All change is relative. The universe is expanding relatively to our common material standards; our material standards are shrinking relatively to the size of the universe. The theory of the “expanding universe” might also be called the theory of the “shrinking atom”. …
:Let us then take the whole universe as our standard of constancy, and adopt the view of a cosmic being whose body is composed of intergalactic spaces and swells as they swell. Or rather we must now say it keeps the same size, for he will not admit that it is he who has changed. Watching us for a few thousand million years, he sees us shrinking; atoms, animals, planets, even the galaxies, all shrink alike; only the intergalactic spaces remain the same. The earth spirals round the sun in an ever-decreasing orbit. It would be absurd to treat its changing revolution as a constant unit of time. The cosmic being will naturally relate his units of length and time so that the velocity of light remains constant. Our years will then decrease in geometrical progression in the cosmic scale of time. On that scale man’s life is becoming briefer; his threescore years and ten are an ever-decreasing allowance. Owing to the property of geometrical progressions an infinite number of our years will add up to a finite cosmic time; so that what we should call the end of eternity is an ordinary finite date in the cosmic calendar. But on that date the universe has expanded to infinity in our reckoning, and we have shrunk to nothing in the reckoning of the cosmic being.
We walk the stage of life, performers of a drama for the benefit of the cosmic spectator. As the scenes proceed he notices that the actors are growing smaller and the action quicker. When the last act opens the curtain rises on midget actors rushing through their parts at frantic speed. Smaller and smaller. Faster and faster. One last microscopic blurr of intense agitation. And then nothing.

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.

Being in love with the one parent and hating the other are among the essential constituents of the stock of psychical impulses which is formed at that time and which is of such importance in determining the symptoms of the later neurosis... This discovery is confirmed by a legend that has come down to us from classical antiquity: a legend whose profound and universal power to move can only be understood if the hypothesis I have put forward in regard to the psychology of children has an equally universal validity. What I have in mind is the legend of King Oedipus and Sophocles' drama which bears his name.

He who would lead a Christ-like life is he who is perfectly and absolutely himself. He may be a great poet, or a great man of science, or a young student at the University, or one who watches sheep upon a moor, or a maker of dramas like Shakespeare, or a thinker about God, like Spinoza. or a child who plays in a garden, or a fisherman who throws his nets into the sea. It does not matter what he is as long as he realises the perfection of the soul that is within him.

I have witnessed a most remarkable drama here, one which to me as a German was very unexpected, and quite shocking. I saw the famous M. Lavoisier hold a ceremonial auto-da-fe of phlogiston in the Arsenal. His wife... served as the sacrificial priestess, and Stahl appeared as the advocatus diaboli to defend phlogiston. In the end, poor phlogiston was burned on the accusation of oxygen. Do you not think I have made a droll discovery? Everything is literally true. I will not say whether the cause of phlogiston is now irretrievably lost, or what I think about the issue. But I am glad that this spectacle was not presented in my fatherland.

In my opinion, the American “war on drugs” represents merely a new variation in humanity’s age-old passion to “purge” itself of its “impurities” by staging vast dramas of scapegoat persecutions. In the past, we have witnessed religious or “holy” wars waged against people who professed the wrong faith; … now we are witnessing a medical or “therapeutic” war, waged against people who use the wrong drugs.

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.

Medicine is the one place where all the show is stripped of the human drama. You, as doctors, will be in a position to see the human race stark naked—not only physically, but mentally and morally as well.

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.

No matter how intently one studies the hundred little dramas of the woods and meadows, one can never learn all the salient facts about any one of them.

Our scientific work in physics consists in asking questions about nature in the language that we possess and trying to get an answer from experiment by the means at our disposal. In this way quantum theory reminds us, as Bohr has put it, of the old wisdom that when searching for harmony in life one must never forget that in the drama of existence we are ourselves both players and spectators. It is understandable that in our scientific relation to nature our own activity becomes very important when we have to deal with parts of nature into which we can penetrate only by using the most elaborate tools.

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.

Thus the great drama of universal life is perpetually sustained; and though the individual actors undergo continual change, the same parts are ever filled by another and another generation; renewing the face of the earth, and the bosom of the deep, with endless successions of life and happiness.

To present science in purely abstract terms as a collection of information or as a system of knowledge, thereby ignoring the place of science in the drama of human history, is simply to rob the students of their own heritage as human beings and to reduce one of the most exciting chapters in the history of mankind to the bare bones of observed fact and the skeletons of dry theories built of them.

What fiction could match - in drama or suspense - man’s first walk on the Moon?

When searching for harmony in life one must never forget that in the drama of existence we are ourselves both actors and spectators.