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Iris Murdoch

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“One morning, one day, perhaps soon, she would come to him and find him gone; and she knew how much she did not want to see him die, and yet how much she also wished that he might die holding her hand. These thoughts induced tears, which he must not see; and she tried not to think too much about the terrible mystery which was to be enacted . . .”

“The theatre is a tragic place, full of endings and partings and heartbreak. You dedicate yourself passionately to something, to a project, to people, to a family, you think of nothing else for weeks and months, then suddenly it's over, it's perpetual destruction, perpetual divorce, perpetual adieu. It's like éternel retour, it's a koan. It's like falling in love and being smashed over and over again.’ 'You do, then, fall in love.’ 'Only with fictions, I love players, but actors are so ephemeral. And then there’s waiting for the perfect part, and being offered it the day after you've committed yourself to something utterly rotten. The remorse, and the envy and the jealousy. An old actor told me if I wanted to stay in the trade I had better kill off envy and jealousy at the start.”

“But now more often the old stale hopeless weariness overcame him: the black sickness which almost no one else, certainly not his nearest dearest friends, could understand at all. The idea of giving up the world, which had given him for a time so much life-energy, appeared now as a sort of fake suicide, a ghastly play-image of his death. This fatal falseness-of-heart was what perhaps Father Damien, on further acquaintance, had now seen in him.”

“We cannot really love the dead. We love a fantasm that secretly consoles. What love sometimes mistakes for death is a kind of intense suffering, a pain that can be endured and absorbed. But the idea of a real ending, that cannot be envisaged . . . Indeed, in the language of love the concept of an ending is devoid of sense. (So we must go beyond love or utterly change it.)”