The dreamer's valuation of a thing lost - not another man's - is the only standard to measure it by, and his grief for it makes it large and great and fine, and is worthy of our reverence in all cases.
But it is a melancholy of mine own, compounded of many simples, extracted from many objects, and indeed the sundry contemplation of my travels, which, by often rumination, wraps me in the most humorous sadness.
Gentle lady, do not sing Sad songs about the end of love; Lay aside sadness and sing How love that passes is enough. Sing about the long deep sleep Of lovers that are dead, and how In the grave all love shall sleep: Love is aweary now.
There is a sadness at the back of life which some people do not attempt to mitigate. Entirely aware of their own standing in the shadow, and yet alive to every tremor and gleam of existence, there they endure.
What is God-given is called nature; to follow nature is called Tao (the Way); to cultivate the way is called culture. Before joy, anger, sadness and happiness are expressed, they are called the inner self; when they are expressed to the proper degree, they are called harmony. The inner self is the correct foundation of the world, and the harmony is the illustrious Way. When a man has achieved the inner self and harmony, the heaven and earth are orderly and the myriad of things are nourished and grow thereby.
Traveling is a fool's paradise. Our first journeys discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.
Thousands of lives were suddenly ended by evil, despicable acts of terror. The pictures of airplanes flying into buildings, fires burning, huge structures collapsing, have filled us with disbelief, terrible sadness and a quiet, unyielding anger.
Our sadness won’t be of the searing kind but more like a blend of joy and melancholy: joy at the perfection we see before us, melancholy at an awareness of how seldom we are sufficiently blessed to encounter anything of its kind. The flawless object throws into perspective the mediocrity that surrounds it. We are reminded of the way we would wish things always to be and of how incomplete our lives remain.