Script Echo Quotes

The decision is your own voice, an opinion is the echo of someone else's voice.

In death's quiet theater, love takes the stage, A poignant script, written on sorrow's page. Elegance fades as we part with the light, In shadows, the dear departed's absence feels trite. Grief's somber dance, a waltz of the heart, Echoes reveal, love's masterpiece torn apart.

Echophenomena, such as autistic echoing of phrases, are largely considered involuntary, even if such echoing is done voluntarily. (Such are the paradoxes of compliance.) Conversely, imitation, such as complying with a behavioral analyst's demand to mirror her jumping body, is regarded as voluntary, even if it is coerced or scripted.

Oedipa spent the next several days in and out of libraries and earnest discussions with Emory Bortz and Genghis Cohen. She feared a little for their security in view of what was happening to everyone else she knew. The day after reading Blobb's Peregrinations she, with Bortz, Grace, and the graduate students, attended Randolph Driblette's burial, listened to a younger brother's helpless, stricken eulogy, watched the mother, spectral in afternoon smog, cry, and came back at night to sit on the grave and drink Napa Valley muscatel, which Driblette in his time had put away barrels of. There was no moon, smog covered the stars, all black as a Tristero rider. Oedipa sat on the earth, ass getting cold, wondering whether, as Driblette had suggested that night from the shower, some version of herself hadn't vanished with him. Perhaps her mind would go on flexing psychic muscles that no longer existed; would be betrayed and mocked by a phantom self as the amputee is by a phantom limb. Someday she might replace whatever of her had gone away by some prosthetic device, a dress of a certain color, a phrase in a ' letter, another lover. She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay-any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, just-glimmering, holding together with its final strength a transient, winged shape, needing to settle at once in the warm host, or dissipate forever into the dark. If you come to me, prayed Oedipa, bring your memories of the last night. Or if you have to keep down your payload, the last five minutes-that may be enough. But so I'll know if your walk into the sea had anything to do with Tristero. If they got rid of you for the reason they got rid of Hilarius and Mucho and Metzger-maybe because they thought I no longer needed you. They were wrong. I needed you. Only bring me that memory, and you can live with me for whatever time I've got. She remembered his head, floating in the shower, saying, you could fall in love with me. But could she have saved him? She looked over at the girl who'd given her the news of his death. Had they been in love? Did she know why Driblette had put in those two extra lines that night? Had he even known why? No one could begin to trace it. A hundred hangups, permuted, combined-sex, money, illness, despair with the history of his time and place, who knew. Changing the script had no clearer motive than his suicide. There was the same whimsy to both. Perhaps-she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart-perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night's walk away into that vast sink of the primal blood the Pacific. She waited for the winged brightness to announce its safe arrival. But there was silence. Driblette, she called. The signal echoing down twisted miles of brain circuitry. Driblette! But as with Maxwell's Demon, so now. Either she could not communicate, or he did not exist.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

So much history behind and between people, one moment was always a nasty echo of another time, most of who you were already scripted.

Beloved, our tolerance, prohibitions, and enforcements are the silent instructors through which we impart the profound lessons of respect. They are the unseen pedagogues that shape the boundaries of reverence, molding the sacred space in which honor resides. In the permissive expanse of what we allow, we etch the contours of esteem's terrain. Each indulgence scripts the depths to which regard may traverse. Conversely, in the fertile void of our prohibitions, we plant the seeds of deference. What we forbid inscribes the hallowed ground where veneration takes root and flourishes. Yet we chisel the definitive form of respect through the decisive hand of enforcement. Each exercised injunction is a chisel's strike, gradually giving rise to respect's exquisite visage. Thus, the triadic praxis of tolerance, prohibition, and enforcement weaves the intricate tapestry upon which the symphony of regard eternally echoes. Through this debate, we endlessly sculpt the sacred ethos of honor to which we all inescapably bow.

In the ebb and flow of the present's embrace, Hidden truths emerge, weaving tales in grace. Do we craft stories or in narratives abide? Uncertainty's pulse, our existence as a guide. Like particles entwined in a cosmic ballet, Are we oceans within a droplet, or droplets in a bay? Strings of existence dance in quantum trance, As rain merges with rivers, do we merge in the cosmic expanse? Observer and observed, in stories we immerse, As cosmic dancers, are we waves or the universe? The melody of existence, an intricate weave, Echoing through verses, our shared tapestry perceived. Sometimes, truths half-revealed, whispers of depth, Half-scripted life cascades like rain's soft breath. Do we fathom the depths or simply float? A droplet or the sea, in life's rhythmic boat.

ECHOES OF LOVE: A DANCE BENEATH THE ARCHWAYS Beneath the archways, where shadows play, As the world gives way, begin the odyssey. Uncertainty weaves into the grand scheme of life, A mystical altar, where destinies are intertwined. I walk the path, seeking the balm of solace, Enduring burden, sweet hymn of love. With hopes gone, a peace is about to descend, Still the echoes remain, they dissolve in silence. The flawed script in the story I wrote, Whispers of well-being, truths worth absorbing. "I'm fine," I say, a deceptive glare, Exposing the lies, an invisible love. A waltz with shadows on your street, Cynic's steps, very judicious dance. Terrible notions, a conspiracy unfolds, Regret is echoing at the threshold of love. Rumors of happiness, far-fetched, As I stumble in the field of love. In excess, I stumble and strain, Hope of solace, of regaining love. Did I stumble in that fleeting call? Huge weakening of pride, slow decline of strength. A gift given, deemed inadequate, In closeness, bonds become inadequate. A crazy search for a cure for love, Wandering aimlessly, purpose uncertain. Your realm echoes with such blasphemous footsteps, In the despair of the night, capricious dreams. Happiness, heard a rumor softly, As I wrestle with love like a flightless bird. Juggling too much reduces the weight of love, In the noise of love, a desperate clown. The desire to turn back, the love to amend, Unraveling habits, unraveling at every turn. A desperate attempt, from the quagmire of love, Hope you find love worth savoring. GUIDE ME, LET SALVATION BEGIN, A CHANCE TO IMPROVE, A REVENGE FOR LOVE. TO IMPROVE, HABITS HAVE TO BE BROKEN, A SELF-CALCULATING, STRIVING SOUL. THOUGHTS ENTANGLED IN THE HOPEFUL VISION OF LOVE, A CHANCE TO IMPROVE, A DECISION OF LOVE. WITNESS THE TRANSFORMATION, LET IT HAPPEN, INSPIRE IT, IN THE DANCE OF LOVE'S LIBERATION. LET ME ENTER AGAIN, A DOOR A LITTLE AJAR, A LOVE REBUILT, A HEALING STAR. WATCH AS LOVE APPEARS, WATCH, IN THE RELAXATION OF LOVE, A STORY RETOLD. I KEEP DREAMING, MAYBE, JUST MAYBE, LOVE'S EMBRACE, WAVING DESTINY. WITH EVERY STEP FORWARD, LOVE IS BECOMING FREE, SELF-MADE AGREEMENT, THE DEGREE OF LOVE.

Beneath the archways, where shadows play, As the world gives way, begin the odyssey. Uncertainty weaves into the grand scheme of life, A mystical altar, where destinies are intertwined. I walk the path, seeking the balm of solace, Enduring burden, sweet hymn of love. With hopes gone, a peace is about to descend, Still the echoes remain, they dissolve in silence. The flawed script in the story I wrote, Whispers of well-being, truths worth absorbing. "I'm fine," I say, a deceptive glare, Exposing the lies, an invisible love. A waltz with shadows on your street, Cynic's steps, very judicious dance. Terrible notions, a conspiracy unfolds, Regret is echoing at the threshold of love. Rumors of happiness, far-fetched, As I stumble in the field of love. In excess, I stumble and strain, Hope of solace, of regaining love. Did I stumble in that fleeting call? Huge weakening of pride, slow decline of strength. A gift given, deemed inadequate, In closeness, bonds become inadequate. A crazy search for a cure for love, Wandering aimlessly, purpose uncertain. Your realm echoes with such blasphemous footsteps, In the despair of the night, capricious dreams. Happiness, heard a rumor softly, As I wrestle with love like a flightless bird. Juggling too much reduces the weight of love, In the noise of love, a desperate clown. The desire to turn back, the love to amend, Unraveling habits, unraveling at every turn. A desperate attempt, from the quagmire of love, Hope you find love worth savoring. Guide me, let salvation begin, A chance to improve, a revenge for love. To improve, habits have to be broken, A self-calculating, striving soul. Thoughts entangled in the hopeful vision of love, A chance to improve, a decision of love. Witness the transformation, let it happen, Inspire it, in the dance of love's liberation. Let me enter again, a door a little ajar, A love rebuilt, a healing star. Watch as love appears, watch, In the relaxation of love, a story retold. I keep dreaming, maybe, just maybe, Love's embrace, waving destiny. With every step forward, love is becoming free, Self-made agreement, the decree of love.

Jason Bowen, a storyteller in the science fiction industry, brings narratives to life through language and communication. His Butler, a steadfast companion, ensures that every word resonates with purpose. Beyond the scripts, Jason's love for music and exercise creates a dynamic rhythm in the orchestra of his life, echoing the beats of passion and creativity.

In the dance of hearts, a poignant song, I loved a soul that felt so wrong. Rejected echoes, silent cries, Yet hope persisted, reaching skies. Through the tears, a tale unfolds, Love's narrative, as destiny molds. Their gaze averted, paths diverged, Yet in my heart, the flame surged. As I stepped back, released the tether, Love's script unfolded, strangely weathered. In the silence of my absence keen, Echoes of affection unforeseen. When life's curtain veiled my view, They found the love that once they knew. A cruel paradox, a bitter truth, Love realized in the void of youth. Yet, in this pain, a wisdom gleaned, A love transcendent, undeterred, uncleaned. For in the ebb and flow of fate, Love persists, resilient, innate.

The original outline for my midlife crisis was to take a break from a defunct business model and escape into a predictable job at a museum. The intriguing portion of my midlife crisis was to arrive in Argentina and chat it up with a handsome paleontologist while getting a predictable job done. Sitting dumbstruck, in a darkened library, after reading a stack of sultry love letters wasn't part of any script, but I liked intrigue.

Life has no pre written scripts, no re- takes and no awards when you finish; the biggest reward being each moment lived well & complete.

Shakespeare references, from the passing allusion, embedded quotation, or resonant echo occur throughout Dylan’s lyrics, prose and film scripts. Prior to looking at these, it is worth reiterating that Shakespeare and Dylan have much ‘source material’ in common because they share significant cultural backdrops to their lives and works. Moreover, Dylan studied Shakespeare at school as well as many later poets, themselves inevitably influenced by Shakespeare. Consequently, when you hear an echo between the two in their words, there is always the possibility of a common source such as the King James Bible, the Book of Common Prayer, nursery rhymes, the classics, and the balladeers who preceded both. There are other writers in common, too, from the Classical age and from closer to Shakespeare’s own time.

The 'most precious object of the Western world' is now a national monument of Ireland at the very highest level. It is probably the most famous and perhaps the most emotively charged medieval book of any kind. It is the iconic symbol of Irish culture. It is included in the Memory of the World Register compiled by UNESCO. A design echoing the Book of Kells was used on the former penny coin of Ireland (1971 to 2000) and on a commemorative twenty-euro piece in 2012. One of its initials was shown on the reverse of the old Irish five-pound banknote. It has been illustrated on the country's postage stamps. Probably every Irish bar in the world has some reflexion of its script or decoration.

Unhealthy patterns echo down family lines. They’re bequeathed from generation to generation, like blue-chip stocks or hair color. But there is a silver lining. If we’re aware of them, we can edit the script that feels embedded in our genes.

I am a passenger in this body, an outsider tethered to something that is not mine. Every motion feels rehearsed, as though I am mimicking a script written for someone else. The flesh betrays me with its weight, its ache, its relentless demand for existence.