Moody Quotes (displaying: 1 - 30 of 41 quotes )
Harry and Ron both whipped around but Hermione said loudly, waving to somebody over Malfoy’s shoulder, “Hello, Professor Moody!” Malfoy went pale and jumped backward, looking wildly around for Moody, but he was still up at the staff table, finishing his stew. “Twitchy little ferret, aren’t you, Malfoy?” said Hermione scathingly and she, Harry, and Ron went up the marble staircase laughing heartily.
In the week I promised myself I should naturally read, for to the habitual reader reading is a drug of which he is the slave; deprive him of printed matter and he grows nervous, moody, and restless; then, like the alcoholic bereft of brandy who will drink shellac or methylated spirit, he will make do with the advertisements of a paper five years old; he will make do with a telephone directory.
Susan was a tough-minded romantic. She wanted to fall in love with a book. She always had reasons for her devotions, as an astute reader would, but she was, to her credit, probably the most emotional one among us. Susan could fall in love with a book in more or less the way one falls in love with a person. Yes, you can provide, if asked, a list of your loved one’s lovable qualities: he’s kind and funny and smart and generous and he knows the names of trees. But he’s also more than amalgamation of qualities. You love him, the entirety of him, which can’t be wholly explained by even the most exhaustive explication of his virtues. And you love him no less for his failings. O.K., he’s bad with money, he can be moody sometimes, and he snores. His marvels so outshine the little complaints as to render them ridiculous.
At that moment, Harry fully understood for the first time why people said Dumbledore was the only wizard Voldemort had ever feared. The look upon Dumbledore's face as he stared down at the unconscious form of Mad-Eye moody was more terrible than Harry could have ever imagined. There was no benign smile upon Dumbledore's face, no twinkle in the eyes behind the spectacles. There was cold fury in every line of the ancient face; a sense of power radiated from Dumbledore as though he were giving off burning heat.
You’re JOKING!” said Fred Weasley loudly. The tension that had filled the Hall ever since Moody’s arrival suddenly broke. Nearly everyone laughed, and Dumbledore chuckled appreciatively. “I am not joking, Mr. Weasley,” he said, “though now that you mention it, I did hear an excellent one over the summer about a troll, a hag, and a leprechaun who all go into a bar...” Professor McGonagall cleared her throat loudly. “Er — but maybe this is not the time . . . no . . .” said Dumbledore.
When one reads, and re-reads, Moby Dick, it seems to me that one gets a more convincing, a more definite, impression of the man than from anything one may learn of his life and circumstances; an impression of a man endowed by nature with a great gift blighted by an evil genius, so that, like the agave, no sooner had it put forth its splendid blooming than it withered; a moody, unhappy man tormented by instincts he shrank from with horror; a man conscious that the virtue had gone out of him, and embittered by failure and poverty; a man of heart craving for friendship, only to find that friendship too was vanity. Such, as I see him, was Herman Melville, a man whom one can only regard with deep compassion.
But on my worst days, which are rare and of which this is one, I can get down so low that the bottom seems to be where I belong. I don't even want to look for a way up. I suppose surrender to sadness is a sin, though my current sadness is not a black depression but is instead a sorrow like a long moody twilight.
If you're sloppy, that's just fine. If you're moody, I won't mind. If you're fat, that's fine with me. If you're skinny, let it be. If you're bossy, that's all right. if you're nasty, I won't fight. If you're rough, well that's just you. If you're mean, that's all right too. Whatever you are is all okay. I don't like you anyway.
And then he heard Mad-Eye Moody’s voice, echoing in some distant chamber of his empty brain: Jump onto the desk . . . jump onto the desk. . . . Harry bent his knees obediently, preparing to spring. Jump onto the desk. . . . Why, though? Another voice had awoken in the back of his brain. Stupid thing to do, really, said the voice. Jump onto the desk. . . . No, I don’t think I will, thanks, said the other voice, a little more firmly . . . no, I don’t really want to . . . Jump! NOW! The next thing Harry felt was considerable pain. He had both jumped and tried to prevent himself from jumping — the result was that he’d smashed headlong into the desk, knocking it over, and, by the feeling in his legs, fractured both his kneecaps.
Raymond Moody, Kenneth Ring, Michael Sabom, Elisabeth Kubler-Ross, and other highly respected researchers, have repeatedly confirmed that people in near-death situations have had out-of-body-experiences (OOBEs), during which they were able to witness events happening in other rooms or even distant places. These accounts have been objectively verified by independent observers. The ultimate challenge to Newtonian science in this area of research has been the discovery that clincially blind people epxeriencing OOBEs describe scenes that are visually accurate, though after recovering from the disease or trauma that caused the near-death experience they are not able to see. Our observations about near-death experiences confirms passages from the Tibetan Book of the Dead, which suggest that immediately following death we assume a "bardo body" that can transcend the usual limitations of time and space and travel quite freely around the earth.
The Dave Matthews Band’s “Crash into Me” played over the montage, not that the lyrics had anything to do with the images the song was played over but it was “haunting”, it was “moody”, it was “summing things up”, it gave the footage an “emotional resonance” that I guess we were incapable of capturing ourselves. At first my feelings were basically so what? But then I suggested other music: “Hurt” by Nine Inch Nails, but I was told that the rights were sky-high and that the song was “too ominous” for this sequence; Nada Surf’s “Popular” had “too many minor chords”, it didn’t fit the “mood of the piece,” it was – again – “too ominous.” When I told them I seriously did not think things could get any more fucking ominous than they already were, I was told, “Things get very much more ominous, Victor,” and then I was left alone.