Slave Music Quotes

He who becomes the slave of habit, who follows the same routes every day, who never changes pace, who does not risk and change the color of his clothes, who does not speak and does not experience, dies slowly. He or she who shuns passion, who prefers black on white, dotting ones "it’s" rather than a bundle of emotions, the kind that make your eyes glimmer, that turn a yawn into a smile, that make the heart pound in the face of mistakes and feelings, dies slowly. He or she who does not turn things topsy-turvy, who is unhappy at work, who does not risk certainty for uncertainty, to thus follow a dream, those who do not forego sound advice at least once in their lives, die slowly. He who does not travel, who does not read, who does not listen to music, who does not find grace in himself, she who does not find grace in herself, dies slowly. He who slowly destroys his own self-esteem, who does not allow himself to be helped, who spends days on end complaining about his own bad luck, about the rain that never stops, dies slowly. He or she who abandon a project before starting it, who fail to ask questions on subjects he doesn't know, he or she who don't reply when they are asked something they do know, die slowly. Let's try and avoid death in small doses, reminding oneself that being alive requires an effort far greater than the simple fact of breathing. Only a burning patience will lead to the attainment of a splendid happiness.

The fanatical atheists are like slaves who are still feeling the weight of their chains which they have thrown off after hard struggle. They are creatures who—in their grudge against traditional religion as the "opium of the masses"—cannot hear the music of the spheres.

The world is filled with people who are no longer needed -- and who try to make slaves of all of us -- and they have their music and we have ours.

Do you hear the people sing? Singing a song of angry men? It is the music of a people Who will not be slaves again! When the beating of your heart Echoes the beating of the drums There is a life about to start When tomorrow comes!

But as they rode out of Rifthold, that city that had been her home and her hell and her salvation, as she memorized each street and building and face and shop, each smell and the coolness of the river breeze, she didn't see one slave. Didn't hear one whip. And as they passed by the domed Royal Theater, there was music - beautiful, exquisite music - playing within.

Die slowly He who becomes the slave of habit, who follows the same routes every day, who never changes pace, who does not risk and change the color of his clothes, who does not speak and does not experience, dies slowly. He or she who shuns passion, who prefers black on white, dotting ones "it’s" rather than a bundle of emotions, the kind that make your eyes glimmer, that turn a yawn into a smile, that make the heart pound in the face of mistakes and feelings, dies slowly. He or she who does not turn things topsy-turvy, who is unhappy at work, who does not risk certainty for uncertainty, to thus follow a dream, those who do not forego sound advice at least once in their lives, die slowly. He who does not travel, who does not read, who does not listen to music, who does not find grace in himself, she who does not find grace in herself, dies slowly. He who slowly destroys his own self-esteem, who does not allow himself to be helped, who spends days on end complaining about his own bad luck, about the rain that never stops, dies slowly. He or she who abandon a project before starting it, who fail to ask questions on subjects he doesn't know, he or she who don't reply when they are asked something they do know, die slowly. Let's try and avoid death in small doses, reminding oneself that being alive requires an effort far greater than the simple fact of breathing. Only a burning patience will lead to the attainment of a splendid happiness.

Some people think they can find satisfaction in good food, fine clothes, lively music, and sexual pleasure. However, when they have all these things, they are not satisfied. They realize happiness is not simply having their material needs met. Thus, society has set up a system of rewards that go beyond material goods. These include titles, social recognition, status, and political power, all wrapped up in a package called self-fulfillment. Attracted by these prizes and goaded on by social pressure, people spend their short lives tiring body and mind to chase after these goals. Perhaps this gives them the feeling that they have achieved something in their lives, but in reality they have sacrificed a lot in life. They can no longer see, hear, act, feel, or think from their hearts. Everything they do is dictated by whether it can get them social gains. In the end, they've spent their lives following other people's demands and never lived a life of their own. How different is this from the life of a slave or a prisoner?

… to learn that money makes life smooth in some ways, and to feel how tight and threadbare life is if you have too little. * to despise money, which is a farce, mere paper, and to hate what you have to do for it, and yet to long to have it in order to be free from slaving for it. * to yearn toward art, music, ballet and good books, and get them only in tantalizing snatches.

The world is filled with people who are no longer needed. And who try to make slaves of all of us. And they have their music and we have ours. Theirs, the wasted songs of a superstitious nightmare. And without their music and ideological miscarriages to compare our songs of freedom to, we'd not have any opposite to compare music with --- and like the drifting wind, hitting against no obstacle, we'd never know its speed, its power....

I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be linked unto a system of gears where teeth have been filed off at random. Such snaggle-toothed thought machine, driven by a standard or even by a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about classic totalitarian mind is that any given gear, thought mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell - keeping perfect time for eight minutes and twenty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The wilful filling off a gear teeth, the wilful doing without certain obvious pieces of information - That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony - That was how my father-in-law could contain in one mind an indifference toward slave women and love fora a blue vase - That was how Rudolf Hess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers - That was how Nazi Germany sense no important difference between civilization and hydrophobia - That is the closest I can come to explaining the legions, the nations of lunatics I've seen in my time.

To dance to fey music is the beginning of the end.

It might seem that the empirical philosopher is the slave of his material, but that the pure mathematician, like the musician, is a free creator of his world of ordered beauty.

The music stopped. The circle broke. Sometimes a slave will be lost in a brief eddy of liberation. In the sway of a sudden reverie among the furrows or while untangling the mysteries of an early morning dream. In the middle of a song on a warm Sunday night. Then it comes, always - the overseer's cry, the call to work, the shadow of the master, the reminder that she is only a human being for a tiny moment across the eternity of her servitude.

I wanted to hear women with musical voices, women soft and undulating, women all women, slaves maybe, dupes too, but what matter . . . women.

I was barked at by numerous dogs who are earning their food guarding ignorance and superstition for the benefit of those who profit from it. Then there are the fanatical atheists whose intolerance is of the same kind as the intolerance of the religious fanatics and comes from the same source. They are like slaves who are still feeling the weight of their chains which they have thrown off after hard struggle. They are creatures who—in their grudge against the traditional "opium of the people"—cannot bear the music of the spheres. The Wonder of nature does not become smaller because one cannot measure it by the standards of human morals and human aims.

A billion and a half human souls, who had been given the techniques of music and the graphic arts, and the theory of technology, now had the others: philosophy and logic and love; sympathy, empathy, forbearance, unity, in the idea of their species rather than in their obedience; membership in harmony with all life everywhere. A people with such feelings and their derived skills cannot be slaves. As the light burst upon them, there was only one concentration possible to each of them—to be free, and the accomplished feeling of being free. As each found it, he was an expert in freedom, and expert succeeded expert, transcended expert, until (in a moment) a billion and a half human souls had no greater skill than the talent of freedom.

I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do. I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

Been thinking of my grandfather, whose wayward brilliance skipped my father’s generation. Once, he showed me an aquatint of a certain Siamese temple. Don’t recall its name, but ever since a disciple of the Buddha preached on the spot centuries ago, every bandit king, tyrant, and monarch of that kingdom has enhanced it with marble towers, scented arboretums, gold-leafed domes, lavished murals on its vaulted ceilings, set emeralds into the eyes of its statuettes. When the temple finally equals its counterpart in the Pure Land, so the story goes, that day humanity shall have fulfilled its purpose, and Time itself shall come to an end. To men like Ayrs, it occurs to me, this temple is civilization. The masses, slaves, peasants, and foot soldiers exist in the cracks of its flagstones, ignorant even of their ignorance. Not so the great statesmen, scientists, artists, and most of all, the composers of the age, any age, who are civilization’s architects, masons, and priests. Ayrs sees our role is to make civilization ever more resplendent. My employer’s profoundest, or only, wish is to create a minaret that inheritors of Progress a thousand years from now will point to and say, “Look, there is Vyvyan Ayrs!” How vulgar, this hankering after immortality, how vain, how false. Composers are merely scribblers of cave paintings. One writes music because winter is eternal and because, if one didn’t, the wolves and blizzards would be at one’s throat all the sooner.

But there is a definite fork in the road with trauma. We can use it to make ourselves and others better by learning from it, or it can use us to make our lives and every life we touch worse by becoming a slave to it. My time had come to decide which way I was going to go.

I want you to imagine for a minute,” she begins. “I know it’s going to be hard for both of you, but just imagine—that literally nothing was made for you. Your parents were denied a house because of their skin color, your grandparents were sprayed with fire hoses and ripped apart by dogs in the streets, your great-grandparents were housemaids and mammies and barely paid entertainers, and your great-great-grandparents were slaves. Every movie in your life is majority Black, all the characters in your favorite books have been cast darker in the movie adaptation for no reason, and every mistake you make is because of your skin color and because of “your background” and because of the music you listen to. You are the only white kids at a school of five hundred Blacks, and every Black person at that school asks you to weigh in on what it’s like to be white, or what white people think about this or that. It’s not fun.

In my opinion, the best time to be alive is always right now. People are aways whining about how they were born in the wrong century, but they really haven't thought things through. They picture the old castle they wish they could live in, but they don't think about the drafts in the winter or the pitch darkness at night, or all the spiders and the lice. They can't imagine the everyday pain of a life without movies or recorded music or... or... Interet videos about cats. And don't even get me started on women who idealize the past. Do you have any idea what it was like to be a woman even a hundred years ago? Horrible! And a hundred years before that, the situation practically defies description. We might as well have been slaves. Trussed up in hoop skirts and corsets, married off like racehorses. Good riddance to history, I say!

The world is filled with people who are no longer needed—and who try to make slaves of all of us—and they have their music and we have ours. Theirs, the wasted songs of a superstitious nightmare—and without their musical and ideological miscar-riages to compare our Song of freedom to, we’d not have any opposite to compare music with—and like the drifting wind, hitting against no obstacle, we’d never knows its speed, its power.

A music born among children of slaves is like an orphan: it will never know its real parents, will never hear the full visceral story of its birth.

Wave after wave of glass and debris slammed into her wildfire. But she kept that wall of flame burning—for the Royal Theater. And the flower girls at the market. For the slaves and the courtesans and the Faliq family. For the city that had offered her joy and pain, death and rebirth, for the city that had given her music, Aelin kept that wall of fire burning bright.

The queen gazes into the garden. There, near the trees, is a fountain; it is white in the darkness and tall, tall as a ghost. The queen hears, through the talk and the music, the soft splashing of its waters. She looks and thinks. You, Sirs, you are all noble, clever, rich, you throng round me, every one of my words is precious to you, you are all ready to die at my feet, you are my slaves.. But there, by the fountain, by the plashing water, he whose slave I am awaits me. He wears neither gorgeous raiment nor precious stones, no one knows him, but he await me, sure that I come – and I shall come –and there is no power in the world that can stop me when I want to go to him, to be with him, to lose myself with him there in the darkness of the garden, with the rustling of the trees and the murmur of the fountain …' Zinaida was silent.

We the darker ones come even now not altogether empty-handed: there are to-day no truer exponents of the pure human spirit of the Declaration of Independence than the American Negroes; there is no true American music but the wild sweet melodies of the Negro slave; the American fairy tales and folklore are Indian and African; and, all in all, we black men seem the sole oasis of simple faith and reverence in a dusty desert of dollars and smartness.

It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom. Lucy had done so never.

A real musician ain’t gonna choose his own guitar like an evil master choosing his slave. The guitar will choose his master and when he does, you’ll know it.

Equality is the tune of our generation. Together as one. Let's pull the strings in our togetherness to make good music.

She read in a high African singsong that I guess came down along the line from Ghana long ago, something that she made American, but tied us to a home we’d never seen.

In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.' Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand. The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously. "Music! more music!" she cried. Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")

The result of the British war is a source of anxiety. For it is ascertained that the approaches to the island are protected by astonishing masses of cliff. Moreover, it is now known that there isn't a pennyweight of silver in that island, nor any hope of booty except from slaves, among whom I don't[Pg 283] suppose you can expect any instructed in literature or music.

My new mistress proved to be all she appeared when I first met her at the door,—a woman of the kindest heart and finest feelings. She had never had a slave under her control previously to myself, and prior to her marriage she had been dependent upon her own industry for a living. She was by trade a weaver; and by constant application to her business, she had been in a good degree preserved from the blighting and dehumanizing effects of slavery. I was utterly astonished at her goodness. I scarcely knew how to behave towards her. She was entirely unlike any other white woman I had ever seen. I could not approach her as I was accustomed to approach other white ladies. My early instruction was all out of place. The crouching servility, usually so acceptable a quality in a slave, did not answer when manifested toward her. Her favor was not gained by it; she seemed to be disturbed by it. She did not deem it impudent or unmannerly for a slave to look her in the face. The meanest slave was put fully at ease in her presence, and none left without feeling better for having seen her. Her face was made of heavenly smiles, and her voice of tranquil music.

Social anthems and protest songs had long been part of the heritage of rock—but not like this. “Earth Song” was something more epic, dramatic, and primal. Its roots were deeper, its vision more panoramic. It was a lamentation torn from the pages of the Old Testament; a “sorrow song” in the tradition of slave spirituals; an apocalyptic prophecy with echoes of Blake, Yeats and Eliot. It conveyed musically what Picasso’s masterful painting, Guernica, conveyed in art. Inside its swirling scenes of destruction and suffering were voices—crying, pleading, shouting to be heard. (“What about us?”)

At my age, one realizes that time is a cruel and fickle master, for the more you want it, the faster it appears to vanish, and vice versa: the more you want to escape it, the more stagnant it becomes. We are its slaves—or its puppets, if you prefer—and it moves or paralyzes us at its whim. Today, for instance, I would like to reach the end of this story, so I wish I could have more time—that time would slow down. You, on other hand, might want this old man you’ve just met to be quiet so that you can put on your music or think about something else, so perhaps your journey is taking forever. But let me tell you what I know, what I’ve concluded: it doesn’t matter whether time passes slowly or quickly. What you can be sure of is that, in the end, all you want is to have more. More of those lazy afternoons when nothing happens, despite your best efforts to the contrary. More of those annoying arms that picked you up to stop you doing something crazy. More tellings-off from the mother who you thought was a nag. More glimpses, even, of your father hurrying somewhere, always busy. More soft embraces from the wife who loved you all your life, and more trusting looks from your children’s young eyes.

Unlike at the Academy or the Lyceum, women, some of them concubines and mistresses, as well as a few slaves, joined the conversation; further, many of the students here had arrived without academic credentials in mathematics or music, de rigueur for entry to the other Athenian schools of higher learning. Everyone in the Garden radiated earnestness and good cheer. The subject under discussion was happiness.

Song for the Last Act Now that I have your face by heart, I look Less at its features than its darkening frame Where quince and melon, yellow as young flame, Lie with quilled dahlias and the shepherd's crook. Beyond, a garden. There, in insolent ease The lead and marble figures watch the show Of yet another summer loath to go Although the scythes hang in the apple trees. Now that I have your face by heart, I look. Now that I have your voice by heart, I read In the black chords upon a dulling page Music that is not meant for music's cage, Whose emblems mix with words that shake and bleed. The staves are shuttled over with a stark Unprinted silence. In a double dream I must spell out the storm, the running stream. The beat's too swift. The notes shift in the dark. Now that I have your voice by heart, I read. Now that I have your heart by heart, I see The wharves with their great ships and architraves; The rigging and the cargo and the slaves On a strange beach under a broken sky. O not departure, but a voyage done! The bales stand on the stone; the anchor weeps Its red rust downward, and the long vine creeps Beside the salt herb, in the lengthening sun. Now that I have your heart by heart, I see.

This trip to Atlantic City was multi-purpose, which was not unusual for government operations in which I was forced to participate. I had a major cocaine transaction involving Noriega to attend at the airport; a message to deliver to Philip Habib pertaining to the Contras, and another programmed in by Habib in answer to Reagan; country music "entertainment" 4 aspects; and prostitution to Habib according to Reagan's instruction.

What are these songs, and what do they mean? I know little of music and can say nothing in technical phrase, but I know something of men, and knowing them, I know that these songs are the articulate message of the slave to the world. They tell us in these eager days that life was joyous to the black slave, careless and happy. I can easily believe this of some, of many. But not all the past South, though it rose from the dead, can gainsay the heart-touching witness of these songs. They are the music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.

He who steals my wallet steals cash; tis something, nothing, twas mine, now his, and has been slave to thousands, but he who steals my phone steals my good name, and robs me of that which not enriches him, to say nothing of my music library.

not as perfect, but as the most probable saviors of the country from, on one hand, domination by Moscow and, on the other hand, the slack indolence, the lack of decent pride of half the American youth, whose world (these idealists asserted) was composed of shiftless distaste for work and refusal to learn anything thoroughly, of blatting dance music on the radio, maniac automobiles, slobbering sexuality, the humor and art of comic strips—of a slave psychology which was making America a land for sterner men to loot.

She saw the London of the future. Not the vision popular just then: a soaring whirl of machinery in motion, of moving pavements and flying omnibuses; of screaming gramophones and standardized “homes”: a city where Electricity was King and man its soulless slave. But a city of peace, of restful spaces, of leisured men and women; a city of fine streets and pleasant houses, where each could live his own life, learning freedom, individuality; a city of noble schools; of workshops that should be worthy of labour, filled with light and air; smoke and filth driven from the land: science, no longer bound to commercialism, having discovered cleaner forces; a city of gay playgrounds where children should learn laughter; of leafy walks where the creatures of the wood and field should be as welcome guests helping to teach sympathy and kindliness: a city of music, of colour, of gladness.

Down the street, tree branches strung in purple Halloween lights began to shudder and sway. Dusty whirlwinds rose from the ground, and from the north came a great rush of wind. From Congo Square, she thought. Where the slaves danced and sang. "...and St. Louis Cemetery," whispered in her ear. The wind blew as cold as the icy breath of Lake Superior. Blowing veins seizured round the wrought iron gate. Yet the music continued. The only one oblivious to the sudden shift in the air--as if she were expecting it--was Angelique, who continued her dance, face to the sky. As though nothing had changed, though everything had.

Cora hoped the musicians wouldn't think them rude for their inattention. It was unlikely. Playing their music as freemen and not chattel was probably still a cherished novelty. To attack the melody without the burden of providing one of the sole comforts of their slave village. To practice their art with liberty and joy.

The months passed away. Slowly a great fear came over Viola, a fear that would hardly ever leave her. For every month at the full moon, whether she would or no, she found herself driven to the maze, through its mysterious walks into that strange dancing-room. And when she was there the music began once more, and once more she danced most deliciously for the moon to see. The second time that this happened she had merely thought that it was a recurrence of her own whim, and that the music was but a trick that the imagination had chosen to repeat. The third time frightened her, and she knew that the force that sways the tides had strange power over her. The fear grew as the year fell, for each month the music went on for a longer time - each month some of the pleasure had gone from the dance. On bitter nights in winter the moon called her and she came, when the breath was vapor, and the trees that circled her dancing-room were black, bare skeletons, and the frost was cruel. She dared not tell anyone, and yet it was with difficulty that she kept her secret. Somehow chance seemed to favor her, and she always found a way to return from her midnight dance to her own room without being observed. Each month the summons seemed to be more imperious and urgent. Once when she was alone on her knees before the lighted altar in the private chapel of the palace she suddenly felt that the words of the familiar Latin prayer had gone from her memory. She rose to her feet, she sobbed bitterly, but the call had come and she could not resist it. She passed out of the chapel and down the palace gardens. How madly she danced that night! ("The Moon Slave")

Joy in the Woods There is joy in the woods just now, The leaves are whispers of song, And the birds make mirth on the bough And music the whole day long, And God! to dwell in the town In these springlike summer days, On my brow an unfading frown And hate in my heart always— A machine out of gear, aye, tired, Yet forced to go on—for I’m hired. Just forced to go on through fear, For every day I must eat And find ugly clothes to wear, And bad shoes to hurt my feet And a shelter for work-drugged sleep! A mere drudge! but what can one do? A man that’s a man cannot weep! Suicide? A quitter? Oh, no! But a slave should never grow tired, Whom the masters have kindly hired. But oh! for the woods, the flowers Of natural, sweet perfume, The heartening, summer showers And the smiling shrubs in bloom, Dust-free, dew-tinted at morn, The fresh and life-giving air, The billowing waves of corn And the birds’ notes rich and clear:— For a man-machine toil-tired May crave beauty too—though he’s hired.

[O]ne can see, perhaps, how "perfect" Christianity was in that sense. It took the slave's mind off Africa, or material freedom, and proposed that if the black man wished to escape the filthy paternalism and cruelty of slavery, he wait, at least, until he died, when he could be transported peacefully and majestically to the Promised Land.

It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either deferential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected.

But the third Emir, now seeing himself all alone on the quarter-deck, seems to feel relieved from some curious restraint; for, tipping all sorts of knowing winks in all sorts of directions, and kicking off his shoes, he strikes into a sharp but noiseless squall of a hornpipe right over the Grand Turk's head; and then, by a dexterous sleight, pitching his cap up into the mizentop for a shelf, he goes down rollicking so far at least as he remains visible from the deck, reversing all other processions, by bringing up the rear with music. But ere stepping into the cabin doorway below, he pauses, ships a new face altogether, and, then, independent, hilarious little Flask enters King Ahab's presence, in the character of Abjectus, or the Slave.

The Hope & Glory would carry forty cases of muskets, 32,000 gunflints, coral necklaces, Aphrikan prints, bead jewellery, quills, papyrus, household objects such as kettles and musical instruments such as the talking drum, with which to barter for livestock. My host joked that the guns would encourage the Europanes to start more wars which would result in more prisoners offered up as slaves.

I love you. Is that reason enough?” Maybe. Maybe it would have been. But as the music drained from the air, Kestrel saw Arin on the fringes of the crowd. He watched her, his expression oddly desperate. As if he, too, were losing something, or it was already lost. She saw him and didn’t understand how she had ever missed his beauty. How it didn’t always strike her as it did now, like a blow. “No,” Kestrel whispered. “What?” Ronan’s voice cut into the quiet. “I’m sorry.” Ronan swiveled to find the target of Kestrel’s gaze. He swore. Kestrel walked away, pushing past slaves bearing trays laden with glasses of pale gold wine. The lights and people blurred in her stinging eyes. She walked through the doors, down a hall, out of the palace, and into the cold night, knowing without seeing or hearing or touching him that Arin was at her side.

In the early days of slavery, Christianity's sole purpose was to propose a metaphysical resolution for the slave's natural yearnings for freedom, and as such, it literally made life easier for him. The secret African chants and songs were about Africa, and expressed the African slave's desire to return to the land of his birth. The Christian Negro's music became an an expression of his desire to "cross Jordan" and "see his Lord.

I do not feel that artists have to spend hours a day to keep their technic efficient. If that were the case one would not be in a position to participate in the other joys of life. Nor could he enrich his art. Of course, mind you I am not saying that one should not work. But definitely I say that if one has developed a firm technic, it is not necessary to slave over the instrument for the rest of his life in order to keep in good form.

THE music stopped. The circle broke. Sometimes a slave will be lost in a brief eddy of liberation. In the sway of a sudden reverie among the furrows or while untangling the mysteries of an early-morning dream. In the middle of a song on a warm Sunday night. Then it comes, always—the overseer’s cry, the call to work, the shadow of the master, the reminder that she is only a human being for a tiny moment across the eternity of her servitude. The

In my opinion, the best time to be alive is always right now. People are aways whining about how they were born in the wrong century, but they really haven't thought things through. They picture the old castle they wish they could live in, but they don't think about the drafts in the winter or the pitch darkness at night, or all the spiders and the lice. They can't imagine the everyday pain of a life without antibiotics or anesthetics. The tedium of a world without movies or recorded music or... or... Internet videos about cats. And don't even get me started on women who idealize the past. Do you have any idea what it was like to be a woman even a hundred years ago? Horrible! And a hundred years before that, the situation practically defies description. We might as well have been slaves. Trussed up in hoop skirts and corsets, married off like racehorses. Good riddance to history, I say!

Santería was traditionally an unacknowledged and underappreciated aspect of what it meant to be Cuban. Yet the syncretism between the Yoruban religion that the slaves brought to the island and the Catholicism of their masters is, in my opinion, the underpinning of Cuban culture. Every artistic realm--music, theater, literature, etc.--owes a huge debt to santería and the slaves who practiced it and passed it on, largely secretively, for generations.

Christianity, as it was first given to the slaves [...] was to be used strictly as a code of conduct which would enable its devotees to participate in an afterlife; it was from its very inception among the black slaves, a slave ethic. [...] One of the very reasons Christianity proved so popular was that it was the religion, according to older Biblical tradition, of an oppressed people. The struggles of the Jews and their long-sought "Promised Land" proved a strong analogy for the black slaves.

Humanity had become as blasé about sharing their lives with potential AI monitoring as pre-Civil War Old Earth USA-southern families had been about speaking in front of their human slaves. Nothing could be done about it—every human above the lowest Dregs’ Hive poverty class had a comlog with biomonitor, many had implants, and each of these was tuned to the music of the datasphere, monitored by elements of the datasphere, dependent upon functions of the datasphere—so humans accepted their lack of privacy.

Have you ever heard the Hungarian national anthem? No? Good for you! I wouldn’t recommend it at all. Unless you are looking for inspiration for your suicide attempt. If it is not just an attempt but you are deadly serious about your suicide then I strongly recommend you not only read the lyrics but listen to the music too. The most mournful funeral song sounds jolly compared to it. Other nations have inspiring anthems like ‘God Save the Queen’ or the ‘La Marseillaise’ or ‘The StarSpangled Banner’, and their lyrics are about victory and proudness like ‘Russia – our sacred homeland, Russia – our beloved country’ or ‘Germany, Germany above everything, Above everything in the world!’ But what about the Hungarian anthem? It starts with ‘O Lord, bless the Hungarian’ and then follow eight long and painful stanzas about our ‘slave yoke’ and ‘funeral urn’ and ‘the corpses of our defeated army’ and ‘groans of death, weeping’ and finally it finishes with ‘Pity, O Lord, the Hungarians they who have suffered for all sins of the past and of the future!’ Yes, of the future too.

As I hang from the ceiling like a strung-up doll, I feel free. His finger slides down my chest, between my breasts, and moves achingly close to my nipples before returning to my sternum. He traces a line to my stomach, leaving a trail of fire. All my senses come to life as he strokes me delicately, carefully, as if his finger is the baton and I am the instrument he’s conducting. Whimpers that must sound like music to his ears slip from my mouth. I’m a slave to his touch. This controlling man has me under his power, and I’m loving every shameful, immoral moment that we share.

Human beings are responsible for art, science, medicine, education, the Sistine Chapel, Handel’s Messiah, New York City, space travel, the novel, photography, and Mexican food — I mean, who doesn’t love Mexican food? But we’re also responsible for a world with 27 million slaves, blatant racism, the Holocaust, Hiroshima, the genocide in Rwanda, ISIS, the financial meltdown of 2008, pornography, global warming, the endangered-species list, and don’t even get me started on pop music. So we humans are a mixed bag. We have a great capacity — more than we know — to rule in a way that is life-giving for the people around us and the place we call home, or to rule in such a way that we exploit the earth itself and rob people of an environment where they can thrive. This was God’s risk. His venture. His experiment.

Arin said, “If I win, I will ask a question, and you will answer.” She felt a nervous flutter. “I could lie. People lie.” “I’m willing to risk it.” “If those are your stakes, then I assume my prize would be the same.” “If you win.” She still could not quite agree. “Questions and answers are highly irregular stakes in Bite and Sting,” she said irritably. “Whereas matches make the perfect ante, and are so exciting to win and lose.” “Fine.” Kestrel tossed the box to the carpet, where it landed with a muffled sound. Arin didn’t look satisfied or amused or anything at all. He simply drew his hand. She did the same. They played in intent concentration, and Kestrel was determined to win. She didn’t. “I want to know,” Arin said, “why you are not already a soldier.” Kestrel couldn’t have said what she had thought he would ask, but this was not it, and the question recalled years of arguments she would rather forget. She was curt. “I’m seventeen. I’m not yet required by law to enlist or marry.” He settled back in his chair, toying with one of his winning pieces. He tapped a thin side against the table, spun the tile in his fingers, and tapped another side. “That’s not a full answer.” “I don’t think we specified how short or long these answers should be. Let’s play again.” “If you win, will you be satisfied with the kind of answer you have given me?” Slowly, she said, “The military is my father’s life. Not mine. I’m not even a skilled fighter.” “Really?” His surprise seemed genuine. “Oh, I pass muster. I can defend myself as well as most Valorians, but I’m not good at combat. I know what it’s like to be good at something.” Arin glanced again at the piano. “There is also my music,” Kestrel acknowledged. “A piano is not very portable. I could hardly take it with me if I were sent into battle.” “Playing music is for slaves,” Arin said. “Like cooking or cleaning.” Kestrel heard anger in his words, buried like bedrock under the careless ripple of his voice. “It wasn’t always like that.” Arin was silent, and even though Kestrel had initially tried to answer his question in the briefest of ways, she felt compelled to explain the final reason behind her resistance to the general. “Also…I don’t want to kill.” Arin frowned at this, so Kestrel laughed to make light of the conversation. “I drive my father mad. Yet don’t all daughters? So we’ve made a truce. I have agreed that, in the spring, I will either enlist or marry.” He stopped spinning the tile in his fingers. “You’ll marry, then.” “Yes. But at least I will have six months of peace first.” Arin dropped the tile to the table. “Let’s play again.” This time Kestrel won, and wasn’t prepared for how her blood buzzed with triumph.

Erik rose, as I entered, but dared not turn in my direction. 'Erik!' I cried, 'show me your face without fear! I swear you are the most unhappy and sublime of men; and, if ever again I shiver when I look at you, it will be because I am thinking of the splendor of your genius!' Then Erik turned round, for he believed me, and I also had faith in myself. He fell at my feet with words of love... with words of love in his dead mouth... and the music had ceased... He kissed the hem of my dress and did not see that I closed my eyes. "What more can I tell you, dear? You now know the tragedy. It went on for a fortnight- a fortnight during which I lied to him. My lies were as hideous as the monster who inspired them; but they were the price of my liberty. I burned his mask; and I managed so well that, even when he was not singing, he tried to catch my eye, like a dog sitting by its master. He was my faithful slave and paid me endless little attentions.

Who is Mr. Jasper?" Rosa turned aside her head in answering: "Eddy's uncle, and my music-master." "You do not love him?" "Ugh!" She put her hands up to her face, and shook with fear or horror. "You know that he loves you?" "O, don't, don't, don't!" cried Rosa, dropping on her knees, and clinging to her new resource. "Don't tell me of it! He terrifies me. He haunts my thoughts, like a dreadful ghost. I feel that I am never safe from him. I feel as if he could pass in through the wall when he is spoken of." She actually did look round, as if she dreaded to see him standing in the shadow behind her. "Try to tell me more about it, darling." "Yes, I will, I will. Because you are so strong. But hold me the while, and stay with me afterwards." "My child! You speak as if he had threatened you in some dark way." "He has never spoken to me about - that. Never." "What has he done?" "He has made a slave of me with his looks. He has forced me to understand him, without his saying a word; and he has forced me to keep silence, without his uttering a threat. When I play, he never moves his eyes from my hands. When I sing, he never moves his eyes from my lips. When he corrects me, and strikes a note, or a chord, or plays a passage, he himself is in the sounds, whispering that he pursues me as a lover, and commanding me to keep his secret. I avoid his eyes, but he forces me to see them without looking at them. Even when a glaze comes over them (which is sometimes the case), and he seems to wander away into a frightful sort of dream in which he threatens most, he obliges me to know it, and to know that he is sitting close at my side, more terrible to me than ever." "What is this imagined threatening, pretty one? What is threatened?" "I don't know. I have never even dared to think or wonder what it is." "And was this all, to-night?" "This was all; except that to-night when he watched my lips so closely as I was singing, besides feeling terrified I felt ashamed and passionately hurt. It was as if he kissed me, and I couldn't bear it, but cried out. You must never breathe this to any one. Eddy is devoted to him. But you said to-night that you would not be afraid of him, under any circumstances, and that gives me - who am so much afraid of him - courage to tell only you. Hold me! Stay with me! I am too frightened to be left by myself.

who seemed to lack humility or a sense of awe, than of the faithful. “The fanatical atheists,” he explained in a letter, “are like slaves who are still feeling the weight of their chains which they have thrown off after hard struggle. They are creatures who—in their grudge against traditional religion as the ‘opium of the masses’—cannot hear the music of the spheres.”13 Einstein would later engage in an exchange on this topic with a U.S. Navy ensign he had never met. Was it true, the sailor asked, that Einstein had been converted by a Jesuit priest into believing in God? That was absurd, Einstein replied. He went on to say that he considered the belief in a God who was a fatherlike figure to be the result of “childish analogies.” Would Einstein permit him, the sailor asked, to quote his reply in his debates against his more religious shipmates? Einstein warned him not to oversimplify. “You may call me an agnostic, but I do not share the crusading spirit of the professional atheist whose fervor is mostly due to a painful act of liberation from the fetters of religious indoctrination received in youth,” he explained. “I prefer the attitude of humility corresponding to the weakness of our intellectual understanding of nature and of our own being.

Song for the Last Act Now that I have your face by heart, I look Less at its features than its darkening frame Where quince and melon, yellow as young flame, Lie with quilled dahlias and the shepherd's crook. Beyond, a garden. There, in insolent ease The lead and marble figures watch the show Of yet another summer loath to go Although the scythes hang in the apple trees. Now that I have your face by heart, I look. Now that I have your voice by heart, I read In the black chords upon a dulling page Music that is not meant for music's cage, Whose emblems mix with words that shake and bleed. The staves are shuttled over with a stark Unprinted silence. In a double dream I must spell out the storm, the running stream. The beat's too swift. The notes shift in the dark. Now that I have your voice by heart, I read. Now that I have your heart by heart, I see The wharves with their great ships and architraves; The rigging and the cargo and the slaves On a strange beach under a broken sky. O not departure, but a voyage done! The bales stand on the stone; the anchor weeps Its red rust downward, and the long vine creeps Beside the salt herb, in the lengthening sun. Now that I have your heart by heart, I see.

It so happened that Lucy, who found daily life rather chaotic, entered a more solid world when she opened the piano. She was then no longer either differential or patronizing; no longer either a rebel or a slave. The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marveling how he has escaped us, and thinking how we could worship him and love him, would he but translate his visions into human words, and his experiences into human actions. Perhaps he cannot; certainly he does not, or does so very seldom. Lucy had done so never. . . . She was no dazzling executante; her runs were not at all like strings of pearls, and she struck no more right notes than was suitable for one of her age and situation. Nor was she the passionate young lady, who performs so tragically on a summer's evening with the window open . . . And she was tragical only in the sense that she was great, for she loved to play on the side of Victory. Victory of what and over what - that is more than the words of daily life can tell us. But that some sonatas of Beethoven are written tragic no one can gainsay; yet they can triumph or despair as the player decides, and Lucy decided that they should triumph.

It doesn’t matter what they think. Dance with me.” He took her hand, and for the first time in a long while, she felt safe. He pulled her to the center of the floor and into the motions of the dance. Ronan didn’t speak for a few moments, then touched a slim braid that curved in a tendril along Kestrel’s cheek. “This is pretty.” The memory of Arin’s hands in her hair made her stiffen. “Gorgeous?” Ronan tried again. “Transcendent? Kestrel, the right adjective hasn’t been invented to describe you.” She attempted a light tone. “What will ladies do, when this kind of exaggerated flirtation is no longer the fashion? We shall be spoiled.” “You know it’s not mere flirtation,” Ronan said. “You’ve always known.” And Kestrel had, it was true that she had, even if she hadn’t wanted to shake the knowledge out of her mind and look at it, truly see it. She felt a dull spark of dread. “Marry me, Kestrel.” She held her breath. “I know things have been hard lately,” Ronan continued, “and that you don’t deserve it. You’ve had to be so strong, so proud, so cunning. But all of this unpleasantness will go away the instant we announce our engagement. You can be yourself again.” But she was strong. Proud. Cunning. Who did he think she was, if not the person who mercilessly beat him at every Bite and Sting game, who gave him Irex’s death-price and told him exactly what to do with it? Yet Kestrel bit back her words. She leaned into the curve of his arm. It was easy to dance with him. It would be easy to say yes. “Your father will be happy. My wedding gift to you will be the finest piano the capital can offer.” Kestrel glanced into his eyes. “Or keep yours,” he said hastily. “I know you’re attached to it.” “It’s just…you are very kind.” He gave a short, nervous laugh. “Kindness has little to do with it.” The dance slowed. It would end soon. “So?” Ronan had stopped, even though the music continued and dancers swirled around them. “What…well, what do you think?” Kestrel didn’t know what to think. Ronan was offering everything she could want. Why, then, did his words sadden her? Why did she feel like something had been lost? Carefully, she said, “The reasons you’ve given aren’t reasons to marry.” “I love you. Is that reason enough?” Maybe. Maybe it would have been. But as the music drained from the air, Kestrel saw Arin on the fringes of the crowd. He watched her, his expression oddly desperate. As if he, too, were losing something, or it was already lost. She saw him and didn’t understand how she had ever missed his beauty. How it didn’t always strike her as it did now, like a blow. “No,” Kestrel whispered. “What?” Ronan’s voice cut into the quiet. “I’m sorry.” Ronan swiveled to find the target of Kestrel’s gaze. He swore. Kestrel walked away, pushing past slaves bearing trays laden with glasses of pale gold wine. The lights and people blurred in her stinging eyes. She walked through the doors, down a hall, out of the palace, and into the cold night, knowing without seeing or hearing or touching him that Arin was at her side.

When the dress for Irex’s dinner party arrived wrapped in muslin and tied with twine, it was Arin who brought the package to Kestrel. She hadn’t seen him since the first green storm. She didn’t like to think about that day. It was her grief, she decided, that she didn’t want to remember. She was learning to live around it. She had returned to her music, and let that outings and lessons flow around the fact of Enai’s death, smoothing its jagged edges. She spent little time at the villa. She sent no invitations to Arin for Bite and Sting. If she went into society, she chose other escorts. When Arin stepped into her sitting room that was really a writing room, Kestrel set her book next to her on the divan and turned its spine so that he wouldn’t see the title. “Hmm,” Arin said, turning the packaged dress over in his hands. “What could this be?” “I am sure you know.” He pressed it between his fingers. “A very soft kind of weapon, I think.” “Why are you delivering my dress?” “I saw Lirah with it. I asked if I could bring it to you.” “And she let you, of course.” He lifted his brows at her tone. “She was busy. I thought she would be glad for one less thing to do.” “That was kind of you then,” Kestrel said, though she heard her voice indicate otherwise and was annoyed with herself. Slowly, he said, “What do you mean?” “I mean nothing.” “You asked me to be honest with you. Do you think I have been?” She remembered his harsh words during the storm. “Yes.” “Can I not ask the same thing of you?” The answer was no, no slave could ask anything of her. The answer was no, if he wanted her secret thoughts he could try to win them at Bite and Sting. But Kestrel swallowed a sudden flare of nervousness and admitted to herself that she valued his honesty--and her own, when she was around him. There was nothing wrong with speaking the truth. “I think that you are not fair to Lirah.” His brows drew together. “I don’t understand.” “It’s not fair for you to encourage Lirah when your heart is elsewhere.” He inhaled sharply. Kestrel thought that he might tell her it was no business of hers, for it was not, but then she saw that he wasn’t offended, only taken aback. He pulled up a chair in that possessive, natural way of his and sank into it, dropping the dress onto his knees. He studied her. She willed herself not to look away. “I hadn’t thought of Lirah like that.” Arin shook his head. “I’m not thinking clearly at all. I need to be more careful.” Kestrel supposed that she should feel reassured. Arin set the package on the divan where she sat. “A new dress means an event on the horizon.” “Yes, a dinner party. Lord Irex is hosting.” He frowned. “And you’re going?” She shrugged. “Do you need an escort?” Kestrel intended to say no, but became distracted by the determined set to Arin’s mouth. He looked almost…protective. She was surprised that he should look that way. She was confused, and perhaps this made her say, “To be honest, I would be glad for your company.” His eyes held hers. Then his gaze fell to the book by Kestrel’s side. Before she could stop him, he took it with a nimble hand and read the title. It was a Valorian history of its empire and wars. Arin’s face changed. He returned the book and left.

This once-proud country of ours is falling Into the hands of the wrong people,' said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. 'And, before it gets back on the right track,' said Jones, 'some heads are going to roll.' I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. 'You're completely crazy,' he said. Jones wasn't completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell — keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information — That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuebrer Krapptauer, and the Black Fuehrer could exist in relative harmony — That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase — That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers — That was how Nazi Germany could sense no important differences between civilization and hydrophobia —

For, Melanie, these things I have named are but the symbols of the thing for which I risk my life, symbols of the kind of life I love. for I am fighting for the old days, the old ways I love so much but which, I fear, are now gone forever, no matter how the die may fall. For, win or lose, we lose just the same. If we win this war and have the Cotton Kingdom of our dreams, we still have lost, for we will become a different people and the old quiet ways will go. The world will be at our doors clamoring for cotton and we can command our own price. Then, I fear, we will become like the Yankees, at whose money-making activities, acquisitiveness, and commercialism we now sneer. And if we lose, Melanie, if we lose! I am not afraid of danger or capture or wounds or even death, if death must come, but I do fear that once this war is over, we will never get back to the old times. And I belong in those old times. I do not belong in this mad present of killing and I fear I will not fit into any future, try though I may. Nor will you, my dear, for you and I are of the same blood. I do not know what the future will bring, but it cannot be as beautiful or as satisfying as the past. I lie and look at the boys sleeping near me and I wonder if the twins or Alex or cade think these same thoughts. I wonder if they know they are fighting for a Cause that was lost the minute the first shot was fired, for our Cause is really our own way of living and that is gone already. But I do not think they think these things and they are lucky. I had not thought of this for us when I asked you to marry me. I had thought of life going on at Twelve Oaks as it had always done, peacefully, easily, unchanging. we are alike, Melanie, loving the same quiet things, and I saw before us a long stretch of uneventful years in which to read, hear music and dream. But not this! Never this! That this could happen to us all, this wrecking of old ways, this bloody slaughter and hate! Melanie, nothing is worth it-States' Rights, nor slaves, nor cotton. Nothing is worth what is happening to us now and what may happen, for if the Yankees whip us the future will be one of incredible horror. And, my dear, they may yet whip us.

LXXII In sooth, it was no vulgar sight to see Their barbarous, yet their not indecent, glee, And as the flames along their faces gleam’d, Their gestures nimble, dark eyes flashing free, The long wild locks that to their girdles stream’d, While thus in concert they this lay half sang, half scream’d: Tambourgi! Tambourgi! thy ’larum afar Gives hope to the valiant, and promise of war; All the sons of the mountains arise at the note, Chimariot, Illyrian, and dark Suliote! Oh! who is more brave than a dark Suliote, To his snowy camese and his shaggy capote? To the wolf and the vulture he leaves his wild flock, And descends to the plain like the stream from the rock. Shall the sons of Chimari, who never forgive The fault of a friend, bid an enemy live? Let those guns so unerring such vengeance forego? What mark is so fair as the breast of a foe? Macedonia sends forth her invincible race; For a time they abandon the cave and the chase: But those scarves of blood-red shall be redder, before The sabre is sheathed and the battle is o’er. Then the pirates of Parga that dwell by the waves, And teach the pale Franks what it is to be slaves, Shall leave on the beach the long galley and oar, And track to his covert the captive on shore. I ask not the pleasure that riches supply, My sabre shall win what the feeble must buy; Shall win the young bride with her long flowing hair, And many a maid from her mother shall tear. I love the fair face of the maid in her youth, Her caresses shall lull me, her music shall soothe; Let her bring from her chamber the many-toned lyre, And sing us a song on the fall of her sire. Remember the moment when Previsa fell, The shrieks of the conquer’d, the conquerors’ yell; The roofs that we fired, and the plunder we shared, The wealthy we slaughter’d, the lovely we spared. I talk not of mercy, I talk not of fear; He neither must know who would serve the Vizier: Since the days of our prophet, the Crescent ne’er saw A chief ever glorious like Ali Pasha. Dark Muchtar his son to the Danube is sped, Let the yellow-haired Giaours view his horsetail with dread; When his Delhis come dashing in blood o’er the banks, How few shall escape from the Muscovite ranks! Selictar, unsheath then our chief’s scimitar: Tambourgi! thy ’larum gives promise of war; Ye mountains, that see us descend to the shore, Shall view us as victors, or view us no more!

Would that the structure brave, the manifold music I build, Bidding my organ obey, calling its keys to their work, Claiming each slave of the sound, at a touch, as when Solomon willed Armies of angels that soar, legions of demons that lurk, Man, brute, reptile, fly,—alien of end and of aim, Adverse, each from the other heaven-high, hell-deep removed,— Should rush into sight at once as he named the ineffable Name, And pile him a palace straight, to pleasure the princess he loved! Would it might tarry like his, the beautiful building of mine, This which my keys in a crowd pressed and importuned to raise! Ah, one and all, how they helped, would dispart now and now combine, Zealous to hasten the work, heighten their master his praise! And one would bury his brow with a blind plunge down to hell, Burrow awhile and build, broad on the roots of things, Then up again swim into sight, having based me my palace well, Founded it, fearless of flame, flat on the nether springs. And another would mount and march, like the excellent minion he was, Ay, another and yet another, one crowd but with many a crest, Raising my rampired walls of gold as transparent as glass, Eager to do and die, yield each his place to the rest: For higher still and higher (as a runner tips with fire, When a great illumination surprises a festal night— Outlining round and round Rome's dome from space to spire) Up, the pinnacled glory reached, and the pride of my soul was in sight. In sight? Not half! for it seemed, it was certain, to match man's birth, Nature in turn conceived, obeying an impulse as I; And the emulous heaven yearned down, made effort to reach the earth, As the earth had done her best, in my passion, to scale the sky: Novel splendours burst forth, grew familiar and dwelt with mine, Not a point nor peak but found and fixed its wandering star; Meteor-moons, balls of blaze: and they did not pale nor pine, For earth had attained to heaven, there was no more near nor far. Nay more; for there wanted not who walked in the glare and glow, Presences plain in the place; or, fresh from the Protoplast, Furnished for ages to come, when a kindlier wind should blow, Lured now to begin and live, in a house to their liking at last; Or else the wonderful Dead who have passed through the body and gone, But were back once more to breathe in an old world worth their new: What never had been, was now; what was, as it shall be anon;

The US traded its manufacturing sector’s health for its entertainment industry, hoping that Police Academy sequels could take the place of the rustbelt. The US bet wrong. But like a losing gambler who keeps on doubling down, the US doesn’t know when to quit. It keeps meeting with its entertainment giants, asking how US foreign and domestic policy can preserve its business-model. Criminalize 70 million American file-sharers? Check. Turn the world’s copyright laws upside down? Check. Cream the IT industry by criminalizing attempted infringement? Check. It’ll never work. It can never work. There will always be an entertainment industry, but not one based on excluding access to published digital works. Once it’s in the world, it’ll be copied. This is why I give away digital copies of my books and make money on the printed editions: I’m not going to stop people from copying the electronic editions, so I might as well treat them as an enticement to buy the printed objects. But there is an information economy. You don’t even need a computer to participate. My barber, an avowed technophobe who rebuilds antique motorcycles and doesn’t own a PC, benefited from the information economy when I found him by googling for barbershops in my neighborhood. Teachers benefit from the information economy when they share lesson plans with their colleagues around the world by email. Doctors benefit from the information economy when they move their patient files to efficient digital formats. Insurance companies benefit from the information economy through better access to fresh data used in the preparation of actuarial tables. Marinas benefit from the information economy when office-slaves look up the weekend’s weather online and decide to skip out on Friday for a weekend’s sailing. Families of migrant workers benefit from the information economy when their sons and daughters wire cash home from a convenience store Western Union terminal. This stuff generates wealth for those who practice it. It enriches the country and improves our lives. And it can peacefully co-exist with movies, music and microcode, but not if Hollywood gets to call the shots. Where IT managers are expected to police their networks and systems for unauthorized copying – no matter what that does to productivity – they cannot co-exist. Where our operating systems are rendered inoperable by “copy protection,” they cannot co-exist. Where our educational institutions are turned into conscript enforcers for the record industry, they cannot co-exist. The information economy is all around us. The countries that embrace it will emerge as global economic superpowers. The countries that stubbornly hold to the simplistic idea that the information economy is about selling information will end up at the bottom of the pile. What country do you want to live in?

This once-proud country of ours is falling into the hands of the wrong people,” said Jones. He nodded, and so did Father Keeley and the Black Fuehrer. “And, before it gets back on the right track,” said Jones, “some heads are going to roll.” I have never seen a more sublime demonstration of the totalitarian mind, a mind which might be likened unto a system of gears whose teeth have been filed off at random. Such a snaggle-toothed thought machine, driven by a standard or even a substandard libido, whirls with the jerky, noisy, gaudy pointlessness of a cuckoo clock in Hell. The boss G-man concluded wrongly that there were no teeth on the gears in the mind of Jones. “You’re completely crazy,” he said. Jones wasn’t completely crazy. The dismaying thing about the classic totalitarian mind is that any given gear, though mutilated, will have at its circumference unbroken sequences of teeth that are immaculately maintained, that are exquisitely machined. Hence the cuckoo clock in Hell—keeping perfect time for eight minutes and thirty-three seconds, jumping ahead fourteen minutes, keeping perfect time for six seconds, jumping ahead two seconds, keeping perfect time for two hours and one second, then jumping ahead a year. The missing teeth, of course, are simple, obvious truths, truths available and comprehensible even to ten-year-olds, in most cases. The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time. And for me to attempt such a mechanical explanation is perhaps a reflection of the father whose son I was. Am. When I pause to think about it, which is rarely, I am, after all, the son of an engineer. Since there is no one else to praise me, I will praise myself—will say that I have never tampered with a single tooth in my thought machine, such as it is. There are teeth missing, God knows—some I was born without, teeth that will never grow. And other teeth have been stripped by the clutchless shifts of history— But never have I willfully destroyed a tooth on a gear of my thinking machine. Never have I said to myself, “This fact I can do without.” Howard W. Campbell, Jr., praises himself. There’s life in the old boy yet! And, where there’s life— There is life.

The world is filled with people who are no longer needed—and who try to make slaves of all of us—and they have their music and we have ours. Theirs, the wasted songs of a superstitious nightmare—and without their musical and ideological miscar-riages to compare our Song of freedom to, we’d not have any opposite to compare music with—and like the drifting wind, hitting against no obstacle, we’d never knows its speed, its power.

Slaves wait for freedom to fall like music upon their ears whereas kings strive to take it by force

The sound of trumpets rang out, signaling the arrival of the first course. A parade of glittering slaves trotted forward, some carrying decorations of the sea, statues made of shells, ribbons of blue and silver, or wearing costumes turning them into fish or mermaids. These slaves wandered among the diners as they ate, entertaining them with music or dances reminiscent of the sea. In the midst of these spectacles were the slaves carrying the food on massive trays covered in snow from the mountains, topped with stuffed mussels, lobster mince wrapped in grape leaves, and sea urchins boiled, honeyed, and served open in their own spiny husks.

All the solitary hours a writer pours into a novel would avail little if not for the solitary hours poured into it by many unseen others. Anyway I assume those others also do their work in solitude; maybe they work in pairs or crews or tag teams, but I’d rather imagine them slaving over my words in a poorly lit and otherwise unoccupied room, just as I do. Maybe they will have a little music for company, but nothing too upbeat, something along the lines of Mozart’s Requiem, for example, because as everybody who has ever worked on a book knows, this work can be as grueling in its way as crawling on your knees through ten acres of ground-hugging plants to pick potato beetles off one at a time and flick them into a galvanized bucket filled with soapy water. But it can also be as transcendent as the Requiem—or as picking potato beetles when you are in the right frame of mind for it. Knowing other people are engaged in the same underappreciated labor and squeezing a perverse kind of joy out of it is what keeps me writing, especially if it’s my field of potatoes they are picking over. Sometimes I like to picture each of my collaborators working their way down a row, their backs aching, hands filthy with beetle juice, fingernails broken, eyes going cross-eyed in the faltering light. It’s inspirational. Thirty years ago, I would have written (and did) a dull-as-dirt acknowledgment to thank each of my collaborators. It would have had all the excitement of a divorce decree. Back then I had no idea how difficult and precarious a job it is to turn out a novel every couple of years. It gets more difficult and precarious every year. So does living. To me, they’re pretty much the same thing.

Through Thomas, William met John Newton, nearly 70, a well-known Anglican churchman once from Olney. Newton had been a slave runner, his soul redeemed during a violent storm at sea. About God’s saving grace he had written a poem, later set to music and sung widely as a hymn called ‘Amazing Grace’. After being introduced to John Newton, William had a momentary lapse of confidence in his mission. “But what if we are turned back because we have no licenses?” he asked Newton. The crusty Newton seemed surprised at the timidity in the question. “Why, conclude that your Lord has nothing for you to accomplish there.” He gave William a stern look. “But if he has something there for you to do, no power on earth can stop you!” He quickly dismissed William’s worry. “Say, I know you good men surely must oppose the abomination of slavery. I want you to meet the man who will champion its abolition to a conclusion.” So

You are angry?” Her reply was frigid silence. “Blue Eyes, what wrong words have I said?” “What have you said?” Hunter frowned. “It would not please you to marry with me? Better a wife than a slave, yes?” “I will never play second fiddle, never!” Hunter studied her, trying to figure out why she had switched the topic of conversation from marriage to making music. “How dare you!” she cried. “Of all the-- You arrogant, simple-- Oh, never mind! Just you understand this! Amongst my people, a man has one wife, only one, and he looks at no other, thinks of no other, touches no other, until death do they part. I wouldn’t marry you if you got on your knees and begged me!” Hunter sat up slowly, feeling a little dazed by her fury and wondering what had sparked it. Would he never understand her? She leaned toward him, her blue eyes flashing. “Even if I would marry you, an announcement by a central fire would not constitute a marriage in my books.” She thumped her chest. “I must make my vows before a priest! And furthermore, when I take a husband, he won’t be a Comanche. You couldn’t be chief husband, second husband, any husband, to me. You’re a barbarian who treats women like chattel!” Very calmly Hunter inserted, “You are my woman. You will sure enough marry no other.” “Well, if you think I’m going to marry you, you have another think coming! Never, do you hear me?” With that, she wrapped her arms around herself and glared at him. Hunter sighed and flopped onto his back, staring upward sightlessly. Minutes passed. When at last he felt her curl up at the foot of the bed, as far away from him as possible, a knowing smile touched his lips. No woman could possibly get that angry over another woman unless she was jealous. And a woman didn’t get jealous unless she was in love. Perhaps he wasn’t the only one with another think coming.

When at last she scooted over to him, Hunter experienced a feeling like none he had ever felt. It went beyond satisfaction, beyond contentment. Having her fair head on his shoulder felt perfectly right, as if the Great Ones had hollowed the spot for her long ago, and he had been waiting all his life for her to fill it. He curled his arm around her, his hand on her back. “It is good, eh?” She placed a palm lightly on his chest. In a dubious tone she replied, “Yes, it is good.” Another silence settled over them. He measured the thrums of her heart beneath his hand, pleased that the rhythm no longer reminded him of the frantic wing beats of a trapped bird. Staring at the conical roof, he longed for the weariness he had pretended. It didn’t come. He was relieved when she broke the silence. “Hunter, what did you mean when you said you had made no talk of marriage because I’m a White Eyes?” He brushed his lips across the top of her head, loving the flower smell that still clung to her hair. He would never again smell springtime and not think of her. “My chief wife will be a woman of my own blood.” He felt her stiffen and, seeking to mollify her, added, “You can be second wife, eh? Or third?” To his surprise she bolted upright, shaking again, this time in anger. With an indignant lift of her small chin, she flung herself away from him. “You are angry?” Her reply was frigid silence. “Blue Eyes, what wrong words have I said?” “What have you said?” Hunter frowned. “It would not please you to marry with me? Better a wife than a slave, yes?” “I will never play second fiddle, never!” Hunter studied her, trying to figure out why she had switched the topic of conversation from marriage to making music. “How dare you!” she cried. “Of all the-- You arrogant, simple-- Oh, never mind! Just you understand this! Amongst my people, a man has one wife, only one, and he looks at no other, thinks of no other, touches no other, until death do they part. I wouldn’t marry you if you got on your knees and begged me!

The months of June and July passed. The monsoons were tardy this year—the nights hinted rain constantly with an aroma in the air, a cooling on the skin, soundless lightning across skies. But when morning came, the sun rose strong again, mocking Agra and its inhabitants. And the days crawled by, brazenly hot, when every breath was an effort, every movement a struggle, every night sweat-stewed. In temples, incantations were offered, the muezzins called the faithful to prayers, their voices melodious and pleading, and the bells of the Jesuit churches chimed. But the gods seemed indifferent. The rice paddies lay ploughed after the pre-monsoon rains, awaiting the seedlings; too long a wait and the ground would grow hard again. A few people moved torpidly in the streets of Agra; only the direst of emergencies had called them from their cool, stone-flagged homes. Even the normally frantic pariah dogs lay panting on doorsteps, too exhausted to yelp when passing urchins pelted them with stones. The bazaars were barren too, shopfronts pulled down, shopkeepers too tired to haggle with buyers. Custom could wait for cooler times. The whole city seemed to have slowed to a halt. The imperial palaces and courtyards were hushed in the night, the corridors empty of footsteps. Slaves and eunuchs plied iridescent peacock feather fans, wiping their perspiring faces with one hand. The ladies of the harem slept under the intermittent breeze of the fans, goblets of cold sherbets flavoured with khus and ginger resting by their sides. Every now and then, a slave would refresh the goblet, bringing in another one filled with new shards of ice. When her mistress awoke, and wake she would many times during the night, her drink would be ready. The ice, carved in huge chunks from the Himalayan mountains, covered with gunnysacks and brought down to the plains in bullock carts, was a blessing for everyone, nobles and commoners alike. But in this heat, ice melted all too soon, disappearing into a puddle of warm water under sawdust and jute. In Emperor Jahangir’s apartments, music floated through the courtyard, stopping and tripping in the still night air as the musicians’ slick fingers slipped on the strings of the sitar.

This idiotic notion of house and field slave – when you are all dying slaves! They will have you argue amongst yourselves about hair texture, too. They will infiltrate your music, your dances, your inventions, your artistic expressions, and stupefy your culture and vilify it, too, then make money off your art and have you say and do things that weaken your blood bond.

The willful filing off of gear teeth, the willful doing without certain obvious pieces of information— That was how a household as contradictory as one composed of Jones, Father Keeley, Vice-Bundesfuehrer Krapptauer, and the Black Fuehrer could exist in relative harmony— That was how my father-in-law could contain in one mind an indifference toward slave women and love for a blue vase— That was how Rudolf Hoess, Commandant of Auschwitz, could alternate over the loudspeakers of Auschwitz great music and calls for corpse-carriers— That was how Nazi Germany could sense no important differences between civilization and hydrophobia— That is the closest I can come to explaining the legions, the nations of lunatics I’ve seen in my time.

A main thing it says to our age ought to be plain. Its great opposed symbols are the tempest of Prospero, which Ariel made as Prospero’s slave, and Ariel’s music, which Ariel made of his own free will. The former is the result of necromantic science or theurgy. The latter is a spontaneous overflow of joy in life. The one creates an opportunity for revenge. The other resolves the situation thus created. What that says to a generation that has used its own science to make an atomic bomb is as illuminating as a flash of lightning by night.

This is the fly in the ointment of free-market capitalism. It cannot ensure that profits are gained in a fair way, or distributed in a fair manner. On the contrary, the craving to increase profits and production blinds people to anything that might stand in the way. When growth becomes a supreme good, unrestricted by any other ethical considerations, it can easily lead to catastrophe. Some religions, such as Christianity and Nazism, have killed millions out of burning hatred. Capitalism has killed millions out of cold indifference coupled with greed. The Atlantic slave trade did not stem from racist hatred towards Africans. The individuals who bought the shares, the brokers who sold them, and the managers of the slave-trade companies rarely thought about the Africans. Nor did the owners of the sugar plantations. Many owners lived far from their plantations, and the only information they demanded were neat ledgers of profits and losses. It is important to remember that the Atlantic slave trade was not a single aberration in an otherwise spotless record. The Great Bengal Famine, discussed in the previous chapter, was caused by a similar dynamic – the British East India Company cared more about its profits than about the lives of 10 million Bengalis. VOC’s military campaigns in Indonesia were financed by upstanding Dutch burghers who loved their children, gave to charity, and enjoyed good music and fine art, but had no regard for the suffering of the inhabitants of Java, Sumatra and Malacca. Countless other crimes and misdemeanours accompanied the growth of the modern economy in other parts of the planet.

But she kept that wall of flame burning—for the Royal Theater. And the flower girls at the market. For the slaves and the courtesans and the Faliq family. For the city that had offered her joy and pain, death and rebirth, for the city that had given her music, Aelin kept that wall of fire burning bright

I have been asked the question, “If people are simply trying to physically survive by purchasing food through this system, why would God not give them grace and allow them to feed themselves and their families by using this mark?” The answer is that this entire system is based upon a false religion and the idolatrous act of worshipping the Antichrist and his man-made image. Consider this example. When the Israelites departed from Egypt, there were six hundred thousand men, not counting the women and children. They departed with unleavened bread but entered a rugged wilderness where they lacked the foods they were accustomed to in Egypt. There was also a shortage of fresh water. Moses left for forty days on Mount Sinai, and the people demanded that Aaron collect their gold earrings and create a golden calf they could worship. They had lived for hundreds of years among the idolatrous Egyptians, a culture that worshipped a different deity for just about every situation. They also deified and worshipped some mortals; namely, certain rulers. After all that time, the culture had influenced some of these former Hebrew slaves. Several of the Egyptians gods were represented by a cow or a bull, and they all were given names. Each named cow was associated with a particular role, and each had its main center of cult worship. Apis was worshipped in Memphis, Hathor was worshipped in Dendera, and so on. With Hathor being a cow god that was worshipped in Dendera, a location near the Red Sea where the Hebrews might have crossed, it might be reasonable to assume that the Hebrews could have been creating a golden image to represent this Egyptian god. This god was also associated with music and dance, among other things. By molding a golden calf and dancing around it, the Israelites were turning from trust in their God, Yahweh, who delivered them from slavery with astonishing and supernatural signs and wonders. Instead of turning to God for sustenance and provision, their hearts turned to idol worship, which was an abomination to God. The divine punishment for this act was the death of three thousand Israelites and the destruction of the golden calf.

The Fey's Captive by Stewart Stafford Sprite music in moonlit sway, Her song turned azaleas grey, A haunting lilt that carried far; Charmed ear to shimmering star. Hornpipe down, melody went on, Lovelight flickered, then it shone, Claimed me then on yearly shore, Dragged me behind the fairy door. An enchanted hostage kept there, Gossamer glowed her flaxen hair, Made me pledge to be her slave, This regal man, reduced to knave. A year and a day passed, comet swift, My sentence over, her parting gift, Conditions met by kith and kin, Woke to bedroom light with a grin. © Stewart Stafford, 2024. All rights reserved

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To give them . . . elaborate clothes and carriages in order to corrupt their eyes; to give them fine food in order to corrupt their mouth; to give them music and women in order to corrupt their ears; to provide them with lofty buildings, granaries and slaves in order to corrupt their stomach . . . and, as for those who come to surrender, the emperor [should] show them favor by honoring them with an imperial

The oldest among Kashmiris often claim that their is nothing new about their condition, that they they have been slaves of foreign rulers since the sixteenth century, when the Moghul emperor Akbar annexed Kashmir and appointed a local governer to rule the state. In the chaos of post-Moghul India, the old empire rapidly disintegrating, Afghani and Sikh invaders plundered Kashmir at will. The peasantry was taxed and taxed into utter wretchedness; the cultural and intellectual life, which under indigenous rulers had produced some of the greatest poetry, music, and philosophy in the subcontinent, dried up. Barbaric rules were imposed in the early nineteenth century, a Sikh who killed a native of Kashmir was fined nothing more than two rupees. Victor Jacquemont, a botanist and friend of Stendahl's who came to the valley in 1831, thought that "nowhere else in India were the masses as poor and denuded as they were in Kashmir.

Perhaps the most likely answer is that, in the Bible, six is the number for human beings. People were created on the sixth day, and they are to work six of seven days. A Hebrew could not be a slave for more than six years. God’s number, on the other hand, is seven. He created seven days in a week. There are seven colors in the visible spectrum and seven notes in a musical scale. Biblically, there are seven feasts of Jehovah (Leviticus 23); seven sayings of Jesus from the cross; and seven “secrets” in the Kingdom parables (Matthew 13). At the fall of Jericho, seven priests marched in front of the army bearing seven trumpets of rams’ horns, and on the seventh day they marched around the city seven times (Joshua 6).

For the “Beat It” clip, Michael originally wanted to do it on a white slave ship with him as the slave master. I heard that from a director in Roberta Cruger’s office.

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

My lover’s alluring propensities took on a vivacity I had difficulty conceding. His passion magnified a thousand-fold within my consciousness as I closed my eyes to this wanton dexterity. I desired him, and he wanted me. Under this euphoric ecstasy, I relinquished my person to his coveted demands.               My Apollo, my Phoebus, who never failed to brighten my person and radiate my soul, had coiled me into his solicitous web of ardent devotion. My coverings fell away with every inhalation of his loving elixir. My lover had exposed my nakedness to the gazing eyes of the unseen voyeur and stalker. They alone were granted dispensation to witness the audacity between my lover and me.               Our fiery gazes never left or strayed from each other. Bewitched by his blueish-green eyes, my soul was bare to him. His oral stimulation had fostered me to arch my back in a balletic pose as his hands supported the small of my back. Watched through the submerged glass, we felt like Poseidon’s pleasure slaves, performing solely for his gratification. I was awed by our agility and reminded of a supple aquatic dance performance I had witnessed during my extensive travels. My former ballet training surged through me as I saw myself swirling and pirouetting across the room, and Andy’s thickness gyrated within the core of my being. The ecstasy and the agony of my dance pedagogy had transformed into the art of intercourse. The grace of movement and the beauty of love had merged into a seraphic epiphany – a unity of the Godhead within and without.               At the precise moment of our orgasmic exultations, I finally grasped my chaperone’s universal knowledge: that the divine and I are but one and the same. It was then I comprehended my guardian’s god-like comportment. Andy knew his birth-right, and he wore his divinity with pride and honour. All of that I saw in him as it came gushing to the forefront. He was indeed a Phoebus Apollo, a sun god beheld in a darkened chamber. There and then, I made a secret covenant to myself, like an apostle to the Son of God - I would follow in his footsteps.               My Valet’s sanctity swirled within me, flooding my kernel with beatific sows of celestial grace. Overjoyed by his tokens of affection, I too released my passion into his garnering gulf. Streams of my succulent splendour oozed from his enticing lips. It was only when we shared the final droplets of my luscious deposits that he liberated his engorgement from my sopping honeycomb. I supped at his dripping remains before sharing my fill with him, so we could both partake in this sexual liturgy of heavenly Eucharist.               We did not relinquish our performance after the lights and music had disappeared, but remained entwined in darkness, savouring the inseparable devotion that had once been the domain of Apollo and his beloved Hyacinth.

He abstains from dancing, singing, instrumental music, and from watching shows. "He abstains from wearing garlands and from beautifying himself with scents and cosmetics. "He abstains from high and luxurious beds and seats. "He abstains from accepting gold and money. "He abstains from accepting uncooked grain... raw meat... women and girls... male and female slaves... goats and sheep... fowl and pigs... elephants, cattle, steeds, and mares... fields and property. "He abstains from running messages... from buying and selling... from dealing with false scales, false metals, and false measures... from bribery, deception, and fraud. "He abstains from mutilating, executing, imprisoning, highway robbery, plunder, and violence.

Jacqueline, If you want to do, then do. What’s stopping you? So I’m kind, huh? Never heard that before. People usually think I’m a pretentious a-hole. I must admit, I tend to encourage that estimation. So please promise to keep your opinion to yourself. Reputations can be ruined so easily, you know. ;) LM PS – Do the worksheet. Before Friday. I’m giving you a very serious look through this screen. DO THE WORKSHEET. If you have problems with any of the material, let me know. Landon, What’s stopping me? Well, I’ve blown the chance to go to a serious music school. And I’m stuck in a state that doesn’t always foster the arts (something I’ll probably spend my entire teaching career fighting). It seems impossible to go out now and “do.” I guess I should rethink that. Your secret geniality is safe. My lips are sealed. JW PS – I’m DOING the worksheet, but I’m giving you a very petulant look through my screen. Slave driver. Sheesh.

In medieval times most singers, dancers, and musical performers were, at least in origin, slaves.