Dramatic Quotes (19 quotes)
[About mathematicians’ writings] Extreme external elegance, sometimes a somewhat weak skeleton of conclusions characterizes the French; the English, above all Maxwell, are distinguished by the greatest dramatic bulk.
[To one of his students he saw in a school dramatic production:] I’ve always been proud that Course X leaves little time for outside activities. You have proved me wrong so far and I’m glad you have. But don’t push your luck too far!
All revolutionary advances in science may consist less of sudden and dramatic revelations than a series of transformations, of which the revolutionary significance may not be seen (except afterwards, by historians) until the last great step. In many cases the full potentiality and force of a most radical step in such a sequence of transformations may not even be manifest to its author.
Freud becomes one of the dramatis personae, in fact, as discoverer of the great and beautiful modern myth of psychoanalysis. By myth, I mean a poetic, dramatic expression of a hidden truth; and in placing this emphasis, I do not intend to put into question the scientific validity of psychoanalysis.
Global nuclear war could have a major impact on climate—manifested by significant surface darkening over many weeks, subfreezing land temperatures persisting for up to several months, large perturbations in global circulation patterns, and dramatic changes in local weather and precipitation rates—a harsh “nuclear winter” in any season. [Co-author with Carl Sagan]
I do not maintain that the chief value of the study of arithmetic consists in the lessons of morality that arise from this study. I claim only that, to be impressed from day to day, that there is something that is right as an answer to the questions with which one is able to grapple, and that there is a wrong answer—that there are ways in which the right answer can be established as right, that these ways automatically reject error and slovenliness, and that the learner is able himself to manipulate these ways and to arrive at the establishment of the true as opposed to the untrue, this relentless hewing to the line and stopping at the line, must color distinctly the thought life of the pupil with more than a tinge of morality. … To be neighborly with truth, to feel one’s self somewhat facile in ways of recognizing and establishing what is right, what is correct, to find the wrong persistently and unfailingly rejected as of no value, to feel that one can apply these ways for himself, that one can think and work independently, have a real, a positive, and a purifying effect upon moral character. They are the quiet, steady undertones of the work that always appeal to the learner for the sanction of his best judgment, and these are the really significant matters in school work. It is not the noise and bluster, not even the dramatics or the polemics from the teacher’s desk, that abide longest and leave the deepest and stablest imprint upon character. It is these still, small voices that speak unmistakably for the right and against the wrong and the erroneous that really form human character. When the school subjects are arranged on the basis of the degree to which they contribute to the moral upbuilding of human character good arithmetic will be well up the list.
It is not easy to convey, unless one has experienced it, the dramatic feeling of sudden enlightenment that floods the mind when the right idea finally clinches into place.
Kirchhoff’s whole tendency, and its true counterpart, the form of his presentation, was different [from Maxwell’s “dramatic bulk”]. … He is characterized by the extreme precision of his hypotheses, minute execution, a quiet rather than epic development with utmost rigor, never concealing a difficulty, always dispelling the faintest obscurity. … he resembled Beethoven, the thinker in tones. — He who doubts that mathematical compositions can be beautiful, let him read his memoir on Absorption and Emission … or the chapter of his mechanics devoted to Hydrodynamics.
Organic chemistry has literally placed a new nature beside the old. And not only for the delectation and information of its devotees; the whole face and manner of society has been altered by its products. We are clothed, ornamented and protected by forms of matter foreign to Nature; we travel and are propelled, in, on and by them. Their conquest of our powerful insect enemies, their capacity to modify the soil and control its microscopic flora, their ability to purify and protect our water, have increased the habitable surface of the earth and multiplied our food supply; and the dramatic advances in synthetic medicinal chemistry comfort and maintain us, and create unparalleled social opportunities (and problems).
Post-operatively the transplanted kidney functioned immediately with a dramatic improvement in the patient’s renal and cardiopulmonary status. This spectacular success was a clear demonstration that organ transplantation could be life-saving. In a way, it was spying into the future because we had achieved our long-term goal by bypassing, but not solving, the issue of biological incompatibility.
Scientific truth, like puristic truth, must come about by controversy. Personally this view is abhorrent to me. It seems to mean that scientific truth must transcend the individual, that the best hope of science lies in its greatest minds being often brilliantly and determinedly wrong, but in opposition, with some third, eclectically minded, middle-of-the-road nonentity seizing the prize while the great fight for it, running off with it, and sticking it into a textbook for sophomores written from no point of view and in defense of nothing whatsoever. I hate this view, for it is not dramatic and it is not fair; and yet I believe that it is the verdict of the history of science.
The discovery in 1846 of the planet Neptune was a dramatic and spectacular achievement of mathematical astronomy. The very existence of this new member of the solar system, and its exact location, were demonstrated with pencil and paper; there was left to observers only the routine task of pointing their telescopes at the spot the mathematicians had marked.
The real problem is not the loss of a particular species but the loss of particular kinds of environments. … When you lose a big, dramatic species like the whooping crane, you don’t notice that you are also losing other plants and animals. … We are only putting Band-Aids on until we recognize we need to be protecting environments, not just endangered species.
The success of Apollo was mainly due to the fact that the project was conceived and honestly presented to the public as an international sporting event and not as a contribution to science. The order of priorities in Apollo was accurately reflected by the first item to be unloaded after each landing on the Moon's surface, the television camera. The landing, the coming and going of the astronauts, the exploring of the moon's surface, the gathering of Moon rocks and the earthward departure, all were expertly choreographed with the cameras placed in the right positions to make a dramatic show on television. This was to me the great surprise of the Apollo missions. There was nothing surprising in the fact that astronauts could walk on the Moon and bring home Moon rocks. There were no big scientific surprises in the chemistry of the Moon rocks or in the results of magnetic and seismic observations that the astronauts carried out. The big surprise was the quality of the public entertainment that the missions provided. I had never expected that we would see in real time astronauts hopping around in lunar gravity and driving their Rover down the Lincoln- Lee scarp to claim a lunar speed record of eleven miles per hour. Intensive television coverage was the driving force of Apollo. Von Braun had not imagined the possibilities of television when he decided that one kilohertz would be an adequate communication bandwidth for his Mars Project.
To present a scientific subject in an attractive and stimulating manner is an artistic task, similar to that of a novelist or even a dramatic writer. The same holds for writing textbooks.
— Max Born
Tyndall declared that he saw in Matter the promise and potency of all forms of life, and with his Irish graphic lucidity made a picture of a world of magnetic atoms, each atom with a positive and a negative pole, arranging itself by attraction and repulsion in orderly crystalline structure. Such a picture is dangerously fascinating to thinkers oppressed by the bloody disorders of the living world. Craving for purer subjects of thought, they find in the contemplation of crystals and magnets a happiness more dramatic and less childish than the happiness found by mathematicians in abstract numbers, because they see in the crystals beauty and movement without the corrupting appetites of fleshly vitality.
We don't know what we are talking about. Many of us believed that string theory was a very dramatic break with our previous notions of quantum theory. But now we learn that string theory, well, is not that much of a break. The state of physics today is like it was when we were mystified by radioactivity. They were missing something absolutely fundamental. We are missing perhaps something as profound as they were back then.
We live in a capitalist economy, and I have no particular objection to honorable self-interest. We cannot hope to make the needed, drastic improvement in primary and secondary education without a dramatic restructuring of salaries. In my opinion, you cannot pay a good teacher enough money to recompense the value of talent applied to the education of young children. I teach an hour or two a day to tolerably well-behaved near-adults–and I come home exhausted. By what possible argument are my services worth more in salary than those of a secondary-school teacher with six classes a day, little prestige, less support, massive problems of discipline, and a fundamental role in shaping minds. (In comparison, I only tinker with intellects already largely formed.)
You’ve watched the Star Trek and the Star Wars and all those movies, and everything is evil looking and all sharp and angular. But on the moon it’s not that way at all. It’s all smooth and…just sort of rounded, general rolling terrain except for the individual rocks and things. And they were angular, but the general impression was just the rounded mountains that came down and then rolled into the valley, and then the valley rolled away to the horizon… it was mostly gray in color, but some of the rocks were white and some were gray…. It was just tremendously exciting to stand on the moon. I can’t even put into words the excitement that I experienced as I stood there looking across this dramatic landscape, which was absolutely lifeless.