“Life is a public performance on the violin, in which you must learn the instrument as you go along,” says E.M. Forster. It’s that “public performance” that most moves me. The sad, cold, hard fact is that sometimes, while we saw away making god-awful noises we’re on stage, in rhinestones or tux, a horrible disappointment to our audience and ourselves. Flop sweat soaking our evening wear, grimly we work through our repertoire. No one claps.
( I can still remember the first time I was in a high school play how, after months of rehearsal in a large and empty and drafty auditorium, that at our first performance I’d walked on stage to feel all those bodies’ warmth—and to hear their rustling anticipation/impatience.)
But what if we brought tolerance into that auditorium with us? What if we took our seats as if at an ongoing Suzuki recital? What if we whispered, “Wow! Last time he/she played that last bit he/she was much, much worse! What an improvement!” What if we cheered and clapped without ceasing.
We could note our own improvement, too. What if we whispered to ourselves as we strode onstage, our hands already sweaty: “I’m learning this as I go along.” And forgave ourselves for not being Perfect.