Quotes About Suffering

We have fled great evil, and to escape it we have done great evil. We are tainted.

He fought to save you, and your darling reputation. Because he could not bear to see you suffer!

Catholicism is not a soothing religion. It's a painful religion. We're all gluttons for punishment.

That's enough. You can stop now: the phrase Sedgwick said she longed to hear whenever she was suffering. (Enough hurting, enough showing off, enough achieving, enough talking, enough trying, enough writing, enough living.)

Fifteen days after we are born, we begin to discriminate between colors. For the rest of our lives, barring blunted or blinded sight, we find ourselves face-to-face with all these phenomena at once, and we call the whole shimmering mess "color." You might even say that it is the business of the eye to make colored forms out of what is essentially shimmering. This is how we "get around" in the world. Some might also call it the source of our suffering.

Most people decide at some point that it is better … to be enthralled with what is impoverished or abusive than not to be enthralled at all and so to lose the condition of one's being and becoming.

A]fter all, what does it mean for pain to be 'memorable'? You're either in pain or you're not. And it isn't the pain that one forgets. It's the touching death part. As the baby might say to its mother, we might say to death: I forget you, but you remember me.

Oh, how often have I cursed those foolish pages of mine which made my youthful sufferings public property!" Goethe wrote years after the publication of The Sorrows of Young Werther.

As her time grew near, your brother took her in. His family situation was under strain, but at least she had a bed there, her own room. It was almost good enough. But really none of it was good enough, even though it was better than many get. When she began to lose consciousness, your brother had her moved to a local hospice; you flew there in the dead of night, desperate to get there in time, so that she wouldn't die alone.

You might even say that it is the business of the eye to make colored forms out of what is essentially shimmering. This is how we "get around" in the wirld. Some might also call it the source of our suffering.

The witnesses and detectives fold and unfold this towel many times, always with a certain solemnity and formality, as if it were a flag. But the flag of what country, I cannot say. Some dark crescent of land, a place where suffering is essentially meaningless, where the present collapses into the past without warning, where we cannot escape the fates we fear the most, where heavy rains come and wash bodies up and out of their grave, where grief lasts forever and its force never fades

two Christian princesses who were pursued by undesirable pagan lovers—lovers who professed to be unable to live without their beloveds' beautiful blue eyes. To rid herself of the unwanted attention, Medana supposedly plucked her eyes out and threw them at her suitor's feet; Triduana was slightly more inventive, and tore hers out with a thorn, then sent them to her suitor on a skewer.

It often happens that we treat pain as if it were the only real thing, or at least the most real thing: when it comes round, everything before it, around it, and, perhaps, in front of it, tends to seem fleeting, delusional.

And Agnes finds she can bear anything except her child's pain. She can bear separation, sickness, blows, birth, deprivation, hunger, unfairness, seclusion, but not this: her child, looking down at her dead twin. Her child, sobbing for her lost brother. Her child, racked with grief.

He has, Agnes sees, done what any father would wish to do, to exchange his child's suffering for his own, to take his place, to offer himself up in his child's stead so that the boy might live. She will say all this to her husband, later, after the play has ended, after the final silence has fallen, after the dead have sprung up to take their places in the line of players at the edge of the stage.

The sound that comes out of him is choked and smothered, like that of an animal forced to bears great weight. It is a noise of disbelief, of anguish. Anges will never forget it. At the end of her life, when her husband has been dead for years, she will still be able to summon its exact pitch and timbre.

He thinks of his grief over his sister as an entity that is horribly and painfully attached to him, the way a jellyfish might adhere to your skin or a goitre or an abscess. He pictures it as viscid, amorphous, spiked, hideous to behold. He finds it unbelievable that no one else can see it. Don't mind that, he would say, it's just my grief. Please ignore it and carry on with what you were saying.

Pero ¿y si sus palabras no fueran suficiente? ¿Y si ella no es remedio suficiente para su dolor sin nombre?

Anyone, Eliza is thinking, who describes dying as "slipping away" or "peaceful" has never witnessed it happen. Death is violent, death is a struggle.

He has, Agnes sees, done what any father would wish to do, to exchange his child's suffering for his own, to take his place, to offer himself up in his child's stead so that the boy might live.

There is, she is starting to see, nothing more she can do. She can stay beside him, comfort him as best she can, but this pestilence is too great, too strong, too vicious. It is an enemy too powerful for her. It has wreathed and tightened its tendrils about her son, and is refusing to surrender him.

Poverty is the worst form of violence.

We suffer from an incurable malady: Hope.

we Do as the ascendants to GOD ; the prisoners and the unemployeds Do , we Forget the Pain & Raise Hope ~