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Read through the most famous quotes by topic #met
It was lunar symbolism that enabled man to relate and connect such heterogeneous things as: birth, becoming, death, and ressurection; the waters, plants, woman, fecundity, and immortality; the cosmic darkness, prenatal existence, and life after death, followed by the rebirth of the lunar type ("light coming out of darkness"); weaving, the symbol of the "thread of life," fate, temporality, and death; and yet others. In general most of the ideas of cycle, dualism, polarity, opposition, conflict, but also of reconciliation of contraries, of coincidentia oppositorum, were either discovered or clarified by virtue of lunar symbolism. We may even speak of a metaphysics of the moon, in the sense of a consistent system of "truths" relating to the mode of being peculiar to living creatures, to everything in the cosmos that shares in life, that is, in becoming, growth and waning, death and ressurrection. ↗
They were completely vague. They expressed everything and nothing. 'It is the Æolian harp of style,' thought Julien. 'Amid the most lofty thoughts about annihilation, death, the infinite, etc., I can see no reality save a shocking fear of ridicule. ↗
Then Mount Jerome for the protestants. Funerals all over the world everywhere every minute. Shovelling them under by the cartload doublequick. Thousands every hour. Too many in the world. ↗
#death #dublin #mount-jerome #death
Our favorite games were killing. Our favorite books were death. It had been beaten into us: God is love. Not the parched face and gnarled capes across a stick body; jittering in the nude sky, we couldn't see trying to touch us for the blood in our eyes. ↗
Sure, zombies can “be a metaphor.” They can represent the oppressed, as in Land of the Dead, or humanity’s feral nature, as in 28 Days. Or racial politics or fear of contagion or even the consumer unconscious (Night of the Living Dead, Resident Evil, Dawn of the Dead). We could play this game all night. But really, zombies are not “supposed to be metaphors.” They’re supposed to be friggin’ zombies. They follow the Zombie Rules: they rise from death to eat the flesh of the living, they shuffle in slow pursuit (or should, anyway), and most important, they multiply exponentially. They bring civilization down, taking all but the most resourceful, lucky and well-armed among us, whom they save for last. They make us the hunted; all of us. That’s the stuff zombies are supposed to do. Yes, they make excellent symbols, and metaphors, and have kick-ass mythopoeic resonance to boot. But their main job is to follow genre conventions, to play with and expand the Zombie Rules, to make us begin to see the world as a place colored by our own zombie contingency plans. […] Stories are the original virtual reality device; their internal rules spread out into reality around us like a bite-transmitted virus, slowly but inexorably consuming its flesh. They don’t just stand around “being metaphors” whose sole purpose is to represent things in the real world; they eat the real world. ↗
What Hamlet suffers from is a lack of zombies. Let us say Rosencrantz and Guildenstern show up—Ho-HO! Now you’ve got something that stirs the, um, something that stirs things that are stirrable. BOOM! A pack of ravenous flesh-eaters breaks open their heads and sucks out their eyeballs. No need for iambic pentameter because they are grunting, groaning annihilators of humanity with no time for meter. You’re not asleep in the back of English class anymore, are you? This is what I’m talking about. Zombies. Learn it, live it, love it. ↗
