Death (n.) is unhealthy and abnormal to shrink away from. Doing so robs the second half of life of its purpose.
Death (n.) is the maternal womb, its cold embrace like the sea that devours the sun only to bring it forth again — life knows no death.
Death (n.) as the final end of the individual became thinkable only when the incest prohibition tore the self-conscious individual out of mindless oneness with the tribe — so through Adam's sin of becoming conscious, death came into the world.
Death (n.) is no external enemy but our own inner longing for the stillness of all-knowing non-existence — even in philosophy's profundities and the artist's raptures we seek immobility, satiety, rest.
Death (n.) seen as a goal to strive toward is hygienic for the soul; an old man who cannot bid farewell to life is as feeble and sickly as a young man unable to embrace it — the same childish greed, fear and defiance.
Death (n.) is known to us simply as the end — the period, often placed before the close of the sentence.
Death (n.) is born in the secret hour of life's midday: from then on only he stays vitally alive who is ready to die with life — for not wanting to live is identical with not wanting to die.
Death (n.) deserves preparation as birth does: if the growing man spends twenty years preparing to unfold, why should the older man not spend twenty years preparing for his death?
Death (n.) can finish an analysis: a woman who refused for weeks to see in her dreams that she had not been a faultless mother resumed the work by herself in her final delirium, admitted everything, grew calm — and then died.
Death (n.) is the one experiment whose observer cannot report: to reach a final conclusion one must have had the experience — which puts one in no position to give an objective account.
Death (n.) is, in psychological terms, a subjective end of the world: consciousness sinking back into the darkness it emerged from, like Khidr's island.
Death (n.) alone can tell the whole story of the way: not the storyteller but death speaks the final “consummatum est.”
Death (n.) unmixes the two substances in man — both the death of the body and the figurative death of mystical experience.
Death (n.) forms, together with stupidity, sin, sickness and old age, the dark foil that sets off the joyful splendour of life.
Death (n.) foretold in a friend's dream is always assumed to be the other fellow's.
Death (n.) is the great perfecter, drawing his merciless line under life's balance sheet — the end of the empirical man and the goal of the spiritual one; only in him is wholeness reached.
Death (n.) dreamed of oneself is no serious matter; when it really is a question of death, the dream speaks another language — a mother hanging from the chandelier, a horse leaping from the fourth floor.
Death (n.) is the birth of something else: the alchemists held that no new life arises without the old dying, like the sower's buried grain.
Death (n.) is psychologically as important as birth, an integral part of life and not an end but a goal; life's inclination toward it begins as soon as the meridian is passed.
Death (n.) seen from the soul's depths is no meaningless end but an accomplishment, a ripe fruit on the tree of life — a goal unconsciously lived and worked toward for half a lifetime.