Lyrics Sad Quotes

funny how a beautiful song could tell such a sad story

you're an expert at sorry and keeping the lines blurry

I called to wish you an unhappy birthday because you're evil and you lie and if you should die I may feel slightly sad, but I won't cry.

A poet should be so crafty with words that he is envied even for his pains.

I wish the night would end, I wish the day'd begin, I wish it would rain or snow, or the wind would blow, or the grass would grow, I wish I had yesterday, I wish there were games to play...

Because you let our love just fall apart You no longer have my heart

You think you're lost but you're not lost on your own. You're not alone. I will stand by you, I will help you through when you’ve done all you can do. If you can’t cope, I will dry your eyes I will fight your fight, I will hold you tight and I wont let go

Sadness isn't sadness. It's happiness in a black jacket. Tears are not tears. They're balls of laughter dipped in salt. Death is not death. It's life that's jumped off a tall cliff.

When you're happy, you enjoy the music but when you're sad, you understand the lyrics.

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.

And a rock feels no pain; And an island never cries.

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.

Nobody notices, only you've known, you're not sick, not crazy, not angry, not sad-- It's just this, you're injured.

..I find it incredible impossible not to cry when I hear Stevie Nicks's "Landslide," especially the lyric: "I've been afraid of changing, because I've built my life around you." I think a good test to see if a human is actually a robot/android/cylon is to have them listen to this song lyric and study their reaction. If they don't cry, you should stab them through the heart. You will find a fusebox.

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.

The pattern's laid out on the bed With dozens of colors of thread But you've got the needle I guess that's the point in the end

It was such a sweet, sad song with such sweet, sad lyrics. Old-fashioned a little, but also timeless.

With your silhouette when the sunlight dims Into your eyes where the moonlight swims, And your match-book songs and your gypsy hymns, Who among them would try to impress you? -Bob Dylan, "Sad-Eyed Lady of the Lowlands” (1966)

You can plan on a change in the weather and time, but I never planned on you changing you mind.

There are no words to this music, and that makes me sad. Every song deserves lyrics. Deserves a story to tell.

Closing my eyes, I then focused in on the lyrics. I couldn't help thinking how much the song meant to me because of Maddie. She had caught me when I'd fallen and saved me from the epic storm of grief just like the lyrics said. I wasn't drowning in sadness anymore. Instead I was drowning in her-her smile, her beauty, her giving heart and beautiful spirit.

When you're happy,you enjoy the music.But,when you're sad,you understand the lyrics.

It seemed so good when it started. I gave my trust to you. I came to you open-hearted, Hoping it was true. Now I've gotten smart. Now I've learned some things. Now I know that what once was a start, Is just an ending. The longest good-bye I ever knew, The longest good-bye Was the day I said hello to you.

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.

When you're happy. You enjoy the music, but when you're sad. You understand the lyrics.

I don't really like this song," Emma had said. "You told me it was your favourite." "It's beautiful. But it always makes me sad." "Why, love?" he'd asked gently. "It's about finding each other again. About someone coming home." Emma had lifted her head from his shoulder and looked at him earnestly. "It's about losing someone, and having to wait until you're together in heaven." "There's nothing in the lyrics about heaven," he'd said. "But that's what it means. I can't bear the idea of being separated from you, for a lifetime or a year or even a day. So you mustn't go to heaven without me." "Of course not," he had whispered. "It wouldn't be heaven without you.

I heard a thousand blended notes While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind. To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man.

Maybe I'd see how you could be so certain that we had no chance...at all.

When you're happy, you enjoy the music. When you're sad, you understand the lyrics

Then, lifting me up, his head fell back and he opened his mouth wide. “Once I let Lucy Larson into my heart! I was able to take my sad, shitty song and make it better!” he sung, off key and at full volume. Some of the students around us tipped their beers at him, some broke in during the “Nah, nah, nah,” chorus, and a few looked at him like he was a crazy man. But I just laughed—I already knew he was crazy. And I loved him for it. “I think that’s called taking creative liberties with the lyrics.

To be lyrical you've got to stuff your ears up and keep other people out of your life- if you have one.

Eid Crescent I feed on bitterness and satiety never comes. Today sadness has renewed itself. Let me narrate the story of two souls, Whose love was struck by the evil eye, In a twist which Fate had hidden. Luck won’t smile and Time will scorch. Only the stars know what is wrong with me. I almost sense them craning to wipe my tears away.

Sad is one of those words that has given up its life for our country, it's been a martyr for the American dream, it's been neutralized, co-opted by our culture to suggest a tinge of discomfort that lasts the time it takes for this and then for that to happen, the time it takes to change a channel. But sadness is real because once it meant something real. It meant dignified, grave; it meant trustworthy; it meant exceptionally bad, deplorable, shameful; it meant massive, weighty, forming a compact body; it meant falling heavily; and it meant of a color: dark. It meant dark in color, to darken. It meant me. I felt sad.

I always hated...all sad songs. I thought they made happy people miserable. Now I think I understand them better. Bards write them because they can't hold them back. Sadness has got to flow out or it gets stuck and turns bitter.

My lyrics are a big pile of contradictions. They split down the middle between very sincere opinions and feelings that I have and sarcastic and hopefully humorous rebuttals towards cliché' bohemian ideals that have been exhausted for years. I mean it seems like there are only two options for songwriters - either they are sad, tragic visionaries like Morrisey or Michael Stipe or Robert Smith or there's the goofy, nutty white boy - hey let's party and forget about everything people like Van Halen or all that other heavy metal crap. I mean I like to be passionate and sincere, but I also like to have fun and act like a dork.

Let's make this earth from house to home Safe for every child to roam Full of dreams, hope and love This is what our hearts are made of Let's bring peace to this world No more sadness, hate or hurt Only kindness, compassion, and unity For the sake of all humanity

When something's fallen apart as many times as us I can't put it back together, it's not the same

It's too late to come on home All those bridges now old stones It’s too late to come on home Can the city forgive, I hear it’s sad song

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 think that because I’m so happy, the easiest, most minute bit of sadness will strike me like it is the hardest blow anyone has ever endured.

The sadness lives in the recognition that a life cannot matter: Or; as there are billions of lives, my sadness is alive alongside the recognition that billions of lives never mattered.

For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

Use the flowing rhythms to feel your fear; use staccato to feel and express anger, chaos for sadness, lyrical for joy, stillness for compassion. The rhythms catalyze each emotion and each stage of each emotion.

Music is the only thing that understands and can respond to all emotions of the heart. When you’re happy you hear the melody, when you’re angry you focus on the beat, and when you’re sad you listen to the lyrics.

Sometimes we get into the mood for sad songs. The lyrics always hit deeper with this melancholic feeling that you engulf yourself with. Along with coffee this combination is a great way to reflect and savor the moment.

You see, there's some blues for folks ain't never had a thing, and that's a sad blues ... but the saddest kind of blues is for them that's had everything they ever wanted and has lost it, and knows it won't come back no more. Ain't no sufferin' in this world worse than that; and that's the blue we call 'I Had It But It's All Gone Now.

She put him out like the burning end of a midnight cigarett. She broke his heart. He spent his whole life trying to forget. We watched him drink his pain away a little at a time. But he never could get drunk enough to get her off his mind until the night. He put that bottle to his head and pulled the trigger. And finally drank away her memory. Life is short but this time it was bigger, Than the strength he had to get up off his knees. We found him with his face down in the pillow. With a note that said: I love her til' I die. And when we buried him beneath the willow, The angels sang a whiskey lullaby. La la la la la la la. La la la la la la la. La la la la la la la. La la la la la la la. The rumors flew, But nobody knew how much she blamed herself for years and years. She tried to hide the whiskey on her breath. She finally drank her pain away a little at a time, But she never could get drunk enough to get him off her mind until the night. She put that bottle to her head and pulled the trigger. And finally drank away his memory. Life is short but this time it was bigger, Than the strength she had to get up off her knees. We found her with her face down in the pillow. Clinging to his picture for dear life. We laid her next to him beneath the willow, While the angels sang a whiskey lullaby. La la la la la la la. La la la la la la la. La la la la la la la. La la la la la la la.

I’d been at Lyla and Marissa’s apartment long enough for the Taylor Swift album that Lyla was playing to get to a song about someone’s tears ricocheting, which seemed to be a favorite of hers with the way she mouthed the lyrics. It was a sad fucking song.

Look," she said, and just that. That was the only time she opened her mouth, because she wanted to say something unnecessary, something that wouldn't be important or memorable, so I wouldn't have to remember her voice. We looked at the veil then, the thing that had turned her this way, and we smiled.

My Favorite rapper Tupac Shakur.. Philosophical... The emotional depth of his lyricism. Rest in peace. So sad when I listen your music. I understand the struggle, I know exactly how you feel... Been there a million times. Wanting to change the world and Everytime you speak up, only your echo answers you back

I was grinding away to the climactic moan backtrack when I caught my reflection in the club’s mirror, hips rotating, booty shaking. Years later, Grace described my smooth moves as a sad epileptic white girl’s imitation of a twerk. Harsh. Could anyone look sexy dancing to lyrics that include “Sucky, sucky. Me sucky, sucky”? I don’t think so.

When I’m happy or sad or mad, anything, music is what I seek. I relate life to lyrics, tone to mood.

In pleasure we only feel the music, in pain we also feel the lyrics.

Yeah I tried to hide away from all the sorrow and pain But little did I know that I was going insane The sun will always be there waiting after the rain

When you’re happy you enjoy the music. When you’re sad, you understand the lyrics.

You feel like a leaf at the mercy of the wind, don’t you?” he finally said, staring at me. That was exactly the way I felt. He seemed to empathize with me. He said that my mood reminded him of a song and began to sing in a low tone; his singing voice was very pleasing and the lyrics carried me away: “I’m so far away from the sky where I was born. Immense nostalgia invades my thoughts. Now that I am so alone and sad like a leaf in the wind, sometimes I want to weep, sometimes I want to laugh with longing.” (Que lejos estoy del cielo donde he nacido. Immensa nostalgia invade mi pensamiento. Ahora que estoy tan solo y triste cual hoja al viento, quisiera llorar, quisiera reir de sentimiento.) We did not speak for a long while. He finally broke the silence. “Since the day you were born, one way or another, someone has been doing something to you,” he said. “That’s correct,” I said. “And they have been doing something to you against your will.” “True.” “And by now you’re helpless, like a leaf in the wind.” “That’s correct. That’s the way it is.” I said that the circumstances of my life had sometimes been devastating. He listened attentively but I could not figure out whether he was just being agreeable or genuinely concerned until I noticed that he was trying to hide a smile. “No matter how much you like to feel sorry for yourself, you have to change that,” he said in a soft tone. “It doesn’t jibe with the life of a warrior.

The sadness lives in the recognition that a life cannot matter: Or; as there are billions of live, my sadness is alive alongside the recognition that billions of lives never mattered.

Tears flood in you your eyes burning your heart scars with my name scratched deep My face is gone my heart betrayed by your lullabies I’m a shadow of a girl inside Hands are touching you nothing takes the place of you Heart wrench, weeps goodbye Lullabies, beautiful and trusting Barely breathing as they break into dust Lonely corners me Sweeps me off my feet Shows me it was better for me Fingertips holding close your grip not as soft Follows me to an empty bed I can’t stop the weakening of my soul my body is dying your tune is holding my mind Let me go see what I do No control No you You whisper your sweet goodbye If it is small it won’t interrupt my sleep But my heart you keep You say it’s for me But who would be happy? Alone left out in the cold

Even though I was born in America, and my ancestors built its infrastructure for free, I’m not a part of the “Our” when they sing, “Our flag was still there!” I feel like the “Our” doesn’t include blacks, most women, gays, trans, and poor people of all colors. And, sadly, our nation reminds us every day. Some may reject the anthem because Francis Scott Key sang for freedom while enslaving blacks. His hatred even bled into the lyrics of the elongated version of “The Star-Spangled Banner” you won’t hear at a sporting event. The third stanza reads: No refuge could save the hireling and slave/From the terror of flight, or the gloom of the grave That line was basically a shot at slaves who agreed to fight with the British during the War of 1812 in exchange for their freedom.

There’s a definite depressive streak in Finns, more so than in their western neighbours. While they aren’t among Europe’s biggest drinkers per capita, the incidence of alcoholism is high. The winter darkness can strain even the most optimistic soul – seasonal affective disorder (SAD) is significant here and suicide levels are higher than the comfortable standard of living would predict. The melancholic trend is reflected in Finns’ love of darkly themed music and lyrics of lost love

THE ANTHEM OF HOPE Tiny footprints in mud, metal scraps among thistles Child who ambles barefooted through humanity’s war An Elderflower in mud, landmines hidden in bristles Blood clings to your feet, your wee hands stiff and sore You who walk among trenches, midst our filth and our gore Box of crayons in hand, your tears tumble like crystals Gentle, scared little boy, at the heel of Hope Valley, The grassy heel of Hope Valley. And the bombs fall-fall-fall Down the slopes of Hope Valley Bayonets cut-cut-cut Through the ranks of Hope Valley Napalm clouds burn-burn-burn All who fight in Hope Valley, All who fall in Hope Valley. Bullets fly past your shoulder, fireflies light the sky Child who digs through the trenches for his long sleeping father You plant a kiss on his forehead, and you whisper goodbye Vain corpses, brave soldiers, offered as cannon fodder Nothing is left but a wall; near its pallor you gather Crayon ready, you draw: the memory of a lie Kind, sad little boy, sketching your dream of Hope Valley Your little dream of Hope Valley. Missiles fly-fly-fly Over the fields of Hope Valley Carabines shoot-shoot-shoot The brave souls of Hope Valley And the tanks shell-shell-shell Those who toiled for Hope Valley, Those who died for Hope Valley. In the light of gunfire, the little child draws the valley Every trench is a creek; every bloodstain a flower No battlefield, but a garden with large fields ripe with barley Ideations of peace in his dark, final hour And so the child drew his future, on the wall of that tower Memories of times past; your tiny village lush alley Great, brave little boy, the future hope of Hope Valley The only hope of Hope Valley. And the grass grows-grows-grows On the knolls of Hope Valley Daffodils bloom-bloom-bloom Across the hills of Hope Valley The midday sun shines-shines-shines On the folk of Hope Valley On the dead of Hope Valley From his Aerodyne fleet The soldier faces the carnage Uttering words to the fallen He commends their great courage Across a wrecked, tower wall A child’s hand limns the valley And this drawing speaks volumes Words of hope, not of bally He wipes his tears and marvels The miracle of Hope Valley The only miracle of Hope Valley And the grass grows-grows-grows Midst all the dead of Hope Valley Daffodils bloom-bloom-bloom For all the dead of Hope Valley The evening sun sets-sets-sets On the miracle of Hope Valley The only miracle of Hope Valley (lyrics to "the Anthem of Hope", a fictional song featured in Louise Blackwick's Neon Science-Fiction novel "5 Stars".

The assholes took their toll.” “Assholes often do.” “That’s a Billboard Top Forty song waiting to happen.” “Sung to the tune of ‘There’ll Be Sad Songs,’” I suggested, then offered up a lyric. “‘There’ll be assholes, to make you cry.’” “‘Assholes often dooo,’” Mallory sang.

The name of the song is "All the boys got to love me, that's all."...It was the most unusual blues you ever heard. It was so sad. It's about a man who takes a girl to a dance. The girl starts flirting with another man. He doesn't start a fight, but takes her home and sings this song...The lyrics are full of regret, he tells her he is sorry he met her, among other things, and finishes by saying he is going to take her into the woods and shoot her. He kills her but he still loves her and he tells the undertaker to be very careful with his beautiful baby.

The first verse was a celebration of night--a ballad of dancing shadows and creeping mist and all the tiny, soothing shifts that let the world slip into restful slumber. But as the lyrics carried on, they curved to an ode to darkness itself. A reminder that there was purpose and power, even in the blackest places. Even to the shadows within herself. The anger. And doubts. And sadness. The memories that were too painful to replay. All rang with vulnerability and strength. And with each new beat--each new pulse--the monster changed shape. Until it wasn't a monster at all.

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

They lost their sense of reality, the notion of time, the rhythm of daily habits. They closed the doors and windows again so as not to waste time getting undressed and they walked about the house as Remedios the Beauty had wanted to do and they would roll around naked in the mud of the courtyard, and one afternoon they almost drowned as they made love in the cistern. In a short time they did more damage than the red ants: they destroyed the furniture in the parlor, in their madness they tore to shreds the hammock that had resisted the sad bivouac loves of Colonel Aureliano Buendía and they disemboweled the mattresses and emptied them on the floor as they suffocated in storms of cotton. Although Aureliano was just as ferocious a lover as his rival, it was Amaranta ?rsula who ruled in that paradise of disaster with her mad genius and her lyrical voracity, as if she had concentrated in her love the unconquerable energy that her great-great-grandmother had given to the making of little candy animals. And yet, while she was singing with pleasure and dying with laughter over her own inventions, Aureliano was becoming more and more absorbed and silent, for his passion was self-centered and burning. Nevertheless, they both reached such extremes of virtuosity that when they became exhausted from excitement, they would take advantage of their fatigue. They would give themselves over to the worship of their bodies, discovering that the rest periods of love had unexplored possibilities, much richer than those of desire. While he would rub Amaranta ?rsula’s erect breasts with egg whites or smooth her elastic thighs and peach-like stomach with cocoa butter, she would play with Aureliano’s portentous creature as if it were a doll and would paint clown’s eyes on it with her lipstick and give it a Turk’s mustache with her eyebrow pencil, and would put on organza bow ties and little tinfoil hats. One night they daubed themselves from head to toe with peach jam and licked each other like dogs and made mad love on the floor of the porch, and they were awakened by a torrent of carnivorous ants who were ready to eat them alive.

The way Susannah sings 'The Wind Will Carry Us' is so sad," he murmured. "Yeah, it really is." "It makes me think of the way people devote their lives to each other, and then one of them just leaves, or even dies." "I hadn't thought of it that way," said Jules, who had never understood those lyrics, in particular how a single wind could carry two people apart. "I know this sounds picky, but wouldn't the wind carry them together?” she asked. “It's one breeze. It just blows one way, not two." "Huh. Let me think about it." He thought briefly. "You're right. It doesn't make sense. But still, it's very melancholy.

When I’m happy or sad or mad, anything, music is what I seek. I relate life to lyrics, tone to mood. The beat can wake me or break me down. The words can lift me or leave me a soppy mess. A lot of people avoid songs that make them remember pain when they’re drowning in it, but I say let that sucker take you under.

And while he spoke of my mother often and fondly to me, he always did so incompletely, in a strangely peripheral way, so that I grew up with a picture of her that was really little more than an outline. Was this unfair, an injustice to me? It must seem so, and I suppose in a way it was. And yet we all have within ourselves those private spaces that are uniquely our own and that we cannot share. This was my father's: the heart of his grief, which he chose not to expose. It was only now, in these last months before his death, that the outline was filled in, that without preliminary or explanation, my father suddenly began to talk of my mother as he had never talked before, in words and phrases lit with a bursting lyrical warmth and love that had been stored up and held within him all this time, and that was now released because, I think, he knew his own time was so short, and because he did not for a moment doubt that very soon now he would be joined to her again... So there was a feeling of joy here.

Mostly I thought of Martha, who she was and what she had done for me. There wasn’t a moment of my life that I didn’t owe to her. Sometimes it rendered me listless and sad, made me say no to the frat party, the Sunday-night pizza feast, the Spring Fling, and I’d hole up alone in my dorm, drawing or writing lyrics, left with the painful truth of it, how the people who change us are the ones we never saw clearly at all, not until they were gone.

I can feel the rage burning up inside my heart Knowing you’re no longer here I can’t stop thinking about what I could’ve done But ‘til this day, I live in fear I fell apart, burnt to the ground Got nothing but ashes in my eyes It’s black and cold as night I wish I was there with you by your side I don’t know if I can sleep well tonight They tell me to keep moving on Yeah, I’ll never be the same But I know that deep in my heart I’ll carry all the pain

If shame had a face I think it would kind of look like mine If it had a home would it be my eyes Would you believe me if I said I'm tired of this Well here we go now one more time I tried to climb your steps I tried to chase you down I tried to see how low I could get it down to the ground I tried to earn my way I tried to tame this mind You better believe that I tried to beat this [CHORUS] So when will this end it goes on and on Over and over and over again Keep spinning around I know that it won't stop Till I step down from this for good I never thought I'd end up here Never thought I'd be standing where I am I guess I kinda thought it would be easier than this I guess I was wrong now one more time I tried to climb your steps I tried to chase you down I tried to see how long I could get it down to the ground I tried to earn my way I tried to tame this mind You better believe that I tried yo beat this [REPEAT CHORUS] Sick cycle carousel This is a sick sycle, yeah Sick cycle carousel This is a sick cycle, yeah [REPEAT CHORUS TWICE] Sick cycle carousel Sick cycle carousel Sick cycle carousel...

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.

THE HOLY ALPHABET ! Although things are not perfect Because of trial or pain Continue in thanksgiving Do not begin to blame Even when the times are hard Fierce winds are bound to blow God is forever able Hold on to what you know Imagine life without His love Joy would cease to be Keep thanking Him for all the things Love imparts to thee Move out of "Camp Complaining" No weapon that is known On earth can yield the power Praise can do alone Quit looking at the future Redeem the time at hand Start every day with worship To "thank" is a command Until we see Him coming Victorious in the sky We'll run the race with gratitude Xalting God most high Yes, there'll be good times and yes some will be bad, but... Zion waits in glory...where none are ever sad! Lyric Poems Adapted from Psalm 119

The voice cut into Helen’s murky sleep, and as she cracked her eyes open, the morning sun glared through the cleft in the curtains. A woman stood over her, hands on hips. Helen felt her own fingers that dangled over the side of the bed being pulled on, and she knew Lyric was there. Squinting, she turned her head and saw the child watching her. Helen had no idea how long Lyric had been there, perhaps minutes or hours or years, as if she lived in that spot, unaging, just waiting for the curse that was cast over Helen to lift.

He frowned with difficulty at everyone’s quick transition. He felt something crack in the room. It was like the feeling an artist got when he closed up his gallery, walked upstairs to his living quarters, and stared at the window to watch his former crowd rush to party next door and forget his exhibition one martini at a time. It was like goodbye. There was an unsaid, incomprehensive quality of unfairness to endings. They lacked a transition. The guitarist’s identity, for example, was in her strumming ten seconds ago, not when she finished and looked up at the seduced crowd as “her” again. The singer’s heart was housed in his lyrics, not in his thick-accented voice that rooms never understood.

He had tried so hard that day. Andrei looked toward the smoke, searching for a face, and found none. He knew there was no reward for his life. It would continue to be excruciating for him to venture into the world with stakes and yet receive no friendly consolation. No audience. There were only things and him. The state of aloneness was the condition comets came with. Oh, what a hand could do! A friend! A touch on the shoulder! But this loud torment of silence would serve as the rhythm of a much larger song that played in him—the tune of ceaseless risk. The song commences at the first streak of undertaking. And the lyrics of progress are never congratulated. How could others toast to a victory they did not understand? That they could not see?

I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life can not matter. Or, as there are billions of lives, my sadness is alive alongside the recognition that billions of lives never mattered. I write this without breaking my heart, without bursting into anything. Perhaps this is the real source of my sadness. Or, perhaps, Emily Dickinson, my love, hope was never a thing with feathers. I don't know, I just find when the news comes on I switch the channel. This new tendency might be indicative of a deepening personality flaw: IMH, The Inability to Maintain Hope, which translates into no innate trust in the supreme laws that govern us. Cornel West says this is what is wrong with black people today--too nihilistic. Too scarred by hope to hope, too experienced to experience, too close to dead is what I think.

As grief ripples through the river of soul where white lilies sleep, it finds its lyrics for the deeps are lit and unknowingly escapes the sadness through the flute for the soul is in wonder at the song it weaves.... You who once curled on the rusty bed in quiet, now find the caress that gently sways you inside, and grief o' grief shuffles the layers of your deeps. Darkness is thick no more for the lonesome moments turn to dawn and the glimmer of light is disguised no more....

If you don't like my kisses, honey, Here's what I will do: I'll go see a girl in purple, Kiss this sad world toodle-oo. If you don't want my lovin', Why should I take up all this space? I'll get off this old planet, Let some sweet baby have my place.

You can keep nothing safe from our eyes and ears. This is your own history. We are your most perilous and dutiful brethren, the song of our hearts at once furious and sad. For only you could grant me these lyrical modes. I call them back to you. Here is the sole talent I ever dared nurture. Here is all of my American education.

Both the lyrics and melody were straightforward, and though I wasn’t knowledgeable about what was going on with his guitar, the other instruments, or the backup vocals, the song was pleasurable to listen to at the same time that it was devastatingly sad. Was Noah Brewster himself sad? With that hair and those big white teeth?

FAKE LOVE,” opens with, “For you I could pretend like I was happy when I was sad.” These lyrics are saying that, no matter what pain the person is going through, they can show a happy face in front of the one they love.

Don't be sad if you are alone. The moon, despite its loneliness, is the most beautiful thing in the sky

I close my eyes and let the music take over my body, like it always does. When I’m happy or sad or mad, anything, music is what I seek. I relate life to lyrics, tone to mood.

Listening to sad songs is so beautiful when you are alone.

I never saw you cry Not until our dog died And the whole family came back together We held her body as they put the needle in her And then I saw you cry And then I saw you cry

I hate to admit it I still miss you How could I forget? I promised you I hate to admit it It’s hard to understand How could I forget The day you lied to me?

I’m sort of nervous you’ll find out Even though I want you to I’m sort of nervous you’ll be angry Even though I know that’s not you We’ve been through this all before And you never made me feel unsure But still A hush had fallen over the crowd as soon as she began to sing and Julie marveled at how different this atmosphere was from the raucous one the boys had described to her from their visit to the club. She wondered if Caleb would be satisfied with her slow and emotional song choice but if he was dissatisfied with her he didn’t show it on his face. He merely glanced around at the rapt expressions of the lifers and smirked. Julie allowed her eyes to slide over to her friends who were both watching her with knowing looks. She knew that the sadness in her lyrics was reflected in their eyes, that they felt sorry for her and that they ached for Luke too. She forced her gaze away from them, needing to focus on getting through the song and finding it almost impossible in the face of their pity. I’m sort of hopeful you’ll find out Even though that’s not fair I’m sort of hopeful you'll guess Even though I’m so scared I don’t know what the right choice is And part of me wants you to insist But still Despite all of the circumstances that made singing this particular song in this particular venue absolutely loaded down with baggage she found herself slipping into the zone she always occupied when performing. She could feel the heady rush of doing what she was meant to do in front of people hanging on her every word. She wished Luke was there to sing with her but she had also never been so glad that he wasn’t. She gripped the mic stand and raised her voice to new heights as she began the chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye She could hear emotion breaking through into her voice but she didn’t care. The ghost band once again seemed to sense what she had heard in her head and the music built and built before suddenly dropping to next to nothing. A few chords on the piano were all that accompanied the final verse as she gave it her all. I’m sort of happy we happened Even though I know the memories Will hurt I’m sort of happy we met here Even if it took a curse I know that I’ve made mistakes And some of them are hard to shake But still Julie allowed herself to truly see the audience for the first time. They were still watching her with awed expressions but something about the lighting in the club seemed different. There was a soft golden glow settling over the whole room. Julie blinked and the glow was gone. She barely had time to wonder if she had imagined it before the band came back in full force for the final chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye The band fell away again and Julie’s voice echoed through the ballroom alone on the final lines. How do I tell you? Goodbye

Sometimes you’re sad, you listen to sad music, you relate to the lyrics, you sulk, and that is alright. Just remember, everything will be fine at the end of the day. Sometimes you’re happy, you write happy positive posts, re-blog cute stuff, you laugh at everything, you feel like celebrating everything, and that’s okay. We have our moments, we’ve all had those days where we feel sad and we have no idea why. You’re entitled to feel what you want to feel at the moment. Don’t let them tell you you have no right to be sad. Don’t let them tell you not to celebrate the small things you have accomplished.

Tommorow Call you call me that night when you were alone and crying, but I am only an outcast, and it all blast in my mind, in my heart, an ocean of tears falling let me dream cause I feel so deprim, don't wake me up I won't get up cause I always chose to never give up, but lately it all fall apart like a castle of card let me go back to my fortress cause its the only place I can be a mess without distress and when love don't love you back make some step back even if you don't no where to go keep going even if you don't know what you doing cause you know you have a blessing and never let go cause you never know what can be made of tomorrow even when in a sorrow don't let it go you never know what can be made of tomorrow He was like a brother. He never showed it but he was broken and at some point he couldn't handle it anymore. Whitout the strength to get out of this pain Full of life i remember him crossing the door for the last time He was sad inside He was lost He was my friend He was my brother Sometimes the hardest thing to do is to live if I have time I would tell him that love and the time that goes by also makes mistakes Now he's gone and people finally realize how amazing he was but now it's to late. Maybe a little love and a hand to hold it wouldn't have come to this But I had been the pillar and now the base is broke. Walking in the street wearing masks of the lie, faded soul in disguise only an entity, invisible, intangible never let go cause you never know what can be made of tomorrow even when in a sorrow don't let it go

I stayed to spy on them. I heard my mother moaning, and crying out for Chris. Then she surprised me. “Momma, where has Momma gone, Chris? It’s been so long since she visited us, months, months, and the twins don’t grow.” “Cathy, Cathy, my poor darling, stop thinking about the past,” said my grandmother. “Please hold on, eat and drink to keep up your strength. Chris will come to save us both.” “Cory, stop playing that same tune over and over. I’m so tired of your lyrics. Why do you write such sad songs? The night will end, it will. Chris, tell Cory the day will begin soon.

Night air has the strangest flavour Space to breathe it - time to savour All that night air has to lend me Til the morning makes me angry In the night air, the night air. I've acquired a kind of madness Daylight fills my heart with sadness And only silent skies can soothe me Feel that night air flowing through me In the night air, the night air. I don't need those car-crash colours I control the stars above us Close my eyes to make the night fall The comfort of world revolving I can hear the earth in orbit In the night air, in the night air. I've acquired a taste for silence darkness fills my heart with calmness and each thought like a thief is driven to steal the night air from the heavens In the night air, in the night air...

Scales Balance is profit and losses. Acid and alkali. Vinegar and sugar. Depression and euphoria.

After love, was sadness not the most common noun in our lyrical repertoire? Did we salivate for sadness, or had we on learned to enjoy what we were forced to eat?

Taking trauma to be a primary route to growth and depth, Rabih wants his own sadness to find an echo in his partner’s character. He therefore doesn’t much mind, initially, that Kirsten is sometimes withdrawn and hard to read, or that she tends to seem aloof and defensive in the extreme after they’ve had an argument. He entertains a confused wish to help her without, however, understanding that help can be a challenging gift to deliver to those who are most in need of it. He interprets her damaged aspects in the most obvious and most lyrical way: as a chance for him to play a useful role. We believe we are seeking happiness in love, but what we are really after is familiarity. We are looking to re-create, within our adult relationships, the very feelings we knew so well in childhood and which were rarely limited to just tenderness and care. The love most of us will have tasted early on came entwined with other, more destructive dynamics: feelings of wanting to help an adult who was out of control, of being deprived of a parent’s warmth or scared of his or her anger, or of not feeling secure enough to communicate our trickier wishes. How logical, then, that we should as adults find ourselves rejecting certain candidates not because they are wrong but because they are a little too right—in the sense of seeming somehow excessively balanced, mature, understanding, and reliable—given that, in our hearts, such rightness feels foreign and unearnt. We chase after more exciting others, not in the belief that life with them will be more harmonious, but out of an unconscious sense that it will be reassuringly familiar in its patterns of frustration.

Toby looked so miserable the soldiers gathered around him for support. They sang a revised version of their company song: Buckle for your dust, boys, no flakey diddy-bopping. Stay tight, and fight the Grimhilda Red Alert. The second line was adaptable to any situation: the day before it had included references to grizzly bears.

On top of old Smokey, All covered in snow, I lost my true lover By courting too slow. On top of old Smokey, I went there to weep For a false-hearted lover Is worse than a thief. For a thief he will rob you, And take what you have, But a false-hearted lover Will put you in your grave. They'll hug you and kiss you And tell you more lies Than cross ties on the railroad Or the stars in the skies. So come all you young maidens And listen to me: Never place your affections On a green willow tree, For the leaves they will whither And the roots will die, And you'll all be forsaken And never know why.

AWARE The great sigh of things. To be aware of aware (pronounced ah-WAH-ray) is to be able to name the previously ineffable sigh of impermanence, the whisper of life flitting by, of time itself, the realization of evanescence. Aware is the shortened version of the crucial Japanese phrase mono-no-aware, which suggested sensitivity or sadness during the Heian period, but with a hint of actually relishing the melancholy of it all. Originally, it was an interjection of surprise, as in the English “Oh!” The reference calls up bittersweet poetic feelings around sunset, long train journeys, looking out at the driving rain, birdsong, the falling of autumn leaves. A held-breath word, it points like a finger to the moon to suggest an unutterable moment, too deep for words to reach. If it can be captured at all, it is by haiku poetry, the brushstroke of calligraphy, the burbling water of the tea ceremony, the slow pull of the bow from the oe. The great 16th-century wandering poet Matsuo Basho caught the sense of aware in his haiku: “By the roadside grew / A rose of Sharon. / My horse / Has just eaten it.” A recent Western equivalent would be the soughing lyric of English poet Henry Shukman, who writes, “This is a day that decides by itself to be beautiful.

Sadly, people boycotted me, and I don´t even have internet access permanently right now, and i am pretty much ruined... Incase you didnt forget about me, I live in Lore Kullmer Straße 3, Rainsboro (Regensburg), Appartment Roth/ Bülbül. Happy Birthday too btw. Greetings, the Guy from the tshirt/ the lyrics one.