Descriptive Sunrise Quotes

Say to yourself in the kindest possible way, Look, honey, all we’re going to do for now is to write a description of the river at sunrise, or the young child swimming in the pool at the club, or the first time the man sees the woman he will marry. That is all we are going to do for now. We are just going to take this bird by bird. But we are going to finish this one short assignment.

Expansion History, and you came to the description of the triple sunrises you can see when you're hanging in Lsel Station's Lagrange point, and you thought, At last, there are words for how I feel, and they aren't even in my language―> Yes, Mahit says. Yes, she does. That ache: longing and a violent sort of self-hatred, that only made the longing sharper. We felt that way.

It’s easy to convince people that children need to learn the alphabet and numbers. . . . How do we help people to realize that what matters even more than the superimposition of adult symbols is how a person’s inner life finally puts together the alphabet and numbers of his outer life? What really matters is whether he uses the alphabet for the declaration of war or the description of a sunrise—his numbers for the final count at Buchenwald or the specifics of a brand-new bridge.

The dark has a eased a little. There has been a street-lamp burning, that has lit the threads of the bleached net scarf hung at the window, now it is put out. The light turns filthy pink. The pink gives way to sickly yellow. It creeps, and with it creeps sound - softly at first, then rising in a staggering crescendo: crowning cocks, whistles and bells, dogs, shrieking babies, violent calling, coughing, spitting, the tramp of feet, the endless hollow of beating hooves and the grinding of wheels. Up, up it comes, out of the throat of London. It is six or seven o'clock.

Expansion History, and you came to the description of the triple sunrises you can see when you're hanging in Lsel Station's Lagrange point, and you thought, At last, there are words for how I feel, and they aren't even in my language―> Yes, Mahit says. Yes, she does. That ache: longing and a violent sort of self-hatred, that only made the longing sharper.

Say to yourself in the kindest possible way, Look, honey, all we're going to for now is to write a description of the river at sunrise, or the young child swimming in the pool at the club, or the first time the man sees the woman he will marry. That is all we are going to do for now. We are just going to take this bird by bird. But we are going to finish this one short assignment.

Before his and Pushkin's advent Russian literature was purblind. What form it perceived was an outline directed by reason: it did not see color for itself but merely used the hackneyed combinations of blind noun and dog-like adjective that Europe had inherited from the ancients. The sky was blue, the dawn red, the foliage green, the eyes of beauty black, the clouds grey, and so on. It was Gogol (and after him Lermontov and Tolstoy) who first saw yellow and violet at all. That the sky could be pale green at sunrise, or the snow a rich blue on a cloudless day, would have sounded like heretical nonsense to your so-called "classical" writer, accustomed as he was to the rigid conventional color-schemes of the Eighteenth Century French school of literature. Thus the development of the art of description throughout the centuries may be profitably treated in terms of vision, the faceted eye becoming a unified and prodigiously complex organ and the dead dim "accepted colors" (in the sense of "idées reçues") yielding gradually their subtle shades and allowing new wonders of application. I doubt whether any writer, and certainly not in Russia, had ever noticed before, to give the most striking instance, the moving pattern of light and shade on the ground under trees or the tricks of color played by sunlight with leaves.

What an extraordinary creature," Win heard Dr. Harrow murmur nearby. She followed his gaze to the lady of the house, Mrs. Annabelle Hunt, who was greeting guests. Although Win had never met Mrs. Hunt, she recognized her from descriptions she had heard. Mrs. Hunt was said to be one of the greatest beauties of England, with her beautifully turned figure and heavily lashed blue eyes, and hair that gleamed with rich shades of honey and gold. But it was her luminous, lively expressiveness that made her truly engaging. "That's her husband, standing next to her," Poppy murmured. "He's intimidating, but very nice." "I beg to differ," Leo said. "You don't think he's intimidating?" Win asked. "I don't think he's nice. Whenever I happen to be in the same room as his wife, he looks at me as if he'd like to dismember me." "Well," Poppy said prosaically, "one can't fault his judgment." She leaned toward Win and said, "Mr. Hunt is besotted with his wife. Their marriage is a love match, you see." "How unfashionable," Dr. Harrow commented with a grin. "He even dances with her," Beatrix told Win, "which husbands and wives are never supposed to do. But considering Mr. Hunt's fortune, people find reasons to excuse him for such behavior." "See how small her waist is," Poppy murmured to Win. "And that's after three children- two of them very large boys.

This is not a bad line to have taped to the wall of your office. Say to yourself in the kindest possible way, Look, honey, all we’re going to do for now is to write a description of the river at sunrise, or the young child swimming in the pool at the club, or the first time the man sees the woman he will marry. That is all we are going to do for now. We are just going to take this bird by bird. But we are going to finish this one short assignment.

It’s easy to convince people that children need to learn the alphabet and numbers. . . . How do we help people to realize that what matters even more than the superimposition of adult symbols is how a person’s inner life finally puts together the alphabet and numbers of his outer life? What really matters is whether he uses the alphabet for the declaration of war or the description of a sunrise—his numbers for the final count at Buchenwald or the specifics of a brand-new bridge.

Early in the evolution of Mister Rogers’ Neighborhood, Rogers offered this definitive observation to a meeting of the American Academy of Child Psychiatry: “It’s easy to convince people that children need to learn the alphabet and numbers. . . . How do we help people to realize that what matters even more than the superimposition of adult symbols is how a person’s inner life finally puts together the alphabet and numbers of his outer life? What really matters is whether he uses the alphabet for the declaration of war or the description of a sunrise—his numbers for the final count at Buchenwald or the specifics of a brand-new bridge.”13

...Rogers offered this definitive observation to a meeting of the American Academy of Child Psychiatry: "It's easy to convince people that children need to learn the alphabet and numbers...How do we help people to realize that what matters even more than the superimposition of adult symbols is how a person's inner life finally puts together the alphabet and numbers of his outer life? What really matters is whether he uses the alphabet for the declaration of war or the description of a sunrise--his numbers for the final count at Buchenwald or the specifics of a brand-new bridge.