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Disillusionment Quotes

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Disillusionment Quotes

“It's true we all build imaginary prisons for ourselves. Believe that we are trapped behind the invisible bars of the lives we have somehow carelessly constructed for ourselves, despite our youthful promises to ourselves. We see adults who are stagnant and miserable as we grow up. They graffiti the walls behind them with their mistakes and we swear secret oaths that we will heed those warnings. We’re much too clever, we know all the shortcuts and the back alleys.”

“Never shy away from opportunity and wholehearted living. Never be fearful of putting yourself out there. The courageous may encounter many disappointments, experience profound disillusionment, gather many wounds; but cherish your scars for they are the proud emblems of a truly phenomenal life. The fearful, cautious, cynical and self-repressed do not live at all. And that is simply no way to be in this world.”

“Almost worse than the sorrow of missing her was the fact that Mom's death had revealed everything to be meaningless. So much of what I'd thought was true had turned out to be an illusion. I saw people around me living by these illusions— that love and safety could be counted on, that life had meaning and the future could be controlled— and I did not feel that I could ever again share their suspended disbelief. I was swimming against a strong, cold current: I could see them there, playing on a sunny beach, but I couldn't rejoin them. Continuing the struggle seemed not only incredibly painful but, even worse, pointless.”

“The piercing fanfare of the brass against the brutal boom and rattle of the drums surged through the air. At the head of the Ferris band marched the drum majorette. A crimson and white shako crowned her long dark hair which flew out behind her and across her radiant face flushed with excitement. Her blue eyes flashed and her smile registered triumph at having been chosen.”

“He tells me he can't believe how bitter he has become, how sour, that all his life he had been one of the most fun, one of the happiest, one of the most joyous people anyone knew, and now he was like a crumpled piece of steel covered in rust. The way he describes himself, a 'crumpled piece of steel covered in rust,' I don't think I'll ever forget those precise words or his voice as he said them.”

“Yo había crecido en el convencimiento de que aquella lenta procesión de la posguerra, un mundo de quietud, miseria y rencores velados, era tan natural como el agua del grifo, y que aquella tristeza muda que sangraba por las paredes de la ciudad herida era el verdadero rostro de su alma. Una de las trampas de la infancia es que no hace falta comprender algo para sentirlo. Para cuando la razón es capaz de entender lo sucedido, las heridas en el corazón ya son demasiado profundas. Aquella noche primeriza de verano, caminando por ese anochecer oscuro y traicionero de Barcelona, no conseguía borrar de mi pensamiento el relato de Clara en torno a la desaparición de su padre. En mimundo, la muerte era una mano anónima e incomprensible, un vendedor a domicilio que se llevaba madres, mendigos o vecinos nonagenarios como si se tratase de una lotería del infierno. La idea de que la muerte pudiera caminar a mi lado, con rostro humano y corazón envenenado de odio, luciendo uniforme o gabardina, que hiciese cola en el cine, riese en los bares o llevase a los niños de paseo al parque de la Ciudadela por la mañana y por la tarde hiciese desaparecer a alguien en las mazmorras del castillo de Montjuïc, o en una fosa común sin nombre ni ceremonial, no me cabía en la cabeza. Dándole vueltas, se me ocurrió que tal vez aquel universo de cartón piedra que yo daba porbueno no fuese más que un decorado. En aquellos años robados, el fin de la infancia, como la Renfe, llegaba cuando llegaba.”

“The moment I entered the bright, buzzing lobby of Men’s House I was overcome by a sense of alienation and hostility … The lobby was the meeting place for various groups still caught up in the illusions that had just been boomeranged out of my head: college boys working to return to school down South; older advocates of racial progress with utopian schemes for building black business empires; preachers ordained by no authority except their own, without church or congregation, without bread or wine, body or blood; the community “leaders” without followers; old men of sixty or more still caught up in post-Civil War dreams of freedom within segregation; the pathetic ones who possessed noting beyond their dreams of being gentlemen, who held small jobs or drew small pensions, and all pretending to be engaged in some vast, though obscure, enterprise, who affected the pseudo-courtly manners of certain southern congressmen and bowed and nodded as they passed like senile old roosters in a barnyard; they younger crowd for whom I now felt a contempt such as only a disillusioned dreamer feels for those still unaware that they dream—the business students from southern colleges, for whom business was a vague, abstract game with rules as obsolete as Noah’s Ark but who yet were drunk on finance.”

“Why were some people fated, like Job, to live a never-ending debate between themselves and their sense of what they believed life should be? Why did some hearts feel insulted at being alive, humiliated at the terms of existence? It was as though one felt that one had been promised something and when that promise had not been kept, one felt a sense of loss that made life intolerable; it was as though one was angry, but did not know toward what or whom the anger should be directed; it was as though one felt betrayed, but could never determine the manner of the betrayal.”

“They lived in a world of destruction and fortuitous death. All was chance, and it was not even the Devil who threw the dice, for he was part of the fairy-tale and perished with it. It had hardly been worth while to pick a bone with it, for the only thing to quarrel with was one's own credulity in having ever believed a tale that broke down at so many points when put to the test. Year by year boys fresh from school joined in the dance of death, and sweltered in the reeking, stinking heat, when they should have been playing cricket or swimming in cool waters, and they got trench-fever and were gassed, and young limbs swift to run and ripe for love were gashed by bullets and sawn off in hospitals. The fate of the world rested on their shoulders: they were the bewildered scapegoats who were driven out into this desert of death, to expiate the criminal pride and folly of those who had been in charge of world-affairs while they were yet unbreeched. Save for rare moments of panic, they maintained a cheerful carelessness, a studied unconsciousness of the surrounding horror, for to think about it, to realize it and speak of it was to go mad. A few went mad, and with bandaged eyes awaited the volley they would never hear. The rest carried on, dumb and gallant, saying nothing, except in a few blurted words to a friend, of that smouldering focus of resentment and despair.”

“I just thought that one day, somehow... my world would end up looking just like the game posters I saw. I thought that eventually, the world would turn fun and bright. But the reality is... things would only get worse. More and more people wanted a crumb from the cookie. Each person's share just got smaller and smaller. And then one day I finally realized that no one in this town had to luxury to save anyone else. Even if I wait... the fun and bright game will never come. And even if we try to struggle against the pain, our stomachs will never be full. There's no other choice. I have to change this messed-up reality.”

“people fear sobriety because without booze, you’re forced to see Clockwork Orange style that you’re bad at relationships, and bad at vulnerability, and bad at honesty, and your rants about life’s injustices are generally not cute. and if you see all that you have to give up the dream that some brave soul is gonna show up and extend themselves to you even though your arms are crossed and your back is turned. you have to stop pretending and actually start earning your keep, it’s basic human math, you gotta bring something to the table, you can’t just show up empty-handed and expect to be fed.”

“Maybe I had been making a greater monster of him than he really was, or maybe I was still under his influence, for I was certain that he wanted me to believe he was no more than a harmless man who happened to use vampirism to get what he desired. Some remnant of his mesmerism was still upon me. I had never been able to shake the feeling that he was tucked away in a corner of my mind, that he could read my thoughts, know what I was thinking. He had done something to me, but what that was, I had never been able to discover. All I knew was that the feeling had been with me since the morning I woke up and found myself in Venice.”

“For us lads of eighteen they ought to have been mediators and guides to the world of maturity, the world of work, of duty, of culture, of progress - to the future. We often made fun of them and played jokes on them, but in our hearts we trusted them. The idea of authority, which they represented, was associated in our minds with a greater insight and a more humane wisdom. But the first death we saw shattered this belief. We had to recognize that our generation was more to be trusted than theirs. They surpassed us only in phrases and in cleverness. The first bombardment showed us our mistake, and under it the world as they had taught it to us broke in pieces. While they continued to write and talk, we saw the wounded and dying. While they taught that duty to one's country is the greatest thing, we already knew that death-throes are stronger. But for all that we were no mutineers, no deserters, no cowards - they were very free with all these expressions. We loved our country as much as they; we went courageously into every action; but also we distinguished the false from true, we had suddenly learned to see. And we saw that there was nothing of their world left. We were all at once terribly alone; and alone we must see it through.”

“...it was only natural that this mutual connection between sea and observer be forged: they were kindred spirits. The same, however, could not be done with the implacable moon: that imperious stalwart, which agitated the currents and spurned its beholder. This aloof satellite was formidable, yet neurotic, and so in spite of its ferocity, its movements were simple to predict, thereby granting this fearsome creature a veil of placidity. Its magnitude of torque was easily outmatched by that forceful heave of fear portending any misalignment with its anticipated schedule of phases. It cycled through these on time and without hesitation, experiencing, all the while, a wide array of emotions in response to the dissatisfied countenance of the Master it served. And yet, these changes in mood remained prosaic and careful, dutiful to its Patron; thusly, betraying nothing of its own resentments or intentionality either to its dismissed observer or to its demanding Patron, divulging nothing even of the influence which it potentially wielded over the Patron Planet, but which, in its lunar insecurity, never reached full expression save for the idle touslings of liquid fur. Perhaps it was diffident or bashful—otherwise, it was simple and had little prevailing ambition. Its motives were immaterial, in fact, for its aspirations were easily eclipsed and often countermanded and so one could not help but anticipate in its withered mien a certain resignation, a retreat to introspection away from the gazes of those who mistook its surrender to deterministic forces as a duty held most solemn. To be sure, it was a specter oft-romanticized by dullard poets and priests who admired it for its calming reserve, its gentle wisdom in juxtaposition with the histrionic impatience of the sea: like a tired guardian and a screaming toddler with primacy afforded counterintuitively to the guardian. What mattered more, in fact, was the subject of its influence: the willful and disobedient medium which spurned that hands that molded it. The moldings were more like jostles really and for a time they felt just and reasonable, but soon they came to confine and until verily there was no movement available that was not otherwise preordained by the will of the master. The accursed moon!”

“I think you will tire first, all the same. Some day you will look at him and he will seem to you to be a little out of drawing, or you won't like his tone of color, or something. You will bitterly reproach him in your own heart, and seriously think he has behaved very badly to you. The next time he calls you will be perfectly cold and indifferent. It will be a great pity, for it will alter you. The worst of having a romance is that it leaves one so unromantic.”

“This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony. This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.”

“The Ballad of Harry Lime by Stewart Stafford Harry found existence overrated, And its shadow, morality, so outdated, Scurrying rats down here in the sewer, Porcine gluttons in punished manure. Grand aspirations from primordial slime, Lifting up the rock from time to time, Samson, destroying a temple of hypocrisy, And every pillar - hope, faith and charity, They'd had him from baptism's font, Trapped before wording his wants, A heel dipped in brackish liturgy, Silent collusion in mass duplicity. For those who remained in smoky rubble? Rudely awakened from a cocoon bubble: An obelisk erected to grotesque finance, Charon’s fee for a Stygian dance. © Stewart Stafford, 2023. All rights reserved.”