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Since the decay of the belief in personal immortality, death has never seemed funny, and it will be a long time before it does so again. Hence the disappearance of the facetious epitaph, once a common feature of country churchyards. I should be astonished to see a comic epitaph dated later than 1850. There is one in Kew, if I remember rightly, which might be about that date. About half the tombstone is covered with a long panegyric on his dead wife by a bereaved husband: at the bottom of the stone is a later inscription which reads, ‘Now he’s gone, too’.'
When I die, my epitaph or whatever you call those signs on gravestones is going to read: "I joked about every prominent man of my time, but I never met a man I didn't like." I am so proud of that I can hardly wait to die so it can be carved. And when you come to my grave you will find me sitting there, proudly reading it.
At the end of the day, when you look back, no matter what you are, who you are and what you do, you'll always go back to the basics or the undeniable. History is the best judge; when your epitaph is written you're just a day or a week old six feet under. Stick with the basics, stick to what you're sure of, and stick to something that cannot be judged as being either false, ambitious or arrogant.
Epistrophe is the trope of obsession. It's the trope of emphasizing one point again and again. And it's the trope of not being able to escape that one conclusion, which is one of the reasons that songs are so suited to the idea of obsessive love, political certainty and other such unhealthy ideas. You can't reason in an epistrophic pop song. You can't seriously consider the alternatives, because the structure dictates that you'll always end up at the same point, thinking about the same girl and giving peace a chance.
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