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Walks Quotes

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Walks Quotes

“If you look at a photograph, and you think, 'My isn't that a beautiful photograph,' and you go on to the next one, or 'Isn't that nice light?' so what? I mean what does it do to you or what's the real value in the long run? What do you walk away from it with? I mean, I'd much rather show you a photograph that makes demands on you, that you might become involved in on your own terms or be perplexed by.”

“From a magical point of view, the term 'nonviolence' doesn't work well. Every beginning Witch learns that you can't cast a spell for what you don't want - that the deep aspects of our minds are unclear on the concept of 'no.' If you tell your dog, 'Rover, I can't take you for a walk,' Rover hears 'Walk!' and runs for the door. If we say 'nonviolence,' we are still thinking in terms of violence.”

“I am thy father's spirit; Doom'd for a certain term to walk the night And, for the day, confin'd to fast in fires, Till the foul crimes, done in my days of nature, Are burnt and purg'd away.”

“The language of commerce has been engineered to describe the overt purpose of a thing, but cannot encompass fringe benefits or peripheral pleasures. It weighs the obvious against what in its terms are incomprehensible. When I drive from here to there, speed, privacy, control, and safety are easy to claim. When I walk, what happens is more vague, more ambiguous-and in many circumstances much richer. I am out in the world. It's exercise, though not so quantifiably as on a treadmill in a gym with a digital readout.”

“During terms, Professor Marsden lives in Cambridge with his wife, chess player extraordinaire and distinguished physician and surgeon Bryony Asquith Marsden. His favorite time of day is half past six in the evening, when he meets Mrs. Marsden's train at the station, as the latter returns from her day in London. On Sunday afternoons, rain or shine, Professor and Mrs. Marsden take a walk along The Backs, and treasure growing old together.”

“I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?”