Top 1200 Death In Venice Quotes & Sayings

The greatest mystery in life is not life itself, but death. Death is the culmination of life, the ultimate blossoming of life. In death the whole life is summed up, in death you arrive. Life is a pilgrimage towards death. From the very beginning, death is coming. From the moment of birth, death has started coming towards you, you have started moving towards death.

There is still one of which you never speak.' Marco Polo bowed his head. 'Venice,' the Khan said. Marco smiled. 'What else do you believe I have been talking to you about?' The emperor did not turn a hair. 'And yet I have never heard you mention that name.' And Polo said: 'Every time I describe a city I am saying something about Venice.

I haven't read Ibsen, Shaw, Shakespeare - except 'The Merchant of Venice' in ninth grade. I'm not familiar with 'Death of a Salesman.' I haven't read Tennessee Williams.

Everybody is afraid of death for the simple reason that we have not tasted of life yet. The man who knows what life is, is never afraid of death; he welcomes death. Whenever death comes he hugs death, he embraces death, he welcomes death, he receives death as a guest. To the man who has not known what life is, death is an enemy; and to the man who knows what life is, death is the ultimate crescendo of life.

To Forget Venice is a tour de force of ventriloquism. Elegant, contemporary, and wry, the voice at its center is also capable of disarming flights of imagination as it enters and inhabits other lives across time and gender. The glittering, fetid city emerges as a complex metaphor for the human heart’s simultaneous tenderness and capacity for cruelty, its ‘silver glow / a local specialty: filth / disguised as ornament.’ This Venice is unforgettable.

... in the eyes of its visitors, Venice has no reality of its own. Anyone visiting the place has already seen so many pictures of it that they can only attempt to view it via these clichés, and they take home photographs of Venice that are similar to the ones they already knew. Venice [is] becoming like one of those painted backdrops that photographers use in their studio.

Kristina has been to the Maldives but never to Venice, and I have been to Venice but never to the Maldives.

Venice has always fascinated me. Every country in Europe then was run by kings and the Vatican except Venice, which was basically run by councils. I've always wondered why.

When you come to Venice, you do special work.

Death is not as terrible as you think. It comes to you as a healer. Sleep is nothing but a counterfeit death. What happens in death we can picture in sleep. All our sufferings vanish in sleep. When death comes, all our mortal tortures cease; they cannot go beyond the portals of death.

There is another side to death. Whether death happens through an act of violence to a large number of people or to an individual, whether death comes prematurely through illness or accident, or whether death comes through old age, death is always an opening. So a great opportunity comes whenever we face death.

When I went to Europe for the first time, I went to Paris and then to Venice. So after Paris, Venice was my first great European city, and it just blew me away.

Now death is death! and yet is not one death Another death? Stabbing is not the same As shooting! Would you say a strangled man Was drown'd? The end is one, the means are many, And there the difference lies!

He sought his former accustomed fear of death and did not find it. "Where is it? What death?" There was no fear because there was no death. In place of death there was light.

In memory Venice is always magic.

If every museum in the New World were emptied, if every famous building in the Old World were destroyed and only Venice saved, there would be enough there to fill a full lifetime with delight. Venice, with all its complexity and variety, is in itself the greatest surviving work of art in the world.

Death when to death a death by death hath given Then shall be op't the long shut gates of heaven. [Mors, mortis morti mortem nisi morte dedisset (dedisses).]

I shall be an Attila to Venice.

Prague is like a vertical Venice steps everywhere.

Mann's Death in Venice actually contains a snippet of philosophy about the second question, when Aschenbach, collapsed in the plaza, engages in his quasi-Socratic, anti-Socratic, ruminations.

Part of my methodological approach is made explicit when I discuss ways in which literature can have philosophical significance. Literature doesn't typically argue - and when it does, it's deadly dull. But literature can supply the frame within which we come to observe and reason, or it can change our frame in highly significant ways. That's one of the achievements I'd claim for Mann, and for Death in Venice.

To live in Venice is like being domesticated in the heart of an opal.

To go out in a gondola at night is to reconstruct in one's imagination the true Venice, the Venice of the past alive with romance, elopements, abductions, revenged passions, intrigues, adulteries, denouncements, unaccountable deaths, gambling, lute playing and singing.

I came up with a parallel Venice called Venus. set in a parallel Venice about 1701.

It is always assumed that Venice is the ideal place for a honeymoon. This is a grave error. To live in Venice or even to visit it means that you fall in love with the city itself. There is nothing left over in your heart for anyone else.

First, my frame of reference for the Britten opera shifted. I'd always thought of Britten's approach in Death in Venice as another exploration of the plight of the individual whose aspirations are at odds with those of the surrounding community: his last opera returning to the themes of Peter Grimes. As I read and listened and thought, however, Billy Budd came to seem a more appropriate foil for Death in Venice.

There is no single best kind of death. A good death is one that is "appropriate" for that person. It is a death in which the hand of the way of dying slips easily into the glove of the act itself. It is in character, ego-syntonic. It, the death, fits the person. It is a death that one might choose if it were realistically possible for one to choose one's own death.

To my mind, Death in Venice represents an enormous advance in Mann's literary development, not simply for the commonly appreciated reason that he crafted a superbly supple and elegant style, apparently well suited to the kind of prose Aschenbach is supposed to write.

I think the work is the same in Indie films or blockbuster. It's just a difference when you do all the publicity. It's like another job. I remember the first time I did The Dreamers. I went to Venice; quite a good amount of publicity, a lot of round-tables and TV. I was just not expecting that. I thought I was going to visit Venice, but actually no.

As deaths have accumulated I have begun to think of life and death as a set of balance scales. When one is young, the scale is heavily tipped toward the living. With the first death, the first consciousness of death, the counter scale begins to fall. Death by death, the scales shift weight until what was unthinkable becomes merely a matter of gravity and the fall into death becomes an easy step.

As I read Mann in German for the first time, the full achievement - both literary and philosophical - of Death in Venice struck me forcefully, so that, when I was invited to give the Schoff Lectures at Columbia, the opportunity to reflect on the contrasts between novella and opera seemed irresistible.

Someone's killed 100,000 people. We're almost going, "Well done! You killed 100,000 people? You must get up very early in the morning! I can't even get down the gym. Your diary must look odd: 'Get up in the morning, death, death, death, death, death, death, death - lunch - death, death, death - afternoon tea - death, death, death - quick shower ...' "

Venice is all sea and sculpture.

Eyes like streams of melting snow, cold with the things she does not know. Heaven above and Hell beneath, liquid flames to hide her grief. Death, death, death with no release. Death, death, death with no release.

I believe the death of Bobby Kennedy was in many ways the death of decency in America. I think it was the death of manners and formality, the death of poetry and the death of a dream.

Is it worth while to observe that there are no Venetian blinds in Venice?

That night we made love "the real way" which we had not yet attempted although married six months. Big mystery. No one knew where to put their leg and to this day I'm not sure we got it right. He seemed happy. You're like Venice he said beautifully. Early next day I wrote a short talk ("On Defloration") which he stole and had published in a small quarterly magazine. Overall this was a characteristic interaction between us. Or should I say ideal. Neither of us had ever seen Venice.

Birth leads to death, death precedes birth. So if you want to see life as it really is, it is rounded on both the sides by death. Death is the beginning and death is again the end, and life is just the illusion in between. You feel alive between two deaths; the passage joining one death to another you call life. Buddha says this is not life. This life is dukkha - misery. This life is death.

Not very good with death? Father was a military man, and military men lived with death; lived for death; lived on death. To a professional soldier, oddly enough, death was life.

I've always said that the artist dies twice. And the first death is the hardest which is the career death, the creative death. The physical death is an inevitability.

[There are, in us] possibilities that take our breath away, and show a world wider than either physics or philistine ethics can imagine. Here is a world in which all is well, in spite of certain forms of death, death of hope, death of strength, death of responsibility, of fear and wrong, death of everything that paganism, naturalism and legalism pin their trust on.

Laughter. Yes, laughter is the Zen attitude towards death and towards life too, because life and death are not separate. Whatsoever is your attitude towards life will be your attitude towards death, because death comes as the ultimate flowering of life. Life exists for death. Life exists through death. Without death there will be no life at all. Death is not the end but the culmination, the crescendo. Death is not the enemy it is the friend. It makes life possible.

I played Shylock in my school's staging of 'Merchant of Venice.'

If you read a lot, nothing is as great as you've imagined. Venice is - Venice is better.

Venice was always one step removed from what was going on. If you were in Turin or in Milan or one of the industrial centers, you would have had a much more active political constituency. Venice essentially lived for itself.

It is not surprising that Venice is known above all for mirrors and glass since Venice is the most narcissistic city in the world, the city that celebrates self-mirroring.

But death was sweet, death was gentle, death was kind; death healed the bruised spirit and the broken heart, and gave them rest and forgetfulness; death was man’s best friend; when man could endure life no longer, death came and set him free.

Venice is eternity itself.

They are shooting The Thief Lord in Venice at the moment.

I was being taken around by a press agent at the Venice Film Festival at age 18. Was it fun? Sure. But it was a dangerous path to be walking on as far as having a substantive life. Because the casualty rate at the Venice Film Festival for 18-year-olds? High.

I have an Italian comedy at the Venice Film Festival.

Death? Why this fuss about death? Use your imagination, try to visualize a world without death! Death is the essential condition of life, not an evil.

By day, Venice is a city of museums and churches, packed with great art. Linger over lunch, trying to crack a crustacean with weird legs and antennae. At night, when the hordes of day-trippers have gone, another Venice appears. Dance across a floodlit square. Glide in a gondola through quiet canals while music echoes across the water. Pretend it's Carnevale time, don a mask - or just a fresh shirt - and become someone else for a night.

Death is never an ending, death is a change; Death is beautiful, for death is strange; Death is one dream out of another flowing.

Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"

When writers for adults contemplate Venice, they behold decay, dereliction and death. Thomas Mann, Daphne du Maurier, L. P. Hartley and Salley Vickers have all dispatched hapless protagonists to Italy, where they see Venice - and die.

...the tourist Venice is Venice.

When you get older, then you feel death not at the end of the road, but death all around you, in everything. Life is saturated with death. I feel death everywhere.

I stood in Venice, on the Bridge of Sighs; A palace and a prison on each hand; I saw from out the wave of her structure's rise As from the stroke of the enchanter's wand: A thousand years their cloudy wings expand Around me, and a dying Glory smiles O'er the far times, when many a subject land Look'd to the winged Lion's marble pines, Where Venice sate in state, throned on her hundred isles.

For watching death, and above all, after death; not death in battle, but death after battle, brings one to certain indifferences that are also a form of death.