[I]magine you want to know the sex of your unborn child. There are several approaches. You could, for example, do what the late film star ... Cary Grant did before he was an actor: In a carnival or fair or consulting room, you suspend a watch or a plumb bob above the abdomen of the expectant mother; if it swings left-right it's a boy, and if it swings forward-back it's a girl. The method works one time in two. Of course he was out of there before the baby was born, so he never heard from customers who complained he got it wrong. ... But if you really want to know, then you go to amniocentesis, or to sonograms; and there your chance of being right is 99 out of 100. ... If you really want to know, you go to science.

[What verdict would a historian of the year 3000 pass upon our age? Let us hope this will be his judgement:]
“The twentieth century was, without question, the most momentous hundred years in the history of Mankind. It opened with the conquest of the air, and before it had run half its course had presented civilisation with its supreme challenge—the control of atomic energy. Yet even these events, each of which changed the world, were soon to be eclipsed. To us a thousand years later, the whole story of Mankind before the twentieth century seems like the prelude to some great drama, played on the narrow strip of stage before the curtain has risen and revealed the scenery. For countless generations of men, that tiny, crowded stage—the planet Earth—was the whole of creation, and they the only actors. Yet towards the close of that fabulous century, the curtain began slowly, inexorably to rise, and Man realised at last that the Earth was only one of many worlds; the Sun only one among many stars. The coming of the rocket brought to an end a million years of isolation. With the landing of the first spaceship on Mars and Venus, the childhood of our race was over and history as we know it began….”

Die Welt der chemischen Vorgänge gleicht einer Bühne, auf welcher sich in unablässiger Aufeinanderfolge Scene um Scene abspielt. Die handelnden Personen auf ihr sind die Elemente.
The world of chemical reactions is like a stage, on which scene after scene is ceaselessly played. The actors on it are the elements.

Actors start off in commercials playing someone else, but when they’ve really made it they return to commercials playing themselves.

Everyone is aware of the difficult and menacing situation in which human society–shrunk into one community with a common fate–now finds itself, but only a few act accordingly. Most people go on living their every-day life: half frightened, half indifferent, they behold the ghostly tragicomedy which is being performed on the international stage before the eyes and ears of the world. But on that stage, on which the actors under the floodlights play their ordained parts, our fate of tomorrow, life or death of the nations, is being decided.

Lectures with demonstrations are certainly valuable—more valuable than the lectures with text-books alone. Yet analyzing the object itself is infinitely more valuable than to watch the results exposed by another. Wrestling with the part which is being studied, handling it and viewing it from all sides, and tabulating and classifying the parts worked out, give us the greatest reward. All this can be accomplished by practical laboratory work. If we can make the student work thoroughly and carefully, a great result is achieved. It makes of him an artist, an actor, an expert, not a dilettante. He is upon the stage, not in the audience.

Our revels are now ended. These our actors,
As I foretold you, were all spirits, and Are melted into air, into thin air;
And like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve.
And like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.

The fame of surgeons resembles the fame of actors, who live only during their lifetime and whose talent is no longer appreciable once they have disappeared.

Whoever limits his exertions to the gratification of others, whether by personal exhibition, as in the case of the actor and of the mimic, or by those kinds of literary composition which are calculated for no end but to please or to entertain, renders himself, in some measure, dependent on their caprices and humours. The diversity among men, in their judgments concerning the objects of taste, is incomparably greater than in their speculative conclusions; and accordingly, a mathematician will publish to the world a geometrical demonstration, or a philosopher, a process of abstract reasoning, with a confidence very different from what a poet would feel, in communicating one of his productions even to a friend.