There is no feeling, except the extremes of fear and grief, that does not find relief in music.
T. S. EliotRead
The last thing one discovers in composing a work is what to put first.
Interpretation
This quote highlights the difficulty of deciding the order in which to present creative ideas.
T. S. Eliot's quote reflects the complexity and nuances involved in the creative process, particularly in art and writing. It suggests that the final decisions about the arrangement of elements in a work often come only after the creative process is nearly complete, emphasizing the importance of careful consideration and thoughtfulness in presenting ideas effectively.
In practice
In a speech about the challenges of the creative process, one might say, 'As T. S. Eliot noted, the last thing one discovers in composing a work is what to put first.'
There is no feeling, except the extremes of fear and grief, that does not find relief in music.
Half of the harm that is done in this world is due to people who want to feel important. They don't mean to do harm. But the harm does not interest them.
I am an Anglo-Catholic in religion, a classicist in literature and a royalist in politics.
If you aren't in over your head, how do you know how tall you are?
For I have known them all already, known them allβ Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons.
In the faint moonlight, the grass is singing
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
If there is such a thing for Sparks as a mission statement, it's more general in that we want each new album to be musically and lyrically provocative. We want to really go at it as though this might be the first album that anyone will ever hear of Sparks.
My characters live inside my head for a long time before I actually start a book about them. Then, they become so real to me I talk about them at the dinner table as if they are real. Some people consider this weird. But my family understands.
Conceptually, I am open to mistakes - errors, actually. I do play lots of wrong notes while I am making some music, and a mistake or a wrong note is like a gift for me: 'Oh, wow, an unknown sound or an unknown harmony. I didn't know about this.'
In those days, a gay man was made to feel nothing but shame about his feelings and his sexuality. I wanted my drawings to counteract that, to show gay men being happy and positive about who they were. Oh, I didn't sit down to think this all out carefully. But I knew - right from the start - that my men were going to be proud and happy men!
I am imbued with the notion that a Muse is necessarily a dead woman, inaccessible or absent; that a poetic structure - like the canon, which is only a hole surrounded by steel - can be based only on what one does not have; and that ultimately one can write only to fill a void or at the least to situate, in relation to the most lucid part of ourselves, the place where this incommensurable abyss yawns within us.
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