Falling Object Quotes & Sayings

There is another physical law that teases me, too: the Doppler Effect. The sound of anything coming at you- a train, say, or the future- has a higher pitch than the sound of the same thing going away. If you have perfect pitch and a head for mathematics you can compute the speed of the object by the interval between its arriving and departing sounds. I have neither perfect pitch nor a head for mathematics, and anyway who wants to compute the speed of history? Like all falling bodies, it constantly accelerates. But I would like to hear your life as you heard it, coming at you, instead of hearing it as I do, a somber sound of expectations reduced, desires blunted, hopes deferred or abandoned, chances lost, defeats accepted, griefs borne. — Wallace Stegner

Toxic shame, the shame that binds us, is experienced as the all-pervasive sense that "I am flawed and defective as a human being." Toxic shame is no longer an emotion that signals our limits; it is a state of being, a core identity. Toxic shame gives you a sense of worthlessness, a sense of failing and falling short as a human being. Toxic shame is a rupture of the self with the self. It is like internal bleeding - exposure to oneself lies at the heart of toxic shame. A shame-based person will guard against exposing his inner self to others, but more significantly, he will guard against exposing himself to himself. Toxic shame is so excruciating because it is the painful exposure of the perceived failure of self to the self. In toxic shame the self becomes an object of its own contempt, an object that can't be trusted. As an object that can't be trusted, one experiences oneself as untrustworthy. — John Bradshaw

If gratitude and esteem are good foundations of affection, Elizabeth's change of sentiment will be neither improbable nor faulty. But if otherwise
if regard springing from such sources is unreasonable or unnatural, in comparison of what is so often described as arising on a first interview with its object, and even before two words have been exchanged, nothing can be said in her defence, except that she had given somewhat of a trial to the latter method in her partiality for Wickham, and that its ill success might, perhaps, authorise her to seek the other less interesting mode of attachment. — Jane Austen

She would be an object in motion that would stay in motion, even if it meant flattening everything in her path. — Amy Zhang

They did not submit to the obvious alternative, which was simply to close the eyes and fall. So easy, really. Go limp and tumble to the ground and let the muscles unwind and not speak and not budge until your buddies picked you up and lifted you into the chopper that would roar and dip its nose and carry you off to the world. A mere matter of falling, yet no one ever fell. It was not courage, exactly; the object was not valor. Rather, they were too frightened to be cowards. — Tim O'Brien

Falling in love, although it resulted in altered body chemistry and was therefore real, was a hormonally induced delusional state, according to him. In addition it was humiliating, because it put you at a disadvantage, it gave the love object too much power. As for sex per se, it lacked both challenge and novelty, and was on the whole a deeply imperfect solution to the problem of intergenerational genetic transfer. — Margaret Atwood

Confusing the thing observed with the mind of the observer, of constructing not a picture of external reality but simply a mirror of the thinker. Can this danger be avoided without falling into an opposite but related error, that of separating too deeply the observer and the thing observed, subject and object, and again falsifying our view of the world? There is no way out of these difficulties - you might as well try running Cataract Canyon without hitting a rock. Best to launch forth boldly, with or without life jackets, keep your matches dry and pray for the best. — Edward Abbey

A mystery is a problem that encroaches upon itself because the questioner becomes the object of the question. Getting to Mars is a problem. Falling in love is a mystery. — Gabriel Marcel

The human mind is grown inside a 0.0013 cubic meters crystalline calcium phosphate box on the 149 million km2 rocky surface of a 510 million km2 planet that is falling in a straight line over curved space at 108,000 kilometres per hour inside the gravity well of a 6 trillion km2 star on a 250 million year sojourn around the centre of a galaxy containing some 400 billion stars and trillions of planets and moons. The immediate solar system appears to end at the Kuiper Belt, its outer edge a mind-stunning 7 billion kilometres away, yet the outermost reach of the Heliosphere is still another 5 billion kilometres further out. The furthest object, however, within the Sun's gravity well, Sedna, marks the solar system's diameter to in fact be a sense-jarring 287 billion kilometres in length. — John Zande

Freedom is the essence of this faith. It has for its object simply to make men good and wise. Its institutions then should be as flexible as the wants of men. That form out of which the life and suitableness have departed should be as worthless in its eyes as the dead leaves that are falling around us. — Ralph Waldo Emerson

As to your being worthy, I don't think falling in love has much to do with the worth of the object of love. But I'd dispute your assessment. I think you're a fine woman, and I think you always try to be the best person you can be. — Charlaine Harris

Falling in love was a solo act. I knew that, had learned that the hard way. You just jumped and hoped your parachute opened. Sometimes you looked up and saw you were falling by yourself, the object of your desire still on the plane, not interested in jumping, watching you descend into that scary place alone. — Eric Jerome Dickey

Whether it is a falling man or an orbiting satellite, the effect of inertia is to create an apparent upward force that depends on the mass of the object. It is the same force we feel when riding in a car that goes around a tight curve. This inertial effect is equal and opposite to gravity and therefore cancels the pull of gravity. In physicist language, the "gravitational mass" and "inertial mass" are equal. This is not a tautology, as Ambrose Bierce thought, but a recognition that the pull of gravity is proportional to the inertia of the object being pulled. Einstein called this the "Principle of Equivalence", and it became the basis for his new theory of gravity that he called the general theory of relativity. — Rodney A. Brooks

Tomber amoureux. To fall in love. Does it occur suddenly or gradually? If gradually, when is the moment "already"? I would fall in love with a monkey made of rags. With a plywood squirrel. With a botanical atlas. With an oriole. With a ferret. With a marten in a picture. With the forest one sees to the right when riding in a cart to Jaszuny. With a poem by a little-known poet. With human beings whose names still move me. And always the object of love was enveloped in erotic fantasy or was submitted, as in Stendhal, to a "cristallisation," so it is frightful to think of that object as it was, naked among the naked things, and of the fairy tales about it one invents. Yes, I was often in love with something or someone. Yet falling in love is not the same as being able to love. That is something different. — Czeslaw Milosz

I shall possess this woman; I shall steal her from the husband who profanes her: I will even dare ravish her from the God whom she adores. What delight, to be in turns the object and the victor of her remorse! Far be it from me to destroy the prejudices which sway her mind! They will add to my happiness and my triumph. Let her believe in virtue, and sacrifice it to me; let the idea of falling terrify her, without preventing her fall; and may she, shaken by a thousand terrors, forget them, vanquish them only in my arms. — Pierre-Ambroise Choderlos De Laclos

The religion of this 'I', the poetry of this 'I', and the philosophy of the same 'I' that from Poggio and Felelfo to Byron and Goethe produced a number of works astonishing for their profundity and brilliance have finally exhausted its content; and in the poetry of Decadence we see the rapid falling away of the empty shell of this 'I'. We remarked previously about the exaggeration without the exaggerated object, and about the precious style without the subject of this preciosity, which characterize this poetry - this is so in regard to its form; in regard to its content Decadence is above all hopeless egoism. The world, as an object of love, of interest, even as the object of indignation or contempt, has disappeared from this "poetry"; the world has disappeared, not only as an object exciting some reaction in this vapid 'I', but also as a spectator and possible judge of this 'I'; it is not even present.

("On Symbolists And Decadence") — Vasily Rozanov

When the white arm rests upon the knee it is a triangle; now it is upright - a column; now a fountain, falling. It makes no sign, it does not beckon, it does not see us. Behind it roars the sea. It is beyond our reach. Yet there I venture. There I go to replenish my emptiness, to stretch my nights and fill them fuller and fuller with dreams. And for a second even now, even here, I reach my object and say, Wander no more. All is trial and make-believe. Here is the end. — Virginia Woolf

I now know that to do a worthwhile family history I must interpret the past without falling into either demonizing or unquestioning acceptance ... As a playwright, what I object to right now is any form of fundamentalism, whether it's nationalistic, religious or ethnic ... I think it is ridiculous - and fundamentalist, by the way - to say that I am not changed by the culture around me. — David Henry Hwang

If you were looking aside and mentally adding up the hours until the execution of a young killer, all that registered was something dark flashing by. But if you happened to be gazing directly at the window in question and you happened as well to be feeling unprecedentedly calm, four-tenths of a second was more than enough time to identify the falling object as your husband of forty-seven years. — Jonathan Franzen