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The work of art assumes the existence of the perfect spectator, and is indifferent to the fact that no such person exists.
E. M. Forster
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E. M. Forster
Age: 91 †
Born: 1879
Born: January 1
Died: 1970
Died: June 7
Biographer
Essayist
Librettist
Literary Critic
Novelist
Science Fiction Writer
Screenwriter
Writer
London
England
Edward Morgan Forster
E Forster
EM Forster
Fact
Assumes
Facts
Spectator
Art
Spectators
Persons
Indifferent
Person
Assuming
Work
Exists
Existence
Perfect
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When you come back you will not be you. And I may not be I.
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How few writers can prostitute all their powers!
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He was obliged however to throw over Christianity. Those who base their conduct upon what they are rather than upon what they ought to be, always must throw it over in the end . . . .
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Hardship is vanishing, but so is style, and the two are more closely connected than the present generation supposes.
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The so called white races are really pinko-grey.
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Do not be proud of your inconsistency. It is a pity, it is a pity that we should be equipped like this. It is a pity that Man cannot be at the same time impressive and truthful.
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It comes to this then: there always have been people like me and always will be, and generally they have been persecuted.
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There's never any great risk as long as you have money.
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Logic! Good gracious! What rubbish!
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Only connect the prose and the passion, and both will be exalted, and human love will be seen at its highest. Live in fragments no longer
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One person with passion is better than forty people merely interested.
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It is thus, if there is any rule, that we ought to die--neither as victim nor as fanatic, but as the seafarer who can greet with an equal eye the deep that he is entering, and the shore that he must leave.
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The English countryside, its growth and its destruction, is a genuine and tragic theme.
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It is easy to face Death and Fate, and the things that sound so dreadful. It is on my muddles that I look back with horror--on thethings that I might have avoided.
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Lord I disbelieve - help thou my unbelief.
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Without form, the sensitiveness vanishes.
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A critic has no right to the narrowness which is the frequent prerogative of the creative artist.
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We are willing enough to praise freedom when she is safely tucked away in the past and cannot be a nuisance. In the present, amidst dangers whose outcome we cannot foresee, we get nervous about her, and admit censorship.
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Either life entails courage, or it ceases to be life.
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Are not beauty and delicacy the same?
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