Occupations

"Ils chantent, ils payeront."

"God sent his Singers upon earth With songs of sadness and of mirth, That they might touch the hearts of men, And bring them back to heaven again."

"Sang in tones of deep emotion, Songs of love and songs of longing."

"He the sweetest of all singers."

"So she poured out the liquid music of her voice to quench the thirst of his spirit."

"Then they began to sing That extremely lovely thing, "Scherzando! ma non troppo, ppp.""

"When I but hear her sing, I fare Like one that raised, holds his ear To some bright star in the supremest Round; Through which, besides the light that's seen There may be heard, from Heaven within, The rests of Anthems, that the Angels sound."

"I see you have a singing face — a heavy, dull, sonata face."

"Olympian bards who sung Divine ideas below, Which always find us young And always keep us so."

"Y'ought to hyeah dat gal a-warblin' Robins, la'ks an' all dem things Heish de mouffs an' hides dey faces When Malindy sings."

"At every close she made, th' attending throng Replied, and bore the burden of the song: So just, so small, yet in so sweet a note, It seemed the music melted in the throat."

"Quien canta, sus males espanta."

"Ce qui ne vaut pas la peine d'être dit, on le chante."

"If I cannot sing where there is death, then I cannot sing in life, because life is a continuous death."

"A singer … is no more than an actor set to music."

"Sing, sing a song Sing out loud, sing out strong Sing of good things not bad Sing of happy not sad. Sing, sing a song Make it simple to last your whole life long Don't worry that it's not good enough For anyone else to hear Just sing, sing a song."

"She loves to laugh; she loves to sing. She does everything."

"Among one’s human incarnations there is invariably found an incarnation devoted to rhythmic labor. Whether this be some sort of craftsmanship or music, singing or farm work, every man infallibly will cultivate in himself the rhythm which fills all of life. Upon learning of certain incarnations, people frequently are astonished as to why they should have been so insignificant. But in them there was being worked out the rhythm of labor. One of the greatest of qualities, this must be acquired through conflict and patience. 49."

"People feel sometimes something singing within them. Such a song is never disharmonious. One can rejoice when such vibrations stir one’s being. 18."

"Once, according to an old legend, there came a messenger from a distant world to give people equality, brotherhood and joy. Long since had people forgotten their songs. They remained in a stupor of hate. The messenger banished darkness and crowdedness, smote infection, and instituted joyful labor. Hatred was stilled, and the sword of the messenger remained on the wall. But all were silent and knew not how to begin singing. Then the messenger assembled the little children, led them into the woods, and said to them: “These are your flowers, your brooks, your trees. No one has followed us. I shall rest—and you fill yourselves with joy.” Thereupon, timidly they ventured into the forest. At last the littlest one came to a meadow and sighted a ray of the sun. Then a yellow oriole sounded its call. The little one followed it, whispering. And soon joyously he sang out, “The sun is ours!” One by one the children gathered upon the meadow, and a new hymn to Light rang out. The messenger said: “Man has again begun to sing. Come is the date!” 162"

"You know about the special musical instruments that are in Our possession. Urusvati has heard them. The refined scale and rhythm of Sister Oriole should be acknowledged as the highest harmony. Often such singing has served to bring peace to the world... One should learn how to develop one’s own musicality by all possible means. The heart’s feeling is sensed not in the words themselves but in their sound. There can be no irritation in harmony. Malice cannot exist where the spirit ascends. It is not by chance that in antiquity the epic scriptures were sung, not only to facilitate memorizing but also for inspiration. Likewise, it is rhythm and harmony that protect us against fatigue. The quality of music and rhythm should be developed from infancy."

"Urusvati has developed her musical talent beautifully. This proficiency is achieved as the result of much labor in other lives. According to the Teachings of Plato, music should not be understood in the narrow sense of music alone, but as participation in all the harmonious arts. In singing, in poetry, in painting, in sculpture, in architecture, in speech, and, finally, in all manifestations of sound, musicality is expressed. In Hellas a ceremony to all the Muses was performed. Tragedy, dance, and all rhythmic movement served the harmony of Cosmos. Much is spoken about beauty, but the importance of harmony is little understood. Beauty is an uplifting concept, and each offering to beauty is an offering to the equilibrium of Cosmos. Everyone who expresses music in himself sacrifices, not for himself, but for others, for humanity, for Cosmos. Perfection of thought is an expression of beautiful musicality. The highest rhythm is the best prophylaxis, a pure bridge to the highest worlds. Thus We affirm Beauty in Our Abode. Urusvati has noted that the music of the spheres is characterized by a harmony of rhythm. It is precisely this quality that brings inspiration to humanity. People usually do not think about the sources of inspiration, but if they did they would help Our work greatly. 42."

"Be like the grasshopper and make night musical. Nightly wash your bed and water your couch with your tears. Watch and be like the sparrow alone upon the housetop. Sing with the spirit, but sing with the understanding also. 1 Corinthians 14:15 And let your song be that of the psalmist: Bless the Lord, O my soul; and forget not all his benefits; who forgives all your iniquities; who heals all your diseases; who redeems your life from destruction. Can we, any of us, honestly make his words our own: I have eaten ashes like bread and mingled my drink with weeping? Yet, should we not weep and groan when the serpent invites us, as he invited our first parents, to eat forbidden fruit, and when after expelling us from the paradise of virginity he desires to clothe us with mantles of skins such as that which Elijah, on his return to paradise, left behind him on earth? 2 Kings 2:13 Say to yourself: What have I to do with the pleasures of sense that so soon come to an end? What have I to do with the song of the sirens so sweet and so fatal to those who hear it?"

"Three merry boys, and three merry boys, And three merry boys are we, As ever did sing in a hempen string Under the gallow-tree."

"Come, sing now, sing; for I know you sing well; I see you have a singing face."

"The softer you sing, the louder you're heard."

"I suffer so much in this life, Doro. That is what they feeling when I sing, that is why they cry. People who felt nothing in this life cannot sing. Once I had a great suffering and from it came a new voice."

"Let's sing now because life is leaving"

"The tenor's voice is spoilt by affectation, And for the bass, the beast can only bellow; In fact, he had no singing education, An ignorant, noteless, timeless, tuneless fellow."

"Debe ser la caricia de lo inútil,/la tristeza sin fin de ser poeta,/de cantar y cantar, sin que se rompa/la tragedia sin par de la existencia."

"I saw the people gather/I heard the music start/The song that they were singing/Is ringing in my heart"

"[W]ant to bring it? Bring it. But, we ain't singing. We're bringing drama."

"Si calceum induisses, tum demum sentires qua parte te urgeret."

"The shoemaker makes a good shoe because he makes nothing else."

"I can tell where my own shoe pinches me."

"Ye tuneful cobblers! still your notes prolong, Compose at once a slipper and a song; So shall the fair your handiwork peruse, Your sonnets sure shall please—perhaps your shoes."

"Him that makes shoes go barefoot himself."

"To one commending an orator for his skill in amplifying petty matters, Agesilaus said: "I do not think that shoemaker a good workman that makes a great shoe for a little foot.""

"A cobbler, * * * produced several new grins of his own invention, having been used to cut faces for many years together over his last."

"If a singer knows only one song but makes the sound pleasant, he is indeed a singer! [...] When a singer's voice is sweet, he is indeed a singer."

"Sing, sing freely"

"Sing again, with your dear voice revealing A tone Of some world far from ours, Where music and moonlight and feeling Are one."

"But one puritan amongst them, and he sings psalms to hornpipes."

"Nay, now you are too flat And mar the concord with too harsh a descant."

"Modern technology has revealed an irrefutable, if unpopular, truth: many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted. Marble was a precious material for Greco-Roman artisans, but it was considered a canvas, not the finished product for sculpture. It was carefully selected and then often painted in gold, red, green, black, white, and brown, among other colors."

"You are fifty years old and would worship a day old statue!"

"Pioneers in the field of sexology in the early 20th century such as Iwan Bloch, Havelock Ellis, Richard von Krafft-Ebing, and Magnus Hirschfeld, have referenced statue love in their research. A French journal dated March 4th, 1877 published a story which describes the case of a gardener who falls in love with a statue of Venus de Milo and was found attempting coitus with it (Krafft-Ebing, 1965/1978). Krafft-Ebing describes these types of acts: “Violation of statues...they always give the impression of being pathological...these cases stand in etiological relation with abnormally intense libido and defective virility or courage, or lack of opportunity for normal sexual gratification” (p. 351). Hirschfeld’s Sexual Pathology (1940) considers Pygmalionism as inclusive of more “primitive” human simulacra than statues: To be sure the nature of Pygmalionism does not exhaust itself in love of statues as such, but also in the artificial, and occasionally artistic, construction of a figure corresponding to the inner desire whose sight and contact, which may go so far as actions similar to cohabitation, bring about physical and psychic relief...I have seen dolls which a prisoner made as a substitute for a woman. We are justified only to a certain extent in speaking of hypereroticism in such makeshift intercourse. (p. 226) Hirschfeld goes on to differentiate between a type of “makeshift intercourse” and fetish: “hypererotic excitation is evoked usually not only through the similarity to humanity alone, but through some special property of the statue, much as the necrophile is attracted to the course by the cool skin...” (Hirschfeld, 1940, p. 227)."

"Statues in ancient Greece and Rome were often placed at street level, tinted with accurate colors, and displayed free of barricades, (Ellis, 1942) (Hersey, 2009), thereby making them more lifelike and accessible to touch than most statues today. Statues and life-sized automata were incorporated in religious and sex practices in ancient times. Ptolemaic statue marriages of ancient Greece occurred when a ruler or religious leader wed a statue of Aphrodite (Hersey, 2009). Ancient literary and historical accounts describe the sexual use of statues and automata in Dionysian orgies (Hersey, 2009)."

"“But that is what this sculpture is all about, Marie,” Aki said. He was talking faster now, gesticulating. “I hold the mirror up to nature and within the mirror there's another mirror that mirrors the mirrored nature I've created…reflections within reflections…art within art…the truth only agonizingly, momentarily glimpsed…and that which is most beautiful is that which remains unseen…come on, Marie. You will get to see my hidden world."

"Tacitus says, that the Jews held God to be something eternal and supreme, neither subject to change nor to decay; therefore, they permit no statues in their cities or their temples. The universal Being can only be described or defined by negatives which deny his subjection to the laws of all inferior existences. Where indefiniteness ends, idolatry and anthropomorphism begin."