The heaventree of stars hung with humid nightblue fruit.
James JoyceRead
Lord, heap miseries upon us yet entwine our arts with laughters low.
Interpretation
Joy can coexist with suffering, and creativity often arises from hardship.
In this quote, James Joyce highlights the complex relationship between art and suffering, suggesting that even in the face of hardships and miseries, there is a potential for creativity and joy, often expressed through laughter. The contradictory nature of experiencing both pain and art calls attention to the resilience of the human spirit and the transformative power of artistic expression.
In practice
During an art exhibition, this quote can inspire viewers to appreciate the depth of emotions behind each piece.
The heaventree of stars hung with humid nightblue fruit.
I think a child should be allowed to take his father's or mother's name at will on coming of age. Paternity is a legal fiction.
If he had smiled why would he have smiled? To reflect that each one who enters imagines himself to be the first to enter whereas he is always the last term of a preceding series even if the first term of a succeeding one, each imagining himself to be first, last, only and alone whereas he is neither first nor last nor only nor alone in a series originating in and repeated to infinity.
Gentle lady, do not sing Sad songs about the end of love; Lay aside sadness and sing How love that passes is enough. Sing about the long deep sleep Of lovers that are dead, and how In the grave all love shall sleep: Love is aweary now.
I am tomorrow, or some future day, what I establish today. I am today what I established yesterday or some previous day.
The movements which work revolutions in the world are born out of the dreams and visions in a peasant's heart on the hillside.
I would wish my portraits to be of the people, not like them. Not having a look of the sitter, being them.
It's very important that when you have a designer like Marc Jacobs, who is a genius, you give him complete freedom.
We used to make patterns in the dirt, hanging our feet off the horse-drawn farm equipment. We made endless hourglass figures that I now see as the forms within forms in my crocheted wire sculptures.
Since the beginning of the 20th century, the public's relationship to art has been weakened by a profound institutional reluctance to address the question of what art is for. This is a question that has, quite unfairly, come to feel impatient, illegitimate, and a little impudent.
Conception, my boy, fundamental brain work, is what makes all the difference in art.
Thus the man who is responsive to artistic stimuli reacts to the reality of dreams as does the philosopher to the reality of existence; he observes closely, and he enjoys his observation: for it is out of these images that he interprets life, out of these processes that he trains himself for life.
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