'Justice' was done, and the President of the Immortals, in Æschylean phrase, had ended his sport with Tess. And the d'Urberville knights and ...
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The Greeks said grandly in their tragic phrase, Let no one be called happy till his death; to which I would add, Let no one, till his death be called unhappy.
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It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing.
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Rudyard Kipling coined the phrase: 'The female of the species is more deadly than the male.' Well - look at Jeannette Rankin. Probably a hundred men in Congress would have liked to do what she did. Not one of them had the courage to do it. The Gazette entirely disagrees with the wisdom of her position. But, Lord, it was a brave thing!
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Have you ever been in love? Horrible isn't it? It makes you so vulnerable. It opens your chest and it opens up your heart and it means that someone can get inside you and mess you up. You build up all these defenses, you build up a whole suit of armor, so that nothing can hurt you, then one stupid person, no different from any other stupid person, wanders into your stupid life...You give them a piece of you. They didn't ask for it. They did something dumb one day, like kiss you or smile at you, and then your life isn't your own anymore. Love takes hostages. It gets inside you. It eats you out and leaves you crying in the darkness, so simple a phrase like 'maybe we should be just friends' turns into a glass splinter working its way into your heart. It hurts. Not just in the imagination. Not just in the mind. It's a soul-hurt, a real gets-inside-you-and-rips-you-apart pain. I hate love.
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The most exciting phrase to hear in science, the one that heralds new discoveries, is not 'Eureka!' (I found it!) but 'That's funny...' by Isaac Asimov
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Through all these new, imaginative, and creative approaches to the problem of sharing our earth with other creatures there runs a constant theme, the awareness that we are dealing with life with living populations and all their pressures and counter pressures, their surges and recessions. Only by taking account of such life forces and by cautiously seeking to guide them into channels favorable to ourselves can we hope to achieve a reasonable accommodation between the insect hordes and ourselves. The current vogue for poisons has failed utterly to take into account these most fundamental considerations. As crude a weapon as the cave man's club, the chemical barrage has been hurled against the fabric of life a fabric on the one hand delicate and destructible, on the other miraculously tough and resilient, and capable of striking back in unexpected ways. These extraordinary capacities of life have been ignored by the practitioners of chemical control who have brought to their task no high-minded orientation, no humility before the vast forces with which they tamper. The control of nature is a phrase conceived in arrogance, born of the Neanderthal age of biology and philosophy, when it was supposed that nature exists for the convenience of man. The concepts and practices of applied entomology for the most part date from that Stone Age of science. It is our alarming misfortune that so primitive a science has armed itself with the most modem and terrible weapons, and that in turning them against the insects it has also turned them against the earth.
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Wherever a story comes from, whether it is a familiar myth or a private memory, the retelling exemplifies the making of a connection from one pattern to another: a potential translation in which narrative becomes parable and the once upon a time comes to stand for some renascent truth. This approach applies to all the incidents of everyday life: the phrase in the newspaper, the endearing or infuriating game of a toddler, the misunderstanding at the office. Our species thinks in metaphors and learns through stories.
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Music has often been compared with language itself, and the comparison is quite legitimate. While it combines easily with actual language, it also speaks a language of its own, which it has become a platitude to call universal. To understand the significance of the organizing factors of rhythm, melody, harmony, tone color and form, the analogy of a familiar language is helpful. Music has its own alphabet of only seven letters, as compared with the twenty-six of the English alphabet. Each of these letters represents a note, and just as certain letters are complete words in themselves, so certain notes may stand alone, with the force of a whole word. Generally, however, a note of music implies a certain harmony, and in most modern music the notes take the form of actual chords. So it may be said that a chord in music is analogous to a word in language. Several words form a phrase, and several phrases a complete sentence, and the same thing is true in music. Measured music corresponds to poetry, while the old unmeasured plain-song might be compared with prose.
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The original story, whatever it was, was told to those who forgot some details and substituted others. The original is long lost in the restorations. They have had the composer accompanied by a gifted sister, who, the inflexible record shows, died years before the song was written. They have seated him at the prim old spindle-legged mahogany desk in the hall at Federal Hill and had him dash it off in the frenzy of inspiration. Or they have followed him to the rocks of the old spring house, whither they have sent him, pencil in hand, and counted the frowns of agony with which he laboriously set down now a strain of melody and again a phrase of words. They have heard him trying it out with the deep booming bass voice of him who had never more than a weak but sweet light baritone. Every writer of it has himself for the hero and has described it as he would himself have acted it before the grand audience of posterity. These various stories cling about Federal Hill, the outgrowth of the human desire for contact with the vague figures of the past.
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An accent mark, perhaps, instead of a whole western accent -- a point of punctuation rather than a uniform twang. That is how it should be worn: as a quiet point of character reference, an apt phrase of sartorial allusion -- macho, sotto voce.
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Anyone who uses the phrase 'easy as taking candy from a baby' has never tried taking candy from a baby.
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It happens so suddenly. We are going about our own mundane tasks when - a phrase of music, a shaft of sunlight on a snowy roof, a handful of yellow butterflies, or the arc of a bird diving to the earth, pierces us. For one brief moment, we are lifted out of our daily routine into the untold realms of light and beauty. Then the moment is gone. We are back on Earth - but we are not the same.
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Perspective, as its inventor remarked, is a beautiful thing. What horrors of damp huts, where human beings languish, may not become picturesque through aerial distance! What hymning of cancerous vices may we not languish over as sublimest art in the safe remoteness of a strange language and artificial phrase! Yet we keep a repugnance to rheumatism and other painful effects when presented in our personal experience.
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I don't know why you use a fancy French word like dtente when there's a good English phrase for it-cold war.
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When I read a book I seem to read it with my eyes only, but now and then I come across a passage, perhaps only a phrase, which has a meaning for me, and it becomes part of me.
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There are certain things that are fundamental to human fulfillment. The essence of these needs is captured in the phrase 'to live, to love, to learn, to leave a legacy'. The need to live is our physical need for such things as food, clothing, shelter, economical well-being, health. The need to love is our social need to relate to other people, to belong, to love and to be loved. The need to learn is our mental need to develop and to grow. And the need to leave a legacy is our spiritual need to have a sense of meaning, purpose, personal congruence, and contribution
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Anyone who uses the phrase 'easy as taking candy from a baby' has never tried taking candy from a baby.
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The control of nature is a phrase conceived in arrogance, born of the Neanderthal age of biology and the convenience of man.
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A man's women folk, whatever their outward show of respect for his merit and authority, always regard him secretly as an ass, and with something akin to pity. His most gaudy sayings and doings seldom deceive them; they see the actual man within, and know him for a shallow and pathetic fellow. In this fact, perhaps, lies one of the best proofs of feminine intelligence, or, as the common phrase makes it, feminine intuition.
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Now, the vicissitudes that afflict the individual have their source in society. It is this situation that has given currency to the phrase social forces. Personal relations have given way to impersonal ones. The Great Society has arrived and the task of our generation is to bring it under control. The study of how it is to be done is the function of politics.
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Destiny is but a phrase of the weak human heart - the dark apology for every error. The strong and virtuous admit no destiny. On earth conscience guides in heaven God watches. And destiny is but the phantom we invoke to silence the one and dethrone the other.
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The test of a given phrase would be: Is it worthy to be immortal? To make a beeline for something. That's worthy of being immortal and is immortal in English idiom. I guess I'll split is not going to be immortal and is excludable, therefore excluded.
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One cannot but wonder at this constantly recurring phrase getting something for nothing, as if it were the peculiar and perverse ambition of disturbers of society. Except for our animal outfit, practically all we have is handed us gratis. Can the most complacent reactionary flatter himself that he invented the art of writing or the printing press, or discovered his religious, economic, and moral convictions, or any of the devices which supply him with meat and raiment or any of the sources of such pleasure as he may derive from literature or the fine arts? In short, civilization is little else than getting something for nothing.
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A man's women folk, whatever their outward show of respect for his merit and authority, always regard him secretly as an ass, and with something akin to pity. His most gaudy sayings and doings seldom deceive them they see the actual man within, and know him for a shallow and pathetic fellow. In this fact, perhaps, lies one of the best proofs of feminine intelligence, or, as the common phrase makes it, feminine intuition.
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'It is destiny' - phrase of the weak human heart 'It is destiny' - dark apology for every error The strong and virtuous admit no destiny.
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The phrase 'domestic cat' is an oxymoron.
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Prince Humperdink: To the death! Westly: No! To the Pain! Prince: I don't think I'm quite familiar with that phrase. Westley: I'll explain I'll use small words so that you'll be able to understand you wart-hogged face baffoon.
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Have you even been in love Horrible, isn't it It makes you so vulnrable. It opens your chest and it opens your heart and it means someone can get inside you and mess you up. You build up all these defenses. You build up this whole armor, for years, so nothing can hurt you, then one stupid person, no different from any other stupid person, wanders into your stupid life...You give them a piece of you. They don't ask for it. They do something dumb one day like kiss you, or smile at you, and then your life isn't your own anymore. Love takes hostages. It gets inside you. It eats you out and leaves you crying in the darkness, so a simple phrase like 'maybe we should just be friends' or 'how very perceptive' turns into a glass splinter working its way into your heart. It hurts. Not just in the imagination. Not just in the mind. It's a soul-hurt, a body-hurt, a real gets-inside-you-and-rips-you-apart pain. I hate love.
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The most exciting phrase to hear in science, the one that heralds new discoveries, is not 'Eureka!' (I found it!) but 'That's funny ...'
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