Best 1203 quotes in «tragedy quotes» category

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.

The greatest love stories go untold, don’t they?

The greatest tragedy to ever happen to a nation is not the incidences of war or terrorism. It's when more bookshops close down and more drinking bars are opened to replace them!

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.

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.

The importance we give our disappointment is what turns it into a tragedy.

The kind of death you should mourn over is the one that happen when you abort your potentials prematurely! Life without purpose is a tragedy!

– 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.

The mixture of the grotesque and the tragic is agreeable to the spirit, as are discords to the jaded ear.

... the preacher speaks both the word of tragedy and the word of comedy because they are both of them the truth and because Jesus speaks them both...

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.

The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.

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.

The poets say some moths will do anything out of love for a flame [...] The moth takes off again, and we both step back, because he's circling at eye level now and seems to have lost rudder control, smacking into the wall on each round. He circles lower and lower, spinning around the candle in tighter revolutions, like a soap sud over an open drain. A few times he seems to touch the flame, but dances off unhurt. Then he ignites like a ball of hair, curling into an oily puff of fumes with a hiss. The candle flame flickers and dims for a moment, then burns as bright as before. Moth Smoke Lingers.

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.

The problem with the snow is that it sticks to everything it touches. You can’t get rid of it. Even when it melts away, the chill still clings to your bones.

The purpose of a writer is to show the beauty and tragedy of life in the reader's own mirror.

The quotation falsely attributed to Stalin, 'One death is a tragedy; a million deaths is a statistic,' gets the numbers wrong but captures a real fact about human psychology. (p. 220)

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.

There are no tragedies in life, only violent coup d’etats on the state of irrational optimism

There are times when fear is good. It must keep its watchful place at the heart's controls. There is advantage in the wisdom won from pain.

There has to be some way this won’t end in tragedy. Why can’t Romeo and Juliet live happily ever after? It’s as if the universe won’t abide such a strong connection in such a disconnected world, as if our connection defies the natural order.

Therefore love moderately. Long love doth so. Too swift arrives as tardy as too slow.

There is beauty in tragedy. And we all believed!

There is a gift in experiencing so much tragedy of life from a young age, you gain the wisdom earlier to make better choices for later.

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.

There is no greater tragedy than the tragedy of hating yourself because you will always have to live with that tragedy unless you start finding a way to love yourself!

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.

There is nothing in human affairs that is a true subject for ridicule. Beneath comedy lies the ferment of tragedy; the farcical is but a cloak for coming catastrophe.

There is something more dangerous than the death of one’s body. It is “the undiscovered self”; being alive without knowing why.

There's a deep knowing beneath the epicenter of our anxious asking. Meet me there, & stillness will voice its soothing certainties with us.

There is no path set for this kind of shock, and for the grief that attends such terrible news.

There may be times of pain and regret and deep hurt in our lives. Often it takes a painful situation to motivate us back to where God wants us to be or intended us to be. Until some people will get up and remove the thorn from under their foot, that is causing utter discomfort, they will not change. No, God does not cause the pain or hurt or sickness or tragedy, but He may use it (allow it) to bring us to a place where we are focused on Him, where He has our attention and where He can minister to us by His Spirit, in our inner being.

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.

There was a certain untamed energy about the west of Ireland – full of tragedy and struggle, sown with the flesh of the departed.

..there was a moment when the living room vanished and I saw a great, mushroom-shaped cloud rising into a blue sky. I saw it quite distinctly.

There was something virile in her attitude toward tragedy, as though she were defying God to knock off the chip He Himself had placed on her shoulder.

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.

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 lakhs of human beings arrived in Jammu as displaced persons and for many months the government did not provide shelters or relief or even register their names, why was that. When the government finally built camps it only allowed for six thousand families to remain in the state, dispersing the others around the country where they would be invisible and impotent, why was that. The camps at Purkhoo, Muthi, Mishriwallah, Nagrota were built on the banks and beds of nullahas, dry seasonal waterways, and when the water came the camps were flooded, why was that. The ministers of the government made speeches about ethnic cleansing but the civil servants wrote one another memos saying that the pandits were simply internal migrants whose displacement had been self-imposed, why was that. The tents provided for the refugees to live in were often uninspected and leaking and the monsoon rains came through, why was that. When the one-room tenements called ORTs were built to replace the tents they too leaked profusely, why was that. There was one bathroom per three hundred persons in many camps why was that and the medical dispensaries lacked basic first-aid materials why was that and thousands of the displaced died because of inadequate food and shelter why was that maybe five thousand deaths because of intense heat and humidity because of snake bites and gastroenteritis and dengue fever and stress diabetes and kidney ailments and tuberculosis and psychoneurosis and there was not a single health survey conducted by the government why was that and the pandits 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, to dream 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 why was that why was that why was that why was that.

The sad thing about reading the book and then watching the movie is that they have to die all over again.

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.

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.

The search for Jesus is about reconciling loss and tragedy to God and us.

The seed of an urban legend find fertile soil at the corner of tragedy and imagination.

The tragedy in life to mourn over is the death of what lies within a person who is still alive. The death of a potential is a mess of destiny!

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.

The skies give no warning when they fall.

The tragedy about history - personally and globally - is that while we may learn it we rarely learn from it.

The tragedy of Hetty is a ‘collide’26 between the free will and male dominant society or nobility27 or religion. If her conduct is bad and cause of her tragedy then where is the tragedy of A.D. So as a moralist, GE demands a way for ‘Hetty like human beings’ in set society. says Bhutta

The tragedy of life is that it comes just once and before you know it, it is gone. Since life comes just once, I encourage you to give it your best shot.