Top 1200 Cuss Words Quotes & Sayings - Page 15

One of the greatest things about writing as a profession is that the words of Tolstoy, Chesterton and Dostoyevsky have lived for a hundred years and are just as powerful today. Their words have changed me just as much as the people I actually met.

But it's not easy. I've been thinking it over for years. While we loved each other we didn't need words to make ourselves understood. But people don't love forever. A time came when I should have found the words to keep her with me, only I couldn't.

Actions speak louder than words, but words spur actions.

Like everyone else, I am going to die. But the words - the words live on for as long as there are readers to see them, audiences to hear them. It is immortality by proxy. It is not really a bad deal, all things considered.

I think the thing I really got from Ginsberg was that you can tell a story through kind of painting pictures with words. And when I found out that you could have a profession doing that, it was thrilling to me. It just became my passion immediately, playing with words and poetry.

Style is as much under the words as in the words. It is as much the soul as it is the flesh of a work.

Words like "freedom," "justice," "democracy" are not common concepts; on the contrary, they are rare. People are not born knowing what these are. It takes enormous and, above all, individual effort to arrive at the respect for other people that these words imply.

I have respect for literature. If he found the words, if she found the words - this is a book!

But music doesn't sum up my approach to literature - even in Vain Art of the Fugue. To 'fugue' I had to invent 'trap-words,' or words that would force the narrator to turn around and start his path anew.

I have a good memory for words, and when I come upon a word I don't know, I remember it, or try to - it's almost like a tic. I also just have a good feeling for how words are made and formed in English and the etymologies that give you prefixes and suffixes.

The words we read and words we write never say exactly what we mean. The people we love are never just as we desire them. The two symbola never perfectly match. Eros is in between.

We can't say what enlightenment is, we can't say what it isn't, because these are words and words have nothing to do with reality.

America is the promised land, because each generation bequeathed to its children a promise, a promise that they might not come to enjoy but which they fully expected their offspring to fulfill. So the words 'all men are created equal' took a life of its own, ultimately destined to end slavery and enfranchise women. And the words 'equal protection' and 'due process' inevitably led to the end of the words 'separate but equal,' ensuring that the walls of segregation would crumble, whether at the lunch counter or at the voting booth.

I would say 'woman' used to be a noun, and now it is a noun and also an adjective. And words change their functions in that way. It's one of the most common phenomena about words. They start as one thing, and they end up as something else.

Word books traditionally focus on unusual and quirky items. They tend to ignore the words that provide the skeleton of the language, without which it would fall apart, such as 'and' and 'what,' or words that provide structure to our conversation, such as 'hello.'

The words we choose can build communities, reunite loved ones, and inspire others. They can be a catalyst for change. However, our words also have the power to destroy and divide: they can start a war, reduce a lifelong relationship to a collection of memories, or end a life.

Now between the meanings of words and their sounds there is ordinarily no discoverable relation except one of accident; and it is therefore miraculous, to the mystic, when words which make sense can also make a uniform objective structure of accents and rhymes.

Human bodies are words, myriads of words, (In the best poems re-appears the body, man's or woman's, well-shaped, natural, gay, Every part able, active, receptive, without shame or the need of shame.)

For human words are like shadows, and shadows are incapable of explaining light and between shadow and light there is the opaque body from which words are born.

The words went round and round and round in my mind and my body, until I knew they were no longer my words but something that had been carved into my heart. And now my soul was crying.

In other words, you've got a journey as the plot, but it has to be in a lively environment, being able to create the mood. If you read "Pickman's Model," in other words, they're winding their way through the Boston Streets and [H.P.] Lovecraft researched what was there.

Wealth, my son, should never be your goal in life. Your words are eloquent but they are mere words. True wealth is of the heart, not of the purse.

Words are just words. The evidence is in how you act, how you react.

Broadly speaking, the short words are the best, and the old words best of all.

Ultimately, words are only words, and its only the music that stands by itself.

A line runs from the meditations of the heart to the words of the mouth. The meditations are not clear to us until the mouth utters its words. If what the mouth utters is unclear or foolish or mendacious, it must be that the meditations are the same. But the line runs both ways. The words of the mouth will become the meditations of the heart, and the habit of loose talk loosens the fastenings of our understanding.

Novel writing, to me, is all about language: choosing your words, finding the characters within the words and just really agonizing over every word. It's really crafting this whole piece from nothing.

The relationship with the words someone uses is more intimate and integrated than just a quick read and a blurb can ever be. This intimacy - the words on the page being sent back and forth from engaged editor to open author - is unique in my experience.

I sometimes hold it half a sin To put in words the grief I feel For words, like nature, half reveal And half conceal the soul within. But, for the unquiet heart and brain A use measured language lie's The sad mechanic exercise Like dull narcotic's, numbing pain In words, like weeds, I'll wrap me o'er Like coarsest clothes against the cold But large grief which these enfold Is given in outline and no more.

I know a lot about words. I get paid to write stories, so I get to talk with people about the meaning behind words all day.

Antisthenes says that in a certain faraway land the cold is so intense that words freeze as soon as they are uttered, and after some time then thaw and become audible, so that words spoken in winter go unheard until the next summer.

It was a joy! Words weren't dull, words were things that could make your mind hum. If you read them and let yourself feel the magic, you could live without pain, with hope, no matter what happened to you.

A recent government publication on the marketing of cabbage contains, according to one report, 26,941 words. It is noteworthy in this regard that the Gettysburg Address contains a mere 279 words while the Lord's Prayer comprises but 67.

What I was proud of was that I used very few parts to build a computer that could actually speak words on a screen and type words on a keyboard and run a programming language that could play games. And I did all this myself.

I love words, I think they're fascinating and incredibly wonderful things and part of the joy of my work is that I not only get to work with music but also with words. Sometimes it's a difficult process but a lot of the time it's really fun.

I learned words, I learned words; but half of them died from lack of exercise. And the ones I use often look at me with a look that whispers, Liar.

Writing well isn't just a question of winsome expression, but of having found something big and true to say and having found the right words to say it in, of having seen something large and having found the right words to say it small, small enough to enter an individual mind so that the strong ideas of what the words are saying sound like sweet reason.

I think that's the great thing about music: It can communicate emotionally. And you don't have to necessarily get all of the words. I mean you have to know what is being said, but didn't you find even if you didn't get all of the words, you certainly get the emotion?

The very essence of meditation is to be so silent that there is no stirring of thoughts in you, that words don't come between you and reality, that the whole net of words falls down, that you are left alone. This aloneness, this purity, this unclouded sky of your being is meditation.

He should have known better because, early in his learnings under his brother Mahmoud, he had discovered that long human words (the longer the better) were easy, unmistakable, and rarely changed their meanings, but short words were slippery, unpredictable changing their meanings without any pattern. Or so he seemed to grok. Short human words were never like a short Martian word - such as grok which forever meant exactly the same thing. Short human words were like trying to lift water with a knife. And this had been a very short word.

The words It's not my fault! should never again come from your mouth. The words It's not my fault! have been symbolically written on the gravestones of unsuccessful people ever since Eve took her first bite of the apple.

Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them!

My personal opinion is that, if you're a professional writer, that you do have quotas. So every day I do try to write 800-1,200 words. I don't always achieve it, and the reality is that a lot of the words I write will end up on the cutting-room floor.

We have so many words for states of mind, and so few words for the states of the body.

Words are hotter than flames. Words are wetter than water.

Writing cannot express all words, words cannot encompass all ideas.

The most powerful words in English are 'Tell me a story,' words that are intimately related to the complexity of history, the origins of language, the continuity of the species, the taproot of our humanity, our singularity, and art itself.

I take a pretty expansive view of craft, which is to say I don't see craft as just being technique - it's also process; subject; ideas and feelings; visions and dreams; the words that are put down and the words that are avoided.

Word books traditionally focus on unusual and quirky items. They tend to ignore the words that provide the skeleton of the language, without which it would fall apart, such as 'and' and 'what,' or words that provide structure to our conversation, such as 'hello.

I wish I could take language And fold it like cool, moist rags. I would lay words on your forehead. I would wrap words on your wrists. 'There, there,' my words would say - Or something better. I would ask them to murmur, 'Hush' and 'Shh, shhh, it's all right.' I would ask them to hold you all night. I wish I could take language And daub and soothe and cool Where fever blisters and burns, Where fever turns yourself against you. I wish I could take language And heal the words that were the wounds You have no names for.

The trouble with words is that they give us the illusory sense that we are making ourselves understood as well as understanding what others are saying. However, when we turn around and come face-to-face with our destiny, we discover that words are not enough.

A layman will no doubt find it hard to understand how pathological disorders of the body and mind can be eliminated by 'mere' words. He will feel that he is being asked to believe in magic. And he will not be so very wrong, for the words which we use in our everyday speech are nothing other than watered-down magic. But we shall have to follow a roundabout path in order to explain how science sets about restoring to words a part at least of their former magical power.

In the old days, words like sin and Satan had a moral certitude. Today, they're replaced with self-help jargon, words like dysfunction and antisocial behavior, discouraging any responsibility for one's actions.

If I knew what I was doing, I'd be doing it right now. I would be the best damn poet, silver words out of my mouth. My words might not be magic, but they cut straight to the truth. So if you need a lover and a friend, baby, I'm in.

Dune was really my first Hollywood job. It was such a small part, but I opened the movie. I was about 19 years old and I had to make this speech, and I didn't understand most of the words because they were, you know, words from Dune.

No one seems to have learned, or can remember, the magic words that calm people when they are frightened or threatened: "I'm sorry; I didn't see you; are you all right?" The inability to speak these words, I observe, goes right along with a propensity for mindless insults.

There is immeasurably more left inside than what comes out in words. Your thought, even a bad one, while it is with you, is always more profound, but in words it is more ridiculous and dishonorable.

I am an ordinary human being who is impelled to write poetry. ... I still do feel that a poet has a duty to words, and that words can do wonderful things, and it's too bad to just let them lie there without doing anything with and for them.

Music is a language of emotion. I'm passionate about it because I think it's the most direct way to connect to the things that are ineffable. Words just aren't necessary a good enough opportunity to express. Words are maybe less than accessible at expressing.

Thus, words being symbols of ideas, we can collect ideas by collecting words. The fellow who said he tried reading the dictionary but couldn't get the hang of the story simply missed the point: namely, that it is a collection of short stories.