Flute Sound Quotes

Do you know when they say soul-mates? Everybody uses it in personal ads. "Soul-mate wanted". It doesn't mean too much now. But soul mates- think about it. When your soul-whatever that is anyway-something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape-when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to-even if you can't be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul's wedding must be too beautiful to even look at. It must be blinding. In must be like all the weddings in the world-gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets,showers of roses. And after that happens-that's it, this is it. But sometimes you have to let that person go. When you are little, people , movie and fairy tales all tell you that one day you're going to meet this person. So you keep waiting and it's a lot harder than they make it sound. Then you meet and you think, okay, now we can just get on with it but you find out that sometimes your sould brother partner lover has other ideas about that.

When you sit in silence long enough, you learn that silence has a motion. It glides over you without shape or form, exactly like water. Its color is silver. And silence has a sound you hear only after hours of wading inside it. The sound is soft, like flute notes rising up, like the words of glass speaking. Then there comes a point when you must shatter the blindness of its words, the blindness of its light.

It slowly began to dawn on me that I had been staring at her for an impossible amount of time. Lost in my thoughts, lost in the sight of her. But her face didn't look offended or amused. It almost looked as if she were studying the lines of my face, almost as if she were waiting. I wanted to take her hand. I wanted to brush her cheek with my fingertips. I wanted to tell her that she was the first beautiful thing that I had seen in three years. The sight of her yawning to the back of her hand was enough to drive the breath from me. How I sometimes lost the sense of her words in the sweet fluting of her voice. I wanted to say that if she were with me then somehow nothing could ever be wrong for me again. In that breathless second I almost asked her. I felt the question boiling up from my chest. I remember drawing a breath then hesitating--what could I say? Come away with me? Stay with me? Come to the University? No. Sudden certainty tightened in my chest like a cold fist. What could I ask her? What could I offer? Nothing. Anything I said would sound foolish, a child's fantasy. I closed my mouth and looked across the water. Inches away, Denna did the same. I could feel the heat of her. She smelled like road dust, and honey, and the smell the air holds seconds before a heavy summer rain. Neither of us spoke. I closed my eyes. The closeness of her was the sweetest, sharpest thing I had ever known.

I closed my eyes during a flute solo, wishing I could wrap the silvery sound around me like armor.

I threw the pearl of my soul into a cup of wine. I went down the primrose path to the sound of flutes. I lived on honeycomb.

...and for the last three minutes on the wind of a windless day I have heard the sound of drums and flute...

I have heard it called a dance, I have heard it called a battle. Some men speak of it with a knowing laugh, some with a sneer. I have heard the study market women chuckling over it like hens clucking over bread crumbs; I have been approached by bawds who spoke their wares as boldly as peddlers hawking fresh fish. For myself, I think some things are beyond words. The color blue can only be experienced, as can the scent of jasmine or the sound of a flute. The curve of a warm bared shoulder, the uniquely feminine softness of a breast, the startled sound one makes when all barriers suddenly yield, the perfume of her throat, the taste of her skin are all but parts, and sweet as they may be, they do not embody the whole. A thousand such details still would not illustrate it.

She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants, and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has molded the changing lineaments, and tinged the eyelids and the hands.

I know a flute player is technically called a "flautist," but something about it sounds a little sketchy, as does "pianist," so I will refrain.

The beauty of the flute was in its simplicity, in its resemblance to the human voice. It always sounded clear. It sounded alone. The piano, on the other hand, was a network of parts—a ship, with its strings like rigging, its case a hull, its lifted lid a sail. Kestrel always thought that the piano didn't sound like a single instrument but a twinned one, with its low and high halves merging together or pulling apart.

THE ONE WHO STAYED You should have heard the old men cry, You should have heard the biddies When that sad stranger raised his flute And piped away the kiddies. Katy, Tommy, Meg and Bob Followed, skipped gaily, Red-haired Ruth, my brother Rob, And little crippled Bailey, John and Nils and Cousin Claire, Dancin', spinnin', turnin', 'Cross the hills to God knows where- They never came returnin'. 'Cross the hills to God knows where The piper pranced, a leadin' Each child in Hamlin Town but me, And I stayed home unheedin'. My papa says that I was blest For if that music found me, I'd be witch-cast like all the rest. This town grows old around me. I cannot say I did not hear That sound so haunting hollow- I heard, I heard, I heard it clear... I was afraid to follow.

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.

But they hushed, all at once and quite abruptly, when he stood still at center stage, his arms straight out from his shoulders, and went rigid, and began to tremble with a massive inner dynamism. Nobody present had ever seen anyone stand so still and yet so strangely mobile. He laid his head back until his scalp contacted his spine, that far back, and opened his throat, and a sound rose in the auditorium like a wind coming from all four directions, low and terrifying, rumbling up from the ground beneath the floor, and it gathered into a roar that sucked at the hearing itself, and coalesced into a voice that penetrated into the sinuses and finally into the very minds of those hearing it, taking itself higher and higher, more and more awful and beautiful, the originating ideal of all such sounds ever made, of the foghorn and the ship’s horn, the locomotive’s lonesome whistle, of opera singing and the music of flutes and the continuous moanmusic of bagpipes. And suddenly it all went black. And that time was gone forever.

On hearing the subtle unstruck sounds of Om, the mind goes to the state of perfect stillness and the bliss of infinity arises. The chakras and nadis create divine melodies like a heavenly flute.

The wood echoed to the hoarse ringing of other saws; somewhere, very far away, a nightingale was trying out its voice, and at longer intervals a blackbird whistled as if blowing dust out of a flute. Even the engine steam rose into the sky warbling like milk boiling up on a nursery alchohol stove.

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.

Orioles kept making their clear three-note calls, stopping each time just long enough to let the countryside suck in the moist fluting sounds down to the last vibration.

HEARING A FLUTE ON A SPRING NIGHT IN LUOYANG From whose home secretly flies the sound of a jade flute? It's lost amid the spring wind which fills Luoyang city. In the middle of this nocturne I remember the snapped willow, What person would not start to think of home!

Suddenly an unexpected series of sounds began to be heard in this place up against the starry sky. They were the notes of Oak´s flute. It came from the direction of a small dark object under the hedge - a shephard´s hut - now presenting an outline to which an unintiated person might have been puzzled to attach either meaning or use. ... Being a man not without a frequent consciousness that there was some charm in this life he led, he stood still after looking at the sky as a useful instrument, and regarded it in an appreciative spirit, as a work of art superlatively beautiful. For a moment he seemed impressed with the speaking loneliness of the scene, or rather with the complete abstraction from all its compass of the sights and sounds of man. ... Oak´s motions, though they had a quiet energy, were slow, and their deliberateness accorded well with his occupation. Fitness being the basis of beauty, nobody could have denied tha his steady swings and turns in and about the flock had elements of grace. His special power, morally, physically, and mentally, was static. ... Oak was an intensely human man: indee, his humanity tore in pieces any politic intentions of his which bordered on strategy, and carried him on as by gravitation. A shadow in his life had always been that his flock should end in mutton - that a day could find a shepherd an arrant traitor to his gentle sheep.

This afternoon I walked through the city, making for a café where I was to meet Raphael. It was about half-past two on a day that had never really got light. It began to snow. The low clouds made a grey ceiling for the city; the snow muffled the noise of the cars until it became almost rhythmical; a steady, shushing noise, like the sound of tides beating endlessly on marble walls. I closed my eyes. I felt calm. There was a park. I entered it and followed a path through an avenue of tall, ancient trees with wide, dusky, grassy spaces on either side of them. The pale snow sifted down through bare winter branches. The lights of the cars on the distant road sparkled through the trees: red, yellow, white. It was very quiet. Though it was not yet twilight the streetlights shed a faint light. People were walking up and down on the path. An old man passed me. He looked sad and tired. He had broken veins on his cheeks and a bristly white beard. As he screwed up his eyes against the falling snow, I realised I knew him. He is depicted on the northern wall of the forty-eighth western hall. He is shown as a king with a little model of a walled city in one hand while the other hand he raises in blessing. I wanted to seize hold of him and say to him: In another world you are a king, noble and good! I have seen it! But I hesitated a moment too long and he disappeared into the crowd. A woman passed me with two children. One of the children had a wooden recorder in his hands. I knew them too. They are depicted in the twenty-seventh southern hall: a statue of two children laughing, one of them holding a flute. I came out of the park. The city streets rose up around me. There was a hotel with a courtyard with metal tables and chairs for people to sit in more clement weather. Today they were snow-strewn and forlorn. A lattice of wire was strung across the courtyard. Paper lanterns were hanging from the wires, spheres of vivid orange that blew and trembled in the snow and the thin wind; the sea-grey clouds raced across the sky and the orange lanterns shivered against them. The Beauty of the House is immeasurable; its Kindness infinite.

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

She had always thought the word 'pheromones' made it sound as though molecules were floating in the air, shaped like little fluted horns, ready to attach themselves to the nearest target. Microscopic Edison phonographs flying about, their brassy mouths puckered to sucker onto bare unsuspecting skin. These were what he sent out to her. The pheromones. The eyeless babies of energy.

Do you want to beat Van Eck?” Kaz asked. Nina blew out an exasperated breath. “Of course.” Kaz’s eyes scanned the room, moving from face to face. “Do you? Do you want your money? The money we fought, and bled, and nearly drowned for? Or do you want Van Eck to be glad he picked a bunch of nobodies from the Barrel to scam? Because no one else is going to get him for us. No one else is going to care that he cheated us or that we risked our lives for nothing. No one else is going to make this right. So I’m asking, do you want to beat Van Eck?” “Yes,” said Inej. She wanted some kind of justice. “Soundly,” said Nina. “Around the ears with Wylan’s flute,” said Jesper. One by one, they nodded.

This is getting tedious," Dee muttered. "Drive on. Turn right into the yacht club. I have an idea." He looked at Virginia. "Can you stop them?" He jerked his thumb at the cyclists. Virginia Dare gave him a withering look. "I have stopped armies. Or have you forgotten?" "I doubt you'll ever let me," he sighed. Then he stuck his fingers in his ears. Rolling her window down, Virginia placed her flute on the edge of the glass, took a deep breath, closed her eyes and blew gently. The sound was appalling.

You should have heard the old men cry You should have heard the biddies When that sad stranger rasied his flute And piped away the kiddies. Katy, Tommy, Meg, and Bob Followed skipping gailey Red-haired Ruth, my brother Ron, And little crippled Bailey Jon and Nils and Cousin Claire Dancin', spinnin', turnin' 'Cross the hills to god knows where- They never came returnin'. 'Cross the hills to god know where The piper pranced a leadin'. Each child in Hamlin town but me And I stayed home unheedin'. My papa says that I was blest For if that music fond me I'd be witch-cast like all the rest. This town grows old around me. I cannot say I did not hear That sound so hauntin' hollow. I heard, I heard, I heard it clear... I was afraid to follow.

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...

There was a sound of steel meeting steel. Devin flung a desperate look over his shoulder, saw Hewet fending off two men behind him, and looked ahead in time to see ten men in light armor ride out of the trees up ahead and drive straight for him. He almost swallowed the flute. He threw an arm over his face, too shocked to be terrified, and waited to die.

The Reed Flute's Song Listen to the story told by the reed, of being separated. "Since I was cut from the reedbed, I have made this crying sound. Anyone apart from someone he loves understands what I say. Anyone pulled from a source longs to go back. At any gathering I am there, mingling in the laughing and grieving, a friend to each, but few will hear the secrets hidden within the notes. No ears for that. Body flowing out of spirit, spirit up from body: no concealing that mixing. But it's not given us to see the soul. The reed flute is fire, not wind. Be that empty." Hear the love fire tangled in the reed notes, as bewilderment melts into wine. The reed is a friend to all who want the fabric torn and drawn away. The reed is hurt and salve combining. Intimacy and longing for intimacy, one song. A disastrous surrender and a fine love, together. The one who secretly hears this is senseless. A tongue has one customer, the ear. A sugarcane flute has such effect because it was able to make sugar in the reedbed. The sound it makes is for everyone. Days full of wanting, let them go by without worrying that they do. Stay where you are inside such a pure, hollow note. Every thirst gets satisfied except that of these fish, the mystics, who swim a vast ocean of grace still somehow longing for it! No one lives in that without being nourished every day. But if someone doesn't want to hear the song of the reed flute, it's best to cut conversation short, say good-bye, and leave.

The first flute therefore sounded exactly like what it was. The desperate cry of a reed that has been severed from its root.

Courtiers were supposed to sound musical when they spoke, their laughter like a harp chord and their sneezes like notes on a flute,

The foragers may have had their all-conquering Napoleons, who ruled empires half the size of Luxembourg; gifted Beethovens who lacked symphony orchestras but brought people to tears with the sound of their bamboo flutes; and charismatic prophets who revealed the words of a local oak tree rather than those of a universal creator god. But these are all mere guesses.

While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity. From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.

He had laid his head back until his scalp had contacted his spine, that far back, and opened his throat, and a sound rose in the auditorium like a wind coming from all four directions, low and terrifying, rumbling up from the ground beneath the floor, and it gathered into a roar that sucked at the hearing itself, and coalesced into a voice that penetrated into the sinuses, and finally into the very minds of those hearing it, taking itself higher and higher, more and more awful and beautiful, the originating ideal of all such sounds ever made, of the foghorn and the ship's horn, the locomotive's lonesome whistle, of opera singing and the music of flutes and the continuous moaning of bagpipes. And suddenly it all went black. And the time was gone forever.

My swimming suit stole my density, and now the hotdog vendor whistles at me whilst he pees in the pool. I wish he’d use a flute to flirt with me, because my ducks would like to swim in peace.

I once tried to cut down a tree using saxophone music, but it didn’t work because I was playing a flute. That’s when I started designing clothing made out of cardboard boxes and duck farming.

Lilichka! (Instead of a letter)" Tobacco smoke eats the air away. The room,-- a chapter from Kruchenykh's Inferno. Recall,-- by the window, that day, I caressed you ecstatically, with fervor. Here you sit now, with your heart in iron armor. In a day, you'll scold me perhaps and tell me to leave. Frenzied, the trembling arm in the gloomy parlor will hardly be able to fit the sleeve. I'll rush out and hurl my body into the street,-- distraught, lashed by despair and sadness. There's no need for this, my darling, my sweet. Let's part tonight and end this madness. Either way, my love is an arduous weight, hanging on you wherever you flee. Let me bellow out in the final complaint all of my heartbroken misery. A laboring bull, if he had enough, will leave and find cool water to lie in. But for me, there's no sea except for your love,-- from which even tears won't earn me some quiet. If an elephant wants to relax, he'll lie, pompous, outside in the sun-baked dune, Except for your love, there's no sun in the sky and I don't even know where you are and with whom. If you thus tormented another poet, he would trade in his love for money and fame. But nothing sounds as precious to me as the ringing sound of your darling name. I won't drink poison, or jump to demise, or pull the trigger to take my own life. Except for your eyes, no blade can control me, no sharpened knife. Tomorrow you'll forget that it was I who crowned you, who burned out the blossoming soul with love and the days will form a whirling carnival that will ruffle my manuscripts and lift them above... Will the dry autumn leaves of my sentences cause you to pause, breathing hard? Let me pave a path with the final tenderness for your footsteps as you depart. (1916)

As the steps and the passage grew broader, I heard another sound, the thin, whining mockery of a feeble flute; and suddenly there spread out before me the boundless vista of an inner world–a vast fungous shore litten by a belching column of sick greenish flame and washed by a wide oily river that flowed from abysses frightful and unsuspected to join the blackest gulfs of immemorial ocean.

Through the clouds of smoke I seemed to see all old Asia before me, and the adventures of past years behind me. A carnival of old camp-scenes danced before my mind’s eye, expiring like shooting-stars in the night—merry songs which came to an end among other mountains and the dying sound of strings and flutes. And I was surprised that I had not had enough of these things and that I was not tired of the light of camp-fires.

At evening the autumnal forests resound With deadly weapons, the golden plains And blue lakes, above them the sun Rolls more darkly by; night enfolds The dying warriors, the wild lament Of their broken mouths. But in the grassy vale the spilled blood, Red clouds in which an angry god lives, Gathers softly, lunar coldness; All roads lead to black decay. Beneath the golden boughs of night and stars The sister’s shadow reels through the silent grove To greet the ghosts of heroes, their bleeding heads; And the dark flutes of autumn sound softly in the reeds. O prouder sorrow! you brazen altars Today an immense anguish feeds the mind’s hot flame, The unborn descendants.

Lend your ear then to this tutti of steeples; diffuse over the whole the buzz of half a million of human beings, the eternal murmur of the river, the infinite piping of the wind, the grave and distant quartet of the four forests placed like immense organs on the four hills of the horizon; soften down, as with a demi-tint, all that is too shrill and too harsh in the central mass of sound, and say if you know any thing in the world more rich, more gladdening, more dazzling than that tumult of bells; than that furnace of music; than those ten thousand brazen tones breathed all at once from flutes of stone three hundred feet high; than that city which is but one orchestra; than that symphony rushing and roaring like a tempest.

I don’t regret for a single moment having lived for pleasure. I did it to the full, as one should do everything that one does. There was no pleasure I did not experience. I threw the pearl of my soul into a cup of wine. I went down the primrose path to the sound of flutes. I lived on honeycomb.

The Reed Flute's Work I say to the reed flute, You do the work, yet you know sweet secrets too. You share the Friend's breathing. What could you need from me? The reed replies, Knowledge is total destruction. I say, Burn me completely then and leave no knowing. How could I, when it's knowledge that leads us? But this knowledge has lost compassion and grown disgusted with itself. It has forgotten about silence and emptiness. A reed flute has nine holes and is a model of human consciousness, beheaded, though still in love with lips. This is your disgrace, this moaning. Weep for the sounds you make.

If it is not my portion to meet thee in this life then let me ever feel that I have missed thy sight---let me not forget for a moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours. As my days pass in the crowded market of this world and my hands grow full with the daily profits, let me ever feel that I have gained nothing---let me not forget for a moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours. When I sit by the roadside, tired and panting, when I spread my bed low in the dust, let me ever feel that the long journey is still before me---let me not forget a moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours. When my rooms have been decked out and the flutes sound and the laughter there is loud, let me ever feel that I have not invited thee to my house---let me not forget for a moment, let me carry the pangs of this sorrow in my dreams and in my wakeful hours.

Debatable how long the seduction took. The smarter the girl, the swifter these things go. Physical forwardness as intellectual highwire act: the pleasure not of pleasure but of performance and revenge against the retainer, the flute, the stack of expectations. Sex as rebellion against the way things should be. [Sounds familiar? It is. No story on earth more common.] For

When the denizens of the land arrive in the depths of the blue waters, aquatic love takes them into its shelter, they forget the sound of the anklets of the daughters of the land, they sleep with the mermaids, and afterwards, they sigh with regret for the warmth they have lost, they long for weeping, and awaiting a reed flute player, they stare at the far-away surface of the water.

I don't regret for a single moment having lived for pleasure. I did it to the full, as one should do everything that one does. There was no pleasure I did not experience. I threw the pearl of my soul into a cup of wine. I went down the primrose path to the sound of flutes. I lived on honeycomb. But to have continued the same life would have been wrong, because it would have been limiting.

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.

John has a narrow mind. For him, neither the beauty nor the prosperity of the city of Ephesus is worth a second glance. Ephesus was situated at the end of the Silk Road from China and the caravan route from India which used to pass through the Parthian Empire en route to the West. But the prophet is quite unaware that this particular world exists at all. Even culture means absolutely nothing to him; for example, in 18:22 he rejoices that not only song but also the sound of the flute have disappeared. The world which he knows is limited to the seven churches whose Christianity corresponded with his own; and that in but a single province of the Roman Empire, namely Asia. As to the rest, he is only familiar with the mother church in Jerusalem and the sister church in Rome. John is utterly obsessed by Rome. The fact that this particular metropolis had bestowed both law and peace upon no less than one-half of the world never got through to him at all. He is also quite oblivious of the fact that Rome oppresses nations and exploits slaves. He could not care less about national or social considerations. He abominates the "whore on the seven hills" simply because Rome is persecuting Christians. This is precisely what the Apocalypse is all about: innocent suffering.

Later, as the sisters grew, Esther hyperfocused on their differences, but as a little kid she'd been far more hypnotised by their sameness. They both loved chewing lemon peels and watermelon rinds, loved pictures of goats but not actual goats, loved putting sand in their hair so they could scratch it out later, loved watching their parents slow-dance in the living room to Motown records. They loved the sound of the wind, the sound of breaking ice, the sound of coyotes calling on the mountain. They disliked zippers, ham, the word 'milk', flute music, the gurgling sound of the refrigerator, Cecily's long weekends away, Abe's insistence on regular chess matches, and days with no clouds. They disliked the boxes of books that came to their door daily or were lugged home by their father, disliked their dusty lonesome smell and how they consumed Abe's attention. They disliked when their parents closed the bedroom door and fought in whispers. They hated the phrase 'half sister.' There had been no half about it.

This twinned twinkle was delightful but not completely satisfying; or rather it only sharpened my appetite for other tidbits of light and shade, and I walked on in a state of raw awareness that seemed to transform the whole of my being into one big eyeball rolling in the world's socket. Through peacocked lashes I saw the dazzling diamond reflection of the low sun on the round back of a parked automobile. To all kinds of things a vivid pictorial sense had been restored by the sponge of the thaw. Water in overlapping festoons flowed down one sloping street and turned gracefully into another. With ever so slight a note of meretricious appeal, narrow passages between buildings revealed treasures of brick and purple. I remarked for the first time the humble fluting - last echoes of grooves on the shafts of columns - ornamenting a garbage can, and I also saw the rippling upon its lid - circles diverging from a fantastically ancient center. Erect, dark-headed shapes of dead snow (left by the blades of a bulldozer last Friday) were lined up like rudimentary penguins along the curbs, above the brilliant vibration of live gutters. I walked up, and I walked down, and I walked straight into a delicately dying sky, and finally the sequence of observed and observant things brought me, at my usual eating time, to a street so distant from my usual eating place that I decided to try a restaurant which stood on the fringe of the town. Night had fallen without sound or ceremony when I came out again. ("The Vane Sisters")

He's a funny one," said Ida. "Here's how he sound." She pursed her lips and, expertly, imitated the red-winged blackbird's call: not the liquid piping of the wood thrush, which dipped down into the dry tchh tchh tchh of the cricket's birr and up again in delerious, sobbing trills; not the clear, three-note whistle of the chickadee or even the blue jay's rough cry, which was like a rusty gate creaking. This was an abrupt, whirring, unfamiliar cry, a scream of warning -congeree!- which choked itself off on a subdued, fluting note.

He loves to stop on the corner and watch the ceramics fixer write numbers on the insides of the shards of a broken vase, drill tiny holes, brush the edges with egg white and secure them with wire, an act that gives him hope that anything shattered might, with enough skill and patience, be repaired. He loves the workshop of his music teacher, Oktay, on a narrow street deep in a Muslim quarter, the shop like a birdcage, hung with drying lengths of cane that Oktay fashions into neys, woodwind flutes whose sound—it was Rumi who said it—is not wind but fire.

أعطني الناي وغني ~ جبران خليل جبران أعطني الناي وغني فالغنا سر الوجود وأنين الناي يبقى بعد أن يفنى الوجود هل إتخذت الغاب مثلي منـزلاً دون القصور فتتبعت السواقي وتسلقت الصخور هل تحممت بعطره وتنشفت بنور وشربت الفجر خمراً من كؤوس من أثير هل جلست العصر مثلي بين جفنات العنب والعناقيد تدلت كثريات الذهب هل فرشت العشب ليلاً وتلحفت الفضاء زاهداً في ما سيأتي ناسياً ما قد مضى أعطني الناي وغني وانسى داء ودواء إنما الناس سطورٌ كتبت لكن بماء. Give me the Flute and Sing Give me the flute and sing for singing is the secret of existence. And the sound of the flute remains. After the end of existence. Have you, as i did, taken the jungle. A house without limitations. Have you followed the Runnels. And climbed the rocks. have you bathed in its fragrance and dried yourself in its light. Have you tried drinking the Dawn as your wine out of divine cups. Have you, as i did, sat in the afternoon. Between the grapes plants with the clusters hanging like golden chandlers. Have you, as i did, slept on the grass at night. And used the sky as you blanket. Ascetic in what will come. Forgetting what has passed. Give me the flute and sing. Forget the disease and medication. For people are only lines. written with water.

The liquid sound of the flute began. As the girl's thin fingers moved over the seven holes of the instrument, her knuckles look like tiny gnomes absorbed in a slow dance. It was a low sound, like the gurgling of a brook. Takuan felt that he himself had turned into flowing water, splashing through a ravine, playing in the shallows. When the high notes sounded, he felt his spirit wafted into the sky to gambol with the clouds. The sound of the earth and the reverberations of heaven mingled and were transformed into the wistful sighs of the breeze blowing through the pines, lamenting the impermanence of this world.

These long millennia may well have witnessed wars and revolutions, ecstatic religious movements, profound philosophical theories, incomparable artistic masterpieces. The foragers may have had their all-conquering Napoleons, who ruled empires half the size of Luxembourg; gifted Beethovens who lacked symphony orchestras but brought people to tears with the sound of their bamboo flutes; and charismatic prophets who revealed the words of a local oak tree rather than those of a universal creator god. But these are all mere guesses. The curtain of silence is so thick that we cannot even be sure such things occurred – let alone describe them in detail.

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.

It’s dark as a tomb in here,” she said, unable to see more than shadows. “Will you light the candles, please,” she asked, “assuming there are candles in here?” “Aye, milady, right there, next to the bed.” His shadow crossed before her, and Elizabeth focused on a large, oddly shaped object that she supposed could be a bed, given its size. “Will you light them, please?” she urged. “I-I can’t see a thing in here.” “His lordship don’t like more’n one candle lit in the bedchambers,” the footman said. “He says it’s a waste of beeswax.” Elizabeth blinked in the darkness, torn somewhere between laughter and tears at her plight. “Oh,” she said, nonplussed. The footman lit a small candle at the far end of the room and left, closing the door behind him. “Milady?” Berta whispered, peering through the dark, impenetrable gloom. “Where are you?” “I’m over here,” Elizabeth replied, walking cautiously forward, her arms outstretched, her hands groping about for possible obstructions in her path as she headed for what she hoped was the outside wall of the bedchamber, where there was bound to be a window with draperies hiding its light. “Where?” Berta asked in a frightened whisper, and Elizabeth could hear the maid’s teeth chattering halfway across the room. “Here-on your left.” Berta followed the sound of her mistress’s voice and let out a terrified gasp at the sight of the ghostlike figure moving eerily through the darkness, arms outstretched. “Raise your arm,” she said urgently, “so I’ll know ‘tis you.” Elizabeth, knowing Berta’s timid nature, complied immediately. She raised her arm, which, while calming poor Berta, unfortunately caused Elizabeth to walk straight into a slender, fluted pillar with a marble bust upon it, and they both began to topple. “Good God!” Elizabeth burst out, wrapping her arms protectively around the pillar and the marble object upon it. “Berta!” she said urgently. “This is no time to be afraid of the dark. Help me, please. I’ve bumped into something-a bust and its stand, I think-and I daren’t let go of them until I can see how to set them upright. There are draperies over here, right in front of me. All you have to do is follow my voice and open them. Once we do, ‘twill be bright as day in here.” “I’m coming, milady,” Berta said bravely, and Elizabeth breathed a sigh of relief. “I’ve found them!” Berta cried softly a few minutes later. “They’re heavy-velvet they are, with another panel behind them.” Berta pulled one heavy panel back across the wall, and then, with renewed urgency and vigor, she yanked back the other and turned around to survey the room. “Light as last!” Elizabeth said with relief. Dazzling late-afternoon sunlight poured into the windows directly in front of her, blinding her momentarily. “That’s much better,” she said, blinking. Satisfied that the pillar was quite sturdy enough to stand without her aid, Elizabeth was about to place the bust back upon it, but Berta’s cry stopped her. “Saints preserve us!” With the fragile bust clutched protectively to her chest Elizabeth swung sharply around. There, spread out before her, furnished entirely in red and gold, was the most shocking room Elizabeth had ever beheld: Six enormous gold cupids seemed to hover in thin air above a gigantic bed clutching crimson velvet bed draperies in one pudgy fist and holding bows and arrows in the other; more cupids adorned the headboard. Elizabeth’s eyes widened, first in disbelief, and a moment later in mirth. “Berta,” she breathed on a smothered giggle, “will you look at this place!

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.

Eggs will come through on a little conveyor belt—here! I’ll draw it.” “I want to draw some breakfast,” Dessie said. “What’s the shape of a fried egg? How would you color the fat and lean of a strip of bacon?” “You’ll have it,” he cried, and he opened the stove lid and assaulted the fire with the stove lifter until the hairs on his hand curled and charred. He pitched wood in and started his high whistling. Dessie said, “You sound like some goat-foot with a wheat flute on a hill in Greece.” “What do you think I am?” he shouted. Dessie thought miserably, If his is real, why can’t my heart be light? Why can’t I climb out of my gray ragbag? I will, she screeched inside herself. If he can—I will. She said, “Tom!” “Yes.” “I want a purple egg.

I shouldn’t mind being his wife at all, if he ever asks me.” It was at that moment that Mr. Gregory looked up and caught them watching him. He smiled and raised his glass of champagne to them. Eve smiled in return before turning to snatch a similar glass for each of them off the tray of a passing footman. “See? He catches me staring and he barely reacts. Most men would be halfway across the floor already.” Rose took a sip from the flute her friend had given her. “Perhaps he is so confident in his intent to have you that he feels he needn’t exert himself.” The blonde made an indelicate sound. “He’d better reconsider exerting himself, otherwise I’m likely to find someone with less confidence.” How Rose wished she had that kind of self-value.

Give me the flute and sing for singing is the secret of existence And the sound of the flute remains after the end of existence. Have you, as i did, taken the jungle A house without limitations Have you followed the Runnels And climbed the rocks have you bathed in its fragrance and dried yourself in its light Have you tried drinking the Dawn as your wine out of divine cups Have you, as i did, sat in the afternoon Between the grapes plants with the clusters hanging like golden chandlers... Have you, as i did, slept on the grass at night And used the sky as you blanket Ascetic in what will come Forgetting what has passed Give me the flute and sing Forget the disease and medication For people are only lines written with water

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.

The women sat with their jewelled boy-dolls in their arms. On the edge of the floor was the music, the tambours and the cytheras, the cymbals and Egyptian harps, the skirling pipes from the aulos to the little flute of ivory whose fine sound flickers like a snake’s forked tongue. The music shrilled, wounding the deathly silence in which the dark god stood waiting. And in the midst of the maze, strung along the crooked path of scoured white marble, hair and skirts and jewels swinging, arms entwined and slim waists swaying to the beat, was the wreath of women, weaving and twisting and turning on itself, like the house snake who sloughs his winter skin and is made new again. It bent about and came toward me. I saw her face, gay and flashing, touched by no dread, no shadow, leading the dance.

At the foot of the mountain the old man found himself in a broad glade grown thick with rushes, a small stream looping placidly over shallow sands stippled with dace shadows, the six-pointed stars of skating waterspiders drifting like bright frail medusas. He squatted and dipped a palmful of water to his lips, watched the dace drift and shimmer. Scout waded past him, elbow-deep into the stream, lapped at it noisily. Strings of red dirt receded from his balding hocks, marbling in the water like blood. The dace skittered into the channel and a watersnake uncurled from a rock at the far bank and glided down the slight current, no more demonstrative of effort or motion than a flute note. The old man drank and then leaned back against the sledge. The glade hummed softly. A woodhen called from the timber on the mountain and to that sound of all summer days of seclusion and peace the old man slept.

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.

The - pan-ic - " he began but got no further, for Gloria's hand swung around swiftly and caught him in the cheek. At this he all at once let go of her, and she fell to the floor, her shoulder hitting the table a glancing blow in transit... Then the room seemed full of men and smoke. There was Tana in his white coat reeling about supported by Maury. Into his flute he was blowing a weird blend of sound that was known, cried Anthony, as the Japanese train song. Joe Hull had found a box of candles and was juggling them, yelling "One down!" every time he missed, and Dick was dancing by himself in a fascinated whirl around and about the room. It appeared to her that everything in the room was staggering in a grotesque fourth-dimensional gyrations through intersecting planes of hazy blue. Outside the storm had come up amazingly - the lulls within were filled with the scrape of the tall bushes against the house and the roaring of the rain on the tin roof of the kitchen.

Behold at a sign from heaven, because it comes from the Sun itself, those thousand churches trembling all at once. At first a faint tinkling passes from church to church...see how, all of a sudden, at the same moment, there rises from each steeple as it were a column of sound, a cloud of harmony. At first the vibration of each bell rises straight, pure, and in a manner separate from that of the others, into the splendid morning sky; then swelling by degrees, they blend, melt, intermingle, and amalgamate into a magnificent concert...this sea of harmony, however, is not chaos... This is truly an opera well worth listening to...In this case the city sings....Say if you know anything in the world more rich, more joyful, more golden, more overwhelming than that tumult of bells, than that furnace of music, than those ten thousand voices of bronze singing all at once from flutes of stone three hundred feet high, than that city which has become an orchestra, than that symphony which roars like a storm.

yes, I know, you wouldn’t get anything for your cello and flute and piano lessons, but at least you’d eat every day, child, Garçon Fleur, you remember that don’t you, that’s what they called you when people came from all around to hear you play a Bach sonata on the piano or conduct a jazz band that Garçon Fleur is dead though, just a fake, an illusion the boy murmured sombrely, or perhaps he didn’t and the words simply weighed on his lips and forehead without the strength to force them out of the unseeing shade inside the hood pulled all the way down to his brows; and soon night would fall, time for him to fall asleep like Petites Cendres, his dog stretched out beside him and the flute hidden in the folds of his coat, sleep, thought Fleur, just so I don’t hear or see them anymore, at least not till tomorrow, so even if I play well on any instrument, just a fake, an illusion, it’s because I love it that I can’t get free, now it’s become merely a mechanical longing for the loftiest sounds possible,

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

For the strange thing is that Scott-King was definitely blasé. Something of the kind has been hinted before, yet, seeing him cross the quadrangle to the chapel steps, middle-aged, shabby, unhonoured and unknown, his round and learned face puckered against the wind, you would have said: ‘There goes a man who has missed all the compensations of life—and knows it.’ But that is because you do not yet know Scott-King; no voluptuary surfeited by conquest, no colossus of the drama bruised and rent by doting adolescents, not Alexander, nor Talleyrand, was more blasé than Scott-King. He was an adult, an intellectual, a classical scholar, almost a poet; he was travel-worn in the large periphery of his own mind, jaded with accumulated experience of his imagination. He was older, it might have been written, than the rocks on which he sat; older, anyway, than his stall in chapel; he had died many times, had Scott-King, had dived deep, had trafficked for strange webs with Eastern merchants. And all this had been but the sound of lyres and flutes to him.

Watching, the ancient bull whale was swept up in memories of his own birthing. His mother had been savaged by sharks three months later; crying over her in the shallows of Hawaiki, he had been succoured by the golden human who became his master. The human had heard the young whale’s distress and had come into the sea, playing a flute. The sound was plangent and sad as he tried to communicate his oneness with the young whale’s mourning. Quite without the musician knowing it, the melodic patterns of the flute’s phrases imitated the whalesong of comfort. The young whale drew nearer to the human, who cradled him and pressed noses with the orphan in greeting. When the herd travelled onward, the young whale remained and grew under the tutelage of his master. The bull whale had become handsome and virile, and he had loved his master. In the early days his master would play the flute and the whale would come to the call. Even in his lumbering years of age the whale would remember his adolescence and his master; at such moments he would send long, undulating songs of mourning through the lambent water. The elderly females would swim to him hastily, for they loved him, and gently in the dappled warmth they would minister to him. In a welter of sonics, the ancient bull whale would communicate his nostalgia. And then, in the echoing water, he would hear his master’s flute. Straight away the whale would cease his feeding and try to leap out of the sea, as he used to when he was younger and able to speed toward his master. As the years had burgeoned the happiness of those days was like a siren call to the ancient bull whale. But his elderly females were fearful; for them, that rhapsody of adolescence, that song of the flute, seemed only to signify that their leader was turning his thoughts to the dangerous islands to the south-west.

FACING THE MUSIC Many years ago a man conned his way into the orchestra of the emperor of China although he could not play a note. Whenever the group practiced or performed, he would hold his flute against his lips, pretending to play but not making a sound. He received a modest salary and enjoyed a comfortable living. Then one day the emperor requested a solo from each musician. The flutist got nervous. There wasn’t enough time to learn the instrument. He pretended to be sick, but the royal physician wasn’t fooled. On the day of his solo performance, the impostor took poison and killed himself. The explanation of his suicide led to a phrase that found its way into the English language: “He refused to face the music.”2 The cure for deceit is simply this: face the music. Tell the truth. Some of us are living in deceit. Some of us are walking in the shadows. The lies of Ananias and Sapphira resulted in death; so have ours. Some of us have buried a marriage, parts of a conscience, and even parts of our faith—all because we won’t tell the truth. Are you in a dilemma, wondering if you should tell the truth or not? The question to ask in such moments is, Will God bless my deceit? Will he, who hates lies, bless a strategy built on lies? Will the Lord, who loves the truth, bless the business of falsehoods? Will God honor the career of the manipulator? Will God come to the aid of the cheater? Will God bless my dishonesty? I don’t think so either. Examine your heart. Ask yourself some tough questions. Am I being completely honest with my spouse and children? Are my relationships marked by candor? What about my work or school environment? Am I honest in my dealings? Am I a trustworthy student? An honest taxpayer? A reliable witness at work? Do you tell the truth . . . always? If not, start today. Don’t wait until tomorrow. The ripple of today’s lie is tomorrow’s wave and next year’s flood. Start today. Be just like Jesus. Tell the truth, the whole truth, and nothing but the truth.

The village square teemed with life, swirling with vibrant colors and boisterous chatter. The entire village had gathered, celebrating the return of their ancestral spirit. Laughter and music filled the air, carrying with it an energy that made Kitsune smile. Paper lanterns of all colors floated lazily above, their delicate glow reflecting on the smiling faces below. Cherry blossoms caught in the playful breeze, their sweet, earthy scent settling over the scene. At the center, villagers danced with unbridled joy, the rhythm of the taiko drums and the melody of flutes guiding their steps. To the side, a large table groaned under the weight of a feast. Sticky rice balls, steamed dumplings, seaweed soup, sushi, and more filled the air with a mouthwatering aroma. As she approached the table, she was greeted warmly by the villagers, who offered her food, their smiles genuine and welcoming. She filled a plate and sat at a table with Goro and Sota, overlooking the celebration. The event brought back a flood of memories of a similar celebration from her childhood—a time when everything was much simpler and she could easily answer the question who are you? The memory filled her heart with a sweet sadness, a reminder of what she lost and what had carved the road to where she was now. Her gaze fell on the dancing villagers, but she wasn’t watching them. Not really. Her attention was fully embedded in her heart ache, longing for the past, for the life that was so cruelly ripped away from her. “I think... I think I might know how to answer your question,” she finally said, her voice soft and steady, barely audible over the cacophony of festivity around them. “Oh?” Goro responded, his face alight with intrigue. “I would have to tell you my story.” Kitsune’s eyes reflected the somber clouds of her past. Goro swallowed his bite of food before nodding. “Let us retire to the dojo, and you can tell me.” They retreated from the bustling square, leaving behind the chaos of the celebration. The sounds of laughter and chatter and drums carried away by distance. The dojo, with its bamboo and sturdy jungle planks, was bathed in the soft luminescence of the moonlight, the surface of its wooden architecture glistening faintly under the glow. They stepped into the silent tranquility of the building, and Kitsune made her way to the center, the smooth, cool touch of the polished wooden floor beneath her providing a sense of peace. Assuming the lotus position, she calmed herself, ready to speak of memories she hadn’t confronted in a long time. Not in any meaningful way at least. Across from her, Goro settled, his gaze intense yet patient, encouraging her with a gentle smile like he somehow already understood her story was hard to verbalize.

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.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

Sweeter than the scent of flatbread baking was that of oiled leather. More welcoming than the sound of flutes was that of practice swords rapping against one another. Wherever he was, and whatever station he obtained, a place like this would always be home.

After dinner, I popped open a bottle of champagne and we drank from cracked flutes while watching the last of mother nature’s brilliant display. Halfway through the bottle, we made love to the sounds of our popping campfire, the distant rumbling waves, and a breeze rustling overhead palm fronds.

Bathe deeply in that ocean of sound Vibrating within you, now as always, Resonating softly, Permeating the space of the heart. The ear that is tuned by rapt listening Learns to hear the song of creation. First like a hand bell, Then subtler, like a flute, Subtler still as a stringed instrument, Eventually as the buzz of a bee. Entering this current of sound, The Listening One Forgets the external world, becomes Absorbed into internal sound, Then absorbed in vastness, Like the song of the stars as they shine.

And second, Aristotle’s flourishing, to me, is a sort of “runner’s high” for the totality of our existence—it’s a sense of completeness that flows through us when we are nailing every aspect of being human. So in Aristotle’s view, the very purpose of living is to flourish—just like the purpose of a flute is to produce beautiful music, and the purpose of a knife is to cut things perfectly. And it sounds awesome, right? #LivingOurBestLives? Just totally acing it? Aristotle’s a good salesman, and he gets us all excited with his pitch: we can all, in theory, achieve this super-person status. But then he drops the hammer: If we want to flourish, we need to attain virtues. Lots of them. In precise amounts and proportions.

His accent was thin and reedy. He had no gift for rousing oratory but a misplaced sense that his rank gifted him with this talent. He sounded, as Gallipoli von Kessler said, as though he were playing a flute out of his arse.

Mother Tibbs made but an indifferent housemaid, for she spent most of her time at the garden gate, waving her handkerchief to the passers-by. And if, when at her work, she heard the sound of a fiddle or flute, however distant, she would instantly stop whatever she was doing and start dancing, brandishing wildly in the air broom, or warming-pan, or whatever domestic implement she may have been holding in her hands at the time.

An official Taliban gazette published a week before the September 11 attacks clarified the following list of items formally banned in the Islamic Emirate: “The pig itself; pork; pig fat; objects made of human hair; natural human hair; dish antennas; sets for cinematography and sound recording projectors; sets for microphotography, in case it is used in the cinema; all instruments which themselves produce music, such as the piano, the harmonium, the flute, the tabla, the tanbour, the sarangi; billiard tables and their accessories; chess boards; carom boards; playing cards; masks; any alcoholic beverage; all audio cassettes, video cassettes, computers and television which include sex and music; centipedes; lobsters (a kind of sea animal); nail polish; firecrackers; fireworks (for children); all kinds of cinematographic films, even though they may be sent abroad; all statues of animate beings in general; all sewing catalogues which have photos of animate beings; published tableaus (photos); Christmas cards; greeting cards bearing images of living things; neckties; bows (the thing which strengthens the necktie); necktie pins.

1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.

The flute sounded rich and mellow now. It spoke of confidence and security. Compared to the frightened loneliness of Ash’s early song, this made Holt’s heart swell with relief and pride. What had once been delicate harp notes had aged as well, still otherworldly in their origin, yet now filled with a power of their own. It was the song of a young stag from a kingly line stepping comfortably through his domain at night, a song to rouse lost souls in the dark and give them the courage to find their way home.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Touch not the flute when drums are sounding around; when fools have the word, the wise will be silent.

6. Moreover, Moses was the inventor of the form of their trumpet, which was made of silver. Its description is this: — In length it was little less than a cubit. It was composed of a narrow tube, somewhat thicker than a flute, but with so much breadth as was sufficient for admission of the breath of a man's mouth: it ended in the form of a bell, like common trumpets. Its sound was called in the Hebrew tongue Asosra.

The autumn moon is dancing in the green waters of Lake Nan-Hou. Now the sound of my oars has troubled the love-song of white water-lilies singing to the moon.

The soft, smooth substance filled her mouth. Chocolate cream, she thought. The flavor grew richer, rounder, louder with each passing second. It was like music, the notes lingering in her mind long after the sound itself had vanished. He was openly staring at her. "You eat with such concentration and intensity. And, dare I say it, joy?" Joy? The word was so foreign, especially in relation to food. It embarrassed her; she took a sip of the wine and concentrated on the way the flavors changed. She thought of music again. The sweet wine was like the trill of a flute, and suddenly the foie gras, which had reminded her more of pastry than meat, became robust, substantial.

That’s great Komachi,” he said to her. And it was, because it meant that soon it would sound like a child blowing on a flute instead of somebody sticking it into the wrong end after an all-you-can-eat meal at taco bell.

The Ballad of the Woe of the Children of Polaris How, being lost, Will we find ourselves, In this labyrinth of the Soul, Where everything is deception, lies, and depravity? If I seek water and find oil, If the light no longer illuminates, If love no longer loves, If kindness no longer gives; And then, the one who once left will return, And those who yearn will receive their Reward, Of the sweetest Wine, Of the softest Flute, And of the most resounding cymbal, They will hear the Sound and the Clamor, And in the Direction of the North Star, The proudest and strongest bull of the Flock, Will be slaughtered by the weakest Matador, And the fields will not be sown, And the waters will become poison, And the wind will bring plague, and the sky will darken, The ground will tremble in the desert and your Castles will become ruins, Your gold will turn to iron, And your lying lips Will continue to murmur blasphemies, But your tongue will be cut, And there will be weeping and gnashing of teeth, And those who bear the symbol of redemption In their hearts, Will be tested, And in the end, they will be Saved, Only in Spirit, For Salvation is not of this world, And, afterward, those who were not given to drink Will be intoxicated with the water of the sweetest Stream, And those who were not given to eat Will be satisfied, Your hard and wicked heart Will be softened and turned to Water, So that you may, once again, Drink from the Fountain of Living Water, The one that never ceases to flow, From the Oriental Gardens.

In the semi-darkness, Tom thought he saw faces-- or were they masks?-- that seemed to be covered in feathers or fur. And there was a summery scent of sun-ripened fruit; of night-blooming flowers; of new-baked bread; and frying mushrooms, and bilberry wine, and sandalwood, and cedar, and musk; and fresh-laundered sheets all wild from the wind. Now he could hear music, too; the sound of flutes and fiddles and distant voices raised in song; the soft, persistent rhythms of drums; the distant chirp of silver bells.

Love is the only miracle there is. Love is the ladder from hell to heaven. Love learned well, you have learned all. Love missed, you missed your whole life. One who knows love has known the Beloved: love is the insight into the Beloved. One who asks about light, simply says that he is blind. One who asks about God, simply says his heart has not bloomed into love. Never ask about God. If you cannot see him that simply shows you don't have eyes to see. If you cannot hear him that simply shows you are deaf. If you cannot touch him that simply shows you are without hands -- that you don't have any sensitivity. God is not far away, God is herenow. All that is, is in God and is God -- so how can God be the problem? God is not to be searched: where will you search him? He is everywhere -- you just have to learn how to open your eyes of love. Once love has penetrated your heart, God is there. In the thrill of love is the Beloved: in the vision of love is the vision of God. Love changes the whole climate of your inner being -- and with that change the whole existence is changed. Nothing is changed on the outside -- but once you are full of love you have a totally different existence available to you. God and the world are not two things, it is the one existence. There is only one existence: seen without love, it looks material; seen without love, God looks like the world -- SANSARA. Seen with love, the world is transformed, transfigured... and the very world becomes divine. Yes, then in sight there is music. When love has dawned, then miracles happen -- even in sight there is music; in sound, a luminous silence. Love is magical. And Kabir's whole teaching is that of love: he calls love "the divine melody." The heart, pulsating in love, becomes a flute on the lips of God... and a song is born. That song is religion. ...religion is born only when somebody pulsates with love. Each individual has to give birth to a religion.. To be religious you have to give birth to religion in your innermost core, in your very core: when religion is born THERE, only then are you religious. When you are born in love, religion is born in you -- and then your whole life is a melody, a beautiful song. And then you will be surprised that nothing is wrong: all fits together. Right now, nothing fits together. Right now, you are a mess: right now, you are an anarchy. Right now, you are just traffic noise -- rushing in all directions, falling apart, disintegrating. Right now, you are nothing but anguish, agony. Once love is born, you have a center. Once love is born, you are centered -- and everything falls in tune with the center. You become an orchestra, a beautiful harmony. It is hidden in you: you have brought it into the world, it is yet unmanifest. Kabir says: Manifest it -- let your love be manifested. In that manifestation will be your prayer.

Shall I pour for you madam?” he asks. It is an appropriate question and yet he makes it sound like a scorching proposal… “Mmmm, please,” is all I manage in reply. I watch him filling the crystal flutes one at a time. He is meticulous and seems to deliberately take a long time to complete the job. The room is silent – except, it seems, for the sounds of my excited breathing. “Is there anything else I can do to help you enjoy your stay?” he probes, raising one dark eyebrow ever so slightly...

I have no musical talent. My clarinet sounded like an apoplectic yak. For the brief days I blew the trumpet, a hostile-sounding pig snorted along in jerky fits and starts with the rest of the irritated band. I never knew when a sound was actually going to come out of the horn and it always startled me when it did. My violin unleashed a trio of enraged, tone-deaf banshees, and I couldn’t blow the flute well enough to make any more sound than with my lower lip on a soda bottle. Something about the pucker eluded me. The drums turned my arms into a pretzel-prison from which there was no escape. I would have given the tambourine a try—I really think I might have excelled at the hip-bump—but sadly the instrument wasn’t offered at my school. I think that’s why I love my iPod so much. I have music in my soul and can’t get it out.

But what a humiliation, when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singing and I could not distinguish a sound! Such circumstances brought me to the brink of despair, and had well nigh made me put an end to my life: nothing but my art held my hand.

If I go into company, a painful anxiety comes over me, since I am apprehensive of being exposed to the danger of betraying my situation. Such has been my state, too, during this half year that I have spent in the country. Enjoined by my intelligent physician to spare my hearing as much as possible, I have been almost encouraged by him in my present natural disposition; though, hurried away by my fondness for society, I sometimes suffered myself to be enticed into it. But what a humiliation, when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singing and I could not distinguish a sound! Such circumstances brought me to the brink of despair, and had well nigh made me put an end to my life: nothing but my art held my hand. Ah! it seemed to me impossible to quit the world before I had produced all that I felt myself called to accomplish. And so I endured this wretched life—so truly wretched, that a somewhat speedy change is capable of transporting me from the best into the worst condition. Patience—so I am told—I must choose for my guide. I have done so.

Yeah, this place needs a better-quality blueberry muffin." I raised a pointed finger. "And I could provide it." "You sound pretty sure of yourself," Jim said, placing a pat of butter on his baked potato. "And there are always blueberry pies," I said, pausing to think of other possibilities. "Turnovers, cakes, croissants..." I popped the fry into my mouth. "I don't think anybody's done blueberry croissants." "No," Jim said slowly. "I don't think they have." "Of course, I'd sell some other things, too. Can't all be blueberries," I mused as I began to envision the bakery- a tray of lemon pound cake, peach cobbler in a fluted casserole, a basket of pomegranate-and-ginger muffins. I could see myself pulling a baking sheet of cookies from the oven, the smell of melted chocolate in the air. There would be white wooden tables and chairs in the front room, and people could order coffee and sandwiches. Maybe even tea sandwiches, like the ones Gran used to make. Cucumber and arugula. Bacon and egg. Curried chicken.

But why should a flute make a sound which is smoother and less complex than that of a violin or oboe? To answer this question we have to think about musical instruments as machines which produce notes. All these machines are designed to produce repeating ripple patterns of pressure in the air and they all do this in different ways. For example, playing a flute involves a straightforward method of setting up vibrations in a column of air. There are no moving parts inside a flute, just this simple vibrating body of air. Playing a violin, on the other hand, involves a rather complicated