Quotes about impulse
page 6
Source: Master of Precision: Henry M. Leland, 1966, p. 147; Leland talking about his idea for a V8 engine around 1913-14. Partly cited in: Alexander Richard Crabb (1969), Birth of a giant: the men and incidents that gave America the motorcar. p. 315
"Historical Analysis" http://journalism.nyu.edu/faculty/files/willis-zaretsky.pdf, Dissent (Winter 2005)
Source: Words of a Sage : Selected thoughts of African Spir (1937), p. 48.
The Never-Ending Wrong (1977)
Brown : The Last Discovery of America (2003)
Source: 1961 - 1980, transcript of a public forum at Boston university', conducted by Joseph Ablow 1966, p. 66
(p. 12)
Seismology and Plate Tectonics (1990)
“The Phaedrus and the Nature of Rhetoric,” p. 24.
The Ethics of Rhetoric (1953)
"Elvis Presley,", in The Sense of Movement (1957).
Other
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 156.
Anarchism in America http://alexpeak.com/art/films/aia/ (15 January 1983)
Interview: Tobin Bell Discusses His Career and His New Horror Film Dark House https://editorial.rottentomatoes.com/article/interview-tobin-bell-discusses-his-career-and-his-new-horror-film-dark-house/ (March 14, 2014)
Genesis I, 26 (p. 5)
The Pentateuch and Haftorahs (one-volume edition, 1937, ISBN 0-900689-21-8
“Der Mensch ist ein abschätzendes Tier.”
Source: Philosophy and Real Politics (2008), pp. 38-39.
1960s, Address to AFL–CIO (1961)
Source: The Unfinished Autobiography (1951), Chapter I, Part 1
Travis Parker, Chapter 8, p. 102-103
2000s, The Choice (2007)
"Richard Wright's Blues" (1945), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 129.
General Survey
The Function of the Orgasm (1927)
"The Artist of the Beautiful" (1844)
1945 - 1970, A Report on the Wall' 1970
“Passivity writhes in resistance to the progressive impulse of revolution.”
La resistencia del pasivismo se revuelve ahora contra el impulso progresista de la revolución.
Passivity and Rebellion (29 de Agosto 1909), Punto Rojo, N° 3, El Paso, Texas, translated by Javier Sethness-Castro. http://blackrosefed.org/i-am-action-praxedis-guerrero/
Book I, ch. 38 (p. 43)
The Ladder of Perfection (1494)
Source: "Kant on the Rational Instability of Atheism" (2006), pp. 63-64
Hope Evermore and Believe! http://whitewolf.newcastle.edu.au/words/authors/C/CloughArthurHugh/verse/poemsproseremains/hopeevermore.html, st. 2 (written 1853, published 1862).
Source: Superiority and Subordination as Subject-matter of Sociology (1896), p. 167
Source: "What I Believe" (1930), pp. 7-8
The Independent on Sunday December 16, 1990.
Representative Writings (1981), pp. xvi-xvii
Federalist No. 10 (22 November 1787) Full text from Wikisource http://en.wikisource.org/wiki/The_Federalist/10
1780s, Federalist Papers (1787–1788)
Un Art de Vivre (The Art of Living) (1939), The Art of Friendship
Source: The Ordeal of Change (1963), Ch. 15: "The Unnaturalness Of Human Nature"
Context: One should see the dominant role of the weak in shaping man's fate not as a perversion of natural instincts and vital impulses, but as the starting point of the deviation which led man to break away from, and rise above, nature — not as degeneration but as the generation of a new order of creation.
The corruption inherent in absolute power derives from the fact that such power is never free from the tendency to turn man into a thing, and press him back into the matrix of nature from which he has risen. For the impulse of power is to turn every variable into a constant, and give to commands the inexorableness and relentlessness of laws of nature. Hence absolute power corrupts even when exercised for humane purposes. The benevolent despot who sees himself as a shepherd of the people still demands from others the submissiveness of sheep. The taint inherent in absolute power is not its inhumanity but its anti-humanity.
“His fashion is passion, sincere and intense, —
His impulse is simple and true”
Nature's Nobleman (1844)
Context: His fashion is passion, sincere and intense, —
His impulse is simple and true;
Yet temper'd by judgment, and taught by good sense,
And cordial with me and with you.
direction and vigour
Source: Precepts and Judgments (1919), p. 138
"Poets of the People" in Art, Literature and the Drama (1858).
Context: There are two modes of criticism. One which … crushes to earth without mercy all the humble buds of Phantasy, all the plants that, though green and fruitful, are also a prey to insects or have suffered by drouth. It weeds well the garden, and cannot believe the weed in its native soil may be a pretty, graceful plant.
There is another mode which enters into the natural history of every thing that breathes and lives, which believes no impulse to be entirely in vain, which scrutinizes circumstances, motive and object before it condemns, and believes there is a beauty in natural form, if its law and purpose be understood.
[I] Signs, 1.13 : Sign and subject
Semiotics and the Philosophy of Language (1984)
Context: !-- The subject is constantly reshaped by the endless resegmentation of the content. In this way (even though the process of resegmentation must be activated by someone, who is probably the collectivity of subjects), the subject is spoken by language (verbal and nonverbal), by the dynamic of sign-functions rather than by the chain of signifiers. --> As subjects, we are what the shape of the world produced by signs makes us become.
Perhaps we are, somewhere, the deep impulse which generates semiosis. And yet we recognize ourselves only as semiosis in progress, signifying systems and communicational processes. The map of semiosis, as defined at a given stage of historical development (with the debris carried over from previous semiosis), tells us who we are and what (or how) we think.
Quote in 'Culture: Caspar D. Friedrich and the Wasteland', by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/
Variant translation: The heart is the only true source of art, the language of a pure, child-like soul. Any creation not sprung from this origin can only be artifice. Every true work of art is conceived in a hallowed hour and born in a happy one, from an impulse in the artist's heart, often without his knowledge. (as quoted in the article 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials)
undated
Context: The pure, frank sentiments we hold in our hearts are the only truthful sources of art. A painting which does not take its inspiration from the heart is nothing more than futile juggling. All authentic art is conceived at a sacred moment and nourished in a blessed hour; an inner impulse creates it, often without the artist being aware of it.
Source: Way Station (1963), Ch. 16
Context: He had acted on an impulse, with no thought at all. The girl had asked protection and here she had protection, here nothing in the world ever could get at her. But she was a human being and no human being, other than himself, should have ever crossed the threshold.
But it was done and there was no way to change it. Once across the threshold, there was no way to change it.
Source: High-Rise (1975), Ch. 3
Context: The more arid and effectless life became in the high-rise, the greater the possibilities it offered. By its very efficiency, the high-rise took over the task of maintaining the social structure that supported them all. For the first time it removed the need to repress every kind of anti-social behaviour, and left them free to explore any deviant or wayward impulses. It was precisely in these areas that the most important and most interesting aspect of their lives would take place. Secure within the shell of the high-rise, like passengers on board an automatically piloted airliner, they were free to behave in any way they wished, explore the darkest corners they could find. In many ways, the high-rise was a model of all that technology had done to make possible the expression of a truly 'free' psychopathology.
New Fragments (1892)
Context: To legislation... the Puritans resorted. Instead of guiding, they repressed, and thus pitted themselves against the unconquerable impulses of human nature. Believing that nature to be depraved, they felt themselves logically warranted in putting it in irons. But they failed; and their failure ought to be a warning to their successors.<!--p.34
Peace and the Public Mind (1935)
Context: To shut our eyes to the part that John Smith plays in the perpetuation of unworkable policies, in building up the forces of which he becomes the victim, is to perpetuate his victimization. The only means by which he can be liberated from the evil power of organized minorities is by making him aware of the nature of the impulses and motives to which the exploiters so successfully appeal. If such phenomena as nationalism, for instance, can assume forms that are gravely dangerous, it is because the nationalist appeal finds response in deep human impulses, instincts, in psychological facts which we must face.
Toward an Activist Spirituality (2003)
Context: On some deep cosmic level, we are all one, and within us we each contain the potential for good and for destruction, for compassion and hate, for generosity and greed. But even if I acknowledge the full range of impulses within myself, that doesn't erase the differences between a person acting from compassion and love, and another choosing to act from hate and greed. Moreover, it doesn't erase my responsibility to challenge a system which furthers hate and greed. If I don't resist such a system, I am complicit in what it does. I join the perpetrators in oppressing the victims.
In the article 'What I know about women...' in Observer Women's Magazine (February 2007)
Context: There'll always be tension between male and female friends - we're animals after all, wired to accept each other on a sexual level at times. Of course we all agree to a variety of social restraints, but it doesn't mean the basic impulses aren't there, and I don't think sex is an unhealthy impulse. It's only when you try to hide it and subvert it that it manifests itself in ugly ways.
Source: Dreaming the Dark: Magic, Sex and Politics (1982), Ch. 3 : The Ethics of Magic, p. 41
Context: Sexual integrity means honestly recognizing our own impulses and desires and honoring them, whether or not we choose to act on them. If we value integrity, we must also value diversity in sexual expression and orientation, recognizing that there is no one truth, or one way, that fits everyone.
Sexuality is sacred because through it we make a connection with another self — but it is misused and perverted when it becomes an arena of power-over, a means of treating another — or oneself — as an object.
Section 139
The Passionate State Of Mind, and Other Aphorisms (1955)
Context: Compassion is probably the only antitoxin of the soul. Where there is compassion even the most poisonous impulses remain relatively harmless. One would rather see the world run by men who set their hearts on toys but are accessible to pity, than by men animated by lofty ideals whose dedication makes them ruthless. In the chemistry of man's soul, almost all noble attributes — courage, honor, hope, faith, duty, loyalty, etc. — can be transmuted into ruthlessness. Compassion alone stands apart from the continuous traffic between good and evil proceeding within us.
Fragments of Markham's notes
The Nemesis of Faith (1849)
Context: Our instinct has outrun our theory in this matter; for while we still insist upon free will and sin, we make allowance for individuals who have gone wrong, on the very ground of provocation, of temptation, of bad education, of infirm character. By and by philosophy will follow, and so at last we may hope for a true theory of morals. It is curious to watch, in the history of religious beliefs, the gradual elimination of this monster of moral evil. The first state of mankind is the unreflecting state. The nature is undeveloped, looking neither before nor after; it acts on the impulse of the moment, and is troubled with no weary retrospect, nor with any notions of a remote future which present conduct can affect; and knowing neither good nor evil, better or worse, it does simply what it desires, and is happy in it. It is the state analogous to the early childhood of each of us, and is represented in the common theory of Paradise — the state of innocence.
316.
Aes Triplex (1878)
Context: All who have meant good work with their whole hearts, have done good work, although they may die before they have the time to sign it. Every heart that has beat strong and cheerfully has left a hopeful impulse behind it in the world, and bettered the tradition of mankind. And even if death catch people, like an open pitfall, and in mid-career, laying out vast projects, and planning monstrous foundations, flushed with hope, and their mouths full of boastful language, they should be at once tripped up and silenced: is there not something brave and spirited in such a termination? and does not life go down with a better grace, foaming in full body over a precipice, than miserably straggling to an end in sandy deltas?
Illusions : The Adventures of a Reluctant Messiah (1977)
The Profits of Religion (1918)
Context: Over the vast plain I wander, observing a thousand strange and incredible and terrifying manifestations of the Bootstrap-lifting impulse. There is, I discover, a regular propaganda on foot; a long time ago — no man can recall how far back — the Wholesale Pickpockets made the discovery of the ease with which a man's pockets could be rifled while he was preoccupied with spiritual exercises, and they began offering prizes for the best essays in support of the practice. Now their propaganda is everywhere triumphant, and year by year we see an increase in the rewards and emoluments of the prophets and priests of the cult. The ground is covered with stately temples of various designs, all of which I am told are consecrated to Bootstrap-lifting.
Introductory, "Bootstrap-lifting"
Afterword to The Dud Avocado (2006)
Context: The Big Personalities weighed in. Soon after its publication Irwin Shaw wrote to me praising it. Terry Southern, calling me "Miss Smarts," said I was "a perfect darling." Gore Vidal phoned one morning saying, "You’ve got the one thing a writer needs: You’ve got your own voice. Now go." Ernest Hemingway said to me, "I liked your book. I liked the way your characters all speak differently." And then added, "My characters all sound the same because I never listen." All this, and heaven too. Laurence Olivier told me that now that my book was making a lot of money we could elope and I could support us. The Financial Times ran an item which read, "Such and such stock: No dud avocado." Groucho Marx wrote me, "I had to tell someone how much I enjoyed The Dud Avocado.… If this was actually your life, I don’t know how the hell you got through it." When people ask me how autobiographical the book is I say, all the impulsive, outrageous things my heroine does, I did. All the sensible things she did, I made up.
Kosmos (1845 - 1847)
Context: The principal impulse by which I was directed was the earnest endeavor to comprehend the phenomena of physical objects in their general connection, and to represent nature as one great whole, moved and animated by internal forces. My intercourse with highly-gifted men early led me to discover that, without an earnest striving to attain to a knowledge of special branches of study, all attempts to give a grand and general view of the universe would be nothing more than a vain illusion. These special departments in the great domain of natural science are, moreover, capable of being reciprocally fructified by means of the appropriative forces by which they are endowed.
"The Bugbear of Relativism," p. 97
The Culture We Deserve (1989)
Context: The ever-present impulse is to push against restriction and, in so doing, to feel intolerably hemmed in. Thus in practice, every liberation increases the sense of oppression. Nor is the paradox merely in the mind: the laws enacted to secure the rights of every person and group, by creating protective boundaries, create new barriers.
“So you start with an impulse and go to what your ear likes.”
Interview with Tony Schwartz in Playboy (February 1984) p. 166
Context: I write from instinct, from inexplicable sparkle. I don't know why I'm writing what I'm writing. Usually, I sit and I let my hands wander on my guitar. And I sing anything. I play anything. And I wait till I come across a pleasing accident. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains — the implication of that phrase elongated, contracted, or inverted or in another time signature. So you start with an impulse and go to what your ear likes.
"The Conjunction of Jupiter and Venus" in Poems (1841)
Context: I would make
Reason my guide, but she should sometimes sit
Patiently by the way-side, while I traced
The mazes of the pleasant wilderness
Around me. She should be my counsellor,
But not my tyrant. For the spirit needs
Impulses from a deeper source than hers,
And there are motions, in the mind of man,
That she must look upon with awe. I bow
Reverently to her dictates, but not less
Hold to the fair illusions of old time —
lllusions that shed brightness over life,
And glory over nature.
As quoted in NEA Journal : The Journal of the National Education Association Vol. 41 (1952) p. 300
Context: One of the basic causes for all the trouble in the world today is that people talk too much and think too little. They act too impulsively without thinking. I am not advocating in the slightest that we become mutes with our voices stilled because of fear of criticism of what we might say. That is moral cowardice. And moral cowardice that keeps us from speaking our minds is as dangerous to this country as irresponsible talk. The right way is not always the popular and easy way. Standing for right when it is unpopular is a true test of moral character. The importance of individual thinking to the preservation of our democracy and our freedom cannot be overemphasized. The broader sense of the concept of your role in the defense of democracy is that of the citizen doing his most for the preservation of democracy and peace by independent thinking, making that thinking articulate by translating it into action at the ballot boxes, in the forums, and in everyday life, and being constructive and positive in that thinking and articulation. The most precious thing that democracy gives to us is freedom. You and I cannot escape the fact that the ultimate responsibility for freedom is personal. Our freedoms today are not so much in danger because people are consciously trying to take them away from us as they are in danger because we forget to use them. Freedom unexercised may be freedom forfeited. The preservation of freedom is in the hands of the people themselves — not of the government.
“I think it's the whole impulse to judge and censor and euphemize, that is the enemy.”
"Political Correctness: Robert Bly and Philip Larkin" (1997)
Context: I think it's the whole impulse to judge and censor and euphemize, that is the enemy. … What fun, to feel superior to T. S. Eliot. And that's the impulse that I am suspicious of.
Book I, Chapter 2, "Some Objections"
Mere Christianity (1952)
Context: The most dangerous thing you can do is to take any one impulse of your own nature and set it up as the thing you ought to follow at all costs. There is not one of them which will not make us into devils if we set it up as an absolute guide. You might think love of humanity in general was safe, but it is not. If you leave out justice you will find yourself breaking agreements and faking evidence in trials "for the sake of humanity", and become in the end a cruel and treacherous man.
Brown : The Last Discovery of America (2003)
Context: Books should confuse. Literature abhors the typical. Literature flows to the particular, the mundane, the greasiness of paper, the taste of warm beer, the smell of onion or quince. Auden has a line: "Ports have names they call the sea." Just so will literature describe life familiarly, regionally, in terms life is accustomed to use — high or low matters not. Literature cannot by this impulse betray the grandeur of its subject — there is only one subject: What it feels like to be alive. Nothing is irrelevant. Nothing is typical.
Book of Taliesin (c. 1275?), The Elegy of the Thousand Sons
Context: I will offer a prayer to the Trinity,
May the Eternal grant me to praise thee!
In the present course, dangerous
Our work; destruction is a slight impulse of wrath.
They reckon of the saints a tribe,
King of heaven, may I be eloquent about thee!
Before the separation of my soul from my flesh.
"Talk to an Art-Union (A Brooklyn fragment)" http://www.aol.bartleby.com/229/4011.html (1839); later delivered as a lecture at the Brooklyn Art Union (31 March 1851) and printed in the Brooklyn Daily Advertizer (3 April 1851)
Context: It is a beautiful truth that all men contain something of the artist in them. And perhaps it is the case that the greatest artists live and die, the world and themselves alike ignorant what they possess. Who would not mourn that an ample palace, of surpassingly graceful architecture, fill’d with luxuries, and embellish’d with fine pictures and sculpture, should stand cold and still and vacant, and never be known or enjoy’d by its owner? Would such a fact as this cause your sadness? Then be sad. For there is a palace, to which the courts of the most sumptuous kings are but a frivolous patch, and, though it is always waiting for them, not one of its owners ever enters there with any genuine sense of its grandeur and glory.
I think of few heroic actions, which cannot be traced to the artistical impulse. He who does great deeds, does them from his innate sensitiveness to moral beauty.
Source: Obedience to Authority : An Experimental View (1974), p. 188
Context: Each individual possesses a conscience which to a greater or lesser degree serves to restrain the unimpeded flow of impulses destructive to others. But when he merges his person into an organizational structure, a new creature replaces autonomous man, unhindered by the limitations of individual morality, freed of humane inhibition, mindful only of the sanctions of authority.
“Madness is never that far away. It's as close as saying yes to the wrong impulse.”
Jim Carrey's Unnatural Act (1991)
Context: Madness is never that far away. It's as close as saying yes to the wrong impulse. The people who stay sane are the people who can make those quick decisions: "Should I stick my fingers into the fan, or leave the room right now?
"Should I run the blade of this razor across my tongue, or just finish shaving and move away from the sink?"
But you don't because luckily most of us have that little voice inside our head that says, "Uh uh uh, turning the car into oncoming traffic... is counterproductive!"
Source: Ethics and Education (1912), The Biology of Child Nature, p. 135
Universal ethics is a corollary of universal kinship. Moral obligation is as boundless as feeling.
Source: Ethics and Education (1912), Ethical Anxiety, p. 42
"Human Nature a Product of the Jungle", p. 246
The Universal Kinship (1906), The Ethical Kinship
Source: Better-World Philosophy: A Sociological Synthesis (1899), Race Culture, p. 224
Source: Better-World Philosophy: A Sociological Synthesis (1899), The Derivation of the Nature of Living Beings, p. 172
Source: Better-World Philosophy: A Sociological Synthesis (1899), The Derivation of the Nature of Living Beings, p. 171
2010, Ubicumque Et Semper (21 September 2010)
Aleksandr Dugin — The Basics of Geopolitics (1997)
Source: What Every Girl Should Know (1913), Chapter 4, "Sexual Impulses--Part II", p. 47.
“It is the highest service to submit the evil impulse to God through the power of love.”
Source: For The Sake of Heaven (1945), p. 45
George Santayana, in "On My Friendly Critics", in Soliloquies in England (1922)
S - Z, George Santayana
I would to God Shakspeare had lived later, & promenaded in Broadway. Not that I might have had the pleasure of leaving my card for him at the Astor, or made merry with him over a bowl of the fine Duyckinck punch; but that the muzzle which all men wore on their soul in the Elizebethan day, might not have intercepted Shakspers full articulations. For I hold it a verity, that even Shakspeare, was not a frank man to the uttermost. And, indeed, who in this intolerant universe is, or can be? But the Declaration of Independence makes a difference.—There, I have driven my horse so hard that I have made my inn before sundown.
Letter to Evert Augustus Duyckinck (3 March 1849); published in The Letters of Herman Melville (1960) edited by Merrell R. Davis and William H. Gilman, p. 79
Source: Collected Works of Deshbandhu.
From ‘’Justice’’ in Unspoken Sermons Series III (1889)
Chap. 9 : Confront Your Dark Side
The Laws of Human Nature (2018)
Chap. 9 : Confront Your Dark Side
The Laws of Human Nature (2018)
Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 28.
General sources
The Education of Henry Adams (1907)
Strongman Medicine: Suspicious Numbers and Brutal Quarantines (April 02, 2020)