This continuation page contains additional source-backed quotations not shown in the initial 50-quotation overview. Return to the topic guide and browse collection.
“We run not only to congratulate the successful, but to condole with the afflicted.”
Shared life includes both celebration and consolation: Smith treats sympathetic participation in another person’s sorrow as a basic feature of social feeling.
The Theory of Moral Sentiments, Part I discussion of sympathy with joy and affliction; represented by the 1777 Dublin edition in Project Gutenberg #67363.
“In a world where all is fleeting, change alone endures.”
Stability is temporary, so practical judgment requires expecting change rather than treating present arrangements as permanent.
Counsels and Maxims, T. Bailey Saunders translation, in a discussion of fortune and apparent stability.
“Work is the best thing in such a case; and to his work he devoted himself heart and soul.”
Corbeck describes Trelawny throwing himself into work after devastating personal loss, presenting labor as the character’s chosen way of enduring grief.
The Jewel of Seven Stars, Project Gutenberg #3781. Mr Corbeck recounts Mr Trelawny’s behavior after his wife’s death. This is fictional characterization, not mental-health advice that work is the best response to grief.
“We need never be ashamed of our tears.”
Tears are treated as an honest human response rather than evidence of weakness or failure of self-control.
Great Expectations (1861), global Chapter XIX / Volume I Chapter XIX in the Chapman & Hall three-volume first book edition. As Pip leaves the village and breaks into tears, the retrospective narrator says that “we need never be ashamed of our tears” before reflecting on ingratitude toward Joe. Verified against the scan-backed Wikisource Chapter XIX transcription and cross-checked with Project Gutenberg #1400. The passage remains literary reflection on Pip’s remorse rather than modern clinical or grief-treatment evidence.
“My life is in the falling leaf: O Jesus, quicken me.”
The falling leaf becomes an image of decline while the prayer asks for renewed life, joining grief and seasonal imagery to explicitly Christian hope.
“A Better Resurrection,” in Goblin Market and Other Poems (1862 first edition), Devotional Pieces, printed page 137 / scan leaf 153. “My life is in the falling leaf: O Jesus, quicken me” closes the first stanza as a direct Christian prayer for renewed life; the address to Jesus and resurrection frame are essential context and are not secularized into generic recovery advice.
“I have no wit, no words, no tears; My heart within me like a stone Is numbed too much for hopes or fears.”
The speaker describes a state of grief so depleted that even ordinary language and tears feel unavailable, before the poem turns explicitly toward Christian prayer.
“A Better Resurrection,” in Goblin Market and Other Poems (1862 first edition), Devotional Pieces, printed page 137 / scan leaf 153. The poem opens “I have no wit, no words, no tears” and develops grief and numbness through Christian devotional imagery before the stanza closes in prayer. This is literary/devotional expression, not a clinical description, diagnosis or treatment recommendation.
“Remember me when I am gone away, Gone far away into the silent land.”
The opening request names anticipated separation directly, making remembrance part of how love is imagined continuing after the speaker is gone.
“Remember,” first published in Goblin Market and Other Poems (1862); Project Gutenberg #16950. The sonnet later softens this request by allowing compassionate forgetting rather than demanding perpetual grief.
“Better by far you should forget and smile Than that you should remember and be sad.”
Love is expressed through releasing the other person from an obligation to grieve, placing their future well-being above continued remembrance.
Closing thought of Remember; Rossetti shifts from asking to be remembered toward permitting compassionate forgetting.
“So Spring must dawn again with warmth and bloom, Or in this world, or in the world to come.”
The speaker insists on eventual spring while leaving its fulfillment open between earthly renewal and a religious hope beyond this life.
“The First Spring Day,” Project Gutenberg #16950. The alternative 'world to come' makes the Christian eschatological dimension explicit.
“To every thing there is a season, and a time to every purpose under the heaven.”
The verse places change inside a larger rhythm of seasons and purposes, making it useful for thinking about acceptance when one phase of life gives way to another.
Ecclesiastes 3:1 in the King James Version, opening the sequence of contrasting times and seasons.
“For us, to hope and bear on.”
The short clause gives the bereaved survivors a modest task: continue carrying the loss while keeping some form of hope available.
“A Child’s Grave at Florence,” stanza XXIX; Project Gutenberg #31015. The surrounding stanza contrasts the family’s earthly grave and silence with the child’s imagined heavenly life.
“Love, strong as Death, shall conquer Death, Through struggle made more glorious.”
The bereavement poem turns enduring love into a religious claim that loss does not exhaust the relationship or its hoped-for future.
“A Child’s Grave at Florence,” stanza XXIII; Project Gutenberg #31015. This is Christian elegiac conviction, not empirical evidence about death or grief outcomes.
“She would sing while I was weeping; If I listened, she would cease.”
The unstable personified Hope seems available only at a distance, intensifying the poem’s portrait of encouragement that disappears when directly sought.
‘Hope,’ third stanza, in Poems by Currer, Ellis, and Acton Bell, Project Gutenberg #1019. ‘She would sing while I was weeping; / If I listened, she would cease’ belongs to Brontë's deliberately bleak personification in which Hope behaves as a false, unreliable guard and finally departs. It is not simple positive-thinking advice or a clinical claim about hope.
“Hope Was but a timid friend; She sat without the grated den, Watching how my fate would tend.”
Hope is personified as present but unreliable, capturing the frustration of wanting encouragement while feeling that it remains outside the speaker’s confinement.
“Hope,” in Poems by Currer, Ellis, and Acton Bell; Project Gutenberg #1019. The poem personifies Hope critically rather than offering a straightforward optimistic slogan.
“Cold in the earth—and fifteen wild Decembers, From those brown hills, have melted into spring.”
The poem measures bereavement through fifteen winters turning into spring, making seasonal change a visible clock for grief that has lasted across years.
“Remembrance,” in Poems by Currer, Ellis, and Acton Bell (1846); Project Gutenberg #1019. The line belongs to a dramatic lyric voice and is not biographical evidence by itself.
“I reason, earth is short, And anguish absolute, And many hurt; But what of that?”
The poem begins from mortality and undeniable anguish, then presses beyond those observations by asking what explanatory or consoling conclusion can actually follow from them.
“Earth Is Short,” Poems: First Series (1890), Project Gutenberg #12242. The poem proceeds into questions about heaven and God; its religious questions remain questions rather than verified metaphysical claims.
“Unable are the loved to die — For Love is Immortality —”
The poem treats love as a form of continuity that resists the finality of physical death.
Opening lines.
“The bustle in a house The morning after death Is solemnest of industries Enacted upon earth.”
Ordinary household activity after a death is portrayed as solemn work, emphasizing the practical tasks that continue while grief has only just begun.
Poem in Poems: First Series (1890), Project Gutenberg #12242. “The Bustle in a House” is used as an editorial first-line source identifier; the poem continues from physical tasks toward putting love away for eternity.
“There is no man that imparteth his joys to his friend, but he joyeth the more; and no man that imparteth his griefs to his friend, but he grieveth the less.”
Sharing experience changes its emotional weight: celebration can become fuller when another person receives it, while grief can become less isolating when it is spoken to someone trusted.
Essays, “Of Friendship,” Project Gutenberg #56463. Bacon concludes his first “fruit” of friendship by arguing that disclosure redoubles joys and cuts griefs in halves.
“A man that studieth revenge keeps his own wounds green.”
Revenge can keep an injury psychologically active long after the original event, making resentment a way of repeatedly reopening the hurt.
Bacon, “Of Revenge”; the sentence continues by contrasting revenge with wounds that would otherwise heal.
“We hand folks over to God’s mercy, and show none ourselves.”
The speaker recognizes a contradiction between invoking divine mercy and refusing human mercy, marking a movement away from hardness toward compassion.
Adam Bede; Adam speaks during the crisis surrounding Hetty’s trial, explicitly reconsidering his earlier hardness.
“the two children forgot everything else in the sense that they had one father and one sorrow.”
Shared grief temporarily overrides conflict between Tom and Maggie, revealing their sibling bond through the experience of loving and fearing for the same father.
The Mill on the Floss, Book III, Project Gutenberg #6688. Narrator commentary while Tom and Maggie sit beside their father.
“Her father had always defended and excused her, and her loving remembrance of his tenderness was a force within her”
Remembered parental tenderness becomes a source of endurance for Maggie when her father is vulnerable, showing how earlier care continues to shape later loyalty.
The Mill on the Floss, Book III, Project Gutenberg #6688. Narrator commentary on Maggie beside her father after the family's collapse.
“Thou shalt die out of death into life.”
Mara reframes death as movement toward life within the novel’s Christian-symbolic world, offering transformation rather than annihilation as the imagined answer to despair.
Lilith: A Romance; Project Gutenberg #1640. Spoken by Mara to Lilith in a theological fantasy scene; it is not presented as empirical evidence about death or an afterlife.
“Márgarét, áre you gríeving Over Goldengrove unleaving?”
Hopkins begins with a child grieving autumn leaves and gradually widens that feeling into a meditation on human awareness of loss, change and mortality.
“Spring and Fall: to a young child,” written in 1880 and published posthumously in 1918, represented by Poetry Foundation. Margaret is the poem’s addressed child; the meditation is literary and theological rather than a clinical account of grief development.
“The bitterest tears shed over graves are for words left unsaid and deeds left undone.”
Stowe links some of grief’s deepest regret to affection, appreciation or helpful action that was withheld until death made expression impossible.
The Chimney-Corner, IV, ‘Little Foxes.—Part III,’ first published in The Atlantic Monthly (April 1865) and represented by Project Gutenberg #30611, around printed page 500. ‘The bitterest tears shed over graves...’ follows Stowe's argument that affection left unexpressed can become remorse after death and is followed by examples of words people wish they had said. This collection's ‘Repression’ label describes this moral section rather than a separate printed chapter title; the passage is domestic-moral essay rhetoric, not clinical grief guidance or a guarantee about bereavement.
“those know little of real love or grief who do not know how much we deceive ourselves when we pretend to aim at the cure of either.”
Booth recognizes that people may claim to be curing love or grief while unconsciously choosing actions that keep those feelings alive.
Amelia, Book II, Chapter III, “The narrative continued. More of the touchstone,” Project Gutenberg #6098, George Saintsbury edited witness. Captain Booth says the love / grief sentence while recounting his failed attempts to cure himself of attachment to Amelia. It is fictional retrospective speech, not clinical guidance about grief or relationships.
“Let the dead Past bury its dead!”
The poem rejects living backward and immediately redirects attention toward action available in the present.
A Psalm of Life, in the stanza beginning “Trust no Future.”
“He is despised and rejected of men; a man of sorrows, and acquainted with grief.”
The passage links rejection with sustained familiarity with sorrow, portraying grief as something known through lived suffering rather than observed from a distance.
Isaiah 53:3, King James Version; the line belongs to the suffering-servant passage and combines social rejection with sorrow and grief.
“One by one they were all becoming shades.”
Gabriel’s thoughts widen from one dead young man to the mortality of everyone around him, preparing the story’s final meditation on memory and the living and dead.
“The Dead,” in Dubliners, Project Gutenberg #2814. The line belongs to Gabriel Conroy’s interior reflection after Gretta tells him about Michael Furey; it is fictional free-indirect narration.
“Friendship is certainly the finest balm for the pangs of disappointed love.”
Friendship is framed as practical emotional support when romantic hopes fail, without pretending it instantly removes disappointment.
Northanger Abbey.
“Think only of the past as its remembrance gives you pleasure.”
The advice does not erase the past; it questions repeated attention to memories that no longer help the present.
Pride and Prejudice, Chapter 58.
“I will forgive their iniquity, and I will remember their sin no more.”
Pardon is paired with refusing to keep wrongdoing permanently present, making forgiveness a movement away from endless moral accounting toward restored relationship.
Jeremiah 31:34, King James Version; the promise appears in the description of a new covenant and includes forgiveness and no further remembrance of sin.
“Jesus wept.”
The shortest sentence records grief without explanation or denial, showing sorrow as compatible with love, presence, and compassion in the face of death.
John 11:35, King James Version; Jesus weeps shortly before the raising of Lazarus, within a scene of mourning and bereavement.
“Ye shall be sorrowful, but your sorrow shall be turned into joy.”
The line does not deny sorrow; it frames grief as an experience that can be transformed rather than the final state of a life.
John 16:20 in the King James Version.
“Father, forgive them; for they know not what they do.”
The request for forgiveness is made in the middle of injury rather than after conditions become comfortable, giving the line its unusually demanding moral force.
Luke 23:34 in the King James Version.
“Ask not for whom the bell tolls; it tolls for thee.”
Another person’s loss is not completely separate from us because human lives participate in a shared condition.
Meditation XVII; modernized capitalization.
“Then glut thy sorrow on a morning rose”
The poem directs sorrow toward something vividly beautiful and temporary, bringing grief into contact with immediate sensory life instead of treating beauty and sadness as opposites.
“Ode on Melancholy,” in Keats: Poems Published in 1820; Project Gutenberg #23684. This is Romantic poetic imagery and not mental-health treatment advice.
“She dwells with Beauty—Beauty that must die”
Beauty and mortality are deliberately joined: the poem suggests that part of beauty’s intensity comes from knowing that what is beautiful cannot remain unchanged forever.
“Ode on Melancholy,” in Keats: Poems Published in 1820; Project Gutenberg #23684. The personified “she” is Melancholy; the line is poetic reflection on transience rather than a literal character claim.
“The mind is its own place.”
The statement emphasizes how mental framing can alter the experience of circumstances, for good or ill.
Paradise Lost (1667), Book I, line 254; retained legacy short extract from the fuller Satan sentence beginning ‘The mind is its own place’ and continuing into line 255. It is the same underlying passage as the longer catalog record, not a separate fifth passage.
“With peace and consolation hath dismist, And calm of mind all passion spent.”
The final chorus imagines calm after catastrophe as something reached through consolation and the exhaustion or resolution of violent passion, not as denial that death and grief have occurred.
Samson Agonistes, closing Chorus of Danites, in The Poetical Works of John Milton, Project Gutenberg #1745. The Chorus speaks after Samson’s death; the line is dramatic collective speech and is therefore kept separate from Milton’s personal voice.
“They come weeping and go weeping—you only come laughing and go laughing.”
The grave-digger’s observation uses dark humor to contrast conventional responses to death with a narrator who approaches the cemetery from another perspective.
The Madman, “The Grave-Digger”; the line is spoken by the grave-digger to the narrator.
“For life goes not backward nor tarries with yesterday.”
Life continues forward despite attachment to what has already happened, so care for the past cannot make the present remain there.
The Prophet, “On Children”; Gibran contrasts parents’ memory of yesterday with children belonging to a life that moves forward.
“The deeper that sorrow carves into your being, the more joy you can contain.”
Sorrow is pictured as enlarging emotional capacity rather than merely diminishing a person, allowing later joy to be felt with greater depth.
The Prophet, “On Joy and Sorrow.”
“And ever has it been that love knows not its own depth until the hour of separation.”
Separation can expose the depth of attachment that ordinary familiarity concealed, making loss a painful measure of how much the bond mattered.
The Prophet, “On Love.”
“Blessed are they that mourn: for they shall be comforted.”
Mourning is not treated as failure or weakness; the promise of comfort gives grief dignity while leaving room for pain to be real.
Matthew 5:4 in the King James Version; one of the Beatitudes, addressing those who mourn.
“Weeping may endure for a night, but joy cometh in the morning.”
Sorrow is acknowledged as real while being placed inside a larger horizon in which pain can change and joy can return.
Psalm 30:5 in the King James Version.
“The LORD is nigh unto them that are of a broken heart.”
The verse frames closeness and care as especially relevant during brokenness, making it a restrained source of comfort for difficult emotional moments.
Psalm 34:18 in the King James Version; the verse speaks of divine nearness to the brokenhearted.
“Tomorrow is always fresh, with no mistakes in it yet.”
A new day is treated as a practical reset: past mistakes remain real without having to occupy every future choice.
Anne of Green Gables, Anne’s hopeful reflection about tomorrow.
“I can't fill his place, but I shall try to be a father to her”
Uncle Alec accepts that guardianship cannot erase Rose’s dead father, while still committing himself to provide dependable parental care in the life that remains.
Eight Cousins; Or, The Aunt-Hill, Chapter 2, Project Gutenberg #38567. Dr Alec speaks after Rose describes the grief of losing her father.
“It is not a lost year, but one that may prove the most helpful of any you ever know.”
A painful or disappointing period can still become useful experience when it changes judgment, humility, resolve, and the way a person begins again.
Jo's Boys; the reassurance follows a setback and reframes a difficult year as experience that may later prove unusually helpful rather than simply wasted time.
“Take away thy opinion, and then there is taken away the complaint, “I have been harmed.””
The statement asks whether part of suffering is sustained by the story attached to an event rather than by the event alone.
Meditations, Book IV, in George Long’s translation.
“Nothing is so painful to the human mind as a great and sudden change.”
Abrupt change can overwhelm the mind because adaptation requires time, making disruption painful even before its long-term consequences are understood.
Frankenstein; the narrator reflects on the psychological strain created by sudden changes in circumstances.
“I ardently wished to extinguish that life which I had so thoughtlessly bestowed.”
Victor’s regret is inseparable from responsibility and revenge: after William and Justine’s deaths, he wishes he could reverse the act of creation whose consequences he believes he failed to foresee or govern.
Frankenstein, Chapter 9 in Project Gutenberg #84. Victor narrates the wish to extinguish the life he created after William’s murder and Justine’s execution, amid remorse, guilt, hatred and a stated desire for revenge. It is fictional first-person narration, not a healthy coping model or clinical guidance.
“Suffering is one very long moment.”
Severe suffering can collapse ordinary time into one continuous experience, making individual days feel less distinct than the pain that joins them.
De Profundis, public-domain 1913 Methuen text; the sentence appears in Wilde’s description of prison time and the apparent sameness of suffering.
“Where there is sorrow there is holy ground.”
Sorrow can make a moment morally serious and deserving of care, attention, and humility rather than dismissal or forced positivity.
De Profundis; Wilde reflects on suffering as a source of seriousness, humility, and transformed perception.
“I know why the caged bird sings, ah me, When his wing is bruised and his bosom sore,—”
Dunbar links the caged bird’s song to injury and frustrated freedom, making the voice a plea born from confinement rather than uncomplicated joy.
“Sympathy,” published in Lyrics of the Hearthside (1899) and represented by Poetry Foundation. The caged-bird image became one of Dunbar’s most influential metaphors for constrained freedom and suffering; the record keeps the poem’s figurative language rather than assigning one exhaustive historical interpretation.
“That ye sorrow not, even as others which have no hope.”
The instruction does not forbid sorrow; it distinguishes grief shaped by hope from grief imagined as having no future beyond the loss.
1 Thessalonians 4:13, King James Version; Paul addresses sorrow concerning those who have died and frames the following passage around hope.
“To whom ye forgive any thing, I forgive also.”
Paul makes forgiveness reciprocal and communal, showing that restoration can require people to align their response rather than preserve separate grievances.
2 Corinthians 2:10, King James Version; Paul continues instructions about forgiving and receiving a person who had caused sorrow.
“Ye ought rather to forgive him, and comfort him.”
Forgiveness here includes restoration: after discipline has done its work, the community is told not to leave the person crushed by sorrow.
2 Corinthians 2:7 in the King James Version; excerpt from Paul’s instruction about receiving and comforting a repentant member.
“Through this man is preached unto you the forgiveness of sins:”
Forgiveness is announced as the central offer of the message, framing pardon as something proclaimed and received rather than concealed behind moral achievement.
Acts 13:38, King James Version; Paul’s speech at Antioch presents forgiveness as part of the message he is declaring to his listeners.
“In whom we have redemption through his blood, the forgiveness of sins, according to the riches of his grace;”
Forgiveness is presented as an expression of grace rather than an achievement earned by the person receiving it, placing pardon inside a larger account of redemption.
Ephesians 1:7, King James Version; the verse links redemption and forgiveness with grace in the opening blessing of the letter.
“Rejoice with them that do rejoice, and weep with them that weep.”
Friendship and community require emotional presence in both directions, sharing another person’s joy as well as sorrow.
Romans 12:15 in the King James Version.
“A merry heart doeth good like a medicine: but a broken spirit drieth the bones.”
Cheerfulness is described as restorative, while sustained discouragement can feel physically draining as well as emotionally heavy.
Proverbs 17:22, King James Version.
“As far as the east is from the west, so far hath he removed our transgressions from us.”
The immense distance provides a spatial image for release: forgiven wrong is no longer held close as the permanent center of identity.
Psalm 103:12 in the King James Version.
“Precious in the sight of the LORD is the death of his saints.”
Death is framed as significant rather than unnoticed, offering a religious language of value and remembrance around the loss of a faithful person.
Psalm 116:15, King James Version; the statement appears within a psalm of deliverance, gratitude, and devotion.
“They that sow in tears shall reap in joy.”
The agricultural image holds sorrow and future joy in the same process, making present pain compatible with later restoration.
Psalm 126:5 in the King James Version.
“Thou hast turned for me my mourning into dancing.”
Joy is presented as transformation after sorrow rather than denial that sorrow was ever present.
Psalm 30:11 in the King James Version; opening clause.
“Why art thou cast down, O my soul? and why art thou disquieted within me? hope thou in God.”
The speaker names inner dejection directly and then answers it with hope, preserving the reality of sorrow while refusing to make despair the final word.
Psalm 42:11, King James Version; the psalm repeatedly addresses a downcast and disquieted soul while directing attention toward hope.
“Cast thy burden upon the LORD, and he shall sustain thee.”
A burden too heavy to carry alone becomes something that can be entrusted elsewhere, making support rather than self-sufficiency the central response to distress.
Psalm 55:22, King James Version; the verse turns from conflict and betrayal toward entrusting one’s burden to God for sustaining help.
“Trust love even if it brings sorrow. Do not close up your heart.”
The advice refuses to make sorrow a reason for emotional withdrawal, presenting openness to love as worthwhile even when attachment can also bring pain.
The Gardener, poem 27; Project Gutenberg #6686. This is dialogue within a lyric sequence, and the surrounding exchange explicitly pairs love with tears and enduring sorrow.
“And God shall wipe away all tears from their eyes.”
The image gives grief an imagined endpoint, focusing consolation on a future in which tears and the conditions producing them are no longer permanent.
Revelation 21:4, King James Version; the verse continues with the end of death, sorrow, crying, and pain in the new creation.
“The gap of time since I had seen him last had made no impression on me”
Jefferies describes memory resisting elapsed time: the remembered person remains vivid even though years have passed and death has created an irreversible break in the present.
Field and Hedgerow; Project Gutenberg #7030. The sentence occurs in a recollection of John Brown after his death and is kept in that personal-memory context rather than generalized into abstract grief advice.
“This ground is hallowed by the heroes of defeat.”
The phrase grants dignity to people who struggled without conventional victory, reframing defeat as compatible with courage and a life still worthy of remembrance.
Memories and Portraits, in Stevenson’s reflection on graves and failed lives; Project Gutenberg #381. The sentence is literary commemoration, not a claim that every defeat is heroic.
“Begin at once to live, and count each separate day as a separate life.”
Seneca argues against postponing life into an imagined future and asks the reader to treat the present day as complete enough for deliberate living.
Moral Letters to Lucilius, Letter 101.
“No man can have a peaceful life who thinks too much about lengthening it.”
An obsession with extending life can undermine the peace of the life already present, because fear of ending displaces attention from living.
Moral Letters to Lucilius, Letter 4.
“Fortune has often in the past got the upper hand of you, and yet you have not surrendered, but have leaped up and stood your ground still more eagerly.”
Past recovery is evidence of present capacity: being struck down by fortune is different from surrendering to it.
Moral Letters to Lucilius, Letter 13, section 3, Richard M. Gummere translation.
“You have buried one whom you loved; look about for someone to love.”
Continuing to love does not erase the person who died; it refuses to let bereavement close the capacity for relationship permanently.
Letter 63 urges remembrance of a lost friend while continuing to participate in friendship and life.
“Let not the eyes be dry when we have lost a friend, nor let them overflow.”
Grief is neither forbidden nor allowed to consume everything; the line recommends honest mourning held within proportion.
Letter 63, on grief for lost friends, argues against both emotional numbness and endless mourning.
“To live in hearts we leave behind, Is not to die.”
Campbell suggests that a person’s influence can continue through the memories and moral lives of others even after biological death.
“Hallowed Ground,” represented in The Poetical Works of Thomas Campbell, Project Gutenberg #59788. The stanza reflects on memory, public service, death and what makes ground or remembrance sacred.
“You did not come, And marching Time drew on, and wore me numb.”
Absence becomes more painful as time continues, with the missed meeting represented not as a single moment but as a prolonged experience of disappointed expectation.
“A Broken Appointment,” Poems of the Past and the Present (1901), Project Gutenberg #3168. The poem's speaker addresses an absent person; the line is retained as dramatic lyric context.
“Flower-petals flee; But, since it once hath been, No more that severing scene Can harrow me.”
Falling petals accompany a recognition that a severing event belongs to the past and cannot happen for the first time again, joining natural recurrence to changed grief.
“De Profundis I,” Project Gutenberg #3168. The passage belongs to one speaker's reflection on bereavement and seasonal return.
“How great my grief, my joys how few, Since first it was my fate to know thee!”
The speaker measures a relationship by the imbalance between grief and joy, making recollection itself the structure through which attachment and loss are assessed.
“How Great My Grief,” Poems of the Past and the Present (1901), Project Gutenberg #3168. It is a dramatic lyric statement and is not automatically read as direct autobiography.
“I bequeath myself to the dirt to grow from the grass I love.”
Death becomes continuity with nature rather than simple disappearance, connecting mortality with renewal, earth, and the lives that follow.
Leaves of Grass (1855), untitled first-edition poem later known as “Song of Myself,” printed page 56 (Wikisource scan page 62). The line belongs to the poem’s final movement, later numbered section 52; the 1855 record remains tied to the unnumbered first edition rather than inheriting later section structure.
“I never forgot her; but the pang of remembrance lost its worst bitterness, little by little.”
Franklin Blake says distance and new experience reduced the sharpest pain of remembering Rachel without erasing the attachment itself.
The Moonstone, Project Gutenberg #155. Franklin Blake narrates his attempt to recover after leaving England; the sentence continues by explaining the effects of time, distance and novelty. This is fictional reflection, not clinical guidance.
“To mourn a mischief that is past and gone is the next way to draw new mischief on.”
Grief over what cannot be changed can become a second injury when it prevents attention to what can still be done.
Othello, Act I, Scene III, reviewed against the scan-backed 1910 First Folio facsimile on Wikisource. The Duke's 'To mourne a Mischeefe that is past and gon' sentence is part of the same attempt to redirect Brabantio after Desdemona's marriage; this collection preserves modernized spelling and punctuation rather than Folio orthography.
“We are such stuff as dreams are made on, and our little life is rounded with a sleep.”
The line emphasizes impermanence and the dreamlike brevity of human life.
Act 4, Scene 1.
