Inspirational quotes with inflection.
His accelerated path to yogihood hit a dead end when his kundalini exploded in a crowded department store. No one else was injured, but Swami caught an inflection which left him with a permanent East Indian accent.
The Allatians believe that they have a writing system superior to all others. Unlike books written in alphabets, syllabaries, or logograms, an Allatian book captures not only words, but also the writer’s tone, voice, inflection, emphasis, intonation, rhythm. It is simultaneously a score and a recording. A speech sounds like a speech, a lament a lament, and a story re-creates perfectly the teller’s breathless excitement. For the Allatians, reading is literally hearing the voice of the past.But there is a cost to the beauty of the Allatian book. Because the act of reading requires physical contact with the soft, malleable surface, each time a text is read, it is also damaged and some aspects of the original irretrievably lost. Copies made of more durable materials inevitably fail to capture all the subtleties of the writer’s voice, and are thus shunned.In order to preserve their literary heritage, the Allatians have to lock away their most precious manuscripts in forbidding libraries where few are granted access. Ironically, the most important and beautiful works of Allatian writers are rarely read, but are known only through interpretations made by scribes who attempt to reconstruct the original in new books after hearing the source read at special ceremonies.
Are we entirely ready, sir?" said Lieutenant Hornett, with the special inflection that means "We are not entirely ready, sir.""We had better be. Glory awaits, gentlemen. In the words of General Tacticus, 'let us take history by the scrotum.' Of course, he was not a very honourable fighter.
But walking causes absorption. Walking interminably, taking in through your pores the height of the mountains when you are confronting them at length, breathing in the shape of the hills for hours at a time during a slow descent. The body becomes steeped in the earth it treads. And thus, gradually, it stops being in the landscape: it becomes the landscape. That doesn’t have to mean dissolution, as if the walker were fading away to become a mere inflection, a footnote. It’s more a flashing moment: sudden flame, time catching fire. And here, the feeling of eternity is all at once that vibration between presences. Eternity, here, in a spark.
They are embossed on every song that was a hit that summer, in every novel I read during and after his stay, on anything from the smell of rosemary on hot days to the frantic rattle of the cicadas in the afternoon—smells and sounds I’d grown up with and known every year of my life until then but that had suddenly turned on me and acquired an inflection forever colored by the events of that summer.
...hear the language, this English, double-jointed as Bedivere's limbs. It only sounds awkward. In its ability to join one concept to another as with pegs, its dependent clauses, figures of speech and cadenced alliteration, a man can say one thing five ways and yet imply a sixth; can change meaning with an inflection, a pause or a deliberate misuse of a word, can mock, scorn and flay an opponent without uttering one overt insult.
As Brother Francis readily admitted, his mastery of pre-Deluge English was far from masterful yet. The way nouns could sometimes modify other nouns in that tongue had always been one of his weak points. In Latin, as in most simple dialects of the region, a construction like servus puer meant about the same thing as puer servus, and even in English slave boy meant boy slave. But there the similarity ended. He had finally learned that house cat did not mean cat house, and that a dative of purpose or possession, as in mihi amicus, was somehow conveyed by dog food or sentry box even without inflection. But what of a triple appositive like fallout survival shelter? Brother Francis shook his head. The Warning on Inner Hatch mentioned food, water, and air; and yet surely these were not necessities for the fiends of Hell. At times, the novice found pre-Deluge English more perplexing than either Intermediate Angelology or Saint Leslie's theological calculus.
You said no, though,” he says, slightly muffled. “When I asked you out. That one time.”“Wait, what?”“That time at work? I asked you to the movies, and you said you would invite Vera?”I pull back a bit. “That wasn’t—you weren’t asking me out. You said I could come, too, if I wanted. That’s not asking someone out.”“It was to me,” he says, sheepish, and I want to poke him, but I also kind of want to hug him forever.“Next time you want to ask someone out, maybe be less subtle. Maybe try to use the word date or together. Maybe phrase it as an actual question, you know, get some upward inflection going at the end of the sentence?”He just looks at me, a little bit like he wants to poke me, but maybe also hug me forever. Instead he just kisses me, and it’s a long time before we break apart again.
He used a minimum of words and no inflection whatsoever. It was a policeman's manner of speaking, direct and unadorned.
Nothing moves forward in a story except through conflict. Writers who cannot grasp this truth, the truth of conflict, writers who have been misled by the counterfeit comforts of modern life into believing that life is easy once you know how to play the game. These writers give conflict a false inflection. The scripts they write fail for one of two reasons, either a glut of banal conflict or a lack of meaningful conflict. The former are exercises in turbo special effects written by those who follow textbook imperatives to create conflict but because they're disinterested in or insensitive to the honest struggles of life, devise overwrought excuses for mayhem. The latter are tedious portraits written in reaction against conflict itself, these writers take the pollyanna view, that life would really be nice if it weren't for conflict. What writers at these extremes fail to realize is that while the quality of conflict in life changes as it shifts from level to level, the quantity of conflict is constant. When we remove conflict from one level of life, it amplifies ten times over on another level. When, for example, we don't have to work from dawn to dark to put bread on the table, we now have time to reflect on the great conflict within our mind and heart or we may become aware of the terrible tyrannies and suffering in the world at large. As Jean-Paul Sartre expressed it, "The essence of reality is scarcity. There isn't enough love in the world, enough food, enough justice, enough time in life. To gain any sense of satisfaction in our life we must go in to heady conflict with the forces of scarcity. To be alive is to be in perpetual conflict at one or all three levels of our lives.
I understand, all right. The hopeless dream of being - not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don’t have to lie. You can shut yourself in. Then you needn’t play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn’t watertight. Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one.
You had a certain way of saying my name. It was the inflection maybe, something you put into those three syllables. And now you are gone and my name is just my name again, not the story of my life.
If there was hope, it must lie in the proles, because only there, in those swarming disregarded masses, eighty-five percent of the population of Oceania, could the force to destroy the Party ever be generated. The Party could not be overthrown from within. Its enemies, if it had any enemies, had no way of coming together or even of identifying one another. Even if the legendary Brotherhood existed, as just possibly it might, it was inconceivable that its members could ever assemble in larger numbers than twos and threes. Rebellion meant a look in the eyes, an inflection of the voice; at the most, an occasional whispered word. But the proles, if only they could somehow become conscious of their own strength, would have no need to conspire. They need only to rise up and shake themselves like a horse shaking off flies. If they chose they could blow the Party to pieces tomorrow morning. Surely sooner or later it must occur to them to do it.
The case of a patient with dissociative identity disorder follows:Cindy, a 24-year-old woman, was transferred to the psychiatry service to facilitate community placement. Over the years, she had received many different diagnoses, including schizophrenia, borderline personality disorder, schizoaffective disorder, and bipolar disorder. Dissociative identity disorder was her current diagnosis.Cindy had been well until 3 years before admission, when she developed depression, "voices," multiple somatic complaints, periods of amnesia, and wrist cutting. Her family and friends considered her a pathological liar because she would do or say things that she would later deny. Chronic depression and recurrent suicidal behavior led to frequent hospitalizations. Cindy had trials of antipsychotics, antidepressants, mood stabilizers, and anxiolytics, all without benefit. Her condition continued to worsen.Cindy was a petite, neatly groomed woman who cooperated well with the treatment team. She reported having nine distinct alters that ranged in age from 2 to 48 years; two were masculine. Cindy’s main concern was her inability to control the switches among her alters, which made her feel out of control. She reported having been sexually abused by her father as a child and described visual hallucinations of him threatening her with a knife. We were unable to confirm the history of sexual abuse but thought it likely, based on what we knew of her chaotic early home life.Nursing staff observed several episodes in which Cindy switched to a troublesome alter. Her voice would change in inflection and tone, becoming childlike as ]oy, an 8-year-old alter, took control. Arrangements were made for individual psychotherapy and Cindy was discharged.At a follow-up 3 years later, Cindy still had many alters but was functioning better, had fewer switches, and lived independently. She continued to see a therapist weekly and hoped to one day integrate her many alters.
If he spoke, there was no possible outcome but another disastrous exchange of words at cross-purposes. The chances of him finding both the right words and the right inflection were, in his experience with her thus far, vanishingly small. He would either growl at her, or tell her what was in his heart.
A voice is a product of the writer’s own Pandora Box of insight, insecurities, bravado, modesty, humility, affection, understanding, and confidence. In short, a voice reflects the writers’ sangfroid. The tenor of the writer’s voice also reflects their insecurities, self-doubt, egotism, testiness, and the ability to identify with their mental and physical infirmities. The inflection that distinguishes a writer’s pitch from other wordsmiths’ tone reflects their collective lifetime of mundane, tranquil, disturbing, and passionate experiences.
You really want to go out to dinner?" Gabriel shot Rase a skeptical look out of the corner of his eye. "As opposed to what?" "Getting on your knees and begging me to beat you." There was no inflection in Gabriel's voice, no heat, and no emotion at all. He wasn't even looking at Rase. ... "I don't want one more than the other," he answered, fully aware that he was being challenged. "They're not interchangeable. I want them both." Rase took a breath to calm the pounding in his chest and continued, even though Gabriel wouldn't look at him. "I want to go out to dinner with you, anywhere you want, on a date. And then I want to go back to your place or my place and I want you to beat me until I bleed.
To express oneself fluently involves more than simply speaking the language properly. It includes inflection, voice, posture, gestures, and clothing. All of these elements add up to an individual’s personal expression. They are the elements of style.
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