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" "It is not merely a question of sorrow after the death of a beloved being, but of the reproaches she will apply to herself, thinking that if she had loved him more he might have clung more to his life. Empty, trivial, and unjust reproaches, for she did everything that force of will could command, — she spurned my love and remained pure and faithful to him. But one must know that soul full of scruples as I know it, to gauge the depth of misery into which the news would plunge her, and how she would suspect herself, — asking whether his death did not correspond to some deeply hidden desire on her part for freedom and happiness; whether it did not gratify those wishes she had scarcely dared to form.
Henryk Adam Aleksander Pius Oszyk-Sienkiewicz (5 May 1846 – 15 November 1916) was a Nobel Prize-winning Polish novelist, most famous for his novel Quo Vadis.
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I follow you — because I must. Do you think I am not afraid of death? I am afraid because I do not know what there is, and see only darkness without end; which makes me recoil. I do not know whether there be nothingness, or existence without space and time; perhaps some midplanetary wind carries the spiritual monad from star to star to implant it in an ever-renewing existence. I do not know whether there be immense restlessness, or a peace so perfect as only Omnipotence and Love can bestow on us. But since you have died through my "I do not know," how could I remain here — and live? The more I fear, the more I do not know, — the more I cannot let you go alone; I cannot, Aniela mine, — and I follow. Together we shall sink into nothingness, or together begin a new life; and here below where we have suffered let us be buried in oblivion.
A time will come when under changed circumstances she will recover her beauty. I thought of it to-day and at once asked myself what would be our relations towards each other in the future, and whether it would make any change. I am certain it will not. I know already how it feels to live without her, and shall not do anything which might make her cast me off.
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I know from experience that to one who thinks much and feels deeply, it often seems that he has only to put down his thoughts and feelings in order to produce something altogether out of the common; yet as soon as he sets to work he falls into a certain mannerism of style and common phraseology; his thoughts do not come spontaneously, and one might almost say that it is not the mind that directs the pen, but the pen leads the mind into common, empty artificiality.