Famous Flute Quotes

But I don’t understand. Why do you want me to think that this is great architecture? He pointed to the picture of the Parthenon. That, said the Dean, is the Parthenon. - So it is. - I haven’t the time to waste on silly questions. - All right, then. - Roark got up, he took a long ruler from the desk, he walked to the picture. - Shall I tell you what’s rotten about it? - It’s the Parthenon! - said the Dean. - Yes, God damn it, the Parthenon! The ruler struck the glass over the picture. - Look,- said Roark. - The famous flutings on the famous columns – what are they there for? To hide the joints in wood – when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

WOODEN CAGES I may be clapping my hands, but I don't belong to a crowd of clappers. Neither this nor that, I'm not part of a group that loves flute music or one that loves gambling or drinking wine. Those who live in time, descended from Adam, made of earth and water, I'm not part of that. Don't listen to what I say, as though these words came from an inside and went to an outside. Your faces are very beautiful, but they are wooden cages. You had better run from me. My words are fire. I have nothing to do with being famous, or making grand judgments, or feeling full of shame. I borrow nothing. I don't want anything from anybody. I flow through human beings. Love is my only companion. When union happens, my speech goes inside toward Shams. At that meeting all the secrets of language will no longer be secret.

A moth flying into the flame says with its wingfire, 'Try this.' The wick with its knotted neck broken, tells you the same. A candle as it diminishes explains, 'Gathering more and more is not the way. Burn, become light and heat and help. Melt.' The ocean sits in the sand letting its lap fill with pearls and shells, then empty. A bittersalt taste hums, 'This.' The phoenix gives up on good-and-bad, flies to rest on Mt. Qaf, no more burning and rising from ash. It sends out one message. The rose purifies its face, drops the soft petals, shows its thorn, and points. Wine abandons thousands of famous names, the vintage years and delightful bouquets, to run wild and anonymous through your brain. The flute closes its eyes and gives its lips to Hamza’s emptiness. Everything begs with the silent rocks for you to be flung out like light over this plain, the presence of Shams.

People had always been told that the house at Skuytercliff was an Italian villa. Those who had never been to Italy believed it; so did some who had. The house had been built by Mr. van der Luyden in his youth, on his return from the "grand tour," and in anticipation of his approaching marriage with Miss Louisa Dagonet. It was a large square wooden structure, with tongued and grooved walls painted pale green and white, a Corinthian portico, and fluted pilasters between the windows. From the high ground on which it stood a series of terraces bordered by balustrades and urns descended in the steel–engraving style to a small irregular lake with an asphalt edge overhung by rare weeping conifers. To the right and left, the famous weedless lawns studded with "specimen" trees (each of a different variety) rolled away to long ranges of grass crested with elaborate cast–iron ornaments; and below, in a hollow, lay the four–roomed stone house which the first Patroon had built on the land granted him in 1612. Against the uniform sheet of snow and the greyish winter sky the Italian villa loomed up rather grimly; even in summer it kept its distance, and the boldest coleus bed had never ventured nearer than thirty feet from its awful front.

Ballad" Oh dream, why do you do me this way? Again, with the digging, again with the digging up. Once more with the shovels. Once more, the shovels full of dirt. The vault lid. The prying. The damp boards. Mother beside me. Like she’s an old hat at this. Like all she’s got left is curiosity. Like curiosity didn’t kill the red cat. Such a sweet, gentle cat it was. Here we go again, dream. Mother, wearing her take-out-the-garbage coat. I haven’t seen that coat in years. The coat she wore to pick me up from school early. She appeared at the back of the classroom, early. Go with your mother, teacher said. Diane, you are excused. I was a little girl. Already a famous actress. I looked at the other kids. I acted lucky. Though everyone knows what an early pick-up means. An early pick-up, dream. What’s wrong, I asked my mother. It is early spring. Bright sunlight. The usual birds. Air, teetering between bearable and unbearable. Cold, but not cold enough to shiver. Still, dream, I shiver. You know, my mother said. Her long garbage coat flying. There was a wind, that day. A wind like a scurrying grandmother, dusting. Look inside yourself, my mother said. You know why I have come for you. And still I acted lucky. Lucky to be out. Lucky to be out in the cold world with my mother. I’m innocent, I wanted to say. A little white girl, trying out her innocence. A white lamb, born into a cold field. Frozen almost solid. Brought into the house. Warmed all night with hair dryers. Death? I said. Smiling. Lucky. We’re barely to the parking lot. Barely to the car ride home. But the classroom already feels like the distant past. Long ago, my classmates pitying me. Arriving at this car full of uncles. Were they wearing suits? Death such a formal occasion. My sister, angry-crying next to me. Me, encountering a fragment of evil in myself. Evilly wanting my mother to say it. What? I asked, smiling. My lamb on full display at the fair. He’s dead! my sister said. Hit me in the gut with her flute. Her flute case. Her rental flute. He’s dead! Our father. Our father, who we were not supposed to know had been dying. He’s dead! The flute gleaming in its red case. Here, my mother said at home. She’d poured us each a small glass of Pepsi We normally couldn’t afford Pepsi. Lucky, I acted. He’s no longer suffering, my mother said. Here, she said. Drink this. The little bubbles flew. They bit my tongue. My evil persisted. What is death? I asked. And now, dream, once more you bring me my answer. Dig, my mother says. Pry, she says. I don’t want to see, dream. The lid so damp it crumbles under my hands. The casket just a drawerful of bones. A drawerful. Just bones and teeth. That one tooth he had. Crooked like mine.

The early to mid-1780s were years of exponential growth for Mozart, not only in terms of his family and career but in his style and exposure as a composer and musician. He met Gottfried van Swieten, a Viennese government official who was a keen patron of musicians at this time. He gave Mozart access to his formidable library of compositions, and Mozart delved into study of the works of some famous predecessors, most notably Johann Sebastian Bach and George Frideric Handel. Access to the breadth of their work highly influenced many of Mozart’s works in the year to come, as he shifted to a more Baroque style in many of his compositions. This influence can most clearly be heard in his opera The Magic Flute, as well as Symphony No. 41. It was also at this time, and perhaps influenced by his study of the greats that came so recently before him, that Mozart wrote one of his greatest liturgical pieces, Mass in C minor. It was performed for the first time in 1783 when Wolfgang and Constanze traveled to Salzburg in order to visit Mozart’s father and sister.

It’s the Parthenon!” said the Dean. “Yes, God damn it, the Parthenon!” The ruler struck the glass over the picture. “Look,” said Roark. “The famous flutings on the famous columns—what are they there for? To hide the joints in wood—when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

The work of Hafiz became known to the West largely through the passion of Goethe. His enthusiasm deeply affected Ralph Waldo Emerson, who then translated Hafiz in the nineteenth century. Emerson said of Hafiz, 'Hafiz is a poet for poets,; and Goethe remarked, 'Hafiz has no peer.'Hafiz's poems were also admired by such diverse notables as Nietzsche and Arthur Conan Doyle, whose wonderful character Sherlock Holmes quotes Hafiz; Garcia Lorca praised him, the famous composer Johannes Brahs was so touched by his verse he put several lines into compositions, and even Queen Victoria was said to have consulted the works of Hafiz in times of need. The range of Hafiz's verse in indeed stunning. He says, 'I am a hole in a flute that the Christ's breath moves through--listen to this music.' In another poem Hafiz playfully sings, 'Look at the smile on the earth's lips this morning, she laid again with me last night.

The work of Hafiz became known to the West largely through the passion of Goethe. His enthusiasm deeply affected Ralph Waldo Emerson, who then translated Hafiz in the nineteenth century. Emerson said of Hafiz, 'Hafiz is a poet for poets,; and Goethe remarked, 'Hafiz has no peer.' Hafiz's poems were also admired by such diverse notables as Nietzsche and Arthur Conan Doyle, whose wonderful character Sherlock Holmes quotes Hafiz; Garcia Lorca praised him, the famous composer Johannes Brahms was so touched by his verse he put several lines into compositions, and even Queen Victoria was said to have consulted the works of Hafiz in times of need. The range of Hafiz's verse in indeed stunning. He says, 'I am a hole in a flute that the Christ's breath moves through--listen to this music.' In another poem Hafiz playfully sings, 'Look at the smile on the earth's lips this morning, she laid again with me last night.

The work of Hafiz became known to the West largely through the passion of Goethe. His enthusiasm deeply affected Ralph Waldo Emerson, who then translated Hafiz in the nineteenth century. Emerson said of Hafiz, 'Hafiz is a poet for poets,; and Goethe remarked, 'Hafiz has no peer.' Hafiz's poems were also admired by such diverse notables as Nietzsche and Arthur Conan Doyle, whose wonderful character Sherlock Holmes quotes Hafiz; Garcia Lorca praised him, the famous composer Johannes Brahms was so touched by his verse he put several lines into compositions, and even Queen Victoria was said to have consulted the works of Hafiz in times of need. The range of Hafiz's verse in indeed stunning. He says, 'I am a hole in a flute that the Christ's breath moves through--listen to this music.' In another poem Hafiz playfully sings, 'Look at the smile on the earth's lips this morning, she laid again with me last night.

The waitress comes over with a tray of the official cocktail of the evening, the ELT French 40. It's a riff on a French 75, adjusted to suit us, with bourbon instead of gin, champagne, lemon juice, and simple syrup, with a Luxardo cherry instead of a lemon twist. "Here you go, ladies. As soon as your guests are here we will start passing hors d'oeuvres, but I thought you might want a little sampler plate before they arrive." "That is great, thanks so much!" I say, knowing that in a half hour when people start to come in, we'll have a hard time eating and mingling. We accept the flutes and toast each other. The drink is warming and refreshing at the same time. The platter she has brought us contains three each of all the passed appetizers we chose: little lettuce cups with spicy beef, mini fish tacos, little pork-meatball crostini, fried calamari, and spoons with creamy burrata topped with grapes and a swirl of fig balsamic. There will also eventually be a few of their signature pizzas set up on the buffet, and then, for dinner, everyone has their choice of flat-iron steak, roasted chicken, or grilled vegetables, served with roasted fingerlings. For dessert, there is either a chocolate chunk or apple oatmeal cookie, served toasty warm with vanilla ice cream and either hot fudge or caramel on top, plus there will be their famous Rice Krispies Treats on the tables to share.

The party spills over with guests, from the ballroom to the front lawn. It’s nighttime, but the house is lit up, bright as the sun. All around me diamonds glitter. We’ve reached that tipping point where everyone is sloshed enough to smile, but not so much they start to slur. There’s almost too many people, almost too much alcohol. Almost too much wealth in one room. It reminds me of Icarus, with his wings of feather and wax. If Icarus had a five-hundred-person guest list for his graduation party. It reminds me of flying too close to the sun. I snag a flute of champagne from one of the servers, who pretends not to see. The bubbles tickle my nose as I take a detour through the kitchen. Rosita stands at the stove, stirring her world-famous jambalaya in a large cast iron pot. The spices pull me close. I reach for a spoon. “Is it ready yet?” She slaps my hand away. “You’ll ruin your pretty dress. It’ll be ready when it’s ready.” We have caterers who make food for all our events, but since this is my graduation party, Rosita agreed to make my favorite dish. She’s going to spoon some onto little puff pastry cups and call it a canape. I try to pout, but everything is too perfect for that. Only one thing is missing from this picture. I give her a kiss on the cheek. “Thanks, Rosita. Have you seen Daddy?” “Where he always is, most likely.” That’s what I’m afraid of. Then I’m through the swinging door that leads into the private side of the house. I pass Gerty, our event planner, who’s muttering about guests who aren’t on the invite list. I head up the familiar oak staircase, breathing in the scent of our house. There’s something so comforting about it. I’m going to miss everything when I leave for college. At the top of the stairs, I hear men’s voices. That isn’t unusual. I’m around the corner from Daddy’s offic

In order to see Mr. and Mrs. Glegg at home, we must enter the town of St. Ogg’s — that venerable town with the red fluted roofs and the broad warehouse gables, where the black ships unlade themselves of their burthens from the far north, and carry away, in exchange, the precious inland products, the well-crushed cheese and the soft fleeces which my refined readers have doubtless become acquainted with through the medium of the best classic pastorals.

It’s the Parthenon!” said the Dean. “Yes, God damn it, the Parthenon!” The ruler struck the glass over the picture. “Look,” said Roark. “The famous flutings on the famous columns—what are they there for? To hide the joints in wood—when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?” The Dean sat watching him curiously. Something puzzled him, not in the words, but in Roark’s manner of saying them. “Rules?” said Roark. “Here are my rules: what can be done with one substance must never be done with another. No two materials are alike. No two sites on earth are alike. No two buildings have the same purpose. The purpose, the site, the material determine the shape. Nothing can be reasonable or beautiful unless it’s made by one central idea, and the idea sets every detail. A building is alive, like a man. Its integrity is to follow its own truth, its one single theme, and to serve its own single purpose. A man doesn’t borrow pieces of his body. A building doesn’t borrow hunks of its soul. Its maker gives it the soul and every wall, window and stairway to express it.” “But all the proper forms of expression have been discovered long ago.” “Expression—of what? The Parthenon did not serve the same purpose as its wooden ancestor. An airline terminal does not serve the same purpose as the Parthenon. Every form has its own meaning. Every man creates his meaning and form and goal. Why is it so important—what others have done? Why does it become sacred by the mere fact of not being your own? Why is anyone and everyone right—so long as it’s not yourself? Why does the number of those others take the place of truth? Why is truth made a mere matter of arithmetic—and only of addition at that? Why is everything twisted out of all sense to fit everything else? There must be some reason. I don’t know. I’ve never known it. I’d like to understand.