Quotes about singing
page 14
Tinselworm (2008)
“The sacred armies, and the godly knight,
That the great sepulchre of Christ did free,
I sing”
Canto I, stanza 1 (tr. Edward Fairfax)
Gerusalemme Liberata (1581)
Context: The sacred armies, and the godly knight,
That the great sepulchre of Christ did free,
I sing; much wrought his valor and foresight,
And in that glorious war much suffered he;
In vain 'gainst him did Hell oppose her might,
In vain the Turks and Morians armed be:
His soldiers wild, to brawls and mutinies prest,
Reduced he to peace, so Heaven him blest.
Green Print for Song (1974)
Context: I see Christ as the incarnation of the piper who is calling us. He dances that shape and pattern which is at the heart of our reality. By Christ I mean not only Jesus; in other times and places, other planets, there may be other Lords of the Dance. But Jesus is the one I know of first and best. I sing of the dancing pattern in the life and words of Jesus.
Whether Jesus ever leaped in Galilee to the rhythm of a pipe or drum I do not know. We are told that David danced (and as an act of worship too), so it is not impossible. The fact that many Christians have regarded dancing as a bit ungodly (in a church, at any rate) does not mean that Jesus did. The Shakers didn't...
Interview in Publisher Weekly in 2011 http://www.publishersweekly.com/pw/by-topic/authors/interviews/article/45944-exploring-the-edge-of-the-fantasy-map-pw-talks-with-patrick-rothfuss.html
Context: Fantasy is my favorite genre for reading and writing. We have more options than anyone else, and the best props and special effects. That means if you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you're at it? Go ahead. Nothing's off limits. But the endless possibility of the genre is a trap. It's easy to get distracted by the glittering props available to you and forget what you're supposed to be doing: telling a good story. Don’t get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That’s a story. Handled properly, it’s more dramatic than any apocalypse or goblin army could ever be.
Mekubolim, 1906. Alle Verk, vi. 53.
Context: There are melodies that must have words... and melodies that sing themselves without words. The latter are of a higher grade. But these, too, depend on a voice and lips,... hence are not yet altogether pure, not yet genuine spirit. Genuine melody sings itself without a voice. It sings inside, within the heart, in man's very entrails!
1860s, The Good Fight (1865)
Context: Yes, yes, caste is a glacier, cold, towering, apparently as eternal as the sea itself. But at last that glittering mountain of ice touches the edge of the Gulf Stream. Down come pinnacle and peak, frosty spire and shining cliff. Like a living monster of shifting hues, a huge chameleon of the sea, the vast mass silently rolls and plunges and shrinks, and at last utterly disappears in that inexorable warmth of water. So with us the glacier has touched the Gulf Stream. On Palm Sunday, at Appomattox Court House, the spirit of feudalism, of aristocracy, of injustice in this country, surrendered, in the person of Robert E. Lee, the Virginian slave-holder, to the spirit of the Declaration of Independence and of equal rights, in the person of Ulysses S. Grant, the Illinois tanner. So closed this great campaign in the 'Good Fight of Liberty'. So the Army of the Potomac, often baffled, struck an immortal blow, and gave the right hand of heroic fellowship to their brethren of the West. So the silent captain, when all his lieutenants had secured their separate fame, put on the crown of victory and ended civil war. As fought the Lieutenant-General of the United States, so fight the United States themselves, in the 'Good Fight of Man'. With Grant's tenacity, his patience, his promptness, his tranquil faith, let us assault the new front of the old enemy. We, too, must push through the enemy's Wilderness, holding every point we gain. We, too, must charge at daybreak upon his Spottsylvania Heights. We, too, must flank his angry lines and push them steadily back. We, too, must fling ourselves against the baffling flames of Cold Harbor. We, too, outwitting him by night, must throw our whole force across swamp and river, and stand entrenched before his capital. And we, too, at last, on some soft, auspicious day of spring, loosening all our shining lines, and bursting with wild battle music and universal shout of victory over the last desperate defense, must occupy the very citadel of caste, force the old enemy to final and unconditional surrender, and bring Boston and Charleston to sing Te Deum together for the triumphant equal rights of man.
"Memorial Day"; this poem was later published in The Army and Navy Hymnal (1920)
Trees and Other Poems (1914)
Context: The bugle echoes shrill and sweet,
But not of war it sings to-day.
The road is rhythmic with the feet
Of men-at-arms who come to pray. The roses blossom white and red
On tombs where weary soldiers lie;
Flags wave above the honored dead
And martial music cleaves the sky. Above their wreath-strewn graves we kneel,
They kept the faith and fought the fight.
Through flying lead and crimson steel
They plunged for Freedom and the Right. May we, their grateful children, learn
Their strength, who lie beneath this sod,
Who went through fire and death to earn
At last the accolade of God.In shining rank on rank arrayed
They march, the legions of the Lord;
He is their Captain unafraid,
The Prince of Peace... Who brought a sword.</p
“The stallion of heaven,
The steed of the skies,
The horse of the singer
Who sings as he flies.”
Pegasus, St. 3 & 4, p. 181
The New Book of Days (1961)
Context: He could not be captured,
He could not be bought,
His running was rhythm,
His standing was thought;
With one eye on sorrow
And one eye on mirth,
He galloped in heaven
And gambolled on earth. And only the poet
With wings to his brain
Can mount him and ride him
Without any rein,
The stallion of heaven,
The steed of the skies,
The horse of the singer
Who sings as he flies.
“Nothing unattested do I sing.”
Fragment 612; translation by A. W. Bulloch, in P. E. Easterling and B. M. W. Knox, in The Cambridge History of Classical Literature (1989) vol. 1, part 4, p. 30
“Now they sing out his praises on every distant shore
But so few remember what he was fightin' for”
"Bound For Glory" http://web.cecs.pdx.edu/~trent/ochs/lyrics/bound-for-glory.html from All the News That's Fit to Sing (1964)
Lyrics
Context: Now they sing out his praises on every distant shore
But so few remember what he was fightin' for
Oh why sing the songs and forget about the aim?
He wrote them for a reason, why not sing them for the same?
“I needed to sing — desperately.”
Bubbles : A Self-Portrait (1976), p. 114
Context: I needed to sing — desperately. My voice poured out more easily because I was no longer singing for anyone's approval; I was beyond caring about the public's reaction, I just wanted to enjoy myself. … I had found a kind of serenity, a new maturity, as a result of my childrens' problems. I didn't feel better or stronger than anyone else but it seemed no longer important whether everyone loved me or not — more important now was for me to love them. Feeling that way turns your whole life around; living becomes the act of giving.
Source: The Politics of Experience (1967), p. 1 of Introduction
Context: Few books today are forgivable. Black on canvas, silence on the screen, an empty white sheet of paper are perhaps feasible. There is little conjunction of truth and social "reality". Around us are pseudo-events, to which we adjust with a false consciousness adapted to see these events as true and real, and even as beautiful. In the society of men the truth resides now less in what things are than in what they are not. Our social realities are so ugly if seen in the light of exiled truth, and beauty is almost no longer possible if it is not a lie. What is to be done? We who are still half alive, living in the often fibrillating heartland of a senescent capitalism — can we do more than reflect the decay around and within us? Can we do more than sing our sad and bitter songs of disillusion and defeat? The requirement of the present, the failure of the past, is the same: to provide a thoroughly self-conscious and self-critical human account of man.
“Maybe it's maudlin, but so am I. I get chills every time I sing it, even when sober.”
Letter to Maxwell Perkins (21 October 1946); p. 80
To Reach Eternity (1989)
Context: Also by the way, I have found a title for this book. From Here to Eternity. Taken from the "Whiffenpoof" song, of Yale drinking fame. It goes: "We are little black sheep who have gone astray, baa... baa... baa. Gentlemen songsters out on a spree, damned from here to eternity. God have mercy on such as we. Baa, etc." Maybe it's maudlin, but so am I. I get chills every time I sing it, even when sober.
“I sing for maidens and boys.”
Virginibus puerisque canto.
Horace, Odes, Book III, ode i, line 4
Misattributed
"Only Love" by Jacques Brel as translated on the album After Midnight (1988)
Translations and adaptations
Sestina of the Space Rocket (1953)
Context: Eyes forward! Sing a paean to the light
That God gives us to net the distant stars
In eyes that once were blinded with black earth.
Man had no time for aught but toll, no space
For aught but war. Yet God, in His great love,
Has cleared our eyes and given a hint of Power.
"A Match", line 1.
Poems and Ballads (1866-89)
Context: If love were what the rose is,
And I were like the leaf,
Our lives would grow together
In sad or singing weather,
Blown fields or flowerful closes,
Green pasture or gray grief;
If love were what the rose is,
And I were like the leaf.
Garden Rose
Imagine Our Love (2007)
Context: I'll never stop a bullet but a bullet might stop me.
I'll never drink the ocean but the ocean might drink me.
And I'll never raise a portrait to a gentle man in blue
And I'll never sing a love song for a love that isn't true. I love how the garden grows
And I love the garden rose.
“Rage—Goddess, sing the rage of Peleus' son Achilles”
I. 1–5 (tr. Robert Fagles).
Iliad (c. 750 BC)
Context: Rage—Goddess, sing the rage of Peleus' son Achilles,
murderous, doomed, that cost the Achaeans countless losses,
hurling down to the House of Death so many sturdy souls,
great fighters' souls, but made their bodies carrion,
feasts for the dogs and birds.
"I, Too, Sing America," in the magazine Survey Graphic (March 1925); reprinted in Selected Poems (1959)
On the song "The Hounds of Love"
The Kate Bush Story (2014)
Context: I'm convinced that, as great as that record sounds, if you had anyone else sing it, you know, anyone else try to kind of weave and make it do that thing where it burns like wildfire and it comes alive, no one else could do it. It's incredible the way she kind of brings this cold arctic atmosphere, It's just like fire, you know? It's like all aaarh coming out of her mouth. … and now I'm listening to the song in my head. "Do you know what I really need? Do you know what I really need? I need lalalala yea yo yea yo your love."
“I wanted to sing other types of songs that Simon and Garfunkel wouldn't do.”
On the breakup of Simon and Garfunkel as a musical team. Interview with Jon Landau for Rolling Stone (1972); republished in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 210
Context: I wanted to sing other types of songs that Simon and Garfunkel wouldn't do. "Mother and Child Reunion" for example, is not a song that you would have normally thought that Simon and Garfunkel would have done. It's possible that they might have. But it wouldn't have been the same, and I don't know if I would have been so inclined in that direction. So for me it was a chance to break out and gamble a little bit … The breakup had to do with a natural drifting apart as we got older and the separate lives that were more individual. We weren't so consumed with recording and performing. We had other activities … there was no great pressure to stay together other than money, which exerted very little influence upon us. … We didn't need the money.
Sonnet XLIII: "What lips my lips have kissed, and where, and why" (1923), Collected Poems", 1931
Context: Thus in the winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.
Johnny Got His Gun (1938)
Context: Put the guns into our hands and we will use them. Give us the slogans and we will turn them into realities. Sing the battle hymns and we will take them up where you left off. Not one, not ten, not ten thousand, not a million, not ten millions, not a hundred millions but a billion, two billions of us all — the people of the world. We will have the slogans and we will have the hymns and we will have the guns and we will use them and we will live. Make no mistake of it, we will live. We will be alive and we will walk and talk and eat and sing and laugh and feel and love and bear our children in tranquillity, in security, in decency, in peace. You plan the wars, you masters of men — plan the wars and point the way and we will point the gun.
"To David in Heaven", St. 14.
Undertones (1883)
Context: Tho' the world could turn from you,
This, at least, I learn from you:
Beauty and Truth, tho' never found, are worthy to be sought,
The singer, upward-springing,
Is grander than his singing,
And tranquil self-sufficing joy illumes the dark of thought.
This, at least, you teach me,
In a revelation:
That gods still snatch, as worthy death, the soul in its aspiration.
Act V, scene 2.
The Tragedy of Bonduca (1611–14; published 1647)
Pointed to a sign on the wall: a spider with a line through it. "Oh, fair enough."
He said "I can offer you an upgrade, fifty quid, and we can include in it policies set in place by the Marquis de Laplace, the French scientist who declared that all things in the universe are predetermined, so you would be covered even if time-travel was invented during the period of rental.”
I said, "Nah, probably leave it."
Part Troll (2004)
“O let the organ, many-voiced, sing boldly,
O let it roar like spring's first thunderstorm!”
Translated by Irina Zheleznova
Context: O let the organ, many-voiced, sing boldly,
O let it roar like spring's first thunderstorm!
My half-closed eyes over your young bride's shoulder
Will meet your eyes just once and then no more.
Music and Moonlight (1874), Ode
Context: Great hail! we cry to the comers
From the dazzling unknown shore;
Bring us hither your sun and your summers;
And renew our world as of yore;
You shall teach us your song's new numbers,
And things that we dreamed not before:
Yea, in spite of a dreamer who slumbers,
And a singer who sings no more.
“My lord, you know what Virgil sings—
Woman is various and most mutable.”
Act iii, scene 6
Queen Mary: A Drama (published 1876)
“For out of black
soul's night have stirred
dawn's cold gleam,
morning's singing bird.”
"Black Flag" in Collected Poems (1983)
Context: For out of black
soul's night have stirred
dawn's cold gleam,
morning's singing bird. Let black day die,
let black flag fall,
let raven call,
let new day dawn
of black reborn.
Kalki : or The Future of Civilization (1929)
The Paris Review interview (1994)
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope.
Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.
"I Think of Those Who Were Truly Great"; also in Collected Poems 1928-1953 (1955)· Full text online and audio file of recitation by Spender, at the Poetry Archive http://www.poetryarchive.org/poetryarchive/singlePoem.do?poemId=7523
Poems (1933)
Context: I think continually of those who were truly great.
Who, from the womb, remembered the soul's history
Through corridors of light where the hours are suns,
Endless and singing. Whose lovely ambition
Was that their lips, still touched with fire,
Should tell of the spirit clothed from head to foot in song.
"Self Esteem" (31 May 2007)
Context: I didn't enter into this to get any kind of affirmation or confirmation. I entered into this to see what I could do for other people — to give them my sincerity, to give them my love and my care, to take a load off, to have a smile, to have a memory or two. Singing the blues has always been about alleviating the blues, and that's apparent when you listen to them. Sure is nice to hear that someone else is, or has been where you are, or have been. Because we forget sometimes, that we're all in this together, and we have many, many similar experiences — all the time, all across the world, in every age.
Source: 1840s, Narrative of the Life of Frederick Douglass, An American Slave (1845), Ch. 2
Context: 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.
As quoted in A Sourcebook for Earth's Community of Religions (1995) by Joel Diederik Beversluis; but also ascribed to some of the Wabasha chiefs, Sitting Bull, Crazy Horse and Wovoka, according to Ernest Thompson Seton, The Gospel of the Red Man: An Indian Bible, San Diego, The Book Tree, 2006, p. 60
Disputed
Context: So live your life that the fear of death can never enter your heart. Trouble no one about their religion; respect others in their view, and demand that they respect yours. Love your life, perfect your life, beautify all things in your life. Seek to make your life long and its purpose in the service of your people. Prepare a noble death song for the day when you go over the great divide. Always give a word or a sign of salute when meeting or passing a friend, even a stranger, when in a lonely place. Show respect to all people and grovel to none. When you arise in the morning give thanks for the food and for the joy of living. If you see no reason for giving thanks, the fault lies only in yourself. Abuse no one and no thing, for abuse turns the wise ones to fools and robs the spirit of its vision. When it comes your time to die, be not like those whose hearts are filled with the fear of death, so that when their time comes they weep and pray for a little more time to live their lives over again in a different way. Sing your death song and die like a hero going home.
“He sings the songs of a people and I suspect that he is, in a way, that people.”
As quoted in Woody Guthrie: A Life (1981) by Joe Klein, p. 160
Context: Woody is just Woody. Thousands of people do not know he has any other name. He is just a voice and a guitar. He sings the songs of a people and I suspect that he is, in a way, that people. Harsh voiced and nasal, his guitar hanging like a tire iron on a rusty rim, there is nothing sweet about Woody, and there is nothing sweet about the songs he sings. But there is something more important for those who will listen. There is the will of the people to endure and fight against oppression. I think we call this the American spirit.
Love's Voice (c.1935–1939)
Context: Such fable ours! However sweet,
That earlier hope had, if fulfilled,
Been but child's pap and toothless meat
— And meaning blunt and deed unwilled,
And we but motes that dance in light
And in such light gleam like the core
Of light, but lightless, are in right
Blind dust that fouls the unswept floor
For, no: not faith by fable lives,
But from the faith the fable springs
— It never is the song that gives
Tongue life, it is the tongue that sings;
And sings the song. Then, let the act
Speak, it is the unbetrayable
Command, if music, let the fact
Make music's motion; us, the fable.
And if America is to be a great nation, this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous peaks of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring.
1960s, I Have A Dream (1963)
Greenback Dollar (1963)
Context: When I was a little baby, my mama she said "Son.
Travel where you will and grow to be a man
And sing what must be sung, poor boy
Sing what must be sung."
On leaving the music business in 1979,in an interview with CBS News Sunday Morning (12 August 2007) http://www.cbsnews.com/stories/2006/11/30/sunday/main2221286.shtml
Context: A lot of people would have loved me to keep singing … You come to a point where you have sung, more or less … your whole repertoire and you want to get down to the job of living. You know, up until that point, I hadn't had a life. I'd been searching, been on the road.
With Open Hands (1972)
Context: Only within this kind of life does a spoken prayer make sense. A prayer in church, at table or in school is only a witness to what we want to make of our entire lives. Such a prayer reminds us that praying is living and it invites us to make this an ever-greater reality. Thus, there are as many ways to pray as there are moments in life. Sometimes we seek out a quiet spot and want to be alone, sometimes we look for a friend and want to be together. Sometimes we like a book, sometimes we prefer music. Sometimes we want to sing out with hundreds, sometimes only whisper with a few. Sometimes we want to say it with words, sometimes with a deep silence.
A Tree Telling of Orpheus (1968)
Context: It is said he made his earth-journey, and lost
what he sought.
It is said they felled him
and cut up his limbs for firewood.
And it is said
his head still sang and was swept out to sea singing.
Alexis (1929)
Context: Every silence is composed of nothing but unspoken words. Perhaps that is why I became a musician. Someone had to express this silence, make it render up all the sadness it contained, make it sing as it were. Someone had to use not words, which are always too precise not to be cruel, but simply music.
Source: Hainish Cycle, The Telling (2000), Ch. 4, §3 (pp. 90–91)
Context: One of the historians of Darranda said: To learn a belief without belief is to sing a song without the tune.
A yielding, an obedience, a willingness to accept these notes as the right notes, this pattern as the true pattern, is the essential gesture of performance, translation, and understanding. The gesture need not be permanent, a lasting posture of the mind or heart, yet it is not false. It is more than the suspension of disbelief needed to watch a play, yet less than the conversion. It is a position, a posture in the dance.
Poems and Ballads (1866-89), The Triumph of Time
Context: p>The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder —
These things are over, and no more mine. These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.</p
“There are melodies that must have words… and melodies that sing themselves without words.”
Mekubolim, 1906. Alle Verk, vi. 53.
Context: There are melodies that must have words... and melodies that sing themselves without words. The latter are of a higher grade. But these, too, depend on a voice and lips,... hence are not yet altogether pure, not yet genuine spirit. Genuine melody sings itself without a voice. It sings inside, within the heart, in man's very entrails!
“Let us go singing as far as we go: the road will be less tedious.”
Cantantes licet usque (minus via laedit) eamus.
Book IX, line 64
Eclogues (37 BC)
You think I have a merry heart, reported in Bartlett's Familiar Quotations, 10th ed. (1919). Compare: "I can’t sing. As a singist I am not a success. I am saddest when I sing. So are those who hear me. They are sadder even than I am", Artemus Ward, Lecture.
Main Street and Other Poems (1917), Apology
Context: Lord Byron and Shelley and Plunkett,
McDonough and Hunt and Pearse
See now why their hatred of tyrants
Was so insistently fierce.
Is Freedom only a Will-o'-the-wisp
To cheat a poet's eye?
Be it phantom or fact, it's a noble cause
In which to sing and to die!
Rolling Stone interview (2005)
Context: I was in my room listening on headphones on a tape recorder. It's very intimate. It's like talking to somebody on the phone, like talking to John Lennon on the phone. I'm not exaggerating to say that. This music changed the shape of the room. It changed the shape of the world outside the room; the way you looked out the window and what you were looking at.
I remember John singing "Oh My Love." It's like a little hymn. It's certainly a prayer of some kind — even if he was an atheist. "Oh, my love/For the first time in my life/My eyes can see/I see the wind/Oh, I see the trees/Everything is clear in our world." For me it was like he was talking about the veil lifting off, the scales falling from the eyes. Seeing out the window with a new clarity that love brings you. I remember that feeling.
Yoko came up to me when I was in my twenties, and she put her hand on me and she said, "You are John's son." What an amazing compliment!
Man a Machine (1747)
Context: Among animals, some learn to speak and sing; they remember tunes, and strike the notes as exactly as a musician. Others, for instance the ape, show more intelligence... would it be absolutely impossible to teach the ape a language? I do not think so.<!--pp.100-102
Source: 1840s, Narrative of the Life of Frederick Douglass, An American Slave (1845), Ch. 2
Context: 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.
As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 226
Context: I wish to write down my musical dreams in a spirit of utter self-detachment. I wish to sing of my interior visions with the naïve candour of a child. No doubt, this simple musical grammar will jar on some people. It is bound to offend the partisans of deceit and artifice. I foresee that and rejoice at it. I shall do nothing to create adversaries, but neither shall I do anything to turn enmities into friendships. I must endeavour to be a great artist so that I may dare to be myself and suffer for my faith. Those who feel as I do will only appreciate me more. The others will shun and hate me. I shall make no effort to appease them. On that distant day — I trust it is still very far off — when I shall no longer be a cause of strife, I shall feel bitter self-reproach. For that odious hypocrisy which enables one to please all mankind will inevitably have prevailed in those last works.
Stephen Fry, talking about his work with Kate on 50 Words for Snow, and the credits on the album.
2010s, The Kate Bush Story (2014)
Context: I was called by my agent, who said "Would you like to record a track with Kate Bush?" To which there is only F-ing one possible answer. Unless its me singing. I said, "She does know I can't sing?" "No-no-no, it would be voicing, saying words for snow. … I still can't believe it says "Kate Bush-Stephen Fry."
G 4
Variant translations:
It is almost impossible to carry the torch of wisdom through a crowd without singeing someone's beard.
It is virtually impossible to carry the torch of truth through a crowd, without singeing someone's beard
Aphorisms (1765-1799), Notebook G (1779-1783)
“They shall not live who have not tasted death.
They only sing who are struck dumb by God.”
"Poets"
Trees and Other Poems (1914)
Context: p>Vain is the chiming of forgotten bells
That the wind sways above a ruined shrine.
Vainer his voice in whom no longer dwells
Hunger that craves immortal Bread and Wine. Light songs we breathe that perish with our breath
Out of our lips that have not kissed the rod.
They shall not live who have not tasted death.
They only sing who are struck dumb by God.</p
Source: The Sacred Depths of Nature (1998), p. 139
Context: For me, and probably for all of us, the concept of a personal, interested god can be appealing, often deeply so. In times of sorrow or despair, I often wonder what it would be like to be able to pray to God or Allah or Jehovah or Mary and believe that I was heard, believe that my petition might be answered. When I sing the hymns of faith in Jesus' love, I am drawn to their intimacy, their allure, their poetry. But in the end, such faith is simply not available to me. I can’t do it. I lack the resources to render my capacity for love and my need to be loved to supernatural Beings. And so I have no choice but to pour these capacities and needs into earthly relationships, fragile and mortal and difficult as they often are.
Poems and Ballads (1866-89), The Triumph of Time
Context: p>The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder —
These things are over, and no more mine. These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.</p
On the outbreak of the First World War, from Epigrams (1916).
Statement quoted in Prophet Singer: The Voice And Vision of Woody Guthrie (2007) by Mark Allan Jackson. There are a few slight variants of this statement, which seems to have originated in a performance monologue.
Context: I hate a song that makes you think that you are not any good. I hate a song that makes you think that you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Because you are too old or too young or too fat or too slim too ugly or too this or too that. Songs that run you down or poke fun at you on account of your bad luck or hard traveling. … I am out to fight those songs to my very last breath of air and my last drop of blood.
I am out to sing songs that will prove to you that this is your world and that if it has hit you pretty hard and knocked you for a dozen loops, no matter what color, what size you are, how you are built, I am out to sing the songs that make you take pride in yourself and in your work.
And the songs that I sing are made up for the most part by all sorts of folks just about like you. I could hire out to the other side, the big money side, and get several dollars every week just to quit singing my own kind of songs and to sing the kind that knock you down still farther and the ones that poke fun at you even more and the ones that make you think you've not any sense at all. But I decided a long time ago that I'd starve to death before I'd sing any such songs as that. The radio waves and your movies and your jukeboxes and your songbooks are already loaded down and running over with such no good songs as that anyhow.
“Sing boldly, O spouses of a Bridegroom such as mine!”
From The Epithalamium
Context: Sing boldly, O spouses of a Bridegroom such as mine! you, I say, whom are my companions in this fate and enjoyment so happy as ours! Sing at my happy insistence as I will sing by yours, a new song containing endless praises of the infinitely excessive grandeur and love of our Bridegroom, coming to so admirably espouse us, to deiformly deify us of him and in him, and to make us oneself of oneself.
“Sing, laugh; be happy, be famous;
Each one of you will soon be in the darkness.”
“I would rather be dead than singing Satisfaction when I am 45.”
Last paragraph of the first edition (1859). Only use of the term "evolve" or "evolution" in the first edition.
In the second http://darwin-online.org.uk/content/frameset?pageseq=508&itemID=F376&viewtype=image (1860) through sixth (1872) editions, Darwin added the phrase "by the Creator" to read:
There is grandeur in this view of life, with its several powers, having been originally breathed by the Creator into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.
Source: On the Origin of Species (1859), chapter XIV: "Recapitulation and Conclusion", page 489-90 http://darwin-online.org.uk/content/frameset?pageseq=508&itemID=F373&viewtype=image
On her Communist upbringing in “The SRB Interview: Jackie Kay” https://www.scottishreviewofbooks.org/2016/03/the-srb-interview-jackie-kay/ in the Scottish Review of Books (2016 Mar 21)
Overcome Depression and Gloom
Autobiography of Swami Sivananda
Chronicle "Interdit aux hommes" (Forbidden to men), by Doris Veillette-Hamel, Journal Le Nouvelliste, December 22, 1973, page 37.
Chronicle "Forbidden to men", 1973
http://www.coldplay.com/flaming-lips-interview/ source
Jeff Ament talking about Cornell on NBA.com podcast NBA Soundsystem ** Pearl Jam's Jeff Ament on Chris Cornell's death and depression, 30 May 2017 https://www.youtube.com/watch?v=9buvTFxf2EA,
Chris Cornell Talks Missing Andrew Wood, Writing Songs In the Bathroom: Unpublished 2015 Interview Excerpts, Billboard, 19 May 2017 https://www.billboard.com/articles/columns/rock/7801053/chris-cornell-2015-interview-higher-truth,
On songwriting
On her 1980 album Happy Woman Blues in “Lucinda Williams Looks Back on Every Album She’s Ever Made” https://www.spin.com/2016/02/lucinda-williams-ghosts-of-highway-20-car-wheels-on-a-gravel-road-interview/ in Spin (2016 Feb 25)
Source: Lady Sings the Blues (1956), Ch. 23.
M. Walshe, trans. (1987), Sutta 1, verse 1.13
Pali Canon, Sutta Pitaka, Digha Nikaya (Long Discourses)
I got the job – much to my parents’ horror, who wanted me to keep my respectable job, but I was determined to become an actress.
Whatever happened to Bond Girl Valerie Leon? http://www.express.co.uk/life-style/life/614933/Bond-Girl-Valerie-Leon-career-life (November 2, 2015)
“I would give anything if I could sing like George Jones.”
Waylon Jennings, The True Genius of George Jones http://www.slate.com/blogs/browbeat/2013/04/26/george_jones_died_the_country_music_legend_was_a_genius_video.html.
Garimella Subramaniam in: "A musical colossus".
K.M Panikkar quoted in pp.63-64
About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...
“Sorry, I don’t understand ragas. Just show me the tune and I sing.”
Then sing anything you like, said Boral, and Saigal started singing something in Raag Asawari.
In Begum Akhtar the Undisputed Malika of Ghazals, 28 September 2012, accessdate3 January 2014, New Age Islam http://www.newageislam.com/islamic-culture/begum-akhtar-the-undisputed-malika-of-ghazals/d/8820,
Mick Jagger’s views Superheavy, 16 December 2013, Official website of ARRahman http://www.arrahman.com/superheavy.aspx,
Noted by Gokhale who was traveling with him by train. Quoted quoted in "Mahadev Govind Ranade" in page=104
Bala would imitate him, both dancing like monkeys... All of us tried to snub him but the beggar could not be turned out. It meant a few coins for him; he made a regular visit to our house and the two used to dance. That was the real starting point for Bala’s dancing mania.
Mahatma Gandhi quoted here.[Johri, Meera, Greatness of Spirit: Profiles of Indian Magsaysay Award Winners, http://books.google.com/books?id=j1iegDJAYakC&pg=PA55, 2010, Rajpal & Sons, 978-81-7028-858-9, 58]
About M.S.
Stephen Fry, [July 28, 2011, http://www.digster.co.uk/playlists/rufus-wainwright-by-stephen-fry/, Rufus by Stephen Fry]
Source: The Name of the Wind (2007), Chapter 14, “The Name of the Wind” (p. 113)
I loved to sing and I was given lots of encouragement by a wonderful music teacher Mrs Ann Hill and by my parents who suggested I go to drama school.
As quoted in "Angie Davidson Interviews Elaine Paige" by Angie Davidson in lupus.org.uk http://www.lupus.org.uk/article.php?i=159 (2005)
Douglas Payne of Travis from Dream Brother (the book) written by David Browne.