Sublime Lyrics Quotes

For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

We sing lyrical excess, exacerbated expressionism, imponed objectivity, inventiveness, meta-baroque, extravaganza, super metaphor, sublimity, strident, exposure, super-pone, noise, super-objectivity, zillionism, fragmentation and aesthetics of facts, suractivism.

Would you like to hear a song while I cut your hair? There's one my sister Pandora and I wrote, called Pig in the House." Looking intrigued, Bazzle nodded. Cassandra launched into a sublimely ridiculous song about the antics of two sisters trying to hide their pet pig from the farmer, the butcher, the cook, and a local squire who was especially fond of bacon. While she sang, she moved around Bazzle's head, snipping off long locks and dropping them into a pail Garrett held for her. Bazzle listened as if spellbound, occasionally chortling at the silly lyrics. As soon as the song was finished, he demanded another, and sat while Cassandra continued with My Dog Thinks He's a Chicken, followed by Why Frogs are Slimy and Toads are Dry. Had Tom been capable of falling in love, he would have right there and then, as he watched Lady Cassandra Ravenel serenade a ragamuffin while cutting his hair. She was so capable and clever and adorable, it made his chest ache with a hot pressure that threatened to fracture something. "She has a marvelous way with children," Garrett murmured to him at one point, clearly delighted by the situation. She had a way with everyone. Especially him. He'd never been besotted like this. It was intolerable.

From the perspective of my old laptop, I am a numbers man, something like that every instruction he gives me is a one or a zero I remember well I have information about him before he left for his new toy thinner, younger, able to keep up with him, I have information about him may 15th 2008, he listened to a song five times in succession it was titled Everybody, open parenthesis, Backstreet's Back, close parenthesis it included the lyric 'Am I sexual, yeaaaaah' He said once, computers like a sense of finality to them when I write something I don't want to be able to run from it this was a lie he was addicted to my ability to keep his secrets I am a numbers man, every instruction he gives me is a one, or a zero I remember well January, 7th 2007 I was young just two week awake he gave me, a new series of one's and zeros the most sublime sequence I have ever seen it had curves, and shadow, it was him he gave his face in numbers and trusted me to be the artist, and I was do not laugh I have read about your God you kill each other over your grand fathers memory of him I still remember the fingertips of my God dancing across my body After I learnt to draw him he trusted with more art rubric jpeg 1063 was his favourite Him, and that woman, resting her head in the curve of his nick I read his correspondence she hasn't written him back in years but he asks for it, constantly, jpeg 1063, jpeg 1063, jpeg 1063 it was my master piece it looked so, .., life like I wanted to tell him That's not her that is me that is not her face those are my ones and zeros waltzing in space for you she is nothing more than my shadow puppet you do not miss her, you miss me, I am a numbers man, every instruction he gives is a one or a zero I remember well but he taught me to be a Da Vinci and I sit here, with his portraits waiting for him to return I do not think he will Is that what it means to be human to be all powerful, to build a temple to yourself and leave only the walls to pray

The point is, you are most you, at your best, when you create the roles that make you feel most alive: witty, lyrical, speculative, loving, but also, and here’s the rub, cynical, sarcastic, angry, muddled, sad—for negative states can be just as vital as positive ones. Fullness is the goal, myriad-mindedness (a happy phrase Coleridge conjured to describe Shakespeare): to be as varied and capacious as the cosmos. With this bigness, containing the most sublime and the low at once, you can hope that generosity will win out over the meanness, that you will foster the democratic, merciful embrace of what is as well as what ought to be. The best actor, Hamlet asserts, uses all gently.

It doesn’t seem like Christmas. I cannot say just why. I see the gifts and mistletoe and snowflakes falling from the sky. It doesn’t feel like Christmas. Though snow is on the ground. I watch old Rudolph, Frosty too. I serve hot cocoa all around. But still it doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. It doesn’t sound like Christmas. The air is filled with noise. I hear a thousand loud requests yet see unhappy girls and boys. It doesn’t feel like Christmas. Though Santa’s on his way. So why this dullness in my heart as if it’s just another day? It really doesn’t feel like Christmastime. There’s something missing, something more sublime. My heart tells me this holiday was meant to make me feel something deeper, something warm and real. I close my eyes, I bow my head, and drop down to my knees. I talk to God and bear my soul. At length, my spirit warms with peace. It feels much more like Christmas. My heart o’er flows with love. I look at you through caring eyes, the way God sees from up above. It surely is like Christmas. Good will pervades my soul. For Christ was born in Bethlehem to ransom all; my joy is full. It’s starting now to feel like Christmastime. My heart is new, my outlook more sublime. I’ll love the world as God loves me and practice charity. Help and comfort, share with those in need, and it will feel like Christmastime indeed.

This, the profoundest of all mysteries, would be left for the living to ponder. Soldiers who survived also would struggle to reconcile the greatest catastrophe in human history with what the philosopher and Army officer J. Glenn Gray called “the one great lyric passage in their lives.” The war’s intensity, camaraderie, and sense of high purpose left many with “a deplorable nostalgia,” in the phrase of A. J. Liebling. “The times were full of certainty,” Liebling later wrote. “I have seldom been sure I was right since.” An AAF crewman who completed fifty bomber missions observed, “Never did I feel so much alive. Never did the earth and all of the surroundings look so bright and sharp.” And a combat engineer mused, “What we had together was something awfully damned good, something I don’t think we’ll ever have again as long as we live.” They had been annealed, touched with fire. “We are certainly no smaller men than our forefathers,” Gavin wrote his daughter. Alan Moorehead, who watched the scarlet calamity from beginning to end, believed that “here and there a man found greatness in himself.” The anti-aircraft gunner in a raid and the boy in a landing barge really did feel at moments that the thing they were doing was a clear and definite good, the best they could do. And at those moments there was a surpassing satisfaction, a sense of exactly and entirely fulfilling one’s life.… This thing, the brief ennoblement, kept recurring again and again up to the end, and it refreshed and lighted the whole heroic and sordid story. In Moorehead’s view, the soldier to whom this grace was granted became, “for a moment, a complete man, and he had his sublimity in him.” For those destined to outlive the

On Being Human" Angelic minds, they say, by simple intelligence Behold the Forms of nature. They discern Unerringly the Archtypes, all the verities Which mortals lack or indirectly learn. Transparent in primordial truth, unvarying, Pure Earthness and right Stonehood from their clear, High eminence are seen; unveiled, the seminal Huge Principles appear. The Tree-ness of the tree they know-the meaning of Arboreal life, how from earth's salty lap The solar beam uplifts it; all the holiness Enacted by leaves' fall and rising sap; But never an angel knows the knife-edged severance Of sun from shadow where the trees begin, The blessed cool at every pore caressing us -An angel has no skin. They see the Form of Air; but mortals breathing it Drink the whole summer down into the breast. The lavish pinks, the field new-mown, the ravishing Sea-smells, the wood-fire smoke that whispers Rest. The tremor on the rippled pool of memory That from each smell in widening circles goes, The pleasure and the pang --can angels measure it? An angel has no nose. The nourishing of life, and how it flourishes On death, and why, they utterly know; but not The hill-born, earthy spring, the dark cold bilberries. The ripe peach from the southern wall still hot Full-bellied tankards foamy-topped, the delicate Half-lyric lamb, a new loaf's billowy curves, Nor porridge, nor the tingling taste of oranges. —An angel has no nerves. Far richer they! I know the senses' witchery Guards us like air, from heavens too big to see; Imminent death to man that barb'd sublimity And dazzling edge of beauty unsheathed would be. Yet here, within this tiny, charmed interior, This parlour of the brain, their Maker shares With living men some secrets in a privacy Forever ours, not theirs.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

When your heart, mind, and soul cannot control or refuse the desire to create a sound, or lyric, or rhythm, and you are helpless against the burning impulse to purge these inner demons, you are forever committed to a lifetime of chasing the next song. If it weren't such a sublime affliction, it could very well be considered a curse.