The fear of death stems from the view that it is fearful.

Much of the fear of death comes from an intuition that we will be revealed as having avoided encounters with the deep self within us.

"To be afraid of death is only another form of thinking that one is wise when one is not; it is to think that one knows what one does not know. No one knows with regard to death wheather it is not really the greatest blessing that can happen to man; but people dread it as though they were certain it is the greatest evil." -The Last Days of Socrates

If the fear of death were merely the fear of dying, it would be better dealt with by medicine than by argument. There is, or there might be, an art of dying well, of dying painlessly, willingly, and in season, — as in those noble partings which Attic gravestones depict, — especially if we were allowed, as Lucretius would allow us, to choose our own time.

But the radical fear of death, I venture to think, is something quite different. It is the love of life. Epicurus, who feared life, seems to have missed here the primordial and colossal force he was fighting against. Had he perceived that force, he would have been obliged to meet it in a more radical way, by an enveloping movement, as it were, and an attack from the rear. The love of life is not something rational, or founded on experience of life. It is something antecedent and spontaneous. It is that Venus Genetrix which covers the earth with its flora and fauna. It teaches every animal to seek its food and its mate, and to protect its offspring; as also to resist or fly from all injury to the body, and most of all from threatened death. It is the original impulse by which good is discriminated from evil, and hope from fear.

Nothing could be more futile, therefore, than to marshal arguments against that fear of death which is merely another name for the energy of life, or the tendency to self-preservation. Arguments involve premises, and these premises, in the given case, express some particular form of the love of life; whence it is impossible to conclude that death is in no degree evil and not at all to be feared. For what is most dreaded is not the agony of dying, nor yet the strange impossibility that when we do not exist we should suffer for not existing. What is dreaded is the defeat of a present will directed upon life and its various undertakings. Such a present will cannot be argued away, but it may be weakened by contradictions arising within it, by the irony of experience, or by ascetic discipline.

Art is long and life is brief and mortality looms.

In art, in history man fights his fears, he wants to live forever, he is afraid of death, he wants to work with other men, he wants to live forever. He is like a child afraid of death. The child is afraid of death, of darkness, of solitude. Such simple fears behind all the elaborate constructions. Such simple fears as hunger for light, warmth, love. Such simple fears behind the elaborate constructions of art. Examine them all gently and quietly through the eyes of a boy. There is always a human being lonely, a human being afraid, a human being lost, a human being confused. Concealing and disguising his dependence, his needs, ashamed to say: I am a simple human being in a too vast and complex world. Because of all we have discovered about a leaf...it is still a leaf. Can we relate to a leaf, on a tree, in a park, a simple leaf: green, glistening, sun-bathed or wet, or turning white because the storm is coming. Like the savage, let us look at the leaf wet or shining with sun, or white with fear of the storm, or silvery in the fog, or listless in too great heat, or falling in autumn, dying, reborn each year anew. Learn from the leaf: simplicity. In spite of all we know about the leaf: its nerve structure phyllome cellular papilla parenchyma stomata venation. Keep a human relation — leaf, man, woman, child. In tenderness. No matter how immense the world, how elaborate, how contradictory, there is always man, woman, child, and the leaf. Humanity makes everything warm and simple. Humanity...

MEN fear death, as children fear to go in the dark; and as that natural fear in children, is increased with tales, so is the other. Certainly, the contemplation of death, as the wages of sin, and passage to another world, is holy and religious; but the fear of it, as a tribute due unto nature, is weak.

To fear death, gentlemen, is no other than to think oneself wise when one is not, to think one knows what one does not know. No one knows whether death may not be the greatest of all blessings for a man, yet men fear it as if they knew that it is the greatest of evils.

Nothing is more creative than death, since it is the whole secret of life. It means that the past must be abandoned, that the unknown cannot be avoided, that “I” cannot continue, and that nothing can be ultimately fixed. When a man knows this, he lives for the first time in his life. By holding his breath, he loses it. By letting go he finds it.

The body cannot be afraid of death. The movement that is created by society or culture is what does not want to come to an end. . . . What you are afraid of is not death. In fact, you don't want to be free from fear. . . . It is the fear that makes you believe that you are living and that you will be dead. What we do not want is the fear to come to an end. That is why we have invented all these new minds, new science, new talk, therapies, choiceless awareness and various other gimmicks. Fear is the very thing that you do not want to be free from. What you call “yourself” is fear. The “you” is born out of fear; it lives in fear, functions in fear and dies in fear.

No art is possible without a dance with death.

For to fear death, my friends, is only to think ourselves wise without really being wise, for it is to think that we know what we do not know. For no one knows whether death may not be the greatest good that can happen to man.

By the creative act, however, we are able to reach beyond our own death. This is why creativity is so important and why we need to confront the problem of the relationship between creativity and death.

That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.