A Quote by Phineas Quimby

The doctors take the bodily evidence as the disease. . . . disease is itself an impudent opinion. He throws off the feelings of the sick and imparts to them his own which are perfect health, and his explanation destroys their feelings or disease. . . . He is like a captain who knows his business and feels confident in a storm, and his confidence sustains the crew and ship when both would be lost if the captain should give way to his fears.
Atten. Pray of what disease did Mr. Badman die, for now I perceive we are come up to his death? Wise. I cannot so properly say that he died of one disease, for there were many that had consented, and laid their heads together to bring him to his end. He was dropsical, he was consumptive, he was surfeited, was gouty, and, as some say, he had a tang of the pox in his bowels. Yet the captain of all these men of death that came against him to take him away, was the consumption, for it was that that brought him down to the grave.
A man who knows the court is master of his gestures, of his eyes and of his face; he is profound, impenetratable; he dissimulates bad offices, smiles at his enemies, controls his irritation, disguises his passions, belies his heartm speaks and acts against his feelings.
A captain always knows where his ship is. It's like a psychic bond." "If only we had a captain here.
Often the confidence of the patient in his physician does more for the cure of his disease than the physician with all his remedies. Reasserting the statement by Avicenna.
The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
As every man is hunted by his own daemon, vexed by his own disease, this checks all his activity.
Faith is the commitment of one's consciousness to beliefs for which one has no sensory evidence or rational proof. When man rejects reason as his standard of judgement, only one alternative standard remains to him: his feelings. A mystic is a man who treats his feelings as tools of cognition. Faith is the equation of feelings with knowledge
Strange is the vigour in a brave man's soul. The strength of his spirit and his irresistible power, the greatness of his heart and the height of his condition, his mighty confidence and contempt of danger, his true security and repose in himself, his liberty to dare and do what he pleaseth, his alacrity in the midst of fears, his invincible temper, are advantages which make him master of fortune.
Man is the individualised expression or reflection of God imaged forth and made manifest in bodily form. How is it, then, I hear it asked, that man has the limitations that he has, that he is subject to fears and forebodings, that he is liable to sin and error, that he is the victim of disease and suffering? There is but one reason. He is not living, except in rare cases here and there, in the conscious realisation of his own true Being, and hence of his own true Self.
I know my brother can steer his own ship. He's the captain of his own ship, and how he moves and how he do things. He's a king in his world, I'm a king in my world. We're two lions with a big mane. We've been in this world of boxing for a long time.
The tourist transports his own values and demands to his destinations and implants them like an infectious disease, decimating whatever values existed before.
A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which.
Jesus has given you the right to use His name. That name can break the power of disease, the power of the adversary. That name can stop disease and failure from reigning over you. There is no disease that has ever come to man which this name cannot destroy.
The actor cannot afford to look only to his own life for all his material nor pull strictly from his own experience to find his acting choices and feelings.
Without the changed conditions, the product of a lost war, a revolution and a pervasive sense of national humiliation, Hitler would have remained a nobody. His main ability by far, as he came to realise during the course of 1919, was that in the prevailing circumstances he could inspire an audience which shared his basic political feelings, by the way he spoke, by the force of his rhetoric, by the very power of his prejudice, by the conviction he conveyed that there was a way out of Germany's plight.
Every guy has his own style and his own way of sharing his feelings and love for a woman. Who am I to judge whether it's right or wrong?
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