Lyrics Best Quotes

The best portion of a good man's life: his little, nameless unremembered acts of kindness and love.

When pain brings you down, don't be silly, don't close your eyes and cry, you just might be in the best position to see the sun shine.

Take my hand and we'll make it - I swear

The best ideas will eat at you for days, maybe even weeks, until something, some incident, some impulse, triggers you to finally express them.

OkayIwaswrong. Now let’s move on. Where do you think would be the best place for the angels to stay until they leave?” “Whoa.” I burst out laughing. “Did you just say that you were wrong? Was that the word? Wrong?” I smile at him. “I like the sound of that coming out of your mouth. It’s lyrical. W-r-o-n-g. Wroooong. Wrrrrong. Go on, sing it with me.

You forget all of it anyway. First, you forget everything you learned-the dates of the Hay-Herran Treaty and Pythagorean Theorem. You especially forget everything you didn't really learn, but just memorized the night before. You forget the names of all but one or two of your teachers, and eventually you'll forget those, too. You forget your junior class schedule and where you used to sit and your best friend's home phone number and the lyrics to that song you must have played a million times. For me, it was something by Simon & Garfunkel. Who knows what it will be for you? And eventually, but slowly, oh so slowly, you forget your humiliations-even the ones that seemed indelible just fade away. You forget who was cool and who was not, who was pretty, smart, athletic, and not. Who went to a good college. Who threw the best parties Who could get you pot. You forget all of them. Even the ones you said you loved, and even the ones you actually did. They're the last to go. And then once you've forgotten enough, you love someone else.

When the weather's rough and it's whiskey in the rain it's best to wrap your savior up in cellophane.

How do I get better once I've had the best?

I find it kind of funny. I find it kind of sad. The dreams in which I'm dying are the best I've ever had.

Will sat where he was, gazing at the silver bowl in front of him; a white rose was floating in it, and he seemed prepared to stare at it until it went under. In the Kitchen Bridget was still singing one of her awful sad songs; the lyrics drifted in through the door: "Twas on an evening fair I went to take the air, I heard a maid making her moan; Said, 'Saw ye my father? Or ye my mother? Or saw ye my brother John? Or saw ye the lad that I love best, And his name it is Sweet William?" I may murder her, Tessa thought. Let her make a song about that.

Walk this way

I gaze out at the glittering sea, the breathtaking sky above it, and think of birds and the moment before the fall, and how my sister as a child had been strong enough for the both of us, and I wonder when exactly that changed. I don't know when, but it did. Jake was right - I'm strong in a way June never was. Because I know that I want to be here. Even with the pain. Even with the ugliness. I've seen the other side - marching side by side down city streets with people who all believe they can change the world and the view of the sunset from Fridgehenge and Tom Waits lyrics and doing the waltz and kisses so hot they melt into each other and best friends who hold your hand and stretching out underneath a sky draped with stars and everything else. There is so much beauty in just existing. In being alive. I don't want to miss a second.

I kissed the scars on her skin. I still think you're beautiful, and I don't ever wanna lose my best friend

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

Jason took me by the shoulders—not out of anger, or in a clinging way, but as a brother. “Promise me one thing. Whatever happens, when you get back to Olympus, when you’re a god again, remember. Remember what it’s like to be human.” A few weeks ago, I would have scoffed. Why would I want to remember any of this? At best, if I were lucky enough to reclaim my divine throne, I would recall this wretched experience like a scary B-movie that had finally ended. I would walk out of the cinema into the sunlight, thinking Phew! Glad that’s over. Now, however, I had some inkling of what Jason meant. I had learned a lot about human frailty and human strength. I felt…different toward mortals, having been one of them. If nothing else, it would provide me with some excellent inspiration for new song lyrics!

Sad Songs Once there was a boy who couldn't speak but owned a music box that held every song in all the world. One day he met a girl who had never heard a single melody in her entire life and so he played her his favorite song. He watched while her face lit up with wonder as the music filled the sky and the poetry of lyrics moved her in a way she had never felt before. He would play his songs for her day after day and she would sit by him quietly—never seeming to mind that he could only speak to her through song. She loved everything he played for her, but of them all—she loved the sad songs best. So he began to play them more and more until eventually, sad songs were all she would hear. One day, he noticed it had been a very long time since her last smile. When he asked her why, she took both his hands in hers and kissed them warmly. She thanked him for his gift of music and poetry but above all else—for showing her sadness because she had known neither of these things before him. But it was now time for her to go away—to find someone who could show her what happiness was. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Do you remember the song that was playing the night we met? No, but I remember every song I have heard since you left.

His lyrical whistle beckoned me to adventure and forgetting. But I didn't want to forget. Hugging my grudge, ugly and prickly, a sad sea urchin, I trudged off on my own, in the opposite direction toward the forbidding prison. As from a star I saw, coldly and soberly, the separateness of everything. I felt the wall of my skin; I am I. That stone is a stone. My beautiful fusion with the things of this world was over. The Tide ebbed, sucked back into itself. There I was, a reject, with the dried black seaweed whose hard beads I liked to pop, hollowed orange and grapefruit halves and a garbage of shells. All at once, old and lonely, I eyed these-- razor clams, fairy boats, weedy mussels, the oyster's pocked gray lace (there was never a pearl) and tiny white "ice cream cones." You could always tell where the best shells were-- at the rim of the last wave, marked by a mascara of tar. I picked up, frigidly, a stiff pink starfish. It lay at the heart of my palm, a joke dummy of my own hand. Sometimes I nursed starfish alive in jam jars of seawater and watched them grow back lost arms. On this day, this awful birthday of otherness, my rival, somebody else, I flung the starfish against a stone. Let it perish.

I've had people come up to me with the strangest interpretations of what my lyrics might mean, and I'm like, "You go! I never thought of that, but that works,"...I think that true art is a universal reflection, and true artists are just messengers of that reflection or, at best, skilled presentors.

The Doors The End This is the end, beautiful friend This is the end, my only friend The end of our elaborate plans The end of ev'rything that stands The end No safety or surprise The end I'll never look into your eyes again Can you picture what will be So limitless and free Desperately in need of some strangers hand In a desperate land Lost in a Roman wilderness of pain And all the children are insane All the children are insane Waiting for the summer rain There's danger on the edge of town Ride the king's highway Weird scenes inside the goldmine Ride the highway West baby Ride the snake Ride the snake To the lake To the lake The ancient lake baby The snake is long Seven miles Ride the snake He's old And his skin is cold The west is the best The west is the best Get here and we'll do the rest The blue bus is calling us The blue bus is calling us Driver, where you taking us? The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father? Yes son I want to kill you Mother, I want to............. Come on, baby, take a chance with us Come on, baby, take a chance with us Come on, baby, take a chance with us And meet me at the back of the blue bus This is the end, beautiful friend This is the end, my only friend The end It hurts to set you free But you'll never follow me The end of laughter and soft lies The end of nights we tried to die This is the end

And we dance all night to The Best Song ever! -One Direction

A good rock band is like a great lover. Their rhythms simultaneously jolt and calm you. They know when and where to tease you to make it feel the best, how to draw from you the ultimate pleasure.

Ayame: In fact, perhaps it would be easier if we just discussed me instead. Yuki: What would be the point in that? Ayame: Oh, in that case, I should be prepared to talk about why I chose this lyrical professional overflowing with fantasy! It's because I wanted to create something. Even I, who have a charisma that wafts of noble refinement, have times when I lose confidence! Ans so I had this uncontrollable urge to try making something. Anything, it didn't matter what. It just so happened that dress-making suited me best.... I just wanted to make sure that I had the power to make something. Maybe I wanted to know if I could create something with my own hands. If there could be something that couldn't exist without me.

i'm a heartless man at worst, babe and a helpless one at best

Take the time to make some sense for what you wanna say, And cast your words away upon the waves. Sail them home with acquiesce on a ship of hope today, And as they land upon the shore, Tell them not to fear no more. I'm not saying right is wrong, It's up to us to make the best of all the things that come our way. Cos' everything that's been has past, The answers in the looking glass. There's four and twenty million doors On life's endless corridor, So say it loud and sing it proud today.

When did a free country start to mean free enterprise? Who sold Democracy out for a golden calf we got to idolize?

All in all. You have been. Redeemer. Pain Steeler. My best friend. Please hold my hand.

As a species, humans really need to be serious about directing our own evolution, choosing our own path, and becoming the best versions of ourselves.

The best way to scare a Tory is to read and get rich.

But I assure you those are the correct lyrics that Robert Palmer sings.” “No. It’s addicted to love, Ships. Addicted to love,” he enunciates while fighting back the laugh. “Not a dick with a glove.” “Hmpf.

The best songs are written through our anger. Even though feelings change over time, our lyrics will always remain inside the song as a way of reminding us how far and how much stronger we've become since then.

Hoping for the best is hoping nothing happens

She was a southern girl, which is the same as saying she was insane. All southern women are insane. Some are cold blooded killers and some are harmless eccentrics, but the best of the breed exhibit both of these characteristics and always the one you expect the least at the time you least expect it.

You want me to fuck you like I want to? I’m trying my best to hold back, but I want to own your pussy, Lyric. I want you to take every . . .” He licks my ear before biting it and whispering, “Inch of me.

This is Lovecraft's best terrible story. It is so artificial...and so overblown...and so ludicrous...that it slithers-through tiramisu-rich prose that might as well be heavy metal lyrics ("a wolf-fanged ghost that rode the midnight lightning")-all the way to the summit of high camp.

Yeah, you can be the greatest You can be the best You can be the King Kong banging on your chest

Sweet Grace amazes me The way that she can see Beyond the man I am To the man that I could be She's bringing out my best While she covers all the rest Some say her love is blind But I say her love forgets She don't like it when I try so hard to impress her ‘Cause when I do that, it's a lie that makes her love look the lesser The truth is I know I'll never be, I'll never be good enough I'll never deserve her love I'll never be, I'll never be good enough for Grace But she takes me anyway I am the cheatin' kind But she's changing my mind The way she takes me back Though I fail her every time She's got friends who tell her that she Is much too good for me Well, I've told her that myself But she refuses to leave I'd like to think my strength won her affection But the truth is it was my weakness that caught her attention I'm grateful to know When my tears fall down like rain She wipes them from my face She tells me that I'm lovely And if I am, it's all because of Grace This love turns my inside out And my world upside down Grace is changing me

I told them Tupac was the best…period. I sited the fact that he was more versatile than Biggie. Biggie was tight with the lyrics no doubt, but Tupac did it all. He made you dance and think at

Poetry and song lyrics might want us to believe that finding love is like uncovering buried treasure, but now I know the truth. There’s no joy or celebration in love. There are no happy endings. There is simply me and her and a crushing pain. What’s left after that? An entire life of mute should-haves and second-bests.

You can go a hundred miles a second Don't have to drive no lousy cab Got everything you want and more man And the King picks up the tab You walk around on streets of gold all day And you never have to listen To what these customers say and I know...

The song was the late Ishihara Yujiro’s “Rusty Knife,” and Sakaguchi’s singing was so bad that it gave the lyric a strange new pathos and poignancy. Listening to his version, Suzuki Midori was reminded that no one ever said it would be easy to go on living in this world; Takeuchi Midori pondered the noble truth that nobody’s life consists exclusively of happy times; Henmi Midori vowed to remember that it’s best to keep an open heart and forgive even those who’ve trespassed against us; and Tomiyama Midori had to keep telling herself that hitting rock bottom is in fact the first step to a hopeful new future.

What am I supposed to do when the best part of me was always you? And what am I supposed to say when I'm all choked up and you're OK? I'm falling to pieces

I feel this very bittersweet moment so well, and so clearly, and so fondly, especially since to feel the bittersweet moments of life is to feel the best of it all.

There’s something lyrical about an eternal truth. It’s a graceful riff. A free-flowing melody. Light and airy, it floats all around you. And when it lands on your ears, when you hear it for the first time, you instantly recognize it― because it’s like bumping into an ageless, best friend.

I just want that magical feeling I wrote about years ago when I used to write the lyrics for the band’s rock ballads. I want crazy fucking love. I want someone that'll never let me go. I want to wake up to my best friend every day.

...Counting stars by candlelight all are dim but one is bright the spiral light of Venus rising first and shining best from the northwest corner of a brand-new crescent moon crickets and cicadas sing a rare and different tune Terrapin Station...

MIDNIGHTS Don't remember many midnights. Forgotten some of my best insights. Can't recall some of the highest heights. But I've memorized you. Don't remember many daybreaks. How many sunrises have come as I lay awake. Don't dwell on my worst mistakes. But I always think of you

Watching the painter painting And all the time, the light is changing And he keeps painting That bit there, it was an accident But he's so pleased It's the best mistake, he could make And it's my favourite piece It's just great --- excerpt from the song "An Architect's Dream" from the album Aerial

Kurt Cobain was a musical lyric genius. He was the Edgar Allan Poe of songwriting.

With Eyes Like Charles Manson, a life similar to H.P Lovecraft, and lyrics like Edgar Allan Poe, Kurt Cobain was the master of horror in music.

Have you ever just listened to music with another person? Just listened and breathed—without dancing, without making love, without driving down the highway and screaming the lyrics with your best friend?

Melody is king. Songs are ruled by melody. I believe that melody, more than lyrics, is what does all the heavy lifting emotionally. When I write lyrics, or when I adapt a poem to a song, my goal is to interfere as little as possible with whatever spell is being cast by the melody. At the same time, I hope, at best, that the words enhance the song somehow, add meaning or clarify and underline what the melody is making me feel.

I hope you know that you'll not be getting poetry from Sirius," Remus stated firmly as they made their way back toward the castle, still hand-in-hand. "He might quote you some Sex Pistol lyrics at best. You're going to miss me.

Ushering Under reign of dystopic melodies and optimistic lyrics Two Delusional hopefuls we swept under our wings and squeezed out our tears over over the years to make them grow Our saint-like protagonists Our best bet and last chance

His eyes are cold and restless His wounds have almost healed And she'd give half of Texas Just to change the way he feels She knows his love's in Tulsa And she knows he's gonna go Well it ain't no woman flesh and blood It's that damned old rodeo Well it's bulls and blood It's dust and mud It's the roar of a Sunday crowd It's the white in his knuckles The gold in the buckle He'll win the next go 'round It's boots and chaps It's cowboy hats It's spurs and latigo It's the ropes and the reins And the joy and the pain And they call the thing rodeo She does her best to hold him When his love comes to call But his need for it controls him And her back's against the wall And it's So long girl I'll see you When it's time for him to go You know the woman wants her cowboy Like he wants his rodeo

Guthrie is best known for “This Land Is Your Land,” his ballad about the Dust Bowl, which gave farmers in his native Oklahoma an extra kick in the pants during the Great Depression. He set his thoughts about Trump’s rental policies to a song he titled “Old Man Trump.” The lyrics continue with this: Beach Haven ain’t my home! No, I just can’t pay this rent! My money’s down the drain, And my soul is badly bent! Beach Haven is Trump’s Tower Where no black folks come to roam, No, no, Old Man Trump! Old Beach Haven ain’t my home! More

Jake was right--I'm strong in a way June never was. Because I know that I want to be here. Even with the pain. Even with the ugliness. I've seen the other side--marching side by side down city streets with people who all believe they can change the world and the view of the sunset from Fridgehenge and Tom Waits lyrics and doing the waltz and kisses so hot they melt into each other and best friends who hold your hand and stretching out underneath a sky draped with stars and everything else. There is so much beauty in just existing. In being alive. I don't want to miss a second.

Tonight we fly Over the mountains The beach and the sea Over the friends that we've known And those that we now know And those who we've yet to meet And when we die Oh, will we be That disappointed Or sad If heaven doesn't exist What will we have missed This life is the best we've ever had

There is a story that Simonides was dining at the house of a wealthy nobleman named Scopas at Crannon in Thessaly, and chanted a lyric poem which he had composed in honor of his host, in which he followed the custom of the poets by including for decorative purposes a long passage referring to Castor and Pollux; whereupon Scopas with excessive meanness told him he would pay him half the fee agreed on for the poem, and if he liked he might apply for the balance to his sons of Tyndaraus, as they had gone halves in the panegyric. The story runs that a little later a message was brought to Simonides to go outside, as two young men were standing at the door who earnestly requested him to come out; so he rose from his seat and went out, and could not see anybody; but in the interval of his absence the roof of the hall where Scopas was giving the banquet fell in, crushing Scopas himself and his relations underneath the ruins and killing them; and when their friends wanted to bury them but were altogether unable to know them apart as they had been completely crushed, the story goes that Simonides was enabled by his recollection of the place in which each of them had been reclining at table to identify them for separate interment; and that this circumstance suggested to him the discovery of the truth that the best aid to clearness of memory consists in orderly arrangement. He inferred that persons desiring to train this faculty must select localities and form mental images of the facts they wish to remember and store those images in the localities, with the result that the arrangement of the localities will preserve the order of the facts, and the images of the facts will designate the facts themselves, and we shall employ the localities and images respectively as a wax writing tablet and the letters written on it.

Poetry and song lyrics might want us to believe that finding love is like uncovering buried treasure, but now I know the truth. There’s no joy or celebration in love. There are no happy endings. There is simply me and her and a crushing pain. What’s left after that? An entire life of mute should-haves and second-bests.

What’s it all about, Alfie?” Its lyrics are not particularly profound, but the question has stayed with me. What’s it all about? What’s life all about? What’s Christianity all about? What’s salvation all about? My answer to that question now, my conviction now: “it”—Christianity and salvation—is about transformation this side of death. The natural effect of growing up, beginning in childhood, is that we fall into bondage to cultural messages and conventions; experience separation and exile from the one in whom we live and move and have our being; become blinded by habituated ways of seeing and live in the dark, even dead in the midst of life; and hunger and thirst for something more. Salvation is about liberation, reconnection, seeing anew, acceptance, and the satisfaction of our deepest yearnings. Christianity at its best—like all of the enduring religions of the world at their best—is a path of transformation.

I’ve sat at the piano for hours already, looking for lyrics and melodies, but everything sounds the same and I feel as uninspired as ever. Does it mean I’m finished? A more sobering thought: if I’m finished, would I miss it? But the truth is, I’ve been here before. Many times. We all have. So how do we find the faith to press on? Remember. Remember, Hebrew children, who you once were in Egypt. Remember the altars set up along the way to remind yourselves that you made the journey and God rescued you from sword and famine, from chariots and pestilence, that once you were there, but now you are here. It happened. Our memories are fallible, residing in that most complex and mysterious organ in the human body (and therefore the known universe), capable of being suppressed, manipulated, altered, but also profoundly powerful and able to transport a person to a place fifty years ago all because of a whiff of your grandfather’s cologne or an old book or the salty air. As often as you do this, do it in remembrance of me. Remember with every sip of wine that we shared this meal, you and I. Remember. So I look at the last album, the last book, and am forced to admit that I didn’t know anymore then than I do now. Every song is an Ebenezer stone, evidence of God’s faithfulness. I just need to remember. Trust is crucial. So is self-forgetfulness and risk and a measure of audacity. And now that I think about it, there’s also wonder, insight, familiarity with Scripture, passion, a good night’s sleep, breakfast (preferably an egg sandwich), an encouraging voice, diligence, patience. I need silence. Privacy. Time—that’s what I need: more time. But first I need a vacation, because I’ve been really grinding away at this other stuff and my mental cache is full. A deadline would be great. I work best with deadlines, and maybe some bills piling up. Some new guitar strings would help, and a nice candle. And that’s all I need, in the words of Steve Martin’s The Jerk. This is the truth: all I really need is a guitar, some paper, and discipline. If only I would apply myself.

I don’t see him much.” “It happens, baby. You forget all of it anyway. First, you forget everything you learned – the dates of the Hay-Herran Treaty and the Pythagorean theorem. You especially forget everything you didn’t really learn, just memorised the night before. You forget the names of all but one or two of your teachers, and eventually you’ll forget those, too. You forget your junior year class schedule and where you used to sit and your best friend’s home phone number and the lyrics to that song you must have played a million times. For me, it was something by Simon & Garfunkel. Who knows what it will be for you? And eventually, but slowly, oh so slowly, you forget your humiliations – even the ones that seemed indelible just fade away. You forget who was cool and who was not, who was pretty, smart, athletic, and not. Who went to a good college. Who threw the best parties. Who could get you pot. You forget all of them. Even the ones you said you loved, and the ones you actually did. They’re the last to go. And then once you’ve forgotten enough, you love someone else.

I have no illusions that I, by myself, pose any threat to the current status quo. They, who have effectively neutered and marginalized the population so greatly, that a coffee-table book of Madonna’s twat constitutes a greater threat in Americans’ minds than does a 150-billion-dollar defense budget during peacetime (more on Madonna’s twat later.)... ...For all the lip service being paid by our candidates for the need to change, it looks like Business As Usual here in America. So, who am I supporting? Which candidate best represents my interests? As for me, I’m voting for Madonna’s twat.

And suddenly he became almost lyric. "For three thousand years the Common Man has been fended off from the full and glorious life he might have had, by Make Believe. For three thousand years in one form or another he has been asking for an unrestricted share in the universal welfare. He has been asking for a fair dividend from civilisation. For all that time, and still it goes on, the advantaged people, the satisfied people, the kings and priests, the owners and traders, the gentlefolk and the leaders he trusted, have been cheating him tacitly or deliberately, out of his proper share and contribution in the common life. Sometimes almost consciously, sometimes subconsciously, cheating themselves about it as well. When he called upon God, they said 'We'll take care of your God for you', and they gave him organised religion. When he calls for Justice, they say 'Everything decently and in order', and give him a nice expensive Law Court beyond his means. When he calls for order and safety too loudly they hit him on the head with a policeman's truncheon. When he sought knowledge, they told him what was good for him. And to protect him from the foreigner, so they said, they got him bombed to hell, trained him to disembowel his fellow common men with bayonets and learn what love of King and Country really means. "All with the best intentions in the world, mind you. "Most of these people, I tell you, have acted in perfect good faith. They manage to believe that in sustaining this idiot's muddle they are doing tremendous things -- stupendous things -- for the Common Man. They can live lives of quiet pride and die quite edifyingly in an undernourished, sweated, driven and frustrated world. Useful public servants! Righteous self-applause! Read their bloody biographies!

They Don't Love You Like I Love You" My mother said this to me long before Beyoncé lifted the lyrics from the Yeah Yeah Yeahs, and what my mother meant by Don’t stray was that she knew all about it—the way it feels to need someone to love you, someone not your kind, someone white, some one some many who live because so many of mine have not, and further, live on top of those of ours who don’t. I’ll say, say, say, I’ll say, say, say, What is the United States if not a clot of clouds? If not spilled milk? Or blood? If not the place we once were in the millions? America is Maps— Maps are ghosts: white and layered with people and places I see through. My mother has always known best, knew that I’d been begging for them, to lay my face against their white laps, to be held in something more than the loud light of their projectors of themselves they flicker—sepia or blue—all over my body. All this time, I thought my mother said, Wait, as in, Give them a little more time to know your worth, when really, she said, Weight, meaning heft, preparing me for the yoke of myself, the beast of my country’s burdens, which is less worse than my country’s plow. Yes, when my mother said, They don’t love you like I love you, she meant, Natalie, that doesn’t mean you aren’t good.

The point is, you are most you, at your best, when you create the roles that make you feel most alive: witty, lyrical, speculative, loving, but also, and here’s the rub, cynical, sarcastic, angry, muddled, sad—for negative states can be just as vital as positive ones. Fullness is the goal, myriad-mindedness (a happy phrase Coleridge conjured to describe Shakespeare): to be as varied and capacious as the cosmos. With this bigness, containing the most sublime and the low at once, you can hope that generosity will win out over the meanness, that you will foster the democratic, merciful embrace of what is as well as what ought to be. The best actor, Hamlet asserts, uses all gently.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

In terms of literary history, the publication of Lyrical Ballads in 1798 is seen as a landmark. The volume contains many of the best-known Romantic poems. The second edition in 1800 contained a Preface in which Wordsworth discusses the theories of poetry which were to be so influential on many of his and Coleridge's contemporaries. The Preface represents a poetic manifesto which is very much in the spirit of the age. The movement towards greater freedom and democracy in political and social affairs is paralleled by poetry which sought to overturn the existing regime and establish a new, more 'democratic' poetic order. To do this, the writers used 'the real language of men' (Preface to Lyrical Ballads) and even, in the case of Byron and Shelley, got directly involved in political activities themselves. The Romantic age in literature is often contrasted with the Classical or Augustan age which preceded it. The comparison is valuable, for it is not simply two different attitudes to literature which are being compared but two different ways of seeing and experiencing life. The Classical or Augustan age of the early and mid-eighteenth century stressed the importance of reason and order. Strong feelings and flights of the imagination had to be controlled (although they were obviously found widely, especially in poetry). The swift improvements in medicine, economics, science and engineering, together with rapid developments in both agricultural and industrial technology, suggested human progress on a grand scale. At the centre of these advances towards a perfect society was mankind, and it must have seemed that everything was within man's grasp if his baser, bestial instincts could be controlled. The Classical temperament trusts reason, intellect, and the head. The Romantic temperament prefers feelings, intuition, and the heart.

Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.

Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

Yes, my friends, your hunger for history is still pretty segregated. Your knowledge of America often ends at the color line. You end up erasing the black story as the American story, black history as American history. You certainly have an insatiable thirst for history, but only if that history justifies whiteness. Most black folk can’t help but notice what many whites rarely wish, or are compelled, to see: you embrace history as your faithful flame when she kisses you, and yet you spurn her as a cheating mate when she nods or winks at others. You love history when it’s yet another book about, say, the Founding Fathers. No amount of minutia is too tedious. No new fact is too obscure to report. The curiosity about presidents is nearly inexhaustible. History is a friend to white America when it celebrates the glories of American exceptionalism, the beauty of American invention, the genius of the American soul. History is unrestrained bliss when it sings Walt Whitman’s body electric or touts the lyrical vision of the Transcendentalists. History that swings at the plate with Babe Ruth or slides into home with Joe DiMaggio is the American pastime at its best. History hovers low in solemn regard for the men who gave up the ghost at Appomattox and speaks with quiet reverence for the Confederate flags that gleefully waved to secession. Of course all of you don’t sing from the same hymnal. But American history, the collective force of white identity that picks up velocity across the centuries, mouths every note.

Rather, I found through this experience that there is significant similarity between meditating under a waterfall and tidying. When you stand under a waterfall, the only audible sound is the roar of water. As the cascade pummels your body, the sensation of pain soon disappears and numbness spreads. Then a sensation of heat warms you from the inside out, and you enter a meditative trance. Although I had never tried this form of meditation before, the sensation it generated seemed extremely familiar. It closely resembled what I experience when I am tidying. While not exactly a meditative state, there are times when I am cleaning that I can quietly commune with myself. The work of carefully considering each object I own to see whether it sparks joy inside me is like conversing with myself through the medium of my possessions. For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The best time to start is early morning. The fresh morning air keeps your mind clear and your power of discernment sharp. For this reason, most of my lessons commence in the morning. The earliest lesson I ever conducted began at six thirty, and we were able to clean at twice the usual speed. The clear, refreshed feeling gained after standing under a waterfall can be addictive. Similarly, when you finish putting your space in order, you will be overcome with the urge to do it again. And, unlike waterfall meditation, you don’t have to travel long distances over hard terrain to get there. You can enjoy the same effect in your own home. That’s pretty special, don’t you think?

CHALLENGES TO YOUNG POETS Invent a new language anyone can understand. Climb the Statue of Liberty. Reach for the unattainable. Kiss the mirror and write what you see and hear. Dance with wolves and count the stars, including the unseen. Be naïve, innocent, non-cynical, as if you had just landed on earth (as indeed you have, as indeed we all have), astonished by what you have fallen upon. Write living newspaper. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance level for hot air. Write and endless poem about your life on earth or elsewhere. Read between the lines of human discourse. Avoid the provincial, go for the universal. Think subjectively, write objectively. Think long thoughts in short sentences. Don't attend poetry workshops, but if you do, don't go the learn "how to" but to learn "what" (What's important to write about). Don't bow down to critics who have not themselves written great masterpieces. Resist much, obey less. Secretly liberate any being you see in a cage. Write short poems in the voice of birds. Make your lyrics truly lyrical. Birdsong is not made by machines. Give your poem wings to fly to the treetops. The much-quoted dictum from William Carlos Williams, "No ideas but in things," is OK for prose, but it lays a dead hand on lyricism, since "things" are dead. Don't contemplate your navel in poetry and think the rest of the world is going to think it's important. Remember everything, forget nothing. Work on a frontier, if you can find one. Go to sea, or work near water, and paddle your own boat. Associate with thinking poets. They're hard to find. Cultivate dissidence and critical thinking. "First thought, best thought" may not make for the greatest poetry. First thought may be worst thought. What's on your mind? What do you have in mind? Open your mouth and stop mumbling. Don't be so open minded that your brains fall out. Questions everything and everyone. Be subversive, constantly questioning reality and status quo. Be a poet, not a huckster. Don't cater, don't pander, especially not to possible audiences, readers, editors, or publishers. Come out of your closet. It's dark there. Raise the blinds, throw open your shuttered windows, raise the roof, unscrew the locks from the doors, but don't throw away the screws. Be committed to something outside yourself. Be militant about it. Or ecstatic. To be a poet at sixteen is to be sixteen, to be a poet at 40 is to be a poet. Be both. Wake up and pee, the world's on fire. Have a nice day.

All of the experiences he’d had with the band so far, watching other bands at work, reading, getting into Iggy and Throbbing Gristle, it was all coming together for him. It was shaping him into the writer that he became, which was arguably one of the best lyricists ever. His songs from that point were like having a conversation with a genius, sort of profound and impenetrable at the same time. I think that for a while he found it easy as well. The songs seemed to flow out of him and he didn’t put a foot wrong after that point, didn’t write a single bad lyric after An Ideal for Living, right up until his death

Send lawyers, guns and money, the shit has hit the fan.

AND WHAT THE YOUNG WRITERS ALL FAILED TO REALIZE IS THAT THE WAY YOU BEST CONNECT TO THE READER IS NOT BY CRAFTING THE MOST LYRICAL AND DAZZLING ARRAY OF WORDS, NOT BY BEING UNCLEAR AND HINTING AT YOUR MUDDLED MEANING THROUGH PLEASANT-SOUNDING VAGUERY, BUT BY COMMUNICATING A SEQUENCE OF MEANINGFUL IDEAS IN A WAY THE READER CAN ACTUALLY UNDERSTAND.

You really remember the words, don’t you!” Yuki said, genuinely impressed. “Who wouldn’t? I was just as crazy about rock as you are,” I said. “I used to be glued to the radio every day. I spent all my allowance on records. I thought rock ‘n’ roll was the best thing ever created.” “And now?” “I still listen sometimes. I like some songs. But I don’t listen so carefully, and I don’t memorize all the lyrics anymore. They don’t move me like they used to.

Dr. Bradshaw had been her doctor since she was a little girl, so she knew that she had her best interest at heart. They had built a relationship over the years; Lyric trusted Doc with her life.

Lately Ty thought Torrin had been acting strangely but he chose to wait it out and see what he was up to. He started to seem distant as if he were hiding something; Ty needed to know what that is. Although, Torrin was his best friend, he never trusted anyone in this world besides Lyric; not even his parents.

If the situation where the other way around and it was Blessing they were looking for instead, he would have done the same thing. His love for his best friend was the same love that London has for Lyric, so all he could do was respect her G.

He was even paying for the best attorney to look into my sister’s case and, hopefully, get her conviction overturned. “No,” I answered Lyric. “I’m

Panties can go. I like the socks, though.” Ever so slowly, she pulled one tie and then the other and tugged until the panties fell from her body. “Seeing you naked is like being really hungry when you go grocery shopping. I want to rush and devour every inch of your body even when I know I’d be better off going slowly.” “You’re really good at this stuff.” “Advance warning, a lot of this stuff goes into lyrics.

he’ll make you want to be an angel investor in his stuff. What’s a book but a public offering? You’ll want to be in on the ground floor.” —The New York Times “Intelligent, lyrical, prosaic, theoretical, pragmatic, funny, serious … [Cohen’s] best prose does everything at once.” —The New Yorker “Cohen, a key member of the United States’ under-40 writers’ club (along with Nell Freudenberger and Jonathan Safran Foer), is a rare talent who makes highbrow writing fun and accessible.

Worst Comes To Worst" (feat. Guru) [Babu mixing] "Worst come to worst my peoples come first" "Worst...come.....to worst" "Worst come to worst my peoples come first" "Worst come...to...worst" "Worst come to worst my peoples come first" [Evidence talking] Yeah It's goin down y'all That's Babu Yo, some people got good friends, at night I live my life right Intense, on the edge On the wild, I'm from the group where friction leads to fire Stack your bricks, the time is take your pick Do or don't, the track - Alchemist My life is good, I got my peeps in the mix, so... "Worst come to worst my people come first" [Iriscience] I got worldwide family all over the earth And I worry 'bout 'em all for whatever it's worth From the birth to the hearse, the streets, the guns burst Words I disperse are here to free minds And if mine are needy I need to feed mine "When worst come to worst..." [Evidence] Set up shop and write a verse Actually (what?), that's best come to best My lyrics take care of me, they therapy Get shit off my chest Extra stress, three-four over the score Different patterns of rhymin prepare me for war So next time you see us we'll be deadly on tour [Babu mixing] "Oh, when you need me" "Worst come to worst my peoples come first" [Guru talking] Word up, if worst comes to worst, I make whole crews disperse You know it's family first Gifted Unlimited with Dilated Peoples Babu, Evidence, Iriscience And a shout out to my man Alchemist on the trizzack "Oh, when you need me" "Worst come to worst my peoples come first" [Iriscience] I'm a glutton for the truth, even though truth hurts I've studied with my peoples on streets and in church We make it hard when we go on first Long road, honor of the samurai code These California streets ain't paved with gold Worst comes to worst "Worst come to worst my people come first" [Evidence] Uh, I got them back, at the end of the day We could go our seperate ways but the songs remains, it won't change Got my target locked at range I might switch gears but first I switch lanes Without my people I got nothin to gain That's why... "Worst come to worst my people come first" [Iriscience] Special victims unit, catalyst for movement Creates to devastate, since '84 show improvement Definitely Dilated Peoples comes first Cross-trainin spar, we raise the bar And we put it in your ear no matter who you are [Babu mixing] "Oh, when you need me" "Worst come to worst my peoples come first" "Worst....come...worst my peoples come first" "Worst...worst....worst....come to worst my peoples come first" "...my..my...my peoples come first "Oh, when you need me

American motor-and-music city of Detroit. Two centuries after the settlement’s founding, Cadillac’s name was a synonym for mass-produced luxury. He thus has the best name recognition today of any French colonist, and his memory resounds in countless song lyrics.

Gris-Gris Gumbo Ya Ya Song by Dr. John Lyrics They call me, Dr. John, The Night Tripper Got my sizzling Gris-Gris in my hand Day trippin' up, back down by you I'm the last of the best They call me the Gris-Gris man Got many clients Come from miles around Running down my prescription I got my medicine, to cure all your ills I got remedies of every description

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

complement the first. The initial credit line Junior offered for investing in artists was only $100 million, much less than what had been available at Warner, but Morris could see that, sitting on a limitless tap of booze money, there was a lot more where that came from.4 Best of all, Seagram was domiciled in Canada, where the lyrics of popular rap songs were not a pressing political issue. Although Jimmy Iovine and Doug Morris were temporarily estranged as colleagues, they remained best friends and hoped to reunite. Fuchs’ actions had stung them both, and Iovine had raised such a stink after Morris’ sacking that he was no longer permitted in the Time Warner Building. Under normal circumstances, he too would have been fired, but Iovine didn’t actually work for Warner directly—he was an equity partner in a joint venture, and the only way to get rid of him was to sell him back his shares. This was an expensive proposition, as Interscope had diversified beyond rap, signing No Doubt, Nine Inch Nails, and Marilyn Manson. Together, the two came up with a plan. Iovine, the agitator, would make himself unbearable to Fuchs, and push extreme albums like Dogg Food and Antichrist Superstar that made the provocations of The Chronic seem boring by comparison. Morris,

the best commercial songs have an appeal to the masses because they contain an innate truth, a connection that cannot be denied, whether it is a groove that has an immediate physical effect or a lyric so perfectly wedded to music that an emotional reaction invariably occurs.

#COMPOSITION COMPETITION 2019 SMP PRESS CATEGORY : SACRED MUSIC - INSTRUMENTAL ENSEMBLE FROM PMD MUSIC CREATION #smppress `This song is packaged using 113 pieces of effects (braid 13 types of mixer effects) and instrument generator selection. Lyric of Song: ENDURING OUR LIVE (C=1, 4/4) (Intro) Enduring our live, complaining and complaining Keep looking at Jesus Christ The Lord, He is The Saviour Jesus Christ The Lord, Jesus Christ The Lamb of God, He died for the ransom of the world Jesus Christ The Lord, Jesus Christ The Lamb of God, He rose for the people who believe Jesus Christ, He is my saviour, Jesus Christ, He is your saviour too, keep believing In faith our life, we must not complain more Jesus Christ The Lord who gave love to us, Hallelujah (Interlude/Instrumental) Jesus Christ, He is my saviour, Jesus Christ, He is your saviour too, says “I’m believe” Friends, let’s be grow up, be light up, let’s be strong and fruitfull And win many souls for Jesus Christ Jesus Christ The Lord with The Holly Spirit accompany us in ministry Ministring choice for the best believers (Interlude/Instrumental) Jesus Christ The Lord with The Holly Spirit accompany us in ministry Ministring choice for the best believers COMPOSER : SR.Pakpahan,SST Lyricst : SR.Pakpahan,SST Web Url link look at sheetmusicplus. com/title/enduring-our-live-digital-sheet-music/21378128 #smppress

Nor is the remedy for power to be sliced and diced democratically. Other than in communist idylls and Hot Chocolate lyrics, not everyone can be a winner all of the time. My leadership philosophy remains rooted in the need for an out-and-out leader.

You know what they say” (or what Kenny Rogers would say), “‘you’ve got to know when to hold them and know when to fold them.’” This was better, Jackson thought, all he had to do was utilize the lyrics from country songs, they contained better advice than anything he could conjure up himself. Best to avoid Hank, though—I’m so lonesome I could cry. I’ll never get out of this world alive. I don’t care if tomorrow never comes. Poor old Hank, not good mental fodder for a man who had just tried to jump off a

This is the last song of its kind. Now you can be. Now you can be all that all your weakest love can find Ain't it the best? Ain't it the best?

Honey, no regrets. We just do our best and die.

I went into the dining-room, where four covered pots of soup stood on the table, and moved over to the bookshelves to the left of the fireplace. Here I kept two or three dozen works on architecture and sculpture, and a hundred or so plain texts of the standard English and French poets, stopping chronologically well short of our own day: Mallarmé and Lord de Tabley are my most modern versifiers. I have no novelists, finding theirs a puny and piffling art, one that, even at its best, can render truthfully no more than a few minor parts of the total world it pretends to take as its field of reference. A man has only to feel some emotion, any emotion, anything differentiated at all, and spend a minute speculating how this would be rendered in a novel—not just the average novel, but the work of a Stendhal or a Proust—to grasp the pitiful inadequacy of all prose fiction to the task it sets itself. By comparison, the humblest productions of the visual arts are triumphs of portrayal, both of the matter and of the spirit, while verse—lyric verse, at least—is equidistant from fiction and life, and is autonomous.

nothing is better nothing is best we are unhappy we are unblessed we are unhappy

But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminationswere translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.

But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminations were translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.

Though absent long, These forms of beauty have not been to me, As is a landscape to a blind man’s eye: But oft, in lonely rooms, and mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart, And passing even into my purer mind With tranquil restoration: — feelings too Of unremembered pleasure; such, perhaps, As may have had no trivial influence On that best portion of a good man’s life; His little, nameless, unremembered acts Of kindness and of love.