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[Serafin was] an extraordinary coach, sharp as a vecchio lupo [sly fox]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills ... have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it. ... But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living.

 

Maria Callas

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I was sitting alone in an empty locker room, left leg injured. I need to prove my worth when the opportunity is given. I look at my leg, powerless, and wonder why I had to get hurt in this moment. Then, Coach Hiddink appears out of nowhere with an interpretor and speaks to me in English. Not understanding, I stare at the interpretor. He says you have great mentality.With that kind of mental strength, you will become a great player. I was shocked. Before I could murmur the easy 'thank you' in English, he was gone. My heart was pounding. The coach always seemed to be so far away, but he came to me and told me I have great mentality. Somewhere inside, energy was rousing up.... mentality. I have nothing else to boast, but one thing I could do is to never give up. I will endure all hardships, even if I would die from it. And I will keep this mentality.... in the entire World Cup, I played with those words ringing in my ears. With my mentality, I can become a great player. I kicked the ball and ran around the field clinging on to those words. For better or for worse, I am calm and quiet, so not many people take notice of me. But I was sure that Coach Hiddink would be looking at me and urging me to move on. This gave me courage. If it was not for Coach Hiddink, I would not be where I am now. With the words 'where I am now,' I am not referring to me becoming famous or being able to purchase a spacious condo for my parents. I am referring to the fact that I learned to love myself more. Within a minute, what Coach Hiddink said to me changed my life forever. I feel a bit shy thinking about what he would think after reading this, but he is my 'master' and I owe him everything and I won't be able to repay it in my lifetime.

 

Park Ji-Sung

 

Family, my wife and children, that's my reason for being. Everything is done with them in mind, so perhaps that's the reason this new album is up-tempo. It does feel like a celebration of life. I am finally in a content and happy place to the point where I feel like I need to sing about it. It's made me want to address things that are close to home.

 

Seal (musician)

 

Well, I think it is accidental. It’s just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words… He would use so many odd words: like these three- and four-syllable words that you just don’t normally hear. And they’re not used in a manner that sets the text apart from the reader. Rather they’re drawing the reader in. It’s entirely based on the alliteration of the word itself—onomatopoeia and things like that. I feel like a lot of the words I use don’t stick out in the song because they keep the feel of the song in mind. The rhythm—that’s the primary thing. They’re put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they’re real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they’re going to do is draw the listener in even more

 

Colin Meloy

 

All the Buddhas and all sentient beings are nothing but the One Mind, beside which nothing exists. This Mind, which is without beginning, is unborn and indestructible. It is not green nor yellow, and has neither form nor appearance. It does not belong to the categories of things which exist or do not exist, nor can it be thought of in terms of new or old. It is neither long nor short, big nor small, for it transcends all limits, measure, names, traces and comparisons. It is that which you see before you - begin to reason about it and you at once fall into error. It is like the boundless void which cannot be fathomed or measured. The One Mind alone is the Buddha, and there is no distinction between the Buddha and sentient things, but that sentient beings are attached to forms and so seek externally for Buddhahood. By their very seeking they lose it, for that is using the Buddha to seek for the Buddha and using mind to grasp Mind. Even though they do their utmost for a full aeon, they will not be able to attain it. They do not know that, if they put a stop to conceptual thought and forget their anxiety, the Buddha will appear before them, for this Mind is the Buddha and the Buddha is all living beings. It is not the less for being manifested in ordinary beings, nor is it greater for being manifest in the Buddhas.

 

Huangbo Xiyun

 

I closed my eyes again, thinking of the Face. I had to force my mind to turn around in its tracks and look, for it didn't want to confront that infinite complexity again. The Face was painful to see. It was too intricate, too involved with emotions complex beyond our grasp. It was painful for the mind to think of it, straining to understand the inscrutable things that experience had etched upon those mountain-high features.
"Is it a portrait?" I asked suddenly. "Or a composite? What is the Face?"
"A city," De Kalb said. "A nation. The ultimate in human destiny — and a call for help. And much more that we'll never understand."

 

Henry Kuttner