Sex contains all, Bodies, Souls, meanings, proofs, purities, delicacies, results, promulgations, Songs, commands, health, pride, the maternal mystery, the seminal milk; All hopes, benefactions, bestowals, All the passions, loves, beauties, delights of the earth, All the governments, judges, gods, follow'd persons of the earth, These are contain'd in sex, as parts of itself, and justifications of itself.
A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
Even now, when you get love, you see Radha. Become Radha and be saved. There is no other way, Christians do not understand Solomon's song. They call it prophecy symbolising Christ's love for the Church. They think it nonsense and father some story upon it.
Genial manners are good, and power of accommodation to any circumstance, but the high prize of life, the crowning fortune of a man is to be born with a bias to some pursuit, which finds him in employment and happiness, -- whether it be to make baskets, or broadswords, or canals, or statutes, or songs. I doubt not this was the meaning of Socrates, when he pronounced artists the only truly wise, as being actually, not apparently so.
Now I will do nothing but listen to accrue what I hear into this song. To let sounds contribute toward it. I hear the sound I love. The sound of the human voice. I hear all sounds running together.
My people couldn't have survived slavery without having hope that it would get better. And there's some songs from the 19th and 18th century that say [sings], "By and by, by and by, I will lay down, this heavy load." And I mean, so many songs that spoke of hope and understand it better by and by. Amazing songs. So that the slaves, just knowing that he, she, did not have the right legally to walk within one inch away from where the slave owner dictated, and yet the same person, wrote and sang with fervor, "If the lord wants somebody, here am I, send me." It's amazing.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.
Of all the girls I ever knew
some loved and some denied me
And all the words I ever said
have been no use to hide me
And all the songs I ever sung
each one of them untied me
And all the girls I ever loved
have left themselves inside me.
Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rims at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen?
For flowers that bloom about our feet; For tender grass, so fresh, so sweet; For song of bird, and hum of bee; For all things fair we hear or see, Father in heaven, we thank Thee!
When I want to party, I play Beyoncé's "Crazy in Love." That's always been the song that my friends and I get ready to; or before I go on a first date, I play it to feel sexy.