Quotes about tragedy

page 2

Other

MTV Interview, December 2004

Tragedy and the Common Man (1949)

Source: No Way Out (2002), Ch. 7: What Kind Of Human Being Do You Want?

"The Conqueror Worm" (1843), st. 5.

Source: Enemies of Promise (1938), Part 2: The Charlock’s Shade, Ch. 16: Outlook Unsettled (p. 137)

Nun aber schien Sokrates die tragische Kunst nicht einmal "die Wahrheit zu sagen": abgesehen davon, dass sie sich an den wendet, der "nicht viel Verstand besitzt", also nicht an den Philosophen: ein zweifacher Grund, von ihr fern zu bleiben. Wie Plato, rechnete er sie zu den schmeichlerischen Künsten, die nur das Angenehme, nicht das Nützliche darstellen und verlangte deshalb bei seinen Jüngern Enthaltsamkeit und strenge Absonderung von solchen unphilosophischen Reizungen; mit solchem Erfolge, dass der jugendliche Tragödiendichter Plato zu allererst seine Dichtungen verbrannte, um Schüler des Sokrates werden zu können.
Source: The Birth of Tragedy (1872), p. 68

Other

This quotation, often attributed on the Internet to Plato, cannot be found in any of Plato's writings, nor can it be found in any published work anywhere until recent years. If it really were a quotation by Plato, then some author in the recorded literature of the last several centuries would have mentioned that quote, but they did not. The sentiment isn't new, however. The ancient Roman Seneca, in his work on "Morals," quoted an earlier Roman writer, Lucretius (who wrote about the year 50 B.C.), as saying "we are as much afraid in the light as children in the dark." (Seneca was paraphrasing a longer passage by Lucretius from De Rerum Natura (On the Nature of Things), Book II, lines 56 et seq.)
Misattributed

2015, Eulogy for the Honorable Reverend Clementa Pinckney (June 2015)

2011, Tucson Memorial Address (January 2011)

Autobiographical Sketch (1843)

p 90
Shizuka-na seikatsu (A Quiet Life) (1990)

Quoted in the memoirs of Jean-Louis Barrault, The Grenier des Grands-Augustins, pt. 2, Memories for Tomorrow (1972, trans. 1974).

A Personal Matter (1964)

Ibid., p. 9
The Education of the Stoic

On a Kansas tornado that killed 12 people http://www.telegraphindia.com/1070510/asp/foreign/story_7758325.asp (9 May 2007)
2007

Aber wie verändert sich plötzlich jene eben so düster geschilderte Wildniss unserer ermüdeten Cultur, wenn sie der dionysische Zauber berührt! Ein Sturmwind packt alles Abgelebte, Morsche, Zerbrochne, Verkümmerte, hüllt es wirbelnd in eine rothe Staubwolke und trägt es wie ein Geier in die Lüfte. Verwirrt suchen unsere Blicke nach dem Entschwundenen: denn was sie sehen, ist wie aus einer Versenkung an's goldne Licht gestiegen, so voll und grün, so üppig lebendig, so sehnsuchtsvoll unermesslich. Die Tragödie sitzt inmitten dieses Ueberflusses an Leben, Leid und Lust, in erhabener Entzückung, sie horcht einem fernen schwermüthigen Gesange - er erzählt von den Müttern des Seins, deren Namen lauten: Wahn, Wille, Wehe.
Ja, meine Freunde, glaubt mit mir an das dionysische Leben und an die Wiedergeburt der Tragödie. Die Zeit des sokratischen Menschen ist vorüber: kränzt euch mit Epheu, nehmt den Thyrsusstab zur Hand und wundert euch nicht, wenn Tiger und Panther sich schmeichelnd zu euren Knien niederlegen. Jetzt wagt es nur, tragische Menschen zu sein: denn ihr sollt erlöst werden. Ihr sollt den dionysischen Festzug von Indien nach Griechenland geleiten! Rüstet euch zu hartem Streite, aber glaubt an die Wunder eures Gottes!
Source: The Birth of Tragedy (1872), p. 98

Biblical Series I: Introduction to the Idea of God
20 May 2017
YouTube
https://www.youtube.com/watch?v=f-wWBGo6a2w
Biblical Lectures

The Inferno (1917), Ch. XVII

Senate Votes to Block Expanded Background Checks for Gun Sales (17 April 2013) http://www.whitehouse.gov/blog/2013/04/17/senate-votes-block-expanded-background-checks-gun-sales
2013

Comments on the North American Events (1862)

Letter to James F. Morton (January 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 253
Non-Fiction, Letters, to James Ferdinand Morton, Jr.

Act III
A Woman of No Importance (1893)

Other

Monday Night Football, December 8, 1980.

Strengthen the Individual: A counterpoint to Post Modern Political Correctness https://www.youtube.com/watch?v=CwcVLETRBjg&t=72m40s
Other

2016, Memorial Service for Fallen Dallas Police Officers (July 2016)

Section 3 : Work Democracy versus Politics. The Natural Social Forces for the Mastery of the Emotional Plague
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: It is an essential part of our social tragedy that people, like farmers, the industrial workers, the medical profession, etc., influence the social process not only by their work, but also — and even predominantly — by political ideologies. For political activity hampers objective, rational activity; it splits professional organizations into warring ideological groups; it disorganizes the industrial workers: it restricts the work of the physician and harms the patients, etc. In brief, political activity prevents precisely what it pretends to achieve: peace, work, security, international cooperation, objective expression of opinion, freedom of belief, etc.

Tragedy and the Common Man (1949)
Context: In this age few tragedies are written. It has often been held that the lack is due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science, and the heroic attack on life cannot feed on an attitude of reserve and circumspection. For one reason or another, we are often held to be below tragedy — or tragedy above us.

2015, Eulogy for the Honorable Reverend Clementa Pinckney (June 2015)
Context: As a nation, out of this terrible tragedy, God has visited grace upon us, for he has allowed us to see where we’ve been blind. He has given us the chance, where we’ve been lost, to find our best selves. We may not have earned it, this grace, with our rancor and complacency, and short-sightedness and fear of each other -- but we got it all the same. He gave it to us anyway. He’s once more given us grace. But it is up to us now to make the most of it, to receive it with gratitude, and to prove ourselves worthy of this gift.

2016, Memorial Service for Fallen Dallas Police Officers (July 2016)
Context: I've seen how a spirit of unity, born of tragedy, can gradually dissipate, overtaken by the return to business as usual, by inertia and old habits and expediency. I see how easily we slip back into our old notions, because they’re comfortable, we’re used to them. I’ve seen how inadequate words can be in bringing about lasting change. I’ve seen how inadequate my own words have been. And so I’m reminded of a passage in *John’s Gospel [First John]: Let us love not with words or speech, but with actions and in truth. If we’re to sustain the unity we need to get through these difficult times, if we are to honor these five outstanding officers who we’ve lost, then we will need to act on the truths that we know. And that’s not easy. It makes us uncomfortable. But we’re going to have to be honest with each other and ourselves.

Source: The Seth Material (1970), p. 123
Context: Some people think that we are stuck in physical reality like flies in flypaper or victims in quicksand, so that each motion we make only worsens our predicament and hastens our extinction. Others see the universe as a sort of theater into which we are thrust at birth and from which we depart forever at death. In the backs of their minds people with either attitude will see a built-in threat in each new day; even joy will be suspect because it, too, must end in the body's eventual death. I used to feel this way. When I fell in love with Rob, my joy served to double the underlying sense of tragedy I felt, as if death mocked me all the more by making life twice as precious. I saw each day bringing me closer to a total extinction that I could hardly imagine, but which I resented with growing vehemence.

The Inferno (1917), Ch. XVI
Context: I went out on the street like an exile, I who am an everyday man, who resemble everybody else so much, too much. I went through the streets and crossed the squares with my eyes fixed upon things without seeing them. I was walking, but I seemed to be falling from dream to dream, from desire to desire. A door ajar, an open window gave me a pang. A woman passing by grazed against me, a woman who told me nothing of what she might have told me. I dreamed of her tragedy and of mine. She entered a house, she disappeared, she was dead.

Tragedy and the Common Man (1949)
Context: I think the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing — his sense of personal dignity. From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his "rightful" position in his society.
Sometimes he is one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity and its dominant force is indignation. Tragedy, then, is the consequence of a man's total compulsion to evaluate himself justly.

2012, Sandy Hook Prayer Vigil (December 2012)
Context: Can we honestly say that we’re doing enough to keep our children, all of them, safe from harm?
Can we claim, as a nation, that we’re all together there, letting them know they are loved and teaching them to love in return?
Can we say that we’re truly doing enough to give all the children of this country the chance they deserve to live out their lives in happiness and with purpose?
I’ve been reflecting on this the last few days, and if we’re honest with ourselves, the answer’s no. We’re not doing enough. And we will have to change. Since I’ve been president, this is the fourth time we have come together to comfort a grieving community torn apart by mass shootings, fourth time we’ve hugged survivors, the fourth time we’ve consoled the families of victims.
And in between, there have been an endless series of deadly shootings across the country, almost daily reports of victims, many of them children, in small towns and in big cities all across America, victims whose — much of the time their only fault was being at the wrong place at the wrong time.
We can’t tolerate this anymore. These tragedies must end. And to end them, we must change. We will be told that the causes of such violence are complex, and that is true. No single law — no set of laws can eliminate evil from the world, or prevent every senseless act of violence in our society. But that can’t be an excuse for inaction. Surely, we can do better than this.
If there is even one step we can take to save another child, or another parent, or another town, from the grief that has visited Tucson, and Aurora, and Oak Creek, and Newtown, and communities from Columbine to Blacksburg before that — then surely we have an obligation to try.

Quoted in Good Housekeeping (November 1989), p. 92.
Context: Hope, faith, love and a strong will to live offer no promise of immortality, only proof of our uniqueness ans human beings and the opportunity to experience full growth even under the grimmest circumstances. Far more real than the ticking of time is the way we open up the minutes and invest them with meaning. Death is not the ultimate tragedy in life. The ultimate tragedy is to die without discovering the possibilities of full growth.

Last Poems (1936-1939)
Context: Heaven blazing into the head:
Tragedy wrought to its uttermost.
Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.

Lapis Lazuli, st. 2

Tragedy and the Common Man (1949)
Context: The possibility of victory must be there in tragedy. Where pathos rules, where pathos is finally derived, a character has fought a battle he could not possibly have won. The pathetic is achieved when the protagonist is, by virtue of his witlessness, his insensitivity, or the very air he gives off, incapable of grappling with a much superior force.
Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief — optimistic, if you will, in the perfectibility of man.
It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time — the heart and spirit of the average man.

Tragedy and the Common Man (1949)
Context: The tragic right is a condition of life, a condition in which the human personality is able to flower and realize itself. The wrong is the condition which suppresses man, perverts the flowing out of his love and creative instinct. Tragedy enlightens — and it must, in that it points the heroic finger at the enemy of man's freedom. The thrust for freedom is the quality in tragedy which exalts. The revolutionary questioning of the stable environment is what terrifies.

Under Fire (1916), Ch. 24 - The Dawn
Context: Already there is uneasy hesitation in these castaways' discussion of their tragedy, in the huge masterpiece of destiny that they are roughly sketching. It is not only the peril and pain, the misery of the moment, whose endless beginning they see again. It is the enmity of circumstances and people against the truth, the accumulation of privilege and ignorance, of deafness and unwillingness, the taken sides, the savage conditions accepted, the immovable masses, the tangled lines.
And the dream of fumbling thought is continued in another vision, in which everlasting enemies emerge from the shadows of the past and stand forth in the stormy darkness of to-day.

2015, Eulogy for the Honorable Reverend Clementa Pinckney (June 2015)
Context: But I don't think God wants us to stop there. For too long, we’ve been blind to the way past injustices continue to shape the present. Perhaps we see that now. Perhaps this tragedy causes us to ask some tough questions about how we can permit so many of our children to languish in poverty, or attend dilapidated schools, or grow up without prospects for a job or for a career. Perhaps it causes us to examine what we’re doing to cause some of our children to hate. Perhaps it softens hearts towards those lost young men, tens and tens of thousands caught up in the criminal justice system and leads us to make sure that that system is not infected with bias; that we embrace changes in how we train and equip our police so that the bonds of trust between law enforcement and the communities they serve make us all safer and more secure. Maybe we now realize the way racial bias can infect us even when we don't realize it, so that we're guarding against not just racial slurs, but we're also guarding against the subtle impulse to call Johnny back for a job interview but not Jamal. So that we search our hearts when we consider laws to make it harder for some of our fellow citizens to vote. By recognizing our common humanity by treating every child as important, regardless of the color of their skin or the station into which they were born, and to do what’s necessary to make opportunity real for every American -- by doing that, we express God’s grace.

The Inferno (1917), Ch. XVI
Context: A couple, a man and a woman — poor human beings almost always go in pairs — approached, and passed. I saw the empty space between them. In life's tragedy, separation is the only thing one sees. They had been happy, and they were no longer happy. They were almost old already. He did not care for her, although they were growing old together. What were they saying? In a moment of open-heartedness, trusting to the peacefulness reigning between them at that time, he owned up to an old transgression, to a betrayal scrupulously and religiously hidden until then. Alas, his words brought back an irreparable agony. The past, which had gently lain dead, rose to life again for suffering. Their former happiness was destroyed. The days gone by, which they had believed happy, were made sad; and that is the woe in everything.

2013, Commencement Address at Ohio State University (May 2013)
Context: In the aftermath of darkest tragedy, we have seen the American spirit at its brightest. We’ve seen the petty divisions of color, class, and creed replaced by a united urge to help. We’ve seen courage and compassion, a sense of civic duty, and a recognition that we are not a collection of strangers; we are bound to one another by a set of ideals, and laws, and commitments, and a deep devotion to this country we love. 
That’s what citizenship is. It’s the idea at the heart of our founding – that as Americans, we are blessed with God-given and inalienable rights, but with those rights come responsibilities – to ourselves, to one another, and to future generations. 
But if we’re being honest, as you’ve studied and worked and served to become good citizens, the institutions that give structure to our society have, at times, betrayed your trust. In the run-up to the financial crisis, too many on Wall Street forgot that their obligations don’t end with their shareholders. In entertainment and in the media, ratings and shock value often trumped news and storytelling. And in Washington – well, this is a joyous occasion, so let me put this charitably: I think it’s fair to say our democracy isn’t working as well as we know it can. It could do better. And those of us fortunate enough to serve in these institutions owe it to you to do better, every single day.

Tragedy and the Common Man (1949)
Context: There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.
For, if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality, and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity.

"The Death of Me", p. 150
Awareness (1992)
Context: Can one be fully human without experiencing tragedy? The only tragedy there is in the world is ignorance; all evil comes from that. The only tragedy there is in the world is unwakefulness and unawareness. From them comes fear, and from fear comes comes everything else, but death is not a tragedy at all. Dying is wonderful; it's only horrible to people who have never understood life. It's only when you're afraid of life that you fear death. It's only dead people who fear death.

The tension, the degree and level of intensity of a thought proceeds from its internal antinomies, which in turn are derived from the unsolvable contradictions of a soul. Thought cannot solve the contradictions of the soul. As far as linear thinking is concerned, thoughts mirror themselves in other thoughts, instead of mirroring a destiny.
The Book of Delusions (1936)

"Lettre XII: sur M. Pope et quelques autres poètes fameux," Lettres philosophiques (1756 edition)
Variants:
He looked on everything as imitation. The most original writers, he said, borrowed one from another. Boyardo has imitated Pulci, and Ariofio Boyardo. The instruction we find in books is like fire; we fetch it from our neighbour, kindle it as home, communicate it to others, and it becomes the property of all.
Historical and Critical Memoirs of the Life and Writings of M. de Voltaire (1786) by Louis Mayeul Chaudon, p. 348
What we find in books is like the fire in our hearths. We fetch it from our neighbors, we kindle it at home, we communicate it to others, and it becomes the property of all.
As translated in Geary's Guide to the World's Great Aphorists (2008), by James Geary, p. 373
Original: (fr) Ainsi, presque tout est imitation. L’idée des Lettres persanes est prise de celle de l’Espion turc. Le Boiardo a imité le Pulci, l’Arioste a imité le Boiardo. Les esprits les plus originaux empruntent les uns des autres. Michel Cervantes fait un fou de son don Quichotte; mais Roland est-il autre chose qu'un fou? Il serait difficile de décider si la chevalerie errante est plus tournée en ridicule par les peintures grotesques de Cervantes que par la féconde imagination de l'Arioste. Métastase a pris la plupart de ses opéras dans nos tragédies françaises. Plusieurs auteurs anglais nous ont copiés, et n'en ont rien dit. Il en est des livres comme du feu de nos foyers; on va prendre ce feu chez son voisin, on l’allume chez soi, on le communique à d’autres, et il appartient à tous.

Texas Monthly interview, 2006, quoted in * 2019-06-14
Joe Biden says he does not view ‘abortion as a choice and a right’ in unearthed video
Clark Mindock
The Independent
UK
https://www.independent.co.uk/news/world/americas/us-politics/joe-biden-abortion-video-2020-campaign-roe-v-wade-choice-a8958156.html
2000s, 2006

The Transhumanism Handbook, 2019

Source: And the Mountains Echoed

Source: Catch-22

Source: Lover Awakened

Source: Einstein's Dreams

Source: Evil Thirst

Source: The Thirteenth Tale

Source: Howl's Moving Castle

Variant: The desert weed lives on, but the flower of spring blooms and wilts.
Source: The Kite Runner

Source: Wise Children (1991), ch. 5 (p.213).

Source: Dust & Decay

Source: Ideas Have Consequences

Source: All These Things I've Done

Source: Fly Away Home

Source: The Red Dice

Variant: The greater the love, the greater the tragedy when it’s over. Those two elements always go together.
Source: Nights in Rodanthe

Letter to Anne, Countess of Ossory, (16 August 1776)
A favourite saying of Walpole's, it is repeated in other of his letters, and might be derived from a similar statement attributed to Jean de La Bruyère, though unsourced: "Life is a tragedy for those who feel, and a comedy for those who think". An earlier form occurs in another published letter:
I have often said, and oftener think, that this world is a comedy to those that think, a tragedy to those that feel — a solution of why Democritus laughed and Heraclitus wept.
Letter to Sir Horace Mann (31 December 1769)
Variant: The world is a comedy to those that think; a tragedy to those that feel.

Source: Antifragile: Things That Gain From Disorder

Source: Lone Wolf

Source: Eat, Pray, Love

Source: A Literate Passion: Letters of Anaïs Nin Henry Miller, 1932-1953

Cells (1988), pg. 23, Popular's Young Discoverer Series, Discovery Channel https://books.google.com.au/books?id=mrTYvoaUlTAC&pg=PA23

Source: Whiskey and Water

Source: Life and Fate

Source: Because of Winn-Dixie

Source: Night Broken

As quoted in his obituary in The Guardian (28 December 1977)

Variant: Tragedy and adversary are the stones we sharpen our swords against so we can fight new battles.
Source: Infinity

Source: My Autobiography

Source: In The Face of Danger

There's Treasure Everywhere

Source: Lady Midnight

Source: How to Suppress Women's Writing

Source: The Woman Destroyed

Source: Hannibal

"Credo" (1991); also in Greetings, Carbon-Based Bipeds! : Collected Essays, 1934-1998 (1999), p. 360
1990s

Source: Kafka on the Shore