“That which we die for lives as wholly as that which we live for dies.”

Preface
Sylvie and Bruno (1889)
Context: I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life — that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' — but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man — and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!

"Words Handed Down by Disciples" (Chapter 9).
No Abode: The Record of Ippen (1997)

in an interview http://www.viceland.com/int/v15n12/htdocs/ursula-k-le-guin-440.php?country=uk in Vice Magazine. <br class="br">Context: Belief in heaven and hell is a big deal in Judaism, Christianity, and Islam, and some forms of doctrinaire Buddhism. For the rest of us it’s simply meaningless. We don’t live in order to die, we live in order to live.

Source: The Bridge of San Luis Rey

Source: The Self Awakened: Pragmatism Unbound (2007), p. 236-7.

Anthem (1937)

Source: Under Milk Wood