Irish Loss Quotes

Never give all the heart, for love Will hardly seem worth thinking of To passionate women if it seem Certain, and they never dream That it fades out from kiss to kiss; For everything that's lovely is But a brief, dreamy, kind delight. O Never give the heart outright, For they, for all smooth lips can say, Have given their hearts up to the play. And who could play it well enough If deaf and dumb and blind with love? He that made this knows all the cost, For he gave all his heart and lost.

An Irish Airman foresees his Death I Know that I shall meet my fate Somewhere among the clouds above; Those that I fight I do not hate Those that I guard I do not love, My country is Kiltartan Cross, My countrymen Kiltartan’s poor, No likely end could bring them loss Or leave them happier than before. Nor law, nor duty bade me fight, Nor public man, nor cheering crowds, A lonely impulse of delight Drove to this tumult in the clouds; I balanced all, brought all to mind, The years to come seemed waste of breath, A waste of breath the years behind In balance with this life, this death.

This is the main advantage of ether: it makes you behave like the village drunkard in some early Irish novel... total loss of all basic motor skills: Blurred vision, no balance, numb tongue - severance of all connection between the body and the brain. Which is interesting, because the brain continues to function more or less normally... you can actually watch yourself behaving in the terrible way, but you can't control it.

An Irishman walks into a pub,” she begins and the bar went silent. “The bartender asks him, ‘What'll you have?’” Her Irish accent was spot on. “The man says, ‘Give me three pints of Guinness, please.’ The bartender brings him three pints and the man proceeds to alternately sip one, then the other, then the third until they're gone. He then orders three more. “The bartender says, ‘Sir, no need to order as many at a time. I’ll keep an eye on it and when you get low, I'll bring you a fresh one.’ The man replies, ‘You don't understand. I have two brothers, one in Australia and one in the States. We made a vow to each other that every Saturday night we'd still drink together. So right now, me brothers have three Guinness stouts too, and we're drinking together.’ “The bartender thought this a wonderful tradition and every week the man came in and ordered three beers.” January’s playing and voice became more solemn, dramatic. “But one week, he ordered only two.” The crowd oohed and ahhed. “He slowly drank them,” she continued darkly, “and then ordered two more. The bartender looked at him sadly. ‘Sir, I know your tradition, and, agh, I'd just like to say that I'm sorry for your loss.’ “The man looked on him strangely before it finally dawned on him. ‘Oh, me brothers are fine - I just quit drinking.

We survey lush landscapes with variations not dissimilar to a so-called "imperfect" female body with absolute pleasure -- say, an expanse of Irish countryside with grassy rolling hills. But is it really so much uglier when it's made of flesh instead of soil?

There was always a big party on the night before anyone left for the States. They called it an American wake, because the whole community stayed up to keep the emigrants company through their last night on the island, just as they would have bidden farewell to a soul beginning the long journey towards eternity. There was almost no chance that anyone present would ever see the departed again

Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

Surrender in the Land of Loss is a matter of allowing our heart, mind, and body to come into alignment with one another and with life all around us. We stop resisting our feelings and let them be heard and felt. When we can do that in an intentional, mindful way, we courageously move toward healing.

Like an artist, a conscious griever makes choices that come from deep within, inviting grief to reveal the healing gift of that particular loss. Grieving consciously creates pathways into deeper self-knowledge, invites an increased ability to be grateful, and encourages connections to loved ones that transcend time and space.

As many old teachings suggest, bringing forth that which is in our nature will save us, while failing to bring forth our genuine nature will doom us. The real risk in this life has always been that of becoming oneself amidst the uncertainties of existence. As an Irish poet once said, 'a false sense of security is the only kind there is.

The child's heart beat: but she was growing in the wrong place inside her extraordinary mother, south of safe...she and her mother were rushed to the hospital, where her mother was operated on by a brisk cheerful diminutive surgeon who told me after the surgery that my wife had been perhaps an hour from death from the pressure of the child growing outside the womb, the mother from the child growing, and the child from growing awry; and so my wife did not die, but our mysterious child did...Not uncommon, an ectopic pregnancy, said the surgeon...Sometimes, continued the surgeon, sometimes people who lose children before they are born continue to imagine the child who has died, and talk about her or him, it's such an utterly human thing to do, it helps deal with the pain, it's healthy within reason, and yes, people say to their other children that they actually do, in a sense, have a sister or brother, or did have a sister or brother, and she or he is elsewhere, has gone ahead, whatever the language of your belief or faith tradition. You could do that. People do that, yes. I have patients who do that, yes... One summer morning, as I wandered by a river, I remembered an Irish word I learned long ago, and now whenever I think of the daughter I have to wait to meet, I find that word in my mouth: dunnog, little dark one, the shyest and quietest and tiniest of sparrows, the one you never see but sometimes you sense, a flash in the corner of your eye, a sweet sharp note already fading by the time it catches your ear.

Our relationships, in life and in memories, have gifted us with experiences of love... as long as we live, love lives on in us.

We were already growing apart, in the weeks before she died - when I moved to New York, we almost certainly would have lost touch, become just another pair of girls who shared a brief and intense friendship that faded, as friendships usually do, with age and geography. But I believed every one of those old promises. I would have pitied any adult who told me that things would change. For you, I would have though, but not for us. I was going to leave, yes, but she was supposed to come, too. And didn't she? Those early days in New York, August, the city so hot I walked around drenched in its spit, she was with me all the time, in the things I did if not always in my thoughts. I got a job at a bar where all the waitstaff were Irish and wasn't it her who made me louder when I needed to be, who made me brave at night, walking home with all that cash? She's the way I swear and how I let men look at me or not, she's the bit of steel at my center, either her, herself, or the loss of her. Before that year I was nothing but a soft, formless girl, waiting for someone to come along and tell me who to be.

Always life would bring with it joy and sorrow combined. To allow herself to love and to love well, she opened her heart to loss, but to live without love would truly be no life at all. Alainn was well aware with any great love there would be great loss. It was both the cost and the reward of loving.

Irish people marry late, as a rule. We have that potato-famine DNA from the old country, that mentality where you don't give birth to anything until you have the potatoes all stored up to feed it. My ancestors were all shepherds who got married in their thirties and then stayed together for life, who had long and happy marriages, no doubt because they were already deaf. My grandparents courted for nine years before they married in 1933.

I've always found the word "period" strange. A period of what? A period of pain, a period of loss? Many other words for it are disparaging or demeaning. I now prefer to call it my "bleed" or "inner winter", because it's a time when I feel the pull to go inward. I recently learned from Manchán Magan in his book meditating on old Irish words and their nuances, that some old Irish terms for menstrual blood were more celebratory, such as bláthscaoileadh meaning "bloom release" or an t-ádh dearg, "the red luck".

Left alone in a dark room with a pile of money, the Irish decided what they really wanted to do with it was buy Ireland. From each other. An Irish economist named Morgan Kelly, whose estimates of Irish bank losses have been the most prescient, has made a back-of-the-envelope calculation that puts the property-related losses of all Irish banks at roughly 106 billion euros. (Think $10.6 trillion.) At the rate money flows into the Irish treasury, Irish bank losses alone would absorb every penny of Irish taxes for the next four years.

This is the main advantage of ether: it makes you behave like the village drunkard in some early Irish novel … total loss of all basic motor skills: blurred vision, no balance, numb tongue—severance of all connection between the body and the brain. Which is interesting, because the brain continues to function more or less normally … you can actually watch yourself behaving in this terrible way, but you can’t control it. You approach the turnstiles leading into the Circus-Circus and you know that when you get there, you have to give the man two dollars or he won’t let you inside … but when you get there, everything goes wrong: you misjudge the distance to the turnstile and slam against it, bounce off and grab hold of an old woman to keep from falling, some angry Rotarian shoves you and you think: What’s happening here? What’s going on? Then you hear yourself mumbling: “Dogs fucked the Pope, no fault of mine. Watch out! … Why money? My name is Brinks; I was born … born? Get sheep over side … women and children to armored car … orders from Captain Zeep.

...the letters begin to cross vast spaces in slow sailing ships and everything becomes still more protracted and verbose, and there seems no end to the space and the leisure of those early nineteenth century days, and faiths are lost and the life of Hedley Vicars revives them; aunts catch cold but recover; cousins marry; there is the Irish famine and the Indian Mutiny, and both sisters remain, to their great, but silent grief, for in those days there were things that women hid like pearls in their breasts, without children to come after them. Louisa, dumped down in Ireland with Lord Waterford at the hunt all day, was often very lonely; but she stuck to her post, visited the poor, spoke words of comfort (‘I am sorry indeed to hear of Anthony Thompson's loss of mind, or rather of memory; if, however, he can understand sufficiently to trust solely in our Saviour, he has enough’) and sketched and sketched. Thousands of notebooks were filled with pen and ink drawings of an evening, and then the carpenter stretched sheets for her and she designed frescoes for schoolrooms, had live sheep into her bedroom, draped gamekeepers in blankets, painted Holy Families in abundance, until the great Watts exclaimed that here was Titian's peer and Raphael's master! At that Lady Waterford laughed (she had a generous, benignant sense of humour); and said that she was nothing but a sketcher; had scarcely had a lesson in her life—witness her angel's wings, scandalously unfinished. Moreover, there was her father's house for ever falling into the sea; she must shore it up; must entertain her friends; must fill her days with all sorts of charities, till her Lord came home from hunting, and then, at midnight often, she would sketch him with his knightly face half hidden in a bowl of soup, sitting with her notebook under a lamp beside him. Off he would ride again, stately as a crusader, to hunt the fox, and she would wave to him and think, each time, what if this should be the last? And so it was one morning. His horse stumbled. He was killed. She knew it before they told her, and never could Sir John Leslie forget, when he ran down-stairs the day they buried him, the beauty of the great lady standing by the window to see the hearse depart, nor, when he came back again, how the curtain, heavy, Mid-Victorian, plush perhaps, was all crushed together where she had grasped it in her agony.

He would not want to sound like a haunted man; he would not want to sound as though he was calling from a welfare hotel, years too late, to say Yes, that was a baby we had together, it would have been a baby. For he could not help now but recall the doctor explaining about that child, a boy, who had appeared so mysteriously perfect in the ultrasound. Transparent, he had looked, and gelatinous, all soft head and quick heart; but he would have, in being born, broken every bone in his body.

People don't need to die for us to experience loss. Holly was losing her local family to a move. It felt to her as if there would be a death. In the 1800s, the Irish had emigration wakes for their families when they moved to America, never to return. They spoke elegies for the living. Holly felt elegiac now. Everything seemed so over.

Continuing bonds are not an alternative to grief-work, but more a result of it.

Grief, our ally and companion, reminds us of a central truth that is hidden within our tears and fears: The one whom we grieve loved us. We are lovable.

The strength you seek to survive grief’s demands is not found in resistance but within the tenderness of your loving heart.

Each time we say yes to our fears and vulnerabilities, we move closer to our hopes and strengths.

In other Celtic lands, destruction of the ancient bardic orders meant the loss of history and myth as well as of poetry. But not in Ireland -- at least, not entirely. There, the melding of the Christian and the pagan began early, during the great period of Celtic monasticism. Irish monks of that period provided most of our written records of Celtic mythology. In continental Europe, evidence of Celtic beliefs is found only in sculpture; in Britain, it is found only in a few verbal shards and the occasional inscribed statue; but in Ireland we find entire epics, whole chants and songs, lengthy narratives. In the curvilinear script for which they are justly famous, Irish monks wrote down the stories, poems, place-names, and other lore of their pagan ancestors before it disappeared in the mists of history.

When friends asked how he was coping with his spectacular loss, he would say, ‘I sleep like a baby – I wake up every ten minutes screaming!’ He was advised on health grounds to take a holiday, so he went to his home in Ibiza and ran regularly on the beach. ‘Someone asked me later how much I had lost. I said, “$300 million and 20lbs.

the more the musicians played the more it struck me that Irish music was a language of its own, accommodating expression of ecstasy and rapture and lightness and fun as well as sadness and darkness and loss, and that in its rhythms and repetitions was the trace history of humanity thereabouts, going round and round.

We listened to three players. They were two old men and one woman of indeterminate age who played the concertina. They had a natural expertise that made it seem the music wasn’t a thing learned. They had no ownership of it either. The tunes were in the air thereabouts. They were theirs only in the same way the fields and the rushes and the rain were. They were of that place and had both the poverties and richness of it. And perhaps because of the complex of emotions I was feeling that evening, and because none of them could find their way into words, the more the musicians played the more it struck me that Irish music was a language of its own, accommodating expression of ecstasy and rapture and lightness and fun as well as sadness and darkness and loss, and that in its rhythms and repetitions was the trace history of humanity thereabouts, going round and round.

The German losses are still being toted up, but at last count they stand at $21 billion in the Icelandic banks, $100 billion in Irish banks, $60 billion in various U.S. subprime-backed bonds, and some yet to be determined amount in Greek bonds. The only financial disaster in the last decade German bankers appear to have missed was investing with Bernie Madoff

If we all got fed up at the same time, which could happen coming on evening, we would all sit down and Mick would sign a song. We learned many songs while setting spuds and many a story was told, imaginary or otherwise. We understood well the story of the Gobán Saor, an old Irish legend. The Gobán Saor ruled a large kingdom which he wanted to leave to the cleverest of his three sons. One day, he took his eldest son on a long journey and after some time walking he said: "Son, shorten the road for me." The son was totally at a loss as to how to help his father, so they returned home. The following day the Gobán Saor took his second son, and again the same thing happened. On the third day he took his youngest son and after they had travelled some distance he said once more: "Son, shorten the road for me." The youngest son immediately began to tell his father a story that was long and interesting, and they became so engrossed in the tale that they never noticed the length of the journey. In our lives, Mick was the Gobán Saor's youngest son.

Irish Coffee to Remember: Ingredients: 1 Teaspoon Cinnamon ½ Cup Ice Cubes 1 Cup Cabbage (pre-chopped) 1 Cup Chilled Coffee (or 1 Teaspoon Instant Coffee) 3 Tablespoons Honey

During my years inside the IRA, a number of senior provo intelligence officers confirmed to me that, during the late 1980s and early 1990s, McGuinness had been Head of the IRA Northern Command, one of the most senior positions throughout the entire IRA organisation. More disgracefully and, I would suggest, more sickening, was the fact that McGuinness was widely known in the ‘Derry area of Northern Ireland to have been responsible for the loss of several people’s lives, as well as being the authority behind many savage punishment beatings. Over

A cynical ploy that transferred hundreds of billions of losses from the books of the French and German banks to Europe’s taxpayers was presented to the world as the manifestation of European solidarity. What makes this transfer sinister, rather than just cynical, was that the Greek loan came not only from French and German taxpayers but also from the Portuguese, the Slovaks, the Irish taxpayers—from countries whose banks had nothing to gain. In essence, the private losses of French and German banks were spread around throughout the eurozone, forcing even the weakest citizens of the weakest of member-states to chip in.

Eventually my father bought a vacation house for us in Port Saint Lucie, Florida. My dad's friend had died, so my father bought the house from his widow. We would go down there once a year, and my father believed that he had bought a good investment property. Twelve years later he would sell it at a loss. Almost immediately after the sale, Club Med built a resort there near where the New York Mets would set up their spring training camp soon after. I've tracked articles since then about how Port Saint Lucie has had the fastest growing home prices in the country. When I told my friends at Rye Country Day that we had bought a second home in Florida, they were unimpressed because it was not Palm Beach. When I told my friends in Tarrytown that we had bought a house in Florida, they were sad and asked me when my family was moving. Gosh, poor people can be really dumb sometimes.

The world, with all its impossible variegation and the basic miracle of its existence, draws most mourners out of their grief and back into itself. The homosexual forsythia blooms; the young Irish dancers in Killarney dance, their arms as rigid as shovel handles; secret deals are done involving weapons or office space or crude oil or used cars or drugs; new lovers, believing they will never really have to get up, lie down together; the Large Hadron Collider smashes the Higgs boson into view; snow drapes its white stoles on the bare limbs of winter; the crack of the bat swung by a hefty Dominican pulls a crowd to its feet in Boston; bricks for the new hospital in Phnom Penh are laid in true courses; the single-engine Cessna lands safely in an Ohio alfalfa field during a storm. How can you resist? The true loss in only to the dying, and even the won't feel it when the dying's done.

When we lose people we love, we don’t mourn the past – we mourn unlived tomorrows. We mourn the loss of people who knew us thoroughly and loved us anyway, and future memories that will never be made.

Ah, yes. You look just like Charles said you did. I can understand why he was so captivated by you, Miss Paige." "Not just Charles," Nerissa chimed in. "Gareth's up there singing your praises as well, and he and his friends are all drinking bumpers to you. Gareth said you took control, calmed everyone down, and saved his life with your quick thinking. I think he's completely charmed!" "I'm afraid Lord Gareth gives me far more credit than I deserve," Juliet said, head bent as she discreetly tried to cover her bloodied skirts with her arms. "He was the real hero of the hour, not me." "On the contrary," said Andrew, waving his glass. "Gareth may be a rake, a wastrel and a scourer, but he doesn't make things up." "Most assuredly not," his sister added. Juliet glanced at the duke. The dark gaze was still on her. Still watching her. Still studying her. Worse, that faint little smile still played around his lips. It was unnerving. "And how is Lord Gareth?" Juliet asked, directing her attention to this cheerful pair in an attempt to ignore that enigmatic stare. "Oh, a bit faint from loss of blood and Irish whiskey, but otherwise quite well. But then, that's Gareth for you.

Food cost rather than the absolute absence of food can often be the key factor in shortages and possible starvation. During the height of the Irish Potato Famine in 1845, Ireland was actually exporting food to England. The peasants starved because they could not afford to buy food at the local prices, enhanced by the loss of the potato crop. There was enough food, in absolute terms, to keep everyone alive; they died because they had no money to buy it.

Between 1845 and 1852 the country experienced the single greatest loss of population in world history: in a nation of 8 million, 1.5 million people left. Another million Irish people starved to death, or died from the effects of hunger. Inside of a decade the nation went from being among the most densely populated in Europe to one of the least.

syndrome In some cases, when stress is sudden and extreme, people can experience a “broken heart.” The medical term for this is takotsubo cardiomyopathy, as when the heart’s main chamber expands during the onset of the syndrome, it looks similar to a Japanese fishing pot called a takotsubo. This condition most often occurs in postmenopausal females and typically occurs following a major emotional stressor such as the death of a loved one, job loss, or a major natural disaster—cases of “broken heart syndrome” often spike following earthquakes. Thankfully, the condition is usually short-lived,

I think we all need a bit of heartbreak in our lives. The sharpness of that loss defines our path forward. It clears the cobwebs from our vision, helping us to see what we want for our future.

honor your unique experience of grief. Respect it. Trust it. Your grief will lead you back to love.

In my adult years, fighting hearing-impaired loss, I went to an audiologist who, it turns out, was Irish Catholic. On his graph, when he identified a loss so severe that it looked like a stock market crash—and knowing my northern roots—he asked if I had ever been in a mining accident. A dramatic hearing drop, trouble with high-pitch p, f, t, s consonants starting so many words, suggested that an accident had damaged my hearing. “No, a loud Catholic family,” was my best guess. The audiologist laughed. He had a club membership.

I was feeling that evening, and because none of them could find their way into words, the more the musicians played the more it struck me that Irish music was a language of its own, accommodating expression of ecstasy and rapture and lightness and fun as well as sadness and darkness and loss, and that in its rhythms and repetitions was the trace history of humanity thereabouts, going round and round. Which, in some ways I suppose, is what I’m trying to do here.

Passenger ships continued crossing the Atlantic during the early part of the war in the belief that they were of no strategic value to the enemy. That view changed on May 7, 1915, when a German U-boat sank the Lusitania off the Irish coast, with the loss of 1,198 lives, an action that helped drag America into the war. The Arabic, the ship that had brought Wallace Hartley’s body back from Boston, was torpedoed in August 1915. The great liners were repainted in dull grays or with dazzle camouflage and put to military use. The Olympic became a troop ship, as did the Megantic. The Mauretania at first carried troops during the campaign in Gallipoli, and then became a floating hospital. The Oruba was scuttled in Greece to create a breakwater, the Carmania became an Armed Merchant Cruiser fitted with eight 4.7-inch guns, and a U-boat sank the Carpathia off the east coast of Ireland in July 1918.

But there is a singular connection between Samuel Beckett, “the grammarian of solitude,” sunk in his comical Irish gloom, hiding in a tiny apartment in Paris, and the condition of Manuel Othón, the late-nineteenth-century Mexican recluse, brooding in the parched wasteland in the middle of Mexico. Seemingly at a loss for words around 1900, Othón, in a despairing poem, wrote the Beckett-like line “the desert, the desert and the desert.

Until one experienced a profound loss of their own it was impossible to explain that sorrow never vanishes. It was a war fought not in long, drawn-out battles, but in the everyday, unexpected moments.

the idea of God, it would prove only to be a silly fable that would do more harm than good. She had learned early in life not to rely on people or on religion for salvation. She felt it necessary to become as independent as possible so when someone abandoned her, she would never fall apart from the loss.

Advice to Irish Emigrants: In the United States, labor is there the first condition of life, and industry is the lot of all men. Wealth is not idolized; but there is no degradation connected with labor; on the contrary, it is honorable, and held in general estimation. In the remote parts of America, an industrious youth may follow any occupation without being looked down upon or sustain loss of character, and he may rationally expect to raise himself in the world by his labor. In America, a man’s success must altogether rest with himself—it will depend on his industry, sobriety, diligence and virtue.