The scariest monsters are the ones that lurk within our souls.
Interpretation
Our greatest fears and struggles often come from within us rather than external sources.
This quote by Edgar Allan Poe suggests that the most terrifying challenges we face are not necessarily external threats, but rather the fears and darkness that reside within our own minds and souls. It emphasizes the idea that introspection and confronting our inner demons can often be more daunting than facing physical monsters or problems in the world around us.
In practice
In a speech about mental health, one might say, 'Remember, the scariest monsters are the ones that lurk within our souls.'
But evil things, in robes of sorrow, Assailed the monarch's high estate; (Ah, let us mourn, for never morrow Shall dawn upon him desolate!) And round about his home the glory That blushed and bloomed, Is but a dim-remembered story Of the old time entombed.
Most writers - poets in especial - prefer having it understood that they compose by a species of fine frenzy - an ecstatic intuition - and would positively shudder at letting the public take a peep behind the scenes.
...the agony of my soul found vent in one loud, long and final scream of despair.
Where the good and the bad and the worst and the best have gone to their eternal rest.
I could have clasped the red walls to my bosom as a garment of eternal peace. "Death," I said, "any death but that of the pit!" Fool! might I have not known that into the pit it was the object of the burning iron to urge me?
In our endeavors to recall to memory something long forgotten, we often find ourselves upon the very verge of remembrance, without being able, in the end, to remember.
People speak sometimes about the "bestial" cruelty of man, but that is terribly unjust and offensive to beasts, no animal could ever be so cruel as a man, so artfully, so artistically cruel.
Poverty does not make people terrorists, but terrorists can exploit the frustration it creates and use it as a breeding-ground for violent ideas.
It is in life as it is in ways, the shortest way is commonly the foulest, and surely the fairer way is not much about.
It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.
Secrecy is thus, so to speak, a transition stadium between being and not-being.
You're fighting a losing battle if you expect the people who own the studios to make moral choices.
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