May Moorland weavers boast Pindaric skill, And tailors' lays be longer than their bill! While punctual beaux reward the grateful notes, And pay for poems--when they pay for coats.
If the heart of a man is depressed with cares, The mist is dispell'd when a woman appears; Like the notes of a fiddle, she sweetly, sweetly Raises the spirits, and charms our ears.
Of all the horrid, hideous notes of woe, Sadder than owl-songs or the midnight blast; Is that portentous phrase, "I told you so.
All human love is a faint type of God's; An echoing note from a harmonious whole; A feeble spark from an undying flame; A single drop from an unfathomed sea: But God's is infinite; it fills the earth And heaven, and the broad, trackless realms of space.
The best notes are action-based and less, I don't know, heady, theoretical, because, as actors, we're too much in our heads anyway.
Making a painting is like playing the saxophone. You hit the note and it comes out.
If you go to Japan, they're still buying vinyl, and they want the education. They know who's playing on what tracks from the '60s and the '70s - who the guitar player is, who the drummer is, who the producer was, what studio it was recorded in. That's how I grew up listening to music. We bought albums. We read the liner notes. It was important to know the whole history behind it.
An important factor to note is that it's rare for anyone to sell a first novel written before they turned 30-35; long-format fiction tends to require a bunch of experience of human life that takes time to acquire. So your average mid-career novelist is in their forties to fifties!
It's impossible to write about the Kennedy assassination and its aftermath without taking note of twenty-five years of paranoia which has collected around that event.
I value my correspondence with writers...I was in New York and had lunch with Oliver Sachs and compared notes with him - he is someone I really like. I love staying in written correspondence with some writers. That's enough for me.
I was quite shocked at the tone I took and the judgements I had of the relationship that she embarked on, you know, sex with a minor. But it's the stuff of great drama.
Maybe this is my morality coming in again but it was important to me that the actor [ in Notes On A Scandal] was above the age of consent. Although really, what's the difference between 15 and 16? It's the law, yeah, but he's very mature.
Note to self: If you can't hear God when you pray, shut up.
There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.
It is worthy of note that the Chinese and Japanese characters for money and gold are the same.
It is the human things that make life good, the unexpected kindness, the friendly note, the bracing word, the neighbour's extra loaf of bread she leaves at our back door.
In spite of all that doctors know, and their studies never end, the best cure of all when spirits fall is a kind note from a friend.
We can no more enjoy life by hoping for a future result than we can enjoy music by waiting for the final note.
It can't be any new note. When you look at the keyboard, all the notes are there already. But if you mean a note enough, it will sound different. You got to pick the notes you really mean!
Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.
Almost any problem, whether it's telling a family story, or telling a network-quality story, or answering a network note, becomes essentially instantly solvable, because you have a bunch of brains sitting in a room.
I do try to plot about a chapter ahead once I get going. I have a list of upcoming scenes with little notes about them. But sometimes the story changes and I don't end up following that.
I played the wrong wrong notes.
It is interesting to note that the best periods of Italian Horror films came out of the Sixties, when Italy was enjoying a carnival period of phenomenal optimism, and the shadowy side surfaced with all of its attendant dark, beautiful, baroque, catholic symbolism.
Any work of art represents a series of conscious choices on the part of the artist - what color to paint, what note to play, what word to use - in that artist's attempt to share what is in his or her soul. The audience is free to accept or reject those choices; it is emphatically not free to substitute its own.
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