Prelude

[ ▲A p o l l o § A r †▼ ]
[ T w o H u s s a r s ]
[ E c c 3 : 4 ]
[ S t e r e o s c e n i c ]

"Under the ban, --
So, ye have wrought me
Designs on the night of our knowledge, -- yea, ye have taught me,
So,
That haply we know somewhat more than we know.

Ye lispers, whisperers, singers in storms,
Ye consciences murmuring faiths under forms,
Ye ministers meet for each passion that grieves,
Friendly, sisterly, sweetheart leaves,
Oh, rain me down from your darks that contain me
Wisdoms ye winnow from winds that pain me, --
Sift down tremors of sweet-within-sweet
That advise me of more than they bring, -- repeat
Me the woods-smell that swiftly but now brought breath
From the heaven-side bank of the river of death, --
Teach me the terms of silence, -- preach me
The passion of patience, -- sift me, -- impeach me, --
And there, oh there
As ye hang with your myriad palms upturned in the air,
Pray me a myriad prayer.
My gossip, the owl, -- is it thou
That out of the leaves of the low-hanging bough,"

“The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?”

https://www.everydayknow.com/positive-words-that-start-with-k/

"The keynote of the stylization achieved in ballet is: weightlessness. Paradoxically, ballet presents man as almost disembodied: it does not distort man’s body, it selects the kinds of movements that are normally possible to man (such as walking on tiptoe) and exaggerates them, stressing their beauty—and defying the law of gravitation. A gracefully effortless floating, flowing and flying are the essentials of the ballet’s image of man. It projects a fragile kind of strength and a certain inflexible precision, but it is man with a fine steel skeleton and without flesh, man the spirit, not controlling, but transcending this earth . . . .

Strong passions or negative emotions cannot be projected in ballet, regardless of its librettos; it cannot express tragedy or fear—or sexuality; it is a perfect medium for the expression of spiritual love."

"As Opposed To What?"

"Almost every wise saying has an opposite one, no less wise, to balance it."

“All the works of man have their origin in creative fantasy. What right have we then to depreciate imagination?”

[ H y p e r b o r e a ]
[ T h e E a s t E n d ]

We play without words to communicate without language.  

Prelude

This Patch of Sky