There are moods in which we court suffering, in the hope that here, at least, we shall find reality, sharp peaks and edges of truth. But it turns out to be scene-painting and counterfeit. The only thing grief has taught me is to know how shallow it is.
We come before God to pray for the missing and the dead, and for those who loved them... Our purpose as a nation is firm, yet our wounds as a people are recent and unhealed and lead us to pray... This world he created is of moral design. Grief and tragedy and hatred are only for a time. Goodness, remembrance, and love have no end, and the Lord of life holds all who die and all who mourn... Neither death nor life nor angels nor principalities, nor powers nor things present nor things to come nor height nor depth can separate us from God's love.
A grief without a pang, void, dark and drear, A drowsy, stifled, unimpassioned grief, Which finds no natural outlet or relief, In word, or sigh, or tear.
[S]uppose the mind of [a] friend of humanity were clouded over with his own grief, extinguishing all sympathetic participation in the fate of others; he still has the resources to be beneficent to those suffering distress, but the distress of others does not touch him because he is sufficiently busy with his own; and now, where no inclination any longer stimulates him to it, he tears himself out of his deadly insensibility and does the action without any inclination, solely from duty.
When you describe the miserable and unfortunate, and want to make the reader feel pity, try to be somewhat colder - that seems to give a kind of background to another's grief, against which it stands out more clearly. Whereas in your story the characters cry and you sigh. Yes, be more cold. ... The more objective you are, the stronger will be the impression you make.
Seems," madam? Nay, it is; I know not "seems." 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.
O, grief hath changed me since you saw me last, And careful hours with Time's deformed hand Have written strange defeatures in my face. But tell me yet, dost thou not know my voice?
Where the good begins.- Where the poor power of the eye can no longer see the evil impulse as such because it has become too subtle, man posits the realm of goodness; and the feeling that we have now entered the realm of goodness excites all those impulses which had been threatened and limited by the evil impulses, like the feeling of security, of comfort, of benevolence. Hence, the duller the eye, the more extensive the good. Hence the eternal cheerfulness of the common people and of children. Hence the gloominess and grief - akin to a bad conscience - of the great thinkers.
Everyone knows how to love,because we are all born with that gift.Some people have a natural talent for it but the majority of us have to re-learn,to remember how to love,and everyone,without exception,needs o burn on the bonfire of past emotions,to relieve certain joys and griefs,certain ups and downs,until they can see the connecting thread that exists behind each new encounter;because there is a connecting thread.
Neither my place, nor aught I heard of business,
Hath raised me from my bed; nor doth the general care
Take hold on me; for my particular grief
Is of so floodgate and o'erbearing nature
That it engluts and swallows other sorrows,
And it is still itself.
Every day has its great grief or its small anxiety. ... One cloud is dispelled, another forms. There is hardly one day in a hundred of real joy and bright sunshine.