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.

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

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

Such needless death, so unnecessary, so tragic

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?

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.

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

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.

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.

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

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

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.

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.

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.

I guess you are happy now, being the loneliest star in the night Like you always wanted to be and I being the only guy who wishes for it

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.

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.

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.

Leo had just finished reading this when the FANY girl from the decoding department came in with a new message. ‘It’s bad news, I’m afraid.’ Leo read, ‘Stuart killed by a bomb on June 9th. Contact impossible. Air raids all day and walk all night.’ She put the paper down and bowed her head to her desk. It was not the news of Stuart’s death that struck cold terror into her heart. It was tragic, of course, but he had not come from SOE and she had not had time to get to know him well. It was the image that those words conjured up that was hard to bear. Alix was with these people. She was in danger from bombs all day. She was having to walk all night. Leo thought back to the girl she had said goodbye to in Paris back in the spring of 1939, excited by the prospect of starting her course at the Sorbonne. Rumours of war had seemed so distant that neither of them had doubted that they would meet again in a few months.

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.

Memory is all I have now

Some people say a curse fell over our town five years ago. What else could explain the tragic deaths of five girls, in three separate incidents, in less than two months?

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.

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.

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.

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.

We might as well face it: Death is a bore. It is even harder on the survivors than on the deceased, who at least don’t have to worry about when to sit and when to stand, or when to permit a pale smile and when to glance tragically away.

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.

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.

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?

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 wish to live my life intensely and embrace my death tragically.

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.

In contrast to most of the existentialist schools of thought, logotherapy is in no way pessimistic; but it is realistic in that it faces the tragic triad of human existence: pain, death, and guilt.

One of the trickiest parts of social media is recognizing that everyone is doing the same thing you’re doing: presenting their best self. Everyone is now a brand, and all of digital life is a fashion magazine.

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.

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.

One study found that an average high school student today likely deals with as much anxiety as did a psychiatric patient in the 1950s. The numbers are eye-opening

Marena," he said with an effort, "Marena...." He did not recognize her. His voice failed.

When death can’t stand to conquer something, you know it must be beautiful.

I knew he was always doing the very best he could with the pain he felt at any given moment. And this, however tragic, had been the best he could do.

VIENNA, March 11–12 (4 a.m.) The worst has happened! Schuschnigg is out. The Nazis are in. The Reichswehr is invading Austria. Hitler has broken a dozen solemn promises, pledges, treaties. And Austria is finished. Beautiful, tragic, civilized Austria! Gone. Done to death in the brief moment of an afternoon. This afternoon.

My name is Cassandra Temperance Steel, I said to the beautiful imaginary Death Angel, as if my name wasn’t already on her Santa Claus-like list of souls to collect that evening. Spare me.

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?

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?

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.

We continue the chain of generations and, knowingly or not, willingly or unwillingly, we pay debts of the past: as long as we have not cleared the slate, an “invisible loyalty” impels us to repeat and repeat a moment of incredible joy or unbearable sorrow, an injustice or a tragic death. Or its echo.

And like: “Why should one want to wake up dead anyway?” If the glorious birth-to-death hassle is the only hassle we are ever to have . . . if our grand and 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?

Living with a ghost is frightening enough, but if you change houses to escape it and the ghost is present in the new space, then you’ve confirmed that it’s not the house the ghost is haunting. It’s you.

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.

Who decides which… deaths are tragic and which are not? Who decides what is big and what is little? Is it a matter of numbers or physical mass or intelligence? If you are a little creature or a little person dying alone and in pain, you may not remember or know that you are little. If you are in enough pain, you may not remember who or what you are; you may know only your suffering, which is immense… What decides – common sense? Can common sense dictate such things?

We have to die to get their pity said Victoire 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. But I don’t want to die, Robin. I don’t want to die...I don’t want to be their tragic, lovely lack of figure. I want to live…and thrive and survive them.

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?

The next day, I’d be going home. Little did I know that, as I slept, the universe was already conspiring, like a table full of gossiping women, to help nudge me in the right direction to- ward my fate... or to my death.

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.

It was a tragic end to a heroic life.

What is love for, if not to intensify our affections—both in life and death? But, O, do not be bitter. It is tragically self-destructive to be bitter.

It was the cruelest of destiny’s tricks, the death of a young person.

Too many people die early, either tragically or natural death, because they did not treat their lives with any sense of value.

The pressure to be great, not good, is unrelenting. Believing that this pressure will simply disappear once kids arrive on campus seems like wishful thinking.

A monster is a monster, regardless of the face it wears or the name given to it. We were all monsters in our own way. It was tragic really.

When I die have Jamie Cook sing at my funeral so my death will be the second most tragic event.

the inextricability of life and death, and the ability to cope, to find meaning despite this, because of this. What happened to Paul was tragic, but he was not a tragedy.

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.

One day a year let’s all pretend that death is tucked up, fast asleep. That no lives meet a tragic end, no dreams are shattered on the cheap. The world’s at peace, there are no wars, we hug our friend, our former foe. No beggars die outside locked doors, all cells are empty on death row. Nobody’s stabbed, nobody’s shot, no car runs over someone’s friend. This can’t be true! – Well, maybe not. All I’m saying is: let’s pretend.

There are people in this world who cut such a grotesque figure that even death renders them ridiculous. And the more horrible the death the more ridiculous they seem. It's no use trying to invest the end with a little dignity – you have to be a liar and a hypocrite to discover anything tragic in their going.

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.

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.

Si peccasse negamus, fallimur, et nulla est in nobis veritas; If we say that we have no sin, we deceive ourselves, and there's no truth in us. Why, then, belike we must sin, and so consequently die: Ay, we must die an everlasting death. What doctrine call you this, Che sera, sera,19 What will be, shall be? Divinity, adieu!

Digital life, and social media at its most complex, is an interweaving of public and private personas, a blending and splintering of identities unlike anything other generations have experienced.

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?

there was genuine pity in her face, but also a kind of glee, the sort you see sometimes when teens are interviewed about the tragic death of a friend. The sadness is there, and it's real, but there's an underlying thrill at the drama of it all, the realness of it all.

The (capital punishment) controversy passes the anarch by. For him, the linking of death and punishment is absurd. In this respect, he is closer to the wrongdoer than to the judge, for the high-ranking culprit who is condemned to death is not prepared to acknowledge his sentence as atonement; rather, he sees his guilt in his own inadequacy. Thus, he recognizes himself not as a moral but as a tragic person.

If one only wished to be happy, this could be easily accomplished; but we wish to be happier than other people, and this is always difficult, for we believe others to be happier than they are. —Montesquieu

Worst thing comes to worst, I fucking die a tragic death or some shit And I´m not able to see out my dreams, I at least wanna know That the kids perceived my message, and were able to make something of themselves And able to take my message, and use it, and turn it into something positive If I´m gonna d-, If I´m gonna die or ever be a sacrifice I wanna make sure that my life made at least 5 million kids happy

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.

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’.

It has taken me four years to figure this out. If we live long enough, we all will experience this. Don’t ever predetermine how you think that you should feel on an anniversary of a tragic event in your life, such as a death of a loved one, or on a holiday after such an event. Each year starts out with 365 days, and I will be damned if I am giving up even one of them to misery.

The reality of death has come upon us and a consciousness of the power of God has broken our complacency like a bullet in the side. A sense of the dramatic, of the tragic, of the infinite, has descended upon us, filling us with grief, but even above grief, wonder. Our plans were so beautifully laid out, ready to be carried to action, but with magnificent certainty God laid them aside and said, "You have forgotten - Mine?" A meditation on her fathers death.

When Mary Shelley took a local legend based on truth and crafted fiction from it, she'd made Victor a tragic figure and killed him off. He understood her dramatic purpose for giving him a death scene, but he loathed her for portraying him as tragic and a failure. Her judgement of his work was arrogant. What else of consequence did she ever write? And of the two, who was dead - and who was not?

When people die and especially when they die tragically, others can't help but get carried away. They come up with their implausible interpretation and usually resort to cheap psychology. A sense of fatalism is the only form of relief left.

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. —James Baldwin, The Fire Next Time

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.

And so you see, dear reader, the death of my friend Sophie forced me to realize that the whole universe is one big concentration camp run by God -- the biggest Nazi of them all! So slavery in Virginia wasn't all that bad. And it was really God's fault anyway. Pretty good tragic insight there. Think I'll crank some Bellamy Brothers and get loaded!

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.

When Mary Shelley took a local legend based on truth and crafted fiction from it, she’d made Victor a tragic figure and killed him off. He understood her dramatic purpose for giving him a death scene, but he loathed her for portraying him as tragic and as a failure.

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 love of my life wants to die. That’s a tragic thing to say out loud. No. Maybe not tragic. Maybe just unfair.

My point is that death is more tragic than life, than any life, because every life has hope of some kind.

Of course, Mary Magdalene would have very little tolerance for the Christian platitudes and vapid optimism that seem to swirl around these kinds of tragic events. Those platitudes are tempting, but they're nothing but luxuries for people who've never had demons (or at least have never admitted to them). But equally, she would reject nihilism, or the idea that there is no real meaning in life or death - ideas present in so much of postmodernity. Those ideas, too, are luxuries, but they are for those who have never been freed from demons.

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.

This practice of arranging the marriage of a dead person was uncommon, usually held in order to placate a spirit. A deceased concubine who had produced a son might be officially married to elevate her status to a wife. Or two lovers who died tragically might be united after death. That much I knew. But to marry the living to the dead was a rare and, indeed, dreadful occurrence.

Houses have their own ways of dying, falling as variously as the generations of men, some with a tragic roar, some quietly, but to an after-life in the city of ghosts, while from others—and thus was the death of Wickham Place—the spirit slips before the body perishes . . . By September it was a corpse, void of emotion, and scarcely hallowed by the memories of thirty years of happiness.

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?

it’s inevitable that we’ve got to bring out the question of the tragic mixup in priorities. We are spending all of this money for death and destruction, and not nearly enough money for life and constructive development . . . when the guns of war become a national obsession, social needs inevitably suffer.

Stories become great by hacking your brain. Nothing that happens in fiction matters. The people in fiction are fictional so their triumphs and tragedies have literally no consequence. The death of the yogurt you doomed to a fiery death in your gut acid this morning is finitely more tragic than the "deaths" of Romeo and Juliet. The yogurt was alive and then it died. Romeo and Juliet never lived in the first place.

But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us. We are hard pressed on every side, but not crushed; perplexed, but not in despair; persecuted, but not abandoned; struck down, but not destroyed. We always carry around in our body the death of Jesus, so that the life of Jesus may also be revealed in our body. For we who are alive are always being given over to death for Jesus’ sake, so that his life may also be revealed in our mortal body. (2 Cor. 4:7–11 NIV)

...Yet, tragically, many today still eat at the table of demons, serving their own lustful appetites, and then attempt to come to the Lord's table and feast with the righteous. This leads only to spiritual sickness and death because these deceived ones do not discern the true Bread of God. These sickly sheep have become so spiritually weak and diseased by sin that they cannot eat strong meat. Instead, the prefer to nibble at the husks of ear-tickling teachings. They gravitate toward lightness and entertainment rather than the genuine Word. Their spiritual appetites have become dull as a result of eating too much junk food.

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.

Take death for example. A great deal of our effort goes into avoiding it. We make extraordinary efforts to delay it, and often consider its intrusion a tragic event. Yet we’d find it hard to live without it. Death gives meaning to our lives. It gives importance and value to time. Time would become meaningless if there were too much of it.

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.

no matter what Saint Paul may thunder, love is where you find it. A man can fall in love with a man: incarceration, torture, fire, and death, and, still more, the threat of these, have not been able to prevent it, and never will. It became a grave, a tragic matter, on the North American continent, where white power became indistinguishable from the question of sexual dominance. But the question of sexual dominance can exist only in the nightmare of that soul which has armed itself, totally, against the possibility of the changing motion of conquest and surrender, which is love.

An artistic image is one that ensures its own development, its historical viability. An image is a grain, a self-evolving retroactive organism. It is a symbol of actual life, as opposed to life itself. Life contains death. An image of life, by contrast, excludes it, or else sees in it a unique potential for the affirmation of life. Whatever it expresses—even destruction and ruin—the artistic image is by definition an embodiment of hope, it is inspired by faith. Artistic creation is by definition a denial of death. Therefore it is optimistic, even if in an ultimate sense the artist is tragic. And so there can never be optimistic artists and pessimistic artists. There can only be talent and mediocrity.

Ethanol plus carbon dioxide was like a demon spawn pounding against the frontal lobes of my head from the previous night at the bar. Somewhere in the city there was a church bell ringing, and—oh, not a bell. That was my phone. My head pounded and I felt dizzy, like I was spinning in circles on a Tilt-A-Whirl ride. Slowly, I opened an eye to try and find my cell phone. I groaned as I reached for the blue- and-silver-plated device on my nightstand. The spins from al- cohol sucked.

When Jim was growing up, good colleges were challenging to get into, but it wasn't like it is today, when being a solid, diligent student is no longer enough. Students today must display excellence -- not just competence --- in numerous areas. The pressure to be great, not just good, is unrelenting. Believing this pressure will disappear once kids arrive on campus seems like wishful thinking.

History will not absolve us if we do not, once and for all, reveal all that is known about the greatest, most tragic murder mystery in American History. After all, 90 percent of the American people believe that there was a conspiracy to assassinate John F. Kennedy.

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.

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.

His mother’s death, nearly thirty years ago, had been tragic and sorrowful in a way that was no longer possible. Tragedy, he perceived, belonged to the ancient time, to a time when there was still privacy, love, and friendship, and when the members of a family stood by one another without needing to know the reason. His mother’s memory tore at his heart because she had died loving him, when he was too young and selfish to love her in return, and because somehow, he did not remember how, she had sacrificed herself to a conception of loyalty that was private and unalterable. Such things, he saw, could not happen today. Today there were fear, hatred, and pain, but no dignity of emotion, no deep or complex sorrows. All this he seemed to see in the large eyes of his mother and his sister, looking up at him through the green water, hundreds of fathoms down and still sinking.

4. The whole Icarus-flying-too-near-the-sun-and-plummeting-out-of-the-sky thing? That's real. Same with the Sirens who lure you to death with their irresistible song, and the odalisque so beautiful anyone who looks at her dies. And remember: as badass as Grendel was, Beowulf hadn't seen anything until he went up against Grendel's mother. I know, I know - I thought they were just myths too. But the fact is, sometimes, if you don't want to meet a tragic end, your only option is to avert your gaze, tie yourself to the mast with cotton in your ears, or ascend a little less close to the Vault of Heaven.

We have to die to get their pity,' said Victoire. 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. But I don't want to die, Robin.' Her throat hitched. 'I don't want to die. I don't want to be their tragic, lovely lacquer figure. I want to live.' 'I want to live,' she repeated, 'and live, and thrive, and survive them. I want a future.

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?

I stood in front of the stranger again. Now that I saw him in a lifeless state, I noticed that there was no change in the world around him after he had gone. Babies were being born on the floor above, their cries of life breaking off and floating down through the open window. Outside, trains still whizzed on by, the passengers oblivious to the tragic events that unfolded here every day. People in the next room laughed. Life went on. Life went on and the world continued to turn.

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 gave 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.

I'm freezing," moaned Isabella. "I shall freeze to death." "Cheer up, my southern flower." Jake hauled on the oars. "This was your brilliant idea. Anyway, you can die spectacularly of pneumonia, and someone will write a great tragic opera about you." Isabella gave him a teeth-chattering grimace, but her expression turned dreamy and distant as if she was already imagining her last heart-rending aria. Cassie cleared her throat in exasperation. "Can we not talk about spectacular deaths?

A boy adopts a hero for two reasons: because a hero captivates his soul and serves as a projection of his innermost self; and, because a hero seems to have solved many problems that may worry a boy, or at least demonstrates the capacity to solve them. The hero is an idealization of successful living, even though he may die in a story. The death may be gallant, brave, tragic, or perhaps even foolhardy. But living or dead, a hero is the stylistic embodiment of living on one’s own terms – noble terms, grand terms, exciting terms – terms, in short, that complement any youth’s uncorrupted, untamed, unabridged projection of what is possible to him in life

Madison and her friends were the first generation of “digital natives”—kids who’d never known anything but connectivity. That connection, at its most basic level, meant that instead of calling your parents once a week from the dorm hallway, you could call and text them all day long, even seeking their approval for your most mundane choices, like what to eat at the dining hall. Constant communication may seem reassuring, the closing of physical distance, but it quickly becomes inhibiting. Digital life, and social media at its most complex, is an interweaving of public and private personas, a blending and splintering of identities unlike anything other generations

Never value anything as profitable that compels you to break your promise, to lose your self-respect, to hate any man, to suspect, to curse, to act the hypocrite, to desire anything that needs walls and curtains: for he who has preferred to everything else his own intelligence and daimon and the worship of its excellence, acts no tragic part, does not groan, will not need either solitude or much company; and, what is chief of all, he will live without either pursuing or flying from death; but whether for a longer or a shorter time he shall have the soul enclosed in the body, he cares not at all: for even if he must depart immediately, he will go as readily as if he were going to do anything else that can be done with decency and order; taking care of this only all through life, that his thoughts abide with the concerns of an intelligent animal and a member of a civil community.

Russia was a genuine great power, but with a tragic flaw. Its vicious, archaic autocracy had to be emasculated for any type of better system to emerge. Unmodern in principle, let alone in practice, the autocracy died a deserving death in the maelstrom of the Anglo-German antagonism, the bedlam of Serbian nationalism, the hemophilia bequeathed by Queen Victoria, the pathology of the Romanov court, the mismanagement by the Russian government of its wartime food supply, the determination of women and men marching for bread and justice, the mutiny of the capital garrison, and the defection of the Russian high command. But the Great War did not break a functioning autocratic system; the war smashed an already broken system wide open.

History conditioned you for epic-scale calamity. Once, when she was studying the death tolls of battles in World War I, she'd caught herself thinking, Only eight thousand men died here. Well, that's not many. Because next to, say, the million who died at the Somme, it wasn't. The stupendous numbers deadened you to the merely tragic, and history didn't average in the tame days for balance. On this day, no one in the world was murdered. A lion gave birth. Ladybugs launched on aphids. A girl in love daydreamed all morning, neglecting her chores, and wasn't even scolded.

The fact that I’d become so wealthy so soon before my demise, and the unexplained disappearance of my money, only added gasoline to the firestorm of speculation. To this day, there remains no true account of my sad passing. For most of my life I had been a no-one, a lonely young woman who had never known happiness, and only dreamed of love. In death I became prettier, more important, because the public learned that in the days leading up to my death, I had found both happiness and love. I had just begun to live when my life ended, making what happened all the more tragic

Responding to bereavement by trying to make a difference is certainly both understandable and admirable, but it doesn't give you good reason to raise money for one specific cause of death rather than any other. If that person had died in different circumstances it would have been no less tragic. What we care about when we lose someone close to us is that they suffered or died, not that they died from a specific cause. By all means, the sadness we feel at the loss of a loved one should be harnessed in order to make the world a better place. But we should focus that motivation on preventing death and improving lives per se, rather than preventing death and improving lives in one very specific way. Any other decision would be unfair on those we could have helped more.

For, in those centuries, when numbers of children died in the cradle and half the women in childbirth, when epidemics ravaged adult life, when wounds were but rarely cured, and sores did not heal, when the Church’s teaching was ceaselessly directed towards a consciousness of sin, when the statues in the sanctuaries showed worms gnawing at corpses, when each one carried throughout his life the spectre of his own decomposition before his eyes and the idea of death was habitual, natural and familiar, to be present at a man’s last breath was not, as it is for us, a tragic reminder of our common destiny.

The tragedy of her father's absence had never actually been an acutely tragic event for her. As she grew up and came to understand the world, he was a part of it. An already dead part. His absence was the landscape of her family. Increasingly, as the years went on, she didn't really know what she was missing, but that didn't stop her from missing it. She fixated on him. She prayed to him. She attempted to research him, found obscure publications of his in scientific journals. The language was so formal, she could barely understand it. But she told herself, This is familiar. This is mine, bone of my bone, flesh of my flesh. She thought, There was a feeling he had, when he wrote this, when he was alive. He communicated it to me, even though everyone who reads this article only gets a lot of information about this scientific test subject, and his reaction to all these oils. She dreamed her father was still out there [ . . . though] her belief that her father was still living did not stop her from telling stories about his death.

But the other tribe — the passionate, tragic, rootless tree — man? Alas! He is a creature whose highest privileges are a curse. In his mouth is ever the bitter-sweet taste of life and death, unknown to the trees. Without respite he is dragged by the two wild horses, memory and hope; and he is tormented by a secret that he can never tell. For every man worthy of the name is an initiate; but each one into different Mysteries.

Take your rainbows Oh! high monsoon instead cloak me and her with rain so that we can hide from that tragic fate Wrap us in one of those grey clouds lets us sail through that gush and storm hide us in these thunder and black clouds until the end of time or until we melt too and drip through these very own skies sell my soul to feisty east winds for more time in her arms because I know no separation only death oh! melancholy rain oh! melancholy rain do I have to cry louder than the thunder itself and lose my ability to utter 'love you' and be labelled as betrayer in front of her confessions I better be unborn and with no existence If there is no being; how can there be separation.

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.

And we're not just talking high school students; this practice of hovering often begins before they've learned how to write. Kids used to grow up in a neighborhood-- on the block or in the parks, playing games with other kids. These games had rules, but the kids themselves determined them, flexing their imaginations. Social scientists called these activities -- capture the flag, bike races, pickup baseball games -- "free play, " and it's been steadily decreasing since the 1950s. Scientists have also noted a correlation between the decreasing amount of childhood free play—any play not directed by adults—and the increasing rates of anxiety and depression among kids. As free play decreases, anxiety increases.

By saying that human issues are more important than non-human issues, that violence to humans is more relevant than violence to animals, one forgets that the animal liberation movement implies a message of peace for every being on earth and the opposition against the mindset of oppression. To make a distinction between one violence and another is exactly the root of all violence: Some wouldn't do any harm to those who share with them a flag, a religion, a language, etc. but would easily condemn to suffering and death those who are different. This tragic use of diversity as an excuse to inflict pain on others for a matter of profit and convenience is the cause of suffering for both human and non-human animals.

In the American Christian narrative, the stories of the dominant culture are placed front and center while stories from the margins are often ignored. As we rush toward a description of an America that is now postracial, we forget that the road to this phase is littered with dead bodies. There has been a deep and tragic loss in the American story because we have not acknowledged the reality of death. Stories remain untold or ignored in our quest to “get over” it. But in the end, we have lost an important part of who we are as a nation and as a church. We have yet to engage in a proper funeral dirge for our tainted racial history and continue to deny the deep spiritual stronghold of a nation that sought to justify slavery.

A pall fell over the room. A black shroud of disease and deathbeds and all the worst things from all the worst places. This mutant world, a tragic portmanteau, the unnatural marriage of two roots as different as could be. 'And do you, Ability take Vitriol to be your lawfully wedded suffix?' I wanted to scream objections to the unholy matrimony, but nothing came out. My mouth was clammy and dry, full of sand. Dr. Wilson smiled on, rambling about the benefits of Abilitol while my father nodded like a toy bobblehead immune to the deepening shadow in the room. As they spoke, I caught my mother's eye. I could tell by her face that she felt the deepening shadow too. Neither of us smiled. Neither of us spoke. We felt the shadow together.

Introspection means talking to yourself, and one of the best ways of talking to yourself is by talking to another person. One other person you can trust, one other person to whom you can unfold your soul. One other person you feel safe enough with to allow you to acknowledge things—to acknowledge things to yourself—that you otherwise can’t. Doubts you aren’t supposed to have, questions you aren’t supposed to ask. Feelings or opinions that would get you laughed at by the group or reprimanded by the authorities. This is what we call thinking out loud, discovering what you believe in the course of articulating it. But it takes just as much time and just as much patience as solitude in the strict sense. And our new electronic world has disrupted it just as violently. Instead of having one or two true friends that we can sit and talk to for three hours at a time, we have 968 “friends” that we never actually talk to; instead we just bounce one-line messages off them a hundred times a day. This is not friendship, this is distraction.

I fooled myself into believing I was after closure, when all I really wanted was never to let go. Because, as Alison’s scar was her most sacred vanity, her death was mine. Because I needed a murder mystery. Without one, what choice did I have but to be angry at Alison for making herself so indispensable to me, to all of us, and then being so careless with herself? (Drinking and drugs, a reckless swim, a stupid accident. The police had suggested this basic scenario from the beginning, but my parents had refused to accept it. Why would they have? Why would anyone accept such a sad and pointless story, a tale that was not even cautionary but simply tragic, a shame?) What choice was there, finally, but to admit that I hated Alison every bit as much as I loved her? I hated her while she was alive for the way her dazzling, spectacular self took up the entire spotlight, and I hated her even more for the oppressive shadow she cast with her death. How could I ever be enough? How could I possibly compare to someone who never had to grow up?

Specifically, I cherished a romantic impulse towards death, yet at the same time I required a strictly classical body as its vehicle; a peculiar sense of destiny made me believe that the reason why my romantic impulse towards death remained unfulfilled in reality was the immensely simple fact that I lacked the necessary physical qualifications. A powerful, tragic frame and sculpturesque muscles were indispensable in a romantically noble death. Any confrontation between weak, flabby flesh and death seemed to me absurdly inappropriate. Longing at eighteen for an early demise, I felt myself unfitted for it. I lacked, in short, the muscles suitable for a dramatic death. And it deeply offended my romantic pride that it should be this unsuitability that had permitted me to survive the war.

And what’s wrong with buying and selling?” ... “Nothing. In its place, nothing at all. A simple and necessary thing. But only a small thing in a man’s life - not his whole existence - not an end in itself - not a way of life or a source of one’s beliefs. And this is what it has become. A tragic joke, to make a religion of it... This is spiritual death. Where is there room here for what is good and beautiful, for time to re-formulate the eternal questions, for study of man’s conduct? A savage who worships a tree lives a richer life.

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.

CHAPTER ELEVEN Man The Destroyer   Darkness will be preferred to light, and death will be thought more profitable than life…the pious will be deemed insane, and the impious wise, the madman will be thought a brave man, and the wicked will be esteemed as good – Hermes Trismegistus As we mentioned, the titanic reversals were not merely physical, but psychic. Human consciousness was as shattered as the world, and the consequences of ruined minds is seen all around us. In short, the human tendency to commit evil acts is the consequence of trauma primarily caused by four tragic events: The Destruction of Tiamat (and first deluge) Genetic Alteration The War of the Gods The Pole Shift (second deluge and subsequent global carnage and fallout) Once we accept that colossal violent upheavals took place, we cannot avoid contemplating their effect on consciousness. Strangely, no mainstream scientist or psychologist has competently addressed this fundamentally important question. Academics avoid dealing with the problem of evil because they know what a threat the answers pose to the Establishment, and particularly to religion.

I was thirty. Before me stretched the portentous, menacing road of a new decade. It was seven o’clock when we got into the coupe with him and started for Long Island. Tom talked incessantly, exulting and laughing, but his voice was as remote from Jordan and me as the foreign clamor on the sidewalk or the tumult of the elevated overhead. Human sympathy has its limits, and we were content to let all their tragic arguments fade with the city lights behind. Thirty—the promise of a decade of loneliness, a thinning list of single men to know, a thinning brief-case of enthusiasm, thinning hair. But there was Jordan beside me, who, unlike Daisy, was too wise ever to carry well-forgotten dreams from age to age. As we passed over the dark bridge her wan face fell lazily against my coat’s shoulder and the formidable stroke of thirty died away with the reassuring pressure of her hand. So we drove on toward death through the cooling twilight.

Reading private correspondence is in poor taste, Lord Ackerly.” “Unless it is terribly interesting,” Eleanor says, “which Jessamin’s letters are not. Mine, however, are lurid tales of my near-death experience and subsequent sequestering against my will in the home of the mysterious and brooding Lord Ackerly. I fear I may have given you a tragic past and a deadly secret or two.” “Are we staying in a decaying Gothic abbey?” I ask. “Naturally. When I’m finished, there won’t be a person in all the city who isn’t writhing with jealousy over the heart-pounding drama of my life.” She pauses, tapping her pen thoughtfully against her chin. “I don’t suppose you have a cousin? I could very much use a romantic foil.” Finn shakes his head. “Sorry to disappoint.” “Alas. As long as I’m not the friend who meets a tragic end that brings you two together forever through shared grief.” Her line meets dead silence, and a sly grin splits her face. “Oh wait, I nearly was.

Death was more like what we went through in the park: two people walking side by side in the mist, rubbing against trees and bushes, and not a word between them. It was something emptier than the name itself and yet right and peaceful, dignified, if you like. It was not a continuation of life, but a leap in the dark and no possibility of ever coming back, not even as a grain of dust. And that was right and beautiful, I said to myself, because why would one want to come back. To taste it once is to taste it forever - life or death. Whichever way the coin flips is right, so long as you hold no stakes. Sure, it's tough to choke on your own spittle - it's disagreeable more than anything else. And besides, one doesn't always die choking to death. Sometimes one goes off in his sleep, peaceful and quiet as a lamb. The Lord comes and gathers you up into the fold, as they say. Anyway, you stop breathing. And why the hell should one want to go on breathing forever? Anything that would have to be done interminably would be torture. The poor human bastards that we are, we ought to be glad that somebody devised a way out. We don't quibble about going to sleep. A third of our lives we snore away like drunken rats. What about that? Is that tragic? Well then, say three-thirds of drunken rat-like sleep. Jesus, if we had any sense we'd be dancing with glee at the thought of it! We could all die in bed tomorrow, without pain, without suffering - if we had the sense to take advantage of our remedies. We don't want to die, that's the trouble with us. That's why God and the whole shooting match upstairs in our crazy dustbins.

People write tragedies in which fatal blondes betray their paramours to ruin, which Cressidas, Cleopatras, Delilahs, and sometimes even naughty daughters like Jessica bring their lovers or their parents to distress: but these are not the heart of tragedy. They are fripperies to the soul of man. What does it matter if Antony did fall upon his sword? It only killed him. It is the mother's not the lover's lust that rots the mind. It is that which condemns the tragic character to his walking death. It is Jocasta, not Juliet, who dwells in the inner chamber. It is Gertrude, not the silly Ophelia, who sends Hamlet to his madness. The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself--his soul stolen, overlaid, wizened, while the mother-character lives in triumph, superfluously and with stifling love endowed on him, seemingly innocent of ill-intention. Mordred was the only son of Orkney who never married. He, while his brothers fled to England, was the one who stayed alone with her for twenty years--her living larder. Now that she was dead, he had become her grave. She existed in him like the vampire. When he moved, when he blew his nose, he did it with her movement. When he acted he became as unreal as she had been, pretending to be a virgin for the unicorn. He dabbled in the same cruel magic. He had even begun to keep lap dogs like her--although he had always hated hers with the same bitter jealousy as that with which he had hated her lovers.

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. If he truly wants to understand the nature of the epic story I am letting him compose, he needs to accept that the casualties of war aren't just the ones who die. And that a death off the battlefield can be more noble (more heroic, if he prefers it that way) than one in the midst of fighting. But it hurts, he said when Creusa died. He would rather her story had been snuffed out like a spark failing to catch damp kindling. It does hurt, I whispered. It should hurt. She isn't a footnote, she's a person. And she - all the Trojan women - should be memorialized as much as any other person. Their Greek counterparts too. War is not a sport, to be decided in a quick bout on a strip of contested land. It is a web which stretches out to the furthest parts of the world, drawing everyone into itself.

Even if millions have seen Bonhoeffer’s death as tragic and as a prematurely ended life, we can be certain that he did not see it that way at all. In a sermon he preached while a pastor in London, he said: No one has yet believed in God and the kingdom of God, no one has yet heard about the realm of the resurrected, and not been homesick from that hour, waiting and looking forward joyfully to being released from bodily existence. Whether we are young or old makes no difference. What are twenty or thirty or fifty years in the sight of God? And which of us knows how near he or she may already be to the goal? That life only really begins when it ends here on earth, that all that is here is only the prologue before the curtain goes up—that is for young and old alike to think about. Why are we so afraid when we think about death? . . . Death is only dreadful for those who live in dread and fear of it. Death is not wild and terrible, if only we can be still and hold fast to God’s Word. Death is not bitter, if we have not become bitter ourselves. Death is grace, the greatest gift of grace that God gives to people who believe in him. Death is mild, death is sweet and gentle; it beckons to us with heavenly power, if only we realize that it is the gateway to our homeland, the tabernacle of joy, the everlasting kingdom of peace. How do we know that dying is so dreadful? Who knows whether, in our human fear and anguish we are only shivering and shuddering at the most glorious, heavenly, blessed event in the world? Death is hell and night and cold, if it is not transformed by our faith. But that is just what is so marvelous, that we can transform death.

Shakespeare's plays do not present easy solutions. The audience has to decide for itself. King Lear is perhaps the most disturbing in this respect. One of the key words of the whole play is 'Nothing'. When King Lear's daughter Cordelia announces that she can say 'Nothing' about her love for her father, the ties of family love fall apart, taking the king from the height of power to the limits of endurance, reduced to 'nothing' but 'a poor bare forked animal'. Here, instead of 'readiness' to accept any challenge, the young Edgar says 'Ripeness is all'. This is a maturity that comes of learning from experience. But, just as the audience begins to see hope in a desperate and violent situation, it learns that things can always get worse: Who is't can say 'I am at the worst?' … The worst is not So long as we can say 'This is the worst.' Shakespeare is exploring and redefining the geography of the human soul, taking his characters and his audience further than any other writer into the depths of human behaviour. The range of his plays covers all the 'form and pressure' of mankind in the modern world. They move from politics to family, from social to personal, from public to private. He imposed no fixed moral, no unalterable code of behaviour. That would come to English society many years after Shakespeare's death, and after the tragic hypothesis of Hamlet was fulfilled in 1649, when the people killed the King and replaced his rule with the Commonwealth. Some critics argue that Shakespeare supported the monarchy and set himself against any revolutionary tendencies. Certainly he is on the side of order and harmony, and his writing reflects a monarchic context rather than the more republican context which replaced the monarchy after 1649. It would be fanciful to see Shakespeare as foretelling the decline of the Stuart monarchy. He was not a political commentator. Rather, he was a psychologically acute observer of humanity who had a unique ability to portray his observations, explorations, and insights in dramatic form, in the richest and most exciting language ever used in the English theatre.

a tragic roster of activists and innocents had died for the crime of being black or supporting blacks in their state. There was Willie Edwards Jr., the truck driver forced off a bridge to his death by four Klansmen in Montgomery. There was William Lewis Moore, the man from Baltimore shot and killed in Attalla while trying to walk a letter denouncing segregation 385 miles to the governor of Mississippi. There were four young girls, Addie Mae Collins, Denise McNair, Carole Robertson, and Cynthia Wesley, killed by the bombing of the Sixteenth Street Baptist Church in Birmingham. There was thirteen-year-old Virgil Lamar Ware, shot to death on the handlebars of his brother’s bicycle in the same city. There was Jimmie Lee Jackson, beaten and shot by state troopers in Marion while he tried to protect his mother and grandfather during a protest. There was the Reverend James Reeb, the Unitarian minister beaten to death in Selma. There was Viola Gregg Liuzzo, shot by Klansmen while trying to ferry marchers between Selma and Montgomery. There was Willie Brewster, shot to death while walking home in Anniston. There was Jonathan Myrick Daniels, a seminarian registering black voters who was arrested for participating in a protest and then shot by a deputy sheriff in Hayneville. There was Samuel Leamon Younge Jr., murdered by a gas station owner after arguing about segregated restrooms.

The painter knows, sadly enough, that experience does not suffice unto itself, has no proportion, dimension, perspective, mournfully he eats his life but is not allowed to digest it, this being reserved for others, not knowing, but who must somehow, at any sacrifice be made to know, then punished for the sight of this knowledge, by aiding it on its journey from brain to brain. It does not seem unreasonable that we invent colors, lines, shapes, capable of being, representative of existence, therefore it is not unreasonable that they, in turn, later, invent us, our ideas, directions, motivations, with great audacity, since we, ourselves having them upon our walls. What rude guests they prove to be, indeed: although paintings differ from life by energy a painter can never be a substitute for his paintings, so complete so independent as reality are they. Imagine the please they enjoy at this. They by conversion into an idea of the person, do, instantaneously destroy him. A tragic gesture that actually leads to tragedy but diabolically exists only in an absence of tragedy, nevertheless procreating it, however, they are unreasonably enough, insufficient, because they are not made of ideas, they are made of paint, all else is really us. Paintings are metaphors for reality, but instead of being an aid to realisation obscure the reality which is far more profound. The only way to circumvent painting is by absolute death.

of being okay, and having everything together, and almost, like, say, even though I’m stressed, I still have time to have a perfect social life, perfect grades, to join all these clubs, and I’m super successful. But in reality people are stressed, and do feel alone, and it’s important to address those things. Peter: Picture a duck, and below the surface they are scrambling for their lives, but above the water everything appears peaceful—not a care in the world. That’s Penn Face. Kathryn: I think Penn Face also comes from the expectations we have for ourselves, and that people around us have for us at an Ivy League university—you’re supposed to be having the best four years of your life. We get this messaging everywhere. And having a hard time is not part of that messaging, which perpetuates the belief that “I’m not okay” must mean that something is wrong with you instead of something a lot of people might feel. Devanshi: Ivy League schools compile all the top students in one place and

The late Francis Schaeffer, one of the wisest and most influential Christian thinkers of the twentieth century, warned of this exact trend just a few months before his death in 1984. In his book The Great Evangelical Disaster he included a section called “The Feminist Subversion,” in which he wrote: There is one final area that I would mention where evangelicals have, with tragic results, accommodated to the world spirit of this age. This has to do with the whole area of marriage, family, sexual morality, feminism, homosexuality, and divorce. . . . The key to understanding extreme feminism centers around the idea of total equality, or more properly the idea of equality without distinction. . . . the world spirit in our day would have us aspire to autonomous absolute freedom in the area of male and female relationships—to throw off all form and boundaries in these relationships and especially those boundaries taught in the Scriptures. . . . Some evangelical leaders, in fact, have changed their views about inerrancy as a direct consequence of trying to come to terms with feminism. There is no other word for this than accommodation. It is a direct and deliberate bending of the Bible to conform to the world spirit of our age at the point where the modern spirit conflicts with what the Bible teaches.2 My argument in the following pages demonstrates that what Schaeffer predicted so clearly twenty-two years ago is increasingly coming true in evangelicalism today. It is a deeply troubling trend.

Blind Heart’s. In the circle of life, a sorrowful tale, Where death and life dance an endless wail. Hungry eyes search for morsels to devour, Survival's cruel game with each passing hour. Angst and fear grip hearts, cold and bleak, Aching souls yearning for solace they seek. In a world that lacks fairness, unjust and unkind, Tears fall like rain, leaving scars behind. Hatred and love, a twisted embrace, In this nature of existence, a bitter chase. For when darkness looms, Love hides in despair, Yet hate finds its mark, leaving hearts threadbare. We, people who turn blind eyes to the cries, As if suffering and anguish were mere lies. Ignoring the plight that surrounds us all, Humanity's downfall, a deafening fall. But what of the animals, creatures so dear? Caught in this cycle, their voices unclear. Silently they suffer, their pain left unheard, In nature's cruel script, an unspoken word. Children on ground, black and white Dying, Drying while survival trying. Scars defining not body, but soul Oh light, forgive us Lord. The circle spins on, in sorrow it turns, A tragic symphony, where hope rarely burns. In this poem of life, where sadness takes hold, Let us open our eyes, let compassion unfold.

A conversation that took place between two American women describes this intimate relationship between physical and immaterial forms of dying. One of these women came to see me soon after her only child, a twenty-year-old son, died from an accidental drug overdose. We spoke of ways to help her live with this tragic loss. About two years later, this woman’s best friend found herself struggling through a very painful divorce. The first woman explained to her friend: My son is never coming back. I entertain no fantasies about this. My relationship to myself and to how I relate to the world has changed forever. But the same is true for you. Your sense of who you are, of who is there for you and who you will travel through life with, has also changed forever. You too need to grieve a death. You are thinking that you have to come to terms with this intolerable situation outside of yourself. But just as I had to allow myself to die after my son’s death, you must die to a marriage that you once had. We grieve for the passing of what we had, but also for ourselves, for our own deaths. The profound misfortune of the death of this woman’s son opened her heart to an exploration of impermanence and death that went far beyond her own personal story.

I want to quote that poem in something I'm writing," he explained, "and can you tell me the last line of it ? " Lou answered mechanically, as if he had pressed a button: "Death is not a way out of it!" "A very strange theory, that about death," he said. "I wonder if there's anything in it. It would really be too easy if we could get out of our troubles in so simple a fashion. It has always seemed to me that nothing can ever be destroyed. The problems of life are really put together ingeniously in order to baffle one, like a chess problem. We can't untie a real knot in a closed piece of string without the aid of the fourth dimension; but we can disentangle the complexities caused by dipping the string in water-and such things," he added, with an almost malicious gravity in his tone. I knew what he meant. " It might very well be," he continued, " that when we fail to solve the puzzles of life, they remain with us. We have to do them sooner or later ; and it seems reasonable to suppose that the problems of life ought to be solved during life, while we have to our hands the apparatus in which they arose. We might find that after death the problems were unaltered, but that we were impotent to deal with them. Did you ever meet any one that had been indiscreet about taking drugs ? Presumably not. Well, take my word for it, those people get into a state which is in many ways very like death. And the tragic thing about the situation is this ; that they started taking the drugs because life, in one way or another, was one too many for them. And what is the result ? The drugs have not in the least relieved the monotony of life or whatever their trouble was, and yet they have got into a state very like that of death, in which they are impotent to struggle. No, we must conquer life by living it to the full, and then we can go to meet death with a certain prestige. We can face that adventure as we've faced the others.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

Shortly after the Gulf War in 1992 I happened to visit a July Fourth worship service at a certain megachurch. At center stage in this auditorium stood a large cross next to an equally large American flag. The congregation sang some praise choruses mixed with such patriotic hymns as “God Bless America.” The climax of the service centered on a video of a well-known Christian military general giving a patriotic speech about how God has blessed America and blessed its military troops, as evidenced by the speedy and almost “casualty-free” victory “he gave us” in the Gulf War (Iraqi deaths apparently weren’t counted as “casualties” worthy of notice). Triumphant military music played in the background as he spoke. The video closed with a scene of a silhouette of three crosses on a hill with an American flag waving in the background. Majestic, patriotic music now thundered. Suddenly, four fighter jets appeared on the horizon, flew over the crosses, and then split apart. As they roared over the camera, the words “God Bless America” appeared on the screen in front of the crosses. The congregation responded with roaring applause, catcalls, and a standing ovation. I saw several people wiping tears from their eyes. Indeed, as I remained frozen in my seat, I grew teary-eyed as well - but for entirely different reasons. I was struck with horrified grief. Thoughts raced through my mind: How could the cross and the sword have been so thoroughly fused without anyone seeming to notice? How could Jesus’ self-sacrificial death be linked with flying killing machines? How could Calvary be associated with bombs and missiles? How could Jesus’ people applaud tragic violence, regardless of why it happened and regardless of how they might benefit from its outcome? How could the kingdom of God be reduced to this sort of violent, nationalistic tribalism? Has the church progressed at all since the Crusades? Indeed, I wondered how this tribalistic, militaristic, religious celebration was any different from the one I had recently witnessed on television carried out by Taliban Muslims raising their guns as they joyfully praised Allah for the victories they believed “he had given them” in Afghanistan?

the things common to all men are more important than the things peculiar to any men. Ordinary things are more valuable than extraordinary things; nay, they are more extraordinary. Man is something more awful than men; something more strange. The sense of the miracle of humanity itself should be always more vivid to us than any marvels of power, intellect, art, or civilization. The mere man on two legs, as such, should be felt as something more heartbreaking than any music and more startling than any caricature. Death is more tragic even than death by starvation. Having a nose is more comic even than having a Norman nose. This is the first principle of democracy: that the essential things in men are the things they hold in common, not the things they hold separately. And the second principle is merely this: that the political instinct or desire is one of these things which they hold in common. Falling in love is more poetical than dropping into poetry. The democratic contention is that government (helping to rule the tribe) is a thing like falling in love, and not a thing like dropping into poetry. It is not something analogous to playing the church organ, painting on vellum, discovering the North Pole (that insidious habit), looping the loop, being Astronomer Royal, and so on. For these things we do not wish a man to do at all unless he does them well. It is, on the contrary, a thing analogous to writing one's own love-letters or blowing one's own nose. These things we want a man to do for himself, even if he does them badly.

The group is a concept of uncommunicable shared suffering, a concept that ultimately rejects the agency of words. For shared suffering, more than anything else, is the ultimate opponent of verbal expression. Not even the mightiest Weltschmerz in the heart of the solitary writer, billowing upwards to the starry heavens like some great circus tent, can create a community of shared suffering. For though verbal expression may convey pleasure or grief, it cannot convey shared pain; though pleasure may be readily fired by ideas, only bodies, placed under the same circumstances, can experience a common suffering. 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 the 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 on to 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… . In the dim light of early morning I was running, one of a group. A cotton towel with the symbol of a red sun on it was tied about my forehead, and I was stripped to the waist in the freezing air. Through the common suffering, the shared cries of encouragement, the shared pace, and the chorus of voices, I felt the slow emergence, like the sweat that gradually beaded my skin, of that “tragic” quality that is the affirmation of identity. It was a flame of the flesh, flickering up faintly beneath the biting breeze—a flame, one might almost say, of nobility. The sense of surrendering one’s body to a cause gave new life to the muscles. We were united in seeking death and glory; it was not merely my personal quest. The pounding of the heart communicated itself to the group; we shared the same swift pulse. Self-awareness by now was as remote as the distant rumour of the town. I belonged to them, they belonged to me; the two formed an unmistakable “us.” To belong—what more intense form of existence could there be? Our small circle of oneness was a means to a vision of that vast, dimly gleaming circle of oneness. And—all the while foreseeing that this imitation of tragedy was, in the same way as my own narrow happiness, condemned to vanish with the wind, to resolve itself into nothing more than muscles that simply existed—I had a vision where something that, if I were alone, would have resolved back into muscles and words, was held fast by the power of the group and led me away to a far land, whence there would be no return. It was, perhaps, the beginning of my placing reliance on others, a reliance that was mutual; and each of us, by committing himself to this immeasurable power, belonged to the whole.