Drama Quotes (13 quotes)
An evolution is a series of events that in itself as series is purely physical, — a set of necessary occurrences in the world of space and time. An egg develops into a chick; … a planet condenses from the fluid state, and develops the life that for millions of years makes it so wondrous a place. Look upon all these things descriptively, and you shall see nothing but matter moving instant after instant, each instant containing in its full description the necessity of passing over into the next. … But look at the whole appreciatively, historically, synthetically, as a musician listens to a symphony, as a spectator watches a drama. Now you shall seem to have seen, in phenomenal form, a story.
Anton Chekhov wrote that ‘one must not put a loaded rifle on stage if no one is thinking of firing it.’ Good drama requires spare and purposive action, sensible linking of potential causes with realized effects. Life is much messier; nothing happens most of the time. Millions of Americans (many hotheaded) own rifles (many loaded), but the great majority, thank God, do not go off most of the time. We spend most of real life waiting for Godot, not charging once more unto the breach.
In recent years scientists have grown self-conscious, perhaps because they have only lately become of age. They realize that they are now part of the drama of human history, and they look to the professional historian for background and perspective.
In the world of physics we watch a shadowgraph performance of the drama of familiar life. The shadow of my elbow rests on the shadow table as the shadow ink flows over the shadow paper. It is all symbolic, and as a symbol the physicist leaves it. ... The frank realization that physical science is concerned with a world of shadows is one of the most significant of recent advances.
It doesn't seem to me that this fantastically marvelous universe, this tremendous range of time and space and different kinds of animals, and all the different planets, and all these atoms with all their motions, and so on, all this complicated thing can merely be a stage so that God can watch human beings struggle for good and evil—which is the view that religion has. The stage is too big for the drama.
It is only by introducing the young to great literature, drama and music, and to the excitement of great science that we open to them the possibilities that lie within the human spirit—enable them to see visions and dream dreams.
Like the furtive collectors of stolen art, we [cell biologists] are forced to be lonely admirers of spectacular architecture, exquisite symmetry, dramas of violence and death, mobility, self-sacrifice and, yes, rococo sex.
Looking outward to the blackness of space, sprinkled with the glory of a universe of lights, I saw majesty—but no welcome. Below was a welcoming planet. There, contained in the thin, moving, incredibly fragile shell of the biosphere is everything that is dear to you, all the human drama and comedy. That’s where life is; that’s where all the good stuff is.
Nearly every understanding is gained by a painful struggle in which belief and unbelief are dramatically interwoven.
Newton’s theory is the circle of generalization which includes all the others [as Kepler’s laws, Ptolemy’s theory, etc.];—the highest point of the inductive ascent;—the catastrophe of the philosophic drama to which Plato had prologized;— the point to which men’s minds had been journeying for two thousand years.
The canons of art depend on what they appeal to. Painting appeals to the eye, and is founded on the science of optics. Music appeals to the ear and is founded on the science of acoustics. The drama appeals to human nature, and must have as its ultimate basis the science of psychology and physiology.
The difference between myth and science is the difference between divine inspiration of “unaided reason” (as Bertrand Russell put it) on the one hand and theories developed in observational contact with the real world on the other. It is the difference between the belief in prophets and critical thinking, between Credo quia absurdum (I believe because it is absurd–Tertullian) and De omnibus est dubitandum (Everything should be questioned–Descartes). To try to write a grand cosmical drama leads necessarily to myth. To try to let knowledge substitute ignorance in increasingly large regions of space and time is science.
What fiction could match - in drama or suspense - man’s first walk on the Moon?