Mistaken Lyrics Quotes

There are monsters all around us They can be so hard to see hey don't have fangs, no blood-soaked claws They look like you and me. But we're not defenseless We're no damsels in distress Together we can fend off the attack All we gotta do is watch our backs. Your body is beautiful how it is Who you love is nobody's business We all contemplate life and death It's the poet who gives these thoughts breath. The monster is strong, don't be mistaken It thrives on fear-keeps us isolated But together we can fend off its attack All we gotta do is watch our backs. In your darkest hour When the fight's made you weary When you think you've lost your power When you can't see clearly When you're ready to surrender Give in to the black look over your shoulder I've got your back.

The lyrics, 'Tell me would you kill to save a life...would you kill to prove you're right?' They've often made me wonder, what would make a good man do something...you know, really awful, like kill or whatever. And well, now...I guess I have my answer don't I?

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

Sophie thinks you were offering her a less than honorable proposition before we came to collect her, and modified your proposal only when her station became apparent.” Windham took a casual sip of his drink while Vim’s brain fumbled for a coherent thought. “She thinks what ?” “She thinks you offered to set her up as your mistress and changed your tune, so to speak, when it became apparent you were both titled. I know she is in error in this regard.” Vim cocked his head. “How could you know such a thing?” “Because if you propositioned my sister with such an arrangement, it’s your skull I’d be using that splitting ax on.” “If Sophie thinks this, then she is mistaken.” Windham remained silent, reinforcing Vim’s sense the man was shrewd in the extreme. “You will please disabuse her of her error.” Windham shook his head slowly, right to left, left to right. “It isn’t my error, and it isn’t Sophie’s error. She’s nothing if not bright, and you were probably nothing if not cautious in offering your suit. The situation calls for derring-do, old sport. Bended knee, flowers, tremolo in the strings, that sort of thing.” He gestured as if stroking a bow over a violin, a lyrical, dramatic rendering that ought to have looked foolish but was instead casually beautiful. “Tremolo in the strings?” “To match the trembling of her heart. A fellow learns to listen for these things.” Windham set his mug down with a thump and speared Vim with a look. “I’m off to do battle with the treble register. Wish me luck, because failure on my part will be apparent every Sunday between now and Judgment Day.” “Windham, for God’s sake, you don’t just accuse a man of such a miscalculation and then saunter off to twist piano wires.” Much less make references to failure being eternally apparent. “Rather thought I was twisting your heart strings. Must be losing my touch.” Vim

The dream of every cell is to become two cells’ said François Jacob, the most lyrical revolutionary of molecular biology. No cell lives the dream so wholly or so senselessly as a cancer cell, turning dream to nightmare. Nothing else captures the myopic immediacy of natural selection so starkly. The moment is all that matters for selection: there is no foresight, no balance, no slowing at the prospect of doom. Just the best ploy for the moment, for me, right now, not for the many, and often mistaken. Cancer cells die in piles, necrotic flesh worse than the trenches. The decimated survivors mutate, evolve, adapt, exploit their shifting environment, selfish to the bitter end. Their horror is that they know no bounds. They will eat away at our flesh to fuel their pointless lives and deaths, until, if we are unlucky, they take us too. I am writing about cancer, but must confess that I have the pointless greed and destruction of humanity at the back of my mind. May we find it within ourselves to be better than cancer cells.

Thus nature gets credit which should in truth be reserved for ourselves: the rose for its scent: the nightingale for his song: the sun for its radiance. The poets are entirely mistaken. They should address their lyrics to themselves, and should turn them into odes of self-congratulation on the excellency of the human mind. Nature is a dull affair, soundless, scentless, colourless...