A nickname is the heaviest stone that the devil can throw at a man. It is a bugbear to the imagination, and, though we do not believe in it, it still haunts our apprehensions.
Our answer is the world's hope; it is to rely on youth. The cruelties and the obstacles of this swiftly changing planet will not yield to obsolete dogmas and outworn slogans. It cannot be moved by those who cling to a present which is already dying, who prefer the illusion of security to the excitement and danger which comes with even the most peaceful progress. This world demands the qualities of youth: not a time of life but a state of mind, a temper of the will, a quality of imagination, a predominance of courage over timidity, of the appetite for adventure over the life of ease. . .
I don't know what imagination is, if not an unpruned, tangled kind of memory.
So scary watching the news. . . Like Iraq. . . could ever under any stretch of the imagination be any threat to us whatsoever.
I believe that we have the ability to change our lives using our imaginations. Imagination is a muscle—the more you use it, the stronger it gets.
It is a juvenile notion that a society needs a lofty purpose and a shining vision to achieve much. Both in the market place and on the battlefield men who set their hearts on toys have often displayed unequal initiative and drive. And one must be ignorant of the creative process to look for a close correspondence between motive and achievement in the world of thought and imagination.
My childhood was pretty ordinary, except from a very early age, I wanted to be scared. I just did. I was scared afterwards. I wanted a light on, because I was afraid that there was something in the closet. My imagination was very active, even at a young age.
Christ, what an imagination I've got!
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
A man who is half an idiot, but who keeps a sharp lookout and acts prudently all his life, often enjoys the pleasure of triumphing over men of more imagination than he
When our life is a continuous trial, the moments of respite seem only to substitute the heaviness of dread for the heaviness of actual suffering; the curtain of cloud seems parted an instant only that we may measure all its horror as it hangs low, black, and imminent, in contrast with the transient brightness; the waterdrops that visit the parched lips in the desert bear with them only the keen imagination of thirst.
Women alone stir my imagination.
At school any spontaneous act was likely to get me into trouble. I learned never to act on impulse, and that whatever came into my mind first should be rejected in favour of better ideas. I learned that my imagination Wasn’t ‘good’ enough. I learned that the first idea was unsatisfactory because it was (1) psychotic; (2) obscene; (3) unoriginal. The truth is that the best ideas are often psychotic, obscene and unoriginal.
Without question it may be said of Vancouver that her position, geographically, is Imperial to a degree, that her possibilities are enormous, and that with but a feeble stretch of the imagination those possibilities might wisely be deemed certainties.
On some level acting is the art of pretend and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.
I should never make anything of a fisherman. I had not got sufficient imagination
Imagination is the one weapon against reality.
I thought I could make out Jamie's Highland screech, but that was likely imagination; they all sounded equally demented.
I tell my students one of the most important things they need to know is when they are at their best, creatively. They need to ask themselves, What does the ideal room look like? Is there music? Is there silence? Is there chaos outside or is there serenity outside? What do I need in order to release my imagination?
Fertility of imagination and abundance of guesses at the truth are among the first requisites of discovery.