Harp Instrument Quotes

My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tamboura I sound and clash inside myself. All I hear is the symphony.

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.

My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tambours I sound and clash inside myself. All I hear is the symphony.

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.

"My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tambours I sound and clash inside myself. All I hear is the symphony."

There is no need to be worried by facetious people who try to make the Christian hope of ‘Heaven’ ridiculous by saying they do not want ‘to spend eternity playing harps’. The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

Lying on her side, the warm fire at her feet, Helen's laughter died away as Lucas suddenly went from tuning to playing. It was like an orchestra in an instrument. He played with both hands-not one hand picking and the other holding down strings-but with both hands so that it sounded like more than one guitar was playing. Sometimes he hit the strings to make them hum like a harp, and sometimes he hit the body of the guitar like a drum to add bass and keep time. It was the most fascinating thing Helen had ever watched, like Lucas had a dozen voices in his head, all singing the same song, and he'd figured a way to make them come out of ten fingers. Helen looked at his face and could tell why he loved it. It was like thinking for him, only this was a puzzle that he could share with her as he solved it. He'd walked into her head when he'd come to her world. And she'd walked into his when she finally heard him play. It was heaven.

Pipes are not to be used for teaching, nor any artificial instruments, as the harp, or the like: but whatsoever will make the hearers good men.

My soul is a hidden orchestra; I know not what instruments with fiddle-strings & harps, drums & tambourines, I sound & clash inside myself. All I hear is the symphony.

My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tamboura I sound and clash inside myself. All I hear is the symphony.” ― Fernando Pessoa, The Book of Disquiet

Brynne Tvarika Lakshmi Balamuralikrishna Rao was a lot of things. She was an amazing cook, and a fierce wrestler. She had an awful temper and once tried to crack a cinder block just by barreling into it headfirst. Granted, she got knocked out for an hour, but the cinder block definitely had a line through it, so that was pretty much a win. Brynne was even fairly decent at playing the harp, though she hated admitting that her uncles, Gunky and Funky, had signed her up for lessons on that instrument. But if there was one thing she was known for, it was never giving up. She absolutely, flat-out refused.

My soul is like a hidden orchestra; I do not know which instruments grind and play away inside of me, strings and harps, timbales and drums. I can only recognize myself as symphony.

Coleridge wrote a poem called ‘The Eolian Harp,’ in which he explored the notion of music slumbering on its instrument. It's a gorgeous poem! It moves through thoughts and moods of the soul as if we're all but harps waiting for a breeze to pass through us to animate us. I feel the same way about art: that it is something that on many levels colonises you, gets inside you and changes you from the inside out. I find that happens with books, too. After I’ve read a book, for a couple of days afterwards I think in the patterns of the book’s writing, because the act of reading is an act of organising your own thought process. If you are reading someone else’s writing, you are having to organise your perception along someone else’s structure. So if I read a book by Terry Pratchett, a few days later there is still a little Terry Pratchettness to my thoughts. When I read something by Catherynne Valente, for quite a few days there is a kind of ‘jewelled’ quality to my thoughts. To read a book is to let someone else reach inside me and reorganise me. As a writer, I find it very difficult to start writing immediately after having read another writer's book. I have to digest it first, and let the influence pass…

I am a confused Musician who got sidetracked into this goddamn Word business for so long that I never got back to music - except maybe when I find myself oddly alone in a quiet room with only a typewriter to strum on and a yen to write a song. Who knows why? Maybe I just feel like singing - so I type. These quick electric keys are my Instrument, my harp, my RCA glass-tube microphone, and my fine soprano saxophone all at once. That is my music, for good or ill, and on some nights it will make me feel like a god. Veni, Vidi, Vici... That is when the fun starts...

There is only one condition in which we can imagine managers not needing subordinates, and masters not needing slaves. This condition would be that each instrument could do its own work, at the word of command or by intelligent anticipation, like the statues of Daedalus or the tripods made by Hephaestus, of which Homer relates that "Of their own motion they entered the conclave of Gods on Olympus", as if a shuttle should weave of itself, and a plectrum should do its own harp playing.

Jutta drags herself closer; she watches her brother with outsize eyes. A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself. “Werner?” Jutta whispers. He blinks;

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

Another Celtic legend tells of the duel of two famous bards. One, accompanying himself on the harp, sang from the coming day to the coming of twilight. Then, when the stars or the moon came out, the first bard handed the harp to the second, who laid the instrument aside and rose to his feet. The first singer admitted defeat.

Harping should be limited to musical instruments. - Charmainism

My soul is a hidden orchestra; I do not know what instruments, what violins and harps, drums and tambours, sound and clash inside me. I know myself only as a symphony.

Music had always had the ability to help ease my suffering. I sang a great deal at home. I sang to myself and to Lord Imery. Sometimes, I played the harp to accompany myself. Learning such a graceful instrument had filled my heart with pride. I loved the feeling of adding something beautiful to a room. I looked down at my shaking hands. There were no melodies left in those withered fingers.

But my mother, Theia, used the time she served the Daglan to learn all she could about their instruments of conquest. The Dread Trove, we called it in secret. The Mask, the Harp, the Crown, and the Horn.

There is no need to be worried by facetious people who try to make the Christian hope of “Heaven” ridiculous by saying they do not want “to spend eternity playing harps.” The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

The language I have learn'd these forty years, My native English, now I must forego: And now my tongue's use is to me no more Than an unstringed viol or a harp, Or like a cunning instrument cased up, Or, being open, put into his hands That knows no touch to tune the harmony: Within my mouth you have engaol'd my tongue, Doubly portcullis'd with my teeth and lips; And dull unfeeling barren ignorance Is made my gaoler to attend on me. I am too old to fawn upon a nurse, Too far in years to be a pupil now: What is thy sentence then but speechless death, Which robs my tongue from breathing native breath?

sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself. “Werner?” Jutta whispers. He blinks; he has to swallow back tears. The parlor looks the same as it always has: two cribs beneath two Latin crosses, dust floating in the open mouth of the stove, a dozen layers of paint peeling off the baseboards. A needlepoint of Frau Elena’s snowy Alsatian village above the sink. Yet now there is music. As if, inside Werner’s head, an infinitesimal orchestra has stirred to life. The room seems to fall into a slow spin. His sister says his name more urgently, and he presses the earphone to her ear. “Music,” she says. He holds the pin as stock-still as he can. The signal is weak enough that, though the earphone is six inches away, he can’t hear any trace of the song. But he watches his sister’s face, motionless except for her eyelids, and in the kitchen Frau Elena holds her flour-whitened hands in the air and cocks her head, studying Werner, and two older boys rush in and stop, sensing some change in the air, and the little radio with its four terminals and trailing aerial sits motionless on the floor between them all like a miracle.

He is about to hand the earphone to Jutta when—clear and unblemished, about halfway down the coil—he hears the quick, drastic strikes of a bow dashing across the strings of a violin. He tries to hold the pin perfectly still. A second violin joins the first. Jutta drags herself closer; she watches her brother with outsize eyes. A piano chases the violins. Then woodwinds. The strings sprint, woodwinds fluttering behind. More instruments join in. Flutes? Harps? The song races, seems to loop back over itself.

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.

There is not, throughout the whole book called the Bible, any word that describes to us what we call a poet, nor any word that describes what we call poetry. The case is, that the word prophet, to which later times have affixed a new idea, was the Bible word for poet, and the word prophesying meant the art of making poetry. It also meant the art of playing poetry to a tune upon any instrument of music. We read of prophesying with pipes, tabrets, and horns—of prophesying with harps, with psalteries, with cymbals, and with every other instrument of music then in fashion.9 Were we now to speak of prophesying with a fiddle, or with a pipe and tabor, the expression would have no meaning, or would appear ridiculous, and to some people contemptuous, because we have changed the meaning of the word.

A heavy sentence, my most sovereign liege, And all unlook'd for from your Highness' mouth. A dearer merit, not so deep a maim As to be cast forth in the common air, Have I deserved at your Highness' hands. The language I have learnt these forty years, My native English, now I must forgo; And now my tongue's use is to me no more Than an unstringed viol or a harp; Or like a cunning instrument cas'd up Or, being open, put into his hands That knows no touch to tune the harmony. Within my mouth you have engaol'd my tongue, Doubly portcullis'd with my teeth and lips; And dull, unfeeling, barren ignorance Is made my gaoler to attend on me. I am too old to fawn upon a nurse, Too far in years to be a pupil now. What is thy sentence, then, but speechless death, Which robs my tongue from breathing native breath?

There is no need to be worried by facetious people who try to make the Christian hope of 'Heaven' ridiculous by saying they do not want 'to spend eternity playing harps.' The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

remember the evening as a wonderful blur of warm emotion, tinged in bitter. Fiddles, lutes, and drums, everyone played and danced and sang as they wished. I dare say we rivaled any faerie revel you can bring to mind. I got presents. Trip gave me a belt knife with a leather grip, claiming that all boys should have something they can hurt themselves with. Shandi gave me a lovely cloak she had made, scattered with little pockets for a boy’s treasures. My parents gave me a lute, a beautiful thing of smooth dark wood. I had to play a song of course, and Ben sang with me. I slipped a little on the strings of the unfamiliar instrument, and Ben wandered off looking for notes once or twice, but it was nice. Ben opened up a small keg of mead he had been saving for “just such an occasion.” I remember it tasting the way I felt, sweet and bitter and sullen. Several people had collaborated to write “The Ballad of Ben, Brewer Supreme.” My father recited it as gravely as if it were the Modegan royal lineage while accompanying himself on a half harp. Everyone laughed until they hurt, and Ben twice as much as everyone else. At some point in the night, my mother swept me up and danced around in a great spinning circle. Her laughter sang out like music trailing in the wind. Her hair and skirt spun around me as she twirled. She smelled comforting, the way only mothers do. That smell, and the quick laughing kiss she gave me did more to ease the dull ache of Ben’s leaving than all the entertainments combined.

Are you going to help me up?” Adaira unwound her matted braid and laughed again. “Do you think I was born yesterday?” She gave him a terrible idea. He almost smiled. “Then will you at least take my harp? It’s going to warp now, after all this time in the water.” He held up his instrument, and Adaira studied it. Jack concealed his glee as she reached forward to take hold of his harp. As soon as her fingers closed over the frame, he pulled. Adaira let out a shriek as she tumbled into the sea, just over his head. He couldn’t resist it; a broad grin spread across his face as Adaira spluttered to the surface. “You will soon pay for that,” she said, wiping water from her eyes. “Old menace.” “I have no doubt,” he replied in a droll tone. “What will it be, heiress? Tar and feathers? The stocks? My firstborn son?” She stared at him a moment, pearls of water on her long lashes. The sea lapped at their shoulders, and Jack could feel her fingers brush his as they both waded in the roll of the waves. “I can think of something far worse.” But she smiled as she said it, and he had never seen such a smile on her face before. Or maybe he had once, long ago when they were children. She was making him remember those old days. Days spent in the sea and caves. Nights spent roaming the wild places, the thistle patches and glens and the rocks on the coast. She was making him remember what it felt like to belong on isle. To belong to the east. She wanted him to stay and play for their clan, and Jack was beginning to think that maybe he should seize that opportunity, even if it stole his health, song by song. Just for a year. A full passing of seasons. Long enough to see her rise as laird. He drew a tendril of golden algae from her hair and begrudgingly acknowledged it then. He disliked her a little less than yesterday. And that could only bring him trouble.

When anyone from seaboard or country caught leprosy, they left relatives and friends and went to Pratofungo to spend the rest of their lives waiting for the disease to devour them. There were rumours of great jollifications to greet each new arrival; from afar songs and music were to be heard coming from the lepers' houses till night-fall. Many things were said of Pratofungo, although no healthy person had ever been there; but all rumours were agreed in saying that life there was a perpetual party. Before becoming a leper colony the village had been a great place for prostitutes and visited by sailors of every race and religion; and the women there, it seemed, still kept the licentious habits of those times. The lepers did no work on the land. except for a vine-yard of strawberry grapes whose juice kept them the whole year round in a state of simmering tipsiness. The lepers spent most of their time playing strange instruments of their own invention, such as harps with little bells attached to the string, and singing in falsetto, and painting eggs with daubs of every colour as if for a perpetual Easter.

Nostradamus said, according to Archie, that the Gods sell the goods that they give us. We had been shown a fine instrument. But the bow could be overlong bent; the harp lose its voice if its strings were not loosened.’ ‘I hope he said so in Francis’s hearing. Poor Archie,’ said Marthe. ‘Did he say what should be loosened? His morals?

according to Alamoth; 21Mattithiah, Elipheleh, Mikneiah, Obed-Edom, Jeiel, and Azaziah, to direct with harps on the Sheminith; 22Chenaniah, chief of the Levites, was in charge of the music because he was skillful; 23Berechiah and Elkanah were doorkeepers for the ark; 24Shebaniah, Joshaphat, Nethanel, Amasai, Zechariah, Benaiah, and Eliezer, the priests, were to blow the trumpets before the ark of God; and Obed-Edom and Jehiah were doorkeepers for the ark. The Ark Is Moved to Jerusalem 25With joy David and the elders of Israel and the captains over thousands went to bring up the ark of the covenant of the Lord from the house of Obed-Edom.† 26And so it was, when God helped the Levites who bore the ark of the covenant of the Lord, they offered seven bulls and seven rams.† 27David was clothed with a robe of fine linen, as were all the Levites who bore the ark, the singers, and Chenaniah the music master with the singers. David also wore a linen ephod.† 28Thus all of Israel brought up the ark of the covenant of the Lord with shouting and the sound of the horn, with trumpets and cymbals, making music with stringed instruments and harps. 29And it happened, as the ark of the covenant of the Lord came to the City of David, that Michal, Saul's daughter, looked out through a window and saw King David dancing and playing music; and she despised him in her heart.

Ending the Year in Praise Praise the Lord! Praise God in his heavenly dwelling; praise him in his mighty heaven! Praise him for his mighty works; praise his unequaled greatness! Praise him with a blast of the trumpet; praise him with the lyre and harp! . . . Let everything that lives sing praises to the Lord! Praise the Lord! Psalm 150:1-3, 6 What a way to end the year—praising the Lord for his mighty works, his unequaled greatness. This psalm, also called the last hallelujah, invites us to join the praises to God in the holy place. The praise is not half-hearted; it is full-force praise with musical instruments—tambourine, stringed instruments, the lyre, the cymbals—and dancing, praise from everyone. When we offer God praise, we’re doing what we were created for, even if we’re not the best musician or dancer. All of us can raise our voices singing hymns, choruses, and new songs to the Lord. How has God blessed you, your family, friends, or church this year? What mighty works has he accomplished? What progress have you made in an area in which you’ve struggled? What prayers has God answered? What new attributes or aspects of God have you discovered or experienced in the past year? Lift up your voice or whatever instrument you play, and praise the Lord for these specific things as you pray this psalm aloud.   LORD, I join those in your heavenly dwelling to worship you for your mighty works. I praise your unequaled greatness. I praise you with my whole heart for how you’ve sustained me in the year that is ending, for your faithfulness, love, and provision. Thank you for how you’ll be with me each day in the new year. Let everything that lives sing praises to the Lord!   TO THE EAR OF GOD EVERYTHING HE CREATED MAKES EXQUISITE MUSIC, AND MAN JOINED IN THE PAEAN OF PRAISE UNTIL HE FELL, THEN THERE CAME IN THE FRANTIC DISCORD OF SIN. THE REALIZATION OF REDEMPTION BRINGS MAN BY WAY OF THE MINOR NOTE OF REPENTANCE BACK INTO TUNE WITH PRAISE AGAIN. Oswald Chambers (1874-1917)

Then David said to the chiefs of the Levites to appoint their relatives the singers, with instruments of music, harps, lyres, loud-sounding cymbals, to raise a sound of gladness.

He recognized the distinctive percussion of the goblet-shaped drum, the dumbek. The kanun was a stringed instrument that produced beautiful sounds much like a harp. There was a ney, a flute that had an amazing tone to it.

The Lusty Month of May” continues to develop Guenevere as a heroine of operetta in a lighthearted song, which is both naïve and highly suggestive. With the abundance of “tra-las” and an up-tempo chorus joining in the fun, Knapp’s parallels to operetta are more than apt. The clarity, wide range, and versatility of Andrews’s voice only enhance the effect. Andrews never sacrifices vocal precision or tone despite the focus on clever wordplay and a bouncy, allegretto tune. This tune is more virtuosic than “Simple Joys” with additional melodic leaps and the possibility for displays in a higher range. Loewe uses a C♯ diminished chord to denote Guenevere’s lustful feelings, often punctuating lyrics such as “lusty” or “libelous,” in the otherwise carefree milieu of C major. The generally light orchestration favors the string section, similar to “Simple Joys,” and also features a harp. When woodwinds enter, clarinets tend to dominate. At this point, this instrumentation characterizes Guenevere’s musical self and augments her connection to operetta as it reinforces the sense of frivolity. The call-and-response with the chorus further heightens the sense of abandon, which increases throughout the song. Guenevere has not lost her youthful taste for ribaldry during her marriage with Arthur.

The pragmatic mood is already visible in the Odyssey. The poem opens with Odysseus living on a remote island ruled by a nymph who offers him immortality if he will remain as her consort. A bit surprisingly to anyone steeped in the orthodox Western religio-philosophical-scientific tradition, he refuses, preferring mortality and a dangerous struggle to regain his position as the king of a small, rocky island and be reunited with his son, aging wife, and old father. He turns down what the orthodox tradition says we should desire above all else, the peace that comes from overcoming the transience and vicissitudes of mortality, whether that peace takes the form of personal immortality or of communing with eternal verities, moral or scientific—in either case ushering us to the still point of the turning world. Odysseus prefers going to arriving, struggle to rest, exploring to achieving—curiosity is one of his most marked traits—and risk to certainty. The Odyssey situates Calypso’s enchanted isle in the far west, the land of the setting sun, and describes the isle in images redolent of death. In contrast, Odysseus’s arrival at his own island, far to the east, a land of the rising sun, is depicted in imagery suggestive of rebirth. Another thing that is odd about the protagonist, and the implicit values, of the Odyssey from the orthodox standpoint is that Odysseus is not a conventional hero, the kind depicted in the Iliad. He is strong, brave, and skillful in fighting, but he is no Achilles (who had a divine mother) or even Ajax; and he relies on guile, trickery, and outright deception to a degree inconsistent with what we have come to think of as heroism or with its depiction in the Iliad. His dominant trait is skill in coping with his environment rather than ability to impose himself upon it by brute force. He is the most intelligent person in the Odyssey but his intelligence is thoroughly practical, adaptive. Unlike Achilles in the Iliad, who is given to reflection, notably about the heroic ethic itself, Odysseus is pragmatic. He is an instrumental reasoner rather than a speculative one. He is also, it is true, distinctly pious, a trait that the Odyssey harps on and modern readers tend to overlook. But piety in Homeric religion is a coping mechanism. Homeric religion is proto-scientific; it is an attempt to understand and control the natural world. The gods personify nature and men manipulate it by “using” the gods in the proper way. One sacrifices to them in order to purchase their intervention in one’s affairs—this is religion as magic, the ancestor of modern technology—and also to obtain clues to what is going to happen next; this is the predictive use of religion and corresponds to modern science. The gods’ own rivalries, mirroring (in Homeric thought, personifying or causing) the violent clash of the forces of nature, prevent human beings from perfecting their control over the environment. By the same token, these rivalries underscore the dynamic and competitive character of human existence and the unrealism of supposing that peace and permanence, a safe and static life, are man’s lot. Odysseus’s piety has nothing to do with loving God as creator or redeemer, or as the name, site, metaphysical underwriter, or repository of the eternal or the unchanging, or of absolutes (such as omniscience and omnipotence) and universals (numbers, words, concepts). Odysseus’s piety is pragmatic because his religion is naturalistic—is simply the most efficacious means known to his society for controlling the environment, just as science and technology are the most efficacious means by which modern people control their environment.

I had considered orchestrating ‘The Long and Winding Road’ but I decided against it. I therefore want it altered to these specifications: Strings, horns, voices and all added noises to be reduced in volume. Vocal and Beatle instrumentation to be brought up in volume. Harp to be removed completely at the end of the song and original piano notes to be substituted. Don’t ever do it again. Signed, PAUL McCARTNEY c.c. Phil Spector, John Eastman

HARP music is really music from Heaven...That is why it sounds so sweet. If you stop and think about it---a PIANO is really a HARP turned sideways, with pedals. When a pianist sits down and begins to play---the piano sends forth its own unique HARP sounds......For one who is truly trained with excellence, it is as though the two HARPS link up together, and a little taste of Heaven's music comes forth to bring the sweetness that can be found in no other instruments here on earth.

Mon peuple fantôme (poème d'Ilarie Voronca) Entre mer et terre. Entre pierres et ciel. Avec le pain jaune de la route. Avec le vin rouillé de la forêt Voilà mon ouvrage accompli. Et les outils de travail Sont devenus des instruments de musique. C’est ainsi Qu’à travers la flamme de la mémoire les objets se changent en paroles. Sur le promontoire, ici, dernier vestige de l’homme. Rencontre. Le vent jette dans l’écume ses épées d’eaux. Solitude coupée géométriquement par les oiseaux Qu’ici donc les visages de la vie se montrent. Le soleil tombé dans mon œil salé. Face Aux algues chevelues et aux cortèges de poissons Mon visage fêlé par le vent comme le bord d’une tasse, Sur mes lèvres serrées : aube ou crépuscule comme un son. Sans filets, sans armes De chasse. Collé aux rochers. Vers le Sud Les aigles d’écumes. Seul avec mon travail accompli entre terre et larmes. Les cannes à pêche sont devenues des harpes. Les fusils des flûtes. Mais le cœur est la barque éternelle d’Ulysse Qui touche dans son rêve tant d’îles, Dans les veines, de nouveaux archipels surgissent, Une parole, un rire, font naître une ville. Là sur le promontoire j’attendais ces passages D’îles : oiseaux étranges jaillis d’entre les cordes Je te reconnaîtrai fantôme entre ces bâches Des terres nomades. Là près du Peuple étranger dont la patrie est morte Est ma place. Là sur l’Ile fantôme Je viendrai avec mes instruments de musique. Avec ma journée accomplie. Temps d’exil ? Non. Fuite à travers les glaciers du sommeil ? Non. Le ver de la souffrance tordu dans la pomme de cette blessure. Mais jusqu’alors : sans armes, sans outils, sur cette Pierre : extrême limite du continent Entre rochers et flots qui rejettent Le lait blanc de l’écume jusqu’à ma faim, jusqu’au vent, Ici. Loin de l’homme implacable. Loin Des distributeurs de terre. Sans retour. Sans fuite. La voix oubliée en moi comme une lettre dans un livre J’attends mon peuple fantôme, mon île-fantôme.

The most heterogeneous temporal elements thus coexist in the city. If we step from an eighteenth-century house into one from the sixteenth century, we tumble down the slope of time. Right next door stands a Gothic church, and we sink to the depths. A few steps farther, we are in a street from out of the early years of Bismarck's rule ... , and once again climbing the mountain of time. Whoever sets foot in a city feels caught up as in a web of dreams, where the most remote past is linked to the events of today. One house allies with another, no matter what period they come from, and a street is horn. And then insofar as this street, which may go back to the age of Goethe, runs into another, which may date from the Wilhelmine years, the district emerges .... The climactic points of the city are its squares: here, from every direction, converge not only numerous streets but all the streams of their history. No sooner have they flowed in than they are contained; the edges of the square serve as quays, so that already the outward form of' the square provides information about the history that was played upon it. ... Things which find no expression in political events, or find only minimal expression, unfold in the cities: they are a superfine instrument, responsive as an Aeolian harp-despite their specific gravity-to the living historic vibrations of the air.

Standing alongside a harp, she stretched out her hand and ran her fingers across the strings, the tumble of notes reminding her of a shower on a bright day, of primrose petals bending to the weight of raindrops. She regretted never having learned to play an instrument.

Bryce stared at the hard-faced, beautiful female who could have rivaled the Hind for sheer badassery and beauty. Theia. Silene’s next words only confirmed how alike the ancient Fae Queen and the Hind were: But my mother, Theia, used the time she served the Daglan to learn all she could about their instruments of conquest. The Dread Trove, we called it in secret. The Mask, the Harp, the Crown, and the Horn. From the corner of her vision, Bryce spied Nesta glancing her way at the last word. The Horn had been sister to the Mask, and the Harp Nesta had mentioned. It had come from here, and worse, was part of some deadly arsenal of the Asteri— And Theia. The carving in the tunnel of the crowned, masked queen—Theia—flashed in Bryce’s memory. She’d been holding two instruments: a horn and a harp. The Daglan, Silene went on, always quarreled over who should control the Trove, so more often than not, the Trove went unused. It was their downfall.

By the grace of the Mother, she was paranoid enough about any new allies or companions that she hid the Horn and Harp. She created a pocket of nothingness, she told me, and stashed them there. Only she could access that pocket of nothingness—only she could retrieve the Horn and Harp from its depths. But she remained unaware that Pelias had already told the Daglan of their presence. She had no idea that she was allowed to live, if only for a time, so they might figure out where she’d concealed them. So Pelias, under their command, might squeeze their location out of her. Just as she had no idea that the gate she had left open into our home world … the Daglan had been waiting a long, long time for that, too. But they were patient. Content to let more and more of Theia’s forces come into the new world—thus leaving her own undefended. Content to wait to gain her trust, so she might hand over the Horn and Harp. It was a trap, to be played out over months or years. To get the instruments of power from Theia, to march back into our home world and claim it again … It was a long, elegant trap, to be sprung at the perfect moment. And, distracted by the beauty of our new world, we did not consider that it all might be too easy. Too simple. Midgard was a land of plenty. Of green and light and beauty. Much like our own lands—with one enormous exception. The memory spanned to a view from a cliff of a distant plain full of creatures. Some winged, some not. We were not the only beings to come to this world hoping to claim it. We would learn too late that the other peoples had been lured by the Daglan under similarly friendly guises. And that they, too, had come armed and ready to fight for these lands. But before conflict could erupt between us all, we found that Midgard was already occupied. Theia and Pelias, with Helena and Silene trailing, warriors ten deep behind them, stood atop the cliff, surveying the verdant land and the enormous walled city on the horizon. Bryce’s breath caught. She’d spent years working in the company of the lost books of Parthos, knowing that a great human civilization had once flourished within its walls, but here, before her, was proof of the grandeur, the human skill that had existed on Midgard. And had been entirely wiped away.

I quite forgot to speak of Mr Jones, who played upon a Harp with new pedals constructed by Mr Merlin: it is a sweet Instrument. He plays very well, he is precisely neat, and has a good deal of Execution: but the poor young man has no soul to spare for his playing.

The harmonica is an accordion with soul.

« Instruisez-vous, ajoute l'apôtre, et exhortez-vous les uns les autres par des psaumes, des hymnes et des cantiques spirituels, chantant de cœur, avec édification, les louanges de Dieu. Quelque chose que vous fassiez, soit en parlant ou en agissant, faites tout au nom du Seigneur Jésus-Christ, rendant grâces par lui à Dieu le père. » Tels doivent être nos festins, pleins de grâces et d'une joie sainte. Si vous savez jouer du luth ou de la harpe, vous le pourrez faire sans mériter de reproche; car vous imiterez ainsi ce saint roi des Hébreux, si agréable et si cher à Dieu.

The youngest of twelve sons, Brian had survived a Viking attack in his youth and had been educated in a monastery in Munster where he learned to play the harp; after his death the instrument was adopted as a symbol of Ireland in his honor.

Among musical instruments, only the first—the human voice—is more universal than the harmonica. This is appropriate, given that the mouth organ is the most ventriloquial of musical devices. “I throw my voice,” explains Lonnie Glosson, the seller of millions of “talking harmonicas.” DeFord Bailey, harmonica star of the early Grand Ole Opry broadcasts, approached his first mouth organ as an impressionist would: “Oh, I would wear it out, trying to imitate everything I heard! Hens, foxes, hounds, turkeys . . . everything around me.

even if the whole world’s harp should burn up, there will still be hidden instruments playing.

The fervour of the sunbeams descending in a tidal flood rings on the strung harp of earth. It is this exquisite undertone, heard and yet unheard, which brings the mind into sweet accordance with the wonderful instrument of nature.

The Talmud recounts that King David’s harp would play itself at midnight. And the Jerusalem Talmud comments that in the verse, “When the musician would play music, the hand of God would be upon him,” the word for “musician” should be read as “musical instrument” instead: the instrument would play by itself. Why do our sages insist on conflating musician and musical instrument? The answer is that when a person attains the perfect level of prayer, he himself is an instrument playing music spontaneously; he has become the instrument of song, of prophecy, of prayer. The melody is his, and his entire being is none other than an instrument expressing that prayer.