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.
For a moment she believed he had left, but as she shifted away from the wall she sensed him there beside the bed. He was very close. Wretched curiosity! But she would fight it and not look. “Katherine,” he whispered, his breath rolling in a warm wave across her cheek. A traitor tear spilled out, the humiliation was too much to contain. Gently, a finger dabbed the wetness from her skin. He said it again, softly, as though it pleased him just to say it, “Katherine.” “Viktor!” the accented voice bellowed from below. And then the shadow was gone. Darkness overwhelmed her then and carried her away to a land of crows and mocking strangers.
Signý knew she would die a thousand deaths upon seeing another woman with him, bearing his children, raising them with him. All the while, Signý, caged in his dungeons, hearing all the painful details of his life with someone else, drowning in her own despair, her love for him turning to hatred. A more tragic life, she could not imagine.
Tell me that you don’t love me, and I’ll leave you alone. In this time or the next. Tell me that you don’t feel free. Tell me you can’t stand the way I look at you. But don’t tell me that I’m not allowed to love you. I will love you through every minute, every day, and every year for the rest of my life. My love for you is timeless.
I’ve got money!” Eve exclaimed in a frantic frenzy of hope, her eyes dancing wildly with the notion that there was some way out of this. “I mean, I don’t know what use money is to the Grim Reaper, but I’ve got a ton of cash! It’s in a hat box under my bed! I’ve got a bright red Lexus in the garage, I’ve got my engagement ring upstairs, it’s real gold… there must be something we can trade off with…”“You can’t bribe me away, I’m afraid,” said Mr. Azrael. “Money means nothing where I come from.
I am a lover of words and tragically beautiful things, poor timing and longing, and all things with soul, and I wonder if that means I am entirely broken, or if those are the things that have been keeping me whole.
…I love you,” he said to her, although at that point he was certain she could no longer comprehend the words. “I’d trade places with you in an instant, Mandy Valems… you never deserved this… why would anyone do something so terrible!?” A cold chill froze his heart when he saw her empty eyes again.The fluorescent lights in the dim room sparked to life all of a sudden, brightness so sharp that it startled him. In a flash, sharp and sudden, quicker than a lightning strike, the bulbs flickered and exploded with a few jingling pops.
Music — good music, great music — had a hard, irreducible purity to it. It might be bitter and despairing and pessimistic, but it could never be cynical. If music is tragic, those with asses’ ears accuse it of being cynical. But when a composer is bitter, or in despair, or pessimistic, that still means he believes in something.
To me there is no more tragic sight than the average missionary. …We have given so much, yet not the one thing that counts; we aspire so high, and fall so low; we suffer so much, but so seldom with Christ; we have done so much and so little will remain; we have known Christ in part, and have so effectively barricaded our hearts against His mighty love, which surely He must yearn to give His disciples above all people.
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.
I still think that everyone's life, no matter how unremarkable, has a singular tragic encounter after which everything that really matters will happen. That moment is the catalyst - the first step in the equation. But knowing the first step will get you nowhere - it's what comes after that determines the result.
The beauty of this idea is that my decision to keep Peeta alive at the expense of my own life is itself an act of defiance. A refusal to play the Hunger Games by the Capitol's rules. My private agenda dovetails completely with my public one. And if I really could save Peeta... in terms of a revolution, this would be ideal. Because I will be more valuable dead. They can turn me into some kind of martyr for the cause and paint my face on banners, and it will do more to rally people than anything I could do if I was living. But Peeta would be more valuable alive, and tragic, because he will be able to turn his pain into words that will transform people.
The most tragic thing for a person is to have a very limited capacity in the matters of dream!
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?
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.
Dear Matthew-There's one more thing I didn't get to tell you that night in my bedroom. Here it is: I love you. I'm in love with you. I have been for a long time. This might seem like a strange thing for me to say given the fact we aren't speaking to each other. But I've decided that it's possible to love someone for entirely selfless reasons, for all of their flaws and weaknesses, and still not succeed in having them love you back. It's sad perhaps, but not tragic, unless you dwell forever in the pursuit of their elusive affections.
between the disfigurement and the muzzle, it's nearly impossible to catch what she's saying. Always, though, while tripping and stumbling to the music, she looks out into her audience and tells the story about her mother. Most people laugh and yell for her to lift her skirts, but every so often she'll spot someone weeping and swear they can understand her every word.
This is not a book about race, though the disproportionate number of those who fell that day were black, and certain racial themes are unavoidable. It is not a book that sets out to compare the United States unfavorably with Britain, though it is written by a Briton to whom gun culture is alien. Finally, it is not a book about gun control; it is a book made possible by the absence of gun control.
...I was there when we opened the gates. Some of these poor wretches running out were so emaciated they actually died from the excitement of being liberated. I saw it happen several times. These people in the camps – they were like walking skeletons. You could see all their bones. The gates opened and the people ran out yelling, "I'm free! I'm free!" And some of them died right there. I was horrified to see what the SS had done to these people. - Roy Gates
While the differences between love and hate can be blurred and difficult to decipher at times, the dichotomy of denial and acceptance are much more distinct. One is halting and aggressively rejects all truth, while the other is more passive and at peace – welcoming whatever truth is in waiting, whether fortunate or tragic.
Science is rooted in the will to truth. With the will to truth it stands or falls. Lower the standard even slightly and science becomes diseased at the core. Not only science, but man. The will to truth, pure and unadulterated, is among the essential conditions of his existence; if the standard is compromised he easily becomes a kind of tragic caricature of himself.
People will go through their entire lives justifying every damn decision…they’ll fight for all the wrong things, until finally the right thing stares at them square in the face. That’s when the choices start to matter. Because in the end, you’re a creature of habit. So you may want to choose right, but choose wrong in the end — because you’re so damn used to it. It’s tragic, then again, life’s tragic
Yes, she was the girl playing basketball with all the boys in the park, collecting cans by the side of the road, keeping secret pet kittens in an empty boxcar in the woods, walking alone at night through the rail yards, teaching her little sister how to kiss, reading out loud to herself, so absorbed by the story, singing sadly in the tub, building a fort from the junked cars out in the meadow, by herself in the front row at the black-and-white movies or in the alley, gazing at an eddy of cigarette stubs and trash and fall leaves, smoking her first cigarette at dusk by a pile of dead brush in the desert, then wishing at the stars--she was all of them, and she was so much more that just just her that I still didn't know.
Yet despite...accommodations with commerce, Möser regarded the market as primarily a threat--to the artisanal citizens of the town, to the traditional wants of the peasantry, and to the political structure to society, since it created a growing class of people outside the traditional paternalistic relations of the countryside. Möser's conception of contemporary political and economic trends in Osnabrück was essentialy tragic and tinged with that idealization of the past that would later be called romantic. Möser's heroes were the artisan-citizen and the independent peasant, his villains the shopkeeper and the peddler.
Suddenly exhausted, she closes her eyes and slips into nightmares again. Graveyards rising out of the ocean. Her friends’ corpses in the light of their burning school. Skeletons ripping open men's chests and crawling inside. She endures it patiently, waiting for the horror film to end and the theater to go dark, those precious few hours of blackout that are her only respite.
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")
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.
Marcus Brutus was the original tragic hero of the play ‘Julius Caesar’, Aditya concluded. Perhaps, Shakespeare should have named his play ‘Marcus Brutus’. But then again, it all must have boiled down to saleability and marketing; Julius Caesar being the more famous and thus bankable name. Ironical it was, Aditya smiled. The same Shakespeare had once said-‘What’s in a name...
Oh, she doth teach the torches to burn bright!It seems she hangs upon the cheek of nightLike a rich jewel in an Ethiope’s ear,Beauty too rich for use, for earth too dear.So shows a snowy dove trooping with crowsAs yonder lady o'er her fellows shows.The measure done, I’ll watch her place of stand,And, touching hers, make blessèd my rude hand.Did my heart love till now? Forswear it, sight!For I ne'er saw true beauty till this night.