A Quote by William Butler Yeats
Fairies in Ireland are sometimes as big as we are, sometimes bigger, and sometimes, as I have been told, about three feet high.
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So sometimes things are ahead and sometimes they are behind; Sometimes breathing is hard, sometimes it comes easily; Sometimes there is strength and sometimes weakness; Sometimes one is up and sometimes down. Therefore the sage avoids extremes, excesses, and complacency.
The thing about playing percussion is that you can create all these emotions that can be sometimes beautiful, sometimes really ugly, or sometimes sweet, sometimes as big as King Kong and so on. And so there can be a real riot out there, or it can be so refined.
You cannot train saving with your feet, but sometimes it is instinct. Sometimes it is quicker to go with the feet; going with the hands is sometimes more difficult. Even when I was young, I would go with my feet, it's something good for me.
To create anything — whether a short story or a magazine profile or a film or a sitcom — is to believe, if only momentarily, you are capable of magic. These essays are about that magic — which is sometimes perilous, sometimes infectious, sometimes fragile, sometimes failed, sometimes infuriating, sometimes triumphant, and sometimes tragic. I went up there. I wrote. I tried to see.
The old grey donkey, Eeyore stood by himself in a thistly corner of the Forest, his front feet well apart, his head on one side, and thought about things. Sometimes he thought sadly to himself, "Why?" and sometimes he thought, "Wherefore?" and sometimes he thought, "Inasmuch as which?" and sometimes he didn't quite know what he was thinking about.
Sometimes you're not sure about a player. Sometimes you doubt. Sometimes you have to guess. Sometimes... you just know.
Sometimes you're not sure about a player. Sometimes you doubt. Sometimes you have to guess. Sometimes you just know.
I spent three seasons at Benfica looking to be in the first eleven. Sometimes I got in and sometimes I didn't. Sometimes injuries denied me. Sometimes the strikers who were in my position, they were scoring and scoring so it was difficult to play.
Sometimes you move publicly, sometimes privately. Sometimes quietly, sometimes at the top of your voice. And sometimes an active policy is best advanced by doing nothing until the right timeor never.
Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."
The most important point of [Susan] Fiske's work is that it provides a taxonomy for our differing feelings about different Thems - sometimes fear, sometimes ridicule, sometimes contemptuous pity, sometimes savagery.
Sometimes my work needs to be photographic, sometimes it needs words, sometimes it needs to have a relationship to music, sometimes it needs to have all three and become a video projection.
My senses of space, of distance, and of direction entirely vanished. When I looked for the ground I sometimes looked down, sometimes up, sometimes left, sometimes right. I thought I was very high up when I would suddenly be thown to earth in a near vertical spin. I thought I was very low to the ground and I was pulled up to 3,000 feet in two minutes by the 500-horsepower motor. It danced, it pushed, it tossed. . . . Ah! la la!
courage isn't simply a matter of leading charges: sometimes it consists in speaking up, sometimes in stoic silence, sometimes in forging ahead, sometimes in circumspection, and sometimes in nothing less than preserving our own humanity.
But grief still has to be worked through. It is like walking through water. Sometimes there are little waves lapping about my feet. Sometimes there is an enormous breaker that knocks me down. Sometimes there is a sudden and fierce squall. But I know that many waters cannot quench love, neither can the floods drown it.
Always the seer is a sayer. Somehow his dream is told; somehow he publishes it with solemn joy: sometimes with pencil on canvas, sometimes with chisel on stone, sometimes in towers and aisles of granite, his soul's worship is builded; sometimes in anthems of indefinite music, but clearest and most permanent, in words.
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