Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.
Fair Flora! Now attend thy sportful feast,
Of which some days I with design have past;
A part in April and a part in May
Thou claim'st, and both command my tuneful lay;
And as the confines of two months are thine
To sing of both the double task be mine.
When I analyse myself and my reactions or behaviour, there is the act and the actor. There is a division between the two and that creates conflict between "what is" and "what should be".
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
There are two main human sins from which all the others derive: impatience and indolence. It was because of impatience that they were expelled from Paradise; it is because of indolence that they do not return. Yet perhaps there is only one major sin: impatience. Because of impatience they were expelled, because of impatience they do not return.
There are two powers that alone can effect in their conjunction the great and dificult thing which is the aim of our endeavour, a fixed and unfailing aspiration that calls from below and a supreme Grace from above that answers.
There are two ways of dealing with nonsense in this world. One way is to put nonsense in the right place; as when people put nonsense into nursery rhymes. The other is to put nonsense in the wrong place; as when they put it into educational addresses, psychological criticisms, and complaints against nursery rhymes or other normal amusements of mankind.
There are two kinds of paradoxes. They are not so much the good and the bad, nor even the true and the false. Rather they are the fruitful and the barren; the paradoxes which produce life and the paradoxes that merely announce death. Nearly all modern paradoxes merely announce death.
Twenty bridges from Tower to Kew — (Twenty bridges or twenty two) — Wanted to know what the River knew, For they were young, and the Thames was old And this is the tale that River told.
You have two types of writers: one like Proust who was locked in his room and wrote the masterpiece. And the other type was Hemingway who celebrated life and also wrote a masterpiece.