Inspirational quotes with concludes.
I am not a believer in love at first sight. For love, in its truest form, is not the thingof starry-eyed or star-crossed lovers, it is far more organic, requiring nurturing and timeto fully bloom, and, as such, seen best not in its callow youth but in its wrinkled maturity.Like all living things, love, too, struggles against hardship, and in the process shedsits fatuous skin to expose one composed of more than just a storm of emotion–one of loyaltyand divine friendship. Agape. And though it may be temporarily blinded by adversity,it never gives in or up, holding tight to lofty ideals that transcend this earth andtime–while its counterfeit simply concludes it was mistaken and quickly runs off tofind the next real thing.
An idealist is one who, on noticing that a rose smells better than a cabbage, concludes that it makes a better soup.
The necessity of reform mustn’t be allowed to become a form of blackmail serving to limit, reduce, or halt the exercise of criticism. Under no circumstances should one pay attention to those who tell one: “Don’t criticize, since you’re not capable of carrying out a reform.” That’s ministerial cabinet talk. Critique doesn’t have to be the premise of a deduction that concludes, “this, then, is what needs to be done.” It should be an instrument for those for who fight, those who resist and refuse what is. Its use should be in processes of conflict and confrontation, essays in refusal. It doesn’t have to lay down the law for the law. It isn’t a stage in a programming. It is a challenge directed to what is.
The youth gets together his materials to build a bridge to the moon, or, perchance, a palace or temple on the earth, and, at length, the middle-aged man concludes to build a woodshed with them.
I like eggs and bacon,” George tells me. “But”—his face clouds—“do you know that bacon is”—tears leap to his eyes—“Wilbur?” Mrs. Garrett sits down next to him immediately. “George, we’ve been through this. Remember? Wilbur did not get made into bacon.” “That’s right.” I bend down too as wetness overflows George’s lashes. “Charlotte the spider saved him. He lived a long and happy life—with Charlotte’s daughters, um, Nelly and Urania and—” “Joy,” Mrs. Garrett concludes. “You, Samantha, are a keeper. I hope you don’t shoplift.”I start to cough. “No. Never.” “Then is bacon Babe, Mom? Is it Babe?”“No, no, Babe’s still herding sheep. Bacon is not Babe. Bacon is only made from really mean pigs,George.” Mrs. Garrett strokes his hair, then brushes his tears away.“Bad pigs,” I clarify.“There are bad pigs?” George looks nervous. Oops.“Well, pigs with, um, no soul.” That doesn’t sound good either. I cast around for a good explanation. “Like the animals that don’t talk in Narnia.” Dumb. George is four. Would he know Narnia yet? He’s still at Curious George.But understanding lights his face. “Oh. That’s okay then. ’Cause I really like bacon.
How do I know anything about the world around me? By the use of my senses. But I can be deceived by my senses, A straight stick looks bent when it is dipped into water. How do I even know that I am awake, that the whole of reality is not a dream? How can I tell it is not a fabric of delusion woven by some malicious cunning demon simply to deceive me? By a process of persistent and comprehensive questioning it is possible to place in doubt the entire fabric of my existence and the world around me, Nothing remains certain. But in the midst of all this there is nevertheless one thing which does remain certain. No matter how deluded I may be in my thoughts about myself and the world, I still know that I am thinking, This alone proves me my existence, In the most famous remark in philosophy, Descartes concludes: 'Cogito ergo sum'-'I think, therefore I am.
Chopra concludes his work with, "Your goal and mine isn't to imitate Jesus. It is to become part of him----or, as he said, to abide in him.
What is particularly striking about his reconstruction and criticisms of the traditional account of friendship is that he finds it deficient not only by the light of his own Christian viewpoint; he also finds friendship deficient when judged from the perspective of its own self-proclaimed ethical foundations. Thus, Kierkegaard concludes that the reciprocity involved in friendship actually betrays its essential selfishness.
The novel is the privileged vehicle of two ways of being: narrative and freedom: to be new (novel) in a speech open to all, and to be free in a speech that never concludes.
As Atwood concludes after a random and informal sampling, men and women differ markedly in the 'scope of their threatenability': 'Why do men feel threatened by woman?' I asked a male friend of mine....'[M]en are bigger, most of the time...and they have on the average a lot more money and power.' 'They're afraid women will laugh at them,' he said. 'Undercut their world view.' Then I asked some women students in a quickie poetry seminar I was giving, 'Why do women feel threatened by men?' 'They're afraid of being killed,' they said'.
But he had expressed to Mme. du Chatelet the hope that a way out might lie in applying philosophy to history, and endeavoring to trace, beneath the flux of political events, the history of the human mind. 'Only philosophers should write history,' he said. 'In all nations, history is disfigured by fable, till at last philosophy comes to enlighten man; and when it does finally arrive in the midst of darkness, it finds the human mind so blinded centuries of error, that it can hardly undeceive it; it finds ceremonies, facts and monuments, heaped up to prove lies.' 'History,' he concludes, 'is after all nothing but a pack of tricks which we play upon the dead;' we transform the past to suit our wishes for the future, and in the upshot 'history proves that anything can be proved by history.
Every fairy tale, it seems, concludes with the bland phrase "happily ever after." Yet every couple I have ever known would agree that nothing about marriage is forever happy. There are moments of bliss, to be sure, and lengthy spans of satisfied companionship. Yet these come at no small effort, and the girl who reads such fiction dreaming her troubles will end ere she departs the altar is well advised to seek at once a rational women to set her straight.
The natural heat, say the good-fellows,first seats itself in the feet: that concerns infancy; thence it mounts into the middleregion, where it makes a long abode and produces, in my opinion, the sole true pleasures of human life; all other pleasures in comparison sleep; towards the end, like a vapor that still mounts upward, it arrives at the throat, where it makes its final residence, and concludes the progress.
To all ladies who like offering sex to a man in the first few weeks of dating, this is what happens: Once he penetrates you, he will start seeing invisible spots on your face, which means that the honor and respect is gone! And now he would be targeting another cheap meat, and if he can buy it, then he concludes that all women are whore. If he continues to exploit women, then your name will be among the list of his thousand of whores.
If the good so loved and desired do appear possible and feasible in the attaining, then it exciteth the passion of hope, which is a compound of desire and expectation : when we look upon it as requiring our endeavour to attain it, and as it is to be had in a prescribed way, then it provokes the passion of courage or boldness, and concludes in resolution. Lastly, If this good be apprehended as preset, then ti provoketh to delight or joy. If the thing itself be present, the jy is greatest. If but the idea of it, either through the remainder or memory of the good that is past, or through the fore-apprehension of that which we expect, yet even this also exciteth our joy. And this joy is the perfection of all the rest of the affections, when it is raised on the full fruition of the good itself(575).
It’s funny how our desires often tend to circle around the whims and fancies of others rather than the self. One school of thought has a convincing explanation that this is because we live in a society that makes us want to be pleasing to others more than the self--a rather selfless trait, so to think. But then there is this other theory which eventually concludes that we do all of this to please no one but the self...because praise and compliments are what the devil thrives on, and we are in no significant way any different.
Sir Ken Robinson’s 2008 talk on educational reform—entitled “Do Schools Kill Creativity?”—has now been viewed more than 4 million times. In it Robinson cites the fact that children’s scores on standard tests of creativity decline as they grow older and advance through the educational system. He concludes that children start out as curious, creative individuals but are made duller by factory-style schools that spend too much time teaching children academic facts and not enough helping them express themselves. Sir Ken clearly cares greatly about the well-being of children, and he is a superb storyteller, but his arguments about creativity, though beguilingly made, are almost entirely baseless.
These (Shakespeare, Milton, and Victor Hugo) not only knit and knot the logical texture of the style with all the dexterity and strength of prose; they not only fill up the pattern of the verse with infinite variety and sober wit; but they give us, besides, a rare and special pleasure, by the art, comparable to that of counterpoint, with which they follow at the same time, and now contrast, and now combine, the double pattern of the texture and the verse. Here the sounding line concludes; a little further on, the well-knit sentence; and yet a little further, and both will reach their solution on the same ringing syllable. The best that can be offered by the best writer of prose is to show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and triumphant effort, sometimes with a great air of ease and nature. The writer of verse, by virtue of conquering another difficulty, delights us with a new series of triumphs. He follows three purposes where his rival followed only two; and the change is of precisely the same nature as that from melody to harmony.-ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
The will has no overall purpose, aims at no highest good, and can never be satisfied. Although it is our essence, it strikes us as an alien agency within, striving for life and procreation blindly, mediated only secondarily by consciousness. Instinctive sexuality is at our core, interfering constantly with the life of the intellect. To be an individual expression of this will is to lead a life of continual desire, deficiency, and suffering. Pleasure or satisfaction exists only relative to a felt lack; it is negative, merely the cessation of an episode of striving or suffering, and has no value of itself. Nothing we can achieve by conscious act of will alters the will to life within us. There is no free will. Human actions, as part of the natural order, are determined [....] As individual parts of the empirical world we are ineluctably pushed through life by a force inside us which is not of our choosing, which gives rise to needs and desires we can never fully satisfy, and is without ultimate purpose. Schopenhauer concludes that it would have been better not to exist—and that the world itself is something whose existence we should deplore rather than celebrate.
At some level, it is even tempting to think that since strict materialism is among the most incoherent of superstitions - one that has never really asked the question of the being of things in any depth or with any persistence, or one that has at best attempted to conjure that question away as a fallacy of grammar - it is incapable of imagining any conception of God more sophisticated than its own. The materialist encounters an instance of unjust suffering and, by a sort of magical thinking, concludes from the absence of any immediately visible moral order that there must be nothing transcendent of material causality, in much the same way that certain of our more remote, primitive ancestors might have seen a flash of lightning in the sky and concluded that some god must have flung it from on high. In neither case does the conclusion follow from the evidence (though in the latter case the reasoning is somewhat more rigorous); and in neither case is the god at issue much more than an affective myth.
I am finding myself: it's deadly because only death concludes me. But I bear it until the end. I'll tell you a secret: life is deadly. I'll have to interrupt everything to tell you this: death is the impossible and intangible. Death is just future to such an extent that there are those who cannot bear it and commit suicide. It's as life said the following: and there simply was no following.
Clouds shed the agony of the sky and rain concludes it by covering us in filth. What do you think about the puddles of mud and traffic jams? I so hate rain.
There is one element in Christianity which was not borrowed from Paganism -- religious intolerance. Referring to Buddhism, Confucianism, and Taoism, a writer on China says: 'Between the followers of the three national religions there is not only a total absence of persecution and bitter feeling, but a very great indifference as to which of them a man may belong.... Among the politer classes, when strangers meet, the question is asked: 'To what sublime religion do you belong,' and each one pronounces a eulogium, not on his own religion, but on that professed by the others, and concludes with the oft-repeated formula 'Religions are many; reason is one; we are all brothers.
Gordon Van Wylen, Chairman of the Dept. of Mechanical Engineering at the University of Michigan commented that, “The question that arises is how the universe got into the state of reduced entropy in the first place, since all natural processes known to us tend to increase entropy?” (Gordon Van Wylen and Richard Edwin Sonntag, Fundamentals of Classical Thermodynamics, 1973). He concludes by saying, “The author has found that the second law [of thermodynamics] tends to increase conviction that there is a Creator.
On plenty of days the writer can write three or four pages, and on plenty of other days he concludes he must throw them away.
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