Quote by Plato

We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light.


We can easily forgive a child who is afraid of the dark; the

Summary

This quote, often attributed to Greek philosopher Plato, suggests that being afraid of the dark, symbolizing ignorant or unknown aspects of life, is a forgivable characteristic in a child. However, it states that the true tragedy lies in men, or individuals, who fear the light. Here, "light" represents knowledge, truth, and enlightenment. The quote implies that it is a tragic flaw when adults fear facing realities or embracing knowledge, as it hinders personal growth and prevents them from attaining a higher understanding of the world.

By Plato
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Random Quotations

He always looked forward to the evening drives through the centre of Shanghai, this electric and lurid city, more exciting than any other in the world. As they reached the Bubbling Well Road he pressed his face to the windshield and gazed at the pavements lined with night-clubs and gambling dens, crowded with bar-girls and gangsters and rich beggars with their bodyguards. Crowds of gamblers pushed their way into the jai alai stadiums, blocking the traffic in the Bubbling Well Road. An armoured police van with two Thompson guns mounted in a steel turret above the driver swung in front of the Packard and cleared the pavement. A party of young Chinese women in sequinned dresses tripped over a child's coffin decked with paper flowers. Arms linked together, they lurched against the radiator grille of the Packard and swayed past Jim's window, slapping the windshield with their small hands and screaming obscenities. Nearby, along the windows of the Sun Sun department store in the Nanking Road, a party of young European jews were fighting in and out of the strolling crowds with a gang of older German boys in the swastika armbands of the Graf Zeppelin Club. Chased by the police sirens, they ran through the entrance of the Cathay Theatre, the world's largest cinema, where a crowd of Chinese shopgirls and typists, beggars and pickpockets spilled in the street to watch people arriving for the evening performance. As they stepped from their limousines the women steered their long skirts through the honour guard of fifty hunchbacks in mediaeval costume. Three months earlier, when his parents had taken Jim to the premiere of The Hunchback of Notre Dame, there had been two hundred hunchbacks, recruited by the management of the theatre from every back alley in Shanghai. As always, the spectacle outside the theatre for exceeded anything shown on its screen.

J. G. Ballard, Empire of the Sun