Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
Aestheticism is a search after the signs of the beautiful. It is the science of the beautiful through which men seek the correlation of the arts. It is, to speak more exactly, the search after the secret of life.
Interpretation
Aestheticism values beauty and seeks to understand its connection to life and the arts.
In this quote, Oscar Wilde discusses aestheticism as a pursuit of understanding beauty and its relationship with different forms of art. He suggests that this exploration is not just about superficial beauty, but ties deeply into the search for meaning and the essence of existence itself.
In practice
In a speech about the importance of art in society, one could quote Wilde to emphasize the deep connections between beauty and our understanding of life.
Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
London is too full of fogs and serious people. Whether the fogs produce the serious people, or whether the serious people produce the fogs, I don't know.
When one has never heard a man's name in the course of one's life, it speaks volumes for him; he must be quite respectable.
Men always want to be a woman's first love - women like to be a man's last romance.
A truth ceases to be true when more than one person believes in it.
His morality is all sympathy, just what morality should be
Life is short and art is long.
The cut of a garment speaks of intellect and talent and the color of temperament and heart.
I don't want to think that the stories are finite; I want to feel that they can go on forever.
Get yourself in that intense state of being next to madness. Keep yourself in, not necessarily a frenzied state, but in a state of great intensity. The kind of state you would be in before going to bed with your partner. That heightened state when you're in a carnal embrace: time stops and nothing else matters. You should always write with an erection. Even if you're a woman.
You weren't going to the theatre to change the world, but you had a chance to affect the world, the thinking and the feelings of the world.
Always, when I do a play, there's got to be an equation of risks and potential failure. When you're working on a new play, it's like, 'How the hell do I do this, and do we have the time?' All of these huge questions engage, hopefully, the smartest part of me. And then when you're doing a revival, I went, 'Well, somebody's already solved it.'
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