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He knew that the very memory of the piano falsified still further the perspective in which he saw the elements of music, that the field open to the musician is not a miserable stave of seven notes, but an immeasurable keyboard (still almost entirely unknown) on which, here and there only, separated by the thick darkness of its unexplored tracts, some few among the millions of keys of tenderness, of passion, of courage, of serenity, which compose it, each one differing from all the rest as one universe differs from another, have been discovered by a few great artists who do us the service, when they awaken in us the emotion corresponding to the theme they have discovered, of showing us what richness, what variety lies hidden, unknown to us, in that vast, unfathomed and forbidding night of our soul which we take to be an impenetrable void.
There is but one question ultimately to be asked respecting every line you draw, Is it right or wrong? If right, it most assuredly is not a "free" line, but an intensely continent, restrained and considered line; and the action of the hand in laying it is just as decisive, and just as "free" as the hand of a first-rate surgeon in a critical incision.
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I see City as a Spider that moves with us on the web... Spider is one of the oldest symbols between life and death as a "continuous sacrifice", as Schneider well noted. Its threads symbolize the duality of our world, in which Spider is a demiurge that connects the eternal and the finite. In the Upanishads, web thread symbolizes the sacred sound Om. In one of Akutagawa's stories, Buddha throws a thread into Hell to a criminal who didn't kill a Spider. Spider is both a God and Executioner, and this makes it similar to City.
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