The study of Scripture I find to be quite like mastering an instrument. No one is so good that they cannot get any better; no one knows so much that they can know no more. A professional can spot an amateur or a lack of practice or experience a mile away. His technicality, his spiritual ear is razor-sharp. He is familiar with the common mistakes, the counter-arguments; and insofar as this, he can clearly distinguish the difference between honest critics of the Faith and mere fools who criticize that which they know nothing.
In this life, you only need to do this much: You must know that the other person is instrument (nimit, in bringing you the results of your own karmas) so you must remain silent. Do not let the mind spoil in the slightest. If it does, then ask for forgiveness: ‘Dear Instrument! You are simply an instrument. I ask for forgiveness for spoiling my mind.’ You have to do only this much! That is the effort [purusharth]!
You are a valuable instrument in the orchestration of your own world, and the overall harmony of the universe. Always be in command of your music. Only you can control and shape its tone. If life throws you a few bad notes or vibrations, don't let them interrupt or alter your song.
Believe in God our Eternal Father, He who is greatest of all, who stands ever ready to help us and who has the power to do so. Believe in Jesus Christ, the Savior and the Redeemer of mankind, the worker of miracles, the greatest who ever walked the earth, the intercessor with our Father. Believe in the power of the Holy Ghost to lead, to inspire, to comfort, to protect. Believe in the Prophet Joseph, as an instrument in the hands of the Almighty in ushering in this the dispensation of the fullness of times.
I had never before thought of how awful the relationship must be between the musician and his instrument. He has to fill it, this instrument, with the breath of life, his own. He has to make it do what he wants it to do. And a piano is just a piano. It's made out of so much wood and wires and little hammers and big ones, and ivory. While there's only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
The aim of scientific thought, then, is to apply past experience to new circumstances; the instrument is an observed uniformity in the course of events. By the use of this instrument it gives us information transcending our experience, it enables us to infer things that we have not seen from things that we have seen; and the evidence for the truth of that information depends on our supposing that the uniformity holds good beyond our experience.
It is characteristic of all extension systems to be treated as distinct and separate from the user and to take on an identity of their own. Religions, philosophies, literature, and art illustrate this. After a time, the extended system accretes to itself a past and a history as well as a body of knowledge and skills that can be learned. Such systems can be studied and appreciated as entities in themselves.
Briefly, in the act of composition, as an instrument there intervenes and is most potent, fire, flaming, fervid, hot; but in the very substance of the compound there intervenes, as an ingredient, as it is commonly called, as a material principle and as a constituent of the whole compound the material and principle of fire, not fire itself. This I was the first to call phlogiston.
A martyrdom is always the design of God, for His love of men, to warn them and to lead them, to bring them back to His ways. It is never the design of man; for the true martyr is he who has become the instrument of God, who has lost his will in the will of God, and who no longer desires anything for himself, not even the glory of being a martyr.
Some people look like they sound better than they actually sound, because they look confident and have good posture," once musician, a veteran of many auditions, says. "Other people look awful when they play but sound great. Other people have that belabored look when they play, but you can't hear it in the sound. There is always this dissonance between what you see and hear" (p.251).
Their musical ability and performance seems to derive from the past collective experience and presents itself in the individual unconscious today. Through it we tap into something eternal and it is apparent even in how they approach their playing. Perhaps we relate to it because, of any other instrument, the cello has a range that matches the human voice.