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“But the real life of a writer resides in showing up at the keyboard every day, with the necessary patience and mercy, and making the best decisions you can on behalf of your people. It’s a slow process. It often feels hopeless, more like an affliction than an art form. Most of us will have to find our readers one by one, in other words, and against considerable resistance. If anything qualifies us as heroic, it’s that private perpetual struggle. Put down the magazine, soldier. Forget about the other guy. Remember who you are.”

“When you see evil do not form ideas that are in the likeness of that evil; do not think of the evil as bad, but try to understand the forces that are back of that evil—forces that are good in themselves, though misdirected in their present state. By trying to understand the nature of the power that is back of evil or adversity, you will not form bad ideas, and therefore will feel no bad effects from experiences that may seem undesirable. At the same time, you will think your own thought about the experiences, thereby developing the power of the master mind.”

“Where do you put a form? It will move all around, bellow out and shrink, and sometimes it winds up where it was in the first place. But at the end it feels different, and it had to make the voyage. I am a moralist and cannot accept what has not been paid for, or a form that has not been lived through.”

“Gossiping has become the main form of communication in human society. It has become the way we feel close to each other, because it makes us feel better to see someone else feel as badly as we do. There is an old expression that says, 'Misery likes company,' and people who are suffering in hell don't want to be all alone.”

“What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.”

“It is the philosophers, theologians, and evangelists who are said to be filled with pride and bigotry due to the strong convictions that they represent. On the contrary, teachings can be either taken or dismissed; whereas voting is the only thing the average person can do to force everyone to live how they would prefer. A simple vote is among the largest yet most acceptable forms of bigotry, and that is because people play the card only when they feel that in doing so it conveniences themselves.”

“There is something evocative about the idea of destruction. This act of destruction is the expression of an idea... that what we call reality is not real at all. When I draw a head, for example, I immediately feel an urge to destroy it, to erase it, because the drawing only captures an outward appearance, and for me the vital issue is what lies behind the visual form of the head.”

“Many contemporary painters feel that their landscapes come from within and are brought to the surface and given form as a result of various stimuli. The artist's internal world is waiting to be evoked by whatever means the artist finds most productive, and... this world is just as important as the outer, visible world.”

“Marvin Gaye said there's a song inside of me and I can't get it out. And I know it's in there, and I can feel that it's in there, and I can't get it out. There's so much that I want to say, and I haven't been able to figure out how to say it in my art. I can only say it in ham-fisted, clumsy, nonpoetic ways, and I'm trying to figure out how to talk about life and talk about love and talk about pain and trials and tribulation in an artistic form.”

“The theater itself is so archaic and old fashioned, that it doesn't really matter to me whether it's on Avenue D or at the Helen Hayes Theater. What's the difference? It's still a very nostalgic form. Also, it means you're knowingly walking into a room where there's actors. I feel it's very embarrassing. Because, you know, they're right there. You always think like, they can see you, and I think it's mortifying, frankly, and I hate to sit near the front, where you feel they actually might see you. It's too ... it's too live.”

“We know great Nature's pow'r, Mother of things, whose vast unbounded sway From the deep centre all around extends Wide to the flaming barriers of the world. We feel her power; we strive not to repress (Vainly repress'd, or to deformity) Her lawful growth: ours be the task alone To check her rude excrescencies, to prune Her wanton overgrowth, and where she strays In uncouth shapes, to lead her gently back, With prudent hand, to form and better use.”

“I feel my disease, and I feel that my want of alarm and lively affecting conviction forms its most obstinate ingredient; I try to stir up the emotion, and feel myself harassed and distressed at the impotency of my own meditations. But why linger without the threshold in the face of a warm and urgent invitation? "Come unto me." Do not think it is your office to heal one part of the disease, and Christ's to heal the remainder.”

“Galen , in the third section of his book, "The Use of the Limbs," says correctly that it would be in vain to expect to see living beings formed of the blood of menstruous women and the semen virile, who will not die, will never feel pain, or will move perpetually, or shine like the sun. This dictum of Galen is part of the following more general proposition: Whatever is formed of matter receives the most perfect form possible in that species of matter; in each individual case the defects are in accordance with that individual matter.”

“These terrifying forms which advance on me, I feel that the despair they bring is alive. It slips into this nucleus of life beyond which the paths of eternity extend. It is truly an eternal separation. They slip their knives into this center where I feel myself a man, they sever those vital ties which bind me to the dream of my lucid reality.”

“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

“I started to see human beings as little lonesome, water based, pink meat, life forms pushing air through themselves and making noises that the other little pieces of meat seemed to understand. I was thinking to myself, 'There's five billion people here but we've never been more isolated.' The only result of the aggressive individualism we pursue is that you lose sight of your compassion and we go to bed at night thinking, 'Is this all there is?' because we don't feel fulfilled.”

“Many strange-looking people obviously dress according to deep convictions that are not shared by on-lookers - they clearly do not know how they actually look, but are satisfied with what their clothes make them feel and believe about their looks. These people may be the true originals, even though they are certainly not the best appreciated. The famous messages of dress, the well-known language of clothes, is very often not doing any communicating at all; a good deal of it is a form of private muttering.”

“It's so silly isn't it? how we grown men take up trout angling not simply to pursue trout but to find some place, some special place, where we feel at ease. a place to belong. Forces, not forms, persist: energy is spent and endures; time does not tick, it flows. God loves a man that smells of trout water and mountain meadows. Which way's heaven, you suppose? Follow the trail and keep close to the stream.”

“Radicals, on the other hand, want to advance from the jungle of laissez-faire capitalism to a world worthy of the name of human civilization. They hope for a future where the means of economic production will be owned by all of the people instead of just a comparative handful. They feel that this minority control of production facilities is injurious to the large masses of people not only because of economic monopolies but because the political power inherent in this form of centralized economy does not augur for an ever expanding democratic way of life.”

“Knowing how you actually want to feel is the most potent form of clarity that you can have. Generating those feelings is the most powerfully creative thing you can do with your life. And not only do we have to put our feelings at the heart of our ambitions, we have to pursue our desires in a way that is life-affirming, rather than soul-depleting. Rigid goal-chasing is burning us out. Soul-anchored intentions are the way to get home.”

“Shame is the proper reaction when one has purposefully violated the accepted behavior of society. Inflicting it is etiquette's response when its rules are disobeyed. The law has all kinds of nasty ways of retaliating when it is disregarded, but etiquette has only a sense of social shame to deter people from treating others in ways they know are wrong. So naturally Miss Manners wants to maintain the sense of shame. Some forms of discomfort are fully justified, and the person who feels shame ought to be dealing with removing its causes rather than seeking to relieve the symptoms.”

“Mr. Arnold Bennett feels he has ranked himself for ever as a dry wine by what he mixed with himself of Maupassant; nevertheless he has put on the market some grocer's Sauterne in the form of several novels that are highly sentimental so far as their fundamental balance of values is concerned.”

“I think the novel is essentially a comic form (tragedy is for the theatre), not meaning by that full of jokes, but that it is about the absurd detail of human life, the way in which one cannot fully understand what is happening. Life is muddle and jumble and ends inconclusively, and when this is presented with great comic art the sorrows of human life can be truthfully conveyed; one is moved by the spectacle, and feels that something truthful has been told in a magic way.”