A Quote by Mark Shields

It doesn't have to be the same line that we have had for the last 40 years, because that clearly isn't working on any level. But you have got to have a pretty clear line on this crucial issue.
Franklin Roosevelt had a pretty clear line. Ronald Reagan had a pretty clear line, people who rescue parties.
I've thought of the last line of some poems for years and tried them out, It wouldn't work because the last line was much too beautiful for the poem.
You look at the descriptions of Whitey by law enforcement during his early years, and they sum him up pretty well. He was the same guy 40 years later; he just had $40 million more, and had committed 40 more murders.
My favourite British line is the West Highland line. It was built across moorland where no one had succeeded in building a road. So everything in that area is there because of the railway line.
I wrote a lot of poetry in the last two years of high school, all about the same girl I was in love with. That was pretty awful. Did you know that in poetry, every line does not need to rhyme?
Emily Dickinson seems rather tame because she pretty much uses the same meter every time. It's called 'common meter.' It's a line of four beats that's followed by a line of three beats.
The reason why I started the clothing line Licious is because I had trouble finding clothes for my body type. I figured if I'm having trouble finding clothes for me, being curvy, I know girls with my body type are probably facing the same issue. And so with the help of my designer, I came up with the idea of creating my own clothing line.
Players are under such pressure in crucial moments, especially at the highest level with what is on the line.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
We need to first clearly establish what our modern rules for behavior are and make sure those are clearly understood and communicated. That empowers both the people who experience harassment on any level, but also the people who are the perpetrators of harassment to absolutely understand what behavior is crossing the line.
I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'
for every person who's stepped out of line and lived to regret it, there are two people who stayed in line because they got their values mixed and lost their nerve, and who have lived to regret it still more. You don't hear about those people because they're still in line where they don't show.
Today, you talk to kids about books and they almost want to run away because they've got computers, iPads and all that, while we had to actually sit down and crack the books open and go line by line to try to learn all that stuff.
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
The straight line has a property of self-similarity. Each piece of the straight line is the same as the whole line when used to a big or small extent.
It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
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