Ode To Joy Quotes

Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and its fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

My Love wakes in a puddle of sunlight. Her hands asleep beside her. Her hair draped on the lawn like a mantle of cloth. I give her my life for our love is whole I sing her beauty in my soul.

The sense of pleasure you get creating something that doesn’t exist is inexplicable. I can never explain this joy in words. I like the process more than the outcome. I mean, the moments when I am busy painting. It makes me feel good about myself. It is like prayer. An ode to the Universe.

The first song I learned from start to finish was that awful tune ‘Ode to Joy’ – you probably would have heard it at school.

This is an ode to all of those that have never asked for one. A thank you in words to all of those that do not do what they do so well for the thanking. This is to the mothers. This is to the ones who match our first scream with their loudest scream; who harmonize in our shared pain and joy and terrified wonder when life begins. This is to the mothers. To the ones who stay up late and wake up early and always know the distance between their soft humming song and our tired ears. To the lips that find their way to our foreheads and know, somehow always know, if too much heat is living in our skin. To the hands that spread the jam on the bread and the mesmerizing patient removal of the crust we just cannot stomach. This is to the mothers. To the ones who shout the loudest and fight the hardest and sacrifice the most to keep the smiles glued to our faces and the magic spinning through our days. To the pride they have for us that cannot fit inside after all they have endured. To the leaking of it out their eyes and onto the backs of their hands, to the trails of makeup left behind as they smile through those tears and somehow always manage a laugh. This is to the patience and perseverance and unyielding promise that at any moment they would give up their lives to protect ours. This is to the mothers. To the single mom’s working four jobs to put the cheese in the mac and the apple back into the juice so their children, like birds in a nest, can find food in their mouths and pillows under their heads. To the dreams put on hold and the complete and total rearrangement of all priority. This is to the stay-at-home moms and those that find the energy to go to work every day; to the widows and the happily married. To the young mothers and those that deal with the unexpected announcement of a new arrival far later than they ever anticipated. This is to the mothers. This is to the sack lunches and sleepover parties, to the soccer games and oranges slices at halftime. This is to the hot chocolate after snowy walks and the arguing with the umpire at the little league game. To the frosting ofbirthday cakes and the candles that are always lit on time; to the Easter egg hunts, the slip-n-slides and the iced tea on summer days. This is to the ones that show us the way to finding our own way. To the cutting of the cord, quite literally the first time and even more painfully and metaphorically the second time around. To the mothers who become grandmothers and great-grandmothers and if time is gentle enough, live to see the children of their children have children of their own. To the love. My goodness to the love that never stops and comes from somewhere only mothers have seen and know the secret location of. To the love that grows stronger as their hands grow weaker and the spread of jam becomes slower and the Easter eggs get easier to find and sack lunches no longer need making. This is to the way the tears look falling from the smile lines around their eyes and the mascara that just might always be smeared with the remains of their pride for all they have created. This is to the mothers.

Ode to an Expiring Frog Can I view thee panting, lying On thy stomach, without sighing! Can I unmoved see thee dying On a log, Expiring frog! Say, have fiends in shape of boys, With wild halloo and brutal noise, Hunted thee from marshy joys, With a dog, Expiring frog?

When I hate I rob myself of something; but when I love I become richer by the object I love.

Her religious poetry was surprisingly slender, and as I was eager to know more about her religion, I asked her about this aspect of her poetry. She replied with these lines from Keats' Ode to a Grecian Urn: 'Beauty is truth, truth beauty'--that is all Ye know on eath, and all ye need to know'. Do not ask me to immortalise the great Mystery of Life. I am just a humble worker. For beauty, look to the Pslams, to Isaiah, to St. John of the Cross. How could my poor pen scan such verse? For truth, look to the Gospels-- four short accounts of God made Man. There is nothing more to say.

Even the angels bend their ears to earth when the ‘Ode to Joy’ is performed. When you hear music so beautiful it gives you chills, those are angel wings brushing against you.

This is an ode to life. The anthem of the world. For as there are billions of different stars that make up the sky so, too, are there billions of different humans that make up the Earth. Some shine brighter but all are made of the same cosmic dust. O the joy of being in life with all these people! I speak of differences because they are there. Like the different organs that make up our bodies. Earth, itself, is one large body. Listen to how it howls when one human is in misery. When one kills another, the Earth feels the pang in its chest. When one orgasms, the Earth craves a cigarette. Look carefully, these animals are beauty spots that make the Earth’s face lovelier and more loveable. These oceans are the Earth’s limpid eyes. These trees, its hair. This is an ode to life. The anthem of the world. I will no longer speak of differences, for the similarities are larger. Look even closer. There may be distances between our limbs but there are no spaces between our hearts. We long to be one. We long to be in nature and to run wild with its wildlife. Let us celebrate life and living, for it is sacrilegious to be ungrateful. Let us play and be playful, for it is sacrilegious to be serious. Let us celebrate imperfections and make existence proud of us, for tomorrow is death, and this is an ode to life. The anthem of the world.

Being young's a sort of sickness, Measles, mumps or chicken pox. Gather all your toys together, Lock them in a wooden box. That means tolchocks, crasting and dratsing, All of the things that suit a boy. When you build instead of busting, You can start your Ode to Joy. Do not be a clockwork orange, Freedom has a lovely voice. Here is good and there is badness, Look on both, then take your choice. Sweet in juice and hue and aroma, Let's not be changed to fruit machines. Choice is free but seldom easy- That's what human freedom means.

If a man is born for success, another may with a god’s help 20 sharpen his edge and drive him towards prodigious feats of glory;   and without exertion few have won joy,   which is a radiance in men’s lives beyond all deeds.

But I watched Millie. I watched Millie because she fascinated me. She was a brand new species, an intoxicating mix of girl and enigma, familiar yet completely foreign. I’d never met anyone like her, yet I felt like I’d known her forever. And since the moment I’d looked down into her face and felt that jolt of ode-to-joy-and-holy-shit, I’d been falling, falling, falling, unable to stop myself, unable to look away, helpless to do the smart thing. And the smart thing, the kind thing would be to stay away. But no one had ever accused me of being particularly smart.

There’s no reason to believe that the pace of life for all beings in the universe is like that of humanity.

Nowadays, people no longer know Beethoven's Ninth from concerts, but form the for lines of the 'Ode to Joy' that they hear every day in the ad for Bella Perfume.

All my other current friends were "intellectuals"––Chad the Nietzschean anthropologist, Carlo Marx and his nutty surrealist low-voiced serious staring talk, Old Bull Lee and his critical anti-everything drawl––or else they were slinking criminals like Elmer Hassel, with that hip sneer; Jane Lee the same, sprawled on the Oriental cover of her couch, sniffing at the New Yorker. But Dean's intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his "criminality" was not something that sulked and sneered; it was a wild yea-saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming. Besides, all my New York friends were in the negative, nightmare position of putting down society and giving their tired bookish or political or psychoanalytical reasons, but Dean just raced in society, eager for bread and love; he didn't care one way or the other.

I can’t imagine there are many of them in symphonies. God created Beethoven and Beethoven created this.... You can hear hints of the melody in a much earlier work called the ‘Choral Fantasy.’ He dreamed of it long before he wrote it. Even the angels bend their ears to earth when the ‘Ode to Joy’ is performed. When you hear music so beautiful it gives you chills, those are angel wings brushing against you.

Ah, happy hills, ah, pleasing shade, Ah, fields belov'd in vain, Where once my careless childhood stray'd, A stranger yet to pain! I feel the gales, that from ye blow, A momentary bliss bestow, As waving fresh their gladsome wing, My weary soul they seem to soothe, And, redolent of joy and youth, To breathe a second spring.

Ode to Love Lin Huiyin I think you are the April of this world, Sure, you are the April of this world. Your laughter has lit up all the wind, So gently mingling with the spring. You are the clouds in early spring, The dusk wind blows up and down. And the stars blink now and then, Fine rain drops down amid the flowers. So gentle and graceful, You are crowned with garlands. So sublime and innocent, You are a full moon over each evening. The snow melts, with that light yellow, You look like the first budding green. You are the soft joy of white lotus Rising up in your fancy dreamland. You’re the blooming flowers over the trees, You’re a swallow twittering between the beams; Full of love, full of warm hope, You are the spring of this world!

Joy lift her spirit, joy attune her voice; To her may all things live, from pole to pole, Their life the eddying of her living soul! O simple spirit, guided from above, Dear Lady! friend devoutest of my choice, Thus mayest thou ever, evermore rejoice.

Ode to Joy Joy, beautiful spark of Divinity, Daughter of Elysium, We enter, drunk with fire, Heavenly one, thy sanctuary! Thy magic binds again What custom strictly divided;* All people become brothers,* Where thy gentle wing abides. Whoever has succeeded in the great attempt, To be a friend's friend, Whoever has won a lovely woman, Add his to the jubilation! Yes, and also whoever has just one soul To call his own in this world! And he who never managed it should slink Weeping from this union! All creatures drink of joy At nature's breasts. All the Just, all the Evil Follow her trail of roses. Kisses she gave us and grapevines, A friend, proven in death. Salaciousness was given to the worm And the cherub stands before God. Gladly, as His suns fly through the heavens' grand plan Go on, brothers, your way, Joyful, like a hero to victory. Be embraced, Millions! This kiss to all the world! Brothers, above the starry canopy There must dwell a loving Father. Are you collapsing, millions? Do you sense the creator, world? Seek him above the starry canopy! Above stars must He dwell.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

When a civilization travels far enough on the road of time, individual and collective both disappear... form and content both disappear.

Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.

Some pious souls are troubled because they cannot at all times, or often, use, in its joyous import, the language of this Psalm. Such should remember that David, though he lived long, never wrote but one twenty-third Psalm. Some of his odes do indeed express as lively a faith as this, and faith can walk in darkness. But where else do we find a whole Psalm expressive of personal confidence, joy, and triumph, from beginning to end? God's people have their seasons of darkness and their times of rejoicing.

Gustav is a composer. For months he has been carrying on a raging debate with Säure over who is better, Beethoven or Rossini. Säure is for Rossini. “I’m not so much for Beethoven qua Beethoven,” Gustav argues, “but as he represents the German dialectic, the incorporation of more and more notes into the scale, culminating with dodecaphonic democracy, where all notes get an equal hearing. Beethoven was one of the architects of musical freedom—he submitted to the demands of history, despite his deafness. While Rossini was retiring at the age of 36, womanizing and getting fat, Beethoven was living a life filled with tragedy and grandeur.” “So?” is Säure’s customary answer to that one. “Which would you rather do? The point is,” cutting off Gustav’s usually indignant scream, “a person feels good listening to Rossini. All you feel like listening to Beethoven is going out and invading Poland. Ode to Joy indeed. The man didn’t even have a sense of humor. I tell you,” shaking his skinny old fist, “there is more of the Sublime in the snare-drum part to La Gazza Ladra than in the whole Ninth Symphony. With Rossini, the whole point is that lovers always get together, isolation is overcome, and like it or not that is the one great centripetal movement of the World. Through the machineries of greed, pettiness, and the abuse of power, love occurs. All the shit is transmuted to gold. The walls are breached, the balconies are scaled—listen!” It was a night in early May, and the final bombardment of Berlin was in progress. Säure had to shout his head off. “The Italian girl is in Algiers, the Barber’s in the crockery, the magpie’s stealing everything in sight! The World is rushing together.

But Dean’s intelligence was every bit as formal and shining and complete, without the tedious intellectualness. And his “criminality” was not something that sulked and sneered; it was a wild yea-saying overburst of American joy; it was Western, the west wind, an ode from the Plains, something new, long prophesied, long a-coming (he only stole cars for joy rides).

This is the pivotal point, maybe of this whole book. On the surface of our lives most of us build the hard shell. It is built to cover fear and insecurity and win approval and success. When you get down to the core of yourself, you find a different, more primeval country, and in it a deep yearning to care and connect. You could call this deep core of yourself the pleroma, or substrate. It is where your heart and soul reside. After her first daughter was born, a friend of mine, Catherine Bly Cox, told me, “I found I loved her more than evolution required.” I’ve always loved that observation because it points to that deeper layer. There are the things that drive us toward material pleasure, and there are evolutionary forces that drive us to reproduce and pass down our genes. These are the layers of life covered by economics and political science and evolutionary psychology. But those layers don’t explain Chartres Cathedral or “Ode to Joy”; they don’t explain Nelson Mandela in jail, Abraham Lincoln in the war room, or a mother holding her baby. They don’t explain the fierceness and fullness of love, as we all experience it. This is the layer we’re trying to reach in the wilderness. These are the springs that will propel us to our second mountain.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed; for such loss, I would believe, Abundant recompense. 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.

We are the music makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams; — World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems. With wonderful deathless ditties We build up the world's great cities, And out of a fabulous story We fashion an empire's glory: One man with a dream, at pleasure, Shall go forth and conquer a crown; And three with a new song's measure Can trample a kingdom down. We, in the ages lying, In the buried past of the earth, Built Nineveh with our sighing, And Babel itself in our mirth; And o'erthrew them with prophesying To the old of the new world's worth; For each age is a dream that is dying, Or one that is coming to birth. A breath of our inspiration Is the life of each generation; A wondrous thing of our dreaming Unearthly, impossible seeming — The soldier, the king, and the peasant Are working together in one, Till our dream shall become their present, And their work in the world be done. They had no vision amazing Of the goodly house they are raising; They had no divine foreshowing Of the land to which they are going: But on one man's soul it hath broken, A light that doth not depart; And his look, or a word he hath spoken, Wrought flame in another man's heart. And therefore to-day is thrilling With a past day's late fulfilling; And the multitudes are enlisted In the faith that their fathers resisted, And, scorning the dream of to-morrow, Are bringing to pass, as they may, In the world, for its joy or its sorrow, The dream that was scorned yesterday. But we, with our dreaming and singing, Ceaseless and sorrowless we! The glory about us clinging Of the glorious futures we see, Our souls with high music ringing: O men! it must ever be That we dwell, in our dreaming and singing, A little apart from ye. For we are afar with the dawning And the suns that are not yet high, And out of the infinite morning Intrepid you hear us cry — How, spite of your human scorning, Once more God's future draws nigh, And already goes forth the warning That ye of the past must die. Great hail! we cry to the comers From the dazzling unknown shore; Bring us hither your sun and your summers; And renew our world as of yore; You shall teach us your song's new numbers, And things that we dreamed not before: Yea, in spite of a dreamer who slumbers, And a singer who sings no more.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe, Abundant recompence. 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.

Odes of Solomon.  The origin and date of writing are unknown. It contained beautiful songs of joy and peace.   Some believed them to be songs written by newly baptized Christians.

You only love when you love in vain. Try another radio probe when ten have failed, take two hundred rabbits when a hundred have died: only this is science. You ask the secret. It has just one name: again. In the end a dog carries in his jaws his image in the water people rivet the new moon I love you. Like caryatids our lifted arms hold up time's granite load And defeated we shall always win.

ODE TO VIETNAM The Vietnamese are peaceful people, With spirits full of life and joy. Their hearts so kind and smiles so gleeful, And every little girl and boy; Run ‘round with bare feet in the streets, With laughing faces, bright and sweet, Then they invite me to their feast, To offer me all that they own And so I write this piece to thee So your warmth won’t pass unknown.

recall how Yale history professor Marci Shore found the ideal of Europe in an indoor market as far east as the port of Odessa, where musicians from the local philharmonic were playing Beethoven’s “Ode to Joy”—the anthem of the European Union—amid the “scaling of whitefish and cleaning of mackerel gills and weighing of anchovies…drowning, for a moment, the voices of Putin’s sirens” in the midst of the 2014 Ukrainian Revolution.[4] Because Europe, in order to survive, should mean more than a specific geography, it cannot be too strictly limited by geography, and so must try to reach out to its shadow zones.

Beethoven’s Ode to Joy on the piano.

he started to hum along with the stereo playing in the bedroom. Beethoven’s Ode to Joy—possibly his favorite piece of music. The majesty of the chorus never ceased to thrill him.

Envy said, “Girl, I remember well, ye, who I flung from Hell, and not a day has passed, I haven’t missed the loss of your soul that I mourned, I’ve been bereft and forlorn, for the sweet taste of your flesh I’ve yet to kiss. But no worries—bygones, that’s the past—long gone, I don’t hold a grudge, no, in no way. And though your family they did swindle my joy of flaying ye on a spindle, I begrudge ye not a little, so let’s play. So, merely toss your token in my well, and all your dreams I will unveil, for ye alone, them I’ll grant. Come closer, little Penny, your hands I know are not empty, ye have something I dreadfully want.

It was possibly the worst of Mr Colley Cibber’s notoriously awful odes, the one, three years old, hymning King George’s personal valour on a German battlefield. Yes, here came the rhymes of ‘Seligenstadt’ with ‘defeat’, and ‘Dettingen’ with ‘joyful strain’. Here came the martial blasts from the Poet Laureate’s personal wind machine. Septimus was all wince. ‘Oh God,’ he murmured, through unmoving lips and closed teeth. ‘Oh God. Oh God.’ James De Lancey was feeling the need to clear his throat, rumblingly, every few seconds. The stares of the Assemblymen seemed fixed, if not on the spectacle in general, then in particular on the way the pose bunched and elevated, beneath the rising hem of the tabard, the muscles of Mrs Tomlinson’s magnificent arse.

There are reasons classics are classics. They resonate. They hit us in the gut. Ode to Joy is my favorite song. Not very original, but it’s great for a reason.

But before I could be subsumed into that intoxicating ecstasy, she straddled me, sparking an intimacy as wild and free as riding at a rapid tempo, like the beginning of Beethoven’s Ode to Joy.

Poet Laureate John Betjeman composed a “Wedding Ode of Joy” to celebrate the marriage. His verses ended by casting back to Charles’s 1969 investiture in Wales when “you knelt a boy, you rose a man. And thus your lonelier life began.” Now, he wrote, “The scene has changed, the outlook cleared. The loneliness has disappeared.” He could not have been more mistaken.

Always There For Me Ode to my beloved Mother When there is no sunshine And stars do not shine in the night When the moon is not so bright And there seems to be no light You are always there for me When darkness is here And my pillow becomes a pool of tears When I am surrounded by fear And I need you near You are always there for me When the seas are rough on my side And I swim against the tide When I run out of time And I struggle in life You are always there for me When I am soaked in the rain And cloaked by pain When sadness puts me under strain And my joy goes down the drain You are always there for me When my mornings find me mourning And middays appear cloudy When midnights are filled with groaning And my new dawn is being delayed You are always there for me When the road is long And I need strength to go on When my voice is gone And I cannot sing a song You are always there for me When my heart is weak And I feel so weary When there is no sign of victory And I sometimes worry You are always there for me

We shall have everything we want and there'll be no more dying

But for those first affections, Those shadowy recollections, Which, be they what they may Are yet the fountain-light of all our day, Are yet a master-light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the eternal Silence: truths that wake, To perish never; Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! —William Wordsworth, “Ode: Intimations of Immortality from Recollections of Early Childhood

There was a time when meadow, grove, and stream, The earth, and every common sight, To me did seem Apparelled in celestial light, The glory and the freshness of a dream. It is not now as it hath been of yore;— Turn wheresoe’er I may, By night or day. The things which I have seen I now can see no more. . . . Ye blessèd creatures, I have heard the call Ye to each other make; I see The heavens laugh with you in your jubilee; My heart is at your festival, My head hath its coronal, The fulness of your bliss, I feel—I feel it all. Oh evil day! if I were sullen While Earth herself is adorning, This sweet May-morning, And the Children are culling On every side, In a thousand valleys far and wide, Fresh flowers; while the sun shines warm, And the Babe leaps up on his Mother’s arm:— I hear, I hear, with joy I hear! —But there’s a Tree, of many, one, A single field which I have looked upon, Both of them speak of something that is gone; The Pansy at my feet Doth the same tale repeat: Whither is fled the visionary gleam? Where is it now, the glory and the dream? —William Wordsworth, “Ode: Intimations of Immortality from Recollections of Early Childhood

Und dann kamen Buchimisten Ihre Bücher sah man nicht Sie versteckten sie in Kisten Ohne Luft und ohne Licht Sie verbrachten sie in Tiefen Wo sie träumen heute noch Niemand weiß mehr, wo sie schliefen Ewig sucht man diesen Ort Freude schöner Labyrinthe Bücher im Elysium Leder, Staub und alte Tinte Steig hinab und komm drin um!

When the chorus kicked in at the last movement, the "Ode to Joy," and the trumpets started to sing, Marlan leaning in, and the music marching up and down again, and the sopranos impossibly high and clear and triumphant, all I could think was what a glory. If humans can do this, can do this TOGETHER, then they can do anything. You know that point in the "Ode to Joy" when you think there will be a rest and there ISN'T? It's about going on and not stopping. Thrilled by the music, thrilled by the hope, the conviction that if we can go on, can just hold on long enough to get past this point in his-tory, just keep singing joy, just hold things together through this time, then maybe there is hope for the human race. If we can't, then the world can go on without us, but that would be a shame, because it would have to go on without the "Ode to Joy.

She drank the rest of the tea, still reeling from Whitman's words. Then the harp began to play---lustily, with stirring effect, seeming to fancy itself an entire symphony---"Ode to Joy.

My heart suddenly overflowed with excitement, my thoughts with hope, confidence, and eager anticipation, and if I had a personal soundtrack to my life it would have been playing Ode to Joy while a stadium of Harry fans did the wave.

For now, I want to sit vigil with the earth the same way I did with Fenton. I want to write unironic odes to her beauty, which is still potent, if not completely intact. The language of the wilderness is the most beautiful language we have and it is our job to sing it, until and even after it is gone, no matter how much it was face-to-face with my familiar koan: how to be with the incandescent beauty of the iceberg without grieving the loss of polar bear habitat its appearance implied. How to grieve the polar bear without loving it any less. How to let the sight of such a strange and beautiful thing as this floating jewel make me happy, as wild and surprising things have always done, from the top of my head to the tips of my toes. How to hang on to that full-body joy I knew I was capable of and still understand it as elegy?

And since the moment I’d looked down into her face and felt that jolt of ode-to-joy-and-holy-shit, I’d been falling, falling, falling, unable to stop myself, unable to look away, helpless to do the smart thing.

Holdfast beloved, cast your eyes ahead. Joy is coming.

ἐπάμεροι· τί δέ τις; τί δ᾿ οὔ τις; σκιᾶς ὄναρ ἄνθρωπος. ἀλλ᾿ ὅταν αἴγλα διόσδοτος ἔλθῃ, λαμπρὸν φέγγος ἔπεστιν ἀνδρῶν καὶ μείλιχος αἰών. Ephemeral thing, what is it? what is not it? A A dream of a shadow is man. But when a god given radiance should come, there is a brilliant light over man, and our life is joyful.

I expect that in Heaven, the angels will sing Bach, and they'll envy us our understanding of Beethoven. The unfallen angels don't have to go through the first movements of the 9th symphony to get to the Ode to Joy. But we do.