Romantic Composers Quotes

Romantics might like to think of themselves as being composed of stardust. Cynics might prefer to think of themselves as nuclear waste.

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

Humans have a saying that "Beauty is in the eye of the beholder", which basically means that if you think it's beautiful, then it is beautiful. The elfin version of this saying was composed by the great poet B.O Selecta, who said "Even the plainest of the plain shall deign to reign", which critics have always thought was a bit rhymey. The dwarf version of this maxim is "If it don't stink, marry it", which is slightly less romantic, but the general gist is the same.

Beloved the world has seldom and shall never perceive A stunning beauty like you, that I truly believe The Lord composed you in absolute perfection Your every imperfection is a perfect complexion

For a while he'd tried molding himself into the tragic Romantic hero, brooding and staring clench-jawed off into space as he composed dark verse in his head. But it turned out that trying to appear tragic in Incontinence, Indiana, was redundant, and his mother kept shouting at him and making him forget his rhymes. "Tommy, if you keep grinding your teeth like that, they'll wear away and you'll have to have dentures like Aunt Ester." Tommy only wished his beard was as heavy as Aunt Ester's---then he could stare out over the moors while he stroked it pensively.

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

As the twenty-first century lurches forward, though, we find that love letters—so awkward, so slow, so exhausting to compose—are an endangered species. We forget that romantic connections benefit from solitude nearly as much as the beloved’s company.

The world is composed of lies. Starting from a kid’s cute lie, a teen’s white lie, a youth’s smart lie, it grows older with us, romantic lies as a couple, effusive lies as a parent and unavoidable lies at old age. Lies are beautiful, lies are awkward. Lies are stupid, lies are witty. Everyone is a classical composer and lifetime listener of lies.

...One thing I have noticed, child, is that tyrants are the grandest romantics. They can burn a heretic alive once day, and compose a love sonnet the next.

My favorite part about a wind farm is the invisible fruit that it yields. Plus, it's like a garden of giant metal flowers, and that's almost as romantic as a book composed exclusively of duck quotes.

Love is composed of a single soul inhabiting two bodies~Aristotle

In the Belgian backwaters, south of Bruges, there lives a reclusive English composer, named Vyvyan Ayrs. You won’t have heard of him because you’re a musical oaf, but he’s one of the greats.

He paused a moment, gazing in awe at the huge mass of buildings composing the castle. It stood close to the river, on either side and to the rear stretched the extensive park and gardens, filled with splendid trees, fountains and beds of brilliant flowers in shades of pink, crimson, and scarlet. The castle itself was built of pink granite, and enclosed completely a smaller, older building which the present Duke's father had considered too insignificant for his town residence. The new castle had taken forty years to build; three architects and hundreds of men had worked day and night, and the old Duke had personally selected every block of sunset-colored stone that went to its construction. 'I want it to look like a great half-open rose,' he declared to the architects, who were fired with enthusiasm by this romantic fancy. It was begun as a wedding present to the Duke's wife, whose name was Rosamond, but unfortunately she died some nine years before it was completed. 'never mind, it will do for her memorial instead,' said the grief-stricken but practical widower. The work went on. At last the final block was laid in place. The Duke, by now very old, went out in his barouche and drove slowly along the opposite riverbank to consider the effect. He paused midway for a long time, then gave his opinion. 'It looks like a cod cutlet covered in shrimp sauce,' he said, drove home, took to his bed, and died.

Romantic literature often presents the individual as somebody caught in a struggle against the state and the market. Nothing could be further from the truth. The state and the market are the mother and father of the individual, and the individual can survive only thanks to them. The market provides us with work, insurance and a pension. If we want to study a profession, the government’s schools are there to teach us. If we want to open a business, the bank loans us money. If we want to build a house, a construction company builds it and the bank gives us a mortgage, in some cases subsidised or insured by the state. If violence flares up, the police protect us. If we are sick for a few days, our health insurance takes care of us. If we are debilitated for months, social security steps in. If we need around-the-clock assistance, we can go to the market and hire a nurse – usually some stranger from the other side of the world who takes care of us with the kind of devotion that we no longer expect from our own children. If we have the means, we can spend our golden years at a senior citizens’ home. The tax authorities treat us as individuals, and do not expect us to pay the neighbours’ taxes. The courts, too, see us as individuals, and never punish us for the crimes of our cousins. Not only adult men, but also women and children, are recognised as individuals. Throughout most of history, women were often seen as the property of family or community. Modern states, on the other hand, see women as individuals, enjoying economic and legal rights independently of their family and community. They may hold their own bank accounts, decide whom to marry, and even choose to divorce or live on their own. But the liberation of the individual comes at a cost. Many of us now bewail the loss of strong families and communities and feel alienated and threatened by the power the impersonal state and market wield over our lives. States and markets composed of alienated individuals can intervene in the lives of their members much more easily than states and markets composed of strong families and communities. When neighbours in a high-rise apartment building cannot even agree on how much to pay their janitor, how can we expect them to resist the state? The deal between states, markets and individuals is an uneasy one. The state and the market disagree about their mutual rights and obligations, and individuals complain that both demand too much and provide too little. In many cases individuals are exploited by markets, and states employ their armies, police forces and bureaucracies to persecute individuals instead of defending them. Yet it is amazing that this deal works at all – however imperfectly. For it breaches countless generations of human social arrangements. Millions of years of evolution have designed us to live and think as community members. Within a mere two centuries we have become alienated individuals. Nothing testifies better to the awesome power of culture.

Back home, Huxley drew from this experience to compose a series of audacious attacks against the Romantic love of wilderness. The worship of nature, he wrote, is "a modern, artificial, and somewhat precarious invention of refined minds." Byron and Wordsworth could only rhapsodize about their love of nature because the English countryside had already been "enslaved to man." In the tropics, he observed, where forests dripped with venom and vines, Romantic poets were notably absent. Tropical peoples knew something Englishmen didn't. "Nature," Huxley wrote, "is always alien and inhuman, and occasionally diabolic." And he meant always: Even in the gentle woods of Westermain, the Romantics were naive in assuming that the environment was humane, that it would not callously snuff out their lives with a bolt of lightning or a sudden cold snap. After three days amid the Tuckamore, I was inclined to agree.

To the Greeks this problem of the conditions of poetic production, and the places occupied by either spontaneity or self-consciousness in any artistic work, had a peculiar fascination. We find it in the mysticism of Plato and in the rationalism of Aristotle. We find it later in the Italian Renaissance agitating the minds of such men as Leonardo da Vinci. Schiller tried to adjust the balance between form and feeling, and Goethe to estimate the position of self-consciousness in art. Wordsworth’s definition of poetry as ‘emotion remembered in tranquillity’ may be taken as an analysis of one of the stages through which all imaginative work has to pass; and in Keats’s longing to be ‘able to compose without this fever’ (I quote from one of his letters), his desire to substitute for poetic ardour ‘a more thoughtful and quiet power,’ we may discern the most important moment in the evolution of that artistic life. The question made an early and strange appearance in your literature too; and I need not remind you how deeply the young poets of the French romantic movement were excited and stirred by Edgar Allan Poe’s analysis of the workings of his own imagination in the creating of that supreme imaginative work which we know by the name of THE RAVEN.

To My Favorite 17-Year-Old High School Girl Do you realize that if you had started building the Parthenon on the day you were born you would be all done in only one more year? Of course, you couldn’t have done it alone, so never mind, you’re fine just as you are. You are loved simply for being yourself. But did you know that at your age Judy Garland was pulling down $150,000 a picture, Joan of Arc was leading the French army to victory, and Blaise Pascal had cleaned up his room? No wait, I mean he had invented the calculator. Of course, there will be time for all that later in your life after you come out of your room and begin to blossom, or at least pick up all your socks. For some reason, I keep remembering that Lady Jane Grey was Queen of England when she was only fifteen, but then she was beheaded, so never mind her as a role model. A few centuries later, when he was your age, Franz Schubert was doing the dishes for his family but that did not keep him from composing two symphonies, four operas, and two complete Masses as a youngster. But of course that was in Austria at the height of romantic lyricism, not here in the suburbs of Cleveland. Frankly, who cares if Annie Oakley was a crack shot at 15 or if Maria Callas debuted as Tosca at 17? We think you are special by just being you, playing with your food and staring into space. By the way, I lied about Schubert doing the dishes, but that doesn’t mean he never helped out around the house.

...[A] poor priest, Chandi Das, was shocking Bengal by composing Dantean songs to a peasant Beatrice, ideal­izing her with romantic passion, exalting her as a symbol of divinity, and making his love an allegory of his desire for absorption in God; at the same time he inaugurated the use of Bengali as a literary language. "I have taken refuge at your feet, my beloved. When I do not see you my mind has no rest .... I cannot forget your grace and your charm,—and yet there is no desire in my heart." Excommunicated by his fellow Brahmans on the ground that he was scandalizing the public, he agreed to renounce his love, Rami, in a public ceremony of recantation; but when, in the course of this ritual, he saw Rami in the crowd, he withdrew his recanta­tion, and going up to her, bowed before her with hands joined in adora- tion.

Any relationship beyond acquaintanceship is composed of one to three qualities: passion, intimacy, and commitment. Simple friendship has one: intimacy. You can have other friends and you do not feel passionately about one another, or we are dealing with another animal. Most romantic relationships begin with a dollop of passion, often to the exclusion of anything else. The person in your arms is the best in the world, though you barely know him or her. You have never felt this way. Any gaps or deficits are temporarily puttied over by passion. When most people envision romantic love, this is where they stop. Romantic comedies but only rarely deal with washing your lover's dishes because they must be up early for work. No one wants to see the mundane when they can flip the channel to a desperate, emotionally-stunted frottage. The passion of infatuation triggers the release of addictive chemicals. We would rather get another hit than cope with the relative dullness of intimacy and commitment.

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

You never asked about your present.' 'I assumed I wasn't getting one from you.' He pushed off the door frame and shut the door behind him. He took up all the air in the room just by standing there. 'Why?' She shrugged. 'I just did.' He pulled a small box from his jacket and set it on the bed between them. 'Surprise.' Cassian swallowed as she approached, the only sign that this meant something to him. Nesta's hands turned sweaty as she picked the box up, examining it. She didn't open it yet, though. 'I am sorry for how I behaved last Solstice. For how awful I was.' He'd gotten her a present then, too. And she hadn't cared, had been so wretched she'd wanted to hurt him for it. For caring. 'I know,' he said thickly. 'I forgave you a long time ago.' She still couldn't look at him, even as he said, 'Open it.' Her hands shook a little as she did, finding a silver ball nestled in the black velvet box. It was the size of a chicken egg, round save for one area that had been flattened so it might be set upon a surface and not roll. 'What is it?' 'Touch the top. Just a tap.' Throwing a puzzled glance at him, she did so. Music exploded into the room. Nesta leaped back, a hand at her chest as he laughed. But- music was playing from the silver orb. And not just any music, but the waltzes from the ball the other night, pure and free of any crowd chattering, as if she were sitting in a theatre to hear them. 'This isn't the Veritas orb,' she managed to say as the waltz poured out of the ball, so clear and perfect her blood sang again. 'No, it's a Symphonia, a rare device from Helion's court. It can trap music within itself, and play it back for you. It was originally invented to help compose music, but it never caught on, for some reason.' 'How did you get the crowd noise out when you trapped the sound the other night?' she marvelled. His cheeks stained with colour. 'I went back the next day. Asked the musicians at the Hewn City to play it all again for me, plus some of their favourites.' He nodded to the ball. 'And then I went to some of your favourite taverns and found those musicians and had them play...' He trailed off at her bowed head. The tears she couldn't stop. She didn't try to fight them as the music poured into the room. He had done all of this for her. Had found a way for her to have music- always. 'Nesta,' he breathed.

My bedroom is separated from the main body of my house so that I have to go outside and cross some pseudo-Japanese stepping stones in order to go to sleep at night. Often I get rained on a little bit on my way to bed. It’s a benediction. A good night kiss. Romantic? Absolutely. And nothing to be ashamed of. If reality is a matter of perspective, then the romantic view of the world is as valid as any other - and a great deal more rewarding. It makes of life and unpredictable adventure rather that a problematic equation. Rain is the natural element for romanticism. A dripping fir is a hundred times more sexy than a sunburnt palm tree, and more primal and contemplative, too. A steady, wind-driven rain composed music for the psyche. It not only nurtures and renews, it consecrates and sanctifies. It whispers in secret languages about the primordial essence of things. Obviously, then, the Pacific Northwest's customary climate is perfect for a writer. It's cozy and intimate. Reducing temptation (how can you possibly play on the beach or work in the yard?), it turns a person inward, connecting them with what Jung called "the bottom below the bottom," those areas of the deep unconscious into which every serious writer must spelunk. Directly above my writing desk there is a skylight. This is the window, rain-drummed and bough-brushed, through which my Muse arrives, bringing with her the rhythms and cadences of cloud and water, not to mention the latest catalog from Victoria's Secret and the twenty-three auxiliary verbs. Oddly enough, not every local author shares my proclivity for precipitation. Unaware of the poetry they're missing, many malign the mist as malevolently as they non-literary heliotropes do. They wring their damp mitts and fret about rot, cursing the prolonged spillage, claiming they're too dejected to write, that their feet itch (athlete's foot), the roof leaks, they can't stop coughing, and they feel as if they're slowly being digested by an oyster. Yet the next sunny day, though it may be weeks away, will trot out such a mountainous array of pagodas, vanilla sundaes, hero chins and god fingers; such a sunset palette of Jell-O, carrot oil, Vegas strip, and Kool-Aid; such a sea-vista display of broad waters, firred islands, whale spouts, and boat sails thicker than triangles in a geometry book, that any and all memories of dankness will fizz and implode in a blaze of bedazzled amnesia. "Paradise!" you'll hear them proclaim as they call United Van Lines to cancel their move to Arizona.

There’s nothing else inside the envelope. I turn the photo over and we read the note on the back written in small, careful handwriting. I miss you, Pipperoni. -Darren I swallow the lump in my throat and look up at Morgan. We both have tears in our eyes. “Why are you crying?” I ask, laughing. “Because this is the single most romantic thing I’ve ever heard!” she says, swiping at the corner of her eye. “How did he get your address? I thought you never exchanged info.” “We didn’t.” I sit down on my bed and invent scenarios. “Maybe Chiara really did see him. Maybe she didn’t want me to know, so this could be a surprise?” “Oh, I would die to have something this epic happen to me,” Morgan squeals. She falls onto the bed with the back of her hand against her forehead as if she’s fainted. I log into my e-mail and compose a letter to Chiara, telling her to call me right away. Then I stare at Darren’s note some more, especially the “I miss you” part. And the “Darren” part. Which is basically the whole thing. Darren misses me.

As they reached the end of the lane, the lines of dancers moved together again, and Charlotte and Alex copied them—hands still clutching, gazes locked. The world seemed to suspend in a haze of noise and color. Miss Plim was gone; Lizzie Bennet was gone; all that remained were Alex’s smiling eyes and the disordered beat of her heart. She did not want to breathe lest she break the spell. Here was some magic greater than witchery. She, Charlotte Pettifer, was participating in a romantic ballroom moment such as Jane Austen herself might have composed—albeit without a dreadful aunt in pursuit. Nor a hero who was utterly devilish, with an earring and a hefty sword, not to mention a pair of boots that on their own would be censored from any decent novel. And alas, she doubted the heroine would be quite as worldly as she herself had become this past week. In fact, she rather suspected she would be the villain in a Jane Austen novel. But Charlotte was surprised to find she did not care. Rising on her toes, she kissed that devilish pirate, and thrilled at the smile she startled onto his mouth. It was an imperfect moment, but she would remember it for the rest of her life.

The stars grow tired, shrug their shoulders, and fall out of the sky, wearing nothing but robes of comet-white. Is she not one of the stars? She casts off her robes—steps into my room—and composes constellations.

romantic love has three different chemical components: lust, composed of androgens and estrogens; attraction, driven by high dopamine and norepinephrine levels and low serotonin (this accounts for mood swings in early courtship); and finally, attachment, made up of oxytocin and vasopressin. And all these mood-altering chemicals can possibly become higher, because of their multiorgasmic potential, in some women than in most men.

You need to let me go, Dmitri, and move on. I am not going to marry you.” “I will have you.” Such conviction, and he’d brought some muscle to try and prove his statement. A pair of brutes exited the car. Dmitri’s order of, “Don’t hurt her,” made her tsk aloud. Please. If he thought to subdue her, he should have brought more guys. As the one gorilla— and seriously, despite his obvious humanity, she had to wonder at his ancestry— grabbed for her arm, she sidestepped, causing him to snare only air. She, on the other hand, didn’t miss. Her foot swung out and cracked goon number one in the knee. He let out a yelp of pain, but before she could take him out fully, the second guy lunged for her. She ducked under his grasping hands and thrust, her fist connecting with his diaphragm. He gasped for breath. She took no mercy and kneed him in the groin, just as goon number one made his next move. With a tinkle of bells, the door to the coffee shop opened, and a very calm-sounding Leo said, “Lay a finger on her, and I will rip your arm off and beat you with it.” As threats went, it was adorable. Especially since, given his size and mien, Leo probably could. The idiot didn’t listen. The thug went to grab Meena’s arm, and curiosity made her let him instead of breaking his fingers. Why exert herself when Pookie seemed determined to come to her rescue? While outwardly he appeared cool and composed, a wild storm brewed in his eyes as Leo growled, “I said don’t touch.” Crack. Yup. There was one guy who wouldn’t be touching anything with that arm for a while, and he’d probably end up hoarse with the way he was screaming. Pussy. In the distance, sirens wailed to life, and it didn’t take Dmitri’s barked, “Get in the car, you idiots,” for the thugs to realize their attempt at a coerced kidnapping had failed. Meena didn’t bother watching the car speed off, not when she had something much more important to attend to. Like a man who thought she needed saving. How her dad would laugh when he heard about it. Her sister, Teena, would sigh about how romantic it was. Her mom, on the other hand, would chastise Meena for causing chaos once again. Turning to Leo, who wore a formidable glower, she threw herself at him. Apparently, he half expected it because his arms opened wide, and he caught her— without even a tiny stagger! She latched her legs around his waist, draped her arms around his neck, and exclaimed, “Pookie, you were awesome. You saved me from those big, bad men. You’re like a knight in Under Armour.” Not entirely true. He wore a plain black Fruit of the Loom T-shirt. But she could totally picture him in one of those form-fitting tees that Under Armour specialized in that would mold his perfect chest. On second thought, given how it would show off his impressive musculature, perhaps she should leave his wardrobe alone. No use taunting the female public with what they couldn’t have. It would also mean less blood for her to rinse if they dared to touch. “I’d hardly say I saved you. You seemed to be doing all right on your own.” She planted a big smooch on his lips and declared him, “My hero.

Fran had from an unsuitably early age been attracted by the heroic death, the famous last words, the tragic farewell. Her parents had on their shelves a copy of Brewer's 'Dictionary of Phase and fable', a book which, as a teenager, she would morbidly browse for hours. One of her favourite sections was 'Dying Sayings', with its fine mix of the pious, the complacent, the apocryphal, the bathetic and the defiant. Artists had fared well: Beethoven was alleged to have said 'I shall hear in heaven'; the erotic painter Etty had declared 'Wonderful! Wonderful this death!'; and Keats had died bravely, generously comforting his poor friend Severn. Those about to be executed had clearly had time to prepare a fine last thought, and of these she favoured the romantic Walter Raleigh's, 'It matters little how the head lies, so the heart be right'. Harriet Martineau, who had suffered so much as a child from religion, as Fran had later discovered, had stoically remarked, 'I see no reason why the existence of Harriet Martineau should be perpetuated', an admirably composed sentiment which had caught the child Fran's attention long before she knew who Harriet Martineau was. But most of all she had liked the parting of Siward the Dane who had commended his men: 'Lift me up that I may die standing, not lying down like a cow'.

I know what you think' Oak says. 'That you're not whom I should want.' She ducks her head, a faint flush on her cheeks. 'It's true you inspire no safe daydream of love,' he tells her. 'A nightmare, then?' she asks with a small, self-depreciating laugh. 'The kind of love that comes when two people see each other clearly,' he says, walking to her. 'Even if they're scared to believe that's possible. I adore you. I want to play games with you. I want to tell you all the truths I have to give. And if you really think you're a monster, then let's be monsters together.' Wren stares at him. 'And if I send you away even after this speech? If I don't want you?' He hesitates. 'Then I'll go,' he says. 'And adore you from afar. And compose ballads about you or something.

Fucking academic romantics. As if anything composed of stale paper and ink could be worth dying for.

After this quarrel, Harilal composed the long letter that he then had printed. The letter rehearsed their decade of disagreement, the son saying that the father had ‘oppressed’ him, and paid him ‘no attention at all’. ‘Whenever we tried to put across our views on any subject to you,’ said Harilal, ‘you have lost your temper quickly and told us, “You are stupid, you are in a fallen state, you lack comprehension.” Harilal also accused Gandhi of bullying Kasturba, writing: ‘It is beyond my capacity to describe the hardships that my mother had to undergo.’ Gandhi had disapproved of Harilal’s marriage, since he fell in love and chose his bride, rather than, as was the custom, have his parents choose a wife for him. Harilal’s relationship with his wife, Chanchi, was intensely romantic; this wasn’t to Gandhi’s liking either, since he believed sex was strictly for procreation and a true satyagrahi should be celibate. Harilal emphatically disagreed. ‘No one can be made an ascetic,’ he told his father. ‘A person becomes an ascetic on his own volition... I cannot believe a salt-free diet, or abstinence from ghee or milk [all of which Gandhi preached and practised] indicates strength of character and morality.’ Harilal claimed he spoke on behalf of his younger brothers as well. Gandhi had imposed his will on his four sons, without ever giving them a hearing. ‘My entire letter stresses one point,’ remarked Harilal. ‘You have never considered our rights and capabilities, you have never seen the person in us'.

I hope that when people look for something that is left of me, all they find is you.

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

To a people, always prompt in its recognition of genius, and ready to sympathize in the joys and woes of a truly great artist, this work will be one of exceeding interest. It is a short, glowing, and generous sketch, from the hand of Franz Liszt, (who, considered in the double light of composer and performer, has no living equal,) of the original and romantic Chopin; the most ethereal, subtle, and delicate among our modern tone-poets. It is a rare thing for a great artist to write on art, to leave the passionate worlds of sounds or colors for the colder realm of words; rarer still for him to abdicate, even temporarily, his own throne, to stand patiently and hold aloft the blazing torch of his own genius, to illume the gloomy grave of another: yet this has Liszt done through love for Chopin.

This is not how I meant to begin. I meant to give you wine and fruit and cheese. I meant to tell you how your hair is as beautiful as curling woodsmoke, your eyes the exact colour of walnuts. I thought I could compose an ode about it, but I am not very good at odes.' I laugh, and he covers his heart as though stung by cruelty

Strauss finished Metamorphosen on April 12, 1945. Franklin Delano Roosevelt died the same day. Samuel Barber's Adagio for Strings, vaguely similar in tone to the music that Strauss had just composed, played on American radio. That afternoon in the ruins of Berlin, the Berlin Philharmonic presented an impeccably Hitlerish program that included Beethoven's Violin Concerto, Bruckner's Romantic Symphony, and the Immolation Scene from Götterdämmerung. After the concert, members of the Hitler Youth distributed cyanide capsules to the audience, or so the rumor went. Hitler marked his fifty-sixth birthday on April 20. Ten days later, he shot himself in the mouth. In accordance with his final instructions, the body was incinerated alongside that of Eva Braun. Hitler possibly envisaged his immolation as a reprise of that final scene of the Ring, in which Brünnhilde builds a pyre for Siegfried and rides into the flames. Or he may have hoped to reenact the love-death of Tristan—whose music, he once told his secretary, he wished to hear as he died. Walther Funk thought that Hitler had modeled the scorched-earth policy of the regime's last phase on Wagner's grand finale: "Everything had to go down in ruins with Hitler him-self, as a sort of false Götterdämmerung" Such an extravagant gesture would have fulfilled the prophecy of Walter Benjamin, who wrote that fascist humanity would "experience its own annihilation as a supreme aesthetic pleasure." But there is no evidence that the drug-addled Führer was thinking about Wagner or listening to music in the last days and hours of his life. Eyewitness reports suggest that the grim ceremony in the bombed-out Chancellery garden—two gasoline-soaked corpses burning fitfully, the one intact, the other with its skull caved in—was something other than a work of art.

He opened up a new world in music,” said French Romantic master Hector Berlioz, who idolized the deaf composer. “Beethoven is not human.”[23]

Yet as our North Bay strolls grew longer, sometimes wandering felt like pacing, adrift. I had no direction, only a romantic wish: to become a professional writer. But whatever terrain existed between my body and a body of work I might create seemed mysterious and vast, unknown. Most days, the sky was satin, markless blue. But below, fog hung like a suspended field of snow that never melted, the boundless dampness muting San Francisco’s lights. And the path to that summit of composing even one novel was invisible.

A music critic once regaled a party I attended with a list of composers of serious music in the past. Nobody had heard of any of them, and the critic told us that they were all regarded in their own time as being the greatest composers alive. These were contemporaries of Beethoven and Brahms and Wagner and so on, composers for full orchestras in the Romantic mode. We asked him why they weren’t admired today. He had made it his business to hear as much of their work as he could, and he had this to say: “It was all gesture.” By this he meant that musical promise after musical promise of great themes to come were made, and were not kept. The composers were honored in their own time for the gorgeousness of the promises they made but could not keep. They perhaps made promises which not even an archangel could keep. Some of the most imposing literary reputations of my own time, it seems to me, are based on just that sort of promising. •

Mouth curving in a slow smile, he crouched and studied her appearance. “Hmm, you look too neat and composed. Boris won’t buy it.” She lifted her chin. “What am I supposed to look like?” “Like I’ve had my hands all over you,” he purred with a wicked grin. “I have a reputation to maintain, Lady Griffin.” She raised an eyebrow. “Are you trying to say you’re actually proud of this reputation?” “Let’s just say it’s well-deserved.

Luca looks up, sees us, and stops dead. For a brief moment he stares at me, and, taken completely by surprise, without a chance to compose his usual cynical, careless expression, I can see his true emotions. He’s looking at me with so much longing in his blue eyes that if this were the end of a romantic film I would be tearing across the few feet of pier that separate us, throwing myself into his arms, knowing that they would lock tightly around me and his mouth would come down on mine. I know then that my attraction to Evan, nice, down-to-earth Evan, is nothing compared to what I feel for Luca. Evan’s come up behind us, towering over me, solid and secure. I must be the biggest idiot in the world to prefer Luca, sarcastic, shrugging, dismissive, moody Luca, to sweet, even-tempered Evan. But I can’t help it. I learn in that moment that you can be attracted to more than one boy at a time, but it doesn’t necessarily mean anything. Not if, when you look into the eyes of the boy who means the world to you, you know with absolute certainty that he’s the one. Luca is the one. And from the way he’s gazing at me, I know with equal certainty that he feels the same. That I’m the one for him, as much as he is for me.

Tell me everything about him,” Liza said. “What he looks like. What color his eyes are. If he wants to run away with you to some beautifully exotic paradise… how many children you’re going to have. I hope he plays piano. All good men should be so well rounded. Oh! Tell me he’s deliciously smart and writes you romantic poetry. I bet he composes Shakespearean sonnets by moonlight with stars dancing in his eyes, doesn’t he?

In the English-speaking world, talk about "love" is muddled by our tendency to squeeze many human types of love into a single syllable. C. S. Lewis recognized this problem sixty years ago, prompting him to compose a little book titled The Four Loves. The four on which Lewis concentrates all enjoy classical pedigrees: affection, friendship, romantic love (which he calls "eros"), and charity. Unsurprisingly, Lewis gives his highest praise to the last member of the group, which he presents as the distinctly Christian form of love. This is the form that answers the Lord's call to love God and neighbor. Lewis argues, however, that the other three loves bring great benefits to our lives as well. It is good to be affectionate, to have friends, to be "in love." Yet the Oxford don saw that none of these loves is from a Christian perspective "self-sufficient." "If the feeling is to be kept sweet," affection, friendship, and romance must be anchored elsewhere. Charity is the spring from which all other loves flow.

Sami Abouzid Singer | Songwriter | Music Producer | Author | Publisher Profile: A versatile and accomplished artist with over two decades of experience in the music industry. Sami Abouzid is a singer, songwriter, music producer, and music arranger who has established himself as a creative force in both the music and literary worlds. Renowned for his original compositions and innovative soundscapes, Sami is also a published author with a passion for storytelling. Professional Experience: Founder & CEO White Horse Records (2003–Present) • Established an independent record label to promote original music and artistic innovation. • Managed all aspects of production, marketing, and distribution for multiple projects. Band Leader Romantic Star (2003–Present) • Formed and led the band, releasing music that resonated with audiences worldwide. • Released debut album Romantic Dreams, featuring the hit song “Vanessa,” which gained airplay on multiple U.S. radio stations. Soundtrack Composer (2013–Present) • Transitioned into the world of soundtracks, starting with Isabella in 2013. • Composed, arranged, and produced 657 original soundtracks, known for their emotional depth and cinematic quality. Music Artist (2001–Present) • Released 54 albums and 50 singles available in stores worldwide. • Composed, arranged, mixed, mastered, performed, and produced all his music independently. Books Authored: • Love, Life, and Music – A reflection on creativity and personal experiences. • Scarlett Johansson Forever – A tribute to art, passion, and inspiration. • Arabic Poetry – A collection of poetic works exploring love and emotion. Skills & Expertise: • Music Composition, Arrangement, Mixing, and Mastering • Songwriting and Lyric Creation • Soundtrack Development for Film and Media • Publishing and Record Label Management • Literary Writing and Poetry Notable Achievements: • Pioneered a new era of music with over 700 compositions, soundtracks, albums, and singles. • Gained international recognition with music featured on major radio stations in the U.S. • Successfully bridged the gap between music and literature, creating a lasting artistic legacy.

This poetry collection contains spontaneously composed works, often inspired by fictional scenarios from my imagination. The poems mainly focus on romantic themes, exploring idealized outcomes alongside their opposites, depicting scenarios of what might have been, should have been, or could have been.