A Quote by Walter Savage Landor
When a woman hath ceased to be quite the same to us, it matters little how different she becomes.
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There were a lot of different things [in The Women's Room ]. I don't really want to summarize it in this way. It's about a woman's awakening, a woman who came of age in the '50s and is a teenager - actually, she's a little bit older - in the '60s and part of the women's movement and how she ends up there.
My mom has passed down that you can be chic and look beautiful, and you don't have to break the bank. I grew up like that. She also taught me I don't have to stress all the time. She's always been a go-with-the-flow type of woman; that's how she raised us, and I find that's how I'm raising my little girls now.
In truth, it matters less what we do in practice than how we do it and why we do it. The same posture, the same sequence, the same meditation with a different intention takes on an entirely new meaning and will have entirely different outcomes.
Lastly, she pictured to herself how this same little sister of hers would, in the after-time, be herself a grown woman; and how she would keep, through all her riper years, the simple and loving heart of her childhood: and how she would gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago: and how she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days.
I just feel so blessed to have had the time that I had with my mother. She made it so impactful in terms of how she raised me and my little brother, the values that she instilled in us, the way she inspired us, and how she lived her everyday life.
Man hath still either toys or care: But hath no root, nor to one place is tied, but ever restless and irregular, about this earth doth run and ride. He knows he hath a home, but scarce knows where; He says it is so far, that he has quite forgot how to go there.
The Gucci woman - you know what she’s after. The Saint Laurent woman - she’s going to torture you a little bit. You might have sex, but she will drip a little hot wax on you first.
Celia [Brady] is a young woman who, you know, she's still got that fresh young vibe about her but at the same time she's quite wise beyond her years and very mature and she has that womanly, sexy quality, but at the same time she's very youthful in her clothes. She has that interesting mix between the two. I really love that balance about fashion.
When does one register that one is a woman? Does she become a woman when she becomes responsible; when she falls in love; when she goes through pain?
Everything that you've learned: 'Make a lot of money, have a nice house'. But they never teach you at school how to relate, how to communicate with others, how to share values with others. ...They teach you how to make a living. You become an optometrist, he becomes a physicist, she becomes a structural engineer, he's an architect. In the future, none of that. Everybody is trained to be a generalist, so they understand different cultures, different values, how we get to be the way we are. So no-one can ever use you for war or killing anybody or hurting anybody
To speak but little becomes a woman; and she is best adorned who is in plain attire.
As ugly an admission as this is, I met my wife at a party, and if I had been to the same party and she were dressed in different clothes, I might never have talked to her. She might have projected something that I found distasteful, even if she otherwise looked exactly the same - a beautiful woman to me.
Anyone who reads the comics knows Maxima comes to Earth in search of a mate among the superhero population - specifically Superman. She's denied by him and she becomes very angry and bitter. We'll see how that history plays out in the show - every adaptation is a little bit different, but 'Supergirl' does a great job with the source material.
The anorexic is out to prove how little she needs, how little she can survive on; she is out, in a sense, to discredit her nurturers, while at the same time making a public crisis out of her need for nurture. Such vulnerability and such power: it brings the whole female machinery to a halt.
There she weaves by night and day, A magic web with colors gay. She has heard a whisper say, A curse is on her if she stay, To look down to Camelot. She knows not what the curse may be, And so she weaveth steadily, And little other care hath she, The Lady of Shalott.
When she is older she will see in these resemblances a regrettable uniformity among individuals (they all stop at the same spots to kiss, have the same tastes in clothing, flatter a woman with the same metaphor) and a tedious monotony among events (they are all just an endless repetition of the same one); but in her adolescence she welcomes these coincidences as miraculous and she is avid to decipher their meanings.
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