Source identified
“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.
Source note: Final section of “Song of Myself”; the speaker imagines returning physically to the earth.
Source identified
“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.
Source note: 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.
Source identified
“The hour of departure has arrived, and we go our ways—I to die, and you to live.”
Voice: Dialogue speaker · Socrates
The closing sentence accepts the separation between life and death without claiming certainty about which condition is ultimately better.
Source note: Apology, final paragraph in Jowett’s translation; Socrates closes after the jury has sentenced him to death.
Source identified
“We are such stuff as dreams are made on, and our little life is rounded with a sleep.”
Voice: Fictional character · Prospero
The line emphasizes impermanence and the dreamlike brevity of human life.
Source note: Act 4, Scene 1.
Source identified
“Blessings emblazoned that day Everything glowed with a gleam; Yet we were looking away!”
Looking backward reveals value that was not fully noticed while the moment was being lived, giving the remembered family scene both warmth and regret.
Source note: “The Self-Unseeing,” Project Gutenberg #3168. The exclamation closes a poem of retrospective domestic memory and should not be detached from that remembered household scene.
Source identified
“My life closed twice before its close; It yet remains to see If Immortality unveil A third event to me.”
The speaker treats profound separations as deaths within a still-living life, leaving the final meaning of another separation to the poem's religious-metaphysical horizon.
Source note: “Parting,” Poems: Third Series (1896), Project Gutenberg #12242. The poem is lyric and metaphysical; its language of immortality is not presented as empirical evidence about an afterlife.