Flute Playing Quotes

Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” “My ghost won’t associate with your ghost,” Matthias said primly, and then wondered if the sea air was rotting his brain.

Jesper: “If Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Kaz: “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” Matthias: “My ghost won’t associate with your ghost.

Wylan drew himself up. “I may not have had your … education, but I’m sure I know plenty of words that you don’t.” “Also the proper way to fold a napkin and dance a minuet. Oh, and you can play the flute. Marketable skills, merchling. Marketable skills.” “No one dances the minuet any more,” grumbled Wylan.

The oak trees seemed as though they were playing instruments; here a gentle violin, over there two harps in harmony, flutes and other woodwinds joined the tree orchestra.

Hey, hot cheeks!" A hand smacked my ass and I shrieked. Spinning around, I glared at Dan Ottoman, a blond, pimply, clarinet player from band. He leered back at me and winked. "Never took you for a player, girl," he said, trying to ooze charm but reminding me of a dirty Kermit the Frog. "Come down to band sometime. I've got a flute you can play

Wait Wait, for now. Distrust everything, if you have to. But trust the hours. Haven't they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don't go too early. You're tired. But everyone's tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

Books are, let's face it, better than everything else. If we played cultural Fantasy Boxing League, and made books go 15 rounds in the ring against the best that any other art form had to offer, then books would win pretty much every time. Go on, try it. “The Magic Flute” v. Middlemarch? Middlemarch in six. “The Last Supper” v. Crime and Punishment? Fyodor on points. See? I mean, I don’t know how scientific this is, but it feels like the novels are walking it. You might get the occasional exception -– “Blonde on Blonde” might mash up The Old Curiosity Shop, say, and I wouldn’t give much for Pale Fire’s chance against Citizen Kane. And every now and again you'd get a shock, because that happens in sport, so Back to the Future III might land a lucky punch on Rabbit, Run; but I'm still backing literature 29 times out of 30.

Wylan blushed deeper, and Jesper shook his head. “Play piano, too?” “Flute,” said Wylan defensively. “Perfect.

Fine. But if Pekka Rollins kills us all, I'm going to get Wylan's ghost to teach my ghost how to play the flute just so that I can annoy your ghost." "I'll just hire Matthias' ghost to kick your ghost's ass." "My ghost won't associate with your ghost.

While they were preparing the hemlock, Socrates was learning how to play a new tune on the flute. “What will be the use of that?” he was asked. “To know this tune before dying.” If I dare repeat this reply long since trivialized by the handbooks, it is because it seems to me the sole serious justification of any desire to know, whether exercised on the brink of death or at any other moment of existence.

Everything I said he agreed with, which was trying, and his flute playing would make the deaf wince, but I think the real problem with Hyacinth was that he reminded me of myself. He read poetry. He flinched at loud noises. In addition to having no musical skills, he had no martial skills. He avoided any situation that might require physical effort on his part. Seeing him, I found it no wonder that my father despised me.

The Violins waltzed. The Cellos and Basses provided accompaniment. The Violas mourned their fate, while the Concertmaster showed off. The Flutes did bird imitations…repeatedly, and the reed instruments had the good taste to admire my jacket. The Trumpets held a parade in honor of our great nation, while the French Horns waxed nostalgic about something or other. The Trombones had too much to drink. The Percussion beat the band, and the Tuba stayed home playing cards with his landlady, the Harp, taking sips of warm milk a blue little cup. “But the Composer is still dead.

He looked down at the keys and played a gentle chord. Jesper wondered at how he could have mistaken Kuwei for Wylan. Their hands were completely different, the shape of the fingers, the knuckles. “Jes,” Wylan said, “did you mean what you told my father? Will you stay with me? Will you help?” Jesper leaned back on the pianoforte, resting on his elbows. “Let’s see. Live in a luxurious merch mansion, get waited on by servants, spend a little extra time with a budding demolitions expert who plays a mean flute? I guess I can manage it.” Jesper’s eyes traveled from the top of Wylan’s red-gold curls to the tips of his toes and back again. “But I do charge a pretty steep fee.” Wylan flushed a magnificent shade of pink. “Well, hopefully the medik will be here to fix my ribs soon,” he said as he headed back into the parlor. “Yeah?” “Yes,” said Wylan, glancing briefly over his shoulder, his cheeks now red as cherries. “I’d like to make a down payment.” Jesper released a bark of laughter. He couldn’t remember the last time he’d felt this good. And no one was even shooting at him.

Fine. But if Pekka Rollins kills us all, I'm going to get Wylan's ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost." Brekkers lips quirked. "I'll just hire Matthias' ghost to kick your ghost's ass." "My ghost won't associate with your ghost," Matthias said primly, and then wondered if the sea air was rotting his brain.

Mr. Mancini had a singular talent for making me uncomfortable. He forced me to consider things I’d rather not think about – the sex of my guitar, for instance. If I honestly wanted to put my hands on a woman, would that automatically mean I could play? Gretchen’s teacher never told her to think of her piano as a boy. Neither did Lisa’s flute teacher, though in that case the analogy was obvious. On the off chance that sexual desire was all it took, I steered clear of Lisa’s instrument, fearing that I might be labeled a prodigy.

In the morning they came up out of the ravine and took to the road again. He'd carved the boy a flute from a piece of roadside cane and he took it from his coat and gave it to him. The boy took it wordlessly. After a while he fell back and after a while the man could hear him playing. A formless music for the age to come. Or perhaps the last music on earth called up from out of the ashes of its ruin. The man turned and looked back at him. He was lost in concentration. The man thought he seemed some sad and solitary changeling child announcing the arrival of a traveling spectacle in shire and village who does not know that behind him the players have all been carried off by wolves.

Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.

Why should I be polished and improved like goods for sale? I might not even want to marry! And besides, I have many skills. I can read and write and play the flute and harp. Why should I change to please some man? If he doesn’t like me the way I am, then he can get some other girl for his wife.

I would hate to be taken seriously. Serious people are always so grim and uptight that they make me want to dance naked on the lawn playing a flute.

You don't have to be a professional to play music. Close your eyes, take a deep breath.. And let it out. Let the violin dance, the guitar fascinate, the flute sing, the piano composes. Just. Let. It. Go.

This was a vagrant of sixty-five, who was going to prison for not playing the flute; or, in other words, for begging in the streets, and doing noting for his livelihood. In the next cell, was another man, who was going to the same prison for hawking tin saucepans without a licence; thereby doing something for his living, in defiance of the Stamp-office.

I don't have a talent, unless you count hunting illegally, which they don't. Or maybe singing, which I wouldn't do for the Capitol in a million years. My mother tried to interest me in a variety of suitable alternatives from a list Effie Trinket sent her. Cooking, flower arranging, playing the flute. None of them took, although Prim had a knack for all three. Finally Cinna stepped in and offered to help me develop my passion for designing clothes, which really required development since it was non-existent.

Fine but if Pekka Rollins kills us all, I'm going to get Wylan's ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost." "I'll just hire Matthias' ghost to kick your ghost's ass." "My ghost won't associate with your ghost.

Think of how strange the colours and sights of the world would be for a blind man abruptly made to see or a man deaf from birth hearing the playing of a hundred flutes

A silence fell at the mention of Gavard. They all looked at each other cautiously. As they were all rather short of breath by this time, it was the camembert they could smell. This cheese, with its gamy odour, had overpowered the milder smells of the marolles and the limbourg; its power was remarkable. Every now and then, however, a slight whiff, a flute-like note, came from the parmesan, while the bries came into play with their soft, musty smell, the gentle sound, so to speak, of a damp tambourine. The livarot launched into an overwhelming reprise, and the géromé kept up the symphony with a sustained high note.

Van Eck folded his soiled handkerchief twice, tucked it away. He nodded to the boy and the girl. “Do whatever you have to. The auction starts in less than an hour, and I want answers before then.” “Hold him up,” the stout boy said to the girl. She hauled Wylan to his feet, and the boy slipped a pair of brass knuckles from his pocket. “He’s not going to be so pretty after this.” “Who is there to care?” Van Eck said with a shrug. “Just make sure you keep him conscious. I want information.” The boy eyed Wylan skeptically. “You sure you want to do it this way, little merch?” Wylan summoned every bit of bravado he’d learned from Nina, the will he’d learned from Matthias, the focus he’d studied in Kaz, the courage he’d learned from Inej, and the wild, reckless hope he’d learned from Jesper, the belief that no matter the odds, somehow they would win. “I won’t talk,” he said. The first punch shattered two of his ribs. The second had him coughing blood. “Maybe we should snap your fingers so you can’t play that infernal flute,” Van Eck suggested. I’m here for her, Wylan reminded himself. I’m here for her. In the end, he was not Nina or Matthias or Kaz or Inej or Jesper. He was just Wylan Van Eck. He told them everything.

Don't you think it's a small mystery that birds can twitter so loudly that they can hear each other's song from several miles away? Those tiny bundles are like living flutes, playing non-stop on themselves.

I hear you’re going to boarding school,” she said. “Whose idea was that?” “Mine,” I said. “I could never send Kyle to boarding school,” Audrey said. “I guess you love Kyle more than my mom loves me,” I said, and played my flute as I skipped down the hall.

It was a clear, moonlit night a little after the tenth of the Eighth Month. Her Majesty, who was residing in the Empress's Office, sat by the edge of the veranda while Ukon no Naishi played the flute for her. The other ladies in attendance sat together, talking and laughing; but I stayed by myself, leaning against one of the pillars between the main hall and the veranda. 'Why so silent?' said Her Majesty. 'Say something. It is sad when you do not speak.' 'I am gazing at the autumn moon,' I replied. 'Ah yes,' she remarked. 'That is just what you should have said.

The wind plays the world like an instrument. Blows through trees like flutes. But trees won’t grow in cement. And as heart beats bring percussion fallen trees bring repercussions. Cities play upon our souls like broken drums.

If birthdays fell from the sky like Saturdays shaped like saxophones, I’d learn how to play the flute on Tuesdays.

This world is a funny world indeed, And people are hard to suit. The man who plays the piccolo, Is a bore to the man with the flute. And often to myself I've thought how lovely it would be, If every person I ever met would simply agree with me. But since they won't, I think the way to make the whole world bright Is never to mind what others say, And do what I think is right.

The last time you came to see me there were anchors in your eyes, hardback books in your posture. You were the five star general of sureness, a crisp white tuxedo of a man. I was fiddling with my worn coat pockets, puffing false confidence ghosts in the cold January air. My hands were shitty champagne flutes brimming with cheap merlot. I couldn’t touch you without ruining you, so I didn’t touch you at all. It’s when you’re on the brink of something that you lose your balance. You told me that once. When I can’t bring myself to say what I need to, my heart plays Russian Roulette with my throat. I swear I fired that night, but, nothing. Someday, I’ll show you the bullet I had for you, after time has done the wash. I’ll take it out of the jar of missed opportunities. We’ll hold it up to the light. You’ll roll it around your mouth like a fallen tooth. You won’t forgive me exactly, but we’ll laugh about how small it is. We’ll wonder how such a little thing could ever have meant so much.

Always hit where the mark isn't looking." "Who's Mark?" asked Wylan Jesper burst out laughing. "Oh, Saints,you are something. The mark, the pigeon,the cosy, the fool you're looking to fleece." Wylan drew himself up. "I may have not had your... education, but I'm sure I know plenty of words you don't." "Also the proper way to fold a napkin and dance a minuet. Oh, and you can play the flute. Mareketable skills, merchling. Marketable skills. "No one dances the minuet anymore." Grumbled Wylan,

When she blew into the top of it, the reed made exactly the penetrating scream she demanded. Musicians - satyrs, in the first instance - would come along later and bend the instrument to their talent, creating the far sweeter sound we associate with the flute today. But Athene was no musician, and nor was she looking to play a tune. The first flute therefore sounded exactly like what it was. The desperate cry of a reed that has been severed from its root.

The brevity of mini (psycho)therapies is another efficient forestaller of healing. The neocortex rapidly master didactic information, but the limbic brain takes mountains of repetition. No one expects to play the flute in six lessons or to become fluent in Italian in ten. (189)

When I’m rich,” Jesper said behind him. “I’m going somewhere I never have to see snow again. What about you, Wylan?” “I don’t know exactly.” “I think you should buy a golden piano-” “Flute.” “And play concerts on a pleasure barge. You can park it in the canal right outside your father’s house.” “Nina can sing,” Inej put in, “We’ll duet,” Nina amended. “Your father will have to move.” She did have a terrible singing voice. He hated that he knew that, but he couldn’t resist glancing over his shoulder. Nina’s hood had fallen back, and the thick waves of her hair had escaped her collar. Why do I keep doing that? He thought in a rush of frustration. It had happened aboard the ship, too. He’d tell himself to ignore her, and the next thing he knew his eyes would be seeking her out.

The people of the heart—the painters, the poets, the musicians, the dancers, the actors—are all irrational. They create great beauty, they are great lovers, but they are absolutely unfit in a society that is arranged by the head. Your artists are thought by your society to be almost outcast, a little bit crazy, an insane type of people. Nobody wants his or her children to become musicians or painters or dancers. Everybody wants them to be doctors, engineers, scientists, because those professions pay. Painting, poetry, dance, are dangerous, risky—you may end up just a beggar on the street, playing on your flute.

Yet is it not the heart but the members of play that elevate us above the beasts: the fingers with which we touch the clavichord or the flute, the tongue with which we jest and lie and seduce. Lacking members of play, what is there left for beasts to do when they are bored but sleep?

The flute of the Pied Piper of Hamelin has never left us and it is essential that we train our ear to detect its false notes because in our case the flute is being played by the rats.

What do you say to taking up our game where we left off? I was winning, you will recall.' Winning, for all love: how your ageing memory does betray you, my poor friend,' said Stephen, fetching his 'cello. They tuned, and at no great distance Killick said to his mate, 'There they are, at it again. Squeak, squeak; boom, boom. And when they do start a-playing, it's no better. You can't tell t'other from one. Never nothing a man could sing to, even as drunk as Davy's sow.' I remember them in the Lively: but it is not as chronic as a wardroom full of gents with German flutes, bellyaching night and day, like we had in Thunderer. No. Live and let live, I say.' Fuck you, William Grimshaw.

Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” “My ghost won’t associate with your ghost,” Matthias said primly, and then wondered if the sea air was rotting his brain.

Let us play the flute of love to spread the music of peace, joy and happiness.

Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.

But Athene was no musician, and nor was she looking to play a tune. The first flute therefore sounded exactly like what it was - a reed that has been severed from it's root

let the breath draw the mind down to its own level of subtlety. It is like listening to someone playing a flute as they walk off into the distance.

While they were preparing the hemlock, Socrates was learning how to play a new tune on the flute. “What will be the use of that?” he was asked. “To know this tune before dying.

You should learn how to play the flute. Then you could ride in the passenger seat of my car and play instrumental versions of classic 80s pop songs while I drive around on the clock for Uber.

if ever a pope should command me to play on the flute, build towers, to mend or weave garments, and to stuff sausages, ought not my reason to judge that the pope was foolish in so commanding?

Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” “My ghost won’t associate with your ghost,” Matthias said primly, and then wondered if the sea air was rotting his brain.

Why are you laughing?’ Athena demanded. ‘Well …’ Demeter suppressed a smile. ‘It’s just that when you play the flute, your eyes cross and your cheeks puff out, and you make this funny shape with your mouth.’ ‘Like this …’ Aphrodite demonstrated, doing her best imitation of Athena’s flute face, which looked sort of like a constipated duck’s. The

No-one knows what huge suns will illuminate the life of the future. It may be that artists will transform the grey dust of the cities into hundred-coloured rainbows; that the never-ending thunderous music of volcanoes will be turned into the sound of flutes resounding from mountain ranges; that ocean waves will be forced to play on nets of chords...

Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I'm going to get Wylan's ghost to teach my ghost how to play the flute just so that I can anony the hell out of your ghost.

The Reason for Skylarks It was nearly morning when the giant Reached the tree of children. Their faces shone like white apples On the cold dark branches And their dresses and little coats Made sodden gestures in the wind. He did not laugh or weep or stamp His heavy feet. He set to work at once Lifting them tenderly down Into a straw basket which was fixed By a golden strap to his shoulder. Only one did he drop - a soft pretty child Whose hair was the color of watered milk. She fell into the long grass And he could not find her Though he searched until his fingers Bled and the full light came. He shook his fist at the sky and called God a bitter name. But no answer was made and the giant Got down on his knees before the tree And putting his hands about the trunk Shook Until all the children had fallen Into the grass. Then he pranced and stamped Them to jelly. And still he felt no peace. He took his half-full basket and set it afire, Holding it by the handle until Everything had been burned. He saw now Two men on steaming horses approaching From the direction of the world And taking a little silver flute Out of his pocket he played tune After tune until they came up to him.

Children write essays in school about the unhappy, tragic, doomed life of Anna Karenina. But was Anna really unhappy? She chose passion and she paid for her passion—that's happiness! She was a free, proud human being. But what if during peacetime a lot of greatcoats and peaked caps burst into the house where you were born and live, and ordered the whole family to leave house and town in twenty-four hours, with only what your feeble hands can carry?... You open your doors, call in the passers-by from the streets and ask them to buy things from you, or to throw you a few pennies to buy bread with... With ribbon in her hair, your daughter sits down at the piano for the last time to play Mozart. But she bursts into tears and runs away. So why should I read Anna Karenina again? Maybe it's enough—what I've experienced. Where can people read about us? Us? Only in a hundred years? "They deported all members of the nobility from Leningrad. (There were a hundred thousand of them, I suppose. But did we pay much attention? What kind of wretched little ex-nobles were they, the ones who remained? Old people and children, the helpless ones.) We knew this, we looked on and did nothing. You see, we weren't the victims." "You bought their pianos?" "We may even have bought their pianos. Yes, of course we bought them." Oleg could now see that this woman was not yet even fifty. Yet anyone walking past her would have said she was an old woman. A lock of smooth old woman's hair, quite incurable, hung down from under her white head-scarf. "But when you were deported, what was it for? What was the charge?" "Why bother to think up a charge? 'Socially harmful' or 'socially dangerous element'—S.D.E.', they called it. Special decrees, just marked by letters of the alphabet. So it was quite easy. No trial necessary." "And what about your husband? Who was he?" "Nobody. He played the flute in the Leningrad Philharmonic. He liked to talk when he'd had a few drinks." “…We knew one family with grown-up children, a son and a daughter, both Komsomol (Communist youth members). Suddenly the whole family was put down for deportation to Siberia. The children rushed to the Komsomol district office. 'Protect us!' they said. 'Certainly we'll protect you,' they were told. 'Just write on this piece of paper: As from today's date I ask not to be considered the son, or the daughter, of such-and-such parents. I renounce them as socially harmful elements and I promise in the future to have nothing whatever to do with them and to maintain no communication with them.

There is an old lady who lives on the moon. You can see her spinning thread on her spinning wheel. Her isolation and distance from the world has made her a sage. She weaves stories. She knows every wanderer who crosses the sea grass meadows, she knows every woman who uses her blackened blue hands to grind grain in the hand mill, she is friends with the little girl who got lost in the corn fields and was never found, and she knows the story of the boy who played flute on the little hill when his lambs slept. Grandmother said that if I had been a good girl the moon lady would weave for me a magical blanket and every stitch will be made from a moment of my life, a forgotten moment, a memory. Every stitch would be special. It would be made especially for me.

Flags were everywhere, and in the Square the band was playing “Yankee Doodle.” The fifes tooted and the flutes shrilled and the drums came in with rub-a-dub-dub. Yankee Doodle went to town, Riding on a pony, He stuck a feather in his hat And called it macaroni!

A vague and immense desire to create was in the air. Everyone claimed to be devoted to an artistic activity, or planned to be. All activities were equal, they agreed, and instead of painting or playing the flute, one could always create oneself through psychoanalysis.

She said she was a fan of Edward Snowden, and I replied, "You know, I'm something of a whistleblower myself. In fact, I'm so advanced it's called a flute. I play elevator music as smooth as a duck swims, and if you enjoy the duration of your ride, you might consider tipping.

There exists yonder in the mountains," said the Bishop, "a tiny community no bigger than that, which I have not seen for three years. They are my good friends, those gentle and honest shepherds. They own one goat out of every thirty that they tend. They make very pretty woollen cords of various colors, and they play the mountain airs on little flutes with six holes. They need to be told of the good God now and then. What would they say to a bishop who was afraid? What would they say if I did not go?" "But the brigands, Monseigneur?" "Hold," said the Bishop, "I must think of that. You are right. I may meet them. They, too, need to be told of the good God." "But, Monseigneur, there is a band of them! A flock of wolves!" "Monsieur le maire, it may be that it is of this very flock of wolves that Jesus has constituted me the shepherd. Who knows the ways of Providence?" "They will rob you, Monseigneur." "I have nothing." "They will kill you." "An old goodman of a priest, who passes along mumbling his prayers? Bah! To what purpose?" "Oh, mon Dieu! what if you should meet them!" "I should beg alms of them for my poor." "Do not go, Monseigneur. In the name of Heaven! You are risking your life!" "Monsieur le maire," said the Bishop, "is that really all? I am not in the world to guard my own life, but to guard souls.

Jes,” Wylan said, “did you mean what you told my father? Will you stay with me? Will you help?” Jesper leaned back on the pianoforte, resting on his elbows. “Let’s see. Live in a luxurious merch mansion, get waited on by servants, spend a little extra time with a budding demolitions expert who plays a mean flute? I guess I can manage it.” Jesper’s eyes traveled from the top of Wylan’s red-gold curls to the tips of his toes and back again. “But I do charge a pretty steep fee.” Wylan flushed a magnificent shade of pink. “Well, hopefully the medik will be here to fix my ribs soon,” he said as he headed back into the parlor. “Yeah?” “Yes,” said Wylan, glancing briefly over his shoulder, his cheeks now red as cherries. “I’d like to make a down payment.” Jesper released a bark of laughter. He couldn’t remember the last time he’d felt this good. And no one was even shooting at him.

Don’t worry about saving these songs! And if one of our instruments breaks, it doesn’t matter. We have fallen into the place where everything is music. The strumming and the flute notes rise into the atmosphere, and even if the whole world’s harps should burn up, there will still be hidden instruments playing

We have to aim, as all the great artists have, at dwelling in the pure world of platonic ideas. Some do this through art, some through religious asceticism. Schopenhauer did it by avoiding the world of desire, by communion with the great minds of history, and by aesthetic contemplation—he played the flute an hour or two every day.

May I be a pillar on which upon you stand, a leaning post for young ones, my lover and my friend. May I be a beam of light that you bestow upon your hopes, your dreams, your wisdom, so we may carry on. May I be a beacon, a tree with roots so strong, treetop spreading high and wide, a trunk so wide and long. May I be your music a flute for you to play whatever you desire with each forthcoming day. May I lose myself to find you, support all those who need my love, my core, my laughter, permeate my every deed.

He who plays his music to the stars is standing at your window with his flute.

I heard the Watersprinkler playing his flute.

One grave of around 6000 BCE held an eight-hole flute, capable of playing any modern melody.

But men who dress as goats and gallivant through sex riots playing flutes tend not to be the most logical people.

Teach him how you will, a pig will never play the flute.

She put on some music. Drum and flute, I think. She played it soft, because it was dreadfully late, a time when all good men and women, or at least the practical ones, had gone to bed. Then she danced for me.

You cannot reach lofty heights in art if you do not first discover the unsurpassable beauty in your own heart. If you would like to play the flute truly well, you must find your true self on the Path of Awakening

Jesper knocked his head against the hull and cast his eyes heavenward. "Fine. But if Pekka Rollins kills us all, I'm going to get Wylan's ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost." Brekker's lips quirked. "I'll just hire Matthias' ghost to kick your ghost's ass." "My ghost won't associate with your ghost," Matthias said primly, and then wondered if the sea air was rotting his brain.

Playing in an orchestra is completely different to playing on my own. Sometimes I played, sometimes listened; instead of waiting my turn, I sometimes interrupted another player, sometimes I argued, sometimes agreed. My flute is my mouthpiece and I felt as if I was actually joining in a conversation.

These are the thoughts of all men in all ages and lands, they are not original with me, If they are not yours as much as mine they are nothing or next to nothing, If they do not enclose everything they are next to nothing, If they are not the riddle and the untying of the riddle they are nothing, If they are not just as close as they are distant they are nothing. This is the grass that grows wherever the land is and the water is, This is the common air that bathes the globe. This is the breath of laws and songs and behaviour, This is the tasteless water of souls.... this is the true sustenance, It is for the illiterate.... it is for the judges of the supreme court . . . . it is for the federal capitol and the state capitols, It is for the admirable communes of literary men and composers and singers and lecturers and engineers and savans, It is for the endless races of working people and farmers and seamen. This is the trill of a thousand clear cornets and scream of the octave flute and strike of triangles. I play not a march for victors only.... I play great marches for conquered and slain persons. Have you heard that it was good to gain the day? I also say it is good to fall.... battles are lost in the same spirit in which they are won.

Charlie sat beside Spider on the edge of the cliff, in the moonlight, his legs dangling over the side. "You know," he said, "you used to be a part of me. When we were kids." Spider put his head on one side. "Really?" "I think so." "Well, that would explain a few things." He held out his hand: a seven-legged clay spider sat on the back of his fingers, tasting the air. "So what now? Are you going to take me back or something?" Charlie's brow crinkled. "I think you've turned out better than you would have done if you were part of me. And you've had a lot more fun." Spider said, "Rosie. Tiger knows about Rosie. We have to do something." "Of course we do," said Charlie. It was like bookkeeping, he thought: you put entries in one column, deduct them from another, and if you've done it correctly, everything should come out right at the bottom of the page. He took his brother's hand. They stood up and took a step forward, off the cliff – –and everything was bright– A cold wind blew between the worlds. Charlie said, "You're not the magical bit of me, you know." "I'm not?" Spider took another step. Stars were falling now by the dozen, streaking their way across the dark sky. Someone, somewhere, was playing high sweet music on a flute. Another step, and now distant sirens were blaring. "No," said Charlie. "You're not. Mrs. Dunwiddy thought you were, I think. She split us apart, but she never really understood what she was doing. We're more like two halves of a starfish. You grew up into a whole person. And so," he said, realizing it was true as he said it, "did I.

I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” “My ghost won’t associate with your ghost,” Matthias said primly, and then wondered if the sea air was rotting his brain.

if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.” Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.” “My ghost won’t associate with your ghost,” Matthias said primly, and then wondered if the sea air was rotting his brain.

The amorous shepherd has lost his staff, And his sheep are straying on the hillside, And he didn’t even play the flute he brought to play because he was thinking so much. No one came to him or went away. He never found his staff again. Others, cursing at him, gathered his sheep for him. No one had loved him, in the end. When he got up from the hillside and the false truth, he saw everything: The great valleys full of the same green as always, The great distant mountains, more real than any feeling, All reality, with the sky and the air and the fields that exist, is present. (And once again the air, that he’d missed for so long, entered coolly into his lungs) And he felt that the air was opening again, but with pain, a liberty in his chest. (7/10/1930)

New Season No coats today. Buds bulge on chestnut trees, And on the doorstep of a big, old house A young man stands and plays his flute. I watch the silver notes fly up And circle in the blue sky above the traffic, Travelling where they will. And suddenly this paving-stone Midway between my front door and the bus stop Is a starting point. From here I can go anywhere I choose.

Let me be absolutely clear: Tumnus was an idiot. He was absolutely NOT a spy for the White Witch. That dude couldn’t have spied on a blind unicorn. He was a deadbeat who spent most of his time sitting on street corners, playing his pan flute, and panhandling for change. He was on the Narnia version of welfare, and he told the White Witch about Lucy in the hopes of getting some kind of handout.

Surely an instrument is neither male nor female—they’re just things that make sound—strings and bows, brass and wood, mallets and cymbals and drumskins and little metal triangles. And yet all you have to do is look around at these musicians to see the way that even sound is gendered. In the middle of the orchestra is the brass section—tubas, trombones, trumpets, French horn, every last one of them played by boys. It’s not all that different in the woodwinds—where the boys play bassoons and clarinets, but all the flutes are played by girls. The strings are even more ridiculous—the deeper the instrument, the more likely it is to be played by a boy. So all the basses? Boys. Most of the cellos? Boys. The violas split half and half. All but one of the violins? Girls. Then there’s the harp, which I guess federal law requires be played by a girl. And the percussion and kettle drums, which are usually played by boys. How weird is this? Most of us decided to play our instruments in third grade, a bunch of little kids who made our choices without even thinking about them. But even at eight years old, we were already running the gender maze that the world had set for us, without even realizing it.

I can make you happy,” said he to the back of her head, across the bush. “You shall have a piano in a year or two—farmers’ wives are getting to have pianos now—and I’ll practise up the flute right well to play with you in the evenings.” “Yes; I should like that.” “And have one of those little ten-pound gigs for market—and nice flowers, and birds—cocks and hens I mean, because they be useful,” continued Gabriel, feeling balanced between poetry and practicality. “I should like it very much.” “And a frame for cucumbers—like a gentleman and lady.” “Yes.” “And when the wedding was over, we’d have it put in the newspaper list of marriages.” “Dearly I should like that!” “And the babies in the births—every man jack of ‘em! And at home by the fire, whenever you look up, there I shall be—and whenever I look up there will be you.

A true leader always leads by example, by demonstrating to others how the work is done. Sri Krishna, being a great spiritual leader of his time, also chose to perform certain worldly activities. Why? He explains, “If ever I cease to be vigilantly engaged in action, then people would follow my footsteps in every way and no one would perform action.”28 The life of Krishna is marked by ordinariness. He did the earthly job of cow herding, and also indulged in romancing, dancing and playing the flute. He demonstrated a life for others to emulate. He led a balanced life with his strengths as well as frailties. His life was, therefore, not extraordinary. He was not an epitome of perfection. He showed others how to lead a normal, worldly life by himself performing all the actions and yet drifting away from it by reaching for higher ideals.

In the United States, thirteen-year-old Jewish boys often mark the transition to adulthood with a bar mitzvah, involving a rather elaborate ceremony that includes singing a passage from the ancient Torah, followed by a celebration of dancing to hip-hop music and gorging on dessert. Sambian boys in Papua New Guinea mark the same transition by participating in the Flute Ceremony, which includes playing ritual flutes and performing fellatio on older boys and elders of their tribe. Imagine if the Sambian and American Jewish boy suddenly changed places. We’d witness how a momentous source of pride to members of one culture could be a totally meaningless or humiliating experience to members of another, because the behaviors and achievements that confer self-esteem do so only to the extent that we embrace a cultural worldview that deems them worthy.

Radha Krishna Krishna, Svayam Bhagavan, Avatar of Vishnu, play your flute for me beneath this parasol of stars, diadems bejeweling your eternal crown, and I will dance for you a joyous dance. Svayam Bhagavan, Avatar of Vishnu, visit your consort, Radha, mantled in the black of night, the cow-herd girl who has stolen your heart, and now the gopi has become the guru and awaits her lover with open arms. Svayam Bhagavan, Avatar of Vishnu, stay the night, and learn the love of Radha,shakti, her wifely love, the svakaya-rasa, her spiritual love, the parakiya-rasa, for immortality is a curse without both of these. Svayam Bhagavan, Avatar of Vishnu, return to heaven now for the cock has crowed and yet you linger, lazy in Radha’s bed. Even endless love must seek and end to repeat the joy of new beginnings. Return, Krishna, I beseech you, for my feet are weary of the dance and I have fields to plow and rice to plant.

The Greeks were the first people in the world to play, and they played on a great scale. All over Greece there were games, all sorts of games; athletic contests of every description: races—horse-, boat-, foot-, torch-races; contests in music, where one side out-sung the other; in dancing—on greased skins sometimes to display a nice skill of foot and balance of body; games where men leaped in and out of flying chariots; games so many one grows weary with the list of them. They are embodied in the statues familiar to all, the disc thrower, the charioteer, the wrestling boys, the dancing flute players. The great games—there were four that came at stated seasons—were so important, when one was held, a truce of God was proclaimed so that all Greece might come in safety without fear. There “glorious-limbed youth”—the phrase is Pindar’s, the athlete’s poet—strove for an honor so coveted as hardly anything else in Greece. An Olympic victor—triumphing generals would give place to him. His crown of wild olives was set beside the prize of the tragedian. Splendor attended him, processions, sacrifices, banquets, songs the greatest poets were glad to write. Thucydides, the brief, the severe, the historian of that bitter time, the fall of Athens, pauses, when one of his personages has conquered in the games, to give the fact full place of honor. If we had no other knowledge of what the Greeks were like, if nothing were left of Greek art and literature, the fact that they were in love with play and played magnificently would be proof enough of how they lived and how they looked at life. Wretched people, toiling people, do not play. Nothing like the Greek games is conceivable in Egypt or Mesopotamia. The life of the Egyptian lies spread out in the mural paintings down to the minutest detail. If fun and sport had played any real part they would be there in some form for us to see. But the Egyptian did not play. “Solon, Solon, you Greeks are all children,” said the Egyptian priest to the great Athenian.

Therefore," said the Bishop, "I intend to go without escort." "You do not really mean that, Monseigneur!" exclaimed the mayor. "I do mean it so thoroughly that I absolutely refuse any gendarmes, and shall set out in an hour." "Set out?" "Set out." "Alone?" "Alone." "Monseigneur, you will not do that!" "There exists yonder in the mountains," said the Bishop, "a tiny community no bigger than that, which I have not seen for three years. They are my good friends, those gentle and honest shepherds. They own one goat out of every thirty that they tend. They make very pretty woollen cords of various colors, and they play the mountain airs on little flutes with six holes. They need to be told of the good God now and then. What would they say to a bishop who was afraid? What would they say if I did not go?" "But the brigands, Monseigneur?" "Hold," said the Bishop, "I must think of that. You are right. I may meet them. They, too, need to be told of the good God." "But, Monseigneur, there is a band of them! A flock of wolves!" "Monsieur le maire, it may be that it is of this very flock of wolves that Jesus has constituted me the shepherd. Who knows the ways of Providence?" "They will rob you, Monseigneur." "I have nothing." "They will kill you." "An old goodman of a priest, who passes along mumbling his prayers? Bah! To what purpose?" "Oh, mon Dieu! what if you should meet them!" "I should beg alms of them for my poor." "Do not go, Monseigneur. In the name of Heaven! You are risking your life!" "Monsieur le maire," said the Bishop, "is that really all? I am not in the world to guard my own life, but to guard souls.

The End” It is time for me to go, mother; I am going. When in the paling darkness of the lonely dawn you stretch out your arms for your baby in the bed, I shall say, “Baby is not there!”—mother, I am going. I shall become a delicate draught of air and caress you; and I shall be ripples in the water when you bathe, and kiss you and kiss you again. In the gusty night when the rain patters on the leaves you will hear my whisper in your bed, and my laughter will flash with the lightning through the open window into your room. If you lie awake, thinking of your baby till late into the night, I shall sing to you from the stars, “Sleep, mother, sleep.” On the straying moonbeams I shall steal over your bed, and lie upon your bosom while you sleep. I shall become a dream, and through the little opening of your eyelids I shall slip into the depths of your sleep; and when you wake up and look round startled, like a twinkling firefly I shall flit out into the darkness. When, on the great festival of puja, the neighbours’ children come and play about the house, I shall melt into the music of the flute and throb in your heart all day. Dear auntie will come with puja-presents and will ask, “Where is our baby, sister?” Mother, you will tell her softly, “He is in the pupils of my eyes, he is in my body and in my soul.

John Farmer sat at his door one September evening, after a hard day's work, his mind still running on his labor more or less. Having bathed, he sat down to re-create his intellectual man. It was a rather cool evening, and some of his neighbors were apprehending a frost. He had not attended to the train of his thoughts long when he heard some one playing on a flute, and that sound harmonized with his mood. Still he thought of his work; but the burden of his thought was, that though this kept running in his head, and he found himself planning and contriving it against his will, yet it concerned him very little. It was no more than the scurf of his skin, which was constantly shuffled off. But the notes of the flute came home to his ears out of a different sphere from that he worked in, and suggested work for certain faculties which slumbered in him. They gently did away with the street, and the village, and the state in which he lived. A voice said to him--Why do you stay here and live this mean moiling life, when a glorious existence is possible for you? Those same stars twinkle over other fields than these.--But how to come out of this condition and actually migrate thither? All that he could think of was to practise some new austerity, to let his mind descend into his body and redeem it, and treat himself with ever increasing respect.

You have asked too many questions. If you want more, you will have to win them.” He showed no sign of distraction now. As they played, he ignored her attempts to provoke him or make him laugh. “I’ve seen your tricks on others,” he said. “They won’t work with me.” He won. Kestrel waited, nervous, and wondered if the way she felt was how he felt when he lost. His voice came haltingly. “Will you play for me?” “Play for you?” Arin winced. In a more determined tone, he said, “Yes. Something I choose.” “I don’t mind. It’s only…people rarely ask.” He stood from the table, searched the shelves along the wall, and returned with a sheaf of sheet music. She took it. “It’s for the flute,” he said. “It will probably take you time to transpose it for the piano. I can wait. Maybe after our next game--” She fanned the paper impatiently to silence him. “It’s not that hard.” He nodded, then sat in the chair farthest away from the piano, by the glass garden doors. Kestrel was glad for his distance. She settled on the piano’s bench, flipping through the sheet music. The title and notations were in Herrani, the page yellow with age. She propped the paper on the piano’s rack, taking more time than necessary to neaten the sheets. Excitement coursed through her fingers as if she had already plunged her hands into the music, but that feeling was edged with a metallic lace of fear.

The rhythm built up, high resonant notes from the buzzing xylophone, the off-scale dipping warble of the flute, the eerie, strangely primeval bass of the synthesizer. The others punctuated the music with claps and sudden piercing shrieks from behind their veils. Suddenly one began to sing in Tamashek. "He sings about his synthesizer," Gresham murmured. "What does he say?" I humbly adore the acts of the Most High, Who has given to the synthesizer what is better than a soul. So that, when it plays, the men are silent, And their hands cover their veils to hide their emotions. The troubles of life were pushing me into the tomb, But thanks to the synthesizer, God has given me back my life.

Antique Foundation Here I built the ruin in My voice on either side of me In the temple the ocean could Not be a crowd I mined The shore with fog the sun dries These bricks I built the vision in The cinder block that is the city Wall this grave Tone I speak with a picture Of myself in my wallet • Don’t be fooled by grass and these words Grass whispers Because they are real they are Ruinous Here, the gossip is in the dust Not the sea cloud enters the open Child’s window dimming the silver Flute’s sheen Where is he Who hears inside the brick those notes? There is a rumor in the city we’ll exist If he plays his song no one knows • Follow that shadow don’t tell me it’s mine Here there is no being alone Here are my hands which tore the leaves so Quietly in the temple the god Emerging from marble points at the chisel At the base of his stone Did I tell you Where I’m going? To the old man Who sings the margin Where on wave-tip swords turn edge over edge Wound us and the shore with foam • My face on either side of my face I tore My picture in half to show the gate You must climb inside your breath to leave As fog the wind will bear you— If you’re lovely—away In the spare clouds The children’s chorus Do you hear?— Where were you, and where are you going? Here I built the ruin in the stone-crushed Sage leaves my hands scented as long ago When I liked to press the desert against my head to think

Stars flicker above, points of bright ice in a dark river. I pull a heavy sheepskin around my legs and stretch my feet toward the fire. Despite the cold, Liam plays his flute, the sound whistling through the night. Soon my eyes are heavy, my head nodding.I open my eyes at the deep melodious baritone of Salvius’s voice telling a tale. Liam’s flute is silent now. I have heard Salvius tell many tales on market days; he is known for his memory of wandering minstrels and mummers who visit us at Whitsunday and through Midsummer. Salvius is a mockingbird: he can give a fair charade of the rhythmic tones of any wandering bard or any noble of the Royal Court.In this darkness, his eyes catch the light like a cat in the night.

Flute music, she thought with frustration, and would not look at Arin. Her opening notes were awkward. She paused, then gave the melody over to her right hand and began inventing with her left, pulling dark, rich phrases out of her mind. Kestrel felt the counterpoint knit itself into being. Forgetting the difficulty of what she was doing, she simply played. It was a gentle, haunting music. When it ended, Kestrel was sorry. Her eyes sought Ari across the room. She didn’t know if he had watched her play. He wasn’t looking at her now. His gaze was unfocused, directed toward the garden without really seeming to see it. The lines of his face had softened. He looked different, Kestrel realized. She couldn’t say why, but he looked different to her now. Then he glanced at her, and she was startled enough to let one hand fall onto the keys with a very unmusical sound. Arin smiled. It was a true smile, which let her know that all the others he had given her were not. “Thank you,” he said. Kestrel felt herself blush. She focused on the keys and played something, anything. A simple pattern to distract herself from the fact that she wasn’t someone who easily blushed, particularly for no clear reason. But she found that her fingers were sketching an outline of a tenor’s range. “Do you truly not sing?” “No.” She considered the timbre of his voice and let her hands drift lower. “Really?” “No, Kestrel.” Her hands slid from the keys. “Too bad,” she said.

I know you can feel it. But that’s just a small part of it. You see, music is . . . ( Incredible subject to communicate.) Music has a . . . ( But he’s going to try.) Music starts with pitches. [P-i-t-c-h-e-s.] Sounds! High and low. A whole, huge range of sounds. And each one has its own emotional life. And then when you combine them and play them together — these two and these two — it has a whole new life. And then you can play them on different instruments — trombones, violins, flutes and drums — The combinations are infinite! And then when you put it all together, with a beginning, a middle, and an end, it grows into a ... It transcends mere sound and speaks directly to your heart — because you hear it! I don’t have the signs that can ... I can’t explain it, I’m sorry.

Natural examples of chaotic dynamical systems include the earth’s atmosphere and the vibrations of virtually all sources of musical sound, such as the scrape of a bow on the strings or the turbulent flow of air from the player’s lips over the fipple of a flute. Small differences in initial conditions can be amplified by such systems to such an extent that any error in measuring the initial conditions can render any long-range forecast of system behavior wildly inaccurate, even if there is no further disturbance to the system. The weather from day to day is never exactly the same. Notes played on a flute, though they may sound alike, are never exactly the same. Our ears gloss over these differences, hearing sound categorically. But if we wish to understand the precise mechanism of a dynamical system so as to accurately predict its behavior over time, the initial conditions must be known exactly.

Wait" Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

I have again been asked to explain how one can "become a Daoists..." with all of the sad things happening in our world today, Laozi and Zhuangzi give words of advice, tho not necessarily to become a Daoist priest or priestess... " So many foreigners who want to become “Religious Daoists” 道教的道师 （道士） do not realize that they must not only receive a transmission of a Lu 籙 register which identifies their Daoist school, and learn as well how to sing the ritual melodies, play the flute, stringed instruments, drums, and sacred dance steps, required to be an ordained and functioning Daoist priest or priestess. This process usually takes 10 years or more of daily discipleship and practice, to accomplish. There are 86 schools and genre of Daoist rituals listed in the Baiyun Guan Gazeteer, 白雲觀志, which was edited by Oyanagi Sensei, in Tokyo, 1928, and again in 1934, and re-published by Baiyun Guan in Beijing, available in their book shop to purchase. Some of the schools, such as the Quanzhen Longmen 全真龙门orders, allow their rituals and Lu registers to be learned by a number of worthy disciples or monks; others, such as the Zhengyi, Qingwei, Pole Star, and Shangqing 正一，清微，北极，上请 registers may only be taught in their fullness to one son and/or one disciple, each generation. Each of the schools also have an identifying poem, from 20 or 40 character in length, or in the case of monastic orders (who pass on the registers to many disciples), longer poems up to 100 characters, which identify the generation of transmission from master to disciple. The Daoist who receives a Lu register (給籙元科, pronounced "Ji Lu Yuanke"), must use the character from the poem given to him by his or her master, when composing biao 表 memorials, shuwen 梳文 rescripts, and other documents, sent to the spirits of the 3 realms (heaven, earth, water /underworld). The rituals and documents are ineffective unless the correct characters and talismanic signature are used. The registers are not given to those who simply practice martial artists, Chinese medicine, and especially never shown to scholars. The punishment for revealing them to the unworthy is quite severe, for those who take payment for Lu transmission, or teaching how to perform the Jinlu Jiao and Huanglu Zhai 金籙醮，黃籙齋 科儀 keyi rituals, music, drum, sacred dance steps. Tang dynasty Tangwen 唐文 pronunciation must also be used when addressing the highest Daoist spirits, i.e., the 3 Pure Ones and 5 Emperors 三请五帝. In order to learn the rituals and receive a Lu transmission, it requires at least 10 years of daily practice with a master, by taking part in the Jiao and Zhai rituals, as an acolyte, cantor, or procession leader. Note that a proper use of Daoist ritual also includes learning Inner Alchemy, ie inner contemplative Daoist meditation, the visualization of spirits, where to implant them in the body, and how to summon them forth during ritual. The woman Daoist master Wei Huacun’s Huangting Neijing, 黃庭內經 to learn the esoteric names of the internalized Daoist spirits. Readers must be warned never to go to Longhu Shan, where a huge sum is charged to foreigners ($5000 to $9000) to receive a falsified document, called a "license" to be a Daoist! The first steps to true Daoist practice, Daoist Master Zhuang insisted to his disciples, is to read and follow the Laozi Daode Jing and the Zhuangzi Neipian, on a daily basis. Laozi Ch 66, "the ocean is the greatest of all creatures because it is the lowest", and Ch 67, "my 3 most precious things: compassion for all, frugal living for myself, respect all others and never put anyone down" are the basis for all Daoist practice. The words of Zhuangzi, Ch 7, are also deeply meaningful: "Yin and Yang were 2 little children who loved to play inside Hundun (ie Taiji, gestating Dao). They felt sorry because Hundun did not have eyes, or eats, or other senses. So everyday they drilled one hole, ie 2 eyes, 2 ears, 2 nostrils, one mouth; and on the 7th day, Hundun died.

But soon neither their cries nor the sound of weapons could be heard any more, for both were drowned in the ocean-like roar of the Awakened Trees as they plunged through the ranks of Peter's army, and then on, in pursuit of the Telmarines. Have you ever stood at the edge of a great wood on a high ridge when a wild south-wester broke over it in full fury on an autumn evening? Imagine that sound. And then imagine that the wood, instead of being fixed to one place, was rushing at you; and was no longer trees but huge people; yet still like trees because their long arms waved like branches and their heads tossed and leaves fell round them in showers. It was like that for the Telmarines. It was a little alarming even for the Narnians. In a few minutes all Miraz's followers were running down to the Great River in the hope of crossing the bridge to the town of Beruna and there defending themselves behind ramparts and closed gates. They reached the river, but there was no bridge. It had disappeared since yesterday. Then utter panic and horror fell upon them and they all surrendered. But what had happened to the bridge? Early that morning, after a few hours' sleep, the girls had waked, to see Aslan standing over them and to hear his voice saying, "We will make holiday." They rubbed their eyes and looked round them. The trees had all gone but could still be seen moving away towards Aslan's How in a dark mass. Bacchus and the Maenads - his fierce, madcap girls - and Silenus were still with them. Lucy, fully rested, jumped up. Everyone was awake, everyone was laughing, flutes were playing, cymbals clashing. Animals, not Talking Animals, were crowding in upon them from every direction. "What is it, Aslan?" said Lucy, her eyes dancing and her feet wanting to dance. "Come, children," said he. "Ride on my back again today." "Oh, lovely!" cried Lucy, and both girls climbed on to the warm golden back as they had done no one knew how many years before. Then the whole party moved off Aslan leading, Bacchus and

So, what did you want to watch?’ ‘Thought we might play a game instead,’ he said, holding up a familiar dark green box. ‘Found this on the bottom shelf of your DVD cupboard … if you tilt the glass, the champagne won’t froth like that.’ Neve finished pouring champagne into the 50p champagne flutes she’d got from the discount store and waited until Max had drunk a good half of his in two swift swallows. ‘The thing is, you might find it hard to believe but I can be very competitive and I have an astonishing vocabulary from years spent having no life and reading a lot – and well, if you play Scrabble with me, I’ll totally kick your arse.’ Max was about to eat his first bite of molten mug cake but he paused with the spoon halfway to his mouth. ‘You’re gonna kick my arse?’ ‘Until it’s black and blue and you won’t be able to sit down for a week.’ That sounded very arrogant. ‘Really, Max, Mum stopped me from playing when I was thirteen after I got a score of four hundred and twenty-seven, and when I was at Oxford, I used to play with two Linguistics post-grads and an English don.’ ‘Well, my little pancake girlfriend, I played Scrabble against Carol Vorderman for a Guardian feature and I kicked her arse because Scrabble has got nothing to do with vocabulary; it’s logic and tactics,’ Max informed her loftily, taking a huge bite of the cake. For a second, Neve hoped that it was as foul-tasting as she suspected just to get Max back for that snide little speech, but he just licked the back of the spoon thoughtfully. ‘This is surprisingly more-ish, do you want some?’ ‘I think I’ll pass.’ ‘Well, you’re not getting out of Scrabble that easily.’ Max leaned back against the cushions, the mug cradled to his chest, and propped his feet up on the table so he could poke the Scrabble box nearer to Neve. ‘Come on, set ’em up. Unless you’re too scared.’ ‘Max, I have all the two-letter words memorised, and as for Carol Vorderman – well, she might be good at maths but there was a reason why she wasn’t in Dictionary Corner on Countdown so I’m not surprised you beat her at Scrabble.’ ‘Fighting talk.’ Max rapped his knuckles gently against Neve’s head, which made her furious. ‘I’ll remind you of that little speech once I’m done making you eat every single one of those high-scoring words you seem to think you’re so good at.’ ‘Right, that does it.’ Neve snatched up the box and practically tore off the lid, so she could bang the board down on the coffee table. ‘You can’t be that good at Scrabble if you keep your letters in a crumpled paper bag,’ Max noted, actually daring to nudge her arm with his foot. Neve knew he was only doing it to get a rise out of her, but God, it was working. ‘Game on, Pancake Boy,’ she snarled, throwing a letter rack at Max, which just made him laugh. ‘And don’t think I’m going to let you win just because it’s your birthday.’ It was the most fun Neve had ever had playing Scrabble. It might even have been the most fun she had ever had. For every obscure word she tried to play in the highest scoring place, Max would put down three tiles to make three different words and block off huge sections of the board. Every time she tried to flounce or throw a strop because ‘you’re going against the whole spirit of the game’, Max would pop another Quality Street into her mouth because, as he said, ‘It is Treat Sunday and you only had one roast potato.’ When there were no more Quality Street left and they’d drunk all the champagne, he stopped each one of her snits with a slow, devastating kiss so there were long pauses between each round. It was a point of honour to Neve that she won in the most satisfying way possible; finally getting to use her ‘q’ on a triple word score by turning Max’s ‘hogs’ into ‘quahogs’ and waving the Oxford English Dictionary in his face when he dared to challenge her.