Top 1200 Text Quotes & Sayings

He who is well acquainted with the text of scripture, is a distinguished theologian. For a Bible passage or text is of more value than the comments of four authors.

As we read a text in our own language, the text itself becomes a barrier.

Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.

A text without a context is a pretext for a proof text.

Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).

The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.

If you have a good date, it's nice to text them afterward to say "thanks." But if they were totally lame, it's fun to text "unsubscribe."

The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.

Frank [Moore Cross], publicly dissects the text but he has a private, passionate relationship to the text that he doesn't often speak of publicly.

I do text a lot. Sometimes, at night, my thumbs hurt because I've texted so much, so I definitely text too much.

The meaning of a work is not what the author had in mind at some point, nor is it simply a property of the text or the experience of a reader. Meaning is an inescapable notion because it is not something simple or simply determined. It is simultaneously an experience of a subject and a property of a text. It is both what we understand and what in the text we try to understand.

The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.

The music is notated first, the text follows. I might have to wait until the right kind of text or form arises. I often see the poems as “scores.”

The first forty years of our life give the text, the next thirty furnish the commentary upon it, which enables us rightly to understand the true meaning and connection of the text with its moral and its beauties.

Everything in Wagner's work - the music, the acting, the staging - stemmed from the text. Everything served to interpret the text.

A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.

You have nothing if you're texting a guy in a relationship. We can text six women a minute. We can text it and push 'reply all.' I mean, since we're lying, we might as well lie to everybody.

The letter kills the spirit. The written text is mute in the face of responding challenge. It does not admit of inward growth and correction. Text subverts the absolutely vital role of memory.

There's nothing wrong with sending a quick note if you're busy or just want to flirt, but it's hard to have any real interaction over text. In the buffet of communication, text messaging should be a side dish, not the entree.

With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.

Our amended Constitution is the lodestar for our aspirations. Like every text worth reading, it is not crystalline. The phrasing is broad and the limitations of its provisions are not clearly marked. Its majestic generalities and ennobling pronouncements are both luminous and obscure. This ambiguity of course calls forth interpretation, the interaction of reader and text. The encounter with the Constitutional text has been, in many senses, my life's work.

I always have a problem playing text-heavy games. I'm a slow reader. I don't speak English well. As a kid in China, trying to play these games, I just wanted the text to go away.

I think whether you are a judge on my court or whether you are a judge on a court of appeals or any court, and lawyers too - and if you're interested in law yourself, you'll be in the same situation - you have a text that isn't clear. If the text is clear, you follow the text. If the text isn't clear, you have to work out what it means. And that requires context.

Because the great thing about fairy tales and folk tales is that there is no authentic text. It's not like the text of Paradise Lost or James Joyce's Ulysses, and you have to adhere to that exact text.

Never preach a sermon without a text from the Bible, a text containing the theme which you can elaborate. The text is the best proof in support of your argument. A sermon without a text is an argument without a proof.

Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.

The other day I got a text from a boy, but it wasn't hot. I mean, if you're going to text me every day, you haven't seen me for months and you're trying to seduce me, you'd better spice up that text and make it more exciting than 'How was your day? I hope you're having a beautiful one.' Sadly, I haven't been doing a lot of kissing lately.

Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.

The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text.

When I preaches, I has just one text to preach from, an' I always preaches from this one. My text is, 'When I found Jesus.'

There are no witches. The witch text remains; only the practice has changed. Hell fire is gone, but the text remains. Infant damnation is gone, but the text remains. More than two hundred death penalties are gone from the law books, but the texts that authorized them remain.

The Bible is not an antiquated text. The scriptures are the text that will lead us into the future.

That definitely I feel is part of my generation: social networking, communication over the Internet, whether it's Skype or IRC or some form of text-based chat, text messaging.

Text is linear; it is black and white; it doesn't zoom around the page in 3-D; it isn't intelligent by itself; in fact, in terms of immediate reaction it is quite boring. I can't imagine a single preliterate was ever wowed at the first sight of text, and yet text has been the basis of arguably the most fundamental intellectual transformation of the human species. It and its subforms, such as algebra, have made science education for all a plausible goal.

A poem is what the reader lives through under the guidance of the text and experiences as relevant to the text.

Jazz musicians like John Coltrane needed these very clear titles for their abstract music, and your decision to bring voices into your music as a way to tap into content. It's related to the way my text-based work still functions as abstraction for me. If I repeat a sentence down a canvas, the text starts to smudge and disappear. It essentially becomes an abstract piece. The meaning of the text is still there.

One of the things I really respect about Doug Moo is that he is constantly grappling with the text. Where he hears the text saying something which is not what his tradition would have said, he will go with the text. I won't always agree with his exegesis, but there is a relentless scholarly honesty about him which I really tip my hat off to.

The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.

When you teach on a familiar text, you're capitalizing on common knowledge. When you teach on an unfamiliar text, you're having to build a bridge of understanding, and we need to do that as well.

I overanalyze things way too much, to the point where it affects my life. Like, when I'm talking to a boy, I'll overanalyze a text message he sent. And I have to think to myself, 'Just chill out. Some guy sent me a text message. That's all. Don't read something into it that's not there. Just be glad he sent you a text message!'

The President had every reason to believe that the text presented to him was sound... These 16 words should never have been included in the text written for the president.

Everything stated or expressed by man is a note in the margin of a completely erased text. From what's in the note we can extract the gist of what must have been in the text, but there's always a doubt, and the possible meanings are many.

It is important to learn to understand in a historical text, a text from the past, the living Word of God, that is, to enter into prayer and thus read Sacred Scripture as a conversation with God.

The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.

At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.

Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.

On campuses, and when I speak to the younger intelligentsia, I am getting a hunger for the text - the authentic text for Jewish knowledge.

The area we define as what Quora's good at is long-form text that's useful over time, and where you care about who wrote the text. Not that you need to be friends with them, just that they're someone trustworthy.

What our eyes behold may well be the text of life but one's meditations on the text and the disclosures of these meditations are no less a part of the structure of reality.

We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.

Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.

Originally, when I wrote the song 'The Sensual World' I had used text from the end of 'Ulysses.' When I asked for permission to use the text, I was refused, which was disappointing.

I like a text that reminds the reader its a text sometimes.

The aim of the scholarly editor is not to produce the the easiest text for the reader, but to get as near as he can to the text of the author.

Whereas the work is understood to be traceable to a source (through a process of derivation or "filiation"), the Text is without a source - the "author" a mere "guest" at the reading of the Text.

With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.

We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.

I never spent less than two years on the text of one of my picture books, even though each of them is approximately 380 words long. Only when the text is finished ... do I begin the pictures.

No one can know truth except the one who obeys truth. You think you know truth. People memorize the Scriptures by the yard, but that is not a guarantee of knowing the truth. Truth is not a text. Truth is in the text, but it takes the text plus the Holy Spirit to bring truth to a human soul.

We must recognise - both Muslims and non- Muslims, that the Koran is a text. We need human engagement with that text, so we have to understand that the rulings and the legal rulings are produced are channelled through the human mind, it's an interpretive act of a human being engaging and interacting with a text producing legal results. Because of that it's susceptible to flaws, it is not perfect. Nobody has perfect access to the divine will.