a terrific towering palisade of dark mossy massiness

From book 25, section 4 of Pierre. The full passage:

Cunningly masked hitherto, by the green tapestry of the interlacing leaves, a terrific towering palisade of dark mossy massiness confronted you; and trickling with unevaporable moisture, distilled upon you from its beetling brow slow thunder-showers of water-drops, chill as the last dews of death.

“unevaporable”… “slow thundershowers”… “last dews of death”

…….. Behold, I do not give lectures or a little charity.
…….. When I give, I give myself.

……………… Song of Myself

“The bad are frequently good enough to let you see how bad they are, but the good as frequently endeavor to get between you and themselves.” (Thoreau, Journals.)

“On the contrary, he whose soul expects an eternal happiness, has always present in himself that which is valid in itself, and against which all the petty appears as the petty. He is constantly influenced by an aspiration which does not bring him into conflict with anyone, or with anything earthly, whose possession does not exclude anyone else. That is, he can lose the earthly, and if he loses it in the right way, then its loss will make the difficult easier, so that a camel can go through the eye of a needle; and he will not wish to exclude anyone, if he himself is anxious in the right way.” Kierkegaard, The Expectation of an Eternal Happiness.

Some instances of children and violence –well, really, young girls and violence– from the first volume of Kill Bill:

• Black mamba is with child when attacked by Bill and his cohort, and is traumatized (on waking from her coma) to discover her pregnancy has been terminated (though that turns out not to be true.).
• Black mamba kills Copperhead in front of her daughter (aged four). Children’s toys are prominent outside the home. A school bus appears while the two are fighting.
• As a child, Cottonmouth watches her parents being murdered, and (still a child) she kills their murderer, who is a pedophile. (This segment is told in the form of a cartoon/ animation, itself perhaps suggesting childhood.)
• Cottonmouth’s bodyguard is notably young herself, 17 we’re told, and carrying herself still more girlishly — Black Mamba offers her a chance to escape without fighting/ violence. (“Charlie Brown” in these scenes again evokes the cartoon/ the comics.)
• “Silly rabbit, Trix are for kids.” The phrase spoken by both Black Mamba and Cottonmouth suggests childhood/ a shared sense of childhood.
• Black Mamba spares one of the crazy 88’s, who is a young boy. After spanking him with a sword, she sends him home to his mother.

Although the theme is mainly absent from Kill Bill’s 2nd volume, it reappears in the final chapter when The Bride and B.B engage in a mock gun battle and later watch Shogun Assassin. A distinction might be made (as Tarrentino himself appears to do in this youtube) between BB’s engagement with portrayals of violence, “fake violence”, and the girls of Volume 1, who have dealt with the real thing.