Mirage Sad Quotes

Everything is an illusion; that is the whole thing about it - illusion, immitation, a mirage. It makes me too sad. Its having like a good dream, you know you are going to wake up.

In the silence, she felt the past and the present shift and mix, but that was a mirage. There was no way to comfort the lost boy he'd been back then. But she had the grown male. She had him right in her arms, and for a brief moment of whimsy, she imagined that she was never, ever going to let him go.

Sometimes we are that fly in the house, that thinks it sees an open window. So it crawls to, or flies head-on into clear glass. At times getting stuck between the storm and pane, it dies in the windowsill under a tormenting, hot sun.

I do not hold on now. I live openly, ready for the pain, the separations and losses. I am not holding on. Open and free, sad at moments, but knowing the deep joys are worth all that follows. Deep joys. One must be willing to suffer, to surrender.

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. VI.

In the castle of utmost happiness, there always remains a window open for sadness to pop inside.

At these moments, after battle, after all the confusion, antagonism, and disorder of their lives had exploded in a moment of strife, they gained an hour of repose in which they saw themselves with sad tranquillity. They were like men who, driving forward desperately at some mirage, turn, for a moment, to see their footsteps stretching interminably away across the wasteland of the desert; or I should say, they were like those who have been mad, and who will be mad again, but who see themselves for a moment quietly, sanely, at morning, looking with sad untroubled eyes into a mirror. Their faces were sad. There was great age in them. They felt suddenly the distance they had come and the amount they had lived. They had a moment of cohesion, a moment of tragic affection and union, which drew them together like small jets of flame against all the senseless nihilism of life.

I believe that 'social justice' will ultimately be recognized as a will-o'-the-wisp which has lured men to abandon many of the values which in the past have inspired the development of civilization- an attempt to satisfy a craving inherited from the traditions of the small group but which is meaningless in the Great Society of free men. Unfortunately, this vague desire which has become one of the strongest bonds spurring people of good will to action, not only is bound to be disappointed. This would be sad enough. But, like most attempts to pursue an unattainable goal, the striving for it will also produce highly undesirable consequences, and in particular lead to the destruction of the indispensable environment in which the traditional moral values alone can flourish, namely personal freedom. —F.A. Hayek, Law, Legislation and Liberty, Volume 2: The Mirage of Social Justice, 1976

Even as we became increasingly sad and ugly on the internet, the mirage of the better online self continued to glimmer. As a medium, the internet defined by a built-in performance incentive. In real life, you can walk around living life and be visible to other people. But you can't just walk around and be visible on the internet—for anyone to see you, you have to ACT. You have to communicate in order to maintain an internet presence. And, because the internet's central platforms are built around personal profiles, it can seem—first at a mechanical level, and later on as an encoded instinct—like the main purpose of this communication is to make yourself look good. Online reward mechanisms beg to substitute for offline ones, and then overtake them. This is why everyone seems so smug and triumphant on Facebook, this is why, on Twitter, making a righteous political statement has come to seem, for many people, like a political good in itself.

You want to leave the moat, to go back to the room; you’re already turning and trying to find the door, covered with fake leather, in the steep wall of the moat, but the master succeeds in grabbing your hand and, looking straight in your eyes, says: Your assignment: describe the jaw of a crocodile, the tongue of a hummingbird, the steeple of the New Maiden Convent, a shoot of bird cherry, the bend of the Lethe, the tail of any village dog, a night of love, mirages over hot asphalt, the bright midday in Berezov, the face of a flibbertigibbet, the garden of hell, compare the termite colony to the forest anthill, the sad fate of leaves to the serenade of a Venetian gondolier, and transform a cicada into a butterfly, turn rain into hail, day into night, give us today our daily bread, make a sibilant out of a vowel, prevent the crash of the train whose engineer is asleep, repeat the thirteenth labor of Hercules, give a smoke to a passerby, explain youth and old age, sing a song about a bluebird bringing water in the morn, turn your face to the north, to the Novgorodian barbicans, and then describe how the doorman knows it is snowing outside, if he sits in the foyer all day, talks to the elevator operator, and does not look out the window because there is no window; yes, tell how exactly, and in addition, plant in your orchard a white rose of the winds, show it to the teacher Pavel and, if he likes it, give the white rose to the teacher Pavel, pin the flower to his cowboy shirt or to his dacha hat, bring joy to the man who departed to nowhere, make your old pedagogue—a joker, a clown, and a wind-chaser—happy.

Waste forces within him, and a desert all around, this man stood still on his way across a silent terrace, and saw for a moment, lying in the wilderness before him, a mirage of honourable ambition, self-denial, and perseverance. In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. Sadly, sadly, the sun rose; it rose upon no sadder sight than the man of good abilities and good emotions, incapable of their directed exercise, incapable of his own help and his own happiness, sensible of the blight on him, and resigning himself to let it eat him away. Chapter 6 — Hundreds of People The quiet lodgings of Doctor Manette were in a quiet street-corner not far from Soho-square. On the afternoon of a certain fine Sunday when the waves of four months had roiled over the trial for treason, and carried

She sighed. It was a sad, weary sound, and it nearly broke his heart. “You’re very kind to try to help me,” she said, “but I have already explored all of those avenues. Besides, I am not your responsibility.” “You could be.” She looked at him in surprise. In that moment, Benedict knew that he had to have her. There was a connection between them, a strange, inexplicable bond that he’d felt only one other time in his life, with the mystery lady from the masquerade. And while she was gone, vanished into thin air, Sophie was very real. He was tired of mirages. He wanted someone he could see, someone he could touch. And she needed him. She might not realize it yet, but she needed him. Benedict took her hand and tugged, catching her off-balance and wrapping her to him when she fell against his body. “Mr. Bridgerton!” she yelped. “Benedict,” he corrected, his lips at her ear. “Let me—” “Say my name,” he persisted. He could be very stubborn when it suited his interests, and he wasn’t going to let her go until he heard his name cross her lips. And maybe not even then. “Benedict,” she finally relented. “I—” “Hush.” He silenced her with his mouth, nibbling at the corner of her lips. When she went soft and compliant in his arms, he drew back, just far enough so that he could focus on her eyes. They looked impossibly green in the late-afternoon light, deep enough to drown in. “I want you to come back to London with me,” he whispered, the words tumbling forth before he had a chance to consider them. “Come back and live with me.” She looked at him in surprise. “Be mine,” he said, his voice thick and urgent. “Be mine right now. Be mine forever. I’ll give you anything you want. All I want in return is you.” -Sophie & Benedict

He told me to call him Dazar Frihet. He said that our days are freedom. All of these days, the ones our feet carry us through, any one of them we can choose to be free, we just have to be willing to make it happen. He was such a sad young man, but he wasn’t sad for himself, he was the freest person I ever knew. No, he was sad for all the people he saw who were never free. All the people walking around thinking they were free, but were bonded to so many possessions and responsibilities, so much dispassion and anger, that freedom had become a mirage, like a mythical figure or a god, something they worshiped and followed, but never truly understood.

Tis a dream that I in sadness Here am bound, the scorn of fate; 'Twas a dream that once a state I enjoyed of light and gladness. What is life? 'Tis but a madness. What is life? A thing that seems, A mirage that falsely gleams, Phantom joy, delusive rest, Since is life a dream at best, And even dreams themselves are dreams.

In the castle of utmost happiness, there always remains a window open for sadness to pop inside. -Mirage

Sadly sometimes with the passing of the years we begin to look for answers elsewhere (outside the marriage) only to find there is no elsewhere, just mirages and that what we sought we already possessed had we but looked more closely.

pissing on photos, we wake parched in parallel realities i still end up drowning in visions he settles for the horror; hostage to the oddity of normal- comfy spot mirage, as he makes the bed daily so he can lie in it and be secret sad boy; he settles to sleepwalk with fantasy, slitting the throat of actual possibility, begging for a hand job to get through the day, making friends with locked doors and collectors of cookie cutters

He thinks that this is a poor pitiful life, not foreseeing that for him too, maybe, sometime the mournful hour may strike, when for one day of that pitiful life he would give all his years of phantasy, and would give them not only for joy and for happiness, but without caring to make distinctions in that hour of sadness, remorse and unchecked grief. But so far that threatening has not arrived—he desires nothing, because he is superior to all desire, because he has everything, because he is satiated, because he is the artist of his own life, and creates it for himself every hour to suit his latest whim. And you know this fantastic world of fairyland is so easily, so naturally created! As though it were not a delusion! Indeed, he is ready to believe at some moments that all this life is not suggested by feeling, is not mirage, not a delusion of the imagination, but that it is concrete, real, substantial!

have little to offer in this time when nothing lasts, only that desire to which you come as to a well. Even the language tells it: to satisfy and sadness rooted on one stock, the faithful breathing back towards shadow of everything that once bent to the sun. And still, the long slanting days pull us in, the warmth, the pitch of the hills, and everything in us wants to give over again— Only a little further, a hand’s extending, a single word; the mirage, beautiful, beckons us on.

Nietzsche was to reiterate this, long after the Greeks—which proves in passing that their message preserves an actuality such as can still be found in modern philosophy: the ultimate end of human life is what Nietzsche calls amor fati, or “love of one’s fate.” To embrace everything that is the case, our destiny—which, in essence, means the present moment, considered as the highest form of wisdom, and the only form that can rid us of what Spinoza (whom Nietzsche regarded as “a brother”) named, equally memorably, the “sad passions”: fear, hatred, guilt, remorse, those corrupters of the soul that bog us down in mirages of the past or of the future. Only our reconciliation to the present, to the present moment—in Greek, the kairos—can, for Nietzsche, as for Greek culture as a whole, lead to proper serenity, to the “innocence of becoming,” in other words to salvation, understood not in its religious meaning but in the sense of discovering ourselves as saved, finally, from those fears that diminish existence, stunting and shriveling it.

The Sister Bells had neither a sad nor fearful ring. At the core of each chime was a vibrancy, a promise of a better spring, a resonance coloured by beautiful, sustained vibrations. Their sound penetrated deeply, creating mirages in the mind and touching the most hardened of men. With a skilful bell-ringer the Sister Bells could turn doubters into churchgoers, and the explanation for their powerful tone was that they were malmfulle - that silver had been added to the bronze when the church bells were cast. The more silver, the more beautiful and resonant the chime. The skilfully crafted moulds and bronze had already cost Eirik Hekne a fortune, far more than his twin daughters had ever earned with their weaves. In the madness of his grief he went to the melting pot and threw in all his silver cutlery, then shoved his big working hands deep into his pockets and threw two fistfuls of silver dalers into the boiling alloy, coins that stayed on the surface surprisingly long, before they melted and the bubbles rose

In the middle of a desert of ennui, an oasis of fear, or horror. There is no more lucid diagnosis of the illness of modern humanity. To break out of ennui, to escape from boredom, all we have at our disposal—and it’s not even automatically at our disposal, again we have to make an effort—is horror, in other words, evil. Either we live like zombies, like slaves fed on soma, or we become slave drivers, malignant individuals, like that guy who, after killing his wife and three children, said, as the sweat poured off him, that he felt strange, possessed by something he’d never known: freedom, and then he said that the victims had deserved it, although a few hours later, when he’d calmed down a bit, he also said that no one deserved to die so horribly, and added that he’d probably gone crazy and told the police not to listen to him. An oasis is always an oasis, especially if you come to it from a desert of boredom. In an oasis you can drink, eat, tend to your wounds, and rest, but if it’s an oasis of horror, if that’s the only sort there is, the traveler will be able to confirm, and this time irrefutably, that the flesh is sad, that a day comes when all the books have indeed been read, and that travel is the pursuit of a mirage. All the indications are that every oasis in existence has either attained or is drifting toward the condition of horror.

It's easier to be sad in a foreign place. Everything feels new and less real, and you can hold on to the illusion that all your problems will go away at the next stop; just keep going down the endless road, chasing the mirage.

I believe like a child that suffering will be healed and made up for, that all the humiliating absurdity of human contradictions will vanish like a pitiful mirage, like the despicable fabrication of the impotent and infinitely small Euclidean mind of man, that in the world’s finale, at the moment of eternal harmony, something so precious will come to pass that it will suffice for all hearts, for the comforting of all resentments, for the atonement of all the crimes of humanity, of all the blood they’ve shed; that it will make it not only possible to forgive but to justify all that has happened. —Fyodor Dostoevsky, The Brothers Karamazov