Dies Irae Quotes

Perhaps Mozart’s Requiem would be fitting music for the end of the world. She began to hum Dies Irae, recalling its first performance in Vienna.

Give me my robe, put on my crown; I have Immortal longings in me: now no more The juice of Egypt's grape shall moist this lip: Yare, yare, good Iras; quick. Methinks I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: husband, I come: Now to that name my courage prove my title! I am fire and air; my other elements I give to baser life. So; have you done? Come then, and take the last warmth of my lips. Farewell, kind Charmian; Iras, long farewell. Kisses them. IRAS falls and dies Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover's pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell'st the world It is not worth leave-taking.

Our existence comes with Death. And it comes with suffering, death alone is not enough and pleasure have consequences. wicked and fucked. love comes with hurting. And having means losing.

Bread now, or cake later

Better to live in doubt than to die in certainty.

A false-hearted lover is worse than a thief. For a thief will just rob you and take what you have, But a false-hearted lover will lead you to the grave. And the grave will decay you and turn you to dust; Not one boy in a hundred a poor girl can trust.

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

Tell me you don't feel what I feel." "That doesn't matter." She swallowed hard. "It does to me." I brush my lips against hers.

But my feelings won’t abate. Feelings I’m not supposed to have. Feelings I can’t relinquish.

no hay peor asesino en serie que aquel que se siente legitimado por una bandera.

But is life really worth so much? Let us examine this; it's a different inquiry. We will offer no solace for so desolate a prison house; we will encourage no one to endure the overlordship of butchers. We shall rather show that in every kind of slavery, the road of freedom lies open. I will say to the man to whom it befell to have a king shoot arrows at his dear ones [Prexaspes], and to him whose master makes fathers banquet on their sons' guts [Harpagus]: 'What are you groaning for, fool?... Everywhere you look you find an end to your sufferings. You see that steep drop-off? It leads down to freedom. You see that ocean, that river, that well? Freedom lies at its bottom. You see that short, shriveled, bare tree? Freedom hangs from it.... You ask, what is the path to freedom? Any vein in your body.

The one to whom nothing was refused, whose tears were always wiped away by an anxious mother, will not abide being offended. —De Ira 2.21.6

BEHAVIOR, n. Conduct, as determined, not by principle, but by breeding. The word seems to be somewhat loosely used in Dr. Jamrach Holobom's translation of the following lines in the Dies Iræ: Recordare, Jesu pie, Quod sum causa tuæ viæ. Ne me perdas illa die. Pray remember, sacred Savior, Whose the thoughtless hand that gave your Death-blow. Pardon such behavior.

After lunch, he rose and gave me the tips of his fingers, saying he would like to show me over his flat; but I snatched away my hand and gave a cry. What I had touched was cold and, at the same time, bony; and I remembered that his hands smelt of death. ‘Oh, forgive me!’ he moaned. And he opened a door before me. ‘This is my bedroom, if you care to see it. It is rather curious.’ His manners, his words, his attitude gave me confidence and I went in without hesitation. I felt as if I were entering the room of a dead person. The walls were all hung with black, but, instead of the white trimmings that usually set off that funereal upholstery, there was an enormous stave of music with the notes of the DIES IRAE, many times repeated. In the middle of the room was a canopy, from which hung curtains of red brocaded stuff, and, under the canopy, an open coffin. 'That is where I sleep,’ said Erik. 'One has to get used to everything in life, even to eternity.’ The sight upset me so much that I turned away my head” - Chapter 12: Apollo’s Lyre

She was a tornado in a skirt.

Biarkan perempuan memilih. Lelaki tidak usah berkelahi untuk mendapatkan seorang gadis.

—No buscar finales felices hace que disfrutemos de comienzos prometedores y tránsitos intransitables.

My cheek stings with Demi’s anger. On my lips, the taste of her skin lingers. The two sensations mix, intoxicating me. It’s all too much. And yet, it’s all so much more real than anything I’ve experienced before. I want to drink it up, let the rush crest over me. I feel alive. Powerful. And I want more.

Iamque opus exegi, quod nec Iovis ira nec ignes nec poterint ferrum nec edax abolere vetustas. cum volet, illa dies, quae nil nisi corporis huius ius habet, incerti spatium mihi finiat aevi: parte tamen meliore mei super alta perennis astra ferar, nomenque erit indelibile nostrum, quaque patet domitis Romana potentia terris, ore legar populi, perque omnia saecula fama, siquid haben veri vatum praesagia, vivam.

But what finally ended this cycle was Verdi’s Requiem Mass, which he had never heard performed on Earth. The “Dies Irae,” roaring with ominous appropriateness through the empty ship, left him completely shattered;

The egocentricity which motivated it was not that of the spoiled, but of the too little spoiled; the lonely. Had she been an artist she would have painted a self-portrait; instead she decorated two rooms, charging them with objects which some visitor, some day, would recognize and understand. And through that understanding he would divine all the capacities and longings she had found in herself and was unable to communicate.

Dying doesn’t cause suffering. Resistance to dying does.

What is love, Mikayel? Isn't it the most irrational of all human emotions? And the one most forbidden?

Cowards die many times before their deaths. The valiant never taste of death but once.

some accuse hospice and palliative care clinicians of promoting a “culture of death” when we allow dying people to leave this life gently, without subjecting them to CPR or mechanical ventilation or dialysis or medical nutrition.

This book is, in a way, a scrapbook of my writing life. From shopping the cathedral flea market in Barcelona with David Sedaris to having drinks at Cognac with Nora Ephron just months before she died. To the years of sporadic correspondence I had with Thom Jones and Ira Levin. I’ve stalked my share of mentors, asking for advice. Therefore, if you came back another day and asked me to teach you, I’d tell you that becoming an author involves more than talent and skill. I’ve known fantastic writers who never finished a project. And writers who launched incredible ideas, then never fully executed them. And I’ve seen writers who sold a single book and became so disillusioned by the process that they never wrote another. I’d paraphrase the writer Joy Williams, who says that writers must be smart enough to hatch a brilliant idea—but dull enough to research it, keyboard it, edit and re-edit it, market the manuscript, revise it, revise it, re-revise it, review the copy edit, proofread the typeset galleys, slog through the interviews and write the essays to promote it, and finally to show up in a dozen cities and autograph copies for thousands or tens of thousands of people… And then I’d tell you, “Now get off my porch.” But if you came back to me a third time, I’d say, “Kid…” I’d say, “Don’t say I didn’t warn you.

By quietly showing me Christ’s love, my friend had led me to the Source of that love. For the first time, I truly grasped that Christ had died for me — suffered, bled, and died–and that I could be his through faith. I was amazed at how simple it was. Why had it all seemed so hard, so impossible before?

Even at the very end of life, healing a relationship can transform the history of a family. A relationship that is complete need not end; in this context, complete means there is nothing left unsaid or undone. When a dying person and a loved one come to feel complete between themselves, time together tends to be as full of joy and loving affection as sadness.

Nearly everyone who is asked where they want to spend their final days says at home, surrounded by people they love and who love them. That's the consistent finding of surveys and, in my experience as a doctor, remains true when people become patients. Unfortunately, it's not the way things turn out. At present, just over one-fifth of Americans are at home when they die. Over 30 percent die in nursing homes, where, according to polls, virtually no one says they want to be. Hospitals remain the site of over 50 percent of deaths in most parts of the country, and nearly 40 percent of people who die in a hospital spend their last days in ICU, where they will likely be sedated or have their arms tied down so they will not pull out breathing tubes, intravenous lines, or catheters. Dying is hard, but it doesn't have to be this hard.

La respuesta de Jesús al Buen Ladrón va más allá de la petición. En lugar de un futuro indeterminado habla de un «hoy»: «Hoy estarás conmigo en el paraíso» (Lc 23,43) También estas palabras están llenas de misterio, pero nos enseñan ciertamente una cosa: Jesús sabía que entraba directamente en comunión con el Padre, que podía prometer el paraíso ya para «hoy». Sabía que reconduciría al hombre al paraíso del cual había sido privado: a esa comunión con Dios en la cual reside la verdadera salvación del hombre. Así, en la historia de la espiritualidad cristiana, el buen ladrón se ha convertido en la imagen de la esperanza, en la certeza consoladora de que la misericordia de Dios puede llegarnos también en el último instante; la certeza de que, incluso después de una vida equivocada, la plegaria que implora su bondad no es vana. «Tú que escuchaste al ladrón, también a mí me diste esperanza», reza, por ejemplo, el Dies irae.

Another cycle—drink, smoke, swallow. I want to be low enough to slip beneath the surface and swim without needing air. He’s the only person who ever understood that desire. Not to die, but to already be dead. I remember trying to explain it to Ira. Just a glimpse was enough to make him worry, and worry never leads to anything good. Worry makes people butt in where they don’t belong. Any time I’ve ever heard the words “Vanessa, I worry about you,” my life has been blown apart.

This painting was owned by Sir Alfred Beit, the former British M.P. who died in 1994. It was housed at Russborough House in Ireland, from where it was stolen twice. It was first taken on 26 April 1974, when it was among 18 pictures stolen by a gang connected to the IRA. Lady Writing a Letter with Her Maid was recovered eight days later, with very little damage to the work. On 21 May 1986 the painting was stolen a second time and recovered in Antwerp seven years later. Sir Alfred presented a number of paintings to the National Gallery of Ireland in 1987, including this painting, which forms part of the Irish national collection.

Ninety-four men have to die on or near certain dates in the next two and a half years,” he said, reading. “Sixteen of them are in West Germany, fourteen in Sweden, thirteen in England, twelve in the United States, ten in Norway, nine in Austria, eight in Holland, and six each in Denmark and Canada. Total, ninety-four. The first is to die on or near October sixteenth; the last, on or near the twenty-third of April, 1977.” He sat back and looked at the men again. “Why must these men die? And why on or near their particular dates?” He shook his head. “Not now; later you can be told that. But this I can tell you now: their deaths are the final step in an operation

The Tao of Dying:                                  In letting go                                  There is gain.                                  In giving up,                                  There is advancement. Letting go of control makes room for the gift of interdependence. Letting go of dreams makes room for ordinary moments of grace. Letting go of replicating past experiences makes room for tomorrow’s surprises. Letting go of self-sufficiency makes room for discovering vulnerabilities previously unknown. Ira Byock says he’s learned through his patients’ dying stories “that people can become stronger and more whole as physical weakness becomes overwhelming and life itself wanes.” Letting go makes room for something new.

You weren’t supposed to choose me,” he said. Behind them, Ira approached, stunned and speechless for what must have been the first time in his life. He helped lift Samuel, whose cheeks had blanched as well. Camille prodded Oscar’s arms and stomach and face. It was truly him. The unbearable grief over losing him flipped inside out. Her joy ran so deep and strong she thought she might burst from it. “The night the Christina went down, you rowed to me,” she answered, her throat knotted as she thought of her father. She forced it down. “This time, I must have needed to row to you.” Oscar kissed her, his lips still cold but filled with life. She leaned into him and hung on as though he might disappear. Ira let out a playful high-pitched whistle. Samuel coughed. Oscar and Camille reluctantly pulled apart and blushed. “Holy gallnipper,” Ira said. Camille grinned, not minding in the least that he was using that annoying turn of phrase again. “I can’t believe that little rock…I mean you were dead, mate. Dead as this bloke right here.” Ira kicked McGreenery in the leg. Oscar nodded, rubbing his hand over the fading red mark, as if to feel for himself that the deadly wound was gone. “I was in the dory,” he whispered. Ira cocked his head. “Say again?” Camille lifted her ear from his chest, where she’d wanted to listen to the smooth rhythm of his heart. She looked up at him before hearing its strong beat. “The dory?” Oscar nodded again, eyebrows creased. “I heard your voice. At the cave,” he said to Camille. “This force kept pulling me backward, away from you, like I was being sucked into the ground.” So this was how it had felt for him to die. She remembered the way he’d looked right through her and how it had chilled her to the marrow. Her own brush with death had been different, and somehow better, if death could even be measured in levels of bad or good. The image of her father had drawn her to safety, making her forget her yearning for air. He had been there for her, but she hadn’t been able to do the same for him. All this time, all this trouble, and all she’d wanted was to bring him back, make him proud of the lengths to which she’d gone for him. In the end, she’d failed him miserably. “And then you were gone. Your voice faded, and I was in the dory, adrift in the Tasman, the dawn after the Christina went down,” Oscar continued. Samuel and Ira glanced at each other with marked expressions of doubt and confusion. “But I wasn’t alone.” He gently pulled Camille away from him and gripped her arms. “Your father was with me. He was sitting there, smiling. It all seemed so real. I could taste the salt air, and…and I remember touching the water, and it was cold. It wasn’t like in a dream, when you can’t do those things.” Camille sucked in a deep breath, trying to inflate her crushing lungs. Oscar had seen him, too. She’d give anything to see her father again, to hear his voice, to feel at home by just being in his presence. At least, that’s what she’d once believed. But Camille hadn’t been willing to give up Oscar. Did that mean she loved her father less? Never. She could never love her fatherless. So then why hadn’t her heart chosen him? "Did he say anything?" she asked, anxious to know yet afraid to hear. "It's all jumbled," Oscar said, again shaking his head and rubbing his chest. "I remember him saying a few things. Bits and pieces." Camille looked to Ira and Samuel. Their parted mouths and bugged eyes hung on Oscar's every word. Oscar squinted at the ground and seemed to be working hard to piece together what her father had said on the other side. "I'm still here to guide her?" he said, questioning his own memory. "It doesn't make any sense, I'm sorry." She shook her head, eyes tearing up again. It had been real. He really had come to her in the black water of the underground pool. "No, don't be sorry," she said, tears spilling. "It does make sense. It makes sense to me.

Basic elements of human care underpin how we regard and respond to others—our ethics as people become sicker and more physically dependent: Shelter from the elements. A caring society metaphorically says to the frail or dying person, “We will keep you warm and dry.” Help with personal hygiene. The community reassures the person who is too frail to care for himself or herself, “We will keep you clean.” Assistance with elimination. Family or, on behalf of society, clinicians (typically nurses or nurse aides), say, “We will help you with your bowels and bladder function.” Provision of food and drink. We can say, “We will always offer you something to eat and drink—and help you to do it.” Keeping company. Society can say to people who are dying, especially those who are “unbefriended,” “We will be with you. You will not have to go through this time in your life entirely alone.” Alleviating suffering. Certainly today, society can say, “We will do whatever we can, with as much skill and expertise as available, to lessen your discomfort.” Yet it is only this final element that is dependent on clinical expertise.

To fully and authentically affirm life, we must affirm all of life, including dying, death, and grief.

Dying is the most universal and arguably most difficult of life events. Pretty much by definition, dying people are as sick as they have ever been.

The morning drizzle tightened the District’s notorious braided-knot commute into a noose of traffic. - Scott Drayco

With so many people lulled into believing everything they found on the Web, he expected computer shrines to pop up in homes soon. Worship the new Oracle of Dell-phi.

The blight of office cubes housing lawyers and lobbyists had popped up like chokeweeds in the manicured lawn of the family homestead.

He launched into the color-tsunami of Prokofiev’s fourth piano sonata. It soon carried him onto a distant shore where the only thing broken was the silence.

The sliver of sun turned water crystals among the coal-colored clouds into the halo of a sundog.

The M.E. dissected pieces of a corpse to tell a story, while Drayco tried to bring them back from the dead, jagged piece by jagged piece.

He was one of the few men who didn’t aspire to be alpha as long as he was in on the hunt.

The smell of beer surrounded him in a cloud as if he’d been doused in Eau de Frat Boy cologne.

Both men were pictures of the kind of grief that cauterizes open wounds in memory and turns them into black scars.

He was a Super Politician, defender of untruths, injustice and the American power-play.

He didn’t want anyone to perform CPR because he knew that even in the unlikely event that it restarted his heart, it would just mean that he would die in an ICU.

Similarly, to the family of a seriously ill person, sometimes plainly stating, “Your father is dying,” can be a gift in the most difficult of times.

The dramatic strategy of the show provides a simple and effective means to blend melodrama with farce (which Sondheim claims as his “two favorite forms of theatre because … they are obverse sides of the same coin”).37 Starkly put, the show develops a pattern of first scaring the hell out of its audience and then rescuing the situation through humor, each time by introducing Mrs. Lovett into a situation saturated with Sweeney Todd’s wrenching angst. This scare-rescue pattern happens twice to great effect, at the beginning and end of Act I, but its real payoff is the devastating conclusion, where there is no comic rescue. The denial of this previous pattern greatly intensifies the darkness of the supremely bleak ending, making the show’s musical profile seem operatic to Broadway audiences even though, ironically in this respect, the denouement unfolds with only intermittent singing.38 But the musical dimension of the show is also deliberately operatic, as it interweaves, Wagner-like, a host of recurring motives, mostly related to each other through a common origin in the Dies Irae, from the Catholic requiem mass. The Dies Irae (literally, “Day of Wrath”; see example 7.1) was taken up as a symbol of death and retribution in music throughout the nineteenth century and continuing into the twentieth (the most important early such use was by Berlioz in his 1830 Symphonie fantastique). Most scene changes bring back “The Ballad of Sweeney Todd,” which includes both fast and slow versions of the Dies Irae (example 7.1) and builds up to a frenetic, obsessive chorus of “Sweeney, Sweeney.

Ira was the second person I ever trusted. By the time I died, there were five.

The Dhammapada says losing what you love brings suffering. But harboring the pain of your loss only brings more pain.

There was a trick of his imagination which recurred persistently; it had recurred, ever since the last ghastly news was brought by the Dillard's [that the third (and last) son had died in the Civil War]. Ira kept seeing his sons around the place, he kept hearing their voices. Sometimes at home he would be in his tool shed, and it seemed that a corner of his vision caught the impression of young Moses going out the door. He was positive that sometimes lying dry and wakeful in the middle of the night, he heard the faint ring of china from Sutherland's room as the young man got up and used his chamber pot. Ira did not believe in ghosts as such. But he thought that perhaps the actual impression of the boys' living had left a variety of sights, sounds and scents which had never been expended and were not dead, even though the boys were dead. He thought that all the trees and shrubbery and walls and fences on the plantation might have absorbed the day-by-day activities of his sons, and still gave them forth, but faintly--as a roasted brick retain its heat long after it had been pinned up in flannel, and so afforded comfort to the cold feet of the invalid who needed warmth. And Ira needed this reassurance that his sons had once been part of a waking, busy scheme called Life; ah, he needed it.

People are inherently dignified, and they are only made undignified if they are placed in situations that are demeaning.

What does it mean, "to die"? he wondered. Uniqueness always perishes. Nature works by overproducing each species; uniqueness is a fault, a failure of nature. For survival there should be hundreds, thousands, even millions of one species, all interchangeable—if all but one dies, then nature has won. Generally it loses. But himself. I am unique, he realized. So I am doomed, Every man is unique and hence doomed. A melancholy thought.

Like an existentialist, I will infer my state from the actions I perform. Thought follows deed, as Mussolini taught. In Anfang war die Tat, as Goethe says in Faust. In the beginning was the deed, not the word.

No buscar finales felices hace que disfrutemos de comienzos prometedores y tránsitos intransitables.

Grieving for their future, men and women often took their own lives. Others died when they could not maintain the feverish pace of the march. While the mortality rate of slaves during the Second Middle Passage never approached that of the transatlantic transfer, it surpassed the death rate of those who remained in the seaboard states. Over time some of the hazards of the long march abated, as slave traders - intent on the safe delivery of a valuable commodity - standardized their routes and relied more on flatboats, steamboats, and eventually railroads for transportation. The largest traders established 'jails,' where slaves could be warehoused, inspected, rehabilitated if necessary, and auctioned, sometimes to minor traders who served as middlemen in the expanding transcontinental enterprise. But while the rationalization of the slave trade may have reduced the slaves' mortality rate, it did nothing to mitigate the essential brutality or the profound alienation that accompanied separation from the physical and social moorings of home and family. ... [T]he Second Middle Passage was extraordinarily lonely, debilitating, and dispiriting. Capturing the mournful character of one southward marching coffle, an observer characterized it as 'a procession of men, women, and children resembling that of a funeral.' Indeed, with men and women dying on the march or being sold and resold, slaves became not merely commodified but cut off from nearly every human attachment. Surrendering to despair, many deportees had difficulties establishing friendships or even maintaining old ones. After a while, some simply resigned themselves to their fate, turned inward, and became reclusive, trying to protect a shred of humanity in a circumstance that denied it. Others exhibited a sort of manic glee, singing loudly and laughing conspicuously to compensate for the sad fate that had befallen them. Yet others fell into a deep depression and determined to march no further. Charles Ball, like others caught in the tide, 'longed to die, and escape from the bonds of my tormentors.' But many who survived the transcontinental trek formed strong bonds of friendships akin to those forged by shipmates on the voyage across the Atlantic. Indeed, the Second Middle Passage itself became a site for remaking African-American society. Mutual trust became a basis of resistance, which began almost simultaneously with the long march. Waiting for their first opportunity and calculating their chances carefully, a few slaves broke free and turned on their enslavers. Murder and mayhem made the Second Middle Passage almost as dangerous for traders as it was for slaves, which was why the men were chained tightly and guarded closely.

contar muertos es como perseguir palomas en una plaza: una soplapollez que no lleva a ningún sitio.

Son, I don’t want to reminisce about the past; it’s a sure sign of old age. Babies and young children live in the present, the ‘now.’ Mature adults tend to live in the future. Only the senile live in the past . . and that was the sign that made me realize that I had lived long enough, when I found I was spending more and more time thinking about the past . . less of it thinking about now—and not at all about the future.” The old man sighed. “So I knew I had had it. The way to live a long time—oh, a thousand years or more—is something between the way a child does it and the way a mature man does it. Give the future enough thought to be ready for it—but don’t worry about it. Live each day as if you were to die next sunrise. Then face each sunrise as a fresh creation and live for it, joyously. And never think about the past. No regrets, ever.” Lazarus Long looked sad, then suddenly smiled and repeated, “ ‘No regrets.’ More wine, Ira?

month after Jeanne died, Michelle received a bill for her mother’s twenty-three-hour hospitalization. It totaled $22,402. (Adjusted for inflation, the amount would exceed $27,000 in 2012.) The bill included $6,750 for twenty-two separate blood tests, $1,077 for three electrocardiograms, $4,187 for a CAT scan of her head, $776 for three X-rays of her abdomen, $296 for a chest X-ray, and $3,246 for three ultrasound tests.

I want to know what it is to love, to hate, to lust, to kill. I want it all. And I shouldn't

Zijn straal sperma stuwde Linda omhoog zoals het mannetje op de flessen van Spa.

Later, claiming responsibility for the killing, the IRA said the man had been killed because he was supplying the Security Forces with fruit and vegetables.  McVeigh would not be the only person to die for such a tenuous reason – many businessmen would be murdered in cold blood for similar ‘activities’. Throughout

Bazı inançlar var ki, yüzyıllar boyunca insan hayatının parçası oldular ve bazen kulaktan kulağa yayılan fısıltılarla, bazen yaşamını yazmaya adamış bir ruhun kalemiyle, bazen de mezar taşlarının gizemini taşıyan kayalara isimsizce iliştirilen notlarla Dies Irae’a kadar sürecek olan hükümranlıklarını belgelediler.

The professionals were heroes. The physicians and nurses and medical students and student nurses who were all dying in large numbers themselves held nothing of themselves back. And there were others. Ira Thomas played catcher for the Philadelphia Athletics. The baseball season had been shortened by Crowder’s “work or fight” order, since sport was deemed unnecessary labor. Thomas’s wife was a six-foot-tall woman, large-boned, strong. They had no children. Day after day he carried the sick in his car to hospitals and she worked in an emergency hospital.

Hooting and cheering broke out, and through it all the priest’s high voice could be heard intoning a Latin hymn, though they could make out only a few words. “Dies irae, dies illa. Solvet saeclum in favilla . . . Day of wrath, that day of burning! Earth shall end, to ashes turning . . .” Simon bit his lip. The day of wrath was indeed close at hand.

Chandler (Ira Grossel, who would die of blood poisoning following surgery in 1961) became a major film star in the 1950s, promoting such a he-man image that few would remember his notable comedy role. Richard Crenna (Walter Denton) later became a serious leading man in the movies.

By quietly showing me Christ’s love, my friend had led me to the Source of that love. For the first time, I truly grasped that Christ had died for me—suffered, bled, and died—and that I could be his through faith. I was amazed at how simple it really was. Why had it always seemed so hard, so impossible before? I waited, then, for the light. Would it be in vain, like before? Like when I was baptized and felt nothing? Like when I returned to the Amish church, walked the gauntlet, and felt nothing? Would this end up the same? I waited. And it came. Almost immediately, a huge load of despair and anguish was lifted from me, replaced with a deep, quiet sense of joy and an internal peace beyond anything I had ever known. I couldn’t believe it. This could not be happening. Not to me. But it was.

«Todos tenemos la obligación de encontrar el lugar al que pertenecemos».

—No hay mayor mentira que una verdad contada a quien no está preparado para escucharla