Life is the tragedy,' she said bitterly. 'You know how they categorize Shakespeare's plays, right? If it ends with a wedding, it's a comedy. And if it ends with a funeral, it's a tragedy. So we're all living tragedies, because we all end the same way, and it isn't with a goddamn wedding.
We pass through this world but once. Few tragedies can be more extensive than the stunting of life, few injustices deeper than the denial of an opportunity to strive or even to hope, by a limit imposed from without, but falsely identified as lying within.
They know that tragedy is not glamorous. They know it doesn't play out in life as it does on a stage or between the pages of a book. It is neither a punishment meted out nor a lesson conferred. Its horrors are not attributable to one single person. Tragedy is ugly and tangled, stupid and confusing.
As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life?Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. […] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? […] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal.
The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.
If you are involved with the intensity of crescendo situations, with the intensity of tragedy, you might begin to see the humor of these situations as well. As in music, when we hear the crescendo building, suddenly if the music stops, we begin to hear the silence as part of the music.
I wish i could tell you that through the tragedy i mined some undiscovered, life-altering absolute that i could pass on to you.I didn't.The cliches apply-people are what count,life is precious,materialism is over rated, and the little things matter,live in the moment-and i can repeat them to you ad nauseam.you might listen, but you won't internalize.Tragedy hammers it hm.Tragedy etches into your soul.You might not be happier.But you will be better.
In advising the heads of state to learn from tragedy rather than perpetuate its existence Robert Kennedy excalimed, "Tragedy is a tool for the living to gain wisdom, not a guide by which to live." We have a tendency to dwell on tragedy and use it as a justification for tragic occurrences that follow,rather than parse the tragedy, taking from it important lessons and using those lessons to avoid similar tragedies.
As individuals die every moment, how insensitive and fabricated a love it is to set aside a day from selfish routine in prideful, patriotic commemoration of tragedy. Just as God is provoked by those who tithe simply because they feel that they must tithe, I am provoked by those who commemorate simply because they feel that they must commemorate.
I have to ask myself how I can possibly expect to know Jesus as he would want to be known if my life remains unscathed by trouble and grief. How can I hope to grasp anything of God's heart for this broken planet if I never weep because its brokenness touches me and breaks my heart? How can I reflect his image if I never share in his sufferings? And how will any of us ever learn to treasure his hesed and grace if we never experience phases where these blessings seem absent?
Tragedy descends, and in the carnage our enraged cynicism screams ‘If there was a God, He would not have allowed this!’ And somehow we’ve conveniently forgotten that once upon a time He allowed us to tell Him to go away, and once upon that time we allowed ourselves to take Him up on that offer.
No man, proclaimed Donne, is an Island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature, and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived, and then, by some means or another, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes—forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'd mistake one for another, after a minute's close inspection), but still unique.
When I was twelve, my sixth-grade English class went on a field trip to see Franco Zeffirelli’s film adaptation of Shakespeare’s Romeo and Juliet. From that moment forward I dreamed that someday I’d meet my own Juliet. I’d marry her and I would love her with the same passion and intensity as Romeo. The factthat their marriage lasted fewer than three days before they both were deaddidn’t seem to affect my fantasy. Even if they had lived, I don’t think theirrelationship could have survived. Let’s face it, being that emotionally aflame, sexually charged, and transcendentally eloquent every single second can really start to grate on a person’s nerves. However, if I could find someone to love just a fraction of the way that Montague loved his Capulet, then marrying her would be worth it.
This world’s anguish is no different from the love we insist on holding back.
Stop counting your losses and start counting your blessings. Only then will you discover that losses are always easier to point out and count than blessings. And that your blessings will always outnumber your losses, for they are truly immeasurable.
When we live holy we will glorify self but when we glorify God we will live holy
Biggest tragedy of life is when God ask us to glorify Him for our sakes but we choose to glorify self for satan's good.
Crime, violence, infamy are not tragedy. Tragedy occurs when a human soul awakes and seeks, in suffering and pain, to free itself from crime, violence, infamy, even at the cost of life. The struggle is the tragedy - not defeat or death. That is why the spectacle of tragedy has always filled men, not with despair, but with a sense of hope and exaltation.
Modern romance, like Greek tragedy, celebrates the mystery of dismemberment, which is life in time. The happy ending is justly scorned as a misrepresentation; for the world, as we know it, as we have seen it, yields but one ending: death, disintegration, dismemberment, and the crucifixion of our heart with the passing of the forms that we have loved.
When God issues a call to us, it is always a holy call. The vocation of dying is a sacred vocation. To understand that is one of the most important lessons a Christian can ever learn. When the summons comes, we can respond in many ways. We can become angry, bitter or terrified. But if we see it as a call from God and not a threat from Satan, we are far more prepared to cope with its difficulties.
Zu früh, befürcht ich; denn mein Herz erbangtUnd ahnet ein Verhängnis, welches, nochVerborgen in den Sternen, heute NachtBei dieser Lustbarkeit den furchtbarn ZeitlaufBeginnen und das Ziel des läst'gen Lebens,Das meine Brust verschließt, mir kürzen wirdDurch irgendeinen Frevel frühen Todes.Doch er, der mir zur Fahrt das Steuer lenkt,Richt' auch mein Segel!I fear, too early. For my mind misgivesSome consequence, yet hanging in the stars,Shall bitterly begin his fearful dateWith this night's revels, and expire the termOf a despisèd life, closed in my breast,By some vile forfeit of untimely death.But He that hath the steerage of my courseDirect my sail!Romeo: Act I, Scene 4
Poetry is only the highest eloquence of passion, the most vivid form of expression that can be given to our conception of anything, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way, that gives an instant "satisfaction to the thought." This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic.
...trust in God could impose an additional burden on good people slammed to their knees by some senseless tragedy. An atheist might be no less staggered by such an event, but nonbelievers often experienced a kind of calm acceptance: shit happens, and this particular shit happened to them. It could be more difficult for a person of faith to get to his feet precisely because he had to reconcile God's love and care with the stupid, brutal fact that something irreversibly terrible had happened.
[Robert's eulogy at his brother, Ebon C. Ingersoll's grave. Even the great orator Robert Ingersoll was choked up with tears at the memory of his beloved brother]The record of a generous life runs like a vine around the memory of our dead, and every sweet, unselfish act is now a perfumed flower.Dear Friends: I am going to do that which the dead oft promised he would do for me.The loved and loving brother, husband, father, friend, died where manhood's morning almost touches noon, and while the shadows still were falling toward the west.He had not passed on life's highway the stone that marks the highest point; but, being weary for a moment, he lay down by the wayside, and, using his burden for a pillow, fell into that dreamless sleep that kisses down his eyelids still. While yet in love with life and raptured with the world, he passed to silence and pathetic dust.Yet, after all, it may be best, just in the happiest, sunniest hour of all the voyage, while eager winds are kissing every sail, to dash against the unseen rock, and in an instant hear the billows roar above a sunken ship. For whether in mid sea or 'mong the breakers of the farther shore, a wreck at last must mark the end of each and all. And every life, no matter if its every hour is rich with love and every moment jeweled with a joy, will, at its close, become a tragedy as sad and deep and dark as can be woven of the warp and woof of mystery and death.This brave and tender man in every storm of life was oak and rock; but in the sunshine he was vine and flower. He was the friend of all heroic souls. He climbed the heights, and left all superstitions far below, while on his forehead fell the golden dawning, of the grander day.He loved the beautiful, and was with color, form, and music touched to tears. He sided with the weak, the poor, and wronged, and lovingly gave alms. With loyal heart and with the purest hands he faithfully discharged all public trusts.He was a worshipper of liberty, a friend of the oppressed. A thousand times I have heard him quote these words: 'For Justice all place a temple, and all season, summer!' He believed that happiness was the only good, reason the only torch, justice the only worship, humanity the only religion, and love the only priest. He added to the sum of human joy; and were every one to whom he did some loving service to bring a blossom to his grave, he would sleep to-night beneath a wilderness of flowers.Life is a narrow vale between the cold and barren peaks of two eternities. We strive in vain to look beyond the heights. We cry aloud, and the only answer is the echo of our wailing cry. From the voiceless lips of the unreplying dead there comes no word; but in the night of death hope sees a star and listening love can hear the rustle of a wing.He who sleeps here, when dying, mistaking the approach of death for the return of health, whispered with his latest breath, 'I am better now.' Let us believe, in spite of doubts and dogmas, of fears and tears, that these dear words are true of all the countless dead.And now, to you, who have been chosen, from among the many men he loved, to do the last sad office for the dead, we give his sacred dust.Speech cannot contain our love. There was, there is, no gentler, stronger, manlier man.
The problem with dreams is that they are always futuristic and gives a deceptive impression that there is still enough time to actualize them. The tragedy, however, is that you soon realize that the time you thought you had to fulfill the dreams had melted away before your very eyes.
You know that feeling when you are reading a book, and you know that it is going to be a tragedy; you can feel the cold and darkness coming, see the net drawing close around the characters who live and breathe on the pages. But you are tied to the story as if being dragged behind a carriage, and you cannot let go or turn the course aside.
The human race is unimportant. It is the self that must not be betrayed.""I suppose one could say that Hitler didn't betray his self.""You are right. He did not. But millions of Germans did betray their selves. That was the tragedy. Not that one man had the courage to be evil. But that millions had not the courage to be good.
All things die,' she told him. Such a truism, it was the trite utterance of any street-corner philosopher, but coming from Inaspe Raimm it sounded different. 'All things reach the end of their journey, be they trees, insects, people or even principalities. All things die so that others may take their place. To die is no tragedy. The tragedy is dying with a purpose unfulfilled.
I know that you're selfish, selfish beyond words, and I know that you haven't the nerve of a rabbit, I know you're a liar and a humbug, I know that you're utterly contemptible. And the tragic part is'--her face was on a sudden distraught with pain--'the tragic part is that notwithstanding I love you with all my heart.
A guy never has a right to force a woman to have sex with him under any circumstances. She should be able to say no at any point, and he must honor that denial. It is criminal that so many girls and women are raped today. Fully 60 percent of all females who lose their virginity before age fifteen say that their first sexual experience was forced! That is a tragedy with far-reaching consequences.
All I could think about as I stood there was that sometimes life gave you a tragedy that burned everything you knew to the ground and changed you completely. But somehow, if you really wanted to, you could learn how to hold your breath as you made your way through the smoke left in its wake and you could keep going. And sometimes, sometimes, you could grow something beautiful from the ashes that were left behind. If you were lucky.
The tragedy about history - personally and globally - is that while we may learn it we rarely learn from it.
People who mock incidents in history such as 9/11 or the Holocaust, referring to it all as a hoax or stirring up crazy conspiracy theories about it, should really stop and think about their words first, both because it shows flaws in logic and rationality to deny the obvious, and because to play pretend with incidents which killed innocent people, well, that's just like laughing in the face of tragedy. It's as if to say, "no, it's not horrible enough that these people were killed, oh no, we have to drag on these incidents by indulging in melodramatic fantasies!" In essence this means that those who lost loved ones not only have to live with these losses forever, they also have to live with the people who deny that any of it ever happened. It does no good to forget history or to deny it. All it does is desensitize people; it tells them that it's all just a game, which then risks the possibility of nobody taking it seriously enough to prevent something similar from happening again.
When it happens and it hits hard, we decide certain things, and realize there's truth in all those dark, lonely days" He had an instantaneous look about him,a glimmer and a glint over those eyes,he knew how the world worked,and took pleasure in its wickedness.He would give a dime or two to those sitting on the street,he would tell them things like:"It won't get any better,"and"Might as well use this to buy your next fix,"and finally"It's better to die high than to live sober,"His suit was pressed nicely, with care and respect,like the kind a corpse wears,he'd say that was his way of honoring the dead,of always being ready for the oncoming train,I liked him,he never wore a fake smileand he was always ready to tell a story about how andwhen"We all wake up alone," he said once,"Oftentimes even when sleeping next to someone, we wake up before them and they are still asleep and suddenly we are awake, and alone."I didn't see him for a few days,a few days later it felt like it'd been weeks,those weeks drifted apart from one another,like leaves on a pond's surface,and became like months.And then I saw him and I asked him where he'd been,he said,"I woke up alone one day, just like any other, and I decided I didn't like it anymore.
A poet warrior realizes both the brutality and the beauty in life, and apprehends that the suffering we tragically endure is partly what makes us human. What also makes us human is the ability to love, the ability to stand in nature’s presence, and to nurture this earthly paradise to tend to our family’s needs.
He thought perhaps it was a woman's way, to come out of such a storm of emotion and pain as if she were a ship emerging onto calm seas. She had seemed, not at peace, but emptied of sorrow. As if she had run out of that particular emotion and no other one arose to take its place.
I think you’re magicians because you’re unhappy. A magician is strong because he feels pain. He feels the difference between what the world is and what he would make of it. Or what did you think that stuff in your chest was? A magician is strong because he hurts more than others. His wound is his strength. Most people carry that pain around inside them their whole lives, until they kill the pain by other means, or until it kills them. But you, my friends, you found another way: a way to use the pain. To burn it as fuel, for light and warmth. You have learned to break the world that has tried to break you.
Tragedies can contain some of life’s greatest rewards and valuable lessons. Struggle makes you stronger. Pain makes you alert. Clouds bring forth the rain. As a wise man once said, ‘You seek problems because you need their gifts.’ Why would you rob someone of these benefits?
Often, things are left unsaid. Everyone is guilty of thinking and feeling things... of loving or appreciating others... and of taking for granted that those others will just be there... to continue to share life's journey with...Then when one is gone... so quickly... all those things left unsaid... they matter more, because they were unspoken...Everyone fights their own battles inside themselves... often no one outside them even knows the wars that rage inside even those who they are closest to...I'd like to take the time, here and now, to tell all of you... those close to me, and those who aren't... those who matter so much... and those who have influenced me in even the smallest ways... all of you... that you matter. You are important. You are appreciated. Don't for a moment think otherwise. Don't, for even an instant, think or feel that you are not a wonder... a gift to the world... that makes it a better place to be... or that it would ever, in any way, be anything less than a tragedy for you to leave before your time.
I do have a point to all this,” she continues. “There are like twenty people in that waiting room right now. Some of them are related to you. Some of them are not. But we’re all your family.” She stops now. Leans over me so that the wisps of her hair tickle my face. She kisses me on the forehead. “You still have a family,” she whispers.
Maybe when we face a tragedy, someone, somewhere is preventing a bigger tragedy from happening.
There's something beautiful about facing tragedy, you crack open a new, you find yourself in the parts of you; that can finally be explored freely with out judgement or guilt. Where to from here doesn't exist & your not sure when it will return, but there's something beautiful in facing tragedy, a new type of being within you is born and one whom is more fearless than ever before.
The impeccable watchmaker geared the noble self to suffer. The ineluctable part of being human is perpetual sorrow, grief, and misery. Suffering is part of living. Life begins joyously and regretfully ends in tragedy. The cold realities of the world triumphantly crush each one of us. Between birth and death is comedic conjugation, the haunting prelude to the end of the self.
It made a romantic tale. The young rouge, cheating death, returning to his grieving lover. But in reality? Ashyn had always known life did not resemble one of her book stories or Moria's bard tales, and yet there was a part of her that hoped it did. The more she saw, the more she realized she was wrong. People made up stories because that is what they wanted from their world. A place where goodness, kindness, and honor were rewarded. They were not rewarded. The people of Edgewood could attest to that. - Sea Of Shadows
Life will hack off your head and shit down your neck every chance it gets. I've found that consuming drugs and booze, listening to music and always having an excuse in the best way to tip the scales.
Some people's glasses are half full. I'm the one drinking them. Some people have forgotten that Pluto is still a planet. I still remember my childhood. Some people are vegans. I have common sense.Some people call me Maurice. Some people call me the Gangsta of Love. Some people just want to live...but me, I'm the one still alive.
I was an utterance in absentia. I was a forgotten word, uttered and mislaid long ago. I was the word that existed because there was another word that was my opposite, and without it I was nothing. I gained meaning only by acknowledging that possible other.Nida
In a fit of anger he had said to her, "You'll always be miserable," to which she thoughtfully replied, "Is that so? It's impossible to be miserable when you've known tragedy and hardship. Both strengthen and refine a person to the point where they may have moments of grief and sadness, but misery is known only to those who have a sense of entitlement...you know, people like you.
Let me here remind you that the essence of dramatic tragedy is not unhappiness. It resides in the solemnity of the remorseless working of things. This inevitableness of destiny can only be illustrated in terms of human life by incidents which in fact involve unhappiness. For it is by them that the futility of escape can be made evident in the drama. This remorseless inevitableness is what pervades scientific thought. The laws of physics are the decrees of fate.
Everyone wears masks.They come in all different shapes and sizes.The only problem with trying one on is that it fits. How easily we fall into the trap that we don’t have to be who we really are.How easily we convince ourselves that we need to cover up what we were born to be.It’s a tragedy that fear keeps us from our destiny.It’s hell when the person you were created to be is covered up by some cheap imposter
In tragedy and despair, when an endless night seems to have fallen, hope can be found in the realization taht the companion of night is not another night, that the companion of night is day, that darkness always gives way to light, and that death rules only half of creation, life the other half.
Catastrophe alone sparks man’s salvation. I don’t mean in the religious sense, although I guess it is appropriate there, too, because believers agree that salvation comes only after death. It is part of the human near-tragedy that we learn more from loss than from gain. Gain binds us until we stumble and fall into that black pit then we find the spirit of understanding and truth. And if we fall far enough and still persist, we find our salvation.
Live a life abundant in love and rich in spirit, these are the seeds of a fulfilling existence. Be the safe harbor you seek in the world. Follow your dreams, not your fear. Go into the New Year with an open mind and hopeful heart. Don't let the chains of unforgiveness weigh you down. Life is too short to live in a prison of past hurts. The futures is yours for the taking and creating. Life is bittersweet, when we can let darkness and light co-exist as illumination, we can live in true happiness. When we live life at its best, it is a symphony of feelings, of high and low notes, of tragedy and comedy, love and loss, magic and the sublime. It can be quite a spectacular journey when we fully embrace and accept it.
What should I call you? A friend, a stranger, or a lover? I remember the day you laid your eyes on me the first time. There was just something unwavering about that moment. It wasn’t peaceful or absolute. It was definite. Something that was bound to happen. It was like as if our souls were waiting for us to collide. And oh we did! We collided like meteors, giving this universe a spectacular view. From my 2 am thought that used to keep me up at night, you soon became my 2 am call. From an almost stranger to my skin, you became a part of me. But just like every collision, ours also had to end in destruction. The 2 am call soon became a 2 am thought. The thought still keeps me up at night, but not for the same reasons. From strangers to lovers and lovers to strangers again, our journey hasn’t been ordinary. Someone asked me about you today and for a moment, I didn’t know what to call you. Who are you to me now? A friend – no. Definitely not a lover. I guess, you and I – we are just strangers with memories.
Sometimes a tragedy must happen to keep a soul on schedule. This is the reason for things that seem to have no reason. This is the reason that we cannot fathom when we are going through it.Perhaps I will get very sick. People wonder why cancer exists when it is just a clever method to teach people lessons about love and loss. It borrows time or steals it depending on the needs of Heaven. It is a vehicle to get us where we need to be. It calls us home because something needs us there.
What amazes me most is that we, as a people, have shared our collective story of being thrown out of our homeland, Palestine, with each other and with many others- actually we have bored the world with this collective story- but somehow the individual Palestinian shies away, or perhaps is too afraid, to share the very personal story of being thrown out of her or his home, living room, or bedroom. These personal stories are seldom told, not even to our own children, perhaps not even to ourselves. I guess the wound remains open.
Someone is going to tell you to get use to this. That feeling of being scared and sad. They're going to say it'll be better when you learn to ignore it. Don't listen to them. Hold on to it, remember it... Don't let yourself forget it. It's too easy to lose.-Carl Grimes
I must acknowledge that though his adoption embodies graciousness, it is also a reminder this world is not as it should be. Brokenness permeates our world. Sure, beauty is born from ashes, but the ashes don't just magically disappear. Suffering and all that is wrong in this world still exists. This side of heaven, tragedy remains and the moments of her son becoming ours is a representation of joy and suffering deeply intertwined. Our son, the living proof and blessing that love is what makes a family, reminds us that adoption is born out of undeniable loss. Irrevocable loss of wholeness, of what was meant to be.To only acknowledge the beauty without giving voice to the tragedy, is to detract from adoption. In diminishing the tragedy of adoption, I decrease my son's story, along with others a part of the adoption circle. I would be choosing to ignore a massive portion of who he is.
I listened as she talked, thinking that the worse the tragedy, the more people wanted to forget it--and the harder that became. Maybe that's what made it tragic; not losing the person, but losing your peace of mind.The living suffer more than the dead, after all.
I followed many conversations about what happened in Norway and the death of Amy Winehouse because they happened one after the next. Too many of those conversations tried to conflate the two events, tried to create some kind of hierarchy of tragedy, grief, call, response. There was so much judgment, so much interrogation of grief—how dare we mourn a singer, an entertainer, a girl-woman who struggled with addiction, as if the life of an addict is somehow less worthy a life, as if we are not entitled to mourn unless the tragedy happens to the right kind of people. How dare we mourn a singer when across an ocean seventy-seven people are dead? We are asked these questions as if we only have the capacity to mourn one tragedy at a time, as if we must measure the depth and reach of a tragedy before deciding how to respond, as if compassion and kindness are finite resources we must use sparingly. We cannot put these two tragedies on a chart and connect them with a straight line. We cannot understand these tragedies neatly.
One of the things that helps use cope with loss is the fact that while memories may remian, the emotions associated with them will fade like old photographs. At the same time, there is a masochistic desire to retain those feelings spurred on by the dread of losing the power they hold. Sometimes I can't think of anything more awful than simply being human.
Talkatives complain, cry, shout, brag, and are more hysterical about their lives than something else; don’t be a part of that tragedy! Perhaps it's been a while now that you have been complaining, crying and shouting about your "labour pains". It's time to show us your baby!
When you make a film, if you are an insider, you're usually the last person to know that your film is not right. But when you are an outsider, you have a little more objectivity.I think a part of my success is that I am naturally objective. I am not an insider.In many ways, Anupama is the same.Foreword, First Day First Show
Death is a tragedy whether it is in the death of one girl-woman in London or seventy-seven men, women, and children in Norway. We know this, but perhaps it needs to be said over and over again so we do not forget.I have never considered compassion a finite resource. I would not want to live in a world where such was the case.
Nothing has changed, Claire. You're still as beautiful as you were when we met first and I am still in love with everything about you. We may be worlds apart but this doesn't keep our hearts at distance. I feel your breath in every breath of mine and I hear your heartbeat in every beat of my heart. I traveled to far away lands, rivers, forests, mountains, glaciers, deserts and skyscrapers but wherever I go I find you there. My dreams aren't illusions but visions of a beautiful yesterday; I play with your hair-locks, I kiss your eyes, I embrace your hands and you giggle in my arms blossoming like a flower. My love, you're my only reality, my only fantasy, my only celebration and my only refuge. I have waited a thousands suns and I can wait a thousand more to witness the moment you call out to me. That day you'll find me and even if I don't live up to see that day I will be with you forever, just remember me.
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?
I have accumulated a wealth of knowledge in innumerable spheres and enjoyed it as an always ready instrument for exercising the mind and penetrating further and further. Best of all, mine has been a life of loving and being loved. What a tragedy that all this will disappear with the used-up body!
darkness falls upon Humanityand faces become terriblethingsthat wanted more than therewas.all our days are marked withunexpectedaffronts - somedisastrous, othersless sobut the process iswearing andcontinuous.attrition rules.most givewayleavingempty spaceswhere people shouldbe.and nowas we ready to self-destructthere is very little left tokillwhich makes the tragedyless and moremuch muchmore.
The myth of Oedipus . . . arouses powerful intellectual and emotional reactions in the adult-so much so, that it may provide a cathartic experience, as Aristotle taught all tragedy does. [A reader] may wonder why he is so deeply moved; and in responding to what he observes as his emotional reaction, ruminating about the mythical events and what these mean to him, a person may come to clarify his thoughts and feelings. With this, certain inner tensions which are the consequence of events long past may be relieved; previously unconscious material can then enter one's awareness and become accessible for conscious working through. This can happen if the observer is deeply moved emotionally by the myth, and at the sametime strongly motivated intellectually to understand it.
In the end when God does speak, it is not the pious friends who are commended. God tells then they have been guilty of misrepresenting God. Only Job – only angry, defiant, doubting Job has been faithful.The story of Job reminds us that God is not offended when we question. Indeed, if anything God is offended when we speak too glibly. Make room in your heart for the angry, defiant and doubting questions. You may find God there as well.
Confidence don't mean jack shit in the real world, sis," she once said. I feel myself finding the courage to trust those words more and more with every twist of the knife. Coincidentally, last Tuesday afternoon I was involuntarily exposed to the punch line of an old wise tale that goes something like: "There's beauty that can be found in everything." But why can't the insensitive cunt who said that ever find the courage to look in the mirror? Because poopycock, one might say.
I was girly and friendly and my family life was happy but many days I felt like I was on the inside what Chase was on the outside. I always believed I was a happy person with a sad soul. I felt like I had had tragedy in my life when I hadn’t. Somehow, without having experienced what he had, his scars resonated with me.
Natural disasters happen from time to time but poverty happens all the time and therefore poverty is the greatest tragedy, it is the greatest disaster of mankind!
If I had spoken to him out loud, he would have understood the tragic fate of those who came back, left over, living dead. You must look at them carefully. Their appearance is deceptive. They are smugglers. They look like the others. They eat, they laugh, they love. The seek money, fame, love. Like the other. But it isn't true; they are playing, sometimes without even knowing it. Anyone who has seen what THEY have seen cannot be like the others, cannot laugh, love, pray, bargain, suffer, have fun, or forget. Like the others. You have to watch them carefully when they pass by an innocent-looking smokestack, or when they lift a piece of bread to their mouths. Something in them shudders and makes you turn your eyes away. These people have been amputated; they haven't lost their legs or eyes, but their will and their taste for life. The things they have seen will come to the surface again sooner or later. And then the world will be frightened and won't dare look these spiritual cripples in the eye.
Sometimes I am asked if I know the response to Auschwitz; I answer that not only do I not know it, but that I don't even know if a tragedy of this magnitude HAS a response. What I do know is that there is response in responsibility. When we speak of this era of evil and darkness, so close and yet so distant, responsibility is the key word,The witness has forced himself to testify. For the youth of today, for the children who will be born tomorrow. He does not want his past to become their future.
Something has gotten into me; something I didn’t want. The moment my skin touched hers, it overwhelmed me with desires of the deepest kind. It’s crawled beneath my flesh, and my every pore is infected by her. An addiction that is as frustrating as this illness.
Billy sipped the last of his coffee from the mug and shut down his laptop. 1,000 words wasn’t great but it also wasn’t as bad as no words at all. It hadn’t exactly been a great couple of years and the royalties from his first few books were only going to hold out so much longer. Even if he didn’t have anything else to worry about there was always Sara to consider. Sara with her big blue eyes so like her mother’s. He sat for a moment longer thinking about his daughter and all they’d been through since Wendy had passed. Then he picked up his mug with a long sigh and carried it to the kitchen to rinse it in the sink. When he came back into his little living room and the quiet of 1 AM he wasn’t surprised to find her there over to the side of the bookshelf hovering close to the floor just beyond the couch. Wendy. Her eyes were cold and intense in death, angry and spiteful in a way he’d never seen them when she was alive. What once had been beautiful was now a horror and a threat, one that he’d known far too well in the years since she’d died. He and Sara both. He stood where he was looking at her as she glared up at him. Part of her smaller vantage point was caused by kneeling next to the shelf but he knew from the many times she’d walked or run through a room that death had also reduced her, made her no higher than 4 or 4 and half feet when she’d been 6 in life. She was like a child trapped there on the cusp between youth and coming adulthood. Crushed and broken down into a husk, an entity with no more love for them than a snake. Familiar tears stung his eyes but he blinked them away letting his anger and frustration rise in place of his grief.“Fuck you! What right do you have to be here? Why won’t you let Sara and I be? We loved you! We still love you!”She doesn’t respond, she never does. It’s as if she used up all of her words before she died and now all that’s left is the pain and the anger of her death. The empty lack of true life in her eyes leaves him cold. He doesn’t say anything else to her. It’s all a waste and he knows it. She frightens him as much as she makes him angry. Spite lives in every corner of her body and he’s reached his limit on how long he can see this perversion, this nightmare of what once meant so much to him.He walks past the bookshelf and through the doorway there. He and Sara’s rooms are up above. With an effort he resists the urge to look back down the hall to see if she’s followed. He refuses to treat his wife like a boogeyman no matter how much she has come to fit that mold. He can feel her eyes burning into him from somewhere back at the edge of the living room. The sensation leaves a cold trail of fear up his back as he walks the last four feet to the stairs and then up. He can hear her feet rush across the floor behind him and the rustle of fabric as she darts up the stairs after him. His pulse and his feet speed up as she grows closer but he’s never as fast as she is. Soon she slips up the steps under his foot shoving him aside as she crawls on her hands and feet through his legs and up the last few stairs above. As she passes through his legs, her presence never more clear than when it’s shoving right against him, he smells the clean and medicinal smells of the operating room and the cloying stench of blood. For a moment he’s back in that room with her, listening to her grunt and keen as she works so hard at pushing Sara into the world and then he’s back looking up at her as she slowly considers the landing and where to go from there. His voice is a whisper, one that pleads. “Wendy?
There is no simple explanation for anything important any of us do, and the human tragedy, or the human irony, consists in the necessity of living with the consequences of actions performed under the pressure of compulsions so obscure we do not and cannot understand them.
Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.
Tell her I'm sorry I sold the diamond, eh?" Sammy said. "I broke my promise. When she disappeared in Alaska... ah, so long ago, I finally used that diamond, moved to Texas as I always dreamed. I started my machine shop. Started my family! It was a good life, but Haze; was right. The diamond came with a curse. I never saw her again." "Oh, Sammy," Hazel said. "No, a curse didn't keep me away. I wanted to come back. I died!" The old man didn't seem to hear. He smiled down at the baby, and kissed him on the head. "I give you my blessing, Leo. First male great-grandchild! I have a feeling you are special, like Hazel was. You are more than a regular baby, eh? You will carry on for me. You will see her someday. Tell her hello for me.
She'd been conceived as a goddess of justice. But this wasn't just.It wasn't right.And her husband's wrongful death would not go unavenged.Kissing cold lips Bathymaas laid him on the ground and covered his body with her cloak.Artemis gasped and shrank away from her as she rose to her feet and turned towards Apollo and his mother.For this, there would be hell to pay.And hers would be the hand that gathered the payment.
Some people with DID present their narratives of sadistic abuse in a quite matter-of-fact way, without perceptible affect. This may sometimes be done as a way of protecting themselves, and the listener, from the emotional impact of their experience. We have found that people describing trauma in a flat way, without feeling, are usually those who have been more chronically abused, while those with affect still have a sense of self that can observe the tragedy of betrayal and have feelings about it. In some cases, this deadpan presentation can also be the result of cult training and brainwashing. Unfortunately, when a patient describes a traumatic experience without showing any apparent emotion, it can make the listener doubt whether the patient is telling the truth. (page 119, Chapter 9, Some clinical implications of believing or not believing the patient)
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.
Human beings have capitalized on the silence of animals, just as certain human beings have historically imposed silence on certain other human beings by denying slaves the right to literacy, denying women the right to own property, and denying both the right to vote.
Not only are animals unable to avail themselves of language to assert their own rights, but many fewer humans have a clear sense of kinship with animals than have a clear sense of kinship with other humans. Among beings with subjective states of awareness, animals are the untouchable caste, those whom human others would rather not acknowledge, let alone render assistance.
Darker and darker, he said; farther and farther yet. Death takes the good, the beautiful, and the young - and spares me. The Pestilence that wastes, the Arrow that strikes, the Sea that drowns, the Grave the closes over Love and Hope, are steps of my journey, and take me nearer and nearer to the End.
For many potential Bible readers, this expectation that the Bible is univocal is paralyzing. You notice what seem to be contradictions or tensions between different voices in the text. You can't find an obvious way to reconcile them. You figure that it must be your problem. You don't know how to read it correctly, or you're missing something. You're not holy enough to read the Holy Bible. It might even be sacrilege for you to try. If the Bible is God's perfect infallible Word, then any misunderstanding or ambiguity must be the result of our own depravity. That is, our sinful nature as fallen creatures is what separates us from God, and therefore from God’s Word. So you either give up or let someone holier than thou tell you "what it really says." I think that's tragic. You're letting someone else impoverish it for you, when in fact you have just brushed up against the rich polyvocality of biblical literature.
Deana Carter sings about it. Lady Antebellum sings about it. Eric Church. Gosh, not just country artists. Katy Perry. Everybody has a song about it because everybody's been through it. You find that person at eighteen and you lose yourself. And the tragedy is, it's the person who's completely opposed to everything you've ever wanted. You bond with that person, and that person breaks your heart. I'm that tragedy for you, and you're mine.
The greatest drawback to true love was that once true love unexpectedly ends there is no other romance that can replace it. Romance instead becomes a race, with one’s new beau consistently failing to meet up to the grand expectations set by the meaning of one’s existence. The only one.
After that [father's death] I never cried with any real conviction, nor expected much of anyone's God except indifference, nor loved deeply without fear that it would cost me dearly in pain. At the age of five I had become a skeptic and began to sense that any happiness that came my way might be the prelude to some grim cosmic joke.
As Karl Marx once noted: 'Hegel remarks somewhere that all great, world-historical facts and personages occur, as it were, twice. He forgot to add: the first time as tragedy, the second as farce.' William Jennings Bryan and the Scopes trial was a tragedy. The creationists and intelligent design theorists are a farce.
Something very beautiful happens to people when their world has fallen apart: a humility, a nobility, a higher intelligence emerges at just the point when our knees hit the floor. Perhaps, in a way, that's where humanity is now: about to discover we're not as smart as we thought we were, will be forced by life to surrender our attacks and defenses which avail us of nothing, and finally break through into the collective beauty of who we really
Closing your eyes won't make the awfulness go away. It may be that nothing will. But dwelling on it, dreading the evil, playing out the misery in your head - doesn't this feed the monster? You can't close your eyes to life, but you can choose where your gaze lingers.
We maintain, therefore, that the first essential, the life and soul, so to speak, of Tragedy is the Plot; and that the Characters come second—compare the parallel in painting, where the most beautiful colours laid on without order will not give one the same pleasure as a simple black-and-white sketch of a portrait.
The scene [Bruegel's 'Landscape with the Fall of Icarus'] is filled with a vast field, and a cow and a farmer plowing. In the left-hand corner is a tiny ocean the size of a palm, and there, I can barely make it out, the two legs of a man who fell headlong into the sea. This is called the Fall of Icarus. Compared to everyday life, the fall of an idealist who flew too high with candle-wax wings is an unremarkable tragedy.
I seek to sensitize and clarify the essential elements of my soul. I will leave striving for the flags of fame and fortune behind and go where the soul beckons without fearing the decisive outcome. I will travel in a world without boundaries and embrace danger and awe. I will stand as a witness to comedy, beauty, and tragedy and apply the principles of artistic and ascetic forms of awareness to overcome the inherent frustration of enduring a fundamentally painful human existence.
Nobody should have to die like these people had. I didn't know each of their circumstances, but I had a good guess. These people had died in terror, horror, and pain. More than likely, they had to watch their friends or loved ones die at the same time. Their last moments would have been spent knowing that they would come back and do the same to anyone they could get their hands on, even people they'd spent their life loving.It was not the way any human being should have to go.
It was strange to see the keenness with which men had tried to order, constrain, and systematize human passions, jealousy, rage, violent death, accusations. That was the justice system (...): the absurd pretension that human nature could be dominated by the power of the law. Reducing it all to a summary of a few pages, organizing the facts, judging it, archiving it, and forgetting it. That simple. And yet in the silence of that place you could hear the murmur of the written words, of the key players, the screams of the victims, the hatred never forgotten by either party, the pain that never went away.
I’d watched the election of Barack Obama with them, in Harlem: the celebration had spilled out onto the streets and erupted into dancing, outdoor champagne-drinking, euphoria. This [the 1/21/17 Women's March on Washington, DC] was different. It was like laughter at a funeral—what else can you do but hold on to who you are and who you love? What can you do but try to stay sane and fight like hell for what life is all about?
We naturally try to forget our personal tragedies, serious or trifling, as soon as possible (even something as petty as being scorned or disdained by a stranger on a street corner). We try not to carry these things over to tomorrow. It is not strange, therefore, that the whole human race is trying to put Hiroshima, the extreme point of human tragedy, completely out of mind.
Here is the tragedy of theology in its distilled essence: The employment of high-powered human intellect, of genius, of profoundly rigorous logical deduction—studying nothing. In the Middle Ages, the great minds capable of transforming the world did not study the world; and so, for most of a millennium, as human beings screamed in agony—decaying from starvation, eaten by leprosy and plague, dying in droves in their twenties—the men of the mind, who could have provided their earthly salvation, abandoned them for otherworldly fantasies.
[Comedies], in the ancient world, were regarded as of a higher rank than tragedy, of a deeper truth, of a more difficult realization, of a sounder structure, and of a revelation more complete. The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man.... Tragedy is the shattering of the forms and of our attachments to the forms; comedy, the wild and careless, inexhaustible joy of life invincible.
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.
I watched 60 Minutes...and they showed this woman, she's in every kind of..thing like that. 'This woman', they say, 'she lost her first four children--died from malnutrition--and, now, she's afraid that her new six-month-old newborn twins will suffer the same fate'. ... Who's going to step in and say...'kick her in the cunt 'til it doesn't work', 'that woman is a sociopath! that is a sick human being!'. ... How much of a sociopath do you need to be? That is the slow ritual torture-murder of children, one after another! At what point does cause-and-effect not kick in? How many bulb-headed skeletons have to go stiff in your arms?! ... 'what? this one's not working... oh, well let's try again', one after another. At what point do you not go 'I think this is bad'? ... How many kids are you going to fuckin' kill, lady? ... If you impregnate someone under those conditions, they should abort the parents! that's sick!
A few people have ventured to imitate Shakespeare's tragedy. But no audacious spirit has dreamed or dared to imitate Shakespeare's comedy. No one has made any real attempt to recover the loves and the laughter of Elizabethan England. The low dark arches, the low strong pillars upon which Shakespeare's temple rests we can all explore and handle. We can all get into his mere tragedy; we can all explore his dungeon and penetrate into his coal-cellar, but we stretch our hands and crane our necks in vain towards that height where the tall turrets of his levity are tossed towards the sky. Perhaps it is right that this should be so; properly understood, comedy is an even grander thing than tragedy.
No,” he said after a pause, “the true art of the gods is the comic. The comic is a condescension of the divine to the world of man; it is the sublime vision, which cannot be studied, but must ever be celestially granted. In the comic the gods see their own being reflected as in a mirror, and while the tragic poet is bound by strict laws, they will allow the comic artist a freedom as unlimited as their own. They do not even withhold their own existence from his sports. Jove may favor Lucianos of Samosata. As long as your mockery is in true godly taste you may mock at the gods and still remain a sound devotee. But in pitying, or condoling with your god, you deny and annihilate him, and such is the most horrible of atheisms.
OTHER lives may find their happiest moments infiltrated with tragedy, and their proudest touched with comedy. This had almost invariably been true of mine. My proudest hour found me, the newly elected president of the United Nations, perched atop three thick New York City telephone books given me in lieu of a cushion that I might see and be seen by the delegates below the podium.
The human race has the capacity to render itself extinct unless alternatives are found to the patterns of intraspecific warfare that have dominated civilized history. Ours has long been a predatory species. Living, for humans, depends upon the ability to kill as clearly as it does for lions or wolves. But lions and wolves, like almost all predatory species, normally limit their killing to prey animals, and they are equipped with elaborate ritual precautions to prevent the destruction of their own kind. Humans appear to be unique among predators in their enthusiasm to destroy members of their own species. Perhaps this unusual behavior can be attributed to some genetic deficiency which may lead humans ultimately to join the rest of nature's failures in the biological graveyard of extinction. Or perhaps our willingness to kill ourselves, like so many of our other problems, is something we have devised by misusing our enlarged brains.
Listening, it occurred to Randall that the love people feel for animals is the purest form of love. Loving an animal, a horse, cat, or dog, was always a romantic tragedy. It meant loving something that would die before you. Like that movie with Ali McGraw. There was no future, just the affection of the present moment. You didn't expect a big payoff, someday.
Fifty million people die every year, six thousand die every hour, and over one hundred people die every minute. But when thousands of people die in the same place and at the same time, we are more likely to wonder why God would allow such a thing to happen.
You his brother?''Yes, damn it!' I burst out. "And all I want is to get my hands on whoever did this to him!''Funny,' said a dick dryly, 'but so do we.'I didn't like him much after that. Sarcasm is out of place when a man has just been brought face to face with personal tragedy.("Walls That Hear You")
Sure, some news is bigger news than other news. War is bigger news than a girl having mixed feelings about the way some guy fucked her and didn't call. But I don't believe in a finite economy of empathy; I happen to think that paying attention yields as much as it taxes.
Of Love and Other Demons (Vintage International) - Gabriel GarcÍA MÁRquez (Highlight: 5; Note: 0)-------------"Crazy people are not crazy if one accepts their reasoning."(Chapter:Chapter Two)"What is essential, therefore, is not that you no longer believe, but that God continues to believe in you. And regarding that there can be no doubt, for it is He in His infinite diligence who has enlightened us so that we may offer you this consolation.”"(Chapter:Chapter Two)"Disbelief is more resistant than faith because it is sustained by the senses"(Chapter:Chapter Two)"Take care,” said Delaura. “Sometimes we attribute certain things we do not understand to the demon, not thinking they may be things of God that we do not understand.”"(Chapter:Chapter Three)". He confessed that every moment was filled with thoughts of her, that everything he ate and drank tasted of her, that she was his life, always and everywhere, as only God had the right and power to be, and that the supreme joy of his heart would be to die with her. "(Chapter:Chapter Five)
Every culture that has lost myth has lost, by the same token, its natural healthy creativity. Only a horizon ringed about with myths can unify a culture. The forces of imagination and the Apollonian dream are saved only by myth from indiscriminate rambling. The images of myth must be the daemonic guardians, ubiquitous but unnoticed, presiding over the growth of the child's mind and interpreting to the mature man his life and struggles.
LARRY--(with increasing bitter intensity, more as if he were fighting with himself than with Hickey) I'm afraid to live, am I?--and even more afraid to die! So I sit here, with my pride drowned on the bottom of a bottle, keeping drunk so I won't see myself shaking in my britches with fright, or hear myself whining and praying: Beloved Christ, let me live a little longer at any price! If it's only for a few days more, or a few hours even, have mercy, Almighty God, and let me still clutch greedily to my yellow heart this sweet treasure, this jewel beyond price, the dirty, stinking bit of withered old flesh which is my beautiful little life! (He laughs with a sneering, vindictive self-loathing, staring inward at himself with contempt and hatred. Then abruptly he makes Hickey again the antagonist.) You think you'll make me admit that to myself?
Every reiteration of the idea that _nothing matters_ debases the human spirit.Every reiteration of the idea that there is no drama in modern life, there is only dramatization, that there is no tragedy, there is only unexplained misfortune, debases us. It denies what we know to be true. In denying what we know, we are as a nation which cannot remember its dreams--like an unhappy person who cannot remember his dreams and so denies that he does dream, and denies that there are such things as dreams.
In some instances, even when crisis intervention has been intensive and appropriate, the mother and daughter are already so deeply estranged at the time of disclosure that the bond between them seems irreparable. In this situation, no useful purpose is served by trying to separate the mother and father and keep the daughter at home. The daughter has already been emotionally expelled from her family; removing her to protective custody is simply the concrete expression of the family reality.These are the cases which many agencies call their “tragedies.” This report of a child protective worker illustrates a case where removing the child from the home was the only reasonable course of action:Division of Family and Children’s Services received an anonymous telephone call on Sept. 14 from a man who stated that heoverheard Tracy W., age 8, of [address] tell his daughter of a forced oral-genital assault, allegedly perpetrated against this child by her mother’s boyfriend, one Raymond S.Two workers visited the W. home on Sept. 17. According to their report, Mrs. W. was heavily under the influence of alcohol at the time of the visit. Mrs. W. stated immediately that she was aware why the two workers wanted to see her, because Mr. S. had “hurt her little girl.” In the course of the interview, Mrs. W. acknowledged and described how Mr. S. had forced Tracy to have relations with him. Workers then interviewed Tracy and she verified what mother had stated. According to Mrs. W., Mr. S. admitted the sexual assault, claiming that he was drunk and not accountable for his actions. Mother then stated to workers that she banished Mr. S. from her home.I had my first contact with mother and child at their home on Sept. 20 and I subsequently saw this family once a week. Mother was usually intoxicated and drinking beer when I saw her. I met Mr. S. on my second visit. Mr. S. denied having had any sexual relations with Tracy. Mother explained that she had obtained a license and planned to marry Mr. S.On my third visit, Mrs. W. was again intoxicated and drinking despite my previous request that she not drink during my visit. Mother explained that Mr. S. had taken off to another state and she never wanted to see him again. On this visit mother demanded that Tracy tell me the details of her sexual involvement with Mr. S. On my fourth visit, Mr. S. and Mrs. S. were present. Mother explained that they had been married the previous Saturday. On my fifth visit, Mr. S. was not present. During our discussion, mother commented that “Bay was not the first one who hadTracy.” After exploring this statement with mother and Tracy, it became clear that Tracy had been sexually exploited in the same manner at age six by another of Mrs. S.'s previous boyfriends.On my sixth visit, Mrs. S. stated that she could accept Tracy’s being placed with another family as long as it did not appear to Tracy that it was her mother’s decision to give her up. Mother also commented, “I wish the fuck I never had her.”It appears that Mrs. S. has had a number of other children all of whom have lived with other relatives or were in foster care for part of their lives. Tracy herself lived with a paternal aunt from birth to age five.
And there it was, on a shabby bed in a tawdry, ill-lighted bedroom, surrounded by a crowd of ignorant and excited people, broken and wounded, betrayed and unpitied, that Griffin, the first of all men to make himself invisible, Griffin, the most gifted physicist the world has ever seen, ended in infinite disaster his strange and terrible career.
It often happens that the real tragedies of life occur in suchan inartistic manner that they hurt us by their crude violence, theirabsolute incoherence, their absurd want of meaning, their entire lackof style. They affect us just as vulgarity affects us. They give usan impression of sheer brute force, and we revolt against that.Sometimes, however, a tragedy that possesses artistic elements ofbeauty crosses our lives. If these elements of beauty are real, thewhole thing simply appeals to our sense of dramatic effect. Suddenlywe find that we are no longer the actors, but the spectators of theplay. Or rather we are both. We watch ourselves, and the mere wonderof the spectacle enthralls us.
I felt I was drawing close to that age, that place in life, where you realize one day what you'd told yourself was a Zen detachment turns out to be naked fear. You'd had one serious love relationship in your life and it had ended in tragedy, and the tragedy had broken something inside you. But instead of trying to repair the broken place, or at least really stop and look at it, you skated and joked. You had friends, you were a decent citizen. You hurt no one. And your life was somehow just about half of what it could be.
People know your tragedies and they treat you like you’re not human. Like you’re a three-headed goat. A monster from some other planet. They keep reminding you of your pain. You see how they look at me? They’re stuck on that person I used to be. They can’t see that old life as just a moment in time that I’ve moved on from. It was a horrible life.
What give all that is tragic, whatever its form, the characteristic of the sublime, is the first inkling of the knowledge that the world and life can give no satisfaction, and are not worth our investment in them. The tragic spirit consists in this. Accordingly it leads to resignation.
I did not know then how much was ended. When I look back now from this high hill of my old age, I can still see the butchered women and children lying heaped and scattered all along the crooked gulch as plain as when I saw them with eyes still young. And I can see that something else died there in the bloody mud, and was buried in the blizzard. A people's dream died there. It was a beautiful dream...
Then she gave one last burst of music. The white Moon heard it, and she forgot the dawn, and lingered on in the sky. The red rose heard it, and it trembled all over with ecstasy, and opened its petals to the cold morning air. Echo bore it to her purple cavern in the hills, and woke the sleeping shepherds from their dreams. It floated through the reeds of the river, and they carried its message to the sea.
Her first reaction was one of hope, because his eyes were open and shining with a radiant light she had never seen there before. She prayed to God to give him at least a moment so that he would not go without knowing how much she had love him despite all their doubts, and she felt an irresistible longing to begin life with him over again so that they could say what they had left unsaid and do everything right that they had done badly in the past. But she had to give in to the intransigence of death. (Love in the Time of Cholera)
One hardly need believe that the events in your life are actually planned as bolts from the blue, sent special delivery from a deity who is testing and training you like a lab rat! And that is what we are saying when we fretfully ask, "What can God be trying to teach me through this tragedy?
The ring which you are holding, my friend, is identical to that one. I had it cut according to the model of the king's ring, and damascened in Spain. The original is still in the Escorial; it would have been pleasant to steal it, for I easily acquire the instincts of a thief when I am in a museum, and I always find objects which have a history - especially a tragic history - uniquely attractive. I am not an Englishman for nothing - but that which is easily enough accomplished in France is not at all practical in Spain: the museums there are very secure.
As you set out on your journey to Ithaca,pray that your journey be a long one,filled with adventure, filled with discovery.Laestrygonians and Cyclopes,the angry Poseidon--do not fear them:you'll never find such things on your wayunless your sight is set high, unless a rareexcitement stirs your spirit and your body.The Laestrygonians and Cyclopes,the savage Poseidon--you won't meet themso long as you do not admit them to your soul,as long as your soul does not set them before you.Pray that your road is a long one.May there be many summer morningswhen with what pleasure, with what joy,you enter harbors never seen before.May you stop at Phoenician stations of trade to buy fine things,mother of pearl and coral, amber and ebony,and voluptuous perfumes of every kind--buy as many voluptuous perfumes as you can.And may you go to many Egyptian citiesto learn and learn from those who know.Always keep Ithaca in your mind.You are destined to arrive there.But don't hurry your journey at all.Far better if it takes many years,and if you are old when you anchor at the island,rich with all you have gained on the way,not expecting that Ithaca will give you wealth.Ithaca has given you a beautiful journey.Without her you would never have set out.She has no more left to give you.And if you find her poor, Ithaca has not mocked you.As wise as you have become, so filled with experience,you will have understood what these Ithacas signify.
The dog next-door had settled down, and the neighbourhood seemed stunned by this event occurring in our backyard. It was like it could sense it. It could sense some form of tragedy and helplessness being played out, and to tell you the truth, it all surprised me. I was so used to things just going on, oblivious and ignorant to all feeling.
We may not ever understand why we suffer or be able to control the forces that cause our suffering, but we can have a lot to say about what suffering does to us, and what sort of people we become because of it. Pain makes some people bitter and envious. It makes others sensitive and compassionate. It is the result, not the cause, of pain that makes some experiences of pain meaningful and others empty and destructive.
In the nights though, I couldn't help but weave the golden cloth of my dreams. Each stitch from heart to thought, and thought to heart, was painful to bear, even if it was joyous at times. Because each thread was fraught with the fears of being broken midway, lost and never found again.
I’ve read so many stories online about how tragedy brings people together, how hard times encourage bravery and sacrifice, how a crisis can turn ordinary folks into heroes. But what about the opposite, when something horrible happens and it strips us bare, exposing weaknesses we didn’t even know we had. What about when tragedy makes people worse?
Wracking sobs rip from the innermost chamber of my heart, and I give into them, allowing them to fully take over. Pain lances me on all sides, and I bury my head in my knees, giving in to the heartache.I cry for my parents.For my lost life.For the threat that Addison poses, scaring me in ways it shouldn’t.For a boy I can’t have and shouldn’t want.For the never-ending gut-wrenching hollow ache in my chest and the soul-crushing loneliness I feel.
They are tragic,' said Vetinari, 'and we laugh at their tragedy as we laugh at our own. The painted grin leers out at us from the darkness, mocking our insane belief in order, logic, status, the reality of reality. The mask knows that we are born on the banana skin that leads only to the open manhole cover of doom, and all we can hope for are the cheers of the crowd.
There are some souls, bright and precious, which, like gold and silver, may be subdued by the fiery trial, and yield to new moulds; but there are others, pure and solid as the diamond, which may be shivered to pieces, yet in every fragment retain their indelible characteristics.
I wrote in a bedroom crowded with ghosts," Brooke Hayward says. "My mother would disapprove, and my father would be horrified. The moral of my book is that you pay for everything. They were rich, accomplished, famous and beautiful. We were drowned in privilege, yet it ended in all this hideous tragedy." (interview from People magazine (May 23, 1977)
It's certainly true that Chernobyl, while an accident in the sense that no one intentionally set it off, was also the deliberate product of a culture of cronyism, laziness, and a deep-seated indifference toward the general population. The literature on the subject is pretty unanimous in its opinion that the Soviet system had taken a poorly designed reactor adn then staffed it with a group of incompetents. It then proceeded, as the interviews in this book attest, to lie about the disaster in the most criminal way. In the crucial first ten days, when the reactor core was burning and releasing a steady stream of highly radioactive material into the surrounding areas, the authorities repeatedly claimed that the situation was under control. . . In the week after the accident, while refusing to admit to the world that anything really serious had gone wrong, the Soviets poured thousands of men into the breach. . . The machines they brought broke down because of the radiation. The humans wouldn't break down until weeks or months later, at which point they'd die horribly.
I prayed. He was going home, and I wanted to pray. Look out for me, I said; look out each day and listen for me. And we were going together on horses to the hills. We were going to ride out in the first light to the hills. We were going to see how it was, and always was, how the sun came up with a little wind and the light ran out upon the land. We were going to get drunk, I said. We were going to be all alone, and we were going to get drunk and sing. We were going to sing about the way it always was. And it was going to be right and beautiful. It was going to be the last time. And he was going home.
The true aristocracy and the true proletariat of the world are both in understanding with tragedy. To them it is the fundamental principle of God, and the key,—the minor key,—to existence. They differ in this way from the bourgeoisie of all classes, who deny tragedy, who will not tolerate it, and to whom the word of tragedy means in itself unpleasantness.
Jun Do had dealt with this his whole life, the ways it was impossible for people from normal families to conceive of a man in so much hurt that he couldn’t acknowledge his own son, that there was nothing worse than a mother leaving her children, though it happened all the time, that “take” was a word people used for those who had so little to give as to be immeasurable.
You'll find that great artists don't love, live, fuck or even die like ordinary people. Because they always have their art. It nourishes them more than any connection to people. Whatever human tragedy befalls them, they're never too gutted, because they need only to pour the tragedy into their vat, stir in the other lurid ingredients, blast it over a fire. What emerges will be even more magnificent than if the tragedy had never occurred.
What a tragedy, to stand in the middle of your world, watch everything around you fall apart, and realize, your actions precipitated this free fall! Take more time to consider the consequences of your thoughts and actions. One day, you WILL call out for help. Don't let bad judgment disconnect your lifelines.
There were six hundred thousand Indian troops in Kashmir but the pogrom of the pandits was not prevented, why was that. Three and a half lakhsof human beings arrived in Jammu as displaced persons and for many months the government did not provide shelters or relief or even registertheir names, why was that. When the government finally built camps it only allowed for six thousand families to remain in the state, dispersing theothers around the country where they would be invisible and impotent, why was that. The camps at Purkhoo, Muthi, Mishriwallah, Nagrota were builton the banks and beds of nullahas, dry seasonal waterways, and when the water came the camps were flooded, why was that. The ministers of thegovernment made speeches about ethnic cleansing but the civil servants wrote one another memos saying that the pandits were simply internalmigrants whose displacement had been self-imposed, why was that. The tents provided for the refugees to live in were often uninspected andleaking and the monsoon rains came through, why was that. When the one-room tenements called ORTs were built to replace the tents they tooleaked profusely, why was that. There was one bathroom per three hundred persons in many camps why was that and the medical dispensarieslacked basic first-aid materials why was that and thousands of the displaced died because of inadequate food and shelter why was that maybe fivethousand deaths because of intense heat and humidity because of snake bites and gastroenteritis and dengue fever and stress diabetes andkidney ailments and tuberculosis and psychoneurosis and there was not a single health survey conducted by the government why was that and thepandits of Kashmir were left to rot in their slum camps, to rot while the army and the insurgency fought over the bloodied and broken valley, todream of return, to die while dreaming of return, to die after the dream of return died so that they could not even die dreaming of it, why was that whywas that why was that why was that why was that.
Game or no, she would someday die, as all living beings did. But that wasn't the tragedy. Nor was there tragedy in being a pawn. All souls are, if not of eternal beings, then as pawns of their own bodies. The game, whatever shape it takes, lasts only as long as the body holds out. The tragedy, every time, is choosing something other than love.
There is tragedy all around us, we pick up pieces, we find our feet and before long another turn of events stare us in the eyes; like we're some kind of magician- the fight seems endless, so I look to the world for inspiration. I observe and I watch how others face adversity, some hide from it, some master each lesson and some create a life with it... Our lessons don't define us, our integrity to keep rising after every fall is.
We wear the mask that grins and lies.It shades our cheeks and hides our eyes.This debt we pay to human guileWith torn and bleeding hearts…We smile and mouth the myriad subtleties.Why should the world think otherwiseIn counting all our tears and sighs.Nay let them only see us whileWe wear the mask.
Like so many of our neighbors who latched onto tragedy to stand out from the crowd -- slavery, incest, a suicide -- I had exaggerated the ethnic chip on my shoulder for effect. I've learned since that tragedy is not to be hoarded. Only the untouched, the well-fed and contented, could possibly covet suffering like a designer jacket. I'd readily donate my story to the Salvation Army so that some other frump in need of color could wear it away.
Tragedy has a cruel way of ripping off the masks of self-sufficiency and self-satisfaction. It yells in the streets, "No! Everything is not A-okay!" It cracks apart our airtight theologies about God having everything under control. It forces us to get real and really struggle with the big questions of life. It cautions us that this life journey we are on is not easily comprehended with a few sermon points but demands a lifetime of wisdom to even begin to fathom.
It's easier, somehow, if there's a reason for tragedy - lust or jealousy or hatred or revenge. We can find in these explanations an emotional tenor commensurate with the gravity of the act. There's something we recognize as human, a motive toward which we can direct our rage but can also understand, at some primal level, as an extension of ourselves.
How beautiful the tragic seems when it is beneath a mask, but when it appears so nakedly before me and... when I am so forcibly implicated... I don't know whether I care for it so much. Somehow or other it is as though I were torturing myself.("Thirty-Three Abominations")
At the beginning of the war…I had to look in on the War Office, and in a room I found a fellow…What do you think he was doing…what the hell do you think he was doing? He was devising the ceremonial for the disbanding of a Kitchener battalion. You can’t say we were not prepared in one matter at least…. Well, the end of the show was to be: the adjutant would stand the battalion at ease; the band would play Land of Hope and Glory, and then the adjutant would say: There will be no more parades…. Don’t you see how symbolical it was—the band playing Land of Hope and Glory, and then the adjutant saying: There will be no more parades?…For there won’t. There won’t, there damn well won’t. No more Hope, no more Glory, no more parades for you and me any more. Nor for the country…nor for the world, I dare say… None… Gone… Napoo finny! No…more…parades!
Natural selection favors the forces of psychological denial. The individual benefits as an individual from his ability to deny the truth even though society as a whole, of which he is a part, suffers. Education can counteract the natural tendency to do the wrong thing, but the inexorable succession of generations requires that the basis for this knowledge be constantly refreshed.
It is often tragic to see how blatantly a man bungles his own life and the lives of others yet remains totally incapable of seeing how much the whole tragedy originates in himself, and how he continually feeds it and keeps it going. Not consciously, of course—for consciously he is engaged in bewailing and cursing a faithless world that recedes further and further into the distance. Rather, it is an unconscious factor which spins the illusions that veil his world. And what is being spun is a cocoon, which in the end will completely envelop him.
As a lord was heldfor the strength of his body and stoutness of heart.Much lore he learned, and loved wisdombut fortune followed him in few desires;oft wrong and awry what he wrought turned;what he loved he lost, what he longed for he won not;and full friendship he found not easily,nor was lightly loved for his looks were sad.He was gloom-hearted, and glad seldomfor the sundering sorrow that filled his youth...(On Turin Turambar - The Children of Hurin)
– The life of the worlds is a roaring river, but Earth’s is a pond and a backwater.– The sign of doom is written on your brows – how long will ye kick against the pin-pricks?– But there is one conquest and one crown, one redemption and one solution.– Know yourselves – be infertile and let the earth be silent after ye.
Dostoyevsky's indignation at Afanasy Fet's innocent lyrics, "Whispers, timid breath, the nightingales trilled," is well known. This is simply disgraceful, wrote Dostoyevsky indignantly, and he speculated what an insulting impression such empty verses would have made if they'd been given to someone to read during the Lisbon earthquake! Some people protested: Yes, of course, Dostoyevsky is right, but we aren't having an earthquake, and we aren't in Lisbon, and after all, are we not allowed to love, to listen to nightingales, to admire the beauty of a beloved woman? But Dostoyevsky's argument held sway for a long time. It did so because of the way Russians perceive Russian life: as a constant, unending Lisbon earthquake.
What troubled people especially was not just the tragedy--or even the needlessness--but the element of fate in it all. If the Titanic had heeded any of the six ice messages on Sunday . . . if ice conditions had been normal . . . if the night had been rough or moonlit . . . if she had seen the berg 15 second sooner--or 15 seconds later . . . if she had hit the ice any other way . . . if her watertight bulkheads had been one deck higher . . . if she had carried enough boats . . . if the Californian had only come. Had any one of these "ifs" turned out right, every life might have been save. But they all went against her--a classic Greek tragedy.
Thank you for this amazing adventure. I never knew that someone could love without limit. Even when you can't hear me say that I love you or when I can't hear you say that you love me, I found a wonderful lover that I hope to be with even in all of my other lives." he lifted his hands off Kai's neck. 'I love you.'Kai held the sides of Sehun's face and connected their lips for a passionate kiss as they dropped to their knees. Kai forced a smile as he wiped the tears on Sehun's cheeks. 'And you will never know how much I love you.
Kai kissed Sehun's lips one last time before letting Sehun rest his head on his arm. When Sehun caressed Kai's cheek, he realized that the boy's hand was colder than it had been just several minutes ago. Even then, he managed to smile. "Merry Christmas, Kai."'Merry Christmas, Sehun.' he tugged Sehun close until their foreheads brushed as he watched Sehun close his sleepy eyes just before Kai closed his.
I don't like feeling sorry for myself. That's not who I am. And most of the time I don't feel that way. Instead, I am grateful for having at least found you. We could have flashed by one another like two pieces of cosmic dust.God or the universe or whatever one chooses to label the great systems of balance and order does not recognize Earth-time. To the universe, four days is no different than four billion light years. I try to keep that in mind.But, I am, after all, a man. And all the philosophic rationalizations I can conjure up do not keep me from wanting you, every day, every moment, the merciless wail of time, of time I can never spend with you, deep within my head.I love you, profoundly and completely. And I always will.The last cowboy,Robert
I can’t imagine that I’m supposed to get over it , like hopping a low stone wall; if Thursday was a barrier of some kind, it was made of razor wire, which I did not bound over but thrash through, leaving me in flayed pieces and on the other side of something only in a temporal sense.
But when you realize that the story of your life could be told a thousand different ways, that you could tell it over and over as a tragedy, but you choose to call it an epic, that's when you start to learn what celebration is. When what you see in front of you is so far outside of what you dreamed, but you have the belief, the boldness, the courage to call it beautiful instead of calling it wrong, that's celebration.
Sir, I love you more than words can wield the matter; dearer than eye-sight, space, and liberty, beyond waht can be valued, rich or rare; no less than life, with grace, health, beauty, honor; as much as child e'er loved, or father found; a love that makes breath poor, and speech unable; beyond all manner of so much I love you.
All terrible things are more terrible if they give us no chance of retrieving a blunder—either no chance at all, or only one that depends on our enemies and not ourselves. Those things are also worse which we cannot, or cannot easily, help. Speaking generally, anything causes us to feel fear that when it happens to, or threatens, others causes us to feel pity.
When I was a teenager in Boston, a man on the subway handed me a card printed with tiny pictures of hands spelling out the alphabet in sign language. I AM DEAF, said the card. You were supposed to give the man some money in exchange. I have thought of that card ever since, during difficult times, mine or someone else's; surely when tragedy has struck you dumb, you should be given a stack of cards that explain it for you. When Pudding died, I wanted my stack. I still want it. My first child was stillborn, it would say on the front. It remains the hardest thing for me to explain, even now, or maybe I mean especially now - now that his death feels like a non sequitur. My first child was stillborn. I want people to know but I don't want to say it aloud. People don't like to hear it but I think they might not mind reading it on a card.
...I like to see things through the lens of Greek tragedy, which teaches us, among other things, that real tragedy is never a straightforward confrontation between Good and Evil, but is rather much more exquisitely and much more agonizingly, a conflict between two irreconcilable views of the world.
He's opening a door, but he already knows I won't walk through. The power of Bodee is in the way he reads me, sees through me, and then understands the truth behind the facade. He's the guy who can walk straight through the House of Mirrors on the first try. It's almost annoying. No one should ride tragedy like a pro surfer while I drown.
If I could take away his pain… If there was a way to transfer it from his soul onto mine. I would take it. Without hesitation I would take it all. Maybe that’s how you know you love someone. When you actually feel each tear they cry as if they were your own. When you feel each cut, each bruise, each hit as if you’re the one suffering. I bled for him.& in turn, he bled for her.Funny, how life comes full circle
Sometimes by holding onto what you love the most — you end up choking the very life from the thing you want to keep on living. It’s possible to try too hard, to love something so deeply that you lose yourself. The danger is never in loving someone — but losing your identity in the process. Because what happens when tragedy strikes? You’re left an empty shell. You’re left with nothing.
But I had deliberately acquired the habit of closing my eyes even to such obvious assumptions, just as though I did not want to miss a single opportunity for tormenting myself. This is a trite device, often adopted by persons who, cut off from all other means of escape, retreat into the safe haven of regarding themselves as objects of tragedy.
She thought men were saviors......And she looked for more in them than what they were...Only to rescue herself from those she wished would rescue her...And isn't that the most tragic lie...The lie where we tell what we wished were true and believe it...?She had an artificial memory, a prosthesis to a past that never was...She was like a party that no one ever went to...Like a cure...without a disease...And isn't that the greatest fear of all...to be ready with the answersto questions that no one asks anymore?
THE DIFFERENCE BETWEEN ME AND YOUWhen I hold a rose,I see the soft, velvety petalsand smile, becausetucked betweenthose precious petalsis a special gift -the one of a fragrance,pure and sweet.When you hold a rose,you see the thornsalong the stem,and you frownbecause those thornscan bring you painand cause you to bleed.I see the gift.You see the tragedy.More and moreI fear that one of these dayssomeone will hand me a roseand all I will seeare thorns.Talk about tragedy.
The sense of tragedy - according to Aristotle - comes, ironically enough, not from the protagonist's weak points but from his good qualities. Do you know what I'm getting at? People are drawn deeper into tragedy not by their defects but by their virtues. Sophocles’ Oedipus Rex being a great example. Oedipus is drawn into tragedy not because of laziness or stupidity, but because of his courage and honesty. So an inevitable irony results....[But] we accept irony through a device called metaphor. And through that we grow and become deeper human beings.
Francis stared down at the Duchess of York's letter. He swallowed, then read aloud in a husky voice, "It was showed by John Sponer that King Richard, late mercifully reigning upon us, was through great treason piteously slain and murdered, to the great heaviness of this City." As Margaret listened, the embittered grey eyes had softened, misted with sudden tears. "My brother may lie in an untended grave," she said, "but he does not lack for an epitaph.
A few weeks ago, Abdul had seen a boy’s hand cut clean off when he was putting plastic into one of the shredders. The boy’s eyes had filled with tears but he hadn’t screamed. Instead he’d stood there with his blood-spurting stump, his ability to earn a living ended, and started apologizing to the owner of the plant. “Sa’ab, I’m sorry,” he’d said to the man in white. “I won’t cause you any problems by reporting this. You will have no trouble from me.
She wanted to touch him, to throw her arms around him — but something held her back. Maybe it was the fear that her arms would pass right through him, that she would have come all this way only to find a ghost after all.As though he’d been able to read her thoughts, he slowly angled toward her. He raised his hands and held his palms out to her. Isobel lifted her own hands to mirror his. He pressed their palms together, his fingers folding down to lace through hers. She felt a rush of warmth course through her, a relief as pure and sweet as spring rain.He was real. This was real. She had found him. She could touch him. She could feel him. Finally they were together. Finally, finally, they could forget this wasted world and go home."I knew it wasn’t true," she whispered. "I knew you wouldn’t stop believing." He drew her close.Leaning into him, she felt him press his lips to her forehead in a kiss. As he spoke, the cool metal of his lip ring grazed her skin, causing a shudder to ripple through her."You..." His voice, low and breathy, reverberated through her, down to the thin soles of her slippers. "You think you’re different," he said. She felt his hands tighten around hers, gripping hard, too hard.A streak of violet lightning split the sky, striking close behind them.The house, Isobel thought. It had been struck. She could hear it cracking apart. She looked for only a brief moment, long enough to watch it split open."But you’re not," Varen said, calling her attention back to him. Isobel winced, her own hands surrendering under the suddenly crushing pressure of his hold. A face she did not recognize stared down at her, one twisted with anger — with hate."You," he scarcely more than breathed, "are just like every. Body. Else."He moved so fast. Before she could register his words or the fact that she had once spoken them to him herself, he jerked her to one side. Isobel felt her feet part from the rocks. Weightlessness took hold of her as she swung out and over the ledge of the cliff.As he let her go.The wind whistled its high and lonely song in her ears. She fell away into the oblivion of the storm until she could no longer see the cliff — could no longer see him.Only the slip of the pink ribbon as it unraveled from her wrist, floating up and away from her and out of sight forever.
Is there an answer to the question of why bad things happen to good people?...The response would be…to forgive the world for not being perfect, to forgive God for not making a better world, to reach out to the people around us, and to go on living despite it all…no longer asking why something happened, but asking how we will respond, what we intend to do now that it has happened.
As one who appreciated the tragic side of eating, it seemed to him that anything other than fruit for dessert implied a reprehensible frivolity, and cakes in particular ended up annihilating the flavour of quiet sadness that must be allowed to linger at the end of a great culinary performance.
CHORUS:You that live in my ancestral Thebes, behold this Oedipus,- him who knew the famous riddles and was a man most masterful; not a citizen who did not look with envy on his lot- see him now and see the breakers of misfortune swallow him!Look upon that last day always. Count no mortal happy till he has passed the final limit of his life secure from pain.
TEIRESIAS:I tell you, king, this man, this murderer(whom you have long declared you are in search of,indicting him in threatening proclamationas murderer of Laius)- he is here.In name he is a stranger among citizensbut soon he will be shown to be a citizentrue native Theban, and he'll have no joyof the discovery: blindness for sightand beggary for riches his exchange,he shall go journeying to a foreign countrytapping his way before him with a stick.He shall be proved father and brother bothto his own children in his house; to herthat gave him birth, a son and husband both;a fellow sower in his father's bedwith that same father that he murdered.Go within, reckon that out, and if you find memistaken, say I have no skill in prophecy.
OEDIPUS: Upon the murderer I invoke this curse-whether he is one man and all unknown, or one of many- may he wear out his life in misery to miserable doom! If with my knowledge he lives at my hearthI pray that I myself may feel my curse. On you I lay my charge to fulfill all this for me, for the God, and for this land of ours destroyed and blighted, by the God forsaken.
We are rational creatures, Professor Jove explained; hope is irrational. We thus set ourselves up for one dispiriting fall after the next. Anger and depression are not diseases or dysfunctions or anomalies; they are perfectly rational responses to the myriad avoidable disappointments that begin in a thoroughly irrational hope.
It is at the family fireside, often under the shelter of the law itself, that the real tragedies of life are acted; in these days traitors wear gloves, scoundrels cloak themselves in public esteem, and their victims die broken-hearted, but smiling to the last. What I have just related to you is almost an every-day occurrence; and yet you profess astonishment.
Hope? Hope is not the absence of tragedy, my friend. It is the conviction that tragedy can be endured. Hope is the spark in you that is not subdued in the face of the vast and callous indifference of the universe. Hope is that which is not shattered by hardship. Hope is the urge to fight what is wrong even when you know it will destroy you. Hope is the decision to love and need someone knowing that they will one day die. For me to promise that there are no obstacles would be the cruelest lie I could possibly tell. That lie is not hope. Hope is the will which needs no lies.
To be the child of a conficted or reputed witch was inherently dangerous; in one pathetic case in Lorraine a young couple were both accused, and it emerged that they had decided to marry after attending an execution at the stake of their respective parents, 'so that they would have nothing to reproach one another with.