The heaventree of stars hung with humid nightblue fruit.
James JoyceRead
He wanted to cry quietly but not for himself: for the words, so beautiful and sad, like music.
Interpretation
The quote reflects on the profound emotional connection to beautiful yet melancholic words, akin to music.
In this quote, James Joyce expresses the deep emotional impact of language that evokes sadness and beauty. The act of wanting to cry for these words suggests an appreciation for their artistic quality, where the emotional resonance is felt not for personal reasons but for the inherent beauty and sadness they convey, similar to the stirring effect of music on the soul.
In practice
In a poetry reading, quoting this can emphasize the emotional depth of the poems being recited.
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 was born in a world of opera, theatre, films, poetry, art, and therefore, out of the wire, I made a stage. That's why they call me a high wire artist.
All music is just a collision of sounds until you know its internal conventions and understand the nuances. It's a question of familiarity.
Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused
We think of photography as pictures. And it is. But I think of photography as ideas. And do the pictures sustain your ideas or are they just good pictures? I want to have an experience in the world that is a deepening experience, that makes me feel alive and awake and conscious.
I originally wanted to embrace the imagery and forthrightness of rap music. There are some interesting, dynamic voices in rap. But I find most of it irresponsible in its overt violence and commercialization of anger. As artists, we believe we can will action through language. If that's the case, we have to take responsibility for what we say.
Subscribe for the occasional hand-picked quote. No noise.