auditorium QUOTES

4 " The part of thinking that’s easy to handle is the part that works by analogy with speech. Thinking in words, speaking our thoughts internally, projects an auditorium inside our skulls. Dark or bright, a shadow theater or a stage scorched by klieg lights, here we try out voices, including the voice we have settled on as the familiar sound of our identity, although it may not be what other people hear when we speak aloud. But that is the topmost of the linguistic processes going on in the mind. Beneath the auditorium runs a continuous river of thought that not only is soundless but is not ordered so it can be spoken. For obvious reasons, describing it is difficult. If I dip experimentally into the wordless flow, and then try to recall the sensations of it, I have the impression of a state in which grammar is present – for when I think like this I am certainly construing lucid relationships between different kinds of meaning, and making sense of the world by distinguishing between (for a start) objects and actions – but thought there are so to speak nounlike and verblike concentrations in the flow, I do not solidify them, I do not break them off into word-sized units. Are there pictures? Yes, but I am not watching a slide show, the images do not come in units either. Sometimes there’s a visual turbulence – rapid, tumbling, propelled – that doesn’t resolve into anything like the outlines of separate images. Sometimes one image, like a key, will hold steady while a whole train of wordless thoughts flows from its start to its finish. A mountain. A closed box. A rusty hinge. "

― Francis Spufford , The Child That Books Built: A Life in Reading

6 " The ceremonies that persist—birthdays, weddings, funerals— focus only on ourselves, marking rites of personal transition. […]
We know how to carry out this rite for each other and we do it well. But imagine standing by the river, flooded with those same feelings as the Salmon march into the auditorium of their estuary. Rise in their honor, thank them for all the ways they have enriched our lives, sing to honor their hard work and accomplishments against all odds, tell them they are our hope for the future, encourage them to go off into the world to grow, and pray that they will come home. Then the feasting begins. Can we extend our bonds of celebration and support from our own species to the others who need us?
Many indigenous traditions still recognize the place of ceremony and often focus their celebrations on other species and events in the cycle of the seasons. In a colonist society the ceremonies that endure are not about land; they’re about family and culture, values that are transportable from the old country. Ceremonies for the land no doubt existed there, but it seems they did not survive emigration in any substantial way. I think there is wisdom in regenerating them here, as a means to form bonds with this land. "

― Robin Wall Kimmerer , Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants

8 " The Marquis de V... - whose falsetto voice and little watery eyes I have always detested - was saying to me with a wicked smile: 'Then again, the master gymnast might break his neck at any moment. What he is doing now is very dangerous, my dear, and the pleasure you take in his performance is the little frisson that danger affords you. Wouldn't it be thrilling, if his sweaty hand failed to grip the bar? The velocity acquired by his rotation about the bar would break his spine quite cleanly, and perhaps a little of the cervical matter might spurt out as far as this! It would be most sensational, and you would have a rare emotion to add to the field of your experience - for you collect emotions, don't you? What a pretty stew of terrors that man in tights stirs up in us!

'Admit that you almost wish that he will fall! Me too. Many others in the auditorium are in the same state of attention and anguish. That is the horrible instinct of a crowd confronted with a spectacle which awakens in it the ideas of lust and death. Those two agreeable companions always travel together! Take it from me that at the very same moment - see, the man is now holding on to the bar by his fingertips alone - at the very same moment, a good number of the women in these boxes are ardently lusting after that man, not so much for his beauty as for the danger he courts.'

The voice subtly changed its tone, suddenly becoming more interested. 'You have singularly pale eyes this evening, my dear Freneuse. You ought to give up bromides and take valerian instead. You have a charming and curious soul, but you must take command of its changes. You are too ardently and too obviously covetous, this evening, of the death - or at least the fall - of that man.'

I did not reply. The Marquis de V... was quite right. The madness of murder had taken hold of me again; the spectacle had me in its hallucinatory grip. Straitened by a penetrating and delirious anguish, I yearned for that man to fall.

There are appalling depths of cruelty within me. "

― Jean Lorrain , Monsieur De Phocas

10 " As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers. "

― Ian Mortimer , The Time Traveller's Guide to Elizabethan England

12 " People love to talk but hate to listen. Listening is not merely not talking, though even that is beyond most of our powers; it means taking a vigorous, human interest in what is being told us. You can listen like a blank wall or like a splendid auditorium where every sound comes back fuller and richer. "

― Alice Duer Miller