A Quote by Dinesh D'Souza
I am attracted to arguments that have a certain plausible originality to them.
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These arguments on each side (and many more might be produced) are so plausible, that I am apt to suspect, they may, the one as well as the other, be solid and satisfactory, and that reason and sentiment concur in almost all moral determinations and conclusions.
He must be able to hear them [the counter arguments] from persons who actually believe them; who defend them in earnest, and do their very utmost for them. He must know them in their most plausible and persuasive form; he must feel the whole force of the difficulty which the true view of the subject has to encounter and dispose of; else he will never really possess himself of the portion of truth which meets and removes that difficulty.
I am not attracted to writers by style. What style do Dickens, Grass, and Vonnegut have in common? How silly! I am attracted to what makes them angry, what makes them passionate, what outrages them, what they applaud and find sympathetic in human beings and what they detest about human beings, too. They are writers of great emotional range.
I am always attracted to the moments when a person who is associated with a certain message, image or sensibility evolves. I am very interested in how audiences respond to that maturation and absorb the evolution.
Men write many fine and plausible arguments in support of monarchy, but the fact remains that where every man has a voice, brutal laws are impossible
Wherein lies a poet's claim to originality? That he invents his incidents? No. That he was present when his episodes had their birth? No. That he was first to repeat them? No. None of these things has any value. He confers on them their only originality that has any value, and that is his way of telling them.
I'm not attracted to naturalism, I'm not attracted to behavior, I'm attracted to dance. I'm attracted to gesture, I'm attracted to singing with your voice, as opposed to having a natural manner. I'm a theater actor first, so that probably influences a lot of my approach. And I think in many ways, naturalism has ruined movies.
The Catholic clergy seldom bother to make their arguments plausible; it is plain that they have little respect for human intelligence, and indeed little belief in its existence.
I am well acquainted with all the arguments against freedom of thought and speech - the arguments which claim that it cannot exist, and the arguments which claim that it ought not to. I answer simply that they don't convince me and that our civilization over a period of four hundred years has been founded on the opposite notice.
I'm attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.
A lot of inspiration comes from the sounds that we are attracted to when we come across them in our experiments and may lead us into a certain direction because of inherent possibilities we hear in them.
Highly technical philosophical arguments of the sort many philosophers favor are absent here. That is because I have a prior problem to deal with. I have learned that arguments, no matter how watertight, often fall on deaf ears. I am myself the author of arguments that I consider rigorous and unanswerable but that are often not such much rebutted or even dismissed as simply ignored.
My determination is not to remain stubbornly with my ideas, but I'll leave them and go over to others as soon as I am shown plausible reasons which I can grasp.
When confronted with two courses of action I jot down on a piece of paper all the arguments in favor of each one, then on the opposite side I write the arguments against each one. Then by weighing the arguments pro and con and cancelling them out, one against the other, I take the course indicated by what remains.
Personally, I've never been attracted to danger. It's not my sort of thing. I am more attracted to pubs and cafes. The known, safe and comfortable world.
Wherein lies a poet's claim to originality? That he invents his incidents? No. That he was present when his episodes had their birth? No. That he was first to repeat them? No. None of these things has any value. He confers on them their only originality that has any value, and that is his way of telling them." Mark Twain "...every literature, in its main lines, reflects the chief characteristics of the people for whom, and about whom, it is written.
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