Melody Voice Quotes

Each person who ever was or is or will be has a song. It isn't a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their song instead.

When love beckons to you follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And when he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden. For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning. Even as he ascends to your height and caresses your tenderest branches that quiver in the sun, So shall he descend to your roots and shake them in their clinging to the earth...... But if in your fear you would seek only love's peace and love's pleasure, Then it is better for you that you cover your nakedness and pass out of love's threshing-floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears. Love gives naught but itself and takes naught but from itself. Love possesses not nor would it be possessed; For love is sufficient unto love. And think not you can direct the course of love, if it finds you worthy, directs your course. Love has no other desire but to fulfil itself." But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully.

If his voice hasn't been the melody of my life, it's been the bass line, so subtle you don't notice it until it's missing.

For it was music between their souls. Always had been. And his voice was her favorite melody.

She whispered, "And I am yours." Those golden threads between their very souls shone with the words, as they formed a harp strummed by a heavenly hand. For it was music between their souls. Always had been. And his voice was her favorite melody.

When love beckons to you, follow him, Though his ways are hard and steep. And When his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And When he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden... But if in your fear you would seek only love’s peace and love’s pleasure, Then it is better for you that you cover your nakedness and pass out of love’s threshing-floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears... But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully.

I can no longer stay quiet in this world, I have a voice and I feel it reverberate off my internal walls, making its slow climb upward until its melody can be heard all around.

Our voices blended into a melody I never could have imagined—a union I never realized I wanted.

...tell me the word that will win you, and I will speak it. I will speak the stars of heaven into a crown for your head; I will speak the flowers of the field into a cloak; I will speak the racing stream into a melody for your ears and the voices of a thousand larks to sing it; I will speak the softness of night for your bed and the warmth of summer for your coverlet; I will speak the brightness of flame to light your way and the luster of gold to shine in your smile; I will speak until the hardness in you melts away and your heart is free...

Kestrel let the words echo in her mind. There had been a supple strength to his voice. An unconscious melody. Kestrel wondered if Arin knew how he exposed himself as a singer with every simple, ordinary word. She wondered if he meant to hold her in thrall.

I always want you, Jules. Even when I hated you, even when I wished I’d never see your face again, I still lost my mind thinking all the things I’d do to you, if you came back.” His voice breaks. When he speaks again, it’s with a rough, ragged tone, like he’s forcing the words out. “I’ll always want you, Juliet. It’ll be the fucking death of me, but I won’t ever stop.

What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic—one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita’s absence from my side, but the absence of her voice from that concord.

There is eloquence in the tongueless wind, and a melody in the flowing brooks and the rustling of the reeds beside them, which by their inconceivable relation to something within the soul, awaken the spirits to a dance of breathless rapture, and bring tears of mysterious tenderness to the eyes, like the enthusiasm of patriotic success, or the voice of one beloved singing to you alone.

Music is the one art we all have inside. We may not be able to play an instrument, but we can sing along or clap or tap our feet. Have you ever seen a baby bouncing up and down in the crib in time to some music? When you think of it, some of that baby's first messages from his or her parents may have been lullabies, or at least the music of their speaking voices. All of us have had the experience of hearing a tune from childhood and having that melody evoke a memory or a feeling. The music we hear early on tends to stay with us all our lives.

Melody exploded. "THIS ISN'T LIKE GETTING A FISH TO SEE IF I COULD BE RESPONSIBLE ENOUGH FOR A PUPPY!" She took a deep breath, calmed herself and lowered her voice. She then repeated the statement as if doing so removed the stink of the outburst. "I'm well aware of that," said Lonnie. "And not to poke it with a stick, but you don't see any puppies sniffing around that empty fish bowl, do you?

i loved her, for she was beauty dressed in a selfless personality and the skin of unconditional love. A voice of truthful melody and eyes holding a vision so large, maybe, just maybe she was born to change the world.

The Day is Done The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight. I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me That my soul cannot resist: A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain. Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day. Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time. For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest. Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start; Who, through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies. Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer. Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.

Okay. I don’t know if I have the right words, but love is this feeling I get when I look at you. A feeling that as long as you’re near me, or in the world even, then everything will be okay. That everything has meaning. It’s as if the world was all shades of sepia—like an old movie reel—and that everywhere I looked I saw suffering and pain. Then I heard your voice, I saw your face, and somehow the color came into everything.

You three looking for something specific?” Her voice was surprisingly melodious. “Any sacrificial knives?” Hi raised an index finger. “Nothing too fancy, and I'll need a no-slip grip. Me and the coven have some goats lined up for Saturday's bonfire.” I could've kicked him. I think I tried.

The girl laughed again. The joy of a caged bird was in her voice. Her eyes caught the melody and echoed it in radiance, then closed for a moment, as though to hide their secret. When they opened, the mist of a dream had passed across them.

Then the voices of the Ainur, like unto harps and lutes, and pipes and trumpets, and viols and organs, and like unto countless choirs singing with words, began to fashipn the theme of Iluvatar to a great music; and a sound arose of endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights, and the places of the dwelling of Iluvatar were filled to overflowing, and the music and the echo of the music went out into the Void, and it was not void.

Love is the only bow on Life’s dark cloud. It is the morning and the evening star. It shines upon the babe, and sheds its radiance on the quiet tomb. It is the mother of art, inspirer of poet, patriot and philosopher. It is the air and light of every heart – builder of every home, kindler of every fire on every hearth. It was the first to dream of immortality. It fills the world with melody – for music is the voice of love. Love is the magician, the enchanter, that changes worthless things to Joy, and makes royal kings and queens of common clay. It is the perfume of that wondrous flower, the heart, and without that sacred passion, that divine swoon, we are less than beasts; but with it, earth is heaven, and we are gods.

If thou speakest not I will fill my heart with thy silence and endure it. I will keep still and wait like the night with starry vigil and its head bent low with patience. The morning will surely come, the darkness will vanish, and thy voice pour down in golden streams breaking through the sky. Then thy words will take wing in songs from every one of my birds' nests, and thy melodies will break forth in flowers in all my forest groves.

What about a teakettle? What if the spout opened and closed when the steam came out, so it would become a mouth, and it could whistle pretty melodies, or do Shakespeare, or just crack up with me? I could invent a teakettle that reads in Dad’s voice, so I could fall asleep, or maybe a set of kettles that sings the chorus of “Yellow Submarine,” which is a song by the Beatles, who I love, because entomology is one of my raisons d’être, which is a French expression that I know. Another good thing is that I could train my anus to talk when I farted. If I wanted to be extremely hilarious, I’d train it to say, “Wasn’t me!” every time I made an incredibly bad fart. And if I ever made an incredibly bad fart in the Hall of Mirrors, which is in Versailles, which is outside of Paris, which is in France, obviously, my anus would say, “Ce n’étais pas moi!” What about little microphones? What if everyone swallowed them, and they played the sounds of our hearts through little speakers, which could be in the pouches of our overalls? When you skateboard down the street at night you could hear everyone's heartbeat, and they could hear yours, sort of like sonar. One weird thing is, I wonder if everyone's hearts would start to beat at the same time, like how women who live together have their menstrual periods at the same time, which I know about, but don't really want to know about. That would be so weird, except that the place in the hospital where babies are born would sound like a crystal chandelier in a houseboat, because the babies wouldn't have had time to match up their heartbeats yet. And at the finish line at the end of the New York City Marathon it would sound like war.

Bonnie is so ‘calm,’ you see. The opposite of me. She speaks in one of those soft . . . low . . . melodious voices that make you want to punch a wall.

Their voices were melodious and unsentimental, almost to the point where a somewhat more denominational man than myself might, without straining, have experienced levitation.

I learned that music comes from the voice, the rhythm and the heart of each person, and that the musicality of those unrecorded melodies could lift the curtain of fog, pass through windows and screens to waken us as gently as a morning lullaby.

Thus many a melody passed to and fro between the two nightingales, drunk with their passion. Those who heard them listened in delight, and so similar were the two voices that they sounded like a single chant. Born of pain and longing, their song had the power to break the unhappiness of the world.

Daisy began to sing with the music in a husky, rhythmic whisper, bringing out a meaning in each word that it had never had before and would never have again. When the melody rose, her voice broke up sweetly, following it, in a way contralto voices have, and each change tipped out a little of her warm human magic upon the air.

Write it. Just write it. Write it on receipts in the car while you wait for your kid to finish their piano lessons, scribble on napkins at lunch with friends. Type on crappy typewriters or borrow computers if you have to. Fill notebooks with ink. Write inside your head while you’re in traffic and when you’re sitting in the doctor’s office. Write the truth, write lies. Write the perfect spouse. Write your dreams. Write your nightmares. Write while you cry about what you’re writing, write while you laugh out loud at your own words. Write until your fingers hurt, then keep writing more. Don’t ever stop writing. Don’t ever give up on your story, no matter what “they” say. Don’t ever let anybody take away your voice. You have something to say, your soul has a story to tell. Write it. There is never any reason to be afraid. Just write it and then put it out there for the world. Shove it up a flag pole and see who salutes it. Somebody will say it’s crap. So what? Somebody else will love it. And that’s what writing’s about. Love. Love of the art, love of the story, and love for and from the people who really understand your work. Nobody else matters. Love yourself. Love your work. Be brave. Just write.

Days and nights passed over this despair of flesh, but one morning he awoke, looked (with calm now) at the blurred things that lay about him, and felt, inexplicably, the way one might feel upon recognizing a melody or a voice, that all this had happened to him before and that he had faced it with fear but also with joy and hopefulness and curiosity. Then he descended into his memory, which seemed to him endless, and managed to draw up from that vertigo the lost remembrance that gleamed like a coin in the rain - perhaps because he had never really looked at it except (perhaps) in a dream.

He had a melodious voice. I wanted every day to be like this, to begin in shame and fear and end in glorious resistance.

We want everything, we want to be everything. We want to experience all the joys of good fortune and the full depths of suffering. We want the excitement of action and the calm of observation. We want the silence of the desert as well as the noise of the forum. Simultaneously we want to be the hermit´s thought and the voice of the people; we want to be both melody and harmony. Simultaneously! How could this be possible?

This is my favorite place in the world" Emerson's voice is low, thick with desire. "Right here. In you

It was as if my body was his instrument and he learned to play it so perfectly that the melody vibrated within my very soul. Not only because of the pleasure he brought, but because he cared so much to know every little thing about me.

But what do I love when I love my God? Not the sweet melody of harmony and song; not the fragrance of flowers, perfumes, and spices; not manna or honey; not limbs such as the body delights to embrace. It is not these that I love when I love my God. And yet, when I love Him, it is true that I love a light of a certain kind, a voice, a perfume, a food, an embrace; but they are of the kind that I love in my inner self, when my soul is bathed in light that is not bound by space; when it listens to sound that never dies away; when it breathes fragrance that is not borne away on the wind; when it tastes food that is never consumed by the eating; when it clings to an embrace from which it is not severed by fulfillment of desire. This is what I love when I love my God.

To be happy to be sad and sad to be happy is to sing an echo in that beautiful language called Sorrow.

There is no music in a rest, but there is the making of music in it. In our whole life-melody the music is broken off here and there by "rests," and we foolishly think we have come to the end of the tune. God sends a time of forced leisure, sickness, disappointed plans, frustrated efforts, and makes a sudden pause in the choral hymn of our lives, and we lament that our voices must be silent, and our part missing in the music which ever goes up to the ear of the Creator. How does the musician read the rest? See him beat the time with unvarying count, and catch up the next note true and steady, as if no breaking place had come between. Not without design does God write the music of our lives. But be it ours to learn the tune, and not be dismayed at the "rests." They are not to be slurred over nor to be omitted, nor to destroy the melody, nor to change the keynote. If we look up, God Himself will beat the time for us. With the eye on Him, we shall strike the next note full and clear.

God, that voice. I've been trying to ignore it because it's the kind of voice that can pull you under, make you lose your train of thought. Low and deep and powerful. He talks, and it's a melody.

When love beckons to you, follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And when he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden. For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning. Even as he ascends to your height and caresses your tenderest branches that quiver in the sun, So shall he descend to your roots and shake them in their clinging to the earth. Like sheaves of corn he gathers you unto himself. He threshes you to make you naked. He sifts you to free you from your husks. He grinds you to whiteness. He kneads you until you are pliant; And then he assigns you to his sacred fire, that you may become sacred bread for God's sacred feast. All these things shall love do unto you that you may know the secrets of your heart, and in that knowledge become a fragment of Life's heart. But if in your fear you would seek only love's peace and love's pleasure, Then it is better for you that you cover your nakedness and pass out of love's threshing-floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears. Love gives naught but itself and takes naught but from itself. Love possesses not nor would it be possessed; For love is sufficient unto love. When you love you should not say, "God is in my heart," but rather, "I am in the heart of God." And think not you can direct the course of love, for love, if it finds you worthy, directs your course. Love has no other desire but to fulfill itself. But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully. To wake at dawn with a winged heart and give thanks for another day of loving; To rest at the noon hour and meditate love's ecstasy; To return home at eventide with gratitude; And then to sleep with a prayer for the beloved in your heart and a song of praise upon your lips.

Advent is the time of promise; it is not yet the time of fulfillment. We are still in the midst of everything and in the logical inexorability and relentlessness of destiny.…Space is still filled with the noise of destruction and annihilation, the shouts of self-assurance and arrogance, the weeping of despair and helplessness. But round about the horizon the eternal realities stand silent in their age-old longing. There shines on them already the first mild light of the radiant fulfillment to come. From afar sound the first notes as of pipes and voices, not yet discernable as a song or melody. It is all far off still, and only just announced and foretold. But it is happening, today.

His voice, with some faint Irish melody running through it, wooed the world, yet she felt the layer of hardness in him, of self-control and of self-discipline, her own virtues. Oh, she chose him, and Nicole, lifting her head saw her choose him, heard a little sigh at the fact that he was already possessed.

Rory, are you okay?” Lena asked. “Yeah, you’ve been sighing a lot.” Chase was so concerned he even put down his fudge. “Do you have a crush on me too?” I stared at him incredulously, not sure I had heard him right, and Melodie said, “You are remarkably self-involved.” Chase looked insulted. “Adelaide sighed a lot right before she said she had a crush on me.” “She had to tell you?” Lena said, surprised. I snorted. “That’s totally it. It was the paint on your face. ‘My heart awakens in sight of your green skin/as clean and warty as a toad’s has ever been—’” I said in my best reciting voice, and we all laughed.

A perfect poem owes its perfection to sounding the voice of the heart and the melodies of the conscience, as well as its ability to reflect the considerations, beliefs, opinions, and horizons of thought of the poet, but not due to its formal or mental aspects.

God uniquely created your DNA and knit your frame in secret so he could surprise the world. He authored how your heart expresses itself; he was the architect of your smile and the melody of your voice; he made all of your features with the fondest thoughts of only you in mind. He celebrated along with your parents your first smile and watched with affection your first steps.

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

Whether you are surrounded by the singing of a lamp or the sounds of a storm, by the breathing of the evening or the sighing of the sea, there is a vast melody woven of a thousand voices that never leaves you and only occasionally leaves room for your solo. (Letters on Life)

She called to them: the cicadas , the moths, the beetles, and fireflies, the little gnats and mosquitos, the thousands and thousands of little mosquitos. And they responded, their tiny voices swelling, coming together like a song, filling the woods with their melody as they flew to her, swarming and swirling together like a growing storm cloud.

Her features were dainty, her small slender wrists climbed up to become the delicate shoulders that beckoned him. Her skin was like peach-tinted cream and he need not have touched her to experience the melting softness of her body. Her perfectly oval face was austere and her manner a little haughty. Her expressions had delicacy as well as a particular strength that did not abate her femininity. It seemed that the world had stopped. Her voice sounded like a melody and she looked like a dream, an illusion, up close and personal.

Her voice was a throaty screech, without melody, as false as her eyebrows and as sharp as her nails. (The King in Yellow)

It was as if my body were his instrument and he learned to play it so perfectly that the melody vibrated within my very soul

Though still unconscious how extensive was its influence, He dreaded the melodious seduction of her voice.

A few minutes after discovering we had a goal but no plan, Brent was laughing heartily at a pathetic joke I had made. It reminded me of the first day on campus when I had thought his laughter sounded like a melody. It did now, even more so. It was music, beautiful, in a manly way, like a sensual, slow jazz. I loved jazz. “Jazz, huh?” Brent asked, his voice suddenly husky. “Uh . . . what?” “My laugh reminds you of jazz? Is there anything about me you don’t find attractive?” He rubbed his hand over his lips trying to cover his smirk. “So tell me, how much do you love jazz?” I’m sure my face was pinker than the inside of a watermelon. “I didn’t say any of that.” “You didn’t have to say it, Yara, I could hear it.” Brent tapped the side of his head. “I can hear your thoughts.” “You’re not serious.” “Oh, but I am,” he said, completely straight-faced.

Each person whoever was or is or will be has a song. It isn’t a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their own song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their songs instead. Take Daisy, for example. Her song, which had been somewhere in the back of her head for most of her life, had a reassuring, marching sort of beat, and words that were about protecting the weak, and it had a chorus that began “Evildoers beware!” and was thus much too silly ever to be sung out loud. She would hum it to herself sometimes though, in the shower, during the soapy bits. And that is, more or less, everything you need to know about Daisy. The rest is details.

Now Juan could not understand a word, Being no Grecian; but he had an ear, And her voice was the warble of a bird, ... So soft, so sweet, so delicately clear, That finer, simpler music ne'er was heard; The sort of sound we echo with a tear, Without knowing why - an overpowering tone, Whence Melody descends as from a throne.

There is the buried language and there is the individual vocabulary, and the process of poetry is one of excavation and of self-discovery. Tonally the individual voice is a dialect; it shapes its own accent, its own vocabulary and melody in defiance of an imperial concept of language, the language of Ozymandias, libraries and dictionaries, law courts and critics, and churches, universities, political dogma, the diction of institutions. Poetry is an island that breaks away from the main.

He was nearly asleep when he heard a voice, a melody so unearthly and beautiful he glanced up at the sky, expecting to see heaven opened and an angel of music. But all he saw were a few stars winking above him through the leaves.

Consider that, if you talk, if you babble, you will sacrifice the head of your master, who has so much confidence in your fidelity that he has answered for you to us. But remember also that if by any fault of yours any such calamity should befall d'Artagnanan I will hunt you out wherever you may be and completely perforate you." "Oh, sir!" cried Planchet, humiliated at the suspicion, and particularly alarmed by the calmness of the musketeer. "And I," said Porthos, rolling his great eyes, "remember, that I will skin you alive." "Ah, sir!" "And I," said Aramis, with his soft and melodious voice, "remember, that I will roast you at a slow fire, as if you were an untutored savage." "Ah, sir!" And Planchet began to cry; but we cannot venture to say whether it was from terror on account of the threats he had heard, or from being affected at seeing so close a union of hearts between the four friends.

AN ASS having heard some Grasshoppers chirping, was highly enchanted; and, desiring to possess the same charms of melody, demanded what sort of food they lived on to give them such beautiful voices. They replied, "The dew." The Ass resolved that he would live only upon dew, and in a short time died of hunger.

Why has not England a great mythology? Our folklore has never advanced beyond daintiness, and the greater melodies about our country-side have all issued through the pipes of Greece. Deep and true as the native imagination can be, it seems to have failed here. It has stopped with the witches and the fairies. It cannot vivify one fraction of a summer field, or give names to half a dozen stars. England still waits for the supreme moment of her literature—for the great poet who shall voice her, or, better still for the thousand little poets whose voices shall pass into our common talk.

When Magnus looked at Imasu, he saw Imasu had dropped his head into his hands. "Er," Magnus said. "Are you quite all right?" "I was simply overcome," Imasu said in a faint voice. Magnus preened slightly. "Ah. Well." "By how awful that was," Imasu said. Magnus blinked. "Pardon?" "I can't live a lie any longer!" Imasu burst out. "I have tried to be encouraging. Dignitaries of the town have been sent to me, asking me to plead with you to stop. My own sainted mother begged me, with tears in her eyes - " "It isn't as bad as all that - " "Yes, it is!" It was like a dam of musical critique had broken. Imasu turned on him with eyes that flashed instead of shining. "It is worse than you can possibly imagine! When you play, all of my mother's flowers lose the will to live and expire on the instant. The quinoa has no flavor now. The llamas are migrating because of your music, and llamas are not a migratory animal. The children now believe there is a sickly monster, half horse and half large mournful chicken, that lives in the lake and calls out to the world to grant it the sweet release of death. The townspeople believe that you and I are performing arcane magic rituals - " "Well, that one was rather a good guess," Magnus remarked. " - using the skull of an elephant, an improbably large mushroom, and one of your very peculiar hats!" "Or not," said Magnus. "Furthermore, my hats are extraordinary." "I will not argue with that." Imasu scrubbed a hand through his thick black hair, which curled and clung to his fingers like inky vines. "Look, I know that I was wrong. I saw a handsome man, thought that it would not hurt to talk a little about music and strike up a common interest, but I don't deserve this. You are going to get stoned in the town square, and if I have to listen to you play again, I will drown myself in the lake." "Oh," said Magnus, and he began to grin. "I wouldn't. I hear there is a dreadful monster living in that lake." Imasu seemed to still be brooding about Magnus's charango playing, a subject that Magnus had lost all interest in. "I believe the world will end with a noise like the noise you make!" "Interesting," said Magnus, and he threw his charango out the window. "Magnus!" "I believe that music and I have gone as far as we can go together," Magnus said. "A true artiste knows when to surrender." "I can't believe you did that!" Magnus waved a hand airily. "I know, it is heartbreaking, but sometimes one must shut one's ears to the pleas of the muse." "I just meant that those are expensive and I heard a crunch.

When alone in a dark forest waiting for an audience with an evil god, the most prudent course of action is to be quiet and wait. ‘Prudent’ wasn’t one of my favourite words. “Hello? I’ve come to borrow a cup of sugar. Anybody? Perhaps there is an old woman with a house made of candy who could help me?” “Marrying for love isn’t wise.” The voice came from somewhere to the left. Melodious, but not soft, definitely female and charged with a promise of hidden power. Something told me that hearing her scream would end very badly for me. I stopped and pivoted toward the voice. “Marry for safety. Marry for power. But only fools marry for love.” When a strange voice talks to you in the black woods, only idiots answer. I was that idiot. “Thank you, counsellor. How much do I owe you for this session?

Twas battered and scarred, and the auctioneer Thought it scarcely worth his while To waste much time on the old violin, But held it up with a smile. “What am I bidden, good folks,” he cried, “Who’ll start the bidding for me?” “A dollar, a dollar. Then two! Only two? Two dollars, and who’ll make it three?” “Three dollars, once; three dollars, twice; Going for three…” But no, From the room, far back, a grey-haired man Came forward and picked up the bow; Then wiping the dust from the old violin, And tightening the loosened strings, He played a melody pure and sweet, As a caroling angel sings. The music ceased, and the auctioneer, With a voice that was quiet and low, Said: “What am I bid for the old violin?” And he held it up with the bow. “A thousand dollars, and who’ll make it two? Two thousand! And who’ll make it three? Three thousand, once; three thousand, twice, And going and gone,” said he. The people cheered, but some of them cried, “We do not quite understand. What changed its worth?” Swift came the reply: “The touch of the Master’s hand.” And many a man with life out of tune, And battered and scarred with sin, Is auctioned cheap to the thoughtless crowd Much like the old violin. A “mess of pottage,” a glass of wine, A game — and he travels on. He is “going” once, and “going” twice, He’s “going” and almost “gone.” But the Master comes, and the foolish crowd Never can quite understand The worth of a soul and the change that is wrought By the touch of the Master’s hand.

He liked listening to her read. He liked it far too much. Listening to her voice was like floating along a river. Not a babbling stream, bouncing over rocks and such, but a river of wild honey with depth and a low, sweet melody. To keep afloat, he would have let her read just about anything.

April comes to us, with her showers sweet. I wake to the cries of little birds before the light comes across the heath. They wait all night with open eyes. Now, with the rain at dawn, their voices make melody. I turn back the reveled cloth of gold on my bed and walk to gaze beyond my glazed casement window. In the plaintive voices of the wood fowl, I imagine my mother calling to me, her words echoing across the years.

To participate, then, in the pomp of the orchestra, in the full scintillation thereof, was in the highest degree thrilling. Is this not the image of the perfect republic -- each instrument singing its wonted melody, endeavoring at once to express its part, and, in the same instance to conform its voice to the conversation of the whole?

The Ass And The Grasshopper   AN ASS having heard some Grasshoppers chirping, was highly enchanted; and, desiring to possess the same charms of melody, demanded what sort of food they lived on to give them such beautiful voices. They replied, "The dew." The Ass resolved that he would live only upon dew, and in a short time died of hunger.

I lost my voice and my best friend too On swift, fierce winds and wings of blue, The cold rain fell where beams had shone, So I wrapped up tight and safe. Alone. But I missed my friend, I missed my voice, And my heart still whispered of another choice To break out of my binding, safe, and warm, And see what the world looked like after the storm. So I struggled free and was greeted by Colorful brushstrokes across the sky, The melody of the summer breeze And blue wings like mine in hazel trees. On the soft, sweet air of the mountain glade, We gathered together in cool, green shade, And told our stories, beginnings to ends, And found our song in the hearts of new friends.

EACH PERSON WHO EVER WAS OR IS OR WILL BE HAS A SONG. It isn’t a song that anybody else wrote. It has its own melody, it has its own words. Very few people get to sing their own song. Most of us fear that we cannot do it justice with our voices, or that our words are too foolish or too honest, or too odd. So people live their songs instead.

Sexual union is only truly fulfilling when both parties are at the same level and definition of love. The same exchange of energy. It’s like music. Alone you have your own tune, but when it’s combined with another it can a magical, divine experience. Each part has to know when it leads, like the melody, and when it complements, like the harmony.

God speed fair Helena! whither away? HELENA Call you me fair? that fair again unsay. Demetrius loves your fair: O happy fair! Your eyes are lode-stars; and your tongue's sweet air More tuneable than lark to shepherd's ear, When wheat is green, when hawthorn buds appear. Sickness is catching: O, were favour so, Yours would I catch, fair Hermia, ere I go; My ear should catch your voice, my eye your eye, My tongue should catch your tongue's sweet melody. Were the world mine, Demetrius being bated, The rest I'd give to be to you translated. O, teach me how you look, and with what art You sway the motion of Demetrius' heart. HERMIA I frown upon him, yet he loves me still. HELENA O that your frowns would teach my smiles such skill! HERMIA I give him curses, yet he gives me love. HELENA O that my prayers could such affection move! HERMIA The more I hate, the more he follows me. HELENA The more I love, the more he hateth me. HERMIA His folly, Helena, is no fault of mine. HELENA None, but your beauty: would that fault were mine!

Whether it be the singing of a lamp or the voice of a storm, whether it be the breath of an evening or the groan of the ocean — whatever surrounds you, a broad melody always wakes behind you, woven out of a thousand voices, where there is room for your own solo only here and there. To know when you need to join in: that is the secret of your solitude: just as the art of true interactions with others is to let yourself fall away from high words into a single common melody.

And as for what I’ve learned: be an instrument of peace. Be a gentleman at all costs. Enjoy yourself—have fun with your existence. Learn to listen to your inner voice and don’t overdose on yourself. Keep your darkness in check. Let music be a healing force. Be a real musician: once you start counting money before notes, you’re a full-time wannabe. Put your guitar down and go outside and take a long drink of light with your eyes. Go walk in the park and take off your shoes and socks and feel the grass under your feet and mud between your toes. Go see a baby smiling, go see a wino crawling, go see life. Feel life—all of it, as much as possible. Find a human melody, then write a song about it. Make it all come through your music.

ahead. The way out.” His deep, melodious voice crafted words of air and sound that landed gently on my chest, seeping into my bones. “But there is the Twice Born man, Weston,” he said, his hand tightening on mine. “The man who walks into the dark forest of his life and suffers. Sometimes unimaginably. The way back is forever closed to him, but the Twice Born man walks forward. The path becomes more twisted, the hardships seemingly impossible to overcome. But he keeps going until one day, the shadows lift. The branches cease to scratch at his skin and they part for him. He’ll regard the scars with pride as he emerges from the forest reborn. Stronger for what he has endured. Wiser. Transformed. And grateful for the lessons he learned.

The melody drifted into an aching silence. Austin lifted his head, and she saw his tears, trailing along his cheeks, glistening in the moonlight. She slipped from beneath the blankets, her bare feet hitting the cold floor. "What were you playing?" she asked reverently, not wanting to disturb the ambiance that remained in the room. "That was my heart breaking," he said, his voice ragged. She felt as though her own heart might shatter as she took a step toward him. "Austin—" "Don't stop loving me, Loree. You want me to learn what those little black bugs on those pieces of paper mean, I'll learn. You want me to play the violin from dawn until dusk, hell, I'll play till midnight, just don't stop loving me." She flung her arms around his neck and felt his arms come around her back, the violin tapping against her backside. "Oh, Austin, I couldn't stop loving you if I wanted." "I do know how to love, Loree. I just don't know how to keep a woman loving me." "I'll always love you, Austin," she said trailing kisses over his face. "Always." She felt a slight movement away from her as he set the violin aside, and then his arms came around her, tighter than before. "Let me love you, Loree. I need to love you." -Austin and Loree

I ask myself what making it really means. I know I want to make my living solely as a musician, but I also want to be recognized as someone unique, defined by my voice, by my abilities as a songwriter, to have the world know my songs and my melodies just as they had known and acknowledged the songs of the Beatles. I want to do this on my own terms, I want to be singular, and if that means being marginalized, then so be it. I will become stronger, and even if no one else knows who I am, I shall know myself.

True poetry is the perception of human feelings, the voice of the heart, open or hidden. It is the lyrics, compositions, and melody of the relation between humankind, the universe and God, a shadow pinpointing each of the truths we can discern everywhere (from the earth to the stars), a photograph of the creation’s projection cast in our feelings and thoughts and framed through words, a heartfelt tune of our loves and joys played on different strings, and it is a bouquet of our faith, hope, determination, beauty, love, reunion, and yearnings.

I am a runaway, lost at sea. I am a broken bird, yearning to fly free. I am a sinner, unworthy and unholy. I am a rose, wilting slowly. I am a raindrop, touching your cheek. I am a child who plays hide and seek. I am nothing, and yet I am everything. I am contradictions and complexities. I am a face with a hundred entities. I am love and I am hate. I am the voice that cannot communicate. I am a melody, haunting and sad. I am a soul that has slowly gone mad. I am death in a living body. I am a dangerous opium poppy. I am rage, running through my veins. I am pain, bound in chains. I am isolation, imprisoned in my mind. I am abandoned and left behind. I am tenderness, soft and kind. I am trust, naïve and blind. I am remorse, shattered and frozen. I am the path I have not chosen. I am sadness, drowning in an ocean. I am faith, yearning for devotion. I am madness, rebellious and wild. I am sanity, safely filed. I am wisdom, cursed and blessed. I am a name that will burn in your chest. I am a journey, destination unknown. I am a heart turned to stone. I am forever alone.

They sang without instrumental accompaniment--or, more accurately in their case, without any interference. Their voices were melodious and unsentimental, almost to the point where a somewhat more denominational man than myself might, without straining, have experienced levitation. A couple of the very youngest children dragged the tempo a trifle, but in a way that only the composer's mother could have found fault with.

Take comfort that this silence is not yours alone, Teresa. In the fields, across the mountains, under the streets, and beneath the trees lie thousands of souls, condemned to silence. But one day, far into the future when the pain is less sharp, the voices of the dead will find harmony with the living. They will make a melody. Listen for the music, Teresa. I sing for you, my children, and for the better day I know will come.

What about a teakettle? What if the spout opened and closed when the steam came out, so it would become a mouth, and it could whistle pretty melodies, or do Shakespeare, or just crack up with me? I could invent a teakettle that reads in Dad's voice, so I could fall asleep, or maybe a set of kettles that sings the chorus of "Yellow Submarine," which is a song by the Beatles, who I love, because entomology is one of my raisons d'etre, which is a French expression that I know.

He loved the curves on her body, her soft skin and pouty lower lip, her deep soulful eyes. He adored her voice; sometimes sultry, sometimes fiery. Her laugh, her playfulness... he adored it all. But what really turned him on were the curves in her mind, the twists and turns, the fire, the brilliance - and her compassionate heart; the beat of it harmonizing so sweetly and perfectly with the beat of his. The whole package was beyond thrilling... yet her mind, her heart, those were the immortal aphrodisiacs.

Just as the body is shaped for movement, the mind is shaped for poetry. Rhythm and rhyme aid recall. Poems are always rhythmic but not always rhyming. In the same way that melody became rather suspect in twentieth-century classical music – atonal fractures being the mark of seriousness – so Modernism re-branded rhyme as pastoral, lovesick, feminine, superficial. Fine for kids and tea-towels, not fine for the muscular combative voice of the urban poet. It has taken a long time for rhyme to return to favour. Rap, and the rise of performance poetry, has been part of that return.

On, I don't think I'm a genius!' cried Josie, growing calm and sober as she listened to the melodious voice and looked into the expressive face that filled her with confidence, so strong, sincere and kindly was it. 'I only want to find out if I have talent enough to go on, and after years of study be able to act well in any of the good plays people never tire of seeing. I don't expected to be a Mrs. Siddons or a Miss Cameron, much as I long to be; but it does seem as if I had something in me which can't come out in any way but this. When I act I'm perfectly happy. I seem to live, to be in my own world, and each new part is a new friend. I love Shakespeare, and am never tired of his splendid people. Of course I don't understand it all; but it's like being alone at night with the mountains and the stars, solemn and grand, and I try to imagine how it will look when the sun comes up, and all is glorious and clear to me. I can't see, but I feel the beauty, and long to express it.

You asked me,” the prophet said, “what good an elegy is when sung by a man who cannot remember. But all men cannot remember.” His voice was clear and lucid. “An elegy is good merely because it is sung. And when its words are lost, it is still good, because it is sung. And when its melody, too, has been washed away, it is still good, because it was once sung.” He rose to his feet and cast his blind eyes over the men sitting round the fire. “To sing at all is to labor, and it is only by labor that men living recall the shadows of men passed. This is what it means to remember.” At this the prophet turned and was swallowed up by the darkness.

Every moment for all the generations was leading to you here on my lap, your head against your granddaddy’s chest, already four years old. Hair smelling like coconut oil. Something beneath that, though. Little-girl sweat—almost sour, but then just when I think that’s what it is, it turns, sweetens somehow. Makes me want to sit here forever breathing in your scalp. When did your arms get so long? Your feet so big? These footie pajamas with reindeer all over them remind me of the ones your mama used to wear. She used to fall asleep on my lap just like this. Back at the other house. Oh time time time time. Where’d you go where’d you go? My legs hurt tonight. Another place too—deep in my back somewhere, there’s a dull, aching pain. I try not to think about it. Old people used to always say, You only as old as you feel. Here I am closer to fifty than forty, but I feel older than that most days. Feel like the world is trying to pull me down back into it. Like God went ahead and said, I’ve changed my mind about you, Po’Boy. A bath with Epsom salts helps some evenings. Ginger tea keeps Sabe’s good cooking in my belly. Sitting here holding you at the end of the day—that’s . . . well, I’m not going to lie and say this isn’t the best thing that ever happened to my life because it is. Look at you laughing in your sleep. Got me wondering what you’re dreaming about. What’s making you laugh like that? Tell your granddaddy what’s playing in your pretty brown head, my little Melody. Name like a song. Like you were born and it was cause for the world to sing. You know how much your old granddaddy loves when you sing him silly songs? Sabe says she’s gonna have to get some earplugs if she has to hear one more verse of “Elmo’s World” or that song about how to grow a garden. But me, I can listen to your voice forever. Can’t hear you singing enough.

Homer's Hymn to the Moon Published by Mrs. Shelley, "Poetical Works", 1839, 2nd edition; dated 1818. Daughters of Jove, whose voice is melody, Muses, who know and rule all minstrelsy Sing the wide-winged Moon! Around the earth, From her immortal head in Heaven shot forth, Far light is scattered—boundless glory springs; Where'er she spreads her many-beaming wings The lampless air glows round her golden crown. But when the Moon divine from Heaven is gone Under the sea, her beams within abide, Till, bathing her bright limbs in Ocean's tide, Clothing her form in garments glittering far, And having yoked to her immortal car The beam-invested steeds whose necks on high Curve back, she drives to a remoter sky A western Crescent, borne impetuously. Then is made full the circle of her light, And as she grows, her beams more bright and bright Are poured from Heaven, where she is hovering then, A wonder and a sign to mortal men. The Son of Saturn with this glorious Power Mingled in love and sleep—to whom she bore Pandeia, a bright maid of beauty rare Among the Gods, whose lives eternal are. Hail Queen, great Moon, white-armed Divinity, Fair-haired and favourable! thus with thee My song beginning, by its music sweet Shall make immortal many a glorious feat Of demigods, with lovely lips, so well Which minstrels, servants of the Muses, tell.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

Broken Melody Broken melody — tear sparkling in the eye Of a woman loved… Please past, Jewel lost, A trampled dream Lips unkissed In the broken melody. With silent sobs the naked shoulders shake, Their whiteness dazzling… Stabbed, stabbed with remorse For the moments of mindlessness, For her ruined fate, For the happiness lost In the broken melody. Face hidden in her hands in shame, Remorsefully the woman weeps, With heart despairing (A broken guitar, A voice stifled On lips kissed by pain In the broken melody). Silent he stands beside the woman weeping Scolding tears of shame That dim her eyes. Some money on the table quickly lays And goes away, Leaving the woman lost In the broken melody. But when another comes, lust mounts again, The heated blood Pounds furiously through the veins, Benumbing mind … and only gasps And grants are heard In the horrid melody. (Translated by R.Elsie)

A familiar melody suddenly drifts through the little living room. It makes me freeze, and I don't know why. And then I hear the silky, sweet sound of Karen Carpenter's voice. "'Rainy Days and Mondays,'" Alex says. I can't find my voice. I just stare ahead, fighting back the tears. Alex sits down beside me. I know he senses that something's wrong. "I'm sorry," he says quickly. "If you don't like it, I'll turn it off." "No," I say. "No. Please don't." I wipe a tear from my eye, just as another spills onto my cheek. "My husband loved this song." I smile. "Which made him the only straight man on earth to love the Carpenters." Alex grins. "The only two straight men on earth." I smile again. For some reason, I feel someone has lifted a great weight from my shoulders, just for a moment. "James died on a Monday," I say. We sit there for a moment listening to the song together, each alone in our own thoughts, until Alex reaches over and takes my hand in his. I don't let go.

Darkness fell, revealing a sparkling night sky so beautiful that we decided to sleep out under the stars. At gray dawn, Phyllis woke me with an urgent voice. “Bill, Bill,” she said, “when I woke up I saw this huge boulder beside me, but it wasn’t there last night. Look! Look!” she said and pointed next to her. It was the huge buffalo bull! He had come back during the night and lay down beside us to sleep. I was awestruck. I felt so honored, so grateful, so loved. I loved that buffalo with all my heart and soul. I felt like he knew it, and that was why he had come back to sleep with us. But maybe there’s a different reason. Judith Niles, a wise spiritual friend of mine recently told me that the spontaneous melody is “the voice of the soul.” The minute she said it I knew she was right. Now I feel sure that the creatures responded to “the voice of the soul” amplified through my body. When we human beings finally get it together the natural world is going to respond to us in more wonderful ways than we can ever begin to imagine.

Ah, I believe Schacht. Only too willingly; that’s to say, I think what he says is absolutely true, for the world is incomprehensibly crass, tyrannical, moody, and cruel to sickly and sensitive people. Well, Schacht will stay here for the time being. We laughed at him a bit, when he arrived, that can’t be helped either, Schacht is young and after all can’t be allowed to think there are special degrees, advantages, methods, and considerations for him. He has now had his first disappointment, and I’m convinced that he’ll have twenty disappointments, one after the other. Life with its savage laws is in any case for certain people a succession of discouragements and terrifying bad impressions. People like Schacht are born to feel and suffer a continuous sense of aversion. He would like to admit and welcome things, but he just can’t. Hardness and lack of compassion strike him with tenfold force, he just feels them more acutely. Poor Schacht. He’s a child and he should be able to revel in melodies and bed himself in kind, soft, carefree things. For him there should be secret splashings and birdsong. Pale and delicate evening clouds should waft him away in the kingdom of Ah, What’s Happening to Me? His hands are made for light gestures, not for work. Before him breezes should blow, and behind him sweet, friendly voices should be whispering. His eyes should be allowed to remain blissfully closed, and Schacht should be allowed to go quietly to sleep again, after being wakened in the morning in the warm, sensuous cushions. For him there is, at root, no proper activity, for every activity is for him, the way he is, improper, unnatural, and unsuitable. Compared with Schacht I’m the trueblue rawboned laborer. Ah, he’ll be crushed, and one day he’ll die in a hospital. or he’ll perish, ruined in body and soul, inside one of our modern prisons.

I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace - Radiant palace - reared its head. In the monarch Thought's dominion - It stood there ! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow; (This - all this - was in the olden Time long ago) And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute's well-tunéd law, Round about a throne, where sitting (Porphyrogene !) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing, And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch's high estate ; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate !) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows, see Vast forms that move fantastically To a discordant melody ; While, like a rapid ghastly river, Through the pale door, A hideous throng rush out forever, And laugh - but smile no more.

Turn it beautiful. His words came faintly at first, but they came again and again, always softly, always with the insistence of an elder commanding wisdom. Turn it all to beauty. She walked to the rail. When she turned and sat upon it, she heard a sailor in the crowd murmur that she might play them a tune. She hoped he was right. She needed the voices to be wrong. Fin raised the instrument to the cleft of her neck and closed her eyes. She emptied her mind and let herself be carried back to her earliest memory, the first pain she ever knew: the knowledge that her parents didn’t want her. The despair of rejection coursed through her. It fathered a knot of questions that bound her, enveloped her. Waves of uncertainty and frailty shook her to the bones. Her body quivered with anger and hopelessness. She reeled on the edge of a precipice. She wanted to scream or to throw her fists but she held it inside; she struggled to control it. She fought to subjugate her pain, but it grew. It welled up; it filled her mind. When she could hold it no more, exhausted by defiance and wearied by years of pretending not to care, Bartimaeus’s words surrounded her. Got to turn it beautiful. She dropped her defenses. She let weakness fill her. She accepted it. And the abyss yawned. She tottered over the edge and fell. The forces at war within her raced down her arms and set something extraordinary in motion; they became melody and harmony: rapturous, golden. Her fingers coaxed the long-silent fiddle to life. They danced across the strings without hesitation, molding beauty out of the miraculous combination of wood, vibration, and emotion. The music was so bright she felt she could see it. The poisonous voices were outsung. Notes raged out of her in a torrent. She had such music within her that her bones ached with it, the air around her trembled with it, her veins bled it. The men around fell still and silent. Some slipped to the deck and sat enraptured like children before a travelling bard.

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.

She was a hunchback with a sweet smile. She smiled sweetly at anything; she couldn't help it; the trees, me, the grass, anything. The basket pulled her down, dragging her toward the ground. She was such a tiny woman, with a hurt face, as if slapped forever. She wore a funny old hat, an absurd hat, a maddening hat, a hat to make me cry, a hat with faded red berries on the brim. And there she was, smiling at everything, struggling across the carpet with a heavy basket containing Lord knew what, wearing a plumed hat with red berries. I got up. It was so mysterious. There I was, like magic, standing up, my two feet on the ground, my eyes drenched. I said, "Let me help." She smiled again and gave me the basket. We began to walk. She led the way. Beyond the trees it was stifling. And she smiled. It was so sweet it nearly tore my head off. She talked, she told me things I never remembered. It didn't matter. In a« dream she held me, in a dream I followed under the blinding sun. For blocks we went forward. I hoped it would never end. Always she talked in a low voice made of human music. What words! What she said! I remembered nothing. I was only happy. But in my heart I was dying. It should have been so. We stepped from so many curbs, I wondered why she did not sit upon one and hold my head while I drifted away. It was the chance that never came again. That old woman with the bent back! Old woman, I feel so joyfully your pain. Ask me a favor, you old woman you! Anything. To die is easy. Make it that. To cry is easy, lift your skirt and let me cry and let my tears wash your feet to let you know I know what life has been for you, because my back is bent too, but my heart is whole, my tears are delicious, my love is yours, to give you joy where God has failed. To die is so easy and you may have my life if you wish it, you old woman, you hurt me so, you did, I will do anything for you, to die for you, the blood of my eighteen years flowing in the gutters of Wilmington and down to the sea for you, for you that you might find such joy as is now mine and stand erect without the horror of that twist. I left the old woman at her door. The trees shimmered. The clouds laughed. The blue sky took me up. Where am I? Is this Wilmington, California? Haven't I been here before? A melody moved my feet. The air soared with Arturo in it, puffing him in and out and making him something and nothing. My heart laughed and laughed. Goodbye to Nietzsche and Schopenhauer and all of you, you fools, I am much greater than all of you! Through my veins ran music of blood. Would it last? It could not last. I must hurry. But where? And I ran toward home. Now I am home. I left the book in the park. To hell with it. No more books for me. I kissed my mother. I clung to her passionately. On my knees I fell at her feet to kiss her feet and cling to her ankles until it must have hurt her and amazed her that it was I.

My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness,— That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs, Where Beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves. Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep? - Ode to a Nightingale

April 25 MORNING “Rise up my love, my fair one, and come away.” — Song of Solomon 2:10 LO, I hear the voice of my Beloved! He speaks to me! Fair weather is smiling upon the face of the earth, and He would not have me spiritually asleep while nature is all around me awaking from her winter’s rest. He bids me “Rise up,” and well He may, for I have long enough been lying among the pots of worldliness. He is risen, I am risen in Him, why then should I cleave unto the dust? From lower loves, desires, pursuits, and aspirations, I would rise towards Him. He calls me by the sweet title of “My love,” and counts me fair; this is a good argument for my rising. If He has thus exalted me, and thinks me thus comely, how can I linger in the tents of Kedar and find congenial associates among the sons of men? He bids me “Come away.” Further and further from everything selfish, grovelling, worldly, sinful, He calls me; yea, from the outwardly religious world which knows Him not, and has no sympathy with the mystery of the higher life, He calls me. “Come away” has no harsh sound in it to my ear, for what is there to hold me in this wilderness of vanity and sin? O my Lord, would that I could come away, but I am taken among the thorns, and cannot escape from them as I would. I would, if it were possible, have neither eyes, nor ears, nor heart for sin. Thou callest me to Thyself by saying “Come away,” and this is a melodious call indeed. To come to Thee is to come home from exile, to come to land out of the raging storm, to come to rest after long labour, to come to the goal of my desires and the summit of my wishes. But Lord, how can a stone rise, how can a lump of clay come away from the horrible pit? O raise me, draw me. Thy grace can do it. Send forth Thy Holy Spirit to kindle sacred flames of love in my heart, and I will continue to rise until I leave life and time behind me, and indeed come away.

He hoped and feared,' continued Solon, in a low. mournful voice; 'but at times he was very miserable, because he did not think it possible that so much happiness was reserved for him as the love of this beautiful, innocent girl. At night, when he was in bed, and all the world was dreaming, he lay awake looking up at the old books against the walls, thinking how he could bring about the charming of her heart. One night, when he was thinking of this, he suddenly found himself in a beautiful country, where the light did not come from sun or moon or stars, but floated round and over and in everything like the atmosphere. On all sides he heard mysterious melodies sung by strangely musical voices. None of the features of the landscape was definite; yet when he looked on the vague harmonies of colour that melted one into another before his sight he was filled with a sense of inexplicable beauty. On every side of him fluttered radiant bodies, which darted to and fro through the illuminated space. They were not birds, yet they flew like birds; and as each one crossed the path of his vision he felt a strange delight flash through his brain, and straightaway an interior voice seemed to sing beneath the vaulted dome of his temples a verse containing some beautiful thought. Little fairies were all this time dancing and fluttering around him, perching on his head, on his shoulders, or balancing themselves on his fingertips. 'Where am I?' he asked. 'Ah, Solon?' he heard them whisper, in tones that sounded like the distant tinkling of silver bells, "this land is nameless; but those who tread its soil, and breathe its air, and gaze on its floating sparks of light, are poets forevermore.' Having said this, they vanished, and with them the beautiful indefinite land, and the flashing lights, and the illumined air; and the hunchback found himself again in bed, with the moonlight quivering on the floor, and the dusty books on their shelves, grim and mouldy as ever.' ("The Wondersmith")

The first time that I went to Tuskegee I was asked to make an address to the school on Sunday evening. I sat upon the platform of the large chapel and looked forth on a thousand coloured faces, and the choir of a hundred or more behind me sang a familiar religious melody, and the whole company joined in the chorus with unction. I was the only white man under the roof, and the scene and the songs made an impression on me that I shall never forget. Mr. Washington arose and asked them to sing one after another of the old melodies that I had heard all my life; but I had never before heard them sung by a thousand voices nor by the voices of educated Negroes. I had associated them with the Negro of the past, not with the Negro who was struggling upward. They brought to my mind the plantation, the cabin, the slave, not the freedman in quest of education. But on the plantation and in the cabin they had never been sung as these thousand students sang them. I saw again all the old plantations that I had ever seen; the whole history of the Negro ran through my mind; and the inexpressible pathos of his life found expression in these songs as I had never before felt it. And the future? These were the ambitious youths of the race, at work with an earnestness that put to shame the conventional student life of most educational institutions. Another song rolled up along the rafters. And as soon as silence came, I found myself in front of this extraordinary mass of faces, thinking not of them, but of that long and unhappy chapter in our country's history which followed the one great structural mistake of the Fathers of the Republic; thinking of the one continuous great problem that generations of statesmen had wrangled over, and a million men fought about, and that had so dwarfed the mass of English men in the Southern States as to hold them back a hundred years behind their fellows in every other part of the world—in England, in Australia, and in the Northern and Western States; I was thinking of this dark shadow that had oppressed every large-minded statesman from Jefferson to Lincoln. These thousand young men and women about me were victims of it. I, too, was an innocent victim of it. The whole Republic was a victim of that fundamental error of importing Africa into America.