There's life for you. Spend the best years of your life studying penmanship and rhetoric and syntax and Beowulf and George Eliot, and then somebody steals your pencil.
Dorothy ParkerRead
The sun's gone dim, and the moon's gone black. For I loved him, and he didn't love back.
Interpretation
This quote expresses the pain of unrequited love and the feelings of loss associated with it.
In this quote, Dorothy Parker poignantly captures the deep sorrow and emotional turmoil that often accompanies loving someone who does not return those feelings. The imagery of the 'sun' and 'moon' losing their brightness symbolizes the despair and darkness that infiltrate one's life when love is one-sided, highlighting the intensity of unreciprocated affection and its impact on the heart.
In practice
In a speech about the trials of love, one might use this quote to illustrate the pain of unreciprocated feelings.
There's life for you. Spend the best years of your life studying penmanship and rhetoric and syntax and Beowulf and George Eliot, and then somebody steals your pencil.
My land is bare of chattering folk; / the clouds are low along the ridges, / and sweet's the air with curly smoke / from all my burning bridges.
Prince or commoner, tenor or bass, Painter or plumber or never-do-well, Do me a favor and shut your face - Poets alone should kiss and tell.
They say of me, and so they should, It's doubtful if I come to good. I see acquaintances and friends Accumulating dividends And making enviable names In science, art and parlor games. But I, despite expert advice, Keep doing things I think are nice, And though to good I never come Inseparable my nose and thumb.
It is that word 'hunny,' my darlings, that marks the first place in The House at Pooh Corner at which Tonstant Weader fwowed up.
I canβt write five words but that I change seven.
My idea of Christmas, whether old-fashioned or modern, is very simple: loving others. Come to think of it, why do we have to wait for Christmas to do that?
One thought of thee puts all the pomp to flight;_x000D_ _x000D_ Priests, tapers, temples, swim before my sight.
He'd discovered that his memories of that summer were like bad movie montages - young lovers tossing a Frisbee in the park, sharing a melting ice-cream cone, bicycling along the river, laughing, talking, kissing, a sappy score drowning out the dialogue because the screenwriter had no idea what these two people might say to each other.
Do not pity the dead, Harry. Pity the living, and, above all those who live without love.
To love! To surrender absolutely, to prostrate oneself before the divine image, to die a thousand imaginary deaths, to annihilate every trace of self, to find the whole universe embodied and enshrined in the living image of another! Adolescent, we say. Rot! This is the germ of the future life, the seed which we hide away, which we bury deep within us, which we smother and stifle and do our utmost to destroy as we advance from one experience to another and flutter and flounder and lose our way.
No one really needs me,β he says, and there's no self-pity in his voice...βI do,β I say. βI need you.β He looks upset, takes a deep breath as if to begin a long argument, and that's no good, no good at all, because he'll start going on about Prim and my mother and everything and I'll just get confused. So before he can talk, I stop his lips with a kiss.
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