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Death is not a tragedy to the one who dies; to have wasted the life before that death, that is the tragedy.
Orson Scott Card Shadow of the Hegemon
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Death is not a tragedy to the one who dies; to have wasted the life before that death, that is the tragedy.

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Dread is the first and the strongest types of fear. It is that tension, that waiting that comes when you know there is something to fear but you have not yet identified what it is. The fear that comes when you first realize that your spouse should have been home an hour ago; when you realize that a window you are sure you closed is now open, the curtains billowing, and you're alone in the house.Terror only comes when you see the thing you're afraid of. The intruder is coming at you with a knife. The headlights coming toward you are clearly in your lane. The Klansmen have emerged from the bushes and one of them is holding a rope. This is when all the muscles of your body, except perhaps the sphincters, tauten and you stand rigid; or you scream; or you run. There is a frenzy to this moment, a climactic power-but it is the power of release, not the power of tension. And bad as it is, it is better than dread in this respect: Now, at lest, you know the face of the thing you fear. You know its borders, its dimensions. You know what to expect.Horror is the weakest of all. After the fearful thing has happened, you see its remainder, its relics. The grisly, hacked-up corpse. Your emotions range from nausea to pity for the victim. And even your pity is tinged with revulsion and disgust; ultimately you reject the scene and deny its humanity; with repetition, horror loses its ability to move you and, to some degree, dehumanizes the victim and therefore dehumanizes you. As the sonderkommandos in the death camps learned, after you move enough naked murdered corpses, it stops making you want to weep or puke. You just do it. They've stopped being people to you.

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And perhaps there is none, no morrow anymore, for one who has waited so long for it in vain. And perhaps he has come to that stage of his instant when to live is to wander the last of the living in the depths of an instant without bounds, where the light never changes and the wrecks all look alike. Bluer scarcely than white of egg the eyes stare into the space before them, namely the fullness of the great deep and unchanging calm. But at long intervals they close, with the gentle suddenness of flesh that tightens, often without anger, and closes on itself.