“Tears, that could be the tone, if they weren't so easy, the true tone and tenor at last.”

—  Samuel Beckett , book Texts for Nothing

Texts for Nothing (1955)

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Tears, that could be the tone, if they weren't so easy, the true tone and tenor at last." by Samuel Beckett?
Samuel Beckett photo
Samuel Beckett 122
Irish novelist, playwright, and poet 1906–1989

Related quotes

Waldemar Łysiak photo

“We all make mistakes - we fall in love with tenors and sopranoes even though tenors are as dumb as quarrelsome women, because high tones damage their brains.”

Waldemar Łysiak book Kielich

Kielich (2002)

Henry Van Dyke photo

“So in the heart,
When, fading slowly down the past,
Fond memories depart,
And each that leaves it seems the last;
Long after all the rest are flown,
Returns a solitary tone,—
The after-echo of departed years,—
And touches all the soul to tears.”

Henry Van Dyke (1852–1933) American diplomat

The After-Echo, st. 2 (1871).

Chi­ma­man­da Ngo­zi Adi­chie photo

“You know, you’re a feminist.” It was not a compliment. I could tell from his tone—the same tone with which a person would say, “You’re a supporter of terrorism.”

Chi­ma­man­da Ngo­zi Adi­chie We Should All Be Feminists

Source: We Should All Be Feminists

Arnold Schoenberg photo

“My works are 12-tone compositions, not 12-tone compositions”

Arnold Schoenberg (1874–1951) Austrian-American composer

Stuckenschmidt, Hans Heinz. 1977, in Schoenberg: His Life, World and Work; translated from the German by Humphrey Searle. p. 349.
after 1930

Mikhail Bulgakov photo

“There was something uncommonly fake and uncertain in every line of these articles, depite their threatening and self-assured tone. I kept thinking... that the authors of these articles weren't saying what they wanted to say, and that that was why they were so furious.”

Mikhail Bulgakov book The Master and Margarita

Book One in 'Enter the Hero', B/O
The Master and Margarita (1967)

“Pedants and snobs are fond of declaring that only accomplished French speakers can catch Proust's tone. That might be so, but the tone is only one of the things to be caught.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Marcel Proust', p. 579
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Paul Signac photo

“Of the three primary colors, the three binary ones are formed. If you add to one of these the primary tone that is its opposite, it cancels it out. This means that you produce the required half-tone. Therefore, adding black is not adding a half-tone, it is soiling the tone whose true half-tone resides in this opposite me have just described. Hence the green shadows found in red. The heads of the two little peasants. The yellow one had purple shadows; the redder and more sanguine one had green ones.”

Paul Signac (1863–1935) French painter

Quoted by Maria Buszek, online - note 19 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf
The notebook where this sentence appears was only published, in facsimile, in 1913 by J. Guiffrey. Signac therefore must have consulted it at the Conde Museum, in Chantilly. This Moroccan travel document was bought at the Delacroix sale by the painter Dauzats for the Duc of Aumale.
From Delacroix to Neo-Impressionism, 1899

Emil M. Cioran photo

“We say: he has no talent, only tone. But tone is precisely what cannot be invented — we're born with it. Tone is an inherited grace, the privilege some of us have of making our organic pulsations felt — tone is more than talent, it is its essence.”

Emil M. Cioran book The Trouble With Being Born

The Trouble With Being Born (1973)

Abu Hamid al-Ghazali photo

“Adopt a gentle tone when speaking, for verily the tone at times, has a greater impact than the speech.”

Abu Hamid al-Ghazali (1058–1111) Persian Muslim theologian, jurist, philosopher, and mystic

“If…[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.”

George Perle (1915–2009) American composer

Page 98
See: Common practice period, Twelve-tone technique
The Listening Composer

Related topics