Top 1200 Death Sentence Quotes & Sayings - Page 3

I think it's the sentence-to-sentence pleasures, the little surprises of a surprising style of an acute style, and also the way things happen one after the other, that makes a book interesting to read page to page

Birth leads to death, death precedes birth. So if you want to see life as it really is, it is rounded on both the sides by death. Death is the beginning and death is again the end, and life is just the illusion in between. You feel alive between two deaths; the passage joining one death to another you call life. Buddha says this is not life. This life is dukkha - misery. This life is death.

A sentence of death and infamy was often founded on the slight and suspicious evidence of a child or a servant: the guilt [of the defendant] was presumed by the judges [due to the nature of the charge], and paederasty became the crime of those to whom no crime could be imputed.

Death? Why this fuss about death? Use your imagination, try to visualize a world without death! Death is the essential condition of life, not an evil.

Keep in mind that this appears in the same book of the Bible that approves the death sentence for a child who curses his parents, owners of oxen who injure someone through the owner's negligence, anybody who works or kindles a fire on Sunday, and anyone who has sex with an animal.

There is no single best kind of death. A good death is one that is "appropriate" for that person. It is a death in which the hand of the way of dying slips easily into the glove of the act itself. It is in character, ego-syntonic. It, the death, fits the person. It is a death that one might choose if it were realistically possible for one to choose one's own death.

Native speakers of a language know intuitively whether a sentence is grammatical or not. They usually cannot specify exactly what is wrong, and very possibly they make the same mistakes in their own speech, but they know-unconsciously, not as a set of rules they learned in school-when a sentence is incorrect.

It's funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film 'Death Sentence,' and I got back with him again in 'Inside Llewyn Davis.'

The last sort I shall mention are verbal critics - mere word-catchers, fellows that pick out a word in a sentence and a sentence in a volume, and tell you it is wrong. The title of Ultra-Crepidarian critics has been given to a variety of this species.

The first draft of everything, I write longhand. One of the nice things about that is that it makes you keep going. If you write a bad sentence on the computer, then it's very tempting to go back and fidget with it and spend another 20 minutes trying to make it into a good sentence.

I think the way we talk about cancer has really evolved. I remember the way my grandmother used to talk about it, like a death sentence, no-one would even mention the word.

I want people who have received a diagnosis of Hepatitis C to know that they didn't just receive a death sentence. They do have options, even if the person who gave them their diagnosis isn't aware of all of them. The path they choose doesn't have to be one of desperation.

I am not a particularly natural writer. I am not a person who can write in paragraphs the way some writers do. For me, it's sentence by sentence, sometimes word-by-word. And I revise constantly. It's a very laborious process, but I love doing it.

In my office I have a sign that says, 'Don't think. Just write!' and that's how I work. I try not to worry about each word, or even each sentence or paragraph. For me, stories evolve. Writing is a process. I rewrite each sentence, each manuscript, many times.

The book was long, and difficult to read, and Klaus became more and more tired as the night wore on. Occasionally his eyes would close. He found himself reading the same sentence over and over. He found himself reading the same sentence over and over. He found himself reading the same sentence over and over.

It's always a challenge to discover the most effective first sentence, and the most effective final sentence, in a chapter for instance, and in the book as a whole.

When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.

Over the course of several articles, I will give you the tools to become a sentence connoisseur as well as a sentence artisan. Each of my lessons will give you the insight to appreciate fine sentences and the vocabulary to talk about them.

Free verse is chained in sentence-to-sentence links and breaks free in line breaks.

Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.

Salman Rushdie, indeed any writer who abuses the prophet or indeed any prophet under Islamic law, the sentence for that is actually death.

I think '300 Arguments' is a real tiny wallop of a book. It looks very slim, and at first, each little two-sentence or one-sentence thing kind of stands on its own, but again, as you read it, you get sucked into the momentum of it, and the whole of it is much larger than the sum of its parts in a really beautiful way.

The greatest mystery in life is not life itself, but death. Death is the culmination of life, the ultimate blossoming of life. In death the whole life is summed up, in death you arrive. Life is a pilgrimage towards death. From the very beginning, death is coming. From the moment of birth, death has started coming towards you, you have started moving towards death.

Everyone suffers; life is pain; and death is the final punctuation at the end of that sentence, so deal with it. I really think you can manage pain and suffering by living in fullness and being true to yourself and all those seemingly vapid platitudes.

But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.

I am my own worst critic, and I look at 'Death Sentence' now, and I go, 'Oh wow, I have really come a long way.' In terms of a filmmaker, I feel like my filmmaking language has really matured.

All you have to do is write one true sentence. Write the truest sentence that you know.

There is another side to death. Whether death happens through an act of violence to a large number of people or to an individual, whether death comes prematurely through illness or accident, or whether death comes through old age, death is always an opening. So a great opportunity comes whenever we face death.

I would stand and look out over the roofs of Paris and think, "Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.

In dialogue, make sure that your attributives do not awkwardly interrupt a spoken sentence. Place them where the breath would come naturally in speech-that is, where the speaker would pause for emphasis, or take a breath. The best test for locating an attributive is to speak the sentence aloud.

There's no substitute for the love of language, for the beauty of an English sentence. There's no substitute for struggling, if a struggle is needed, to make an English sentence as beautiful as it should be.

I've always said that the artist dies twice. And the first death is the hardest which is the career death, the creative death. The physical death is an inevitability.

Death when to death a death by death hath given Then shall be op't the long shut gates of heaven. [Mors, mortis morti mortem nisi morte dedisset (dedisses).]

I don't know what that line is between fiction and non-fiction that other people have in their minds, but to me, when I'm writing, it's just like whatever the next sentence should be is the next sentence. It's not this artificial division.

To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.

Not very good with death? Father was a military man, and military men lived with death; lived for death; lived on death. To a professional soldier, oddly enough, death was life.

Now death is death! and yet is not one death Another death? Stabbing is not the same As shooting! Would you say a strangled man Was drown'd? The end is one, the means are many, And there the difference lies!

If I have to work on something for too long, then it must be wrong. At a certain point, if I've worked on a sentence for about an hour, then I realize that it's probably not the right sentence and means I'm trying to make something fit that's ungainly.

What sentence will you choose to impose on yourself? Are you willing to stop suffering and making yourself miserable when your sentence has expired? This would at least be a responsible way to punish yourself because it would be time-limited.

You may pronounce the sentence upon me, honourable judge, but let the world know that in A.D. 1886, in the State of Illinois, eight men were sentenced to death because they believed in a better future; because they had not lost their faith in the ultimate victory of liberty and justice!

For watching death, and above all, after death; not death in battle, but death after battle, brings one to certain indifferences that are also a form of death.

When you get older, then you feel death not at the end of the road, but death all around you, in everything. Life is saturated with death. I feel death everywhere.

Most people write the same sentence over and over again. The same number of words-say, 8-10, or 10-12. The same sentence structure. Try to become stretchy-if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you're generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going crosseyed.

The first sentence cant be written until the final sentence is written.

My brother the vampire, whose kiss was a slow death sentence, had a stable and loving relationship with a girl who was crazy about him. By contrast, I could barely talk to a woman, at least about anything pertaining to a relationship. Given that my only long-term girlfriends had faked their own death, died, and broken free of enslaving enchantments to end the relationship, the empirical evidence seemed to indicate that he knew something I didn't. Keep your life tonight, Harry. Complicate it tomorrow.

After years spent in Washington, I have become more aware than ever of the government's ineptness and the likelihood of its making mistakes. I no longer trust the U.S. government to invoke and carry out a death sentence under any conditions.

Stated as an English sentence, of course, this is just a banal platitude - but the fact is that, in the day-to-day trenches of adult existence, banal platitudes can have life-or-death importance. That may sound like hyperbole, or abstract nonsense.

For some time now the impression has been growing upon me that everyone is dead. It happens when I speak to people. In the middle of a sentence it will come over me: yes, beyond a doubt this is death. There is little to do but groan and make an excuse and slip away as quickly as one can.

To slay the sinner is then the first use of the Law, to destroy the life and strength wherein he trusts and convince him that he is dead while he lives; not only under the sentence of death, but actually dead to God, void of all spiritual life, dead in trespasses and sins.

The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you.

In our country, [habeas corpus ] means that if you've been sentenced and convicted in a state court, either to death or to some other kind of sentence, you have the right to petition a federal court to review what happened to you. And until [Bill] Clinton, you had three, four, five, even more years I collect records of people who have been on death row for eight, 10, 12, 14 years - this is before Clinton - who finally got a decent lawyer, usually a pro bono lawyer, and an investigator, and were able to find out - they - they're but approved that they're - that they were innocent.

I spent my entire youth writing slowly with revisions and endless rehashing speculation and deleting and got so I was writing one sentence a day and the sentence had no FEELING. Goddamn it, FEELING is what I like in art, not CRAFTINESS and the hiding of feelings.

For any writer, the ability to look at a sentence and see what's superfluous, what can be altered, revised, expanded, and, especially, cut, is essential. It's satisfying to see that sentence shrink, snap into place, and ultimately emerge in a more polished form: clear, economical, sharp.

There is a slovenly disrespect for truth and reality that has infected and cross-infected the arts; the values of entertainment are relentlessly in the ascendant, to the extent that it becomes virtually impossible to write a naturalistic fictional sentence without feeling that the fabric of that sentence is already compromised.

I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.

What's so hard about that first sentence is that you're stuck with it. Everything else is going to flow out of that sentence. And by the time you've laid down the first two sentences, your options are all gone.

There is no single formula for good sentence. An invisible integument that gives the sentence wholeness and musicality, sometimes. But other times, the formula is almost purely one of context. And yet other times, of sheer precision of meaning. This is a good sentence: "Just as he was settling into the warm mud of alcoholic gloom, Shrike caught his arm." "Warm mud of alcoholic gloom" is exact and right and accurate.

Maximum sentence length: seventeen words. Minimum:one No semicolons. Semicolons indicate relationships that only idiots need defined by punctuation. Besides, they are ugly. Make sure each sentence is at least four words longer or shorter than the one before it.

It’s funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film Death Sentence [2007], and I got back with him again in Inside Llewyn Davis.

Death is not as terrible as you think. It comes to you as a healer. Sleep is nothing but a counterfeit death. What happens in death we can picture in sleep. All our sufferings vanish in sleep. When death comes, all our mortal tortures cease; they cannot go beyond the portals of death.