Quotes about despair
page 7

Plutarch photo

“As those persons who despair of ever being rich make little account of small expenses, thinking that little added to a little will never make any great sum.”

Plutarch (46–127) ancient Greek historian and philosopher

Of Man's Progress in Virtue
Bartlett's Familiar Quotations, 10th ed. (1919)

John Clare photo

“When trouble haunts me, need I sigh?
No, rather smile away despair;”

John Clare (1793–1864) English poet

"The Stranger"
Poems Chiefly from Manuscript

Albert Barnes photo
Letitia Elizabeth Landon photo
Leo Tolstoy photo
John Steinbeck photo
Jean Paul Sartre photo
Matt Taibbi photo
Sören Kierkegaard photo
Robert Sheckley photo
Albrecht Thaer photo
William Makepeace Thackeray photo

“Despair is perfectly compatible with a good dinner, I promise you.”

William Makepeace Thackeray (1811–1863) novelist

Lovel the Widower (1860), Ch. 6.

Nikos Kazantzakis photo
Robert Herrick photo

“Bid me despair, and I'll despair,
Under that cypress tree;
Or bid me die, and I will dare
E'en Death, to die for thee.”

" To Anthea, st. 5 http://www.bartleby.com/106/96.html".
Hesperides (1648)

Bram van Velde photo

“It is important to see that my paintings are ultimately stimulating. They are not at all the kind of thing that inspires despair.”

Bram van Velde (1895–1981) Dutch painter

short quotes, 2 November 1971 pp. 84-85
1970's, Conversations with Samuel Beckett and Bram van Velde (1970 - 1972)

John Ogilby photo

“Live, and with Hope such happy Dayes expect.
This said, although opprest with weighty Care,
He shews glad Looks, and hides his deep Despair.”

John Ogilby (1600–1676) Scottish academic

The Works of Publius Virgilius Maro (2nd ed. 1654), Virgil's Æneis

Kamisese Mara photo
Edgar Guest photo
Theodore Dalrymple photo

“Blanket compassion will shift the distribution decisively towards the manipulative end of the spectrum, and may paradoxically decrease the compassion with which the genuinely despairing are treated: for they are apt to get lost in the great mass of pseudo-distress and manipulation, and often their conduct draws less attention precisely because it is less attention-seeking.”

Theodore Dalrymple (1949) English doctor and writer

Theodore Dalrymple on Terence Rattigan, Suicide and Prison - or how incontinent compassion has become a Keynesian stimulus to the economy of the caring profession http://www.socialaffairsunit.org.uk/blog/archives/001768.php (April 18, 2008).
The Social Affairs Unit (2006 - 2008)

John Steinbeck photo
Will Eisner photo

“In 1848, driven by a revolution in Paris, King Louis Philippe abdicated and Louis Napoleon (a nephew of Napoleon Bonaparte) was elected president of France. Four years later, after a coup d’etat, Louis Napoleon styled himself Napoleon II, emperor of France.
napoleon III’s first act as emperor was to imprison his political opponents. He was a crafty monarch, and his ambition during his reign was to seek glory through military adventurism while the great mass of French peasants remained ina state of poverty and despair.
Initially, Napoleon III achieved a short-lived public popularity by trying to “modernize” France and liberalize its economy, but his legacy remains that of a dictator and conniving politician.
In 1870, fearful that Germany was expanding too fast, Napoleon III declared war against this neighbor. The French were quickly defeated, and Napoleon III became a prisoner of war. Upon release in 1871, he was exiled to England, where he lived until his death in 1873.
Maurice Joly was mindful of this growing tension between Germany and France. He had been born in 1821 of French parents. He was admitted to the Paris bar as an attorney and was a one-time member of the General Assembly. Joly devoted most of time to writing caustic essays on French politics. He joined many other severe critics of Napoleon III, who regarded him as a ruthless despot.
In 1864, Joly wrote a book called “The Dialogue in Hell between Machiavelli and Montesquieu.”…It intended to liken Napoleon III to the infamous Machiavelli, author of “The Prince,” a treatise on the acquisition of power. Holy intended to reveal the French dictator’s dark and evil plans.”

Will Eisner (1917–2005) American cartoonist

Will Eisner, pp. 7-8
The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005)

Joseph Conrad photo
Richard Evelyn Byrd photo

“A discordant mind, black with confusion and despair, would finish me off as thoroughly as the cold.”

Richard Evelyn Byrd (1888–1957) Medal of Honor recipient and United States Navy officer

Ch 7
Alone (1938)

Frederick Douglass photo
Mary Wollstonecraft Shelley photo
Julian of Norwich photo
William Wilberforce photo
Anne-Thérèse de Marguenat de Courcelles, marquise de Lambert photo
Ludovico Ariosto photo

“From history's examples we conclude,
And modern instances teach us the same:
Good follows Evil, Evil follows Good,
Shame ends in glory, glory ends in shame.
Thus it is evident that no man should
Put trust in victories or wealth or fame,
Nor yet despair if Fortune is adverse:
She turns her wheel for better, as for worse.”

Si vede per gli esempi di che piene
Sono l'antiche e le moderne istorie,
Che 'l ben va dietro al male, e 'l male al bene,
E fin son l'un de l'altro e biasmi e glorie;
E che fidarsi a l'uom non si conviene
In suo tesor, suo regno e sue vittorie,
Né disperarsi per Fortuna avversa,
Che sempre la sua ruota in giro versa.
Canto XLV, stanza 4 (tr. B. Reynolds)
Orlando Furioso (1532)

Georg Brandes photo
Mary Cassatt photo

“.. we [the Impressionists ] are carrying on a despairing fight & need all our forces.”

Mary Cassatt (1844–1926) American painter and printmaker

Quote c. 1879; as cited by Nancy Mowll Mathews, in Mary Cassatt: A Life, Villard Books, New York, 1994, p. 118 - ISBN 978-0-394-58497-3

Rollo May photo
Thomas Gray photo
Owen Lovejoy photo

“I will never degrade my manhood, and stifle the sympathies of human nature. It is an insult to claim it. I wish I had nothing worse to meet at the judgement day than that. I would not have the guilt of causing that wail of man's despair or that wild shriek of woman's agony, as the one or the other is captured, for all the diadems of all the stars in heaven.”

Owen Lovejoy (1811–1864) American politician

As quoted in His Brother's Blood: Speeches and Writings, 1838–64 https://books.google.com/books?id=qMEv8DNXVbIC&pg=PA178 (2004), edited by William Frederick Moore and Jane Ann Moore, p. 178
1850s, The Fanaticism of the Democratic Party (February 1859)

“Hope is more patient than despair and so outlasts it.”

"Where Epics Fail: Aphorisms on Art, Morality & Spirit" (2018)

Winston S. Churchill photo
Mia Farrow photo

“Rage and grief are savage companions, but despair is the final undoing.”

Mia Farrow (1945) American actress, singer, humanitarian and former fashion model

What Falls Away (1997)

Walker Percy photo

“Scott London: How did you begin to explore the connection between management and science?
Meg Wheatley: I didn't have an interest in the new science. I had a realization that in my profession — which was vaguely labeled "organizational change," "organizational development," or "management consulting" in general — none of us knew how organizations change. When I talked to other consultants, I noticed that if we had an organizational change effort that was successful, it felt like a miracle to us.
I realized with a great start one day that we weren't even geared up for success. It didn't matter that we didn't know how to change organizations. We were all professionals who didn't hope to achieve what we were selling or suggesting to clients. The field was really moribund.
At the same time — and this is the serendipity of life — I had a friend and educator whom I had worked with for many years who said casually one day "Meg, if you're interested in systems thinking, you should be reading quantum physics." He didn't know where I was in my despair over my professional failings. But I said, "Okay, give me a book list."”

Margaret J. Wheatley (1941) American writer

He gave me ten titles. I read eight of those and I was off. I always credit him with that casual, helpful comment that changed my life.
Scott London (2008) " The New Science of Leadership: An Interview with Margaret Wheatley http://www.scottlondon.com/interviews/wheatley.html" in Quantum21. management journal, Spring 2008.

Albrecht Thaer photo
Isaac Asimov photo
Bartolomé de las Casas photo
Emily Brontë photo
Stephen R. Donaldson photo

“Despair and bitterness are not the only songs in the world”

Stephen R. Donaldson (1947) Novelist

Lord Mhoram, The Power That Preserves

George Gordon Byron photo
Sergei Prokofiev photo

“The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 36-37; from his fragmentary Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Emil M. Cioran photo
William J. Brennan photo
Wilhelm Liebknecht photo
Robert Graves photo

“Sigh then, or frown, but leave (as in despair)
Motive and end and moral in the air;
Nice contradiction between fact and fact
Will make the whole read human and exact.”

Robert Graves (1895–1985) English poet and novelist

"The Devil’s Advice to Story-tellers," lines 19–22, from Collected Poems 1938 (1938).
Poems

Thomas Carlyle photo
Peter F. Drucker photo
Carl Sandburg photo

“I see America, not in the setting sun of a black night of despair ahead of us, I see America in the crimson light of a rising sun fresh from the burning, creative hand of God. I see great days ahead, great days possible to men and women of will and vision …”

Carl Sandburg (1878–1967) American writer and editor

Interview with Frederick Van Ryn, This Week Magazine (January 4, 1953), p. 11. Sandburg previously used these words at a rally at Madison Square Garden, New York City (October 28, 1952), praising Adlai E. Stevenson during the latter's 1952 presidential campaign. Reported in The Papers of Adlai E. Stevenson (1955), vol. 4, p. 175.

Elie Wiesel photo

“Waking among the dead, one wondered if one was still alive. And yet real despair only seized us later. Afterwards. As we emerged from the nightmare and began to search for meaning.”

Elie Wiesel (1928–2016) writer, professor, political activist, Nobel Laureate, and Holocaust survivor

Hope, Despair, and Memory (1986)

Anne Brontë photo

“A hardness such as this is taught by rough experience and despair alone.”

Source: The Tenant of Wildfell Hall (1848), Ch. XXXVIV : A Scheme of Escape; Helen Graham

Letitia Elizabeth Landon photo
Nathaniel Hawthorne photo
Julian of Norwich photo
Robert Burton photo

“Melancholy and despair, though often, do not always concur; there is much difference: melancholy fears without a cause, this upon great occasion; melancholy is caused by fear and grief, but this torment procures them and all extremity of bitterness.”

Section 4, member 2, subsection 3, Causes of Despair, the Devil, Melancholy, Meditation, Distrust, Weakness of Faith, Rigid Ministers, Misunderstanding Scriptures, Guilty Consciences, etc.
The Anatomy of Melancholy (1621), Part III

Amy Tan photo
Reginald Heber photo
Robert Hall photo
Shashi Tharoor photo
Letitia Elizabeth Landon photo
Ursula K. Le Guin photo
`Abdu'l-Bahá photo

“Love is the mystery of divine revelations!
Love is the effulgent manifestation!
Love is the spiritual fulfillment!
Love is the breath of the Holy Spirit inspired into the human spirit!
Love is the cause of the manifestation of the Truth (God) in the phenomenal world!
Love is the necessary tie proceeding from the realities of things through divine creation!
Love is the means of the most great happiness in both the material and spiritual worlds!
Love is a light of guidance in the dark night!
Love is the bond between the Creator and the creature in the inner world!
Love is the cause of development to every enlightened man!
Love is the greatest law in this vast universe of God!
Love is the one law which causeth and controleth order among the existing atoms!
Love is the universal magnetic power between the planets and stars shining in the loft firmament!
Love is the cause of unfoldment to a searching mind, of the secrets deposited in the universe by the Infinite!
Love is the spirit of life in the bountiful body of the world!
Love is the cause of the civilization of nations in this mortal world!
Love is the highest honor to every righteous nation!
The people who are confirmed therein are indeed glorified by the Supreme Concourse, the angels of heaven and the dwellers of the Kingdom of El-Abha! But if the hearts of the people become devoid of the Divine Grace — the Love of God — they wander in the desert of ignorance, descend to the depths of ruin and fall to the abyss of despair where there is no refuge! They are like insects living in the lowest plane.
O beloved of God! Be ye the manifestations of God and the lamps of guidance throughout all regions shining with the light of love and union!
How beautiful the effulgence of this light!”

`Abdu'l-Bahá (1844–1921) Son of Bahá'u'lláh and leader of the Bahá'í Faith

“O thou who art attracted by the Fragrances of God!…” in Tablets of Abdul-Baha Abbas (1909), p. 730 http://reference.bahai.org/en/t/ab/TAB/tab-573.html

Angelique Rockas photo
Arundhati Roy photo

“He is Karna, whom the world has abandoned. Karna Alone. Condemned goods. A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga. Stoned out of his skull.
Then Kunti appeared. She too was a man, but a man grown soft and womanly, a man with breasts, from doing female parts for years. Her movements were fluid. Full of women. Kunti, too, was stoned. High on the same shared joints. She had come to tell Karna a story.
Karna inclined his beautiful head and listened.
Red-eyed, Kunti danced for him. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, Kunti said, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun.
The young mother loved her first-born son deeply, Kunti said, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhirata, a charioteer. And named Karna.
Karna looked up to Kunti. Who was she? Who was my mother? Tell me where she is. Take me to her.
Kunti bowed her head. She's here, she said. Standing before you.
Karna's elation and anger at the revelation. His dance of confusion and despair. Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be?
In reply Kunti took the regal face in her hands, green the face, red the eyes, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss. Did you know how much I missed you? Rahel could see it coursing through his veins, as clearly as an egg travelling down an ostrich's neck.
A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is them that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract.
She invoked the Love Laws.”

pages 232-233.
The God of Small Things (1997)

Barbara Hepworth photo
David Foster Wallace photo
Thomas Hobbes photo

“The same, without such opinion, DESPAIRE.”

The First Part, Chapter 6, p. 25
Leviathan (1651)

Robert Burns photo

“T is sweeter for thee despairing
Than aught in the world beside,—Jessy!”

Jessy.
Bartlett's Familiar Quotations, 10th ed. (1919)

Bernice King photo

“It is not Beauty I demand,
A crystal brow, the moon's despair,
Nor the snow's daughter, a white hand,
Nor mermaid's yellow pride of hair.”

George Darley (1795–1846) Irish poet, novelist, and critic

Poem The Loveliness of Love http://www.umiacs.umd.edu/~ridge/local/iinbid.html

Letitia Elizabeth Landon photo

“The field is fought—who walketh there?—
The shadow victory casts—Despair!”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Vow of the Peacock (1835)

Nathaniel Hawthorne photo
M. C. Escher photo

“After the first proof [of 'Sphere Spirals'] my high expectations were, as always, greatly disappointed. I am now struggling on - with some feeling of despair - so that I at least achieve a passable result.”

M. C. Escher (1898–1972) Dutch graphic artist

Quote of Escher, c. 1958; as cited in Biography of M.C. Escher http://im-possible.info/english/articles/escher/escher.html
1950's

Hermann Hesse photo
Francis Escudero photo

“When we look at the age in which we live—no matter what age it happens to be—it is hard for us not to be depressed by it. The taste of the age is, always, a bitter one. “What kind of a time is this when one must envy the dead and buried!” said Goethe about his age; yet Matthew Arnold would have traded his own time for Goethe’s almost as willingly as he would have traded his own self for Goethe’s. How often, after a long day witnessing elementary education, School Inspector Arnold came home, sank into what I hope was a Morris chair, looked ’round him at the Age of Victoria, that Indian Summer of the Western World, and gave way to a wistful, exacting, articulate despair!
Do people feel this way because our time is worse than Arnold’s, and Arnold’s than Goethe’s, and so on back to Paradise? Or because forbidden fruits—the fruits forbidden to us by time—are always the sweetest? Or because we can never compare our own age with an earlier age, but only with books about that age?
We say that somebody doesn’t know what he is missing; Arnold, pretty plainly, didn’t know what he was having. The people who live in a Golden Age usually go around complaining how yellow everything looks. Maybe we too are living in a Golden or, anyway, Gold-Plated Age, and the people of the future will look back at us and say ruefully: “We never had it so good.” And yet the thought that they will say this isn’t as reassuring as it might be. We can see that Goethe’s and Arnold’s ages weren’t as bad as Goethe and Arnold thought them: after all, they produced Goethe and Arnold. In the same way, our times may not be as bad as we think them: after all, they have produced us. Yet this too is a thought that isn’t as reassuring as it might be.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Taste of the Age”. pp. 16–17; opening
A Sad Heart at the Supermarket: Essays & Fables (1962)

Martin Luther King, Jr. photo

“The labor movement was the principal force that transformed misery and despair into hope and progress. Out of its bold struggles, economic and social reform gave birth to unemployment insurance, old-age pensions, government relief for the destitute and, above all, new wage levels that meant not mere survival but a tolerable life. The captains of industry did not lead this transformation; they resisted it until they were overcome. When in the thirties the wave of union organization crested over the nation, it carried to secure shores not only itself but the whole society.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

Speech to the state convention of the Illinois American Federation of Labor and Congress of Industrial Organizations (AFL–CIO) (7 October 1965) http://www.aft.org/yourwork/tools4teachers/bhm/mlktalks.cfm, as quoted in Now Is the Time. Dr. Martin Luther King Jr. on Labor in the South: The Case for a Coalition (January 1986)
1960s

Marcus Junius Brutus photo
Franz Kafka photo
Thomas Carlyle photo
Marvin Gaye photo

“I just want to ask a question:
Who really cares?
To save a world in despair
There'll come a time, when the world won't be singin'
Flowers won't grow, bells won't be ringin'
Who really cares?
Who's willing to try to save a world
That's destined to die?”

Marvin Gaye (1939–1984) American singer-songwriter and musician

Save the Children, co-written with Al Cleveland and Renaldo Benson.
Song lyrics, What's Going On (1971)

Robert W. Service photo
Percy Bysshe Shelley photo

“Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together, white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room, my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body, which for a long time remained in a catatonic position, with the soles of both my feet stuck as it were to the wall. […] I had planned to do some bodypainting for the second part of the performance. […] At first I poured black paint over the white objects, I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers, which ended by one of them leaving the room in a rage. […] My unease increased, as I became aware of the defects in my “score”-and should this not have any, the mistakes in the way I was translating it into actions. Recognising this, I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises, and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel.””

Günter Brus (1938) Austrian artist

Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)

Alain-René Lesage photo
Zygmunt Bauman photo