Persuasion Famous Quotes

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Pick up a pinecone and count the spiral rows of scales. You may find eight spirals winding up to the left and 13 spirals winding up to the right, or 13 left and 21 right spirals, or other pairs of numbers. The striking fact is that these pairs of numbers are adjacent numbers in the famous Fibonacci series: 1, 1, 2, 3, 5, 8, 13, 21... Here, each term is the sum of the previous two terms. The phenomenon is well known and called phyllotaxis. Many are the efforts of biologists to understand why pinecones, sunflowers, and many other plants exhibit this remarkable pattern. Organisms do the strangest things, but all these odd things need not reflect selection or historical accident. Some of the best efforts to understand phyllotaxis appeal to a form of self-organization. Paul Green, at Stanford, has argued persuasively that the Fibonacci series is just what one would expects as the simplest self-repeating pattern that can be generated by the particular growth processes in the growing tips of the tissues that form sunflowers, pinecones, and so forth. Like a snowflake and its sixfold symmetry, the pinecone and its phyllotaxis may be part of order for free
Stuart A. Kauffman (At Home in the Universe: The Search for the Laws of Self-Organization and Complexity)
I think there are two kinds of feminists. The famous ones, and everyone else. Everyone else, all the people who just quietly go and do what they’re supposed to do, and don’t get a lot of credit for it, and don’t have someone out there every day telling them they’re doing an awesome job.
Meg Wolitzer (The Female Persuasion)
A long list of propositions does not necessarily make a coherent argument
Andrew Pettegree (Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe—and Started the Protestant Reformation)
Although Martin Luther's theological message was couched as an exhortation to all Christian people, his frame of reference, the human experiences on which he drew and his emotional sympathies, or almost entirely German.
Andrew Pettegree (Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe—and Started the Protestant Reformation)
His plain, undecorated, and utilitarian work reeked week of provincialism.
Andrew Pettegree (Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe—and Started the Protestant Reformation)
Plato, in his famous fight against the ancient Sophists, discovered that their “universal art of enchanting the mind by arguments” (Phaedrus 261) had nothing to do with truth but aimed at opinions which by their very nature are changing, and which are valid only “at the time of the agreement and as long as the agreement lasts” (Theaetetus 172). He also discovered the very insecure position of truth in the world, for from “opinions comes persuasion and not from truth” (Phaedrus 260). The most striking difference between ancient and modern sophists is that the ancients were satisfied with a passing victory of the argument at the expense of truth, whereas the moderns want a more lasting victory at the expense of reality.
Hannah Arendt (The Origins of Totalitarianism)
The idea of freedom is complex and it is all-encompassing. It’s the idea that the economy must remain free of government persuasion. It’s the idea that the press must operate without government intrusion. And it’s the idea that the emails and phone records of Americans should remain free from government search and seizure. It’s the idea that parents must be the decision makers in regards to their children's education — not some government bureaucrat. But most importantly, it is the idea that the individual must be free to pursue his or her own happiness free from government dependence and free from government control. Because to be truly free is to be reliant on no one other than the author of our destiny. These are the ideas at the core of the Republican Party, and it is why I am a Republican. So my brothers and sisters of the American community, please join with me today in abandoning the government plantation and the Party of disappointment. So that we may all echo the words of one Republican leader who famously said, "Free at last, free at last, thank God Almighty, we are free at last.
Elbert Guillory
In Martin Luther's life and behavior is very courteous and friendly, and there is nothing of the stern stoic or grumpy fellow about him. He can adjust to all occasions. In social gathering he is gay, witty, ever full of joy, always has a bright and happy face, no matter how seriously his adversaries threatening him. One can see that God's strength is within him. – Petrus Mosellanus
Andrew Pettegree (Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe—and Started the Protestant Reformation)
Back at the start of World War Two the authorities forbade the use of the Underground as an air raid shelter. Instead Londoners were supposed to rely on hastily built neighborhood shelters or on the famous Anderson shelters, which were basically rabbit hutches made from corrugated iron with some earth shoveled on top. Londoners being Londoners, the prohibition on using the Underground lasted right up until the first air raid warning, at which point the poorly educated but far from stupid populace of the capital did a quick back-of-the-envelope comparison between the stopping power of ten meters of earth and concrete and a few centimeters of compost, and moved underground en masse. The authorities were appalled. They tried exhortation, persuasion, and the outright use of force, but the Londoners wouldn’t budge. In fact, they started to organize their own bedding and refreshment services.
Ben Aaronovitch (Whispers Under Ground (Peter Grant #3))
When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.
Oscar Wilde (De Profundis and Other Writings)
the story of Issa, the eighteenth-century Haiku poet from Japan. Through a succession of sad events, his wife and all his five children died. Grieving each time, he went to the Zen Master and received the same consolation: “Remember the world is dew.” Dew is transient and ephemeral. The sun rises and the dew is gone. So too is suffering and death in this world of illusion, so the mistake is to become too engaged. Remember the world is dew. Be more detached, and transcend the engagement of mourning that prolongs the grief. After one of his children died, Issa went home unconsoled, and wrote one of his most famous poems. Translated into English it reads,      The world is dew.      The world is dew.      And yet.      And yet.
Os Guinness (Fool's Talk: Recovering the Art of Christian Persuasion)
Daily, the media report human activity in which force is used to settle disputes. Since 1945 not a single day has gone by without war, and the end of the Cold War has not reduced its frequency. For example, in 1994 more than thirty major armed conflicts were fought in twenty-seven locations throughout the world in such places as Afghanistan, Algeria, Bosnia, Chechnya, Liberia, Rwanda, and Somalia. Given its wide spread occurrence, it is little wonder so many people equate world politics with violence. In On War, Prussian strategist Karl von Clausewitz advanced his famous dictum that war is merely an extension of diplomacy by other means - "a form of communication between countries," albeit an extreme form. This insight underscores the realist belief that war is an instrument for states to use to resolve their disputes. War, however, is the deadliest instrument of conflict resolution, its onset indicating that persuasion and negotiations have failed. In international relations, conflict regularly occurs when actors interact and disputes over incompatible interests rise. In and of itself, conflict is not necessarily threatening when the partners turn to arms to settle their perceived irreconcilable differences.
Eugene R. Wittkopf (World Politics: Trend and Transformation)
I grew convinc'd that truth, sincerity and integrity in dealings between man and man were of the utmost importance to the felicity of life; and I form'd written resolutions, which still remain in my journal book, to practice them ever while I lived. Revelation had indeed no weight with me, as such; but I entertain'd an opinion that, though certain actions might not be bad because they were forbidden by it, or good because it commanded them, yet probably these actions might be forbidden because they were bad for us, or commanded because they were beneficial to us, in their own natures, all the circumstances of things considered. And this persuasion, with the kind hand of Providence, or some guardian angel, or accidental favorable circumstances and situations, or all together, preserved me, thro' this dangerous time of youth, and the hazardous situations I was sometimes in among strangers, remote from the eye and advice of my father, without any willful gross immorality or injustice, that might have been expected from my want of religion. I say willful, because the instances I have mentioned had something of necessity in them, from my youth, inexperience, and the knavery of others. I had therefore a tolerable character to begin the world with; I valued it properly, and determin'd to preserve it.
Benjamin Franklin (The Complete Harvard Classics - ALL 71 Volumes: The Five Foot Shelf & The Shelf of Fiction: The Famous Anthology of the Greatest Works of World Literature)
The stranglehold of the departed was much resented by the new generation of aspiring authors. Which is why it is who did make the breakthrough were so admired.
Andrew Pettegree (Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe—and Started the Protestant Reformation)
Writing is a solitary act—but it's only the first act. What comes next is what really matters. However, personally, I have never been all that comfortable with the second act. I'm a solitary person by nature and not much of a joiner. Yet still I've come to see the nonfiction writer's solitary act as important to the greater cause—really the only cause—of decreasing cruelty and increasing sympathy. In that service, nonfiction writers can perform two fundamental tasks that are unavailable to the writers of fiction. Like Florence Reece, we can bear witness and we can call for change—for an end to injustices. It is precisely on this subject of bearing witness that I find John D'Agata's recent writing about the genre of nonfiction so malicious and inept. D'Agata argues that nonfiction must serve the greater good of art, and therefore reality can be altered in the name of art. But to elevate reality to the level of art is one of the fundamental tasks of the nonfiction writer, and to say it cannot be done honestly, as D'Agata claims, displays an astonishing lack of imagination as well as an equally unflattering amount of arrogance and pedantry. But let's put aside the either-or nature of this line of thinking. The real problem here is that such an attitude robs nonfiction of it greatest strength and virtue—its ability to bear witness and the veracity that comes from that act. To admit that one only has a passing interest in representing reality is to forfeit one's moral authority to call that reality into question. That is to say, I have no right to call mountaintop removal an injustice—one in need of a new reality—if I cannot be trusted to depict the travesty of strip mining as it now exists. To play D'Agata's game is to lose the reader's trust, and without that, it seems to me that the nonfiction writer has very little left. Writers of that persuasion can align themselves with Picasso's famous sentiment that art is the lie that tells the truth, but I have no truck with such pretentiousness. The work of the nonfiction writers I most admire is telling a truth that exposes a lie.
Sean Prentiss (The Far Edges of the Fourth Genre: An Anthology of Explorations in Creative Nonfiction)
That rare combination of "friendly" persuasion, extortion, blackmail and murder always worked for the KGB at home. Why would we expect it to fail abroad? As Al Capone famously said, "You can get much farther with a smile, a kind word and a gun than you can with a smile and a kind word." So the legislative reality, under the corrupt pedestrian surface, is something most people haven't fully grasped. It is not only the legislatures of the former Warsaw Pact countries that face hidden Soviet-era structures, amplified by the usual tendencies to corruption. The United States Congress was targeted by Russia a long time ago, and the level of KGB success may be measured by the total and absolute failure to detect activity that could not have failed to take place. J.R.Nyquist
J.R. Nyquist
Since he (Thrasymachos) is not a noble man, we are entitled to suspect that he chose the alternative which proved fatal to him with a view to his own advantage. Thrasymachos was a famous teacher of rhetoric, the art of persuasion. (Hence, incidentally, he is the only man possessing an art who speaks in the Republic.) The art of persuasion is necessary for persuading rulers and especially ruling assemblies, at least ostensibly, of their true advantage. Even the rulers themselves need the art of persuasion in order to persuade their subjects that the laws, which are framed with exclusive regard to the benefit of the rulers, serve the benefit of the subjects. Thrasymachos’ own art stands or falls by the view that prudence is of the utmost importance for ruling. The clearest expression of this view is the proposition that the ruler who makes mistakes is no longer a ruler at all.
Leo Strauss (History of Political Philosophy)
Increasingly, a new generation of artists were finding the creative projects which so excited them systematically rebuffed by the official art bodies. It was exasperating. Did the jury of the Salon, that ‘great event’ of the artistic world, never tire of the tedious repertoire of historical events and myths that had formed the mainstay of Salon paintings for so long? Did they not feel ridiculed being sold the blatant lie of highly finished paint surfaces, of bodies without a blemish, of landscapes stripped of all signs of modernity? Was contemporary life, the sweat and odour of real men and women, not deserving of a place on the Salon walls? Young artists huddled around tables in Montmartre’s cafés, sharing their deepest frustrations, breathing life into their most keenly held ideas. Just a few streets away from the Cimetière de Montmartre, Édouard Manet, the enfant terrible of the contemporary art world, could be found at his regular table in the Café Guerbois surrounded by reverent confrères, who would in time become famous in their own right. When Manet spoke, his blue eyes sparkled, his body leant forwards persuasively, and an artistic revolution felt achievable. The atmosphere was electric, the conversation passionate – often heated, but always exciting. The discussions ‘kept our wits sharpened,’ Claude Monet later recalled, ‘they encouraged us with stores of enthusiasm that for weeks and weeks kept us up.’ And though the war caused many of the artists to leave the capital, it proved merely a temporary migration. At the time Madeleine and her daughters arrived in Montmartre, the artists had firmly marked their patch.
Catherine Hewitt (Renoir's Dancer: The Secret Life of Suzanne Valadon)
It is Professor Fuson's view that Chinese charts of Taiwan and Japan were the source of the 1424 portrayal of Antilia and Satanaze. He makes a very persuasive case that such charts are likely to have originated from the seven spectacular voyages of discovery made by the famous Ming admiral Cheng Ho between 1405 and 1433. [...] Much suggests, however, that Robert Fuson is correct to deduce that the charts of Taiwan and Japan that somehow found their way into the hands of Zuane Pizzagano in Venice in 1424 must have originated from the voyages of Cheng Ho. Yet there is a problem. [...] Antilia and Satanaze on the 1424 chart don't show Taiwan and Japan as they looked in the time of Cheng Ho, but rather as they looked approximately 12,500 years ago during the meltdown of the Ice Age. Is it possible that Cheng Ho, too, like Columbus, was guided in his voyages by ancient maps and charts, come down from another time and populated by the ghosts of a drowned world?
Graham Hancock (Underworld: The Mysterious Origins of Civilization)
The key to Lincoln's famous employment of humor is not that he failed to appreciate the tragic aspects of human existence, but rather that he felt these with such keeness that some relief was required.
Elton Trueblood (Abraham Lincoln: Lessons in Spiritual Leadership)
This was New York, where famous people drank from the same trough you did,...
Meg Wolitzer (The Female Persuasion)
Everyone knows that the Puritans, powerful advocates of frugal simplicity, were suspicious of pleasure. But this strain in Christianity had some philosophical pedigree since it echoes a sentiment voiced by Plato. In several dialogues Plato argues against those who view pleasure as the ultimate good for human beings. In the Gorgias, for instance, Socrates and Callicles, an aspiring politician, go head-to-head on precisely this question. Callicles identifies the good with pleasure and understands pleasure as the gratification of desire. This is the axiom underlying his defense of oratory, since through oratory one can gain power, and with power one can gratify one’s desires. Against this, Socrates defends philosophy, which aims at truth (as opposed to mere persuasion), and likens the person who continually seeks pleasure to someone who is continually trying (and failing) to fill up a leaky pitcher. (Callicles responds by comparing the Socratic ideal of serenity to the experience of a stone.) In other works too, Plato’s distrust of pleasure is evident. He sees it as an attractive force that pulls us away from what really matters: namely, truth and virtue. In the Republic, Socrates’s initial vision of an ideal city is one in which the citizens spend their days sitting around discussing philosophy, undistracted by desires for anything beyond the satisfaction of basic needs.24 (His interlocutors reject this vision as being insufficiently civilized.) In the Phaedo philosophy is famously described as a preparation for death, in part because it helps the soul to detach itself from the body with all its sensual appetites and cravings.
Emrys Westacott (The Wisdom of Frugality: Why Less Is More - More or Less)
So we now live “east of Eden.” We are away from the home we were given to live in. We are all prodigals now, and we are all in a far country. Yet however far away we go, there is always a longing for home that will not go away. We have been cut off, so there is always a homesickness that no other home can satisfy, a desire that no other satisfaction can fulfill, a yearning that can be assuaged nowhere else, and a restlessness that finds no rest in any other stopping place. St. Augustine’s famous opening prayer to God in Confessions is the most celebrated expression of this view: “You have made us for Yourself, and our hearts are restless until they find their rest in You.
Os Guinness (Fool's Talk: Recovering the Art of Christian Persuasion)