Tragic Death Quotes

Look...at...me..." he whispered. The green eyes found the black, but after a second, something in the depths of the dark pair seemed to vanish, leaving them fixed, blank, and empty. The hand holding Harry thudded to the floor, and Snape moved no more.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death--ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible for life: It is the small beacon in that terrifying darkness from which we come and to which we shall return.

Now the standard cure for one who is sunk is to consider those in actual destitution or physical suffering—this is an all-weather beatitude for gloom in general and fairly salutary day-time advice for everyone. But at three o’clock in the morning, a forgotten package has the same tragic importance as a death sentence, and the cure doesn’t work—and in a real dark night of the soul it is always three o’clock in the morning, day after day.

I swear that woman had a previous career as a death-hunter selling tragic ballads down around the Seven Dials," said Will. "And I do wish she wouldn't sing about poisoning just after we've eaten.

That's all you can do in this world, no matter how strong the current beats against you, or how heavy your burden, or how tragic your love story. You keep going.

The whole life of the individual is nothing but the process of giving birth to himself; indeed, we should be fully born when we die - although it is the tragic fate of most individuals to die before they are born.

... just because [butterflies'] lives were short didn't mean they were tragic... See, they have a beautiful life.

Kidnapped by a vampire, death by a squid. How tragic.

Gordon Edgley's sudden death came as a shock to everyone - not least himself. One moment he was in his study, seven words into the twenty-fifth sentence of the final chapter of his new book, And the Darkness Rained upon Them, and the next he was dead. A tragic loss, his mind echoed numbly as he slipped away.

Life is a big fat gigantic stinking mess, that's the beauty of it, too.

Death left its old tragic heaven and became the lyrical core of man: his invisible truth, his visible secret.

Tragic heroes always moan when the gods take an interest in them, but it's the people the gods ignore who get the really tough deals.

Men's deaths are epic, women's deaths are tragic: is that it? He has misunderstood the very nature of conflict. Epic is countless tragedies, woven together. Heroes don't become heroes without carnage, and carnage has both causes and consequences. And those don't begin and end on a battlefield.

darkness falls upon Humanity and faces become terrible things that wanted more than there was. all our days are marked with unexpected affronts - some disastrous, others less so but the process is wearing and continuous. attrition rules. most give way leaving empty spaces where people should be. and now as we ready to self-destruct there is very little left to kill which makes the tragedy less and more much much more.

Life is beautifully tragic. Giving it up isn't the hard part; it's the living part that everyone struggles with.

All these years later, people still wonder about how Bruce died. I prefer to remember how he lived.

Back in Washington, alone in the late afternoon of December 7, a chastened Franklin Roosevelt considered the situation.  He may have wondered how things had gone so terribly wrong.  But what might have been was now hindsight—the United States was at war and was in it to win. He spoke quietly to his secretary, Grace Tully. “Sit down, Grace. I’m going before Congress tomorrow. I’d like to dictate my message. It will be short.” 

Yamamoto was considered, both in Japan and the United States, as intelligent, capable, aggressive, and dangerous. Motivated by his skill as a poker player and casino gambler, he was continually calculating odds on an endless variety of options. He played bridge and chess better than most good players. Like most powerful leaders he was articulate and persuasive, and once in a position of power he pushed his agenda relentlessly. Whether he would push his odds successfully in the Pacific remained to be seen.

With mind distracted, never thinking, "Death is coming," To slave away on the pointless business of mundane life, And then to come out empty--it is a tragic error. (116) trans by Robert Thurman

I read old novels. The reason is simple: I prefer proper endings. Marriages and deaths, noble sacrifices and miraculous restorations, tragic separations and unhoped-for reunions, great falls and dreams fulfilled; these, in my view, constitute an ending worth the wait. They should come after adventures, perils, dangers and dilemmas, and wind everything up nice and neatly. Endings like this are to be found more commonly in old novels than new ones, so I read old novels.

i love you Ivy. I'll never stop loving you." "I prayed for one more chance to reach you," he said, "to tell you how much I love you and to tell you to keep on loving. Someone else was meant for you,Ivy, and you were meant for someone else.

A beautiful woman risking everything for a mad passion. A few wild weeks of happiness cut short by a hideous, treacherous crime. Months of voiceless agony, and then a child born in pain. The mother snatched away by death, the boy left to solitude and the tyranny of an old and loveless man. Yes, it was an interesting background. It posed the lad, made him more perfect as it were. Behind every exquisite thing that existed, there was something tragic.

Life is tragic simply because the earth turns, and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death – ought to decide, indeed, to earn one’s death by confronting with passion the conundrum of life.

Not even death can keep us apart. Every part of you belongs to me, and I will tear any man apart who dares to get in my way. Bond or not.

The relativism which is not willing to speak about truth but only about ‘what is true for me’ is an evasion of the serious business of living. It is the mark of a tragic loss of nerve in our contemporary culture. It is a preliminary symptom of death.

every morning i pray that the school bus will crash and we'll all die in a fiery wreck. then my mom will be able to sue the school bus company for never making school buses with seat belts, and she'll be able to get more money for my tragic death than i would've ever made in my tragic life. unless the lawyers from the school bus company can prove to the jury that i was guaranteed to be a fuckup. then they'd get away with buying my mom a used ford fiesta and call it even.

Tragic deaths aren't avoidable. That's what Ezra said outside Sam's wake, and even though--to use Foster's phrasing--I didn't know anything about anything, I felt in this moment that Ezra was wrong. What often makes something tragic is that it can be avoided.

You mean that because I have no name I cannot die and that you cannot be held answerable for death even if you kill me?" "That is about the size of it," said the Sergeant. I felt so sad and so entirely disappointed that tears came into my eyes and a lump of incommunicable poignancy swelled tragically in my throat. I began to feel intensely every fragment of my equal humanity. The life that was bubbling at the end of my fingers was real and nearly painful in intensity and so was the beauty of my warm face and the loose humanity of my limbs and the racy health of my red rich blood. To leave it all without good reason and to smash the little empire into small fragments was a thing too pitiful even to refuse to think about.

Yamamoto sensed a feeling of culmination about the huge success of the first strike, and the same incisive intuition that guided his brilliant moves at the gaming tables told him what the next move on the bridge of Akagi would be. In (Vice Admiral) Nagumo he knew his man. Nagumo had never been committed to the Pearl Harbor mission. He had not been Yamamoto’s choice to command the Striking Force; his assignment was the decision of the Navy Ministry in Tokyo, based on seniority. While the exultation of the officers and sailors on his staff swirled around him, Yamamoto sat quietly. Finally, he fixed a steely gaze on his chief of staff, and in a low, intense voice: “Admiral Nagumo is going to withdraw.

Holding the knife with the blade against my palm, it became so clear how my life would only contain shadows now. Shadows of things gone; not just the people themselves but everything connected to them. Was this my future? Every moment, every tiny thing I saw and did and touched, weighted by loss. Every space in this house and my town and the world in general, empty in a way that could never be filled.

If this glorious birth to death hassle is the only hassle we are ever to have ..if our grand exhilarating fight of life is such a tragically short little scrap anyway,compared to the eons of rounds before and after-then why should one want to relinquish even a few precious seconds of it?

He was outwardly calm but inwardly bleeding to death.

It’s almost funny, in a tragic way, that the fiery thing at the center of my universe did die and that I, a girl whose name is synonymous with summer, am expected to live without it.

Such needless death, so unnecessary, so tragic

There came to him an image of man’s whole life upon the earth. It seemed to him that all man’s life was like a tiny spurt of flame that blazed out briefly in an illimitable and terrifying darkness, and that all man’s grandeur, tragic dignity, his heroic glory, came from the brevity and smallness of this flame. He knew his life was little and would be extinguished, and that only darkness was immense and everlasting. And he knew that he would die with defiance on his lips, and that the shout of his denial would ring with the last pulsing of his heart into the maw of all-engulfing night.

But here is a question that is troubling me: if there is no God, then, one may ask, who governs human life and, in general, the whole order of things on earth? – Man governs it himself, – Homeless angrily hastened to reply to this admittedly none-too-clear question. – Pardon me, – the stranger responded gently, – but in order to govern, one needs, after all, to have a precise plan for a certain, at least somewhat decent, length of time. Allow me to ask you, then, how can man govern, if he is not only deprived of the opportunity of making a plan for at least some ridiculously short period, well, say, a thousand years , but cannot even vouch for his own tomorrow? And in fact, – here the stranger turned to Berlioz, – imagine that you, for instance, start governing, giving orders to others and yourself, generally, so to speak, acquire a taste for it, and suddenly you get ...hem ... hem ... lung cancer ... – here the foreigner smiled sweetly, and if the thought of lung cancer gave him pleasure — yes, cancer — narrowing his eyes like a cat, he repeated the sonorous word —and so your governing is over! You are no longer interested in anyone’s fate but your own. Your family starts lying to you. Feeling that something is wrong, you rush to learned doctors, then to quacks, and sometimes to fortune-tellers as well. Like the first, so the second and third are completely senseless, as you understand. And it all ends tragically: a man who still recently thought he was governing something, suddenly winds up lying motionless in a wooden box, and the people around him, seeing that the man lying there is no longer good for anything, burn him in an oven. And sometimes it’s worse still: the man has just decided to go to Kislovodsk – here the foreigner squinted at Berlioz – a trifling matter, it seems, but even this he cannot accomplish, because suddenly, no one knows why, he slips and falls under a tram-car! Are you going to say it was he who governed himself that way? Would it not be more correct to think that he was governed by someone else entirely?

I am writing this book because we're all going to die - In the loneliness of my own life, my father dead, my brother dead, my mother faraway, my sister and my wife far away, nothing here but my own tragic hands that once were guarded by a world, a sweet attention, that now are left to guide and disappear their own way into the common dark of all our deaths, sleeping in me raw bed, alone and stupid: with just this one pride and consolation: my broke heart in the general despair and opened up inwards to the Lord, I made a supplication in this dream

We have to die to get their pity. We have to die for them to find us noble. Our deaths are thus great acts of rebellion, a wretched lament that highlights their inhumanity. Our deaths become their battle cry. I don't want to be their Imoinda, their Oroonoko. I don't want to be their tragic, lovely lacquer figure. I want to live.

Someone experiencing the stages of grief is rarely aware of how his behavior might appear to others. Grief often produces a “zoom lens effect,” in which the focus is entirely on oneself, to the exclusion of external considerations.

The story of a life can be as long or as short as the teller wishes. Whether the life is tragic or enlightened, the classic gravestone inscription marking simply the dates of birth and death has, in its brevity, much to recommend it.

Country things are the necessary root of our life - and that remains true even of a rootless and tragically urban civilization. To live permanently away from the country is a form of slow death.

Who can name a death that was not tragic?” the speaker asks. “Is there a way for us to find meaning in the losses we've suffered? Who can say that one soul has a heavier grievance than another? We were all victims. We need to forgive each other.” Remember? Yes. Forgive? No.

Tragedy is born of myth, not morality. Prometheus and Icarus are tragic heroes. Yet none of the myths in which they appear has anything to do with moral dilemmas. Nor have the greatest Greek tragedies. If Euripides is the most tragic of the Greek playwrights, it is not because he deals with moral conflicts but because he understood that reason cannot be the guide of life.

Such a funny thing death is for mortals. You cry. You morn. You grieve. You get angry. But death is not always tragic, dear one. Sometimes death is the ultimate expression of love.

You can think of death bitterly or with resignation, as a tragic interruption of your life, and take every possible measure to postpone it. Or, more realistically, you can think of life as an interruption of an eternity of personal nonexistence, and seize it as a brief opportunity to observe and interact with the living, ever-surprising world around us.

If there is tragic limitation in life there is also possibility. What we call maturity is the ability to see the two in some kind of balance into which we can fit creatively.

But at three o'clock in the morning, a forgotten package has the same tragic importance as a death sentence, and the cure doesn't work-- and in a real dark night of the soul it is always three o'clock in the morning, day after day.

The third aspect of the tragic triad concerns death. But it concerns life as well, for at any time each of the moments of which life consists is dying, and that moment will never recur. And yet is not this transitoriness a reminder that challenges us to make the best possible use of each moment of our lives?

It's a tragic fact to die in an accident

In all its beautiful, tragic fragility, there was still life.

Isolation, for him, had become a basic sine qua non for existence and loneliness, his sole companion like a perfectly faithful twin. He was someone for whom even happiness would cry for, mourning the death of his sentiments and murdering the existence of his soul.

I'm no longer a short story. I'm now a novel. Better yet, I'm a work in progress.

You see, I came into this world just like I’m assuming you did—full of excitement and promise. I wanted to do so much good work, help so many people, and give as much as I could to those who needed me. But then I learned a very harsh lesson—the world doesn’t always give back. I am not a tragic case of the world; I am the world—cruel, unfair, and not a fairy tale. People are not born heroes or villains; they’re created by the people around them. And one day when your bright-eyed and bushy-tailed view of life gets its first taste of reality, when bitterness and anger first run through your veins, you’ll discover that you are just like me—and it’ll scare you to death.

The Nazis are not justified by saying, Don't you know that there is more than just the issue of the Jews? The issues are more complex than that! What of the poor in this country, who cannot afford housing? What about the sick and malnourished? Don't you care about these people? Don't you claim to be a follower of Jesus?! Supporting a murderous political agenda with such an argument is tragic! And what do we know about Obama? He is the single most anti-life proponent that has ever run for the office of president.

A pedant who beheld Solon weeping for the death of a son said to him, ‘Why do you weep thus, if weeping avails nothing?’ And the sage answered him, ‘Precisely for that reason—because it does not avail.

Oh dear. I do believe this is self-pity. I am imagining myself dramatically dead, tragically taken from you and even more lamentably forgotten. What dreadful clichés war and social strife reduces us to, and how powerful the effect must be, if even I am so infected. I think I must pull myself together.

Only through the group, I realised — through sharing the suffering of the group — could the body reach that height of existence that the individual alone could never attain. And for the body to reach that level at which the divine might be glimpsed, a dissolution of individuality was necessary. The tragic quality of the group was also necessary, the quality that constantly raised the group out of the abandon and torpor into which it was prone to lapse, leading it to an ever-mounting shared suffering and so to death, which was the ultimate suffering. The group must be open to death — which meant, of course, that it must be a community of warriors.

It started when we were little kids. Free spirits, but already tormented by our own hands given to us by our parents. We got together and wrote on desks and slept in laundry rooms near snowy mountains and slipped through whatever cracks we could find, minds altered, we didn't falter in portraving hysterical and tragic characters in a smog filled universe. we loved the dirty city and the journeys away from it. We had not yet been or seen our friends, selves, chase tails round and round in downward spirals, leaving trail of irretrievable, vital life juice behind. Still, the brothersbloodcomradespartnerfamilycuzz was impenetrable and we lived inside it laughing with no clothes, and everything experimental 'till death was upon us. In our face, mortality.

In the letter he left for the coroner he had explained his reasoning (for suicide): that life is a gift bestowed without anyone asking for it; that the thinking person has a philosophical duty to examine both the nature of life and the conditions it comes with; and that if this person decides to renounce the gift no one asks for, it is the moral and human duty to act on the consequences of that decision. ... Alex showed me a clipping from the Cambridge Evening News. 'Tragic Death of "Promising" Young Man.' ... The verdict of the coroner's inquest had been that Adrian Flinn (22) had killed himself 'while the balance of his mind was disturbed.' ... The law, and society, and religion all said it was impossible to be sane, healthy, and kill yourself. Perhaps those authorities feared that the suicide's reasoning might impugn the nature and value of life as organised by the state which paid the coroner?

there was something perpetually tragic about us. even in moments of peace. we were two empty planets, bound by grief and a gravitational pull neither of us could deny. destined to collide and end in a fiery death.

When we consider that each of us has only one life to live, isn’t it rather tragic to find men and women, with brains capable of comprehending the stars and the planets, talking about the weather; men and women, with hands capable of creating works of art, using those hands only for routine tasks; men and women, capable of independent thought, using their minds as a bowling-alley for popular ideas; men and women, capable of greatness, wallowing in mediocrity; men and women, capable of self-expression, slowly dying a mental death while they babble the confused monotone of the mob?

Our age reminds one of the dissolution of the Greek city-state: Everything goes on as usual and yet there is no longer anyone who believes in it. The invisible spiritual bond which gives it validity, no longer exists, and so the whole age is at once comic and tragic--tragic because it is perishing, comic because it goes on.

Look. (Grow-ups skip this paragraph.) I'm not about to tell you this book has a tragic ending. I already said in the very first line how it is my favorite in all the world. But there's a lot of bad stuff coming up, torture you've already been prepared for, but there's worse. There's death coming up, and you better understand this: Some of the wrong people die. Be ready for it. This isn't Curious George Uses the Potty. Nobody warned me and it was my own fault (you'll see what I mean in a little) and that was my mistake, so I'm not letting it happen to you. The wrong people die, some of them, and the reason is this: life is not fair. Forget all the garbage your parents put out.

Cancer Kid has the Make-A-Wish Foundation because Cancer Kid will eventually die, and that's sad. Schizophrenia Kid will also eventually die, but before he does, he will be overmedicated with a plethora of drugs, he will alienate everyone he's ever really cared about, and he will most likely wind up on the street, living with a cat that will eat him when he dies. That is also sad, but nobody gives him a wish, because he isn't actively dying. It is abundantly clear that we only care about sick people who are dying tragic, time-sensitive deaths.

A true revolution of values will soon look uneasily on the glaring contrast of poverty and wealth. With righteous indignation, it will look at thousands of working people displaced from their jobs with reduced incomes as a result of automation while the profits of the employers remain intact, and say: “This is not just.” It will look across the oceans and see individual capitalists of the West investing huge sums of money in Asia, Africa and South America, only to take the profits out with no concern for the social betterment of the countries, and say: “This is not just.” It will look at our alliance with the landed gentry of Latin America and say: “This is not just.” The Western arrogance of feeling that it has everything to teach others and nothing to learn from them is not just. A true revolution of values will lay hands on the world order and say of war: “This way of settling differences is not just.” This business of burning human beings with napalm, of filling our nation’s homes with orphans and widows, of injecting poisonous drugs of hate into the veins of peoples normally humane, of sending men home from dark and bloody battlefields physically handicapped and psychologically deranged cannot be reconciled with wisdom, justice and love. A nation that continues year after year to spend more money on military defense than on programs of social uplift is approaching spiritual death. America, the richest and most powerful nation in the world, can well lead the way in this revolution of values. There is nothing to prevent us from paying adequate wages to schoolteachers, social workers and other servants of the public to insure that we have the best available personnel in these positions which are charged with the responsibility of guiding our future generations. There is nothing but a lack of social vision to prevent us from paying an adequate wage to every American citizen whether he be a hospital worker, laundry worker, maid or day laborer. There is nothing except shortsightedness to prevent us from guaranteeing an annual minimum—and livable—income for every American family. There is nothing, except a tragic death wish, to prevent us from reordering our priorities, so that the pursuit of peace will take precedence over the pursuit of war. There is nothing to keep us from remolding a recalcitrant status quo with bruised hands until we have fashioned it into a brotherhood.

The road to the kingdom of childhood, governed by ingenuousness and innocence, is thus regained in the horror of atonement. The purity of love is regained in its intimate truth which, as I said, is that of death. Death and the instant of divine intoxication merge when they both oppose those intentions of Good which are based on rational calculation. And death indicates the instant which, in so far as it is instantaneous, renounces the calculated quest for survival. The instant of the new individual being depended on the death of other beings. Had they not died there would have been no room for new ones. Reproduction and death condition the immortal renewal of life; they condition the instant which is always new. That is why we can only have a tragic view of the enchantment of life, but that is also why tragedy is the symbol of enchantment.

I saw a banner hanging next to city hall in downtown Philadelphia that read, "Kill them all, and let God sort them out." A bumper sticker read, "God will judge evildoers; we just have to get them to him." I saw a T-shirt on a soldier that said, "US Air Force... we don't die; we just go to hell to regroup." Others were less dramatic- red, white, and blue billboards saying, "God bless our troops." "God Bless America" became a marketing strategy. One store hung an ad in their window that said, "God bless America--$1 burgers." Patriotism was everywhere, including in our altars and church buildings. In the aftermath of September 11th, most Christian bookstores had a section with books on the event, calendars, devotionals, buttons, all decorated in the colors of America, draped in stars and stripes, and sprinkled with golden eagles. This burst of nationalism reveals the deep longing we all have for community, a natural thirst for intimacy... September 11th shattered the self-sufficient, autonomous individual, and we saw a country of broken fragile people who longed for community- for people to cry with, be angry with, to suffer with. People did not want to be alone in their sorrow, rage, and fear. But what happened after September 11th broke my heart. Conservative Christians rallies around the drums of war. Liberal Christian took to the streets. The cross was smothered by the flag and trampled under the feet of angry protesters. The church community was lost, so the many hungry seekers found community in the civic religion of American patriotism. People were hurting and crying out for healing, for salvation in the best sense of the word, as in the salve with which you dress a wound. A people longing for a savior placed their faith in the fragile hands of human logic and military strength, which have always let us down. They have always fallen short of the glory of God. ...The tragedy of the church's reaction to September 11th is not that we rallied around the families in New York and D.C. but that our love simply reflected the borders and allegiances of the world. We mourned the deaths of each soldier, as we should, but we did not feel the same anger and pain for each Iraqi death, or for the folks abused in the Abu Ghraib prison incident. We got farther and farther from Jesus' vision, which extends beyond our rational love and the boundaries we have established. There is no doubt that we must mourn those lives on September 11th. We must mourn the lives of the soldiers. But with the same passion and outrage, we must mourn the lives of every Iraqi who is lost. They are just as precious, no more, no less. In our rebirth, every life lost in Iraq is just as tragic as a life lost in New York or D.C. And the lives of the thirty thousand children who die of starvation each day is like six September 11ths every single day, a silent tsunami that happens every week.

I think about death all the time, but only in a romantic, self-serving way, beginning, most often, with my tragic illness and ending with my funeral. I see my brother squatting beside my grave, so racked by guilt that he’s unable to stand. “If only I’d paid him back that twenty-five thousand dollars I borrowed,” he says. I see Hugh, drying his eyes on the sleeve of his suit jacket, then crying even harder when he remembers I bought it for him.

There is the love that I love but don't want to love and try to bleed out so the love that I want but don't want, can die a tragic death. And as it lays dying, I'm touched with remorse, feel regret, and try to keep it beating. If it does, I panic, and go through the cycle all over again. What do you call that except pure madness? I'm a catastrophic tsunami on any man who tries to love me. And if I really care about a man, you would think I would be sweet and supportive, but instead I set fires and dare them to walk through them.

Life is Beautiful? Beyond all the vicissitudes that are presented to us on this short path within this wild planet, we can say that life is beautiful. No one can ever deny that experiencing the whirlwind of emotions inside this body is a marvel, we grow with these life experiences, we strengthen ourselves and stimulate our feelings every day, in this race where the goal is imminent death sometimes we are winners and many other times we lose and the darkness surprises us and our heart is disconnected from this reality halfway and connects us to the server of the matrix once more, debugging and updating our database, erasing all those experiences within this caracara of flesh and blood, waiting to return to earth again. "Life is beautiful gentlemen" is cruel and has unfair behavior about people who looked like a bundle of light and left this platform for no apparent reason, but its nature is not similar to our consciousness and feelings, she has a script for each of us because it was programmed that way, the architects of the game of life they know perfectly well that you must experiment with all the feelings, all the emotions and evolve to go to the next levels. You can't take a quantum leap and get through the game on your own. inventing a heaven and a hell in order to transcend, that comes from our fears of our imagination not knowing what life has in store for us after life is a dilemma "rather said" the best kept secret of those who control us day by day. We are born, we grow up, we are indoctrinated in the classrooms and in the jobs, we pay our taxes, we reproduce, we enjoy the material goods that it offers us the system the marketing of disinformation, Then we get old, get sick and die. I don't like this story! It looks like a parody of Noam Chomsky, Let's go back to the beautiful description of beautiful life, it sounds better! Let's find meaning in all the nonsense that life offers us, 'Cause one way or another we're doomed to imagine that everything will be fine until the end of matter. It is almost always like that. Sometimes life becomes a real nightmare. A heartbreaking horror that we find impossible to overcome. As we grow up, we learn to know the dark side of life. The terrors that lurk in the shadows, the dangers lurking around every corner. We realize that reality is much harsher and ruthless than we ever imagined. And in those moments, when life becomes a real hell, we can do nothing but cling to our own existence, summon all our might and fight with all our might so as not to be dragged into the abyss. But sometimes, even fighting with all our might is not enough. Sometimes fate is cruel and takes away everything we care about, leaving us with nothing but pain and hopelessness. And in that moment, when all seems lost, we realize the terrible truth: life is a death trap, a macabre game in which we are doomed to lose. And so, as we sink deeper and deeper into the abyss, while the shadows envelop us and terror paralyzes us, we remember the words that once seemed to us so hopeful: life is beautiful. A cruel and heartless lie, that leads us directly to the tragic end that death always awaits us.

Death, so caused, may be mysterious, but what founds these lives is clear enough: the capacity to love, the strength to found a life upon a love. That the love becomes incompatible with that life is tragic, but that it is maintained until the end is heroic. People capable of such love could have removed mountains; instead it has caved in upon them. One moral of such events is obvious: if you would avoid tragedy, avoid love; if you cannot avoid love, avoid integrity; if you cannot avoid integrity, avoid the world; if you cannot avoid the world, destroy it.

Living is really hard, but death is forever. We’re all going to die eventually, so what’s your rush' Even if you think committing suicide will make you seem tragic and romantic and cool, you’ll never know what happened anyway. Don’t you want to know how your life was supposed to turn out. Wouldn’t you like to see what you’re made of?

I had a mother who read to me Sagas of pirates who scoured the sea. Cutlasses clenched in their yellow teeth; "Blackbirds" stowed in the hold beneath. I had a Mother who read me lays Of ancient and gallant and golden days; Stories of Marmion and Ivanhoe, Which every boy has a right to know. I had a Mother who read me tales Of Gelert the hound of the hills of Wales, True to his trust till his tragic death, Faithfulness lent with his final breath. I had a Mother who read me the things That wholesome life to the boy heart brings- Stories that stir with an upward touch. Oh, that each mother of boys were such! You may have tangible wealth untold; Caskets of jewels and coffers of gold. Richer than I you can never be -- I had a Mother who read to me.

The great wheel of fire of ancient wisdom, silence and word engendering the myth of the origin, human action engendering the epic voyage toward the other; historical violence revealing the tragic flaw of the hero who must then return to the land of origin; myth of death and renewal and silence from which new words and images will arise, keeps on turning in spite of the blindness of purely lineal thought.

Allowed to cast themselves for great tragic roles, they were experiencing the exhilaration felt by great tragic actors. It was not lack of control, lack of taste, lack of knowledge that accounted for permission of what was not permitted in the West. Rather was it the reverse. Our people could not have handled patients full of the dangerous thoughts of death and love; these people had such resources that they did not need to empty their patients of such freight.

The whiskey was a good start. I got the idea from Dylan Thomas. He's this poet who drank twenty-one straight whiskeys at the White Horse Tavern in New York and then died on the spot from alcohol poisoning. I've always wanted to hear the bartender's side of the story. What was it like watching this guy drink himself out of here? How did it feel handing him number twenty-one and watching his face crumple up before the fall of the stool? And did he already have number twenty-two poured, waiting for this big fat tip, and then have to drink it himself after whoever came took the body away?

And then also, again, still, what are those boundaries, if they’re not baselines, that contain and direct its infinite expansion inward, that make tennis like chess on the run, beautiful and infinitely dense? The true opponent, the enfolding boundary, is the player himself. Always and only the self out there, on court, to be met, fought, brought to the table to hammer out terms. The competing boy on the net’s other side: he is not the foe: he is more the partner in the dance. He is the what is the word excuse or occasion for meeting the self. As you are his occasion. Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise… You seek to vanquish and transcend the limited self whose limits make the game possible in the first place. It is tragic and sad and chaotic and lovely. All life is the same, as citizens of the human State: the animating limits are within, to be killed and mourned, over and over again…Mario thinks hard again. He’s trying to think of how to articulate something like: But then is battling and vanquishing the self the same as destroying yourself? Is that like saying life is pro-death? … And then but so what’s the difference between tennis and suicide, life and death, the game and its own end?

The theatre is a tragic place, full of endings and partings and heartbreak. You dedicate yourself passionately to something, to a project, to people, to a family, you think of nothing else for weeks and months, then suddenly it's over, it's perpetual destruction, perpetual divorce, perpetual adieu. It's like éternel retour, it's a koan. It's like falling in love and being smashed over and over again.’ 'You do, then, fall in love.’ 'Only with fictions, I love players, but actors are so ephemeral. And then there’s waiting for the perfect part, and being offered it the day after you've committed yourself to something utterly rotten. The remorse, and the envy and the jealousy. An old actor told me if I wanted to stay in the trade I had better kill off envy and jealousy at the start.

Son, we live in a world that has walls, and those walls have to be guarded by men with guns. Who's gonna do it? You? You, Lt. Weinburg? I have a greater responsibility than you could possibly fathom. You weep for Santiago, and you curse the marines. You have that luxury. You have the luxury of not knowing what I know. That Santiago's death, while tragic, probably saved lives. And my existence, while grotesque and incomprehensible to you, saves lives. You don't want the truth because deep down in places you don't talk about at parties, you want me on that wall, you need me on that wall. We use words like honor, code, loyalty. We use these words as the backbone of a life spent defending something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom that I provide, and then questions the manner in which I provide it. I would rather you just said thank you, and went on your way, otherwise, I suggest you pick up a weapon, and stand a post. Either way, I don't give a damn what you think you are entitled to.

The lives of men who have to live in our great cities are often tragically lonely. In many more ways than one, these dwellers in the hive are modern counterparts of Tantalus. They are starving to death in the midst of abundance. The crystal stream flows near their lips but always falls away when they try to drink of it. The vine, rich-weighted with its golden fruit, bends down, comes near, but springs back when they reach out to touch it...In other times, when painters tried to paint a scene of awful desolation, they chose the desert or a heath of barren rocks, and there would try to picture man in his great loneliness--the prophet in the desert, Elijah being fed by ravens on the rocks. But for a modern painter, the most desolate scene would have to be a street in almost any one of our great cities on a Sunday afternoon.

LOOK, I’M ONLY IN THIS FOR THE PIZZA. The publisher was like, “Oh, you did such a great job writing about the Greek gods last year! We want you to write another book about the Ancient Greek heroes! It’ll be so cool!” And I was like, “Guys, I’m dyslexic. It’s hard enough for me to read books.” Then they promised me a year’s supply of free pepperoni pizza, plus all the blue jelly beans I could eat. I sold out. I guess it’s cool. If you’re looking to fight monsters yourself, these stories might help you avoid some common mistakes—like staring Medusa in the face, or buying a used mattress from any dude named Crusty. But the best reason to read about the old Greek heroes is to make yourself feel better. No matter how much you think your life sucks, these guys and gals had it worse. They totally got the short end of the Celestial stick. By the way, if you don’t know me, my name is Percy Jackson. I’m a modern-day demigod—the son of Poseidon. I’ve had some bad experiences in my time, but the heroes I’m going to tell you about were the original old-school hard-luck cases. They boldly screwed up where no one had screwed up before. Let’s pick twelve of them. That should be plenty. By the time you finish reading about how miserable their lives were—what with the poisonings, the betrayals, the mutilations, the murders, the psychopathic family members, and the flesh-eating barnyard animals—if that doesn’t make you feel better about your own existence, then I don’t know what will. So get your flaming spear. Put on your lion-skin cape. Polish your shield, and make sure you’ve got arrows in your quiver. We’re going back about four thousand years to decapitate monsters, save some kingdoms, shoot a few gods in the butt, raid the Underworld, and steal loot from evil people. Then, for dessert, we’ll die painful tragic deaths. Ready? Sweet. Let’s do this.

Last year, 4.2 million babies died. That is the most recent number reported by UNICEF of deaths before the age of one, worldwide. We often see lonely and emotionally charged numbers like this in the news or in the materials of activist groups or organizations. They produce a reaction. Who can even imagine 4.2 million dead babies? It is so terrible, and even worse when we know that almost all died from easily preventable diseases. And how can anyone argue that 4.2 million is anything other than a huge number? You might think that nobody would even try to argue that, but you would be wrong. That is exactly why I mentioned this number. Because it is not huge: it is beautifully small. If we even start to think about how tragic each of these deaths is for the parents who had waited for their newborn to smile, and walk, and play, and instead had to bury their baby, then this number could keep us crying for a long time. But who would be helped by these tears? Instead let’s think clearly about human suffering. The number 4.2 million is for 2016. The year before, the number was 4.4 million. The year before that, it was 4.5 million. Back in 1950, it was 14.4 million. That’s almost 10 million more dead babies per year, compared with today. Suddenly this terrible number starts to look smaller. In fact the number has never been lower.

And so we see the paradox that evolution has handed us. If man is the only animal whose consciousness of self gives him an unusual dignity in the animal kingdom, he also pays a tragic price for it. The fact that the child has to identify -first- means that his very first identity is a social product. His habitation of his own body is built from the outside in; not from the inside out. He doesn't unfold into the world, the world unfolds into him. As the child responds to the vocal symbols learned from his object, he often gives the pathetic impression of being a true social puppet, jerked by alien symbols and sounds. What sensitive parent does not have his satisfaction tinged with sadness as the child repeats with such vital earnestness the little symbols that are taught him?

Once we face our fear, once we treat our anxiety itself as a thing, we can then choose otherwise. Instead of filling the unknown in our minds with expectations of the tragic, we can choose to fill the void with a different expectation – the expectation of adventure. For example, Seneca, the Greek philosopher, refused to be afraid of what he did not know. When asked if he was afraid of dying, he replied, “Absolutely not, why should I be afraid of something I know nothing about.” His orientation toward the unknown of death was not to fill the gap in his understanding with horror but potential.

What is death? A "tragic mask." Turn it and examine it. See, it does not bite. The poor body must be separated from the spirit either now or later, as it was separated from it before. Why, then, are you troubled, if it be separated now? for if it is not separated now, it will be separated afterward. Why? That the period of the universe may be completed, for it has need of the present, and of the future, and of the past. What is pain? A mask. Turn it and examine it. The poor flesh is moved roughly, then, on the contrary, smoothly. If this does not satisfy you, the door is open: if it does, bear. For the door ought to be open for all occasions; and so we have no trouble.

Not accomplishing your Life Plan is a tragic act of free will. It is akin to charting an elaborate vacation itinerary before arriving at your holiday destination, with all kinds of plans for outdoor adventures and intentions to go sightseeing and shopping, but then ending up spending the whole trip in your hotel room ordering from room service and watching television. In a similar fashion the unconscious soul spends a lifetime in the semi-conscious state of Divine Disconnection and then returns home mostly ‘empty-handed’.

Life is tragic simply because the earth turns and the sun inexorably rises and sets, and one day, for each of us, the sun will go down for the last, last time. Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, which is the only fact we have. It seems to me that one ought to rejoice in the fact of death—ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

Because, no matter how bad her situation, she didn't want to be deprived of herself, she wanted to be herself. She thought she'd incur serious punishment and even risk dying if she took too much pleasure in life. So she protected herself from death by living less, consuming so little of her life that she'd never run out. This savings have her a little security since you can't fall farther than the ground. Did she feel she was living for nothing? I'm not sure, but I don't think so. Only once did she ask a tragic question: who am I? It frightened her so much that she completely stopped thinking. She sometimes on payday bought herself a rose.

Amy might not have had the most exciting life over the past few years, up here in her room, but she must have been fighting death to the very end. Sara could understand why she had been in denial or so long. It must have been a frightening realization: so many books she would never get to pick up, so many stories that would happen without her, so many authors she would never get to discover. That night, Sara sat in Amy's library for hours, thinking about how tragic it was that the written word was immortal while people were not, and grieving for her, the woman she had never met.

tiring, but it is not confusing. You are never left wondering if you’ve made the wrong choice, or expended energy in the wrong direction, because there is only the one rung above you. Get good grades. Get better at your sport. Take the SAT. Do volunteer work. Apply to colleges. Choose a college. But then you get to college, and suddenly you’re out of rungs and that ladder has turned into a massive tree with hundreds of sprawling limbs, and progress is no longer a thing you can easily measure, because there are now thousands of paths to millions of destinations. And none are linear.

She was murdered by rebels.' He took in her unconcealed look of shock. 'So there you go. Something for you to celebrate.' Magnus turned away from her, ready to find solace in his chambers, but the princess grabbed his arm to stop him. He sent a dark look at her over his shoulder. 'I would never celebrate death, no matter whose it is,' she said, her gaze filled with anger and something else. Something that looked vaguely like sympathy. 'Come now, I'm sure you wouldn't mourn any Damora.' 'I know very well what it's like to lose a parent in a tragic way.' 'Oh, yes, we have so much in common. Maybe we should get married.

The continuous work of our life,” says Montaigne, “is to build death.” He quotes the Latin poets: Prima, quae vitam dedit, hora corpsit. And again: Nascentes morimur. Man knows and thinks this tragic ambivalence which the animal and the plant merely undergo. A new paradox is thereby introduced into his destiny. “Rational animal,” “thinking reed,” he escapes from his natural condition without, however, freeing himself from it. He is still a part of this world of which he is a consciousness. He asserts himself as a pure internality against which no external power can take hold, and he also experiences himself as a thing crushed by the dark weight of other things. At every moment he can grasp the non-temporal truth of his existence. But between the past which no longer is and the future which is not yet, this moment when he exists is nothing. This privilege, which he alone possesses, of being a sovereign and unique subject amidst a universe of objects, is what he shares with all his fellow-men. In turn an object for others, he is nothing more than an individual in the collectivity on which he depends.

For instance, since none of us lives until age 240, people tend not to think that failing to reach that age makes one’s life go less well. However, most people regard it as tragic when somebody dies at forty (at least if that person’s quality of life was comparatively good). But why should a death at ninety not be tragic if a death at forty is? The only answer can be that our judgement is constrained by our circumstances. We do not take that which is beyond our reach as something that would be a crucial good. But why must it be that the good life is within our reach? Perhaps the good life is something that is impossible to attain. It certainly sounds as though a life that is devoid of any discomfort, pain, suffering, distress, stress, anxiety, frustration, and boredom, that lasts for much longer than ninety years, and that is filled with much more of what is good would be better than the sort of life the luckiest humans have. Why then do we not judge our lives in terms of that (impossible) standard?

There was death at the beginning as there would be death again at its end. Though whether it was some fleeting shadow of this that passed across the girl’s dreams and woke her on that least likely of mornings she would never know. All she knew, when she opened her eyes, was that the world was somehow altered. The red glow of her alarm showed it was yet a half hour till the time she had set it to wake her and she lay quite still, not lifting her head, trying to configure the change. It was dark but not as dark as it should be. Across the bedroom, she could clearly make out the dull glint of her riding trophies on cluttered shelves and above them the looming faces of rock stars she had once thought she should care about. She listened. The silence that filled the house was different too, expectant, like the pause between the intake of breath and the uttering of words. Soon there would be the muted roar of the furnace coming alive in the basement and the old farmhouse floorboards would start their ritual creaking complaint. She slipped out from the bedclothes and went to the window. There was snow. The first fall of winter. And from the laterals of the fence up by the pond she could tell there must be almost a foot of it. With no deflecting wind, it was perfect and driftless, heaped in comical proportion on the branches of the six small cherry trees her father had planted last year. A single star shone in a wedge of deep blue above the woods. The girl looked down and saw a lace of frost had formed on the lower part of the window and she placed a finger on it, melting a small hole. She shivered, not from the cold, but from the thrill that this transformed world was for the moment entirely hers. And she turned and hurried to get dressed.

In a society that dreads old age and death, aging holds a special terror for those who fear dependence and whose' self-esteem requires the admiration usually reserved for youth, beauty, celebrity, or charm. The usual defenses against the ravages of age—identification with ethical or artistic values beyond one's immediate interests, intellectual curiosity, the consoling emotional warmth derived from happy relationships in the past—can do nothing for the narcissist. Unable to derive whatever com-fort comes from identification with historical continuity, he finds it impossible, on the contrary, "to accept the fact that a younger generation now possesses many of the previously cherished gratifications of beauty, wealth, power and, particularly, creativity. To be able to enjoy life in a process involving a growing identification with other people's happiness and achievements is tragically beyond the capacity of narcissistic personalities.

What are the things that make adults depressed? The master list is too comprehensive to quantify (plane crashes, unemployment, killer bees, impotence, Stringer Bell's murder, gambling addictions, crib death, the music of Bon Iver, et al.) But whenever people talk about their personal bouts of depression in the abstract, there are two obstructions I hear more than any other. The possibility that one's life is not important, and the mundane predictability of day-to-day existence. Talk to a depressed person (particularly one who's nearing midlife), and one (or both) of these problems will inevitably be described. Since the end of World War II, every generation of American children has been endlessly conditioned to believe that their lives are supposed to be great -- a meaningful life is not just possible, but required. Part of the reason forward-thinking media networks like Twitter succeed is because people want to believe that every immaterial thing they do is pertinent by default; it's interesting because it happened to them, which translates as interesting to all. At the same time, we concede that a compelling life is supposed to be spontaneous and unpredictable-- any artistic depiction of someone who does the same thing every day portrays that character as tragically imprisoned (January Jones on Mad Men, Ron Livingston in Office Space, the lyrics to "Eleanor Rigby," all novels set in affluent suburbs, pretty much every project Sam Mendes has ever conceived, etc.) If you know exactly what's going to happen tomorrow, the voltage of that experience is immediately mitigated. Yet most lives are the same, 95 percent of the time. And most lives aren't extrinsically meaningful, unless you're delusionally self-absorbed or authentically Born Again. So here's where we find the creeping melancholy of modernity: The one thing all people are supposed to inherently deserve- a daily subsistence that's both meaningful and unpredictable-- tends to be an incredibly rare commodity. If it's not already there, we cannot manufacture it.

It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually. Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

There is a – let us say – a machine. It evolved itself (I am severely scientific) out of a chaos of scraps of iron and behold! – it knits. I am horrified at the horrible work and stand appalled. I feel it ought to embroider – but it goes on knitting. You come and say: “this is all right; it’s only a question of the right kind of oil. Let us use this – for instance – celestial oil and the machine shall embroider a most beautiful design in purple and gold”. Will it? Alas no. You cannot by any special lubrication make embroidery with a knitting machine. And the most withering thought is that the infamous thing has made itself; made itself without thought, without conscience, without foresight, without eyes, without heart. It is a tragic accident – and it has happened. You can’t interfere with it. The last drop of bitterness is in the suspicion that you can’t even smash it. In virtue of that truth one and immortal which lurks in the force that made it spring into existence it is what it is – and it is indestructible! It knits us in and it knits us out. It has knitted time space, pain, death, corruption, despair and all the illusions – and nothing matters. I’ll admit however that to look at the remorseless process is sometimes amusing.

Yesterday I stood at the temple door interrogating the passersby about the mystery and merit of Love. And before me passed an old man with an emaciated and melancholy face, who sighed and said: "Love is a natural weakness bestowed upon us by the first man." But a virile youth retorted: "Love joins our present with the past and the future." Then a woman with a tragic face sighed and said: "Love is a deadly poison injected by black vipers, that crawl from the caves of hell. The poison seems fresh as dew and the thirsty soul eagerly drinks it; but after the first intoxication the drinker sickens and dies a slow death." Then a beautiful, rosy-cheeked damsel smilingly said: "Love is a wine served by the brides of Dawn which strengthens strong souls and enables them to ascend to the stars." After her a black-robed, bearded man, frowning, said: "Love is a divine knowledge that enables men to see as much as the gods." Then said a blind man, feeling his way with a cane: "Love is a blinding mist that keeps the soul from discerning the secret of existence, so that the heart sees only trembling phantoms of desire among the hills, and hears only echoes of cries from voiceless valleys." And a feeble ancient, dragging his feet like two rags, said, in quavering tones: "Love is the rest of the body in the quiet of the grave, the tranquility of the soul in the depth of Eternity." And a five-year-old child, after him, said laughing: "Love is my father and mother, and no one knows Love save my father and mother." And so, all who passed spoke of Love as the image of their hopes and frustrations, leaving it a mystery as before.

On Turgenev: He knew from Lavrov that I was an enthusiastic admirer of his writings; and one day, as we were returning in a carriage from a visit to Antokolsky's studio, he asked me what I thought of Bazarov. I frankly replied, 'Bazaraov is an admirable painting of the nihilist, but one feels that you did not love him as mush as you did your other heroes.' 'On the contrary, I loved him, intensely loved him,' Turgenev replied, with an unexpected vigor. 'When we get home I will show you my diary, in which I have noted how I wept when I had ended the novel with Bazarov's death.' Turgenev certainly loved the intellectual aspect of Bazarov. He so identified himself with the nihilist philosophy of his hero that he even kept a diary in his name, appreciating the current events from Bazarov's point of view. But I think that he admired him more than he loved him. In a brilliant lecture on Hamlet and Don Quixote, he divided the history makers of mankind into two classes, represented by one or the other of these characters. 'Analysis first of all, and then egotism, and therefore no faith,--an egotist cannot even believe in himself:' so he characterized Hamlet. 'Therefore he is a skeptic, and never will achieve anything; while Don Quixote, who fights against windmills, and takes a barber's plate for the magic helmet of Mambrino (who of us has never made the same mistake?), is a leader of the masses, because the masses always follow those who, taking no heed of the sarcasms of the majority, or even of persecutions, march straight forward, keeping their eyes fixed upon a goal which is seen, perhaps, by no one but themselves. They search, they fall, but they rise again and find it,--and by right, too. Yet, although Hamlet is a skeptic, and disbelieves in Good, he does not disbelieve in Evil. He hates it; Evil and Deceit are his enemies; and his skepticism is not indifferentism, but only negation and doubt, which finally consume his will.' These thought of Turgenev give, I think, the true key for understanding his relations to his heroes. He himself and several of his best friends belonged more or less to the Hamlets. He loved Hamlet, and admired Don Quixote. So he admired also Bazarov. He represented his superiority admirably well, he understood the tragic character of his isolated position, but he could not surround him with that tender, poetical love which he bestowed as on a sick friend, when his heroes approached the Hamlet type. It would have been out of place.