Personal relations are the important thing for ever and ever, and not this outer life of telegrams and anger.
The sadness of the incomplete, the sadness that is often Life, but should never be Art.
Interpretation
What this quote means
The quote suggests that while life can often be filled with incompleteness and sadness, true art should strive for wholeness and emotional resolution.
E. M. Forster highlights the contrast between the inherent incompleteness of life and the ideal nature of art. Life is frequently marked by unresolved feelings and unfulfilled desires, leading to sadness; however, art should transcend these limitations, capturing a sense of completion and emotional depth that provides solace or understanding to the audience. This distinction emphasizes the transformative power of art, which should uplift and reframe lifeβs complexities rather than mirror them in their raw, unfinished state.
Themes
In practice
Example use cases
In an art class, to emphasize the purpose of art, I might say this quote to inspire students.
More from E. M. Forster
All quotes βA poem is true if it hangs together. Information points to something else. A poem points to nothing but itself.
One must be fond of people and trust them if one is not to make a mess of life.
Oxford is Oxford: not a mere receptacle for youth, like Cambridge. Perhaps it wants its inmates to love it rather than to love one another.
The fact is we can only love what we know personally. And we cannot know much. In public affairs, in the rebuilding of civilization, something less dramatic and emotional is needed, namely tolerance.
One person with passion is better than forty people merely interested.
Similar quotes
If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.
Sometimes I write from the point of view of characters whom I would dislike as people, not as a perverse exercise, but because this cracks the story open and makes me see it in a way I would not see it naturally.
Something in me was responding now as the audience responded, not in fear, but in some human way, to the magic of that fragile painted set, the mystery of the lighted world there.
Flowers construct the most charming geometries: circles like the sun, ovals, cones, curlicues and a variety of triangular eccentricities, which when viewed with the eye of a magnifying glass seem a Lilliputian frieze of psychedelic silhouettes.
Models are supposed to be a muse to you. Why is a muse always the same body type, the same look? It's boring.
Originally, poetry creates the myth, while the prose-writer draws its portrait.