Grief (n.) is not false in its violent first expressions — one believes what one says — but later conduct usually makes those first words, once true, untrue.
Grief (n.) that reflects cannot be painted: it never comes to rest, revolving like a squirrel in its cage, swinging like a pendulum, rehearsing the witnesses a hundred times and never finishing.
Grief (n.) that is hidden dwells like a prisoner in a subterranean dungeon, pacing year after year the longer or shorter paths of sorrow while outwardly all is calm.
Grief (n.) when immediate prints itself on the face as exactly as Veronica's handkerchief kept the holy image — its sacred script legible to all.
Grief (n.) that is inward shows only through the external, like a shadowgraph — a picture invisible when looked at directly, seen only by looking at the wall.
Grief (n.) that is secret, once surprised, covers itself faster than a young girl covers an exposed bosom — and like Proteus takes every shape before it must at last prophesy.
Grief (n.) over being deceived never thrives: it stays a puny, wailing orphan, whereas a lover torn away would have left it a father in the memory of his faithful love.
Grief (n.) after deception is a worry about sustenance: the soul too needs bread, and a love that has been betrayed has lost its power to nourish — she is anxious every day for the morrow.
Grief (n.) has a boundless and infinitely inventive eloquence — no voice so beguiling as the unhappiest's speaking of his own unhappiness.
Grief (n.) can be wordless: Elizabeth sat ten days with a finger in her mouth, biting it in silence, and then died — a theme for a poet able to wrench the mouth open.
Grief (n.) is still a mood, even for your child, your beloved, your one guide, and even the wish to die in their place is a mood.
Grief (n.) that would keep the dead beloved exactly as he was would, if it could, prevent him from being transfigured, which is a cruel wish.
Grief (n.) at a beloved's death is disgusted by talk of the globe's thousands of millions who die by thousands daily, many of them lovers; that is not vanity but seriousness.