, 1966, a delegation of sixteen from FIGHT walked into Kodak's executive suite. Florence, sporting a Black Power button in his lapel, said he wanted to see "the top man." Before he knew it, the minister and his retinue were sitting in front of three top men: Kodak chairman Albert Chapman, president William Vaughn, and executive vice president Louis Eilers. Florence told them about the harshness of life in Rochester's black ghetto and said he wanted Kodak to start a training program for people who normally wouldn't be recruited into the company. Florence braced himself, expecting Kodak to resist. But Vaughn listened carefully and then asked Florence to submit a more specific proposal. Two weeks later, he did. Calling FIGHT " the only mass based organization of poor people and near poor people in the Rochester area," Florence requested that Kodak train 500 to 600 men and women over eighteen months. FIGHT also wanted direct involvement in the process; the group would "recruit and counsel trainees and offer advice, consultation, and assistance.”

“Much like humans, opinions come in all shapes and forms, but in the end, they are just what they are; and may yet still be categorized in nature. The first you might say is the Indoctrinal, which is, of course, dictated by community and necessity, by the human need for acceptance; secondly, there is the Personal, and this is often dictated by individuality, by the yearning to seem interesting and intelligent, or free, or special; and lastly comes the Emotional. This is most commonly dictated by circumstance and bitterness and excitement. However, rarely do we find the case in which any of these are dictated by reason in the pure state: it is by this we see that at the core of a number of false opinions lies not always misinformation but quite often some issue of the human self.”

“Much like teaching art to young art students age 10 to 15 or so on, you have to break it down into bite-sized pieces, essential components. You have to - you know, at this point I'm so used to operating within given assumptions about art. But when you're explaining art to art students or people who are new to this experience, you have to really go back to the fundamentals.”

“Much like the fortified wine that gives Marsala its name, this tasteful hue embodies the satisfying richness of a fulfilling meal, while its grounding red-brown roots emanate a sophisticated, natural earthiness. This hearty, yet stylish tone is universally appealing and translates easily to fashion, beauty, industrial design, home furnishings and interiors.”

“Much like the kākāpō who waddles up a hill, digs a hole and bellows into it to attract a mate, billionaires may be engaging in their own form of bellowing and feather-waving with admirable enthusiasm: They are hoping that somewhere, someone is appreciating just how terribly desirable they are.”