A Quote by David Hume
Eloquence, when at its highest pitch, leaves little room for reason or reflection; but addressing itself entirely to the fancy or the affections, captivates the willing hearers, and subdues their understanding. Happily, this pitch it seldom attains. But what a Tully or a Demosthenes could scarcely effect over a Roman or Athenian audience, every Capuchin, every itinerant or stationary teacher can perform over the generality of mankind, and in a higher degree, by touching such gross and vulgar passions.
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Eloquence, at its highest pitch, leaves little room for reason or reflection, but addresses itself entirely to the desires and affections, captivating the willing hearers, and subduing their understanding.
Eloquence, when in its highest pitch, leaves little room for reason or reflection.
Every accent, every emphasis, every modulation of voice, was so perfectly well turned and well placed, that, without being interested in the subject, one could not help being pleased with the discourse; a pleasure of much the same kind with that received from an excellent piece of music. This is an advantage itinerant preachers have over those who are stationary, as the latter can not well improve their delivery of a sermon by so many rehearsals.
The real Pogba is the one you see every time. You know, when I'm on the pitch, I cannot act. I'm not an actor. So when I'm in the pitch, I like to joke and laugh, and outside the pitch, I'm the same. For me, I'm normal. I come and play football. I do what I love.
We live in a society whose whole policy is to excite every nerve in the human body and keep it at the highest pitch of artificial tension, to strain every human desire to the limit and to create as many new desires and synthetic passions as possible, in order to cater to them with the products of our factories and printing presses and movie studios and all the rest.
In all very numerous assemblies, of whatever character composed, passion never fails to wrest the sceptre from reason. Had every Athenian citizen been a Socrates, every Athenian assembly would still have been a mob.
There is something in the eloquence of the pulpit, when it is really eloquence, which is entitled to the highest praise and honour. The preacher who can touch and affect such an heterogeneous mass of hearers, on subjects limited, and long worn thread-bare in all common hands; who can say any thing new or striking, any thing that rouses the attention, without offending the taste, or wearing out the feelings of his hearers, is a man whom one could not (in his public capacity) honour enough.
Not every pitch I swing at is going over the fence, but you're going to miss every shot you don't take.
I have celebrated major successes with Germany on the pitch, but not only that, I have experienced so much off the pitch too, visiting countries and cities all over the world.
The number of strokes to the inch controls the pitch of the note: the more, the higher the pitch; the fewer, the lower the pitch, the size of the stroke controls the loudness... the tone quality is the most difficult element to control, it is made by the shape of the strokes.
If our eloquence be directed above the heads of our hearers, we shall do no execution. By pointing our arguments low, we stand a chance of hitting their hearts as well as their heads. In addressing angels, we could hardly raise our eloquence too high; but we must remember that men are not angels.
Extemporaneous and oral harangues will always have this advantage over those that are read from a in manuscript: every burst of eloquence or spark of genius they may contain, however studied they may have been beforehand, will appear to the audience to be the effect of the sudden inspiration of talent.
No one has ever raised capital because their pitch deck was pretty. A lot of people have raised capital because they were over-prepared, knew where their business was going, and were able to articulate that through a pitch alongside a pitch deck.
Every individual, from the highest to the lowest degree, has his place in the ladder of social life, and around him swirls a little world of interests, composed of stormy passions and conflicting atoms
All power of fancy over reason is a degree of madness.
I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
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