Break Up Over Text Quotes & Sayings

It is immensely rewarding to work carefully with Shakespeare's language so that the words, the sentences, the wordplay, and the implied stage action all become clear - as readers for the past four centuries have discovered. It may be more pleasurable to attend a good performance of a play - though not everyone has thought so. But the joy of being able to stage one of Shakespeare's plays in one's imagination, to return to passages that continue to yield further meanings (or further questions) the more one reads them - these are pleasures that, for many, rival (or at least augment) those of the performed text, and certainly make it worth considerable effort to "break the code" of Elizabethan poetic drama and let free the remarkable language that makes up a Shakespeare text. — William Shakespeare

I don't really like to write anywhere but my own apartment. I send a lot of text messages to myself as email when I'm not at home. My texts are usually like, "If I ever break up with my boyfriend I want to date a very angry rapper." — Chelsea Martin

The Revolutionary's Utopia, which in appearance represents a complete break with the past, is always modeled on some image of the Lost Paradise, of a legendary Golden Age ... All utopias are fed from the source of mythology; the social engineers' blueprints are merely revised editions of the ancient text. — Arthur Koestler

The Internet also makes it extraordinarily difficult for me to focus. One small break to look up exactly how almond milk is made, and four hours later I'm reading about the Donner Party and texting all my friends: DID YOU GUYS KNOW ABOUT THE DONNER PARTY AND HOW MESSED UP THAT WAS? TEXT ME BACK SO WE CAN TALK ABOUT IT! — Mindy Kaling

I certainly learned how to break down a text at Princeton, which helps me break down a script - or at least that's the line I feed my parents when they start wondering where all that good money went. — Wentworth Miller

I now know why people break up in e-mails and text messages.
Doing it face-to-face is so hard because you have to stand in front of the person and
witness their reaction. Face their wrath. — Simone Elkeles

Sure, occasionally a certain sappy song or romantic movie would come on, and you'd wonder what he or she was up to, but there was no way to know. Of course, you could always pick up the phone (and more recently, text or e-mail), but that would require that person's knowing you were thinking of him or her. Where's the fun in that? You never want them to know you're thinking of them, so you refrain. Before long the memories start to fade. One day, you realize you can't quite remember how she smelled or the exact color of his eyes. Eventually, without ever knowing it, you just forget that person altogether. You replace old memories with new ones, and life goes on. It was the clean break you needed to move forward. — Brandi Glanville

On the other side of that big-ass mirror, a video camera was watching us. In about ten seconds, it was going to start spitting static at itself, and everything it saw was going to break up into a fuzzy, gray-white wash, rolling up and down, that wouldn't be admissible as evidence on Judge Judy. Those missing frames would last a little less than a quarter of a minute, consolidate themselves back
into a semblance of reality, and then I would theoretically go walking right back out of here.
Between now and that moment, there stretched an infinite ocean of potential
time. Time enough to walk around the world. Time enough to fall in love, get
married on a white beach under purple stars, write a book of poems about
truest passion, have a few good and bloody screaming matches, get divorced in a court of autumn elves and gypsy moths, then set the ink-stained, tear-streaked pages of your text ablaze. — Clinton Boomer

He fingered her nape, massaging his sensual intent. I'll give you whatever you want whenever you want it. Any time of day, you need relief, just crook your finger and I'll crook mine. Against you, inside you, deep as you need it. If I'm not around, text me and I'll come, ready to make you come. For one week, I'll fulfill every fantasy on demand and get you off so many times we'll break records. — Kate Meader

Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading.
Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain
boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language.
Now the subject who keeps the two texts in his field and in his hands the reins of pleasure and bliss is an anachronic subject, for he simultaneously and contradictorily participates in the profound hedonism of all culture (which permeates him quietly under the cover of an "art de vivre" shared by the old books) and in the destruction of that culture: he enjoys the consistency of his selfhood (that is his pleasure) and seeks its loss (that is his bliss). He is a subject split twice over, doubly perverse. — Roland Barthes

There's a lovely Hasidic story of a rabbi who always told his people that if they studied the Torah, it would put Scripture on their hearts. One of them asked, "Why on our hearts, and not in them?" The rabbi answered, "Only God can put Scripture inside. But reading sacred text can put it on your heart, and then when your hearts break, the holy words will fall inside. — Anne Lamott

a campus security officer who'd been waiting quietly in the corner of a stairwell landing told us that the top of the building was off-limits. He had an unlit cigarette in his mouth and a cell phone in his hands and looked for all the world like we'd just caught him about to take an unauthorized text and smoke break. What didn't quite jibe with that image was that most campus security guards don't look like they pick their teeth with a chainsaw, and their sidearms aren't made for moose hunting. — Elliott James

Most cinema is not about images but text. Why on earth have we based cinema on text? Why can't we break that umbilical cord? Why do we have to pollute cinema? — Peter Greenaway

Gemma Davidson," she answered, her voice as groggy as I felt.
"Where are you?" I asked.
"Who is this?"
"Elvis."
"What time is it?"
"Hammer time?"
"Charley."
"Did you text me? Did your car break down?"
"No and no. Why are you doing this to me?" She was funny.
"Check your cell."
I heard a loud, sleepy sigh, some rustling of sheets, then, "It won't come on."
"Not at all?"
"No. What did you do to it?"
"I ate it for breakfast. Check the battery compartment."
"Where the hell is that?"
"Um, behind the battery door."
"Are you punking me?" I heard her fumbling with the phone.
"Gem, if I was going to punk you, I wouldn't simply turn off your phone. I would pour honey in your hair while you slept. Or, you know, something like that."
"That was you?" she asked, appalled. — Darynda Jones