6
" Nudity and explicit sex are far more easily available now than are clear images of death. The quasi-violence of movies and television dwells on the lively acts of killing – flying kicks, roaring weapons, crashing cars, flaming explosions. These are the moral equivalents of old-time cinematic sex. The fictional spurting of gun muzzles after flirtation and seduction but stop a titillating instant short of actual copulation. The results of such aggressive vivacity remain a mystery. The corpse itself, riddled and gaping, swelling or dismembered, the action of heat and bacteria, of mummification or decay are the most illicit pornography.The images we seldom see are the aftermath of violent deaths. Your family newspaper will not print photos of the puddled suicide who jumped from the fourteenth floor. No car wrecks with the body parts unevenly distributed, no murder victim sprawled in his own juices. Despite the endless preaching against violent crime, despite the enormous and avid audience for mayhem, these images are taboo. "
8
" As a young man, he had instinctively husbanded the freshness of his powers. At the time, it was too soon to see that this freshness was giving birth to vivacity and gaiety, and shape to the courage needed to forge a soul that does not pale, no matter what life brings, regards life not as a heavy burden, a cross, but merely as a duty, and does battle with it with dignity.
He had devoted much mental care to his heart and its wise laws. Observing the reflection of beauty on the imagination, both consciously and unconsciously, then the transition from impression to emotion, its symptoms, play, and outcome and looking around himself, advancing into life, he derived for himself the conviction that love moves the world like Archimede's lever, that it holds as much universal and irrefutable truth and good as misunderstanding and misuse do hypocrisy and ugliness.
p. 494 "
― Ivan Goncharov , Oblomov
