I’ll confess: the first thing physical (and the most powerful lasting impression) that I notice about a person – boy, man, girl, woman – is how he or she walks.
In high school, after classes, we’d stand and talk at the end of a long dark corridor that ran the entire length of the building, opening at the other end into the front lobby. Someone walking past the sets of glass double doors in the lobby would be silhouetted at the end of the corridor for a second.
I won a good sum of free lunches before people realized I could recognize people at 150 yards with nothing more than a one-second glimpse of a walking silhouette. I was about 95% accurate IDing students out of a population of about 1000.
There are so many “walking” metaphors:
- “Walking the walk” – authenticity
- “Walking tall” – integrity, pride
- “Walk of life” – occupation
- “Walk a thin line / tightrope” – avoid extremes, thread a narrow path of balance
- “Walk on air” – euphoria
- “Walk it off” – deal with pain
- “Walk over someone” – defeat handily, trounce, treat with disrespect, contempt
- “Walk off with” – to win easily, to steal something
- “Walk out on” – abandon
- “Walk through” – a first reading, or perfunctory performance
- “Walk and chew gum” – multitask
- “El camino real” – existential awareness
… jog, trot, canter, skip, lope, gallop, limp, hobble, flounce, lurch, stitch, stagger, stumble, stalk, waddle, prance, strut, march, goosestep, swagger, roll, saunter, stride, amble, stroll, promenade …
One of the more memorable scenes, for me, of the film “Dead Poets Society”:
EXT. COURTYARD - DAY
The students are standing in a line while Cameron, Pitts, and Knox
are walking in a circle. Keating watches as they go around.
KEATING
No grades at stake, gentlemen. Just take
a stroll.
After a few moments, the three boys begin to march to the same beat.
KEATING
There it is.
The other boys start clapping to the rhythm of their steps.
KEATING
I don’t know, but I’ve been told–
BOYS
I don’t know, but I’ve been told–
KEATING
Doing poetry is old–
BOYS
Doing poetry is old–
Mr. Nolan looks out at them from his office as Keating joins the
boys and begins marching with them.
KEATING
Left, left, left-right-left. Left, left,
left-right-left. Left, halt!
The boys come to a halt.
KEATING
Thank you, gentlemen. If you noticed,
everyone started off with their own
stride, their own pace.
Keating begins walking very slowly.
KEATING
Mr. Pitts, taking his time. He knew he’ll
get there one day. Mr. Cameron, you could
see him thinking, “Is this right? It might
be right. It might be right. I know that.
Maybe not. I don’t know.”
Keating begins walking with his groin pushed forward.
KEATING
Mr. Overstreet, driven by deeper force.
Yes. We know that. All right. Now, I
didn’t bring them up here to ridicule
them. I brought them up here to illustrate
the point of conformity: the difficulty in
maintaining your own beliefs in the face
of others. Now, those of you – I see
the look in your eyes like, “I would’ve
walked differently.” Well, ask
yourselves why you were clapping. Now,
we all have a great need for acceptance.
But you must trust that your beliefs are
unique, your own, even though others may
think them odd or unpopular, even though
the herd may go, “That’s baaaaad.” Robert
Frost said, “Two roads diverged in a
wood and I, I took the one less traveled
by, and that has made all the
difference.” Now, I want you to find
your own walk right now. Your own way of
striding, pacing. Any direction.
Anything you want. Whether it’s proud,
whether it’s silly, anything. Gentlemen,
the courtyard is yours.
The students begin walking about, some walking casually, others
making up silly walks. Keating notices that Charlie is still
leaning up against one of the pillars.
KEATING
You don’t have to perform. Just make it
for yourself. Mr. Dalton? You be joining
us?
CHARLIE
Exercising the right not to walk.
KEATING
Thank you, Mr. Dalton. You just
illustrated the point. Swim against the
stream.