A Quote by Octave Mirbeau

Desire can attain the darkest human terror and give an actual ideal of hell and its horror. — © Octave Mirbeau
Desire can attain the darkest human terror and give an actual ideal of hell and its horror.
Terror is the desire to save your own ass, but horror is rooted in sympathy.
A large portion of human beings live not so much in themselves as in what they desire to be. They create what is called an ideal character, in an ideal form, whose perfections compensate in some degree for the imperfections of their own.
Sin is dark and loves the dark, still hides from itself in gloom, and in the darkest hell is still itself the darkest hell and the severest woe.
Horror itself is a bit of a bullied genre, the antagonist being literary snobbery and public misconception. And I think good horror tackles our darkest fears, whatever they may be. It takes us into the minds of the victims, explores the threats, disseminates fear, studies how it changes us. It pulls back the curtain on the ugly underbelly of society, tears away the masks the monsters wear out in the world, shows us the potential truth of the human condition. Horror is truth, unflinching and honest. Not everybody wants to see that, but good horror ensures that it's there to be seen.
The doctrine of hell does not stand alone as a kind of ancient Christian horror story. Rather, hell is inseparable from three other interrelated biblical truths: human sin, God's holiness, and the cross of Christ.
I am, after all, a thriller writer. I routinely delve into the darkest chambers of the human heart. I've written about murder, kidnapping, depravity, horror, violence, and disfigurement.
Horror is always aware of its cause; terror never is. That is precisely what makes terror terrifying.
When a philosopher, scientist, or psychologist discusses the discrepancy between the actual and the ideal, he or she attempts to convince us with the tools of discursive thought ... An artist does it differently ... their primary approach is different, even though both groups, if you will, are investigating the actual, the ideal, and the discrepancy in between.
A formal and consistent theory of inductive processes cannot represent the operation of every human mind in detail; it will represent an ideal mind, but it will help the actual mind to approximate that ideal.
The situation that has not its duty, its ideal, was never yet occupied by man. Yes, here, in this poor, miserable, hampered, despicable actual, wherein thou even now standest, here or nowhere is thy ideal; work it out therefrom, and, working, believe, live, be free. Fool! the ideal is in thyself.
It belongs to the imperfection of everything human that man can only attain his desire by passing through its opposite.
The ideal you seek and hope to attain will not manifest itself, will not be realized by you, until you have imagined that you are already that ideal.
Beauty ensnares hearts, captures minds, and stirs up emotional wildfires. From Plato to pinups, images of human beauty have catered to a limitless desire to see and imagine an ideal human form.
The desire to break the silence with constant human noise is, I believe, precisely an avoidance of the sacred terror of that divine encounter.
It is true that so far as wealth gives time for ideal ends and exercise to ideal energies, wealth is better than poverty and ought to be chosen. But wealth does this in only a portion of the actual cases. Elsewhere the desire to gain wealth and the fear to lose it are our chief breeders of cowardice and propagators of corruption. There must be thousands of conjunctures in which a wealth-bound man must be a slave, whilst a man for whom poverty has no terrors becomes a freeman.
I think there is a contempt for the human dignity of people who were enslaved. You couldn't see them as fully human and so you didn't respect their desire to be connected to a family and a place. That was the only way you could tolerate and make sense of lynching and the terror that lynching represented.
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