The Green caldron - University Library

October, 1957 19
The Love of Life
Norman Mysliwies
Rhetoric 102, Theme 10
The love of life is at bottom the jear of death
— Schopenhauer
Man prides himself on his love of life. The theme has been used again
and again throughout history. It has been expressed in tales, poems, drama,
and in art. So much has it been repeated that we now accept, as a fact, that
it is natural and even ennobling to possess this great appreciation of Hife.
Underlying this love of life, however, is a fear of death, probably the most
basic fear inherent in man. Hazlitt said, "No young man ever thinks he will
die." Perhaps not consciously, but deep wnthin him, from the time that he is
able to understand what life is, this fear lurks.
In every way possible, man has tried to fight this fear of death. Religion,
probably one of the strongest institutions invented by man, is, for the most
part, an attempt to assuage the fear of death. Every form of religion invented
has promised its followers a life after death—immortality. Even the thought
that he will spend eternity in hell seemes to be more comforting to man than
the idea of ceasing to exist. In fact, we find it quite impossible to conceive of
ourselves as no longer existing. It is completely beyond our mental powers.
The rationalization of the death-fear by love of life is probably not conscious.
When we are enraptured by the sensual pleasures of the world, we
may want to sing, to shout our joy to the world, or to write odes to nature's
beauty. But much of the ecstasy results from the knowledge that a time will
come when we will no longer enjoy life's pleasures. Death is a puzzle. Will
there be pleasures after? Perhaps. But the time to enjoy them is now, while
we are sure of them. Truly, "The love of life is at bottom the fear of death."
Good Lord
Eugene Bryerton
Rhetoric 102, Theme 6
Motion pictures have finally come of age. Until a few years ago, Hollywood
was strictly commercial, dealing only in westerns, murder mysteries,
romances, and science-fiction. With the innovation of Cinemascope and The
Robe in 1953, however, the motion picture magnates realized that the public
was interested in films with religious themes. When The Robe smashed
all previous box-of^fice records, Hollywood moguls decided that they were